STYLE HISTORY CULTURE ©
A FREE QUARTERLY
SUMMER 2012
Contributors Barry Kamen was a
member of Ray Petri’s hugely influential Buffalo collective in the 1980s. As a model (alongside his brother, Nick) his purposely undefinable multi-ethnicity was an overt statement meant to deflect any discussion of race. The Buffalo models were the first to be integral to the creative image-making process itself, not simply a prop. An art-school graduate, Kamen is a highly regarded artist working in various media. He also happens to be the best menswear stylist working today. Portrait Paul Vickery
Jamel Shabazz is
without doubt one of the most important photographers of our age. Having the courage to take himself and his trusty camera on to the streets of his native Brooklyn as a teenager meant that he learnt his craft young enough that he doesn’t need to think about the mechanical process of taking a photograph. Instead, the camera is just a channel to record the life and people that he still religiously encounters everyday on the street. The cultural significance of his work cannot be overplayed as is born out by the many books that have been published. Without a doubt, his extensive body of work will still be relevant centuries from now. Today, he also finds time to dedicate time to volunteer work, educating young people about social responsibility.
Paolo Hewitt has
been writing about music, style and culture for nigh on 30 years, and there’s not a great deal the man doesn’t know. (Especially if you want to know about that thing called mod.) A writer in constant demand, he has three books out this year: The A-Z of Mod, Love Me Do: 50 Great Beatles Moments and Bowie: The Studio Years. He also seems to find the time to bash out film scripts. Despite the fact that he is a Spurs fan, he is a lovely fellow. Portrait Lee Vincent Grubb
Flavor Flav of Public Enemy by Tim Hans shot exclusively for Jocks&Nerds. Interview page 112
Lawrence Watson learned
his craft as a photographer while still training as a darkroom technician in the early 1980s. Armed with a portfolio that he printed himself after work, he soon found himself being commissioned by NME, the most important music magazine of the day. He was one of the first photographers to document the musicians, DJs and graffiti artists emerging from the New York hip-hop scene. Over the last 30 years, he has photographed just about every important musician there has been. His distinctive style eschews the formulaic process of setting up bands with compositional rigidity, preferring instead to capture their energy and personality. Portrait Khalil Musa
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Craig Salmon may live in New York but he is most definitely a southern boy, specifically Nashville, where so much American music lives and breathes. And it is this unashamed American pride and style that gives his photographs a living, breathing quality, whether a candid portrait or a well-crafted studio portrait.
LUKE SOLOMON PRESENTS CUTTING EDGE
Wonder & Ama zement The Grand Corporation feat. Jeremy Glen / A ngels Look ing Down On Me The Digital K id / How I Program Red Rackem / Lime & Pink K ris Wadswor th / This Machine (K ills Me) Crooked Man / Seven Reasons (Rober to Rodriguez Voc al Mix) Scope feat Terr y Grant / Met ropole K ink & Neville Watson / Preset Crooked Man / Vit al Signs Jonny Fiasco / Mor ning Banger A ndy Meecham / Juvenated Iz & Diz / Leave Me Alone (Bret t Johnson Remix) Trademarq / Devil Music Boo Williams / I Really Do Believe Duckbeats
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Rec ent ly de scr ibed by A ndrew We at herall on his BBC6 Music show a s “ T he Unsung Hero of Br it ish House Music”, t he long st a nding produc er, DJ a nd Cla s sic Music C ompa ny bos s of fer s up a select ion of mood y a nd brood y house a nd techno t hat sk ilf ully sna ke s it s way t hrough sult r y voc al t rack s, t ight ly w ired sy nt hs a nd ba re machine groove s of a decidedly t imele s s nat ure. C ontempora r y t rack s f rom a r t ist s such a s K ink, Nev ille Wat son a nd K r is Wads wor t h sit nex t to cla s sic s f rom t he like s of Chic ago ba sed, Boo W illiams. T his is a n album t hat exc eeds a ny shelf life. One wor t h ow ning.
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NEWS
The Caezars at the Blues Kitchen, Camden, London
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Hemingway Design For Hush Puppies
Carl Perkins wrote it. Elvis sang it. Blue suede shoes are synonymous with the nascent rockabilly culture of the 50s. And Hush Puppies was the first shoe brand to be born out of that rock’n’roll culture. Designed specifically for a styleconscious youth market, their crepe-soled, suede shoes have morphed endlessly over the last 50 years as they have developed styles that have been adopted by youth movements throughout the decades. Taking inspiration from various British youth cultures, Jack Hemingway, son of Red or Dead founder Wayne Hemingway, has developed a new range of shoes for today. hushpuppies.com myspace.com/thecaezars Photographs Pelle Crepin
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Bag by Sidewinder; jeans by Levi’s; shoes by Tricker’s
Mid-Century Ads: Advertising From The Mad Men Era
You’ve got the Mad Men box sets and you subscribe to Sky Atlantic so you don’t have to wait for the season five discs. What next? Try Mid-Century Ads: Advertising from the Mad Men Era, from budget-price art book publishers Taschen. Two hardback volumes measuring 14 inches x 10 inches, one covering upmarket US magazine advertising from the 1950s, the other the 1960s. taschen.com Words Chris May
Sidewinder
Martin Black is one of those chaps you see from time to time who just “gets it”. Immaculately styled without having to shout about it. Often to be seen on his beautifully restored Lambretta. You get the picture. Frustrated by the lack of decent bags on the market, it was this level of attention to detail that led Martin to create his own from scratch, sourcing the fabric and stitching the whole thing together by hand. A shoddy affair by his own admission, it was enough to take to a factory and begin production of his own range that now includes belts. sidewinderapparel.co.uk Photograph Marcus Agerman Ross Scooterist Steve Gaull
Sebago X Filson
It’s hard to imagine two companies who symbolise American leisure time more than Sebago (East Coast marine activities) and Filson (shooting and hunting). This season they have collaborated on a range of shoes that combine their disparate, yet complementary, styles. sebago.com filson.com
Jordan Bowen Millinery
