What’s your favorite taco?
Ok..I LOVE tacos..Always have, always will. I have a few standard places that I go to for nostalgia..King Taco, Titos Tacos and Los Burritos on Santa Monica west of Fairfax, I don’t strictly go to those places though. Pretty much every Mexican restaurant I go to (which is quite often, if not daily), in whatever city I may be in, I will order at least one taco. I like both hardshell and tradtional. Asada, pastor, pollo, lengua, you name it…even potato tacos. How can anyone not like tacos?

How did you get involved with WCA?
WCA was founded by Rival (Rest In Peace), Miner and PJay, with Sed and Rak, in 1985. Previous to that it was called ‘ISM’ crew, short for International Style Masters. That was the summer of 1985..the heyday of the Pan Pacific yard. At the time I didn’t personally know them, we saw each other at the Pan, but never kicked it or painted together. I was pretty much solo at that point, and had been hitting spots around town by myself…no crew. A few weeks, maybe a month later, high school started..Fairfax High to be exact. WCA had been born already, and Vice67 (Sel), Coozie, Risky and Design9 were already down. The day before school started, I did a Pyro (then spelled PIRO) piece on the big wall in the middle of the courtyard at the school, so the next morning everyone would see it…and everyone did. At recess, I was sitting off to the side watching everyone’s reaction who looked at my piece. Rival, Miner and PJay came up to me, and Rival asked if I did the piece. Saying that I did, he instantly asked me if I wanted to join their new crew…WCA. I agreed, and from that point on, and still to this day, we were all family. So I wasn’t a founding member, but rather an OG, and when I say OG WCA, I refer to the select few that were in the crew in ’85-’86, up to the point when we battled K2S at Belmont in ’86. I share a very strong bond with my brothers from that time period…we ate, slept and shit WCA for decades, and for me, I still do.

What was the first piece of graffiti you ever painted? What’s the most recent one?
Damn..OK. In ’81-’82 I was writing random things, not tagging, but rather sayings, anarchy symbols, anti police and anti government stuff, and was heavily influenced by punk rock and the stylized gang graffiti only found in LA. In ’82-’83 I started doing silvers, but was still influenced by the gang block letters that were everywhere in Los Angeles in that time period, so they were big filled in, stylized block letters, with 3D and highlights…kind of like a bridge between LA gang writing and New York style graffiti. I would hit a lot of alleys, and big industrial trash cans cause they would live forever. In late 1983, after returning from NYC with my family during the summer, I started doing more New York influenced style graf, using colors and stylized flowing letters. By 1984 I was hitting spots, completely solo, rocking multi colored pieces. My most recent piece, well, I’ve been getting up a bit in the past few months, I painted Landmark. I hit the Graf Lab. I painted in Hollywood with Slick, Prime and Natoe, and just painted Melrose and Highland with Trixter, Bazar and Swan…and I have many more walls planned for the next year.

Mike in 1985

What’s the origin of Pyro?
As for the origin of Pyro…well, back when I was just writing sayings and such, heavily influenced by the gang community, I wrote the name ‘El Lighter’ . Not really tagging it, but more of a nickname that I occasionally scribbled here and there. I had, let’s just say, a strong attachment to setting things on fire. I was never without a lighter or matches, and though I didn’t smoke cigarettes at the time, I would be the person to ask for a light. Then in 1984, while hanging with my sister and her friend (who was an awesome artist), I looked at the lighter I had in my pocket..PYRO was the brand name. (I really wish I could find one of those cheap disposable Pyro Brand lighters now) Thus Pyro was born…though I wrote it with an “I” instead of a “Y” at first. I wrote PIRO until 1986 (though I did both PIRO and PYRO pieces). In late ’86 I officially lost the “I” and wrote PYRO for good.

What’s your favorite corner of LA?
My favorite corner….thats a hard one. I love LA, with so many different neighborhoods, so many memorable spots, so many areas that represent and have a different feel to them…I don’t think I could say I have a favorite.

