@UNDR_RPBLC_31
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/Users/jacobs/Desktop/Issue-31/$ha-Hef.sql /Users/jacobs/Desktop/Issue-31/Anthony-Lister.sql /Users/jacobs/Desktop/Issue-31/Graffiti-Varied.sql /Users/jacobs/Desktop/Issue-31/Gustavo-Torres.sql /Users/jacobs/Desktop/Issue-31/Joonghyun-Cho.sql /Users/jacobs/Desktop/Issue-31/Nicolas-Barrome.sql /Users/jacobs/Desktop/Issue-31/Scott-Teplin.sql /Users/jacobs/Desktop/Issue-31/Swag-Toof.sql
|UNDR|RPBLC|31| For this issue’s artistic direction, I looked directly to the last for inspiration. The first thing that stood out to me was Daan Botlek’s statement that, “You might as well be a robot sending me automated questions...” Now I had already been employing some of Jeff Thompson’s bots to tweet for @undrrpblc with some success as means to pump-fake online trolling, so this was already well within grasp. I started out by designating four specific bots to round out the sections of a complete interview. They were the intro-bot, subject-bot, process-bot and outro-bot. From this initial setup, I went ahead and copied & pasted various subjects, titles and themes from each ARTST to be FTRD in the MGZN for the bots. And after some quick testing, the bots were off and blasting @ 960-ish tweets-a-day for however long it took to reach 31K tweets. I then randomly selected 31 questions from each bot, and sent them to their assigned ARTST with instructions for them to choose their favorite five questions from each bot to answer. “Cool. Next.” Hyperreality and reification—Michael Reedy and Dario Maglionico. With UNDR RPBLC, I’ve met so few of the people I’ve worked with. Almost everything is done online. Shit, my entire MGZN’s “on the line”. So these terms make sense to me. I began studying my surroundings, my world, my belief systems. “How did I get here??” Back to Botlek... He had mentioned his imposing strict restrictions on his work to create challenge for himself therein, with emphasis on the cube as being “the most basic unit for space and dimension.” I thought, “My room’s kinda like a cube... But how would a bot build a MGZN?” And after taking a look at Thompson’s work with INTERP, it hit me... “Let’s document my surroundings and superimpose images from those to be FTRD in this issue to create “real-life” 3D MDLs.” I began this process by taking 160 rotating pics of my
room. I then scraped each of the ARTSTs’ WBSTEs of all their images. With a ton of material to sort through, I slimmed it all down to 99 images apiece (with the 99 pics from my room completing a full 360° rotation), and sorted, sized and renamed ‘em all. This was done quickly according color, shape and difference. “Shoot, before I forget...” With each of the FTRDARTSTs, I took a whole ton of screen caps from three of their vids each. After sorting, the images were placed at a 2/3 ratio atop each of their corresponding numerical room pic. These newly created images were then used to sike PhotoScan into thinking that they were just of my room, and generate 3D MDLs from the images outlying objects, structure and dimensions. And keeping true to the OG total of 99 pics, a total of 99 MDLs were created. Being that the software mistakenly assesses the images as hailing from a uniform space (my room), it tried its best to render the surface texture from the images provided. This did provide for some interesting results, but did not compliment the needs of the MGZN. So I then replaced each of the 99 MDLs generated texture image files with that of its corresponding ARTST image and numeric representation as its texture. So for |MDL|23|, you’ve got Graffiti-23.jpg, and for |MDL|45|, you’ve got Joonghyun-Cho-45.jpg and so on... This allowed for the creation and application of rules to which I had no control, following suit with a bot bustin’ it all out. And also it helped to create a sorta funky hybrid, amalgamation of each other’s work. “Yeah!” Make sure you check all the MDLs out, and DWNLD the ones you like–they’re all available for FREE.99. That brings us to the WBSTE... Up until recently I had little to no experience in working with MySQL databases, so some learnin’ was in order. After a couple of videos, I was up to speed—and in the process came to realize that portions of an exported MySQL database could coincide terrifically with