Photograph Krystof Ondrejek
What other garment can you wear in such different ways, and set a new agenda with just the subtlest of changes? A hat can be used to display a wealth of attitudes – cocky, mysterious, refined, classic. And it can also be used for humour. Jordan Bowen is a bright young milliner who has been training under Stephen Jones. His work has already caught the eye of the Child of the Jago crew, Barnzley and Joe Corré. jordanbowen.co.uk
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Photograph Krystof Ondrejek Costume Designer Micka Agosta
NEWS Spencer Hart
It’s clear to see the Rat Pack à la Palm Springs vibe throughout Spencer Hart, be it interior details in the shop or the slim silhouettes prevalent throughout the elegant clothing. The Mayfair shop, which opened last year, used to be a bank. Nick Hart, founder of the label, has created a space in the basement inside the old bank’s vault for an exclusive private experience. spencerhart.com Photograph Marcus Agerman Ross
Luke Solomon: Cutting Edge
Clarks Trojan Trek
Clarks commands reverence around the world from a disparate selection of subcultures ranging from mods, aristocratic officers and Jamaican rude boys. Quite extraordinary for a functional shoe company based in a quaint hamlet in the west of England. One of its many revered designs is the desert trek, which is 40 years old this year. In recognition of Clarks huge following in Jamaica and the 50th anniversary of the country’s independence, Clarks has a created the Trojan Trek (the Desert Trek with the trojan logo debossed on to the leather). clarks.co.uk Photograph Krystof Ondrejek Funki Dread Ray from One of a Kind, 253 Portobello Road, London W11
As co-founder of Classic Recordings, with Derrick Carter, in the 1990s, Luke Solomon has been one of the key figures in the development of British house music. Despite his many roles (producer, remixer, label boss) it is as a DJ that Luke is best known. Which is why the São Paolo club D-Edge asked him to put together this soulful house compilation, which combines some of the best current tracks with some old favourites. lukesolomon.com dedgerecords.com.br
Stan Leather
Stan, from Stan Leather, has been quietly crafting private orders from his studio in Hackney for the last 20 years. As a specialist, who can fashion the thickest leather into a garment with more than 50 panels, he is a master technician who has never needed to promote his work, with clients continually coming to him looking for one-off bespoke leather garments. stanleather.com Photograph Gaynor Perry
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NEWS
Le Coq Sportif Tour De France Shirts
It is reported to be the most-watched sporting event in the world. Whether true or not, once a year, fans all over the world marvel at the bravery, drama and downright madness that is the Tour de France. Italy, Belgium and even Spain can lay claim to some of the greatest cyclists in the world but only France can lay claim to the greatest race in world – a fact that they, as a nation, are rightly proud of. Three weeks of spectacles that defy human endeavour. Forget about footballers and athletes; the tour riders are the true gladiators. It seems only fitting that, once again, the iconic yellow, white, green and polka dot jerseys (or should that be “maillot”?) are being provided by the great French sports brand, le coq sportif. Aside from the official tour shirts, it has also created a capsule collection of knits, jerseys and jackets inspired by the spirit of the race. lecoqsportif.com Photographs Juan Trujillo Andrades Cyclists Tom McEvoy and Rob Nicholas
Lee x Kris Van Assche
Lee Jeans has invited the Belgian designer Kris Van Assche to create a capsule collection that reworks some classic staples from the Lee archive such as the original Rider jacket and workwear pieces. The simple collection, comprising a jacket, shirt and trousers, is made out of heavy duty drill cotton in three colourways. The collection will be available from selected Kris Van Assche retailers and some Lee stores. krisvanassche.com eu.lee.com Photograph Krystof Ondrejek Dude Nick Pandey
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NEWS
Doin It In The Park
Nicolson & Walcot create small runs of scarves and pocket squares, etc for the modern gentleman. Working out of a small-holding in Kennington, south London, each garment is handmade and finished using carefully sourced silks and cottons. nicholsonandwalcot.co.uk Photograph Krystof Ondrejek
Bradley Wiggins For Fred Perry
Few, if any, sports have such a natural built-in style as cycling, with clothing as lairy as it is functional. It was only a matter of time before lifelong mod and cycling great Bradley Wiggins teamed up to create some cycling-inspired gear. And the timing couldn’t be better with Wiggins enjoying perhaps the greatest year of his career having already won the Paris-Nice race (the first Englishman since Tommy Simpson), the Tour de Romandie and the Dauphine. He is also a very real favourite to win this year’s Tour de France, a feat yet to be achieved by any Englishman. fredperry.com Photographs Juan Trujillo Andrades
Doin It In The Park
Bobbito Garcia has long been a name held in great esteem for his abilities as a club DJ, radio broadcaster and producer, but he is also a massive baller, and is particularly evangelical about the street version of basketball. This has manifested itself in his own streetball magazine, Bounce, and now a new documentary, Doin’ It In The Park: Pick-Up Basketball, NYC. facebook.com/doinitinthepark/info
R2 Records
By way of embracing their musical roots, R2 Records has embarked on The Classic Series – a selection of CDs, each containing two hardto-find but seminal jazz funk albums of the 70s, digitally remastered and with the original artwork restored. Beginning with a Herbie Hancock The Headhunters double package, there are two groundbreaking albums by pianist Ramsey Lewis and a brace from a former Miles Davis sideman, Larry Young’s Fuel. r2records.com Words Mark Webster
Words Mark Webster Photograph Justin Francis
Photographs Of Boxing In London
Bag designer Ally Capellino commissioned photographer Alex Sturrock to create a new book that focuses on the boxing communities of east London. His father, John Sturrock, captured some of the most important moments of political unrest in the 70s and 80s, and it is this background in social-documentary photography that has led Alex to work as the picture editor of Vice and, more recently, working with Nan Goldin, whose diary-like, candid portraits of her friends in 70s New York gave photography a new language. A limited edition run of 1,500 is available at Ally Capellino and Liberty’s. For further information, visit allycapellino.co.uk Photograph Alex Sturrock