Piece on Venice and Arlington from 1985

What inspires you about LA? Ever think about leaving?
I love the diversity of Los Angeles. I love the individuality of Los Angeles. I love the history of not only LA, but the history that I have in this city. From the beach, to the architecture. Downtown to the mountains. The ethnicity of the neighborhoods, the music, the art. The fact that angelenos are laid back, but don’t take shit either. LA inspires me in so many ways, everything from the artists to the homeless, musicians to surfers, ghetto to glamour. Everyone and everything can inspire you, its all a matter of if you are willing and able to see it. I’ve lived in many parts of the city and surrounding communities, and I have moved away completely a few times. I have been fortunate enough to have traveled the world, and lived in many other cities, and in a few different states…but I always return. Los Angeles is, and always will be home.

Ultra rare pic of the K2S WCA battle. Pictured is Coozie, Pyro, Green and Dream and two others

You mention the legendary battle(s) with K2S. Were you friends with those guys at the time, was it a friendly rivalry or did it get very intense between crews?
The battle between WCA and K2S…1986 at Belmont Tunnel. At the time, we were not friends, not by a longshot. The rivalry was very intense and heated, but never escalated past the art aspect. (Though I am sure that from both perspectives, it could’ve very easily.) The rivalry between the two crews had been going strong for a little more that about a year. I think both sides took it extremely personal and lost a lot of pieces due to the war, I know I did. You have to remember that it was a different time period in LA, it was gangland then and graffiti art was still fairly obscure. Most writers at that time had to have a very keen knowledge of the streets and / or ties to gangs, and most of us did. It was still a neighborhood thing then, Eastside vs. Westside. Los Angeles graffiti art wasn’t as unified as it is today. In the early 80′s, Reagan was in power, nuclear war was a very real possibility, and Darryl Gates ran the LAPD…corruption and violence was at an all time high, hatred was in the air.

Pyro piece from the WCA K2S battle

Given the circumstances it was inevitable that there would conflicts and rivalries. Each crew, as a whole, had beef with the other crew, and most members had individual beefs with members of the other crew as well. Me and Prime didn’t get along, Miner and Skept had issues, so on and so forth. There had been at least one previous attempt to have a full on crew on crew battle, but neither one of us trusted the other, and we couldn’t agree on a location (Belmont being K2S territory, West Coast Tracks being ours), I think we both felt as if we might be walking into a set-up. So when we finally did agree to have the battle at Belmont, we (WCA) came in full force. We rolled with every head from the crew, not 100% sure if it was going to turn out to be a battle or a brawl. As everyone now knows, we let the paint fly and not fists, but what not too many people know is the photos of the battle pieces are not the original pieces. We painted well into the darkness, and were unable to get pictures of what we had painted, so we rolled back the next day, only to find all our work had been slashed. So, we stayed the next day and fixed everything, then took pictures. At the time of the battle, K2S had conceded as to our winning the battle, but the way I see it, is we all won that day, that was the beginning of friendships between the crews and set the stage for future collaborations, and moved toward a greater unification in the graffiti movement. I have nothing but the utmost respect and admiration for everyone that was around for the battle, on both sides, and remain friends with them all.

Belmont in 1985

When did you start tattooing? What about that art form intrigues you?
I started tattooing in 1996 with the help of Clay Decker and Mark Mahoney, and I worked at Tattoo Mania on the Sunset strip at that time. I have since worked at many different shops, in a few cities, and currently work at Vintage Tattoo in Highland Park, which is owned by another old school writer, Baba STN, MSK. What intrigues me about tattooing is a multitude a things. First is the honor of giving someone a piece of art that will last a lifetime. The fact that they will wear this tattoo until the day the die, and even after death, forces me to give it my all. Tattooing is different because your canvas is a living, breathing human being, each with various differences in skin types and conditions. You cannot erase, or buff a mistake, therefore you must be at the top of your game with everything you do. Tattooing, as with every art form, experience is the ultimate teacher, and I feel I will never know everything about tattooing, therefore I am constantly striving to be better. With tattooing, I can get completely lost in the application, losing all sight of everything around me, even the turmoils of daily life. I can sit with the client and share a moment in time with them, just us two and the creation of their dreams. For me, bringing someones thoughts and ideas to life on their body is the ultimate honor.