an otherwise generated aesthetic. Plus, what better way could there be to list all accompanying data? It was then time to create thumbnails for each of the MDLs. This was done by importing each MDL into Photoshop and running a quick action. “Cake.” With the MDLs and their thumbnails in order, it was just a matter of uploading those players and making sure they all worked. And, well, after a nice li’l learning curve, and a considerable amount of time and patience, I had all the MDLs working complete with accurate measurements. The rest of the WBSTE was formulaic: match UNDR RPBLC while making necessary adjustments for color. “What’s next?” “Oh yeah, the MGZN. Right.” With the MDLs sized, shaped and textured to a tee, it was time to knock out the rest. This was done by importing each particular MDL into Photoshop again, shimmying its placement to “perfection”, and exporting it as an image file. The resulting image files were then combined with their corresponding exported MySQL database counterparts, to complete the creation of the issue’s ads, title pages and cover. Then came the lengthy process of linking all corresponding things to their assignments. The rest of general feature layout was, more or less, stumbled upon through my usual workflow of play, with special attention to color, numerical value, measurement and placement. Since each of the ARTSTs FTRD in this issue provided me with such tremendous material to work with, the rest was a walk in the park. I tried my best to accentuate their work and INTVWs’ with the recently established theme of the MGZN. I hope you enjoy. A huge debt of gratitude goes out to Jeff Thompson, $ha Hef, Anthony Lister, Gustavo Torres, Joonghyun Cho, Nicolas Barrome, Scott Teplin, Swag Toof, _unfun, All Seeing, Doomsday1973, Luna Park, Neron One, petalum, Potatoe, and to everyone who has helped make UNDR RPBLC possible. Thank you. -Jacob Grossman
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INTVW: @Sha_Hef_Bots
$ha Hef, what up!? Not much. Just out here getting this money, and spreading the good word about my Mafioso Psalms project. Where did you begin? I started off a li’l hustler in the Bronx, running around tryna be like my older brother and all the heads I seen coming up in my neighborhood. Who are you? I’m a lot of different things, but at the end of the day, I’m a hustler. Where have you been? I’ve been all around the country—and with this music, soon to be all over the world. The earth is my turf. What have you finished? I have three projects out rn, and a gang of shit waiting to drop… But I haven’t “finished” anything yet—I’m just getting started. Now, with “Earth Is My Turf”, what was the main thing on your mind? When I did “Earth Is My Turf”, it was really just me letting the world know that I’m here, and I’ma conquer everything in my path. With all the time invested in <i>Mafioso Pslams</i>, did you know it was going to be as successful as it was? I mean, I knew when I was creating the music that it had a
sound no one else had. And I definitely felt confident in the final product just knowing how hard we all worked on it. When considering <i>Based On A True Story (B.O.A.T.S.)</i>, what challenges did you face creatively? When I was working on B.O.A.T.S. a couple years ago, I was fresh off the block, most of my team was locked up, fighting open cases, and I was just looking for an outlet. So creatively there weren’t any issues, and I had plenty of inspiration. With respects to “09. Smokin Lo (Prod. Mordecai Beats)”, what remains the most important concept addressed therein? “Smokin Lo” was just me being creative and playing off one of my aliases. But, I mean, the most important concept was my focusing on money, and not women or feelings. In the process of developing “06. Friday The 13th (Prod. L.S XXXX)”, what were your influences at the time? “Friday the 13th” was no different than any other song. I was dealing with some of the issues that you deal with when you’re in the streets. So when I got in the booth that night, I just said what was on my mind. I mean, where is your mind when in the professionalism in hustle? How is it received?