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NEWS
Alex Nash For Ellesse
Thanks to the casuals (those wellgroomed football fanatics), Ellesse, along with a swath of other tennis brands, enjoyed a brief moment as essential clobber in the early 80s. The recent revival of the brand plays on the innocent Day-Glo, euro sensibility that made trendy young things look like radioactive boy scouts. And now they have enlisted Alex Nash (or Nash Money, if you prefer), trainer designer par excellence, to redesign one of their early staples, the 117. ellesseheritage.com nashmoney.com Photograph Krystof Ondrejek
Babylon: Your Queendom is Falling by Swifty
Words, Sound And Power Exhibition
With more than a passing nod to the late Peter Tosh, and coinciding with the Jamaican independence celebrations, renowned music journalist and founder of Straight No Chaser magazine, Paul Bradshaw has created an exhibition that focuses on the “spiritual, intellectual and political impact Jamaican music has had on our lives”. Bradshaw has collaborated with renowned artist and graphic designer Swifty to create a visually startling experience that tells the story of Jamaican music and the surrounding culture that continues to influence music and ideas today. Word, Sound & Power - Reggae changed my life is at the O2 Arena, London from 24 July
Muhammed Ali Exhibition
Designing 007
Ho hum, another year, another Bond film – Skyfall will be released in October – but there’s a rather special exhibition celebrating 50 years of the famous franchise, which will include costumes, production design, stage sets (including those by the legendary set designer Ken Adams), artwork, gadgets, weapons and much more. Designing 007 – Fifty Years of Bond Style is at the Barbican, London from 5 July until 5 September, barbican.org.uk/bond 28
Muhammad Ali’s relationship with the Olympic games has been pivotal in the life of the man known as “the greatest”. In 1960, at the Rome Olympics, he won gold in the light heavyweight division, but Ali later said he threw the medal in the Ohio river when he was refused entry to a “whites only” restaurant. However, he found reconciliation at the Atlanta games in 1996 when he was presented with a replacement. Ali, 70 this year, is being celebrated in pictures at the Smokehouse gallery – a stone’s throw from the Olympic stadium – by photographer Christina Jansen, including previously unseen images from 1986. In the Rings with Ali is on until August, smokehousegallery.org Words Mark Webster Photograph Christina Jansen
NEWS Woolrich Arctic Jacket
Stone Island Sunglasses
If ever a brand has validation entering into the sunglasses business, it would definitely be Stone Island, purveyors of technical innovation and historical research. Surprisingly, this is their first collection. As one expects from them, the collection uses the best materials right down to the Carl Zeiss lenses. stoneisland.co.uk
Originally created for the oil pipe workers in Alaska 40 years ago, the Woolrich arctic parka is designed to withstand some of the harshest environments on earth. Although created as a functional garment (it will retain body temperature down to minus 40C), the cocooning comfort it creates, along with a coyote fur-lined hood, has a certain swagger, so it’s no surprise it was adopted in the urban environment. To celebrate its anniversary, Woolrich has created a limitededition Arctic Byrd parka, so named because of the byrd cloth cotton it is made with. It has also been slightly remodelled for a more fitted silhouette. Woolrich has recently opened its first standalone shop in the UK at 81 Brewer St, London W1 woolrich.co.uk
Photograph Michael Marquez Explorer Ryan Garcia from Milk Studios, NY
Photograph Marcus Agerman Ross DJ Mark Webster at Gentleman’s Relish
Rustless
Hiroyuki Maeda is the head pattern cutter at Lewis Leathers and he knows a thing or two about style and biker culture. He has recently launched his own range of T-shirts, which is influenced by historic motorbike and automatic culture. rustless-gb.com Photograph Krystof Ondrejek Biker Huggy
The Street By Charlie Colmer
The onslaught of the digital photograph and the endless blogs of “street” photographs have proved one thing – that the world is full of “button pushers”. With no thought process, these happy snappers clog up the internet with meaningless, disposable images. Yet, there are still some photographers out there stalking the streets, looking for those vignettes and magic moments that tell a story in a single frame. One such photographer is Charlie Colmer, who has been carrying his trusty equipment with him capturing life’s minute witticisms and pathos for the last 30 years. Finally, he has brought a selection of them together in a new book, which is available to buy on his website. charliecolmer.com
Jamel Shabazz: Street Photographer By Charlie Ahearn As a teenage Brooklyn native, Jamel Shabazz was the first person to photograph the early days of hip-hop. His unsurpassed body of work is the best document of the roots and culture that created perhaps the most influential artform of the last 40 years. His book, Back in the Day, is a bible to anyone with any interest in modern culture. It is also a reference tool for just about every hip-hop artist, streetwear designer and stylish urbanite. Perhaps even more important than his archive is the fervour he possesses to continue to document his beloved city, and the community projects he creates. A documentary about him will be released later this year. Distributed by Arthouse films, it is directed by Charlie Ahearn, who made the first – and most important – film about hip-hop, Wild Style. Watch the trailer at youtube.com arthousefilmsonline.com Photograph Janette Beckman
Another London
London is very much under the gaze of the world’s media this year with the Queen’s jubilee and the Olympics, and a Tate Britain exhibition will look at how photographers from around the world – including Brandt, Bresson, Frank and Penn – have captured the city, focusing on 1930-80. Another London, Tate Britain, London, 27 July – 16 September tate.org.uk Photograph James Barnor
Mike Eghan at Picadilly Circus, 1965
Yohji Jeans
Sometimes things just feel right. A case in point being this new denim line by the legendary Japanese designer Yohji Yamamoto, who has teamed up with Edwin’s, Japan’s greatest denim brand, to create this new collection of jeans and shirts.