Pan Pacific in 1985

Who do you think is unappreciated in the history of LA graffiti?
I could name names, but I wont, for there are so many unappreciated, even forgotten names in LA Graffiti history. Everyone that was part of the scene in ’83-’86 I feel are unappreciated. We, collectively, wrote the plans, paved the road, and set the stage for future and current generations of writers to be as successful as they are. Back in the early days, we all knew of each other… we may not have all gotten along at the time, but we knew of each other. There were only a handful of writers in the city then, and only a couple of crews. Everything everyone did was an innovation, there was nothing prior to that. We all developed our own styles, tried new colors, engineered new tools to use, and hit new spots just based on pushing ourselves with our own desire and passion, with little or no reference. Being a writer in the early days was a lot of trial and error, we had to figure everything out for ourselves, there was no one telling us how to do things, therefore everyone back then developed and innovated.

What do you have planned for 2012?
2012 is shaping up to be a very busy year for me. I am planning on heavily promoting my tattooing career, and will be attending numerous Body Art Expo’s in cities such as Pomona CA, San Francisco CA, Dallas TX, Houston TX, Phoenix AZ, as well as other conventions in Reno NV, Las Vegas NV, Long Beach CA and a few others. In addition to this ‘tattoo tour’, I will be continuing to paint weekly in Los Angeles (when I am in Los Angeles). I have multiple walls lined up, ready to rock, some solo style and some production walls with my West Coast brothers. I am honored to have been invited to be a part of the LA Freewalls project in the Downtown Los Angeles Arts District for 2012, and plan on being a part of that. I will also be showing in a few upcoming art exhibits, the first being in San Diego. I have plans to hopefully bring forth and curate an art exhibit on the history and art of my crew, West Coast Artists. In addition to all this, I have begun to lay out the basics for a book I am working on…so, yeah, I have a busy year…but doing what I love to do.

Do you pay attention to the “street art” scene?
I don’t follow it too closely, but I am familiar with certain people. I’ve never been one for mass produced anything, especially art. I always felt that art should be hand created and one of a kind. I have mixed emotions about the whole “street art” scene. On one hand I can appreciate the artistic visual content, but on the other hand I feel that a lot of this art (not all) isn’t produced in the streets, it’s manufactured on a computer, a copy machine etc. Another problem I have is that there are so many ‘street artists’ that have absolutely NO knowledge of the streets. The streets have their own code and rules of conduct, and I’ve found that so many people nowadays claiming themselves as street artists do not, will not, and have not lived by these rules, let alone even know these rules. This is being very general, and there are excptions to this statement, and I will admit many of these people are extremely creative, and incredible graphic designers, but without a history from the streets, with no knowledge of the rules and codes that the streets live by, I feel some are no more than a person putting up flyers, and the term ‘street artists’ is a widely used generalization…and a fad.

Dream Tribute from 2011

What writers who are out there now inspire you?
Thats a tough one. There are different writers that inspire me for different reasons. Some may not be rocking walls as much as in the past because they’ve moved onto other avenues in life, but all are writers at heart. Some, but not all are…Abel for his incredible handstyles. Hands down the king of script in my eyes. Risk for his devotion and continued work over the decades. I’ve been watching Smug One for his incredible photo realism. MadC for pushing boundaries between genders in graffiti. Estria for his devotion toward propelling the art form and bringing it to younger generations. Saber for using his voice to speak out against inequalities and injustice. There are countless others whom I appreciate and admire, but it takes more than just being up to inspire me. What truly inspires me is not only their artistic creativity, but their personal demeanor, how they carry themselves thru life and what they stand for and believe in. To me the person is far more important than the art.

