Hell Yeah Magazine - issue 03 by Hell Yeah Magazine PTY LTD

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LETTER TO WHITE AUSTRALIA

You are my friends, you are my neighbour’s, you are my relatives by blood and by marriage. You are White Australia and it is to you I speak. I speak from a place in between two worlds. A place removed from my language, my land, my kinship system and my lore. I study and work in the Aboriginal world so that I can remember. We live in a day together in which from my eyes I see a ‘web’ cast. Over many years this web has weaved its way into our essence and distracted us into forgetting our relationship to our mother, Ngungynateea (the earth). The delusions of the web have promoted the egocentric notion than man is greater than all. I see today that we are controlled by a few. Our lives; our spending, our opinion, our statistics are studied by corporate giants and everyone down to local business. Our data is sold and turned into marketing then advertising into packaging continually used against us to manipulate our spending, our opinion and our statistics! We buy things we don’t need while for the people that need we don’t buy, support, sustain nor often even care. As a young child I could never understand how there could be starvation on earth. Isn’t the earth plentiful and ripe? How could our Mother not provide for all? It didn’t make sense to me because she really could. As I grew older I came to understand that we invented the wheel henceforth production, farming, crops, markets, profit margins and we became so caught up in profit and loss and supply and demand, we were exploiting poorer countries who were only producing goods to export to other richer countries, which left them no resources to even feed themselves. Granted the reasoning for global poverty, and the well documented imbalance between the East and the West are areas saturated with myriads of historical influence. Regardless, the disconnections from the natural rhythms of our Mother are evident in the increase of natural disasters in our world. We are no longer a tribe or a community, we are economies. We are no longer self sufficient. We are all players in the global trade game, reliant completely on its sway. In the pursuit of profit or under the suffering of pillage, we wound our earth when mine her and we interrupt her rhythm and cycles when we plant crops only to meet market demands. ‘Keep them stupid and they will consume’. Our media outlets are owned and controlled by a few. We are bombarded with propaganda designed to influence and reduce our ability to be analytical and critical. Our media does not encourage nor promote the concept of ‘free independent thinkers’. 25 years ago the personal debts of the Australian population was under 20% of our Gross Domestic Profit. Today our personal debts EXCEED OUR GROSS DOMESTIC PROFIT!! Our spending is out of control!! When we borrow money off corporate giants we become slaves to them. Do we work to live? Or do we live to work - to be debt slaves? Our societies encourage us to live alone. We live in studio apartments side by side removed from our neighbors. Our government encourages us to report on our neighbors and be fearful of each other. Over time our family groups have been socially designed to dysfunction. In Australia now our children have more rights than we do. How can our children respect us when they know they have more rights than us? Is policy plotting our children against us? Is policy plotting the breakdown of family? Is this the final break up of all our ancient tribes? From ancient tribe to extended family group to single family group to couple and or/ individual. This is where live and according to our Government we are all terrorists. When our Constitution was formed in 1901, the only civil right granted in this country for all Australians, was and is, the freedom of religion. 179 years after the British declared possession of the east coast of Australia, the 1967 referendum saw the First Australians granted citizenship rights thus ending the racist tyranny of ‘terra nullius’, where Aboriginals were considered to be under the Flora and Fauna Act.

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letter |

WORDS Amala Groom

HELL YEAH MAGAZINE |

Still today the Traditional Owners of this land, keepers of the oldest living culture on earth, the Aboriginal peoples of Australia are denied the social recognition and right to practice our own religion. Experts in the fields of historical research such as carbon dating state that the more technology improves, the further back in time Aboriginal culture is recognised, the more the pyramids stay the same age. Aboriginal Australia is currently recognised as roughly 60, 000 year old. As sovereign peoples on our own land, we live under a system of governance where in court we must swear by oath on a Bible! A book, ‘words on paper’ that has been well doctored over time to apply more relevance through social control... Our culture and religion is older than the Bible and based on an unchanging spiritual lore which has integrity in moral values which do not change and respect for all living things. Why aren’t the governance structures of Aboriginal culture used to govern Australia? Because it is not written on a ‘piece of paper’? Because we have an oral tradition in our culture? Because we tell our stories through dance, songs and paintings? Our stories contain the knowledge of humanity. We have stories of how humanity came to be. We have stories that guide us in life to teach us about how everything has come to be and how we must nurture the earth -the mountains, the rocks, the rivers, the rainbow, the serpent, the platypus, the gum tree, the kookaburra, the kangaroo, the koala, our relationships with animals, humans and all living things. The knowledge of these things and our interconnectedness which sustain our world is in our stories. When you are born in Australia you too are born with a special relationship to the land – we are the people of the land. This relationship is special but not easy to ‘recognise or acknowledge’ because so many of us are lost in the web and have forgotten our connectedness to all things, including each other. We have entered the time of ‘awakening the knowing’ which is in all things. We have the answers to all our questions because we are ‘all knowing’. Because we all have relationship to everything, we have responsibility for it and for each other. It is this special relationship which enables us to share, care and support each other and the earth. We ask of you Australia, to be still for just one moment and let go. Let all that you know about ‘His-story’ flow through your mind until you are no longer thinking and that’s when you will feel the fire in your belly. That’s the flame of our Mother. That’s our individual soul spark that connects us to everything and everybody. When we are in Australia its important that we acknowledge and pay respects to our Mother, to the First Peoples, the Traditional Owners who for thousands of generations have sustained the earth so that each generation can enjoy her wonders. Aboriginal people must be recognised as people with moral, spiritual and legal rights over this land. We are the keepers of the most ancient culture on earth and we have the right to preserve and practice our culture, to determine our own affairs and to govern ourselves as all sovereign nations do. We never ceded our sovereignty nor have we ever signed a Treaty with Britain and we continue, as is our right, to live as all other nations of people who come to Australia. We practice our religion, we follow our lore, and we maintain our cultural practices and share them with Australia and the international visitors who come to our country. It is the love and light that emanates from Ngungynateea that eventually leads us out of the web. It is this unconditional love we seek in the practice of the Kanyini with all living things. We will grow to understand that the web itself is an Illusion. 3D = 3rd dimensional reality. The only thing that is real is the unconditional love of our Mother, our family, our land, and all around us as we practice living in harmony with all living things.

With Love and Light, Amala Groom

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letter |

WORDS Amala Groom |

HELL YEAH MAGAZINE |

HELL YEAH! MAGAZINE ISSUE 3 alternative lifestyle magazine

Founder / Editor-In-Chief | Natasha Dunstan info@hellyeahmag.com Graphic Designer | Conrad Gracie conrad@hellyeahmag.com Copy | Alicia Coleman

For advertising inquiries, please contact info@hellyeahmag.com HELL YEAH MAGAZINE PO BOX 1330 Fortitude Valley, Queensland, 4006 Australia

Photographers | Luke Shirlaw, Amanda Lopez, Robert Yager, Chrissie Hall, Shotti, Elisa J Mercurio, Freya Lamont, Lerato Maduna, Vicki Craddock, Callie Marshall

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Fashion Stylists | Kelly B, Liz Baca, Elana Mulally, Alicia Coleman, Adrian J Dorsey, Nicole Willing, Nkuli Mlangeni

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All content is copyright 2011, and may not be reproduced without written permission by the editor, or suffer public humiliation, possible beatdown and getting your arse sued! Opinions expressed in articles are those of the author only. All rights reserved on entire contents.

Contributors | M.I.S.S., Amala Groom, Spice Bezzina, Georgia Oâ&#x20AC;&#x2122;Connell, Mick La Rock, Rogan Rules, Anne Cobai, Becca Kennedy, Tabatha McGurr, Emma Jane, Madboots Morgan, Ryan Sim, Charlotte Chalken, Luke from hobogestapo.com, Sheena She, E-money, Safa Amira, Stephanie Mountzouris, Nkuli Mlangeni

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Hell Yeah Magazine welcomes donations, editorial submissions, letters and photos. Also music, books, DVDs and other relevant products for possible reviews, giveaways and promotions.

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COVER | PHOTOGRAPHY Chrissie Hall. MAKE UP ARTIST Nicole McCann HAIR STYLIST Leigh Mathews. MODEL Ashleigh Peachey

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HELL YEAH MAGAZINE |

CONTENTS PAGE

To White Australia | page 4 | 5

City Limits | page 58 | 64

Class Has Started | page 8 | 9

Soft Shock | page 66 | 71

Letter From the Editor | page 10

My Teenage Love Affair Was My BMX | page 72 | 75 Featuring Kid Paris

THE RACE ISSUE |

PHOTOS TASH |

PAGE 7 |

CLASS HAS STARTED

AND YOU’RE ABOUT TO BE SCHOOLED!

Dear Hell Yeah Magazine,

This is an open letter discussing the current forms of advertising here in modern day Australia. As young women in any first world society we have long been exposed to the growing perception that beauty is the appearance of a radiant white woman who has “tanned” skin, blonde hair, blue eyes and slim body build. This belief has been reinforced through mainstream advertising campaigns on television shows, music videos, movies and magazines that glamorize the beauty standards of conspicuous models that are not a true representation of the society as a whole. Imitation of these models and the beauty industry norms have in some cases affected the lives of Australians from different ethnic backgrounds. Ask yourself when was the last time you opened up a mainstream magazine, watched a TV show and there was multicultural presence throughout all forms of advertising? For those who haven’t noticed, let me make it clear, all women of colour are largely not being represented in advertising campaigns! I write this article as an African woman who has been raised here in Australia and has long been an observer of the perception of beauty here in Australian society. I can testify that growing up the images I came across; I never recall seeing anyone that looked similar to me. There was uniformity in the look and feel of the images presented to me. Women of colour that did make it into the media spotlight rocked straight hair and their appearance appeared to be digitally enhanced to ensure a consistent look. With the exception of perhaps say Cathy Freeman, this lack of representation left a big gap for coloured women.

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LETTER |

This isn’t the first time I have been so outspoken on this topic; I often speak passionately on the lack of diversity in advertising. You may be reading this and think I am a racist, to which I respond, I am not speaking out about white women in advertising campaigns. I am merely addressing the need of a fair representation of people here in Australia who come from different cultural backgrounds. I believe this principle can be carried out in all advertising mechanisms in mainstream Australia. I can acknowledge that recently the media has started to slowly, but surely bring women of colour to the forefront. Great examples of this have been the fashion spreads that represent multicultural awareness in fashion magazines such as Cleo and Vogue. My ultimate goal in writing this article is to start that awkward conversation. I challenge you to look around at the current representation of beauty standards in Australia and get you to question, “Is this the image or standard of beauty we want to portray”? One day soon, it will be the norm to have a woman of colour in major advertising campaigns showing our diverse cultural foundation in this great land we all call home – regardless of where you came from. Australia – together let’s play a more active and positive role in promoting awareness of “diverse beauty”. *Name withheld

PHOTOS DANIEL AMAZU |

HELL YEAH MAGAZINE |

Betty Davis - (C) DAW 2010

LETTER FROM THE EDITOR

Hola!

Welcome to Issue 3 of Hell Yeah Magazine- The Race Issue. This issue aims to celebrate, discuss and have fun with multiculturalism and feature a different kind of beauty mainstream media seem to ignore. Last year we received a letter from a Zimbabwe reader we just couldn’t ignore and I personally refused to believe Samantha Harris was the only aboriginal woman beautiful enough to be on a fashion cover. In that same week my good friend/ Hell Yeah staff writer, Amala Groom emailed me a letter she wrote to white Australia as part of her studies and freedom fighting. Homegirl has been representing the Global Indigenous Youth Caucus at the United Nations making real social change the last few years so it was only right to publish her letter as this issue’s intro! We realize we have only just scratched the surface and this is only the beginning but you gotta start somewhere right? The Hell Yeah team are made up of all different shapes, sizes and ethnicities, our readers too.We’re all in the same gang. And that’s what’s great about Hip Hop. Due to our massive international and national online presence, we’re now digital and understand it’s important we will now be read by more people than ever! With two full colour, glossy, printed issues under our belt it’s now time to expand our audience and go with the technology flow. I’d like to also introduce you to our new graphic designer, Conrad Gracie. Our old one Damien Matter moved to Melbourne and I had a lil’ baby boy, Rudy so thanks to all our contributors and readers for your patience in finally dropping this issue!

Peace and love, Mamma Tash

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editors letter |

WORDS TASH |

PHOTOS AMALA GROOM |

HELL YEAH MAGAZINE |

CONTRIBUTORS

THE PEOPLE THAT MAKE US GO HELL YEAH! 1. Georgia O’Connell Georgia is a reincarnated rock’n’roller who just returned from the black hole of Camden town to interview Sam Watson from the Black Panthers. She still buys cassette tapes from record shops and loves getting her kit off to AC/DC. Bloody Mary Sundays, whiskey and leopard print make Georgia go Hell Yeah!

2. Amanda Lopez Amanda was born and raised in Sacramento, California under the watchful eye of her parents and paintings of La Virgen de Guadalupe. Her father lent her a camera at the age of 17, and photography soon became her saviour. She believes La Virgen de Guadalupe has guided her well. Photo books, her Contax camera and Heart Boutique make Amanda go Hell Yeah!

3. Chrissie Hall Chrissie was born clicking and screaming on the 31st of May, 1981 at 4.25am in a film studio in Outback Australia. She was adopted by koalas and brought up and educated by kangaroos. Chrissie is currently working as a freelance photographer in Sydney and shot and found our covergirl Ashleigh for this issue. Aliens, dinosaurs and being naked with aliens and dinosaurs make Chrissie go Hell Yeah!

4. Spice Spice is a mother, social worker and one of Australia’s most respected, old school, active graf writers. Spice has painted and exhibited her art worldwide and homegirl is a hip hop fanatic having stamped her name on every element over the years. Leader of the Zulu Nation Sydney Chapter, this issue she presents an insight to their teachings plus a Zulu Nation special of her regular column, ‘Prized Possessions’. Fresh kicks, dope beats and funked out letter connections make Spice go Hell Yeah!

5. Ashleigh Peachey Ashleigh is this issue’s babe-in’ cover girl. Now based in Canberra, Ash is a descendant from the Wiradjuri Tribe in western NSW. In 2008, Ash was part of Nova Peris-Kneebone’s Unearthed calender, showcasing indigenous girls from right around the country. The beach, shopping and spending time with her girls makes Ashleigh go Hell Yeah!

6. Nonkululeko Nkuli is a photographer, stylist and art curator from Johannesburg, South Africa. A founding member of Mind Your Head, an underground Arts Hub based in downtown Johannesburg. This issue, Nkuli styled the Umuntu Ngumuntu Ngabantu fashion spread. People who make things happen and don’t wait for the government plus watching her daughter dance make Nkuli go Hell Yeah!

7. Elana Mullaly Elana is a fine artist, stylist, make-up artist, Hell Yeah BFF, and allround creative superstar from Brisbane, Australia. Featured in previous issues for her dreamlike illustrations and make-up art, this issue Elana shares her wicked eye for fashion as stylist for the Where Neon Goes to Shine spread. Summer festivals, ice cream and drawing in her undies make Elzee go Hell Yeah!

8. Alicia Coleman AC is a Brisbane-based stylist and original Hell Yeah BFF with plans for world domination, one ensemble at a time. With a penchant for feathers, clashing prints and anything sequined, this issue Alicia went all colourcrazy on us, styling the In Living Colour shoot as well as pulling out her big red pen as proof consultant. Pam Hogg, Two Door Cinema Club and the OPI Shrek nail polish collection make AC go Hell Yeah!

9. Gregory L Morgan Jr Shotti is a NYC based photographer working primarily within the music and fashion industries. With works ranging from high-end fashion to street, he offers his clients a spectrum of images that maintain authenticity, while creating a world of imagination for the viewer. Anything his daughter does that doesn’t involve breaking his photo gear, good music and open bar events make Shotti go Hell Yeah!