Seven Foot Cowboy Webshop
Seven Foot Cowboy, the denim brand from Pokit, has the enviable status of garnering a huge worldwide following based on its distinct styling and premium fabrics. Reacting quickly to this demand, it recently launched its own online webshop for those not able to get to its London store. sevenfootcowboy.com
Photograph Krystof Ondrejek Barista Kanji Kohanda Location The London Particular, 399 New Cross Road, London SE14
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Al wears coat by Lee 101; vintage dungarees by Lee; shirt, shoes and hat, all model’s own
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BULLETIN
Lee 101
Photographs Michael Schmidt Styling Laura Mazza Words Johnny Logan Prospectors Troy Critchlow and Al Korff
It seems that nothing can challenge the dominance of denim as the fabric of choice for the everyman. We are awash with technological advances in fabric, and trends may lean towards something smarter right now. Despite all of this, denim still reigns supreme. And Lee has played a crucial role in creating this noble status. Where denim is concerned, Lee can claim several firsts – overalls (allegedly designed by founder HD Lee’s chauffeur), dungarees, zip flys, loco jackets and, most enduring of all, the denim jacket. And it this history that forms the foundation of its modern 101 collection, itself named after the classic jean from 1924. But it is not only the spirit of the early items that earns this range the 101 monicker. Lee also uses old looms and techniques to create superior-quality denim, with a tighter weave, and dyeing techniques. The range builds on these staple pieces with shirts, jackets and accessories. There is even a blanket, with its own leatherstrap holder, to keep you warm for those nights spent under the stars. lee101.com 53
Troy wears jacket, jeans, shirt and belt by Lee 101; hat, stylist’s own
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BULLETIN | Lee 101
Al wears jacket, jeans and belt by Lee 101; vintage vest, hat and neckerchief. Troy wears jacket, jeans, gloves and braces by Lee 101; vintage shirt by LL Bean
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Troy wears jacket and shirt by Lee 101
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BULLETIN | Lee 101
Al wears dungarees by Lee 101; shirt and hat, model’s own
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BULLETIN | Lee 101
Troy wears shirt and jeans by Lee 101; vintage dungarees by Lee; shoes, model’s own
Troy wears jacket, jeans and shirt by Lee 101; boots by Trico. Al wears waistcoat and jeans by Lee 101; shirt, model’s own; boots by Trico
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CULTURE
Jack Kerouac
Beats. On the Road. Bohemians. Attitude. Art. Ginsberg. Burroughs Words Chris Sullivan
“The only people for me are the mad ones, the ones who are mad to live, mad to talk, desirous of everything at the same time,” wrote Jack Kerouac in his landmark novel, On the Road. Famously, in 1951 he bashed the book out in three weeks on a continuous sheet of tele-type paper (so not to hinder his stream of consciousness) fuelled by coffee, speed and marijuana – but it took him six years to get it published. Since then it has sold well over 3 million copies and is regarded as one of the great counterculture tomes. Greeted by mixed reviews when it was published, it nevertheless changed many readers’ lives and inspired and enthused writers and performers as diverse as John Updike, Jack Nicholson, Ken Kesey, Bob Dylan, Hunter S Thompson, Norman Mailer, Nick Nolte and even the mad, bad and dangerous to know Jim Morrison. I came across a battered 1967 third UK edition when I was a 16-year-old devotee of 50s Americana. Its front cover tagline hailed it as an “Explosive epic of the Beat Generation”, while on 66
the back, the Manchester Evening News described it as a “crazy – mixed-up novel about frustrated youth getting nowhere fast.” A year later, still under the book’s influence, I ended up in North Beach, San Francisco hanging out in the same bookshop, City Lights, and the same bar, Vesuvio (using fake ID), where the author and his beat pals sank a few. Admittedly, the San Francisco I found in 1978 was certainly not the city he encountered in 1948, but still, the trip and the book changed me for ever – as it had him. I later discovered that Kerouac didn’t like the book, and repeatedly described it as a “crock of shit”. He was born Jean-Louis Lebris de Kerouac in Lowell, Massachusetts on 12 March 1922 to Gabrielle and Louis. His father was a French-Canadian printer, who, after the great depression was left virtually destitute and moved to a tenement block. Consequently, Kerouac became a tough kid, excelled as a football player and in 1939 entered the Horace Man School in the Bronx with the promise of a football scholarship to
Columbia University. The next year he enrolled and spent most of his time on the pitch or in the library reading Céline, Dostoevsky and, especially, Thomas Wolfe. After constant arguments with his coach, he was dropped from the team. His reaction was to drop out of college. Just over a year later in early 1942, a few months after the Japanese attack on Pearl Harbor, he joined the merchant navy, soon left and, the following year, was drafted into the US navy. He was soon discharged after doctors described him as having a “schizoid personality”. Back in Manhattan, he wallowed in bohemia and moved to the Upper West Side with his girlfriend, Edie Parker. Very much part of the hep set, he subsequently hung out with a gang of Columbia students and fledgling writers who would truly shape his future. The youngest member of the crew was Allen Ginsberg, an open and very camp sexuallyobsessed gay man whose mother was an active Communist party member and as mad as a March Hare. Ginsberg’s shtick was vehement opposition to materialism, >
“Jack Kerouac, railroad brakeman’s rule-book in pocket, couch-pillows airing on fire-escape three flights up overlooking backyard clothes-line south. He’d already published The Town & The City and completed a treasury of half-dozen unprinted classic volumes including On the Road, Visions of Cody, Doctor Sax, early books of Blues and Dreams, & had begun The Subterraneans’ adventurous love affair with Aileen Lee, “Mardou Fox”. Aileen typed for WS Burroughs then in residence editing Yage Letters and Queer mss, unpublishable that decade, censorship ruled. I scribed “The Green Automobile,” Gregory Corso visited that season, 206 East 7th Street near Tompkins Park, Manhattan, probably September 1953.” Allen Ginsberg