When I’m in hustle mode, I’m just thinking, “Get it by any means, period.” I’m not too sure how it’s been received, but that’s the last thing I’m worried about during those times… Time and time again, how do you see your examination of craft? I’m always listening to my music and trying to take it to another level. While in your creative flow, why even pursue the professionalism in gangs? I mean, I’m an active gang member. It’s not a hobby; it’s my life and who I am—the people around me, it’s instinctive. Once you have completed a new piece, how will that coincide with your constant development with lyrical content? Every time I write a verse, I try to top all my previous work. And my subject matter is pretty consistent, so it all works. When faced with challenge, what initiates new talent in the mob? And is it then completed? We really don’t initiate too many new people on our team—it’s all day-one people that have been around. You really gotta impress me on some different levels for that to happen. Where do you see yourself in five years? In five years, I see myself successful in whatever my current endeavors are at that time. Whether it’s music or not, I don’t know, but I’ma always be straight. All in all, when is your next big project? The next big project is coming sooner than later. Gotta stay tuned, I can’t give too much info out just yet… What really separates you from the competition? Originality, honesty, and the fact that I’m not scared to speak exactly how I feel. When will you be “finished”? I’ll be “finished” when I’ve explored every outlet the game has to offer me to make money with. When me, my family and their family are all straight, and I’ve built a solid legacy. In conclusion, how would you care to be perceived? I just wanna be viewed as someone who maximized his potential in this world, defied the odds, and left his mark.
PICS: @Ralph_Lorenzo VIDS: @PrimeCutFilm
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INTVW: @Lister_Bots
How have you been? Normal. When did you start? Being normal? A while ago now, maybe twenty years or so… How do you create? With difficulty and ease. Usually with my hands and an idea. When have you finished? When I’m done. Who do you create? Myself. With “Skull of thorns”, what was going through your head? Wanting to build something beautiful, but also fucked up. Much like the world is fucked up, and also quite beautiful. In the process of developing <i>ANTHONY LISTER - THE GOOD VANDAL 2/10</i>, how did you manage to break free from previous expectations? I stopped thinking about what other people wanted, and assisted in building something real and messy. After all, the mess is the message. With all that you poured into <i>Lister (The Movie)</i>, what made it all worthwhile for you? If someone that has never felt that they could write or draw on objects in public feels more comfortable in doing so now, or I’ve inspired them to do so, then it was worth it. Considering all the planning that went into “The mother calm”, what is your favorite
memory of the process? Sitting in a campervan doing the initial sketches. Taking all things into consideration with “Things We Shouldn’t Talk About”, what would you change, and what would you leave the same? I wouldn’t have flown to Italy to produce the show, and I would’ve painted more paintings of dogs raping ballerinas. First of all, where do you take risks as to your constant development with expression? It’s risky to have dreams. It’s important to have goals. I have neither. In your artistic state, what sparks that towards your experimentation with advancement(s)? The excitement of discovering new outcomes through challenging chance and accident. Finding middle ground when it comes to destruction and creation. Real talk! But where do you find your critique of disorder? And how does it then compare upon completion? When I look at my work (on the computer, mostly), it’s important for me to project myself into the future and see my work in hindsight for me to produce successful pieces. When it all comes down to it, where does soul assist in work in expression? What was that like? I feel the need to remove myself
spiritually from my work in order to communicate well with its viewers. From an artistic standpoint, where is your mind when in the focus with color? Color is very important. I try to not be so overwhelmed by itâ&#x20AC;&#x2122;s power that it influences my decision of what I am painting and why. Finally, would you go back and change anything? Maybe... Where are you off to next? London in November for my solo show with Lazariedes. Do you ever get bored? All the time. How do you see the future you? Doing big institution shows all around the world, bigger books, lecturing and delivering empowering messages for the masses. What would you like to change the mostest? Freedom of expression, worldwide.