THE RACE ISSUE |

CONTRIBUTORS |

WORDS CONTRIBUTORS |

PHOTOS CONTRIBUTORS |

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Mickey Mouse tee from Box Vintage Lady Sveta necklace

Edwina McLennan body suit Adidas high tops from Hype DC

Maurie & Eve dress from Nancy King Vintage Moschino belt Lady Sveta Necklace House of Harlow ring from Donâ&#x20AC;&#x2122;t Tell Fannie Adidas sneakers from Hype DC Maurie & Eve dress from Nancy King Vintage Chanel scarf Nike sneakers

NYFC bootleg tee from Canal Street NYC Cassette Society shorts from Donâ&#x20AC;&#x2122;t Tell Fannie Vintage sequin vest from Box Vintage Vintage Chanel earings Dress from Box Vintage

Maurie & Eve shorts from Donâ&#x20AC;&#x2122;t Tell Fannie House of Baulch necklace from Donâ&#x20AC;&#x2122;t Tell Fannie Kirrily Johnston boots from Nancy King

Terry Donna bikini top Woodford and Co. stuede pants from Nancy King House of Harlow necklace from Donâ&#x20AC;&#x2122;t Tell Fannie Maurie & Eve dress from Nancy King Vintage Moschino belt Lady Sveta necklace House of Harlow ring from Donâ&#x20AC;&#x2122;t Tell Fannie Adidas sneakers from Hype DC Nike slip dress New Era Yankees cap

Seafolly One Shoulder Ruffle Bikini Top (part of set) Target Hot Options Leggings, Earrings (stylistâ&#x20AC;&#x2122;s own) Target Hot Options Round Neck Singlet dress

Isola Pink Knot Bandeau over American Apparel Nylon Tricot Skater Dress Nike Singlet Saralli Designs Necklaces Seafolly Bikini Bottom (part of set) Ngoya Headpiece Dimepiece Singlet Nike Bikepants

Hellz Bellz T-shirt Target Hot Options mini Gaea wears Black Milk Tights Hellz Bellz Strangeness T-shirt American Apparel Nylon Tricot Leggings

Miss Wax earrings Black Milk Bodysuit Nike running shorts

Miss Wax Earrings American Apparel Nylon Tricot Skater Target Hot Options bikini bottoms (part of set)

One Teaspoon Intrepid bikini top (part of set) Cubannie Links earrings American Apparel Mesh Harem pants Nike jacket Target Hot Options round neck singlet dress

American Apparel Visor Cubannie Links Earrings Seafolly Ruffle Strapless Swim Top American Apparel Nylon Tricot skirt Nike Jacket Jets by Jessika Allen Ruffle Tri Top Gold Glomesh Bumbag

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“ we had a police car on our door step 24 hours, 7 days a week. Wherever we went, they were always following us and cops always had guns. ” In the 60’s and 70’s the world as we knew it was changing, denoting a period of some of the biggest political and human rights movements of the 20th century. Of those who made the most waves in this era, The Black Panther Party stood to be one of, if not the most intense anti-racism left wing organisations engraving significant social, political and cultural currents in US history. The party‘s “provocative rhetoric, militant posture, and cultural and political flourishes permanently altered the contours of American Identity.” 

THE RACE ISSUE |

feature |

WORDS Georgia O’Connell |

ILLUSTRATION THOMAS BONNIEUX |

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In 1971 under the reign of a Joh Bjelke-Petersen who was, according to Aboriginal activist and socialist politician, Sam Watson, “a racist extremist maniac that held the premiership of Queensland for almost 20 years,” Queensland was declared a state of emergency where civil rights of all the people were suspended. People couldn’t even meet in groups of two on a street corner without running the risk of being arrested. You couldn’t march and if you did you’d be bashed senseless. They were scary times. In the same year, two very young and very angry Aboriginal men by the name of Dennis Walker and Sam Watson opened the first and only ever Australian chapter of the Black Panther Party here in Brisbane. They ran pig patrols that would monitor police activity in the black community, they went to the court houses and monitored the amount of young black men vs. young white men taken into the prison system for the same crime, they ran food programs for those without any, and rap sessions for those who wanted to listen. I met with Sam Watson for Hell Yeah’s edition on racism. In looking back, he believes that The Australian Black Panther Party will always be remembered for making their mark against racism here in Australia. After finally transcribing an hour’s worth of interview, I’ve come to the conclusion that I really don’t know what to say. So here’s the rap sheet on Sam, his thoughts on the time, the movement, and how he feels about it all now. What an honour it was to sit by the river and talk to him.

towards Malcolm X, but we couldn’t really subscribe to Muslim, the nation of Islam and its ideologies because our movement was very much seeking a platform of which men and women were equal. The nation of Islam of course always placed men on a higher plain and women in a subservient role. I mean, there were only ever male spokesmen and leaders, so when we encountered the writings of people like Huey Newton, Bobby Seal, George Jackson and Angela Davis, we started to access the literature of the Oakland chapter of the Black Panthers Party. We really felt this was the answer to the Australian experience. Dennis and I went through some weeks, some months, getting as much information as we possibly could about the Panthers and the programs they ran. We were particularly interested in the pig patrols they ran that would monitor police activity in the black community. We were interested in the food for children programs the Panthers ran. One of our great concerns was the health of the aboriginal community. We were concerned about the community work the Panthers did like providing bus transport for African american people to go to see hospitals and lawyers because back in those days transport was a big problem. Housing, education, employment - all the big ticket items. Even though they were overseas programs being developed to address these needs, the process was still very aimed and driven by white bearcats and white politicians. We wanted to present an alternative where aboriginal people themselves could own, control and drive the process so we then presented the blueprint or the “blackprint” for the Australian Black Panther party, and launched the chapter.

90 Aboriginals and Torres Strait Islanders How did you go about setting up the Black Panthers here in Brisbane?

What was the crunch point for you?

Dennis and I grew up together, all the same family on my mother’s side. As a kid I grew up in a very politically active, politically aware family who kept tabs with the political movement across the state, across the nation and also internationally, because the 50’s and 60’s were very important years globally. The American civil rights movement was in the headlines.

Coming through the 60’s and seeing what was happening in South Africa - The Sharpeville massacre and the fact that people like Nelson Mandela and the African national congress were talking about the arms struggle. The Vietnam war was a very important backdrop - because we felt an enormous sense of empathy for our comrades there. We were inspired by the words of people like Muhammad Ali. In the early 1960’s he refused the draft because he said, “No VietCong Ever Called Me Nigger.” The 1960’s were an incredibly important decade on whole range of different levels.

The 60’s were the foundation for the modern day black political struggle. The right to vote, Charlie Perkins freedom rights, the land rights struggle, the referendum and then of course there were the first wave of aboriginal organisations being brought across Australia. Then in the 70’s we younger people like Dennis and myself - I was only 18 or 19 then, Dennis was a few years older - saw that there was a definite need for a purely political spearhead that had a far more militant character. We had seen the enormous work and energy that had gone into the referendum, and that delivered very little real change so we looked at programs and agencies right across the world. We were very interested in the trade unionist and student riots in France, looked at the experiences in the UK with trade unionist movements, but what really struck a chord with us was the writings of the black American movement. We were inspired by Dr Martin Luther King and naturally we gravitated

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Feature |

Dennis was older. He had been a merchant seaman for a number of years and had travelled extensively. He was very frustrated by the pace of change, so when he started talking about setting up meetings and talking about violent revolution and the need to pick up the gun - metaphorically - that certainly drew me to his side. We were the younger people in our leadership group, so naturally we spent all our time together and the more we got around our community, we came into contact with racist police. We each were arrested, taken to the station, beaten up on the most insufficient of evidence and so our frustration, our anger with the white system grew.

WORDS Georgia O’Connell |

HELL YEAH MAGAZINE |

Was Brisbane the only chapter that was running at the time?

How many members did you have?

Yes, because the east coast was the only harbour of the new wave of aboriginal activists. Those were Cairns, Townsville, Brisbane, Moree, Sydney and Melbourne. These were the major centres for black activist activity. Even though we were meeting with colleagues and friends and fellow workers across those communities and networks, our chapter was the only chapter that became fully functioning. A lot of people paid lip to our ideas and our literature. Brisbane was the only chapter that got underway. We started to deliver the programs like the pig patrols. We started going to court and documenting the arrest rate for aboriginal people. We followed aboriginal defendants through - recording and comparing the sentencing trends so we could show that aboriginal people were the most overarrested and overincarcerated people in the entire Australian community. Once aboriginal people went into the prison system, aboriginal people had a far lower rate of probation or patrol than white prisoners serving similar sentences for similar offences.

Core group of 15 members. We didn’t have a membership role as such because we didn’t want those records falling into the wrong hands. Every Wednesday we would have a RAP session where we would sit young blacks down and talk pure politics. We would have very large numbers of young blacks coming to those meetings.

”Everyone has the right to defend themselves against an aggressive enemy. It is inhumane to deny someone their human rights – to give a gun to one man, and don’t give it to another. I believe everyone should be able to hold a gun”. Dennis Walker How many rallies? Almost every week there would be some sort of political action.

When you set up the chapter here…How safe did you feel? This was the time of the Joh Bjelke leadership. He was a racist, extremist maniac that held the premiership of Queensland for almost 20 years. He was the maniac that declared a Queensland state of emergency. In July 1971, all civil rights were suspended. People couldn’t even meet in groups of two on a street corner or else they would be arrested. We couldn’t hold meetings or anything. This was all during the course of the South African rugby league visit. They played a game at the exhibition ground in order to accommodate the hundreds of police and Joh Bjelke-Petersen during his time of government showing Queensland to be one of the most corrupt and extremist states in the history of the Australia. Joey used his police force as a jack-booted wing of his extremist government to monitor, interrogate and intimidate anyone who opposed his government. People going to church, trade unions meeting during the time of the Springboks - students, trade unionists and Christians were bashed senseless by these bat wielding thugs. They were very scary times. And the Panther pad at Red Hill - we had a police car on our door step 24 hours, 7 days a week. Wherever we went, they were always following us and cops always had guns. They were pretty scary times.

VS 150 WHite police How far did you go to show your position as a militant spearhead for the aboriginal community? We never had a legal right to have weapons. That was the major difference between the American Panthers’ and the Australian Panthers. The American Panthers based their activity very much around the second amendment which was their right to own and carry weapons and guns to defend themselves and their rights. In Australia you don’t have the right to carry arms. We knew the enormous waves of opposition and close scrutiny and monitoring that the police subjected the Panthers to and that if there was any suggestion that we had any form of weapon, the cops would just gun us down. We would have confrontations with the police on a regular basis and quite often the police were heavily armed and threatened us if we presented them with half the opportunity. Fortunately when The Panthers went abroad to community-related shores, we knew to have plenty of witnesses on hand so that when these confrontations with the police occurred there were witnesses who could testify. At the time, we followed the course of the Panther chapters in the States and particularly the San Francisco Panthers. They were regularly involved in gun battles with the police and large numbers of their members were being gunned down in the streets.

THE RACE ISSUE |

feature |

What was the worst altercation you had with the police? They were all very bad. The largest confrontation we had with the police was in 1971 where we initiated a protest program aimed against the protection acts the six states of Australia, and the Northern Territory had developed - these so called protectionist acts from the 1800’s forward that could strip aboriginal people of all forms of legal and human rights. These protectionist acts heavily regulated the lives of aboriginal people. They controlled our lives - where we lived, where our children went to school, where we worked. Under these acts we couldn’t even earn award wages or receive the wages we were paid. These wages were paid into State and Minister welfare funds and we were handed out just enough money to live on. So we mounted a campaign called Smash The Acts campaign in 1970-71 where we gave the state government an ultimatum to remove these acts. These acts that were used by the part-time regiment in South Africa - the very laws that were used to imprison Nelson Mandela - were drafted up and used as legislation here in Queensland. In November 1971, we marched on the State department in George street. There were 80 -90 aboriginal and Torres Strait Islander men and women, 150 police and quite a large number of us were arrested. That was one of the major climaxes of the black political movement of that time.

WORDS Georgia O’Connell |

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How did you go about conscripting members - with the state of communication at that time, without the internet etc, probably without a phone? Well it all really rested on word of mouth and going to aboriginal events. We had a black disco down in the city called ‘Open Doors’ that was on the corner of George Street and Turbot Street, and you would get 300 or 400 hundred young blacks on a Friday and Saturday night - most of these young blokes had come off reserves - 3 hours north west of Brisbane. These young black kids had grown up under the most stringent oppression of the protectionist acts. These young blacks were very angry, very frustrated, and hungry for knowledge. They had a minimal formal education and they knew they were being oppressed and marginalised by the state legislation. So these are the people who would come to our weekly rap sessions at the Panther pack meetings in Red Hill. We would sit down and talk to these young blacks about racism and about the way in which the white ruling class used racism as a tool to divide the working class. The black political movement had an ideology that elevated our struggle to a class level - and that is the most important contribution of the Panther period. We were able to educate and create an awareness within our community that this was not a race struggle, that this was certainly part of the overall class struggle. How long did the party exist for? Only a short time, 1971-1973. The life of a butterfly really but we achieved an enormous amount. The work we did with the pig patrols right through ‘71, ‘72 and ‘73 that went on to form the framework for the aboriginal legal programs. Programs like Feed the Children and the work we did to get aboriginal people into state housing commission homes approaching real estate agents and exposing the appalling living conditions on the aboriginal settlements galvanized people to establish housing services and other welfare programs. A lot of the legacies of the Black Panther movement feed through to today.

lost that connection, that bond. So people who are still alive from that era regularly make comment about what we have gained over these last 30 or 40 years and it is weighed against what we’ve lost. It seems that we have lost that sense of unity, of solidarity, and we need to get back there because at a national level there has been very little change, and we seem to be going backwards. We still believe that the British government illegally invaded our sovereign land and under force of arms, committed mass murder, mass theft and dispossession of our land, and held aboriginal people captive. We still call for the British government to be charged with a series of crimes against humanity that will reflect the true profile of exactly what they have done to our people and our country. And at this point I was speechless. I even had to stop the tape to regain my thoughts. Did you ever have to serve any serious time because of your involvement with the Black Panthers? I’ve only ever been to the watch house, but Dennis however has served time in prison. He has had a very troubled life and sometimes that frustration boils over. He is virtually living a reclusive life. It’s very sad. That’s what happened to a lot of people that came through during the 60’s and 70’s. A lot of our mob that have given so much to the struggle have failed marriages, failed relationships and children from different partners. A lot of our colleagues paid a very high price, and that’s one of the stories that has never been told.

How do feel about the state climate of aboriginal welfare now - looking back on the work that you did with the Black Panther Party? Do you feel positive about the change that you made? No. I think we got away from the core message from the 60’s and 70’s. There is a lot more money and resources available to aboriginal people now. There is a definite class of very well-educated aboriginal people and politically savvy educated so called leaders. But the grass roots movement pulled together through organisations like the Black Panthers - we seem to have

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WORDS Georgia O’Connell |

ILLUSTRATION THOMAS BONNIEUX |

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HEADING ONE

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“ Hanging out with these guys was exciting, but completely unpredictable of course, with random challenges and risks popping up all the time. Life or death situations could occur, almost like a war zone. ” Robert Yager has been a freelance photographer since 1993, throughout which time he has been a consistent contributor to the UK’s Observer Magazine. He has also been a contributor to The New York Times Magazine, Fortune, Fader, TIME, Newsweek and UK magazines of The Guardian, The Independent, The Telegraph, and The Face. Yager grew up in London, England. Latin American Studies at Portsmouth University took him to UNAM, the University of Mexico City. Fluent in Spanish he moved to Los Angeles in 1986, where he has since resided. For this issue, TASH got talking to him about his stunning photography of Los Angeles gangs in the 1990s. 