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capitalism and sexual repression. And then there was the wealthy, and privileged, William Burroughs, a morphine addict whose grandfather owned the Burroughs Corporation – the world’s biggest producer of adding machines. Six years older than Kerouac, he was 29 when they met and, living on a handsome allowance, had already resigned himself to a life of sleaze and the idealisation of unexpurgated means of expression. After a while they formed themselves into a literary cabal as led by the rakish genius Lucien Carr, who had known Burroughs in St Louis. Carr penned their manifesto that called for a “New Vision” (a phrase borrowed from Rimbaud) that concluded that (1) Naked self-expression is the seed of creativity (2) The artist’s consciousness is expanded by derangement of the senses (3) Art eludes conventional morality. Accordingly, on 13 August 1944, after a night out drinking with Kerouac, Carr stabbed David Kammerer to death with a scout’s knife. Carr claimed Kammerer had tried to rape him. He disposed of the body in the Hudson after tying it up and weighing it down with rocks. The next day he turned himself in and was charged with second-degree murder. Burroughs and Kerouac were arrested as material witnesses (the latter helped dispose of the murder weapon) and the furore hit the papers, who went to town on a scandal that involved a popular, gifted student from an uptown socialite family (Carr), New York’s leading university, the “seedy odour” of homosexuality and a gang of intellectual bohemians. With the press on his side, Carr pleaded guilty to manslaughter and served only two years in prison. In the meantime, this new movement surged ahead in Greenwich Village coffee bars fuelled by poetry readings, reefer and sandals. As Norman Mailer said: “In such places as Greenwich Village, a menage-a-trois was completed – the bohemian and the juvenile delinquent came face-to-face with the Negro, and the hipster was a fact in American life.” The gang were soon joined by petty junky criminals such as Herbert Huncke (on whom Burroughs’ first – and finest – book, Junky, is partly based) who allowed these middle-class kids insight into the underbelly of New York, and, more 68
significantly, Neal Cassady – an ex-con who, having been brought up on skid row, was a macho, bisexual, freewheeling professional imbiber of everything naughty who’d married a 15-year-old girl, LuAnne Henderson, and moonlighted as a rent boy. “Suffice to say,” he once said, “I just eat every 12 hours, sleep every 20 hours, masturbate every eight hours and otherwise just sit on the train and stare ahead without a thought …” A rum bunch of miscreants, they had the lifestyle (bohemian), the words (as yet to be published), the attitude (antiestablishment), the art (Pollock and the New York expressionists), the music (bebop and jazz) and the distinctive style of dress. In postwar New York, men wore suits, ties and hats, and if you didn’t you were considered, quite literally, a
THE BEATS HAD THE LIFESTYLE, THE WORDS AND THE ATTITUDE bum. They wore army surplus (chinos and sweatshirts with huarache sandals) and workclothes (blue jeans, chambray shirts and boots). All the aspects of a youth cult in other words. The only difference was that none of them were that young … The “beat” moniker came into being in 1948 when sometime beat member John Clellon Holmes pressed Kerouac to define his cohorts. In answer, Kerouac called them the beat generation. Consequently, in 1952, after the publication of his novel Go, another autobiographical work that tells of fun and games with Ginsberg, Cassady and Kerouac, Clellon Holmes wrote an article for the New York Times Magazine entitled “This is the Beat Generation”. The press loved the name, and it stuck. Subsequently, some say it referred to his generation of disenfranchised exserviceman who had nowhere to go after the war and felt beat. Others, that it referred to jazz.
“The Beat Generation,” said Kerouac. “That was a vision that we had. John Clellon Holmes and I (and Allen Ginsberg) in an even wilder way, in the late 40s, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way – a vision gleaned from the way we had heard the word ‘beat’ spoken on street corners on Times Square and in the Village, in other cities in the downtown city night of postwar America – beat, meaning down and out but full of intense conviction.” In 1947, Kerouac started on his first novel, The Town and the City, and, in an attempt to cure writer’s block, embarked on one of the many trips on which the almost entirely autobiographical On the Road was based. For On the Road he takes the name Sal Paradise and criss-crosses the US, and briefly Mexico, over a threeyear period mainly with Dean Moriarty (Cassady), hooking up with the likes of Carlo Marx (Ginsberg) Old Bull Lee (Burroughs) and Elmer Hassel (Herbert Huncke) drinking, doing drugs, taking in jazz, women and introspection while looking for the meaning of life. As he says, “rising from the underground, the sordid hipsters of America, a new beat generation that I was slowly joining.” In effect, the book is one long travel story, an in-depth no-holds-barred diary that reveals the habits – right down to the last Benzedrine inhaler – of a gang of renegade intellectual reprobates. What they did as a group (as the book more than adequately illustrates) is reject the society that made them, reject the mores and trappings of a country that considered itself perfect and reject any and all codes, whether sexual or otherwise, that made no sense. The living embodiment of the Shakespearean maxim “To thine own self be true”. By being themselves, they were the seeds of what was the most beguiling “youth” movement of all time that, with its own language, music, literature and film, changed the way the world thought about everything. In 1947, most educated white folk did not smoke reefer, sleep rough, dance to black music, swap partners, both male and female, grow their hair long, dress in jeans, discuss Karl Marx or espouse the virtues
CULTURE | Jack Kerouac
of Eastern religions. Ten years later, when the book was published, it was still more than relevant, appealing to East Village Miles Davis-loving beatniks. And 10 years later still, it was the bible for hippies who, following the tome’s lead, flocked to San Francisco’s Haight-Ashbury for the Summer of Love. Of course had the book been published straight after it was finished in 1951, Kerouac would have been the first beat novelist. That distinction, however, goes to Clellon Holmes, while in 1956, as Kerouac was still trying get into print, Ginsberg published his expansive poem, “Howl”. Named by Kerouac, the ode was the subject of an obscenity trial (because of the sentence “who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy”) and was thus the most popular beat poem of the day. One might say, then, that by the time On the Road hit the shelves, the public had caught up with the beat ideology. Indeed, it was in 1957 that Audrey Hepburn starred as a beatnik alongside Fred Astaire in the huge box-office hit, Funny Face. Still, many people took huge offence as the work described a conceit that was entirely alien to the 50s mainstream. And then there were others who championed it because it struck a diminished chord with a generation of disaffected youth who were appalled by the way their country had been going since the second world war. Lest we forget, the USA had suffered an appalling depression in the 30s, and was subsequently saved economically by the second world war, after which came the golden age of capitalism. Largely the result of free-market reforms and deregulation aided by some $200bn in war bonds reaching maturity, it allowed those who had suffered the depression and the second world war to buy, buy, buy. This prompted the biggest surge of materialism in history. Ad companies grew, consumerism boomed and while some were overjoyed others saw that the so-called American dream was little more than a marketing man’s catchphrase used to sell stuff you didn’t need. Many were sickened by Hiroshima and Nagasaki and the ever-present nuclear threat. McCarthy’s anti-communist purges appalled many even further. In addition, most agreed with the civil rights movement that began in 1955.