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CURATN: @undrrpblc
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INTVW: @KidMograph_Bots
Gustavo, what up!? Yo! What is it that you do? I do images, most of them in motion. What is this for? Catharsis, a way of life, fun, killing time, etc. Who are you becoming? Someone better, I hope. Where should you be? At the beach... When considering “D*T* IN-0VT”, what were your expectations of the finished product? I don’t emphasize expectation. Sometimes you move in one direction, sometimes another… But each time around you’re creating variables, and each variable can bring you a new world. With “LGTH_SWRL”, did you ever think to yourself, “Yes, this is it”? Well, that happens when you’re changing millions of things in combination with several FX in multiple weird ways. It arrives the moment you see something spectacular. Thinking about “M_ND G_M_S”, were you surprised at how well things turned out? Sometimes it’s the things I do the fastest that are the most convincing. Maybe that’s because when you try to do something that needs to convey a message and be visually compelling at the same time, you need
to keep it simple. When you came up with “H__L_NG_ PR_C_SS”, how would you change things now? You always want to change things, but I don’t even think on that. They are just a moment, frozen on time. And it’s good to keep it that way. When considering the “Boom Boom” vid, was that everything you had hoped it would be? Making music vids always involves more people surrounding you than just the musician. Sometimes that flows well, other times it’s a disaster. Rye Rye was a fun project. First of all, when creating your best work, where are you when it comes to your continued love towards infinity? When I create, I try to get my mind off of any external factors, and come from a place of rest. When staring at the blank canvas, why even pursue the interrogation of hallucination? I’ll have a previous idea/hunch of what I would like to represent, then it’s easier to face the blank world. One thing takes you to another, etc. To be honest, how does new work contribute to the definite appreciation of nature? I don’t know if it contributes at all… Creatively speaking, what emphasis is placed upon location to-
wards your continued interest in advancement? Interest comes from within. The key is to wake it up somehow. Among all the projects you have worked on, where do you take risks as to your adoration of infinity? You always take risks because artistic work is based on experimentation, and the application of that experimentation further into the unknown. So the next time you do something, you will have that base. Then you can experiment with other things and add to your inner library. Where do you see yourself in five years? I would like to capitalise on all the things that I’ve been doing, and with that, build something beautiful for the next gen. Do you have any coming shows/exhibitions? I have several projects coming really soon (think new music vids). What has been the greatest benefit of your work? Well, just working on something you’ve always loved and know how to do is more than enough. My work is a lifestyle in itself. What really separates you from the competition? My never doing the same thing over and over again. I’ll always mutate, and look for new ways to embrace unknown worlds. When will you be “finished”? Never.
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INTVW: @JH_Cho_Bots
Joonghyun, what up!? Hello, pleased to meet you. What do you love? The 90s, indie music, modern art and romance. Where did you start? Geographically, I started out in Seoul, South Korea. Conceptually, Nam June Paik influenced my start as an artist. How do you create? I try and create work based on my life, symbolism and various designated visual concepts. Seriously!? Yes, because my thoughts, however derived, constitute my work while creating. I always try and push myself to design based on the current state of my surroundings. Would you change anything now for the “2012 Next Wave Part3 _ Exhibition Poster”? No. I thoroughly enjoyed the process of manipulating shapes/ objects while designing its typography. Considering all the planning that went into the “ALDF 2014 Seminar” identity, what challenges did you face creatively? Designing for international audiences was a toughie. The seminar was in South Korea, but its visual identity had to cater to China, Japan and East Asia as well. So I worked with each language painstakingly to assure the overall visual iden-
tity was maintained consistently throughout. Also, with your “ALDF 2014 Talk Concert” designs, how would you change things now? I’d make some minor adjustments to the general layout, and bump up the date and time’s placement. Taking all things into consideration with “<i>typography</i>”, how did you grow as an artist? Being that typography is one of the most basic and familiar forms of communication, it has allowed me develop my skills in effectively expressing given concepts through its direct and accessible nature to the population at large. While creating that “Troika Lenticular poster”, did you know it was going to be as successful as it was? I hadn’t thought of that at all. The Troika posters were designed in such a way so that you could read one set of text at one angle, and the other at another. I’m happy to have completed this project successfully, because it helped me to experiment with new design concepts I had yet to use. Once you have completed a new piece, how do innovation and ingenuity enable your experimentation with design? Is that the end or beginning? Innovation will be replaced by something new from our lives. The old stuff will always be around, but if it comes out as design, it