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www.robertyager.com www.photoloco.com

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PHOTOS ROBERT YAGER |

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Tell us about your childhood memories growing up in London and what brought you to America.... What brought you to Mexico City for a year? I grew up in a shoebox in London, England, had a bar mitzvah at 13. My parents were in the dramatic field - my father was an actor and eventually became an agent. My mother did amateur dramatics, which included a lot of charity productions. She also worked with my father at their theatrical agency. As a kid I loved going to museums, cycling, parks and street markets. I have fond memories of going to intense, amazing gigs in the late seventies. Punk rock, reggae, ska, then new wave, street demonstrations, being chased by skinheads, historic architecture, motor-biking, bohemian friends, boring food. I started hitchhiking around Europe when I was 18 and began taking photos. I decided to do Latin American Studies as it seemed so damn interesting and I learnt Spanish. Part of my curriculum sent me to Mexico City. Four weeks after I arrived (1985) an 8.1 earthquake rocked the house and I hit the streets. I used to wander around shooting people and places, considering character, texture, composition and timing. Once my year there was up I decided to head to Los Angeles (The Angels) and pursue photography as a career.

My first camera was something that I was given when a young kid. One day I went on a school outing and thought that if I held binoculars to the camera lens I could extend the range. Needless to say the photos didn’t come out at all and my grandfather chastised me for it. So it was a long time before I picked up a camera again. A friend lent me one to use on my travels and that’s when I decided I liked and had an eye for photography, so before going to Mexico I bought a camera of my own - two in fact - Nikon FM2s. One for colour, the other for black and white. What inspired you to start photographing real people as your subjects? I believe that all people are real. I started photographing people I didn’t really know when on my travels. It was the work of photographers such as Henri Cartier-Bresson, Manuel Alvarez Bravo, Irving Penn, Garry Winogrand, Robert Frank and Diane Arbus that inspired me. What made you move to L.A? I didn’t want to go back to England, but to be close to Mexico, where I’d left my heart and felt I couldn’t make a living. I wanted to go to school for photography, and the climate, landscape, light and social environment of California appealed to me.

What did you do for work before photography? I did odd jobs on weekends and summer holidays, as a youngster. I helped the milkman do his rounds, worked in a greengrocers, an insurance company, a record shop, and as an engineer’s assistant on a construction site. Then in the US I worked in a camera shop while studying. After that I was a photographer’s assistant for a while, until eventually I didn’t do anything else but take photos for a living. When did you get your first camera and what was it?

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PHOTOS ROBERT YAGER |

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Your photography of L.A gangs to me, is almost likened to Henry Chalfant photographing an underground youth culture [graffiti writers] in NYC. Do you see any parallels and have you always been into youth culture? Chalfant, I believe, was most busy with graff in the late 70s and early 80s. My time with the gangs was predominantly in the 90s. Once they started buffing trains in New York, some writers left New York and headed to LA. I met a few Zulu Nation members, who joined in on a club with which I was involved. Delta was one of them and he spray-painted my Chevy Impala for me. That’s what I was driving around when I started my gang project. As for parallels between the two movements: the elements of rebellion, the adrenaline addiction of breaking laws and going on missions, the hitting up of names and for graff artists who are in a crew, the same type of bonding that joins members of a gang together. I’ve been interested in youth culture since I was fourteen. It’s about expression, rebellion, creativity, unity, progression and identity. More often that not, it’s tied to music and I feel that’s food for the soul. Tell us about graffiti by gang members and how it differs to ‘ny style hip hop graffiti crews’.....Were many of the L.A gang members active in graffiti doing murals and such and if so, who were the most active gangs in graffiti? New York graffiti was all about art and being credited for it by throwing up their names in such vivid manner. In a landscape of limited personal space, they struggled to be cool, original, colorful, stylish, up in as many visible places as possible that were maybe hard to reach and that would remain up for a decent amount of time. Most gang members would actively do graffiti, but theirs was, for the most part, about posting up names and crossing out rivals. It was in simple but neat lettering, usually one colour. It was about who was hanging around, which clique and gang they were from, declaring who they were and defining their territory. Written in specific lettering style, it was all about representing. But that said there were also some murals that told stories of Latino gang life and style. Most gang members don’t specialise in art like graff writers do so it was unusual to have really good gang murals but when they were ‘bad’, they stood out.

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The Playboys Gang had a reputation for good murals (as well as drive-through crack houses and roof-top snipers) and that’s what drew me to their hood in the first place. Laffey, Louie & Sinbad were the main artists at that time. Another gang that had great murals was 18th Street. A gang member named Wiro, who went on to airbrushing lowrider cars, did most of their best pieces. Did you grow-up listening to hip hop/ rap and were you exposed to much gangsta rap being around West Coast gang members? I was already grown up, or at least I was in my 20s, by the time hip-hop and rap emerged. I was living in Hollywood at that time and so I was exposed to it, especially as my crew of English friends and others close to me were into it. We started up a club named ‘Water The Bush’, that for its time became legendary. Zulu Nation joined in on it with us, with Ice-T, Africa Islam, Bronx Style Bob and Doze, to name a few. It was an intense scene and I have to give props to Ash, Jon & Micha for getting it rolling. To this day I meet rappers, such as DJ Quik, who excitedly remember the club. Aside from that, LA has had a huge rap scene. Still does. The gang members I was around tended to play classic oldies and a bit of rap. How did you come to photograph gangs and make contact with them?

PHOTOS ROBERT YAGER |

HELL YEAH MAGAZINE |

How did you come to photograph gangs and make contact with them? Gangs struck me as the most interesting, compelling, challenging and visual street culture in LA. I felt at the time that they hadn’t been well documented, nor understood by the public at large. Most people would only hear about gangs in news headlines relating to crime. On the streets and in schools they controlled and intimidated their neighbourhoods, had tremendous pride, their own rules and displayed distinct forms of expression. They were a vast and powerful youth sub-culture that was expanding and they’d been around for decades. Hanging out with these guys was exciting, but completely unpredictable of course, with random challenges and risks popping up all the time. Life or death situations could occur, almost like a war zone. And this was all happening in the city I lived in, just a few miles from the Hollywood Walk of Fame and Beverly Hills. To kick off this work I drove around in my graffiti-painted Chevy Impala, randomly looking for gang members. Just like cops, there’s never one around when you want one! Eventually I heard about a mural off Pico Boulevard, in Mid-City LA and headed over there. It was a storyboard of gang life painted on a liquor store wall. The Virgen de Guadalupe was praying for the neighbourhood; there was the figure of a man behind prison bars, barbed wire and a guard tower; a 1950’s classic American car; a rape scene; the Grim Reaper and teenagers graduating. On it the mural said “Trust No one But God”. I stood around and took some photos of it. Then two kids came out of the liquor store and saw me standing around with my camera, waiting for something. Two cholos in ironed, baggy trousers headed over to me. One of them gestured proudly with a hand sign and said “Eh! Saca-me una foto!” He was asking me to take his picture, but spoke no English. So I took a few shots and gave them a couple Polaroids. We chatted for a while and I was invited to head with them down an alleyway to another street where other members of the gang congregated. Some of the homeboys had artistic skills and an appreciation of my photos and some even became protective of me, standing up for and encouraging what I was doing. From that day on I went back to the Playboys’ neighborhood almost every week for the first ten years of this work. It was always an adventure and the trust between us grew and grew.

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How did you gain their trust and stay safe being around such violence in such dangerous neighbourhoods? I must say, aside from the odd individual, they’ve shown me great respect but I’ve always listened to my intuition and headed out if I felt I should. I think it helped that I had an unusual car, being a uniquely spray-painted Impala and that I spoke Spanish, had lived in Mexico but came from England. I wasn’t afraid of them or of just being myself and I’m a pretty laid-back guy who imposed no judgment and felt it best to ask no questions. At first I even held back from taking photos. I found that they would ask me to take their pictures while hanging out, anyway. As time went by I was able to get them to stop flashing their hand signs and regard me more as a fly on the wall. I also needed to trust them and speaking Spanish helped there. Aside from the fact that I could converse with their parents, I could also understand them when they talked together in Spanish and not get paranoid, imagining that they’d be talking about me.They soon gave me a nickname, without having to get jumped in (initiated): Camera Man, or CM for short. As time went by they realised that I wasn’t getting them into trouble at all and that I wasn’t distributing any photos without their consent. After they saw the images I’d shot of them in Newsweek, The Observer, Rap Pages, LA Weekly and Camera & Darkroom magazines they knew I was legitimate but in 1994, it was the Rampart CRASH unit, a notoriously corrupt police unit, who sealed their trust in me. I’d been taking photos at a Playboys gang party that had just started. The police burst in fully attired in riot gear. I took a couple of shots as they whacked away at anyone and then the officers turned to me. Aside from the fact that these police officers knew who I was and had even seen my LAPD issued press pass on previous occasions, I held up my credential as they approached. It was supposed to grant me passage through police lines, but one officer whacked me in the neck and a group of them jumped on me. They ripped the camera away, broke it and destroyed the film back at the police station. They even tried to press charges against me for assault on a police officer by using my flash to take the photo, blinding him. The LA Weekly ran a story about the episode and the District Attorney threw out the charges against me. I had to take the LAPD to federal court to get my press pass back and some compensation for the broken camera. I won in court but didn’t get compensation for the destroyed film that later would have been incredibly valuable, once the corruption scandal surfaced and all the major news magazines were doing features on this same police unit. Anyhow, the Playboys trusted me even more after they saw it all happen...

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Tell us about the most hardcore thing you’ve ever witnessed....? Somehow I’ve been lucky, as in I’ve never seen anyone killed in front of me. In fact, no one’s even been shot in front of me in all this time. The worst beating I saw was when two girls attacked a woman for bringing trouble to their neighbourhood. One of them had a small pair of scissors in her fist and repeatedly stabbed the victim. On another occasion in Coney Island, New York, with a gang I’d been invited to shoot, an internal dispute broke out and one of the guys stabbed his fellow gang member, who bled profusely and had to get rushed to the hospital but I have to say that one of the most disturbing things that has stuck in my mind is seeing drug-addicted, pregnant women trying to buy crack-cocaine. I should add that the gang members I was with wouldn’t sell to these women on these occasions. I must say that in all the years I’ve been doing this project I feel that I’ve been to too many funerals. Needless to say, I find them incredibly depressing, especially as I’ve known so many who’ve been killed and all have been younger than myself. The families often ask me to take photographs at the open casket memorial ceremonies. How did you not break-down or get emotional seeing all that? Unlike in a war zone, at the end of the day I could just go home. Plus, when things are a part of everyday life it becomes normal. I find that looking at the world in a photographic sense detracts from the emotional aspects. Some things have troubled me but I have to approach it from the perspective that this is the way of the world we live in. Can I capture it in an image? But when someone I like gets killed for no reason, it does hit me on an emotional level. Was your race ever an issue? Not to me, not to most of the guys, but to some it was. There’s always an individual here or there who doesn’t want to trust someone or wants to hate on a racial basis, no matter where you are. But much of the world, especially prison, is segregated in that way. Did you ever run into Ice T, Tupac, Suge Knight or The Game? As I mentioned earlier, Ice T was involved in the same club I was back in the late 80s. I also ended up shooting him (with a camera) for Playboy TV at the Playboy Mansion. Coincidentally, I had an assignment photographing Hugh Hefner on another occasion and ended up showing him some of the Playboys Gang photos much to his amusement. I’ve shot Chuck D, 8-Ball, E40 and DJ Quik but I haven’t run into the others you mentioned despite having liked to. Were you around for the LA riots? What was it really like? Just like anything really intense, you had to be there to really understand what it was like and everyone sees something different. My experience of it was the closest I’ve been to anarchy in a big city. It was seriously dangerous out there on the streets especially as a white guy alone with a camera and without any protection like a gun or a bodyguard. I’d started my gang project a few months before the riots happened. I tried to head into it as much as I could, without getting into too much trouble but I didn’t even have a press pass at that time. It was definitely tense being white, alone and with a camera. I got into one scuffle with a guy who thought I’d photographed him looting and had to lie low sometimes. Around one corner you’d see people coming in and out of a ripped open appliance store, carrying away whatever they could then around another corner you’d see a line of LAPD officers standing outside a looted supermarket, with riot helmets on and shotguns in both hands but doing nothing. I went into one supermarket that had a couple inches of water on the ground and was being picked clean without restriction. So many fires! So many stores being emptied without restriction! Even after shops had been burnt down people would still search for stuff in the ashes that they could take home. There was a frenzy of greed and destruction that destroyed much of what little commerce there was in certain neighbourhoods. There was also a curfew imposed, so we braved that to head to a curfew party.

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PHOTOS ROBERT YAGER |

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Tell us about your book ‘aka BooBoo’ and your 14 year working relationship with a female gang member. What kind of girl turns to gangs and what made you interested in documenting a female gang member over a male? I was offered to publish a small book, with sponsorship. I decided to do it on BooBoo because I felt that her story was one that should be told. I’d already compiled images of several gang members over the same time period. BooBoo was the female among them. She’s also relatively articulate and happy to have such a publication. We’re still friends and I photograph her on occasion. BooBoo was initiated into the gang when twelve years old. She was tough and felt that was where she belonged. I believe that copies can still be purchased from A&I Photo Lab. Where have you exhibited your work? I haven’t really exhibited my work very much. I’ve been waiting to publish a larger book on the gang work and I get so much published in magazines that exhibitions haven’t been a priority for me but I’ve had work in several group shows including the Pulp Fact show at The Photographers’ Gallery in London. My gang work was shown at Visa Pour L’Image in Perpignan, France, back in ’97. I had a solo show to go along with my book at A&I Photo Lab in LA. It was this show that David Lee Roth saw and decided to try me out and then take me on tour with him and Van Halen over a nine-month time period in 2007/2008. How much fun was that?? It must have been hard to stay off the booze, bitches, drugs and debauchery....? For the most part I had to sign a non-disclosure agreement but let me just say, it wasn’t the 80s. It was definitely work and debauchery wasn’t even a tease. What do you think of Photoshop and the digital age? It’s an incredible tool that changed photography as we knew it. People are able to create in post-production what was difficult or even impossible with film so peoples skill needs have changed. I like the increased workflow and the fact that FedEx don’t have the opportunity to lose my negatives. It’s easier to store, keep organised and send in digital form but it used to be a little more special to take someone’s photo before. These days everyone is shooting loads and everywhere I go there seem to be cameras. The market is becoming saturated and it’s easy for someone to rip your images and use them without you knowing, sometimes in a horrendous and out of context manner. Also, digital has opened up shooting in low light settings without the need for additional lighting. I saw a photo you took of Bush and Cheney. How the hell did you get so close to shooting them? I’m sure most of our readers would have loved to have shot them in another sense... This was after he’d been given the presidency and was putting together the cabinet in December 2000. The New York Times Magazine assigned me to be a shadow photographer of him and I was the only photographer around most of the time. I was with him for a while each day, over a three day period. I felt a vibe from him that made me concerned for the world. I sensed that he was going to look after the interests of big money at the expense of the environment and mass populace. I sensed that he was going to do what his father didn’t finish and take us to war in Iraq and that he would use that as his ticket to do whatever he wanted so being in his presence made me uneasy, like being around someone who could kill a man and joke about it, because they don’t have any consideration for the victim. Despite this I believe that I still managed to maintain my stoic professionalism.

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Ever wanted to go to war to document it?

Who would you love to photograph?

I’ve contemplated it many times but it really isn’t appealing to me. It has to be the worst situation for anyone to be in. War is horrendous and the things that photographers see, I believe, stick with them and affect them deeply. Maybe I should do it out of a sense of responsibility, to document the trials and tribulations, the humanity and the destruction of it. I might take an assignment to go if I were offered. After all, it’s important for citizens of the world at large to see images of the effects of political decisions but so far that hasn’t happened.