Undeniably, adhering to the jazzloving, anti-materialistic, peace-loving beat or beatnik ideology questioned all of the above and On the Road hit this particular zeitgeist head on. A few weeks after the books publication a review appeared in The New York Times proclaiming Kerouac as a major American writer. “The most beautifully executed, the clearest and the most important utterance yet made by the generation Kerouac himself named years ago as ‘beat’, and whose principal avatar he is,” they said. His prose, however forced, was seen as the new vernacular, his characters’ attitudes – the new human condition. Fame jumped on his bones and gave him
a shaking and along with his fellow beats Ginsberg, Burroughs, Gregory Corso and Michael McClure, he was catapulted into a literary hyperspace. Of course, the problem for Kerouac was that by 1960 he had become a huge media star, reaped the rewards and found himself regarded as the voice of a generation that he no longer represented. How could he be? He was a 38-year-old successful author who never lived up to the promise of On the Road. He had once spoken for a generation but now was a decade older than those he represented and further alienated by achievement. Fame was a monkey on his back. He was
derided and followed and even beaten up outside a bar in New York because he represented things that many Americans hated – freedom, nonconformity and individuality – and he suffered as a result. As the poet Gary Snyder remarked, “Around Jack, there circulated a palpable aura of fame and death.” Ultimately, Kerouac became a caricature of himself. The TV series Route 66 (1960-64) aped and sanitised his travels with Cassady while Kerouac fought hard to kill his reputation by appearing on a string of TV shows drunk out of his mind. In one famous interview, on Italian TV with Fernanda Pivano, he was so blasted that he could barely hold his head up and, even though she was speaking English (albeit heavily accented), spoke to her first in French and then Spanish. On the William Buckley Show, in 1968, he berated his host and fellow guests, entirely mashed up, before shouting “Heil Hitler!” completely out of the blue. Consequently, Kerouac drifted into extreme alcoholism. On 20 October 1969 at 11am, he was sitting drinking malt whiskey when he suddenly began to throw up large gouts of blood. He underwent surgery to tie off his blood vessels but died due to an internal haemorrhage caused by cirrhosis. Further complications came from an untreated hernia and a bar fight he had had a few weeks before. He was 47. By all accounts Kerouac died an unhappy and unfulfilled man, but he needn’t have been. The beat generation was one of the most important countercultural movements of the 20th century. It made individuality fashionable (and stylish) along with questioning the powers that be, sexual liberation, open-mindedness, egalitarianism, intellectualism, self-expression, literature, discussion, black music, art, sandals, berets and beards. In short, the beats were proto-hippies, yet also proto-punks. But most of all they were blatant nonconformists who rejected the capitalist, consumerist, celebrity-obsessed society that they were handed. Where are they now when we need them most? On the Road is on general release in September. Big Sur will follow in 2012 69
COVER STORY
Public Enemy Long Island. Rap. Beastie Boys. Politics. 25 years Words Chris May Photographs Tim Hans
This year, Public Enemy celebrate the quarter centenary of their debut album, Yo! Bum Rush the Show, the first of a trilogy of discs that re-sculpted rap music in the late 1980s. It was followed by It Takes a Nation of Millions to Hold Us Back (1988) and Fear of a Black Planet (1990). Between 1991 and 2007, the Long Island group released another eight albums plus some solo projects. An unbroken continuum of principled and inspirational social commentary, all Public Enemy’s discs repay listening to, and It Takes a Nation of Millions to Hold Us Back still stands as rap’s finest hour, politically, poetically and sonically. In 2012, three quarters of Public Enemy’s original onstage quartet remains 112
intact: MC and chief lyricist Chuck D, hype man and comic foil Flavor Flav and Minister of Information, Professor Griff. Only DJ Terminator X has been replaced, by DJ Lord, who joined in 1999. The group’s production team, the Bomb Squad, who were part of Public Enemy from its inception, is also present, in the person of Gary G-Wiz; the producer/engineer joined the Bomb Squad’s original personnel – Hank Shocklee, Keith Shocklee and Eric “Vietnam” Sadler – in 1991, for Apocalypse 91 … The Enemy Strikes Black. In June, launching the 25th anniversary celebrations, Public Enemy released a new studio album, Most of My Heroes Still Don’t Appear on No Stamp. It
will be followed in September by another new disc, The Evil Empire of Everything. The title Most of My Heroes Still Don’t Appear on No Stamp is taken, with one small but significant tweak, from a line on Public Enemy’s 1989 single “Fight the Power” (later included on Fear of a Black Planet). In his rap, Chuck D commented on plans to honour Elvis Presley by putting him on a US postage stamp. “Elvis was a hero to most,” declared Chuck, “but he never meant shit to me you see. Straight up racist that sucker was, simple and plain. Motherfuck him and John Wayne.” A few lines later, he added, “Most of my heroes don’t appear on no stamps.” Presley’s stamp was issued in 1993. >
Flavor Flav and Chuck D Xxxxxxxxxx
Pop Diesel
James Bomb
Brother Mike
Malcolm X, one of Chuck’s heroes, received his in 1999. But as the title of the new disc observes, 23 years after “Fight the Power” for Public Enemy and its constituency, not much has changed; not enough, anyway. In January, Chuck announced the new albums at a press conference during the Operation: Skid Row street festival in Los Angeles, at which Public Enemy gave a benefit performance. O:SR was set up to raise awareness of the Los Angeles Community Action Network, an organization assisting the city’s homeless by providing low-income families with decent housing. The plight of America’s dispossessed continues to affront Public Enemy. So, too, does the racism that first fired up the group. One of the tracks on Most of My Heroes Still Don’t Appear on No Stamp is titled “Beyond Trayvon”, written following the fatal shooting of an unarmed black teenager, Trayvon Martin, in Florida in February this 114
year. Local prosecutors at first resisted proceeding against the gunman, George Zimmerman, a resident of a gated community who claimed that he acted in self-defence. It was not until a
‘WE SET OUT TO MAKE A “WHAT’S GOING ON” OF RAP MUSIC’ special prosecutor was appointed that Zimmerman was charged with seconddegree murder. At the time of writing, he is on bail awaiting trial. Fast forward to April. Chuck is talking to me from his car, on his way to catch a plane to Cleveland, Ohio, where