will then again be new. Because I compose, I am enhanced through this process by its very nature. Yes. But how do you plan to take next steps in talent in advancement? What was that like? By collecting things in my head. For example, in memory design, a good design relies more on memory, than the actual data used in its design. Depending on memory, the higher meaning of the design may involve the data, but the important thing is not to rely solely on memory, it is important to find the balance poised between idea and concept. Time and time again, where do you take risks as to your analysis of balance? Why do you think that is? In my pushing myself to experiment during creation. And although it is not always good to be new, it is during the process of experimentation that developments can occur. OK. But what initiates new enthusiasm towards consistency? To be honest, it may not always be described as enthusiasm, but, more so, as an actualized attempt to live up to a client’s wishes and scheduling. Having that said, my work is then the challenge of completing the assigned tasks to the best of my capabilities in a given time frame. On the real, though, what manifests your next visualization towards context? How is it received? In my methodological thoughts, I usually put nested intuitive and conceptual keywords in my work. I also place many other concepts and/or things in order to generate new ideas, which help to manifest into various “weird things” throughout the process. Are you living your life to the fullest? Almost. I might not be perfectly happy… But what is “happiness” anyhow? I have yet to establish its exact definition in living my life. What has been the greatest benefit of your work? My development as an individual, and as an artist. When everything is said and done, are you happy with your body of work to this point? I wouldn’t say that I’m satisfied yet... Have you ever dreamt your middle-finger wuz waaaay more longer-ish? Uh-oh, The “Good Child” Syndrome*... And last but not least, what can you say was really gained through experience? I’ve learned to be humble, and to appreciate the value of a good education.
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INTVW: @Barrome_Bots
Who could you be? I could be SpongeBob, or the Creature from the Black Lagoon— it all depends on my mood. What do you create? I create pictures. I don’t consider myself as an artist, graffiti writer or street artist. I am just an illustrator, and I enjoy painting pictures on different mediums. Where have you begun? It all started in my room when I was very young. As an only child, I spent a lot of time drawing all the characters I loved from my favorite cartoons. Who do you want to be? A good person, doing the best I can. What are you not? I am not a genius. I work hard, and I don’t feel that I was any more talented than the others at the beginning of my studies. With all the time invested in your “- Asticots Passion -” pool mural, what would you change, and what would you leave the same? I painted that pool with the Jeanspezial crew, and my amazingly talented girlfriend, Amandine Urruty. It was the first time we had all painted a pool, and to tell you the truth, it was really difficult. It was painted during the winter, and we spent four frigid
days working on it. Now that it’s done, our conclusion is that we all prefer simple walls. In hindsight with “04.00”, what was the main thing on your mind? I did that drawing for a collective show at L’Attrape Rêve, in which every artist invited had to produce something in relation to dreams. So I decided to illustrate a nightmare—you know, the kind where you jump out of bed at 04.00AM trembling in fear... For this drawing, I am represented by the tiny old man at the beginning of the bridge with his dog. He’s so small in this very strange landscape full of monsters and fear. In the process of hammering out the “Nicolas Barrome x Causeineedit x High Life Store (teaser)” vid, did you give it everything you had? Actually, I only designed a t-shirt for them... With all the time invested in “NOIR”, what challenges did you face creatively? For “Noir”, I wanted to represent an evil character, but create appeal with its balance of darkness and light. This character is recurrent throughout my pictures, but he is usually hidden in the background. While busting out on “Roti de loup”, did you know it was going to be as successful as it was? You know, I didn’t. I just made it