Smugglers, pirates, Mexican and Colombian drug lords, Burners, prisoners, models, clowns, artists, swingers, soldiers, cops, sex workers, miners, Zulu warriors, Australian Aborigines and the list could go on. Some of these are particularly dangerous and only the right situation would work, of course. As far as individuals go: Banksy, Marina Abramovic, Robert De Niro, Martin Scorsese, Al Pacino, Jack Nicholson, Woody Allan, Russell Brand, Mick Jagger, Keith Richards, Bono, Laetitia Casta, Lou Reed, Iggy Pop, David Byrne, Barak Obama, Charles Manson, Clint Eastwood, Lee Scratch Perry and the Dalai Lama.

Apart from photography, what else do you do in your spare time? Is there anything else you’d like to do with your career like film? I’ve done yoga for a long time. It keeps me strong, balanced and helps my psychic powers. I also like to go out to underground dance clubs regularly and am into Burning Man and the local Burner scene. I find that it’s an incredibly creative, productive and friendly crowd. I am interested in film but haven’t taken any steps towards creating any. After all, it’s been the power of the still image that motivates me.

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WHITE KIDS

RACE AND CULTURE IN THE INDIE HIP HOP SCENE

Hip Hop music and culture go hand in hand with the issue of race, and always have. The debates, politics and activism surrounding racial identities, especially in the USA, are a big part of what defined the genre in its conception. The past decade has seen the rise and popularity of indie labels such as Rhymesayers, Def Jux and more recently, Strange Famous and within these sorts of labels and specific facet of hip hop, many white emcees have enjoyed rising popularity and notoriety. Even fans of what could be called “indie” hip hop have grown to be predominantly white, especially here in Australia. The question, however, is not so much “why” this is happening, because as we all know, music is blind to race, religion, gender and all that. It is more so about what this style of music and the culture in which it originated (that of the African American lower classes) has done or is doing to transcend racial boundaries, and how the relevance and significance of these issues is evolving within the genre. I was able to speak to two very separate artists from North America in the pursuit of these thoughts and ideas – Eternia, from Toronto, who has just released her debut album, At Last, with producer, MoSS, and the eminent Sage Francis, probably the main flag waver of the underground hip hop movement(s) over the past decade, and also Strange Famous label owner. Both artists are ostensibly racially aware, and provided some great points and counter points to the various arguments and ideas surrounding race and hip hop. Sage Francis prefaces his statements; “I don’t think most rappers get caught up in anything that matters… Race and politics are worth discussing, and that’s an ongoing discussion we should continue to stay involved in. However, these are discussions most people with money on their mind would rather stay away from. It’s too risky to get too real when all you’re trying to do is make a profit.” It’s a statement that unfortunately rings true for many musical styles that originated within a political atmosphere as voices of dissent. Sage continues; “With the advent of the

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internet, people are becoming more and more comfortable with submitting their work and ideas into the muck of music saturation regardless of whether they’ve been through any rite of passage or not. That in itself is resulting in some bizarre and interesting twists.” Eternia weighs in on this ideas as well; “There are always people that will wake the rest of us up, and remind us why hip hop was always a revolutionary tool, a documentarian’s dream, a marginalised persons’ voice, and more and more and more. Hip Hop music is a tool to express creatively. It is as varied as the people who pick up the tool to use it. It can build, it can destroy - choose your words wisely.” “Sounds like ‘indie’ or ‘backpacker’ hip hop went the way of every other musical genre,” Sage muses on the possible reasons behind the contemporary white influx into this subculture. “However, it also seems like we are using the terms ‘indie’ and ‘backpacker’ as euphemisms, which they very well might be. Perhaps the majority of the indie scene is white because the majority of our country is white. I’m not sure exactly.” Eternia manages to expand on the ambiguity of the concept as well, emphasising the difficulty in defining or identifying the ideas behind it. “I honestly don’t view hip hop with those lens. Maybe that’s a luxury I’m afforded (not viewing hip hop with those compartments) because I am where I’m from and I look how I look. Who knows? I know that music transcends race, gender, religion, sexuality, ethnicity... That’s been truth since the beginning of time. That will be true long after I’m dead. So this whole ‘white/black’ issue, in reference to hip hop music, is just something I believe or hope will cease to be relevant after awhile. Not forgetting where hip hop comes from, of course, but just being able to view music as music, not as a race. Music is a form of creative expression. It shouldn’t be validated or refuted by the skin colour of the person making it.”

HELL YEAH MAGAZINE |

The major question behind this issue of race and indie hip hop, and perhaps the question that actually makes it an issue in the first place is that of where hip hop came from. The idea that modern artists, centreing on those who are white, need to understand and identify with hip hops roots in black culture. “I think they [white artists] should understand that,” says Sage. “What’s funny is how rappers get asked this question but not rock acts. They’re just as derivative of black culture as ‘indie rappers’ are, yet, the Rolling Stones, Eric Clapton, Guns N’ Roses and even racist-as-fuck Ted Nugent skate free from such questions, expectations or responsibility.” Eternia also speaks to this. “Hip hop is not just black but it’s important to acknowledge where hip hop began, and that is definitely rooted in black (American) culture. No knowledge of where you come from means no knowledge of who you are or where you are going. A white artist who has no knowledge or respect for the history of hip hop culture, but claims he or she is hip hop, treads very dangerous waters.” Sage continues to break down the significance of genre – highlighting further that the issues of race, and especially black-American culture are not exclusive to rap and hip hop. “When I first went to hip hop shows I was one of the only white people in attendance. That’s clearly not the case anymore. I remember going to a Bob Dylan concert and being surprised at how the crowd was all white. I feel like he’s a guy who has spoken and sang for people of all colour and cultures throughout the course of his career. Shit like that really makes you think. There’s no ignoring the fact that we are segregated as a people, economically and socially. I stay aware of that and address it as best as possible in my music.”

ignorant to assume that race is ‘no longer’ an issue in this world. Stats and people’s personal experiences prove that idea to be idealistic and just flat out wrong. In the same breath, I think that there are groups of people around the world who understand that our identity as individuals, and even as global citizens, isn’t based entirely on our skin colour either. I sit somewhere in the latter group. I know that race is still an issue. I moved from Canada to the U.S. and witnessed first hand how a country is divided and separated along race lines. It’s sad. It still exists. On the other hand, I believe that hip hop can be a tool of awareness in this regard. We don’t have to take a step 20 years back.” Sage is much more reserved in his discussion of the racial influences on his own music and the politics therein. It’s a viewpoint probably informed by not simply age but also the length of his ‘service’ in the genre. He simply leaves us with this statement – which effectively points out both the positives and negatives of the ongoing discussion of race within hip hop, “I don’t think the issues of race and culture are becoming more important in the scene. Quite the opposite in fact.” Being featured in the new Public Enemy video for a song called “Say It Like It Is”, embarking on what I believe will be my very last world tour with my long time friend and collaborator B. Dolan and having my cat nuzzled up in my arms as I respond to these questions makes SAGE FRANCIS go Hell Yeah! When a DJ drops ‘Luchini’ (Camp Lo) or ‘Daaaam’ (Alkaholiks) or ‘Ah Yeah’ (KRS One), when somebody asks me if I can rock a crowd and when I’m asked if I’d like some coffee makes ETERNIA go Hell Yeah!

Obviously Sage Francis and Eternia are two socially and politically aware artists – you don’t need to read this article to know that, their music respectively speaks for itself. It’s important however, to take into account that these views, and the views they’ve spoken about here are informed by experience, and the fact that this experience is important for all artists, especially in regards to the issues discussed here. Eternia successfully sums this up, “I think it’s

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Adelita la Soldadera

When I was asked to come up with an illustration for Hell Yeah’s Race Issue, I instantly knew I would do something related to revolutionary uprising. Some of my favourite bands like Rage Against the Machine and Public Enemy were passionate advocates for causes they believed in, and I’ve always found it so inspiring that throughout the world there are people willing to stand up in face of extreme injustice to fearlessly fight for their vision, often risking imprisonment or death. For the things we take for granted today, many people have paid the ultimate price. While there are so many important figures in history such as Ghandi, Malcolm X and Martin Luther King, I chose to base my illustration about one of the unsung revolutionary figures in history and pay homage to “La Adelita,” the female soldier of the Mexican Revolution. But it was after the Revolution of 1910 that the women really came to life. While the Mexican citizens were rallying against the tyranny of Díaz, the women were able to step outside their traditional roles and become political activists, intellectuals and even soldiers on the battlefield. The word soldadera was used to describe the soldier-women who could load and shoot guns and fight in battles. These women would also spy on the enemy and smuggle arms from the United States. But you have to remember, this was the early 1900s! If you see photos taken from these times it’s amazing to see that these women who are wearing the traditional high-collared dress are also draped in bullets and holding rifles and swords. The women would not only fight on the frontlines, but they also foraged for food, cooked meals, nursed the wounded and looked after the children, with many soldaderas going into battle with their children on their backs. They played an important role in the Revolution, with some women even making it to the ranks as officers. Many of the women soldiers invented fictitious names for themselves, such as La Coronela and La Chata, to hide their identity.

THE RACE ISSUE |

ART |

La Adelita is the most famous name of all the soldaderas, but it unclear if she even existed and if the legendary stories about her were of one person or of many. This pistol-packing senorita has come to represent the courage and rebellion of the soldaderas. In my illustration, I wanted to show her revolutionary spirit and ‘whatever it takes’ attitude. I did take just a teensy bit of artistic license with her style of dress - the real soldadera wore modest neck to floor length dresses, with only the face and hands visible. The Mexican Revolution was a crazy time in history where many women stepped beyond the traditional roles of wife and mother and became political activists, soldiers and role models. They were exposed to hostility, jail terms and death threats, but their struggle for a better life meant that they broke through the stereotypes shaped by countless generations to expose the power of the human spirit. I think if the soldaderas lived by any motto, it would be “let’s take the power back!

WORDS Anne cobai |

design Anne cobai |

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AMSTERDAM SUBWAY INSIDE ART

Just like many of the bigger cities of the world, the city of Amsterdam, Netherlands, has a subway system. Amsterdam is not a very big city - the system has three lines with the tunnel for the fourth being dug at the time of writing this article. The first lines, subway 53 and 54, were built in the early 70s. Since its launch in 1977, the trains on these lines were the Silverbirds, silver cars with the hip color scheme for the 70’s - orange doors and brown/off white interiors. During the early 90s the system got heavily hit with graffiti on the outsides and due to environmental laws, it was impossible to buff the trains. Colourful, they ran between Central Station and the Southeast/ Bijlmer area. In the 90s, the third line running from Amsterdam West to the Southeast, was established. On this line the GVB started to run new trains, much less “subway-like” compared to the Silverbirds. GVB expected to replace the Silverbirds after a 30 year term with new types of trains. After decades of heavy use, graffiti abuse and regular vandalism, the Silverbirds looked old and tired. Graffiti writers started to use aggressive inks on the insides, leaving crazy buff marks after cleaning. GVB tried a bunch of pilot experiments to get rid of this problem by pimpin’ the insides, from plain coloured foils on the interior walls to painting the whole insides over and over again in white with few results people love to peel off foil and the tags kept on appearing too, leaving the interior in worse shape than ever before.

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WORDS MICK LA ROCK |

Due to recession, the replacement of the Silverbirds had to be postponed for a couple of years. A solution to the problem had to be found but for now the Silverbirds had to run at least until 2012. It needed people get creative and the GVB did too. With all new techniques and material of the late 00s, GVB could cover the interiors with an almost graffiti proof printed foil that was hard to peel off. Then GVB made an extraordinary decision - artists were invited to send in their designs for an entire interior makeover, not for just a handful of trains, but for the entire fleet of Silverbirds. In 2009, the first half of the all trains got their insides pimped with art. In 2010, the next half started running the line with their new look. Now, all 42 trains run with blue doors, blue seats, grey floors and 180º degree art work. Each set of trains/married couple has artwork by one artist. In total the work of 40 artists was selected and executed. The result is an out of the ordinary art project in public transportation that offers the people who ride the system a visual surprise every time they take the train.

PHOTOS MICK LA ROCK |

HELL YEAH MAGAZINE |

THE RACE ISSUE |

ART |

WORDS MICK LA ROCK |

PHOTOS MICK LA ROCK |

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FUTURE RELIC

THE ART OF KENYONB

KENYONB is a graphic artist living in the suburbs of Philadelphia. He works as a graphic designer, illustrator, and is also the co-founder/ owner of streetwear label Future Relic. Kenyon’s work can best be described as graphic satire. From social and political commentary to pop-culture subvertising, each piece is laced with a polluted sense of humour and sarcastic wit bordering on offensive. Kenyon adopted potty humor and sarcasm rather naturally and learned how to attract attention at an early age. A natural born wise ass, he practiced using filthy words in Mad Libs and scrawling lewd drawings onto bathroom walls. Prohibited from watching R rated films and listening to music with Parental Advisory stickers, Kenyon naturally indulged in both. Graphic horror movies and raunchy comedies helped nurture a perverse sense of humour, while subversive punk rock and explicit gangsta rap encouraged an adolescent distaste for authority.

Do you think art can be used as a vehicle for political activism/ social change?

Your work has been described as graphic satire.... What inspires this?

Winston Smith made a pretty big impact on me in high school. His collage work paired with the Dead Kennedy’s music just really helped me fine tune my attitude. Everything else I got into was icing on the cake.

I think my work is the product of a lot of influences, but mostly it reflects my sense of humour. I am sarcastic and enjoy making fun of people, imitations… so when it comes time to make work, parody and satire just comes natural. I don’t think I have any limitations as to subject matter so anything and everything is game.

Of course it can. Propaganda has been around since forever ago. Your imagery draws on popular culture references allot... Most of my work references pop-culture, for sure. A lot of my references are getting dated though. I’m still living in the 90’s, back when I used to watch more TV, listened to more music, read more magazines and keep up with all that bullshit. Nowadays I barely watch TV and don’t make time to keep up with who has their 15 minutes of fame. It seems like once I finish a drawing, nobody cares about it anymore. Like, do people still hate Paris Hilton? I don’t know… do they? Yes they do... So who do you care about?

I am inspired by current events, photographs of people and music. Listening to music helps motivate me to draw and helps me brainstorm. I may be working on one idea, and then I might hear part of a lyric that makes me think of something else, and it all comes together nicely.

Have you traveled outside the USA much? I don’t like to travel. In fact, I hate traveling. I hate long car rides, I hate plane rides, airports and crowds of anxious people. I am perfectly content with staying within an hour of my house. I think this is mostly because I don’t like being far away from a toilet. I am constantly worried I might shit my pants.

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My fave music is a lot of stuff from the 80’s and 90’s, stuff I listened to while growing up. I haven’t had much time to keep up with newer stuff as there seems to be so much shit that makes it hard to find the good stuff, so I don’t bother trying anymore. Unless somebody turns me on to something, I haven’t gone looking for new music since Mad Lib’s Quasimoto joints and the early Def Jux releases. And I really miss the turnablism era when skratch music blew up in the late 90’,s with Invisbl Skratch Piklz, Allies, Beat Junkies and Scratch Perverts.