he will induct the Beastie Boys into the Rock & Roll Hall of Fame. Between flights, he’s putting the finishing touches to Most of My Heroes Still Don’t Appear on No Stamp and The Evil Empire of Everything, and preparing for Public Enemy’s summer/autumn tour. “The kitchen,” says Chuck, “is a mess.” Some might ask why it is not the Beastie Boys inducting Public Enemy. But not Chuck, who is a modest and, offstage, quietly spoken man. (In his book There’s a God on the Mic: The True 50 Greatest MCs, published by Thunder’s Mouth Press in 2003, the old-school rapper Kool Moe Dee wrote, “Chuck used none of the cliched, familiar, conventional braggadocio emceeisms. He never talked about being the best, and he never criticised another emcee.”) “It is an honour to do it,” Chuck says of the Beastie Boys induction. “They’re only the third hip-hop group to be inducted [Grandmaster Flash & The Furious Five were inducted in >
COVER STORY | Public Enemy
Professor Griff
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COVER STORY | Public Enemy
Khari Wynn
2007, Run-DMC in 2009], so it’s a very important juncture. “We were on the Beastie’s 1987 License to Ill tour, and it was very influential in Public Enemy developing a stage show. The Beasties had a mindblowing show. It was ‘(You Got To) Fight For Your Right (To Party),’ the big phallus sticking out of the stage, the beer cans and everything. It was our first tour, and we were like, ‘what the fuck?’ “I thought the Beastie Boys were honest. See my whole thing, to anybody, a rapper, a singer, whatever, I got to respect honesty. The Beastie Boys weren’t phoney at all, they were true to what it was. Being from Long Island, though my childhood was black, I was surrounded by a whole lot of white towns, and I knew the characteristics. I could dig their approach, because they were who they were.” [Sadly, in May, Beastie’s rapper Adam Yauch – otherwise known as
David ‘Davie D’ Reeves
MCA – who had been unable to attend the hall of fame ceremony due to illness, died of cancer.) But while the Beasties were in the 1980s primarily concerned with fighting for their right to have a good time, Public Enemy were engaged in a more important battle. Foremost among the group’s inspirations were Marvin Gaye and his politically driven masterpiece, What’s Going On, released in 1971. “When we recorded It Takes a Nation of Millions to Hold Us Back,” says Chuck, “we set out to make a What’s Going On of rap music. That was our goal. For us, like Marvin Gaye, to be respected, to have our history respected, our present condition recognised, that was all that we were concerned with. Yes we wanted to be accepted, yes we wanted to set the bar. But all the other stuff that came along with it, that was not important. The goal was certainly not to make a hit.
We couldn’t care less.” Chuck’s lyric style on the album, and its successors, grew out of the AfricanAmerican tradition of rhyme games, once called “signifying” or “the dozens” later “toasting” and then “rapping”, which for a hundred years, at least, has mixed personal experience, social commentary and word play. “The way I write lyrics,” says Chuck, “I listen more than I talk. I look at stories in the news, and I hear people’s opinions, and I get it all in my mind and figure out how to put it in poetic terms.” Since the late 70s, Chuck had been listening to the work of those “conscious” rappers and poets who had been active in the US from the mid-60s. Among the first such groups up, in Los Angeles, was the Watts Prophets, formed in the wake of the 1965 Watts uprising. The Prophets’ 1971 album, Rappin’ Black in a White World, opened with one of rap’s > 117
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Photograph Randall Michaelson
most memorable couplets: “Ask not what you can do for your country, ‘cos what in the fuck has it done for you?” (an allusion to John F Kennedy’s famous inaugural speech in 1961, in which he said, “Ask not what your country can do for you, ask what you can do for your country”). Contemporaneous with the Prophets were New York’s the Last Poets, with Gil Scott-Heron not far behind. Along with Marvin Gaye, the politically committed soul singer Curtis Mayfield was also an influence on Chuck, as was Bob Marley. An often overlooked influence was the Bronx group Brother “D” with Collective Effort, which burned briefly at the end of the 1970s. The group’s 1980 single, “How We Gonna Make The Black Nation Rise?” – which answered the question with a stream of politically astute observations and the punch line “Agitate, educate, organise” – is a link between the work of the Poets, the Prophets, Scott-Heron, and Public Enemy; another is Melle Mel’s cri de coeur “The Message” (credited to Grandmaster Flash & The Furious 120
Five, though the rest of the group did not appear on it), released in 1982. Chuck’s political philosophy was also informed by black thinkers outside the music world. “I was born in 1960,” says Chuck, “so I was seven, eight years old when Dr King was shot, and [with] Malcolm X I was five. I was actually around as a child when these people were alive, the Black Panther party, Fred Hampton [of the Illinois chapter of the Panthers, shot dead by the FBI in 1969], Angela Davis – these people, their impact in the 60s and the 70s, they were the first truths that came into my life. I’ve learned other truths, but they’re additions, not replacements. In general, I’m motivated by the gift of black culture throughout the years, particularly the last 100 years.” While Chuck’s lyric writing has a traceable provenance, the sonic invention that elevated It Takes a Nation of Millions to Hold Us Back arrived out of nowhere – or, perhaps, out of so many different places that it synthesised into something other and unprecedented. The Bomb Squad’s use of thrash metal guitar,
howling feedback, textured samples from multiple sources, police sirens, crowd noise and surging breakbeats, all mashed into a raging instrumental and foundsound stew, was truly revolutionary – it was part of the message, an extension of Chuck’s lyrics. Variants of that sound sculpture became commonplace in rap music. But on its release in April 1988, It Takes a Nation of Millions to Hold Us Back went off like a bomb. “We figured,” says Chuck, “that if you were going to have lyrics as loud as ours, then you needed music just as loud behind them. And the fact is that just our skin is loud. Our skin is noise, our history is noise. The blacker you are, the noisier you are perceived to be, without making a sound. So we thought, if you’re calling rap noise, here is some noise for your ass.” (“Bring the Noise” first released as a single in 1987, became the opening track on It Takes a Nation of Millions to Hold Us Back.) Public Enemy piled some visual noise up against the power structure too, through the use of costume and props.