Do you have a lucky number?
I do, number 3. It’s always been my lucky number. I have it tattooed on me. I named my old clothing company ‘Level 3′ (partly because it is my lucky and favorite number, partly because Level 3 is high security in jail). Beyond that, I like odd numbers as opposed to even numbers.

West Coast tracks circa 1986

Dream Tribute in action

All photos via Pyro, except photos 1, 3, 9, and 11 which are by Erwin Recinos.

Having the number one reviewed Asian restaurant in LA on Yelp is pretty amazing in and of itself, but doing it from your 2 bedroom North Hollywood apartment? Impossible. And yet that’s exactly what happened to Nguyen and Thi Tran in 2010, prompting a curious and congratulatory call from Yelp HQ in San Francisco to confirm that the venue was, in fact, their home.

Starry Kitchen took the LA dining scene by storm and haven’t looked back, eventually opening a small (and legal) restaurant in California Plaza in the heart of Downtown, along with unique pop-ups and other events around town. Nguyen explains that many ethnic restaurants get their start in people’s homes, and remembers going to family friends’ backyard Vietnamese “restaurants” back home in Texas. The big difference is that Starry Kitchen catered to everyone and not just the local immigrant community, providing a unique experience that fans still miss even as they rave about the fried tofu balls at the new location.

Starry Kitchen does Asian cuisine anchored by Vietnamese techniques and ingredients, but Nguyen embraces the taco lifestyle to the fullest; Instead of just emailing us his favorite LA tacos, he invited us on a taco mission to two of his current favorite spots. Up first was Romero’s, the venerable 23-year old K-town Mexican joint where the owner and his wife still work the counter and grill. Nguyen loves this spot because the carnitas are how he likes them– motherfuckin’ crispy. The proximity to his favorite bar, the Beer Belly, doesn’t hurt either.

Stop #2 was a stand at the corner of Soto and Alcazar named “La Guera”, where Nguyen and the Taco crew got down on some lengua, carne asada, suadero con chorizo, and tripas tacos, most topped by significant quantities of a fiery chile del arbol based salsa. Between bites, Nguyen and the taquero talked shop about the restaurant biz and the hustle needed to make it in difficult economic times. Ant egg tacos, which Nguyen sourced and served in a collaboration with Laurent Quenioux earlier this year did not come up in the conversation, but there’s always next time. Meanwhile, La Guera did steady business of families who pulled up in their cars or walked from the nearby hospital as the low rumbles of the nearby freeway could be heard in the distance. Biting into a fifth helping of tacos, and looking around at the smoke filled air and crowd of smiling customers waiting patiently to order, Nguyen was heard to exclaim, “I fucking love this!” Everyone around seemed to nod in agreement.

All Photos by Erwin Recinos.

Smog City was one of the first street artists ever featured on L.A. Taco back in 2006 and has been an inspiration to us ever since. His political message combined with menacing art and perfect placements make him an LA original that has inspired tons of other paste up artists in this city and worldwide. Currently you can see his latest project and prints at C.A.V.E. Gallery in Venice. We sat down with the man behind the Smog to discuss LA, tacos, and death by fumes.

TACO: First things first, what’s your favorite taco?
SMOG CITY: King Taco’s Lengua tacos, or the hard shell asada tacos from Taco’s Por Favor…

TACO: When did the first Smog City get up? How has the Smog City project evolved and changed through the years and what’s happening now?

SMOG CITY: 2004 in West LA. Back in those days I was all fired up about political issues, and what effects artists can have on society. As the years went on I was sorta accepted into the street art fold of society, and lived that sort of lifestyle. Getting up and just being an artist sorta became more important and fun than staying true to the to reason Smog City ever hit the street in the first place. It became more about the Hollywood experience, and the horrors of such a glamorous place…all based around the premise that smog was facetiously to blame. I can’t say I ever lost sight of what the project stood for, but I feel like this period of Smog City has to go back to the roots of what I wanted it to be. The factual evidence and information available on air pollution is reason enough to be alarmed, people are all mad about the effects of cigarettes, why aren’t we warned and upset about the state of our natural environment?