PHOTOS KENYONB |

HELL YEAH MAGAZINE |

Conservatives may be offended by some of your work. How do you know where to draw the line? I try to walk the line between funny and offensive and try to keep it ambiguous so it depends on the viewer’s perspective. The same piece can be liked by both liberals and conservatives for different reasons because it depends on who they interpret it. And then other pieces may be so ridiculously offensive they can only laugh it off. What’s your views on censorship? I think censorship has its place in society and I definitely think we have seen standards change over time with regards to TV and advertising here in the states but we still seem to be more conservative and closed minded than other countries. I think it is good to keep a lot of stuff out of sight and sound from your kids, but once they get to a certain age, they need to be educated about it instead of keeping it a secret. The more we censor, the more taboo it becomes, and the more interesting and desirable it becomes. Do you collect shit? Comic books/ records/t-shirts/toys etc? I have a modest collection of records, magazines, and cell phones. Sometimes I find myself collecting stuff and then don’t remember why. I have a decent collection of cardboard and some wood. One time I was collecting newspapers. I never read them, just kept collecting them. I think I planned on reading them, but I liked having them more than reading them. I think when I get older, I might end up on that TV show ‘Hoarders’. I can see how that happens to people... Oh, and I like pens. Tell us something that made you laugh this week? I was text messaging a friend and used emoticons and numbers to make it look like a gimp was licking a butthole. I think I was crying I was laughing so hard. So what’s next for KENYONB? All the drawings and illustrations I do are mostly for my own enjoyment. It’s not how I make my living and support my family. I have a day job where I spend most (all) of my time. When I’m not working or drawing, I try to enjoy life with my wife and kids but it usually ends in tears and bloodshed. And I still scratch records. Oh, and once I saw a blimp. Make sure you add this to the article!!!!!!!!! Hoagies, Cheesesteaks and Scrapple make KENYONB go Hell Yeah!

Stolen Girlfriends Club dress Glint by Mich bracelet Karen Walker cotton rope. Stolen Girlfriends Club dress House of Harlow bracelets

Stolen Girlfriends Club t-shirt Chronicles of Never Sunglasses x 2 Stolen Girlfriends Club rings and necklace Touche De Paris bag x 2 Touche De Paris scarf Stolen Girlfriends Club jeans

Bec and Bridge leather vest Dr Denim jeans Karen Walker sunglasses

Stolen Girlfriends Club dress Glint by Mich bracelet Karen Walker cotton rope Stolen Girlfriends Club dress House of Harlow bracelets Touche De Paris handbag

Jeremy Scott Adidas Wing Hoody Tisa Vision “hood” four finger ring Regina Garade Tank LA Gear La Lights Sneakers Tilkah black chain plait necklace

Ray Ban Wayfarer sunglasses Tikah Sin City necklace Adidas Mens multi colour windbreaker Tikah Smoke and Mirrors bangle Nike Multi High Top womens

gold leaf earring, one off - lydiajewels.com gold chain, custom - lydiajewels.com Black Adidas womens windbreaker Vintage black sequin dress

giantvintage.com sunglasses

Sassy by Deborah Castillo jacket Gold Kimberley necklace - lydiajewels.com Black Crystal Laura necklace Coco Knocker Earrings - dirtyrich.com.au Couture jewel chain shoulder pads Lillian Khallouf Pete Vs Toby Just Be It singlet Nike High Top women Leopard print

Rachel Gilbert RIver Glove Joy Rich Chemical Denim Jacket - dirtyrich.com.au Pete Vs Toby Dreaming Tshirt Tulle Skirt white - Style Library Couture Shoulder Pads chain Lillian Khallouf Dior Crystal Diamond and Sapphire watch

Danika earrings and ring New York Couture kitty bikini top Copperwheat leggings T ᾎ y ˩ ● ᴚ ‘D New York sheer oversized romper Copperwheat tank and pants

T ᾎ y ˩ ● ᴚ ‘D New York O - Neck 3 way top Danika necklace

New York Couture Japan Chic glasses Danika neon lace up cuff Butch Diva Copper laser cut tank onesie T ᾎ y ˩ ● ᴚ ‘D New York unparalleled blazer

New York Couture Japan chic glasses Butch Diva copper bodysuit T ᾎ y ˩ ● ᴚ ‘D New York unparalleled blazer

Danika earrings and ring New York Couture kitty bikini top Copperwheat leggings T ᾎ y ˩ ● ᴚ ‘D New York sheer oversized romper Irregular Choice Flashing Lights boots

“ KID PARIS.....ROCKIN’ IT SINCE 1984 ” Apart from Invisible Ink, Sleuth Activity Books, Magic Sand, Shrinky Dinks, UFO Chips, Magic Gum, my Mini Bike and Rollerskates, there aren’t many more material things I can say I truly miss from my childhood...except for my BMX and BMX Iron On T-Shirt Prints. Being a child in the 80s was so much fun. It’s no wonder why so many of us who lived it still hang on to the memories so tight. A childhood memory of when I received a Hotfoot BMX as a Christmas present when I was nine-years-old still fills my heart. Oh how I loved that bike! It was black framed with yellow tuffs, chrome pedals and had a number 3 racing plate on it. It’s what gave me my first taste of freedom, travelling blocks away from home to destinations where no nine-yearold girl had been before (or at least that’s what I liked to think!). 

THE RACE ISSUE |

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WORDS SPICE |

PHOTOS KID PARIS |

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BMX enthusiast, Paris, is an old school pioneer of Melbourne’s graffiti scene. Paris was, and always will be, held in high regard. Here I get down with Paris to talk about his passions and his obsession with building BMXs and selling them? I’ve had the name Paris since around 1986-1987 after seeing a colour of paint from the Marabu Buntlack range called 058 Paris Blue. I felt comfortable with the name and especially the letter combination. Later in 2000, I wanted to add a super old school word to my name and “Kid” was the only good option from others. You also do graphic design. Tell us a bit about that? I always wanted to work in art and design as a kid through school, so I started work in 1997 with a small team of six people at Whirlwind Design, now known as Whirlwind Print. I eventually finished up in 2009 as the company focus shifted to print, so currently I choose to freelance, and prefer to take on work that I see as a benefit to me with my skills. Working with other artists and in general, self progression, keeps me going!

Vintage versus modern day? Without vintage there would be no modern day! I strongly prefer vintage if it’s in perfect condition and not fatigued, but modern day if the quality is as good as vintage or better! You build and sell your bikes. On average, how much does one go for? All Stylin BMX bikes cost under $600 as they’re hand built by me using original early 80’s restored frame sets and handle bars. All parts are either NOS (new old stock) or period correct reproduction parts that I’ve sourced through being a vintage BMX collector for my personal builds. Well known branded NOS parts are rare and cost a fortune. A vintage high end BMX build would cost you in excess of $3000 for a complete bike so my aim for these bikes is that you get old school bikes that look like a high end build but cost you a quarter of the price! On a previous visit to your hood, I noticed you had a fair few bikes and parts collected. How many bikes would you work on at once, or are you a one at a time man?

How and when did you become the modern day BMX bandit? In 2006 my dad had a stroke which lead to his needing care. I needed a new hobby to take up whilst looking after Dad at home, so I decided to restore my old Madison BMX. Then, realising that there was a global interest in old school BMX, I caught the bug. Now the rest is history!

I normally have about 10 bikes of my personal collection on the go as finding the parts is a hunt and patience is the key in finding the correct parts at a realistic price! I normally build Stylin BMX bikes one at a time as I receive an official order. You often travel interstate for BMX meet ups. What goes on there? There’s an annual Vintage BMX show in Brisbane that last time pulled in approximately 220 bikes on the day. Melbourne has their annual show in November. You find a huge selection of old school BMX bikes on display from full original survivor to fully restored show bikes! It’s a similar vibe to car shows etc.

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FEATUre |

WORDS spice |

PHOTOS KID PARIS |

HELL YEAH MAGAZINE |

Would you say there’s a fashion to rock with the riders style? I know iron-on BMX transfer prints were the shit and I swear I had ‘em all (the glitter pressed print were my favourite) but where the hell can I get one today? I miss them so much and have searched high and low looking to sport one again. Any readers out there who might know, get at me please! I remember them and agree they were so cool! We were able to select a design and have it heat pressed onto a T-shirt at a stall at our annual Moomba festival back in the 80s. I haven’t found anyone who has that set up these days but I’m sure they’ll surface again! A few people rock the old race jerseys and pants but most of the clothing is vintage and got thrashed so when you do find anything that survived or fit (mainly teenage sizes) you buy them from old school BMX forums, mainly from the USA.

THAT MAKE Y NGS OU HI T GO 3

H ELL Y E A H!

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Planet Rock (Afrika Bambaataa) - (C) DAW 2010

“ My goal was to create a unified body of work that visually and conceptually speaks about the struggles against oppression and injustice that we the people have endured throughout history. ” When we discovered the vibrant, collage works of New York based artist Daniel Amazu Wasser paying homage to both the legends of Hip Hop who were the cultural heroes of his youth, as well as to his ancestral and artistic forebearers in the traditional African arts we just had to get him in this issue! His art documents a journey of survival, uprising and ongoing struggle all while featuring many of Hell Yeah Magazine’s absolute favourite Hip Hop artists. 

THE RACE ISSUE |

FEATURE |

WORDS TASH |

PHOTOS daniel amazu |

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I was born in September of 1971, into an America alive with the spirit of rebellion, as the struggle for social and political change raged on. The fight for ‘progress’ was a fight that I found roaring all around me as a child; it was a fight that I would inherit and embrace as my own. This was also an era ablaze with the spirit of creativity, innovation, and revolution in American culture… it was a rebellion that I would also inherit and embrace as my own. It was a crucial time that raised me with a keen awareness of the world around me; it raised me with a deep appreciation for the endurance of the human spirit, and with a genuine understanding of positive change at the hands of the People rather than in the rusty clutches of broke-down institutions. I had internalised the fire of the time that I was coming up in, and it’s that fire that still blazes inside of me and has a profound influence on my journey as an artist and as a man who’s devoted to working for positive change in our world. Growing up during the 1970s and 1980s, I was also blessed to experience the birth and rise of Hip Hop music and culture. It was truly a revolutionary time for us kid, powered by innovation and creative fury. Hip Hop empowered us with a new identity and became a new way of being for kids no longer willing to try to get down with the status quo. Hip Hop was the new voice of self expression and protest. My experience of coming up during this era has always been, and continues to be, an infinite resource of inspiration for me as an artist and as a man, ceaselessly shaping the aesthetics of my creative vision and voice. Of Multiethnic heritage, it was the strong love and support of my family that enabled me to gain a profound understanding of “race” and racism at an early age. Being ‘mixed’, essentially existing as both black and white in a country plagued with racial bias, has given me a true understanding of the hysterical mythology of “race” that America has bought into for far too long. It’s given me deep insight about the facets of racism that have been practiced against people of colour throughout history. Thus, as an artist, race, racism, and our struggle to overcome, are ever present themes in my work. Racism STILL needs to be talked about, no matter how much progress we have made thus far. We need to keep fighting the good fight until ALL the chains are gone!

The Art Of War (WuTang Clan) - (C) DAW 2010 Rapture - (C) DAW 2010

I was raised in South Norwalk, Conneticut, a small city located about an hour’s train ride away from NYC. Growing up so close to this cultural mecca, as a child I found myself among the masses of young brothers and sisters emerged in the cultural aura radiating from the big city. It was this phenomenon that introduced me to the original elements of Hip Hop culture at an early age, becoming a lifelong inspiration for me as an artist. When Hip Hop culture rose up in NYC, with a quickness, the culture also began to grow in South Norwalk. As the culture took shape, it just spread like wildfire, giving us something that our generation was craving. Before you knew it, we had Grand Master Flash rockin’ shows at the Carver Center in South Norwalk, young LL Cool J at the Ralphola Taylor Center in Bridgeport, and the Cold Crush Brothers at the Odessy Roller Rink in Waterbury. Before you knew it, Conneticut started to evolve with its own home grown Hip Hop scene. The whole B-Boy culture seemed unstoppable. It just kept gaining momentum and in essence becoming the youth movement of OUR time. We had Hip Hop and punk rock - these were the movements that appealed to us kids who wanted to turn the tables upside down on the status quo. Hip Hop gave us a voice, it gave us purpose. It encouraged us to be creative, to master our own destinies and to master our crafts, whether it was rhyming, djing, breakin’, or graff/painting. This was a time that was a real awakening for me! I currently live in New Haven, still not far from NYC, where I continue to live, work, and thrive.

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SOLID - (C) DAW 2010

Did you grow up listening to strictly hip hop? No, I grew up listening to all different kinds of music. We’re talking about the early 1970s and 1980s. When I was really young I was listening to Soul, Funk, and Hard Rock -Led Zeppelin, Rush, and so on. A little later it was Disco. But, It was Hip Hop and Punk Rock/Hardcore that I loved the most when I was a kid growing up. Grand Master Flash, Sugar Hill Gang, Run Dmc … Bad Brains, Black Flag, Minor Threat. It was all rebel music and I made a real deep connection with it as kid growing up during that time. The first record I ever bought was Led Zeppelin’s, Led Zeppelin . I found it at a tag sale. The vinyl was all scratched up with a whole mess of skips on it, but I played it again and again non-stop…I couldn’t get enough of it! The Good Times The Bad Times, Communication Breakdown, How Many More Times… that album had so much soul power! Little did I know at the time how deeply that album connected with my African American roots and the rock steady blues traditions of my people. Your Planet Rock collage series combines your love of classic Hip Hop with activism, feminism, and political satire. How did this series come about? The Planet Rock series was born of my love for old skool Hip Hop music and culture, but even more it was born of my desire to create a body of work that would speak to the people about our glorious legacy as people of colour here in America, and bring messages to the people that empower us and uplift us from our struggles, past and present. The Planet Rock series features collage work celebrating cultural heroes and renegades who have inspired me throughout my life time - in particular, cultural crusaders who were positive influences for me during my childhood and my coming of age. My goal was to create a unified body of work that visually and conceptually speaks about the struggles against oppression and injustice that we the people have endured throughout history. Even more, I wanted to create work infused with the ability to empower us and raise us above the challenges that we face today personally and as a people; pieces that celebrate our victories and our heroes in our ongoing fight for a better tomorrow. I wanted the work to capture the glorious expressivity of Black popular culture and present visual narratives that honour some of the righteous crusaders who have been positive influences for me and for our people as a whole. I wanted the work to depict and preserve the triumphs of the often unsung icons of Black culture - people who are real life superheroes in our struggle for positive change. All in all, the series was born of the necessity to finally have the truth be told about our people and our righteous legacy in America. The overall Planet Rock endeavour is thematically and visually layered with elements of classic Hip Hop culture, celebrating the rich cultural iconography of this era, and honouring the rebellious essence of legendary Hip Hop music and culture. It celebrates the glorious creativity, innovation, and the sheer power that early Hip Hop embodied. The series acknowledges pioneers of this era who were real inspirations for me and for the masses, unsung heroes who brought something unique and powerful to the world, changing the world for the better in their own dynamic way. In celebrating this legendary era, we are able to celebrate ourselves as a people. In turn, this empowers us, It encourages us to keep our heads raised high as we continue to face our present day struggles head on. The Planet Rock series is currently on exhibit at AS IF Gallery in NYC. The work is available for sale and can be purchased directly through the gallery. You can go to asifgallery.com for more details and contact info.