as a t-shirt design... Artistically speaking, why even pursue the adeptness of creatures? Is this a constant? I love my creatures! I think they stem from what I saw in all the cartoons and movies I watched as a kid. My mum worked in a VHS shop, which was awesome for me growing up. Now, I enjoy mixing fantasy with reality in my drawings in order to create strange, alternate universes. Artistically speaking, how does environment contribute to your experimentation with monsters? Every day when I walk down the street, the posters, to the passers-by, all influence me. Even when I am out walking in the forest, the trees seem to leer out at me, as if they, too, were monsters. And don’t get me started on new movies… Even cookies at the supermarket might take on the form of some nice new characters. Usually, what initiates new extended understanding of dogs? I don’t know… I always draw the same dog. There was this German Shepherd who was the star of a French TV program when I was young, and I loved him. So now he’s in a lot of my drawings as my friend. You know, the kind of friend who follows you everywhere, and loves you even when you cut his head in half and put ice cream in his brain. Yeah, that kind… Usually, who influences your work? Salvador Dali. His universe, imagination and process have influenced me tremendously. Do you ever get bored? Never. I always make sure to alternate between my showing new work, creating commercial work, painting walls or teaching art school to keep things fresh for me. When you spend a month or more working on your computer, you need to change your mindset by doing something new. And the same can be said for having spent two months in preparation for a show… Where do you see yourself in five years? Further along, doing the same job. With that finished, what are you going to do, right now, after finishing this? I am going to prepare my suitcase, because I am off to Zaragoza, Spain to participate in the Asalto festival, and paint a huge wall with Amandine. Do you have any coming shows/exhibitions? I have a lot of different projects in the coming months... I am currently working on a few illustrations for an ad campaign, decorating an agency, participating in a group show at Colette—and if everything goes well, I will be having my first solo show in Paris in ‘15. Are you happy? For sure. How could I be unhappy? Look at my job! Finally, what is it you would really like to say? Thank you.
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INTVW: @Teplin_Bots
When did you begin? Making art? I guess when I was in grade school and I was pretending to be in my room doing homework, when really I was dissecting fireworks and rearranging them to make new ones... No way!? Way! Are you crazy!? I was, maybe? I burned off half my chest when I was twelve with my fireworks concoctions— and on my right side, my oncepink nipple eventually grew back brown. I’ve been sane ever since, though. For real!? Real talk. Where do you create? Three places... I’ve had the same studio a couple blocks from Times Square for fifteen years. But now that I have a couple kids, I have a drafting table at home, since I can’t get to my studio as often as I’d like to. I also draw constantly in my sketchbooks, which I also bind myself. In regards to “BILE”, what were your influences at the time? Being severely constipated. At the end of it all with “Big Head”, what were your influences at the time? Being severely constipated. With everything that went into “Big Head”, did you ever think to yourself, “Yes, this is it”?
Sure. With “The Intuitionist”, did you know it was going to be as successful as it was? Not sure what constitutes “successful” in this context, but I had received a quote from the novel, The Intuitionist, and was asked to draw something from it. After I drew it, I read the book and realized, luckily, it fit the book better than I had intended. Looking back at “http://teplin. com/blog/2014/8/2/gif-test”, what were your expectations of the finished product? For people to be able to read “turd alert” without having an epileptic fit. Usually, what initiates new questioning of time? Is that real? Making one thing draws out questions that lead to making another, etc. With continued success, when creating your best work, where are you when it comes to your continued interest in health? In the bathroom, trying to overcome my severe constipation. Once you have completed a new piece, where do you find your continued interest in color? In just looking around, at advertising, the great outdoors, stuff in museums, etc. Would you go back and change anything? I’d hide all the shitty illustration work I’ve done over the
years. First of all, what emphasis is placed upon location towards your acceptance towards justice? What?? Now that that is out of the way, what else would you be doing if not this? Playing with my kids. With that finished, where is your heart at now? In making big anatomical watercolors. Looking back, what is your exit strategy? Through the gift shop... Taking a step back, how do you feel, now, having won? You mean after finishing a new piece? Great! Which can last up to a day, at which point I feel I have to get my ass in gear and start something new ASAP! Gotcha. But has it been worth it? Yes.