COVER STORY | Public Enemy Larger-than-life outfitting was not new to hip-hop in the late 80s – earlier in the decade, Afrika Bambaataa & Soul Sonic Force had dressed as Sun Ra-esque space voyagers and the Jonzun Crew as cartoon-pimped Four Musketeers – but Public Enemy chose to adopt modern hyper-reality. With its dancers/ actors, Security of the First World, the group confronted white supremacist and colonialist history. S1W wore military uniforms and carried replica Uzi machine guns onstage. “When the white man went into Africa,” says Chuck, “they wouldn’t have got us out of there if they didn’t have the gun. So at the time of Reagan and Bush and Thatcher and De Klerk and Botha and all of them, we countered that and said, ‘All right, this is our army of culture and they’re going to hold Uzis onstage to answer your threat to demolish anything to secure the safety of the first world’ – to secure the fact that we are first world too. Not third world, not second world; we are human beings too. “We would tell people that just with our sexual organs, what black people could create is actually seen like the action of a gun. A black male walking around automatically appears like a gun in motion: ‘Oh my god, he is going to turn all of us into people of colour.’” Public Enemy’s stagewear, like Chuck’s lyrics, ran counter to the consumerism prevalent in rap music in the late 80s. The outsize clock Flavor Flav wore round his neck was no gold chain. It had a message: “Time’s running out.” History informed other aspects of the group. Professor Griff borrowed the title Minister of Information from the Black Panther Party’s Eldridge Cleaver. In 1971, FBI director J Edgar Hoover had called the Panthers a “hate group” and asserted that black nationalism was “the greatest threat to the internal security of the country”. Public Enemy’s name challenged the FBI’s description of anyone on its most-wanted list – as several leading members of the Panthers had been – as a “public enemy”. Twenty five years into Public Enemy’s existence, with a black president in the White House, does Chuck feel any different as a black man in America than he did in 1987? “We are black men,
we came from the black community,” says Chuck, “so back then we spoke up for power to the people, for education, to learn about ourselves, to access knowledge that wasn’t being taught. “Today our overall message is just, hey, we are all human beings. But, because of what government is doing, there’s still discrimination and segregation. Governments split people up. We’ve always been proponents of culture bringing people together. “Right now, I’m a little unhappy at the understanding – the lack of understanding – that people of colour display towards the diaspora. Most of the people I talk to, there’s very little identification with the history or the geography of the rest of the planet. Most people today don’t connect
‘DON’T TELL ME ABOUT BEING INTO ‘THE STREETS’ IF YOU CAN’T TAKE MY GRANDMA’ themselves worldwide any more than we did in the 80s and 90s. It’s generalising, but Americans seem mostly to have detached themselves. “That is probably the thing that I’m most impatient about. How, as a black man, do my surroundings, my community and my category of people align ourselves with the rest of the planet?” While we were talking, Chuck and I discovered a shared fondness for jazz pianist Ahmad Jamal’s 1958 album, At The Pershing: But Not For Me. These days, Jamal prefers to call what he plays American classical music rather than jazz. For him, “jazz” has too many derogatory connotations. With hip-hop and rap music, too often seen through a fetishised notion of “the streets”, does Chuck see any parallels?
“Well, you can never go wrong with ‘classical’. I like it. We do classical hiphop, which is about always going for the highest bar. ‘The street’ is such a wornout term. Don’t tell me about being into ‘the streets’ if you can’t take my grandma. If you can’t take my grandma or my great aunt, our history, then don’t tell me you’re into ‘the streets’. “You almost don’t want to make a record for the streets these days, because the streets are lined with a whole bunch of corporate open hands. We’re not making our albums for that street. We’re making these records, number one, for someone who wants to look at the form of hip-hop as a classical source, to be measured by quality not by quantity.” How does Chuck, who along with several other members of Public Enemy/ Bomb Squad is a onetime university student, feel about the academisation of rap music? Is the proliferation of US degree courses incorporating rap studies a useful antidote to this exoticising of “the street”? “It’s timely,” says Chuck. “I call it artcademics. Rap music is being enriched as much by scholars as it is by its own artists and lyricists. It’s taking its place as an art form worthy of study.” From establishment irritant to academe, rap music has come a long way in 25 years, and much of the mileage has been fueled by the enduring example of It Takes a Nation of Millions to Hold Us Back – and Public Enemy’s steadfast refusal to compromise its message. Chuck’s car is approaching the airport and he has to get into the zone. Time for one more question. After all these years, what is he most proud of? “That Public Enemy have never broken up and that we probably have more people that come to us to say thank you than any other group in hip-hop. I’m proud to get some of the thankyous that Curtis Mayfield, Bob Marley received in their lifetime.” Most of my Heroes Still Don’t Appear on No Stamp is out now. A second album, The Evil Empire of Everything, is released in September, publicenemy.com Public Enemy will perform at South West Four, Clapham Common, London, 26 August, southwestfour.com 121
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