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PHOTOS daniel amazu |

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What has the response been from the Hip Hop icons featured in the series? The response has been great! There have been a lot of old skool Hip Hop legends who have really been digging the work and are really pleased with the fact that the series is keeping the spirit of old skool – true skool Hip Hop alive. They’re happy to see their legacy passed on to the next generation. Fab 5 Freddy came to the Planet Rock opening and was very pleased with the series; he spent a great deal of time admiring the collages and reminiscing about the good old days while he viewed the work. Just recently I also got some righteous feedback from Jean Grae, who’s featured in one of the collages; the piece gave her some real laughs and she seemed to really dig the work. Overall, the response has been fantastic! I feel so blessed to have so many people truly feeling my work. Are you affiliated with the Zulu Nation? No. The Planet Rock title for the series came from my love for Afrika Bambaataa’s music and legacy and pays homage to the great influence that Bam has been for me and countless others. Planet Rock really encapsulates the glory of the whole old skool Hip Hop movement and culture, so that’s where the title came from. Who/what inspired you to be an artist and an art teacher? I had a really amazing art teacher back when I was in high school who was a real inspiration for me. He was a huge influence in my decision to pursue art and to become an art teacher. He was a really positive and energetic teacher and he had a natural way of encouraging his students to create from their hearts and their own personal life experiences. He played a vital role in inspiring me to embrace art as a powerful means of creative expression and he showed me first hand the positive influence that a teacher can be for their students. He was a great inspiration who pointed me in the direction of teaching. Did you dabble in Graffiti? Yeah, a little bit when I was a kid. I always admired the righteous pieces that my homie Sweep used to create around the way when I was kid. He was king of the city back then. He was a real inspiration for me at the time and I always admired the amazing graff pieces I’d see in on the trains and subways in NYC. But, actually doing it? That was never really my thing. Do you think Hip Hop can still in this day and age be used as a vehicle for social change? Yes, without a doubt! Hip Hop has been and always will be an expressive voice of the people that has the inherent potential for elevating the people above our struggles, and for provoking positive change for the masses but, this hyper-exploitive “rap” nowadays has the masses confused and all twisted up in this pseudo hip hop bling bling mentality mess, with so called hip hop being slung around like crack by money hungry fools, poisoning the minds and corrupting the hearts of the people all for profit. Nowadays, folks are just hooked on this exploitive, straight up garbage but at the same time there are also many, many true skool MCs and DJs who continue keeping true Hip Hop alive for the people, and keep the fire burning for us. Everything goes in cycles. True Hip Hop will rise again and the voice for positive social change will again prevail!

Fela - Rebel Renegade Prezident - (C) DAW 2010 THE RACE ISSUE |

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PHOTOS daniel amazu |

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Rise Up! - (C) DAW 2010

J-Dilla Always Remembered Never Forgotten - (C) DAW 2010 hope that he offered America filled us with a new sense of hope within our own personal lives. Beautiful little brown skinned boys and girls spoke up saying ‘if he can do it, then I can do it’. He’s a true icon of hope and positive change. In my opinion, that can never be taken away from him. Nowadays, there are many people here in America who curse Obama and try to shut down all the good that he is trying to do for our country. It’s the backlash! It’s the evil doers and ignorant doubters trying to shut down positive change in order to maintain the ill “New World Order” that the Bush Klan worked so hard to establish. People always lashout trying to bring down heroes who are trying to bring about real positive change, and that’s what I see happening with Obama. I still support the brother, I still stand by his vision for leading this nation to a brighter future, and I still respect his dedication to the people of this country. NOW is the time…it’s OUR time now…and I still see Obama as the man to help rally the people for a better tomorrow. What do you know about Australia and our Indigenous people? I don’t know nearly enough about our Indigenous Australian brothers and sisters. What I do know is that they are a beautiful people who, like many of us people of colour all across the globe, have for far too long struggled against oppression, exploitation, and displacement at the hands of Anglo people who’s only concern has ever been the benefit of Anglo people. I wholly embrace the Indigenous Austrailian people as brothers and sisters in our common fight for justice and equality. What projects are you currently working on? I’ve just begun a new body of work, a new series of collages that continue to thematically and visually celebrate the legacy of Hip Hop culture, honour our African roots and African aesthetic traditions, and recall our glorious history of fighting the good fight for positive change. It’s picking up where my Planet Rock series left off, but taking it to a higher level! I see you’ve been to the Motherland in recent years. Tell us about your trip to Africa. How did it inspire you?

Every one seems to be bringing out their own streetwear/tshirt labels. Will we be able to get a Daniel Amazu Wasser graphic on a tee anytime soon?

My journey to Mother Africa was truly amazing beyond words! It was a life changing experience for me! It was so inspiring to make the journey “home” and to finally set my feet on Mama Africa’s soft earth, to breathe in her sweet air. To be welcomed home by my people like a long lost brother, with open arms, warm smiles and much dap. I’ve made two trips to South Africa, my first trip was spent mainly in the bush, and during my second trip I spent much of my time exploring the urban landscape of Johannesburg and Soweto. As an artist, I found so much inspiration during my travels there. It was incredible to just sit under the African sun (or under the cover of the shade) and to create; to be filled with Mama Africa’s radiating creative energy and to feel what my ancestors have felt since the dawn of time, as they created the beautiful relics of our the past. What resulted for me was the creation of a series of mixed-media Afro-Hip Hop masks, using magazines and found objects that I collected there. In fact, this was the precursor to my Planet Rock collage series. This was when it all really began for me. So, I can honestly say that the Planet Rock work was conceived under the radiance of many African sunrises and sunsets.

There has definitely been some interest and I have been exploring various ideas with some people about making Planet Rock tees, prints, books, etc. but we will have to wait and see what happens. First and foremost, I’m an artist and THAT comes first for me! Staying true to my vision and fulfilling the mission that I pursue through my work…THAT comes first! If it helps take it to the next level, and if I can work with the right people who share my vision, then I would definitely consider doing tees and such. If it’s going to raise consciousness and honour the legacy of true Hip Hop culture. If it’s going to help elevate the people and empower our beautiful children, then I’m all for it!

Leading up to President Obama’s election you did some art in support of him and his cause. Do you think he’s doing a good job? Tell us how much impact he’s had on African Americans… Let me first say, I am not one for talking politics. I prefer for my work to do all the talking about my social-political views but I have an enormous amount of respect for President Obama and the positive influence that he’s had on our people. I cannot emphasise enough what an important figure President Obama has been for African Americans and for America as a whole! When Obama won the election, we the people witnessed something that many of us thought we would never see - a Black President of the United States of America. We cheered and we wept tears of joy. His victory was OUR victory. Obama’s tireless struggle to win the election and to bring positive change to our country mirrored our tireless struggle to get over. The messages of

THE RACE ISSUE |

FEATURE |

WORDS TASH |

PHOTOS daniel amazu |

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“ We are all students of life and we all have something to share, so open the mind and listen up. ” The Universal Zulu Nation has expanded since its early beginnings in the Bronx and now has chapters spawning the planet teaching, learning, and most importantly, sharing each other’s Hip Hop culture to one another around the globe. Here in Australia, its presence is building so I got down with leader KING EXCEL of the ZULU 61 AUSTRALASIA REPUBLIC CHAPTER. 

THE RACE ISSUE |

FEATURE |

WORDS SPICE |

PHOTOS EXCEL |

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EXCEL began his journey in Hip Hop in the early 80s, and like many old schoolers was involved in most of the elements but made his name as a Dj stamping his production, skills and knowledge on much of Australia’s Hip Hop music history. It wasn’t until his travels to New York in 1992 for the New Music Seminar where he first had an encounter with Afrika Bambaataa who proceeded to show him the Zulu Nation Application which he in turn filled out. But who is Bambaataa you ask? Blasphemy if you say you’re into Hip Hop and don’t know...but for everyone else, Bambaataa is a pioneer who rose from NYC’s ruthless gangs, the Amen Ra of Hip Hop Culture, the founder of the Universal Zulu Nation, the Master of the records who gave birth to electro funk! He and KOOL HERC were among the first to use Hip Hop as a tool in empowering our youth with knowledge and a positive outlook. It’s this outlook that all us Zulu Members share, and Afrika Bambaataa’s great vision of TRUE SCHOOL Hip Hop culture continue through the ages. Our chapter, ZULU 61, consists of many pioneers (not Lie-oneers). that were there in Hip Hop’s beginnings, and continue right up to today in making tomorrow’s history. It’s about the positive of what we can do in our culture, for our culture. Peace, Love, Unity & Having Fun! Some of the things that stood out to me in the Green book (a manuscript given to Zulu members) are the traits of ones character to be Zulu. Respect for self and that of others, we as warriors and thinkers, passionate in maintaining our culture’s foundations, and the belief in a universal energy. That’s when I knew Zulu was for me and I was for Zulu...but what would be the fine line between someone who thinks they represent that, as to one who just is? Peace, I feel right that each individual would know in them self if they are for Zulu or not. Being Zulu is to represent and express your passion and devotion to your/our culture, Hip Hop, and most importantly our day to day lives with an outward thinking and momentum, to uplifting the culture and ourselves as humans on mother Earth, thinking of the greater culture and the positive way of how each one lives their life through this culture, being selfless and not selfish, a willingness to each one teach one... We are all students of life and we all have something to share, so open the mind and listen up. What of that would you say being humble plays a part, if at all? I feel that although there may be many who are willing to represent Zulu, there would also be many who are more inclined to represent at the benefit of themselves and not of the culture. In other words- attaching the term ZULU only for status? Universal Zulu Nation and its members do not judge each other on how many years they been down and who knows what etc. We are all students of life and we gave the term - no old school, no new school, only “TRUESCHOOL”, in order to show that it’s not just about where you been but more so where you are at and what you are going to do next in order to build on that. We all have histories, some more than others, but like any book that is written, each journey holds a beginning and each one of us began somewhere, Universal Zulu Nation is like a library if you like to reference it that way, a huge library containing all these books from around the world sharing with each and all of us a story, a right knowledge from that part of the culture. We all bring some knowledge to this library. We know that the process with all that is involved in joining Universal Zulu Nation, and maintaining right knowledge that can be backed by facts. It’s’s important that we share the true history/herstory/ourstory in order to make sure tomorrow’s youth don’t get the message twisted like all these corporations and media are doing on a daily basis - the clouds of deception shall we say. Generally speaking though, I’m sure there are those out there that would see the History of Universal Zulu Nation and its members as a way to get status, but I would be as bold as to say the application process put in place is there for one of these many reasons to sift through all those politics.

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FEATURE |

WORDS SPICE |

And as tricky as this may be, if you had to pick one trait that swayed your decision when choosing a member, what would that be? Good question. I would have to say loyalty and trust. Our Zulu Family is what it is - a family that is there for each other, Universal Zulu Nation’s family was formed on November 12th 1973, one year to date before Hip Hop got its name and we are still here to this day, 37 years later. This is possible because of loyalty, love, devotion, and most importantly, trust. In the Myths and Misconceptions of the UZN, it states that under the value of an open mind, Zulu does not discriminate against colour, age, race, culture or gender. Does this also include sexuality? Straight up, Universal Zulu Nation does not discriminate. Although the Zulu Nation is a presence deeply embedded within Hip Hop culture, I feel it’s still a case of where everyone knows the name but not the personality. What reasoning can you give as to why this might be? Universal Zulu Nation has always been associated with Hip Hop Culture through media and music from the early days with all the Elements. For example, movies like Beat Street would possibly never have been made without the help of the Universal Zulu Nation. I strongly feel that in more recent years Zulu has become more well known thanks to the B Boy/B Girl Elements and of course, the world wide (Spiders) web has bridged the gap, making the Planet Rock a much smaller place. Through these mediums it only touches the surface of what Universal Zulu Nation is all about. Sure we are the First Founding Family of Hip Hop, however it goes much deeper than that. All I can say is do your research and right knowledge - seek the truths. What are the future goals of the UZN globally? Universal Zulu Nation Globally has many things ongoing and going into production, The Universal Zulu Nation Multicultural Centre of the Universe is a project that many are trying to make happen across the globe. This centre will serve as a safe haven for community youth as well as elders. This centre will provide neighbourhood youth a place to learn life skills and educational studies, and above all be safe. In this time of after school programs being cut from budgets in schools, our youth are left with nothing to do and nowhere to go. The centre will have gym and self defense classes, study classes, a recording studio and even a daycare run by professionals. These are just some of the long term goals that Universal Zulu Nation is focused on in these times in our communities. Our own chapter here in Australia, the ZULU 61, has many projects planned as well within our communities. As we continue to build our foundations, our community will continue to benefit. Any last words? Peace Malikah SPICE of the Universal Zulu Nation for making this interview possible, Z’s UP Sister! To my entire ZULU 61 Family, my Global Zulu Family Much Empowerment, Right knowledge, Overstanding. TRUE SCHOOL.

PHOTOS EXCEL |

HELL YEAH MAGAZINE |

3: Zulu is only a Hip Hop thing.

MYTHS AND MISCONCEPTIONS OF THE UNIVERSAL ZULU NATION 1: Zulu nation is a gang. No! UZN was started in 1973 by Afrika Bambaataa who was a gang leader but after realising that it would be more beneficial to the community if gangs unified to better their environment, Zulu was formed. 2: Zulu is a religion/cult. No! We gather positive information from all sources whether religious or historical. We deal with truth and fact. A religion suggests a belief structure. We do not have a belief structure. All walks of life are a part of Zulu nation. All religions are a part of Zulu Nation. If it’s true to you and it’s positive, then no problem.

THE RACE ISSUE |

FEATURE |

Not completely true. We use Hip Hop as a means to get across the positive message of ‘Knowledge, Wisdom, Overstanding, Freedom, Justice, Equality, Peace, Love, Unity and Having Fun’ but UZN is more about bettering oneself and overstanding the people and environment around oneself. When we say ‘overstanding’ as opposed to ‘understanding’ it’s a matter of authority. It takes heart to understand, but in order to innovate and redesign you must overstand thus the emergence of the word to help portray an ethic of entrepreneurialism, self sufficiency, and sustainability. 4: Zulu is a “black” thing. No! As long as you have an open mind and are really ready to better ones’ self, UNZ is for people of any colour, age, culture and gender. We have to understand or overstand each other a lot more in order to break down the stereotypes. Look at the name of this organisation - The key word is UNIVERSAL. Why would we want to limit peace and unity to just one race, or for that matter humanity? 5: I have to do something Hip Hop(Break, Dj, Rap or Graff) in order to be Zulu. No! UZN has doctors, lawyers, activists, pilots, construction workers, probation officers etc. People from all walks of life. Everyone has their own kind of knowledge that they bring to others. No one man or woman knows everything, but when you get this collective knowledge together under one roof, it’s very enlightening. That’s what Zulu does - bringing together those of different backgrounds under positivity. We are all teachers in life, whether a person overstands it or not. Zulu members overstand that they are teachers so they do just that!

WORDS SPICE |

PHOTOS EXCEL |

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With SPICE This issue’s prized possession feature brings you never before seen treasures from the collections of some of hip hop’s most respected names, this time showcasing a few members of the universal zulu nation.

KING EXCEL

Mighty Universal Zulu Nation Zulu 61,BX to Burn City 2.

1. Universal Zulu Nation – Zulu Kingship Award Bronx Nyc It was November 12th 2005 in the Bronx, NYC, when I received this award. It was one of the most emotional moments in my life to have all my mentors, peers and pioneers in the one place honouring me for the years I’ve devoted to Hip hop Culture, helping uplift the culture. I was in the audience with my Zulu Brother, DJ Chedrock, whilst Afrika Bambaataa was making his speech to the media and crowd. He was giving a brief bio of a person who had given selfless and positive devotion to Hip Hop and the history seemed quite familiar. Chedrock also mentioned that it sounded like he was speaking about me, and when my name was called out, I got up out of my seat and tripped over all the camera and media wires. I made a fool of myself but finally made it to the stage to accept the award. I was really lost for words and unprepared for the moment, but I know they knew I was proud and honoured to be recognised and welcomed into their inner family. That right there was worth more than any amount of money in the world.

2. Afrika Bambaataa and Soul Sonic Force Renegade of Funk 12” This was the bomb! Pure Electro Funk! Fresh artwork on the cover, this was Hip Hop, and hearing it in Beat Street was so right. This was a huge influence on the beats that I loved to DJ back in the early 80s.

3. Organized Rhyme Production 12” Ep My first ever 12” I ever made. There were only 500 copies ever released and it was a great achievement for myself and the rest of the group. This vinyl proved I could produce and make good music. It was a very proud moment and time that holds a special place in my Hip hop life. Later signed in 2006 to Crookneck’s Australian Hip Hop Compilation ’15 0z Vinyl’ mixed by DJ Ransom.