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INTVW: @Swag_Toof_Bots
Swag Toof, what up!? Ouija: What up!? Choirboy: What the business is? Where should you be? C: Asleep. O: Ferguson. Know what I am saying!? O: No… C: What? Where are you? O: Nevansas. C: At home. Are you crazy!? C: Yes. O: In a word, sure. With all that you poured into <i>Harlem’s Adopted Children (Side: B)</i>, how did you grow as artists? And how was that different than <i>Harlem’s Adopted Children (Side: A)</i>? O: We worked on A & B simultaneously. I prefer to see A & B as one body of work with two chapters. We def learned a lot in those sessions. C: Every time we make something new, we grow. When you aren’t trying to make the same shit over and over again, you just naturally grow and pick up different things. When getting down with the “Helly” vid, when did you know you were finished? C: When Ouija almost had a panic attack from smoking a 6-gram blunt while hanging upside down from a crane. O: True.
At the beginning of “Thick As Thieves / Feat. MuMMz (Prod. Every)”, how did you feel upon completion? C: Felt like we needed to do ten more joints out those insane beats that Andreas was playing. O: Shout-out to Every. When you started creating “Promises”, was the concept clearly stated from start to finish? C: Not at all… We just made sure we were talking about promises, in one way or another. O: Aside from Frankie Goldie, whose only promise was to use the “sass”. And how does that compare to “Change Up”? C: “Change up” just comes out of the feeling that what you’re doing or have been working towards might not actually be working. So you may need to re-evaluate, and/ or switch it up. When faced with challenge, how will that coincide with your probing of time? O: We face challenges, and still probe time like a motherfucker! C: We have been mastering the art of time management this year, for sure. When coming from your creative place, how does clarity of mind push your extended understanding of diction? C: I really feel clarity of mind is the creative place’s best prescription for the understanding
of diction, really. O: You know I’m high, right?? Where do you find your continued interest in hustle? C: In my need to survive. O: Hustling is like breathing air. Sure, you could live a very short life without breathing… But why wouldn’t you just embrace your instincts and inhale. Hustling is as necessary to the quality of life as inhaling oxygen is to the possibility of life. When it all comes down to it, what boosts your ever-present enthusiasm with the TOOFGANG? And is that the point? O: Shit, we are the “TOOFGANG”. We’re an unstoppable family, and one you can’t help but be enthusiastic about. C: The TOOF (“Taking Over Our Future”) GANG is everything… It’s our people, our family, our motto— and sometimes it’s all we have. Ah yeah! And who influences your passion towards evil? O: We just are evil; all humans are some percent evil. We are as evil and disgusting as it gets here on earth. C: But just as humans are some percent evil, we are also some percent good, and capable of kindness and self-control. The strength you gain from being honorable in the face of evil is very powerful. O: We often put an evil foot forward for the greater good. Overall, how would you care to be perceived? C: As being genuine. What really separates you from the competition? O: What competition? C: By being ourselves, and not being content with anything less than the best version of ourselves at any given time. What has been the greatest benefit of your work? C: The music. Any shout-outs? O: Coach Kev, and J Shaltz for the fire photos... C: Shout out the wifey, Nunu, and the rest of the Toof Dames: BB Eyesys, Lil Lu, Peg Sue and Liz Toof. Shout-out our families. Shout-out the TOOFGANG: GxldSlvgs, SHMX, Frankie Goldie, ANIMALKRACKA, Baby Barf, Nadroj (aka Big Lurch), The 11D Team, Jay Poteet, and to all the newer inductees into the gang. Man, we’re getting stronger everyday! What’s next? O: We’re opening a restaurant in Bermuda that will have indoor Alpaca rides, and a whole array of pastel salt water taffy for our to-go desert bags. We’ll try to make some music too, but the restaurant is going to cut into our schedules a bit... C: There’s so much dope shit on the horizon right now, but we can’t even really talk about most of it yet. But stay tuned, big shit coming soon… For real.
PICS: @JShaltz VIDS: @11Dmedia
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