4. Spyder D – Big Apple Rappin 12”About Contributor A record received from a cousin who brought it back from a trip to the USA in late 1980.This was the first Hip hop record that I ever heard, and its what began my journey into this culture.

5. Troop, Puma and Cazals In the late 80s, Hip Hop clothing and sneakers were incredible. You could pick up Troop from the markets here in Melbourne and in Sydney - super fat looking sneakers with real outstanding clothing. If it stood out, you knew it was Troop, British Knights or SPX. Also, Puma Savannah suits, Puma States and Baskets along with KANGOL Grousers and CAZAL eyewear.

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PRIZED POSE |

WORDS SPICE |

PHOTOS OWN |

HELL YEAH MAGAZINE |

MR CHEESECAKE

ZULU 3 Bronx NY Chapter Bronx native Johnny Cheesecake has been a member of the world famous ROCK STEADY CREW since 1983. This Hip Hop junkie has witnessed New York’s pioneering history and continues to rep it for life!

1. Kicks and Cap Custom made for me by a friend in cali from for the 31st anniversary of the rock steady crew.

2. The Bronx Boys Medallion The bronx boys rocking crew were one of the first crews to hit the floor and this medallion was made for me by aby from TBB.

3. Original Zulu Beads These beads date back to when zulu was just getting started in the 1970s, and were given to me at a meeting in bronx river back in the day. No-one showed up that day so they stayed with me. I felt i was more into being part of this movement than others.Í’m very honoured to be a part of such a crew and very humble to be in the presence of other zulu members. Peace, unity, love and having fun!

4. Pic with Bailrok A photo of me with Bailrok. It’s the passing of the torch with honour and grace from the old to the new, and it will forever be this way. Rock steady crew for life!

5. Back of Zulu Medallion This is what’s up my people! Real hip hop and love for the culture always. Break one, a zulu brother made this for me two years ago for the simple fact that i was wanting something that would show my dedication to what i stand for and live for. This is not a fad. This is my way of life.

THE RACE ISSUE |

PRIZED POSE |

WORDS SPICE |

PHOTOS OWN |

PAGE 89 |

KID PARIS

ZULU 61 Melbourne Australia Chapter This issue’s featured BMX lover and old school partner in crime with Peril, Paris continues to hold ranks as a pioneer in the Australian Graffiti Scene and is also the designer behind the logo for ZULU 61.

1. Letter From Daze Personal letter received from Daze NYC after touring Australia with Phase 2 along with Velore n Double O tour in 1988.

2. Cazals Considered the holy grail of all Cazal eyewear and DMC’s favourite pair! I’ve had these since 1987, age 15, and they’re still in immaculate condition. Tortoise shell brown and gold embellishments would have to be the freshest Cazals ever made!

3. Custom Made Tshirt By Seen Ever since I was 12 years old and became aware of the legendary Seen from New York I was blown away by his amazing pieces. My mate Johnny Duel went to New York in 1986 and met Seen. He came back to let us know that he’s doing a lot of air brushing and tattoos. In 1987 i was fortunate enough to order a Tshirt from Seen via Johnny Duel as he went back to New York for another trip.

4. Run Dmc Signed Adidas Adidas Superstar sneakers autographed by Run, DMC and JMJ.

5. Custom Made Name Plate And Script Rings Adopting a hip-hop lifestyle from the age of 12 meant creating my own take on fashion style! Accessories play a big part of that in my books, and mostly my jewellery. I got my first “Paris” script ring at the age of 18 and recently added another 2 finger “Kid Paris” script ring. I also had one of my graffiti pieces used to create it into a pendant which I would have to say is one of my favourite prized possessions!

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PRIZED POSE |

WORDS SPICE |

PHOTOS OWN |

HELL YEAH MAGAZINE |

DJ PERIL

ZULU 61 Melbourne Australia Chapter Old School fashionista and King Of The Beats, DJ Peril, has a history in Australian Hip Hop that dates back to 1983. A B-Boy and Graffiti veteran, DJ and Producer for ARIA award winners, 1200 TECHNIQUES, and label master of STREET ELITE records, you can catch him rockin’ a regular spot at some of Melbourne’s funkiest night clubs. Just look for the man behind the decks with the freshest threads.

1. First Pair Of Cazals Here are my 1st cazals, real deal, made in west germany when the berlin wall was still there. I racked them around 85-86 and they were top dollar, somewhere around $500, so i had no choice!

2. Ghetto Blaster Here’s my first ghetto blaster my folks bought me for christmas in 1983. This boombox and myself have been through many eras of music and hip hop, not to mention many of my film clips with 1200 techniques. I know it’s damn heavy and i remember getting up to no good at the city square and getting chased while running with this which wasn’t easy.

3. Signed Lp Here’s an original that Kurtis Blow himeslf signed for me at my night that i used to run around ‘99, when the man himself came down with his wife. I still have the photo to prove it. Classic hip hop at it’s finest and a great guy to match, and he was still looking great!

4. Old Outline This is the outline to the 1st piece i ever did back in 83-84. I actually had an instimatic camera with the pics of this on it then i lost the camera so this is all i have of this sda crew classic done under the bourke road bridge with my man pop top and myself, blimp. As you could tell, it was the electro funk breakdance era, hence the names. It’s so bad that it’s good!

5. Puma Contacts Now these puma contacts have never been re-released in a low cut version that i’ve ever seen and never in electro blue. I found these out in the deep ‘burbs around 1985 when nobody owned or could even could get a pair unless you went overseas.

THE RACE ISSUE |

PRIZED POSE |

WORDS SPICE |

PHOTOS OWN |

PAGE 91 |

Animal prints and Swarvoski crystals by Kate Spade Chain link by MARC Marc Jacobs “This Is Not Accecptable” by NEIVZ Embroidered wrap by Hands Up not Handouts - Karmaloop.com

Vintage scarf and earrings from The Goods! Dress by Motel - Karmaloop.com Necklace worn as nose jewelry and watch by MARC Marc Jacobs Swarovski crystal bracelet by Kate Spade

Bra by Agent Provocateur Vintage tank top from TheGoods! Skirt by BB Dakota - Karmaloop.com

Purple earrings by Hands Up not Handouts - Karmaloop.com Vintage t-shirt from The Goods! Bracelet by NEIVZ - Karmaloop.com Watch by MARC Marc Jacobs Pants by Motel - Karmaloop.com

Badges in hair by Jeremy Scott Rings by Pete Fowler Vintage kimono from The Goods! Tube top by Cassette Playa x Stussy Girls Leggings worn as obi belts by Stussy Girls Skirt by Mink Pink - Karmaloop.com

Hat by Topsy Turvey Design Vintage top and dress from The Goods! Ring by Betsey Johnson Cactus ring by Noir - Karmaloop.com

Background The term Umuntu Ngumuntu Ngabuntu is a Zulu proverb meaning a person is â&#x20AC;&#x153;a person through other personsâ&#x20AC;?. It stems from the idea of Ubuntu, a concept that one cannot exist as a human being in isolation, This shoot profiles artist collectives in Johannesburg, South Africa from different creative backgrounds. It was inspired by the Black Panther Party, their style and the role they played in changing the way people in their communities think. It was shot in the streets of Johannesburg and is the first step to documenting our heritage and young revolutionaries in the local creative scene.

Lindiwe Matshikiza (Actress/ Director/ Writer) Wears clothing by Superella and Sportscene

Keleketla! Library (Staff) Wear clothing by Sportscene, Coon Lifestyle, Dubstars and Black Coffee.

Blk Jks (Afro Funk Experimental Rock Band) Wear their own clothing

Masegegeya (Stylist), Maia Marie (Researcher/ Activist) and Neo Rakgajane (Graphic Designer) wear clothing by Sportscene

Tee and Whiskey (Fashion Designers) Wear clothing by Black Coffee, Superella and themselves

Lindiwe Matshikiza (Actress/ Director/ Writer) Wears her own clothing

You don’t have to be a Masterchef to cook a great meal. We asked some of our Deep Fried Frenz from around the globe to give us a recipe that is special to their background yet quick and easy, and also guarranteed to get you laid!

NKULI’S SOUTH AFRICAN MALA MOGODU COW INTESTINES AND PAP

PAP INGREDIENTS - serves 4 2kg Mealie Meal 1teaspoon of Salt Boiling Water

MALA MOGOGDU INGREDIENTS Tribe Salt Beef Stock

Method Leave the tribe to soak in water overnight. Clean it until all smell has gone. Boil in a big pot for at least 4 hours until its soft. Add in beef stock and salt. Serve with tomato gravy if desired.

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MM FOOD |

WORDS NKULI |

PHOTOS NKULI |

HELL YEAH MAGAZINE |

E-MONEY’S SINIGANG

METHOD On high heat bring 3 quarts (12 cups) of water and 2 teaspoons of salt to a boil in a large pot.

“Sinigang is one of the most popular dishes in Philippine cuisine. This sour tamarind flavored soup is tasty and addictive. In this version of Sinigang, nontradition ingredients were brought together in an effort to utilize whatever vegetables were available to my mom when she first moved to America 25 years ago. Traditional Sinigang is not made with broccoli, tomatoes or even onions. This original combination of ingredients was created by my mom who has an amazing flare for flavor and an overall love for good food!”

While you wait for the water to boil, rinse the beef and bones under cold running water making sure the bones are free of any grit then put aside on a plate. After the water has reached a rapid boil, drain the beef and bones then add them to the pot. Cut the tomato and onion into chunks then add them to the pot. Add about 1 teaspoon of ground black pepper. Let all these ingredients boil on high heat for 30 minutes uncovered. About 15 minutes in, use a ladle or spoon to scrape off and remove the foam which tends to collect on the surface of the soup from the boiling of the meat. Once the soup has been boiling on high heat for 30 minutes, bring the heat down to medium low and cover the pot leaving it partially open. Let the soup boil for 1 hour. In a separate small pot, with medium low heat, bring the remaining quart (4 cups) of water to a low boil. This reserve will be added later but needs to be boiling hot. While the soup is boiling, cut off broccoli florets and soak the them in a large bowl filled with warm water. As for the large stalks, cut off the ends, stems and the outer skin around the stalks then soak with the florets. It is optional to throw away the stalks, but I recommend keeping it because it adds flavor. Check the soup to see if there is enough liquid to cover the meat and bones. If it has reduced down, add the reserved BOILING water to the pot, enough to cover the meat about 1 inch over. It is important to only add boiling water to the pot to keep the soup at a consistent boiling temperature.

Ingredients - serves 5 4 quarts of water (16 cups) 1 lb of beef chuck cut into 2 to 2 1/2 inch cubes

Once the soup has been boiling for 1 hour, stir in one packet of the seasoning then taste. If you want the soup to have a more sour flavor, add the second packet. Salt to your taste.

1 lb of beef chuck soup bones (for flavor) 1 large tomato 1 large onion

For a spicy soup, pierce a couple of holes in one long pepper for a little bit of heat. For a lot of heat, add the second long pepper.

2-3 stalks of broccoli 1-2 green “long peppers” (optional for a spicy soup)

Drain the broccoli and add it along with the long peppers to the pot then cover. Let them boil for 5 minutes. Salt and pepper to your taste.

Salt Ground black pepper

Serve with a side of white or brown Jasmine rice and enjoy!

2 (20 g or .71 oz) packets of Sinigang seasoning

THE RACE ISSUE |

MM FOOD |

WORDS Erin Serrano |

PHOTOS Samer Fouad |

PAGE 107 |

SAFA’s Belizean Rice & Beans With Guacamole, salsa & fried plantain

“Belize, originally called British Honduras, is a melting pot of its Mayan heritage, colonial influences, and the surrounding Caribbean. The food reflects this mix of cultures perfectly with the national dish being 1-2-3, which consists of Rice and Beans, Stewed Chicken and Potato Salad. This dish represents the Caribbean culinary tradition, local produce and British influence (potato salad) in equal parts and is very popular. My family lived in the Cayo District, Belize, for about 5 years when I was young. Rice and Beans was one of the many delicious and traditional dishes that my mum cooked for us. Our family have always had a penchant for wholesome and natural food, so, Rice & Beans along with Guacamole and hot salsas became a staple. I have many memories from our time in Belize and most of them revolve around the foods we ate. The fondest of these is my mum taking my sisters and me to the local tortillaria and eating hot, freshly made corn tortillas straight out of the butcher’s paper they were wrapped in.” *Safa Amira lives and breathes fashion; from $2 op-shop finds to the Haute Couture on the catwalks of Milan, she never gets her fill. When she’s not busy working on taking over the fashion world with her label AMIRA, she’s busying herself with other creative endeavours like modeling for the Around the Way Girl shoot in last issue’s Hell Yeah!

Guacamole Ingredients 2 ripe avocados, halved, stoned and peeled 1 tomato, diced ½ lemon, juiced ½ clove of garlic, finely diced 1 sprig of fresh Coriander (Cilantro) Salt to taste

Method Place avocado into a bowl and mash with a fork, stir in tomato, garlic and coriander. Add salt and lemon juice to taste.

rice & beans Ingredients 2 cloves of garlic, crushed 1 birds eye chilli, slices ½ red onion, diced 1 teaspoon of ground cumin 2 sprigs of Coriander (cilantro), chopped 2 table spoons Extra Virgin Olive Oil

Fresh Salsa Ingredients - serves 4

2 cups Jasmine or Short Grain White Rice

2 tomatoes, diced

1 Can of Kidney Beans

½ red onion, diced

1 cup of coconut cream

2 hot chillies, chopped

3 cups of water

3 sprigs of fresh coriander, chopped

Salt to taste

½ lime, juiced

Method

Salt to taste

Method

Heat olive oil in a saucepan, then and onion, garlic, chilli and coriander, and sauté until lightly browned.

Combine tomato, onion, chilli & coriander in a bowl, add limejuice and salt to taste. Mix well.

Add rice and beans and cook for 1-2 minutes, stirring constantly

Fried Plantain (or slightly unripened banana) Peel & Slice plantain and add to hot, lightly oiled pan. Fry till golden brown. PAGE 108 |

MM FOOD |

WORDS Safa Amira |

Pour water and then coconut cream over rice and bean combination, bring to the boil, then turn stove to low heat and simmer with lid on until rice is cooked, stir every few minutes to avoid rice sticking to the bottom if the pot. PHOTOS Safa Amira |

HELL YEAH MAGAZINE |

ANDRÉ’S JAVAANSE POMPOEN MET ZOUT V LEES PUMPKIN WITH SALTED MEAT

Ingredients - serves 4 ½ onion 4 garlic laos (fresh) ½ tomato 1kg tropical pumpkin 2 slices of salted meat (could be replaced: chicken, fish, pork, lamb ) 2 maggi stock cubes 1 yellow adjoema pepper (hot, you’ll go hell yeah!) adjinomoto (monosodium glutamate) salt, black pepper, sugar sunflower oil

Prepare Clean pumpkin from seeds, peel and dice it up “With the invitiation in my mailbox to an Artist in Residence project in Surinam (former English and Dutch colony during the days of shameless exploitation of far away land and people) I was in the mood to cook Surinam food. I think Surinam cuisine is one of the most incredible fusion cuisines in the world, because it combines the flavors and traditions of Indigenous, Creole/ African, Indian, Indonesian (Island of Java) and Chinese cuisine. Tash asked me to document some of my hours in the kitchen and there we had all ingredients for a Hell Yeah recipe. The day after, friends and family devoured the Fried Soy Chicken, fried rice and noodles I made. André Sontosoemarto, came and showed us the real deal. André is a Surinam street artist, very well known for his photorealistic beer bottles painted top to bottom on shop buildings. He was in Amsterdam because of a residency, an exhibition about his work and to paint a couple of good things over here. Besides that he’s an excellent cook! That’s why I decided to share this yum recipe with y’all.” Presented by Mike La Rock

Desalt the meat by shortly cooking it. Dice the meat Cut onion in pieces Press garlic Slice 4 thick slices off the laos 2 knive tips of black pepper 1 ½ teaspoon salt 2 teaspoons of sugar I knive tip of adjinomoto.

METHOD Heat il in frying pot/wok Glaze onion shortly in the oil, it shouldn’t brown Add all spices except for de yellow adjoema pepper Add meat Add tomato, all while stirring. Now let this simmer with the lid on the pot, sometimes stir a little. Add pumpkin and the yellow pepper and have this simmer. Take out the yellow pepper after a couple of minutes. If it breaks during cooking, this pepper will destroy your food. Simmer until the pumpkin gets tender. If there’s too much water/juice coming out of the pumpkin, leave lid off the pot until most of the water has disappeared. Serve with steamed white rice.

THE RACE ISSUE |

MM FOOD |

WORDS Mick la rock |

PHOTOS Mick la rock |

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tabatha’s NICOISE salad with seared tuna

“Tabatha McGurr is a 20 year old writer from Brooklyn, NY. She currently works at Married to the Mob as author of the MOBLIVING.COM blog, though she also has her hand in PR, styling, and everything in-between. When not up at their 66th floor office in the Empire State building, she can most likely be found in her Bed-Stuy apartment, cooking and sucking on a blunt with her man and Chihuahua near.” Cuban steak sandwiches, a perfectly twisted blunt of sour diesel and when weekend plans get cancelled so she can just stay in cuddling with her man and dog all day make Tab go Hell Yeah!

Ingredients - serves 2 2 small tuna steak per dinner 1 bibb / Boston lettuce 1 Sliced ripe tomatoes Blanched Green Beans 3 Cooked baby potatoes 1 Sliced hard boiled egg Oil cured black olives Capers Anchovy filters 1 tbl spoon Dijon Mustard 3 tbl spoon olive oil 1.5 tbl red wine vinegar 1 peeled minced garlic clove

Method Boil 3 cups of water. Add in the salt then add the Mealie Meal while the water is still boiling. Stir until the mealie meal makes a paste. Leave it on stove for 15 minutes and keep stirring every 3 minutes until its nice and thick. Leave the tribe to soak in water overnight. Clean it until all smell has gone. Boil in a big pot for at least 4 hours until its soft. Add in beef stock and salt Serve with tomato gravy.

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WORDS Tabatha McGurr |

PHOTOS Tabatha McGurr |

HELL YEAH MAGAZINE |

Stephanie Mountzouris Greek Chicken Noodle Soup

Ingredients - serves 1

Method

1 cup trahana (sourdough balls)

Boil water. Add the trahana and hilopites. Mix thoroughly.

1 cup hilopites (sourdough squares) 3 cups water 1 ½ tablespoon Chicken Stock Salt and Pepper to taste

Add chicken stock and simmer for 10 minutes. Leave to cool for 5 minutes. Add salt and pepper to taste.

“Every culture has its peasant food and this is Greece’s. Trahana and hilopites are sourdough noodles that were traditionally fed to the poor and sick as completely separate dishes...until my Mum combined the two and invented some kind of wonderful. My yiayia makes the ingredients by hand and I eat this stuff night and day, especially when sick and/or hungover. Never have carbs and water tasted so right!” Stephanie Mountzouris is a Creative Director who styles images that go Pop! in the night. She has worked with Patricia Field and Supersuper magazine and intends to take print media by force once super-saturated pixel at a time. Seafood sticks, leopard print and her boyfriend’s haircut make Stephanie go Hell Yeah!

THE RACE ISSUE |

mm food |

WORDS Stephanie Mountzouris |

PHOTOS Stephanie Mountzouris |

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Crime WATCH

HAIL HINTER - GORDON KESTRAL DOUGHGAN

He was known as the Hinter. People would yell out “Hail Hinter!” when they passed him in the streets. Born in Ireland but raised in Germany, Gordon Kestrel Doughgan seemed like any other young German lad. But it was his parents’ divorce and his eventual return to his father’s country of Ireland that would scar Godon Kestral Dougan for life. Deeply homesick, and longing for the fires of the German hearth, Gordon found himself hanging around the old pubs of Ireland pretending to be a German tourist.Locals say he wouldn’t admit that he was an Irish man’s son. “I know no Ireland, I am a German man, I’m just a tourist, and could you show me round” This strange behavior continued through to his later years, but the thrill of pretending to be German was wearing thin. He craved more. This is where Gordon began a very strong obsession for hinting. Still wallowing around his local haunts at the pub, Gordon would hang around the bar hinting for a beer, a ride home or even a man’s leftovers. He hovered endlessly, hinting to no end and never pausing between victims.

Once while entering one of his haunts he became very territorial and frustrated at a group of real German tourists who he felt were being too loud and attention seeking. This ended in a violent altercation that saw Gordon charged with assault. This was the first of many charges to come. While most of the charges relating to assault stemmed from his incessant hinting in pubs, there were a string of sexually related charges usually do to with hinting aggressively for sexual favours from women. One victim, a Mrs Slitoon, told the court that Gordon followed her home one evening from a drinking establishment hinting for her to first ‘remove her wig’ or as she quotes, “ Aren’t you hot in that wig? I think you would look real nice bald, I love tossing to bald women.” She then recounts “ he came very close to my head and breathed and rasped near my head and on my hair, I was very scared!” Gordon was admitted to a psychiatric ward in 2001 after making several outbursts on public transport that he was Hitler’s son and would feel a lot better if all the Jews got off at the next stop.

‘ Hey, I really wish that I had a beer in my hand. I would love to have beer right now, what does that taste like? I’m really thirsty my throat is parched but I have no money to buy beer at this pub”. He would continue for hours “ I like your coat, it looks like it could fit me. Its soooo cold!” He was charged with public nuisance in January 1992, for a 5 hour hinting spree, in which he continually hinted for a man’s Elephant skin belt.

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HTFHG |

WORDS MADBOOTS |

HELL YEAH MAGAZINE |

To shave or not to shave... it’s not as simple as it seems

I shaved my moustache the other day. (I’m a chick. That’s right, I was a woman with a mo – get over it.) It was a fairly blond moustache that I had attempted to trim and pluck into oblivion, but as time passed it only seemed to get thicker and more obvious.

something that dissolves hair is going to do to my sensitive skin.) The only choice, then, for me, is shaving – convenient, comparatively cheap, effective, and doesn’t involve getting naked in front of a hairless stranger and paying them to torture you.

I tried waxing a couple of times but it made me feel like a plucked chook and left weepy little hair follicles that got infected and turned into pimples, and the hair grew back in about a week anyway.

I bucked the trend for a few years, not shaving my legs or underarms. Men didn’t seem to mind. A fellow hairy girlfriend and I had a theory about how unshaven hair allows the body to emit sexier pheromones and attract more suitors.

It may be natural but body hair invokes illogical feelings of shame in most women, from the most girly girls to tom boys, feminists and lesbians (my auntie is a dyke and she has electrolysized her mo out of existence). My friend is a midwife who sees a lot of vaginas, and she tells me most of them are waxed to some degree (Muslim women apparently being the most devoted to removal of the hair down there). A few years ago I was chatting with a bunch of young female office workers and the topic of muff waxing was raised. Everyone besides me admitted to getting her public hair ripped out on a regular basis. “It just makes me feel cleaner,” one of the plainer girls said. Call me a feminazi but will someone please explain how we got to this point of simultaneous liberation and oppression? Women, we’re assured, can do anything, but the second they try to do it with a little visible body hair they apparently lose all credibility. Yep, removing the hair the goddess gave you has become so normal that if you choose to not do it you are making one very strong statement. It’s not even a question of if you should remove it but how. Waxing is painful, laser expensive, electrolysis painful and expensive and depilatory cream, I don’t even want to go there (I hate to think of what

THE RACE ISSUE |

HTFHG |

For a while after I started in my first proper job I continued to resist the razor, but I was worried my work mates would brand me an ugly lezzo and so covered up – pants and sleeves, no skirts or singlets. I was probably reinforcing the kind of prejudice I was trying to dodge. I realise guys suffer pressure too. In some ways it’s worse for them, shaving their faces every day. But beards make periodical comebacks for blokes while they will never be cool for girls (unless Hell Yeah is about to prove me wrong with a special spread on hirsute homegirls – good luck finding the models for that one!) I’m not an18-year-old hippie any more and I now understand the urge to remove body hair. Working from home, pregnancy, parenthood and a healthy obsession with yoga have seen me live in trackies for about five years, and I feel better about myself and less like a frump when I’m fit and free of facial hair. The fact is I can’t change thousands of years of cultural conditioning. I have to accept that these days compared to boob jobs and labia reduction surgery, getting a Brazilian or shaving is practically making a stand for the sisterhood. What more is there to say other than I’m off to shave my mo?

WORDS Charlotte Chalklen |

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Gag Your Way to Better Blow Jobs! A Girl’s Guide to Giving Great Head

Ladies, it’s really very simple. Men like women to give head. And not that lame-ass, lick the head of the cock, making icky-poo faces, whilst giving the shaft a quick rub…no, no, no! Like making gravy from scratch and spending more than you earn, the art of the spectacular blow-job should be essential chick skills.In fact, let’s broaden this to include our gay mates following a recent poll I conducted amongst a select circle of my fag-tastic friends. I’ve learnt that not all homos are created equal… apparently owning the equipment does not necessarily make you an instant Head Job Queen. Fancy that. I mean, I can understand why some girls get a bit squeamish about deepthroating - some guys are really big, others have too much pubic hair, whilst some just have nasty personal hygiene, but I thought all queers enjoyed a good swallow. But no…So, I’m gonna share with you my top tips for giving your man (or some random stranger) the best head he’s ever received. I consider this a public service announcement and I’m sure my medal for Services Rendered to the Male Population is already in the post. 1: Do Your Research You gotta sit yourself down and watch some porn. Wait till the boyfriend or flatmate is out of the house and steal his porn (he has it, even if you’ve never seen it), or go to a free porn website like RedTube and watch how the professionals do it. Study a few different clips noting positions, breath control, suction, eye contact and how to approach a whopper of a cock. There’s a good chance that it’s not working for you because your angles are wrong or you’re trying to do too much at once. Watch these deepthroating honeys and make notes if you need to. You may be surprised at the lengths some of these gals will go to in order to choke down a big one. Don’t be fooled by the tears and the panicky look they get in their eyes - it’s all part of the game. Remember, if you ain’t crying, you ain’t trying. 2: Just Breathe Understand breath control and how to relax your throat. This is easier said than done but then again, it’s not called a blow job for no reason – you gotta work, honey! Once mastered, the basics are pretty simple and you’ll be gobbling cock like Divine Brown with a crack habit in no time. Breath control is super important, particularly if you’re into the advanced stages of choking. It’s really similar to the circular breathing you do in yoga. Please note that you can’t do any of this with a blocked or stuffy nose. You may pass out, so like, be careful. Vocalising with low slutty moans & the odd “mmm baby” with a cock in your mouth actually helps you get more air in your lungs, so don’t be shy to go there. Relaxing your throat is the tricky bit. Some people claim to have a really sensitive gag reflex which is why they can’t go the choke. In reality, you need a good gag reflex, because you need to be able to push past that first, scary “I think I’m gonna spew” sensation. The gag reflex is a mind trick. Your body knows that it’s not really gonna choke to death, but it is subtly asking you whether you’re sure you can take it. Say yes to the challenge and simply push past that first instinct. Your throat will instantly relax allowing you to hold the dick at the desired depth. Work on your breathing and push down further. You kinda have to trust me here, but you CAN do it. Your nose should be against the base of his cock & you should feel balls on your chin. Don’t think you’ll be able to maintain any real rhythm at this

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WORDS Emma Jane |

depth – you can manage a few deep swallows, but that’s about it. The idea here is to finish a cycle with a good, deep gag. If you’re doing it right it should make you cry a little. PC bullshit and notions of emancipated females aside, most boys like the look of a girl crying on the end of their cock. 3: Angle Grinder Angles are everything and this is where most people really differ. Your throat is kinda like your fingerprint or ear canal – no two shapes are the same. Some people have tonsils, some have mega-long tongues and of course there’s the shape of the cock shoved in your gob. Your use of angles will dictate the depth amd suction you are able to achieve. There are three primary positions worth noting: The Classic Kneel, On Your Back, Bitch & The 69. The Classic Kneel requires a seated or standing partner. Both positions allow exceptional depth control with two key differences - a seated partner affords a greater fulcrum swing manoeuvre, while a standing partner let’s you create a more visually pleasing effect, particularly if your hands are tied behind your back. Part of the joy of giving great head is the feeling of slipping out of control. Not using your hands & allowing your partner to push your head down can be a real crowd pleaser! On Your Back, Bitch is slightly more advanced, but it does make swallowing every last inch of flesh a little easier as it allows your throat to open up. Still, this probably isn’t a position for novices, as the idea is to let your partner control the depth and speed. Left to his own devices, I bet your boyfriend wants to slam the fuck out of your throat but make him work for that. The 69, whilst having some uber porn chic-ness about it, should only be considered an appetiser and not the main course. Either way you approach this undeniably fun position, you have to accept that you’re swallowing that cock backwards. This can lead to some angle problems, not to mention teeth issues. Of course, you’ll get your pussy licked at the same time, and that’s awesome, but you’ll get distracted and the point of the spectacular blow job is to be completely penis-focused. There are some variants to consider when making the decision to be a Deep Throat Girl. Suction is important but difficult to maintain as you need to hold your breath for a while. A well-timed finger in the ass can work wonders, but it’s kinda like cheating. And of course there’s the age-old debate of spit or swallow which has vexed many a horny babe…but really, it all comes down to trust. Sex is a pleasure and an art – it should be practiced with reverence, joy & a filthy desire to be a nasty slut. All girls can get fucked, or be a great fuck and even talk dirty while they do it, but being able to give an amazing head job is a talent that will always win friends and keep lovers. So keep sucking it, bitches!

PHOTOS um.... |

HELL YEAH MAGAZINE |

Multicultural Dick Breakdown Have you got what it takes?

In my life I’ve been quite fortunate to have fucked my fair share of men. Sailors, drug dealers, hipsters, skateboarders, BMX boys, messengers, executives, pretty boys, ugly boys, fat boys, skinny boys - you get the picture! The myth that ALL black guys have big dicks was quickly dispelled on one of my first trips outside of NYC and my eyes when it came to men were also opened up. I fucked my fist Cuban guy and then on to many men of Latin descent. What I’ve come to notice is a few trends/patterns. Puerto Rican/Dominican men LOVE to eat the pussy. I’ve found they go down without even asking and alot of them have uncut dicks for all you uncut lovers! Jamaican/ West Indian men tend not to go down as fast as the Latin lovers but they seem to have larger dicks than the Latin guys. Now as far as other men go, just your regular ole black men in the States, it’s weird but it varies depending on what state you’re in with reference to dick size. The winning state? Turns out everything is bigger in Texas which is where I had the most consecutive big dicks.. I’ve fucked a few Asian and Indian guys and they DO NOT measure up in any way shape or form, but they did make it up for it in other ways. This one Asian guy made me cum so fast and so good from sucking my pussy. Phew! A good time. However the Indian guy didnt really care, and he had a lil’ dick and blew his load in under four minutes then I promptly left and told him to jerk off for the rest of his life. Asshole!! A word of advice ladies, some of the biggest and best are the guys who aren’t so good looking as they tend to put in the MOST work. The very, very good looking guys are usually the big let downs. They have the small dicks and generally suck in the bedroom.

THE RACE ISSUE |

HTFHG |

WORDS Sai |

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HEADING ONE

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