TACO: What impact do you think your art has had on the city of LA?
SMOG CITY: I realize that people who look for graffiti and street art are their own breed, and so in that right I feel like I still haven’t reached the full demographic. But I can say that, I’ve been given huge opportunities by people in this town just from them seeing it on the street for so long. (and they are NOT graffiti involved) So I guess I feel like it’s somewhat recognized symbol for air pollution, but it could go way further. People definitely have taken note of it, and I am always more than pleased to overhear strangers talking about it or even people who I know, but they don’t know that I’m the one doing it.

TACO: You’re a master of finding broken down decaying spots that set off your art and message, how do you choose the perfect placement?
SMOG CITY: I’m just drawn to decay and rot. I find something really beautiful about some of the worst places. I’ve tried to recreate rotten texture and roughness in artwork, but its just not the same as what happens naturally on the outside world.

TACO: You’ve done collaborations with a lot of various street artists, is there one you especially liked?
SMOG CITY: At the time and even now I feel like the issues of Restitution Press was really special to work on. It was so punk and D.I.Y. that I couldn’t resist. Doing signage with Tiki Jay was a great experience, how often do you get to plan a project with a man recognized by TIME magazine for his street art? And there is no way I could leave out my good friend Euth, I feel like every time we get to work together it turns out amazing, and is the most fun.

SMOG CITY: What’s your favorite neighborhood in the city?
That’s not fair, there are so many amazing neighborhoods in this city….Top 3 would probably be Echo Park, Hollywood, and Santa Monica.

TACO: Do you have a lucky number?
SMOG CITY: nope.

L.A. artist Susanna Battin‘s latest work engages in a one day action (this Friday, Dec 2) to restore the horizon normally blocked by a billboard on the 15 Freeway. The digital image will be viewable on the Southbound 15 after the 91 interchange and is best seen from the second from the left lane. The work is part of the artists exploration of the interactions between the manmade and the natural. Keep reading for the full project description, show times, and map link.

We caught up with Battin over email for a quick couple of questions:

Are you a frequent freeway driver?

I limit my freeway driving to only include visits to my grandma, who lives off of the interstate 15 where the new installation is to be shown, and making other long distance trips.

What’s your favorite taco in LA?

Favorite Taco in LA is from La Fuente #6 in Highland Park.

WINDOW

Susanna Battin

Viewable from Interstate 15 in San Bernardino, CA on Friday Dec 2, 2011

‘Window’ is a photographic landscape installation that will be up for a single day. The work uses a digital billboard that typically obscures a small section of the Santa Ana Mountains off of Interstate 15. In this piece, a photograph of what can be seen directly behind the billboard is displayed on the billboard’s surface in an attempt to repair the visually severed mountain range.

Los Angeles freeway commuters briefly witness the billboard transform into a window. The billboard appears first as a separate figure from the surrounding mountain range. As the viewer drives south its image aligns and then dissolves into the background for a fleeting moment. For this second, a view of the past -before the billboard was constructed- may be seen in a frame of present day media. This window offers an alternative vision to the advertising that dominates roadside landscapes and questions how the human relationship with the natural world is mediated by our experience as consumers.

The Santa Ana Mountain Range is a key topographical feature in the city of San Bernardino. Lying directly east of Los Angeles and Orange Counties, San Bernardino captures much of the smog blown east on daily ocean breezes from its larger westward neighbors. 13 of San Bernardino’s varying smog conditions are visually represented in the piece.

‘Window’ is part of my broader exploration of the interactions between manmade and natural environments and human perception.

The San Bernardino Billboard Art Project, organized by David Morrison, is sponsoring the presentation of my work.

Window’s show times are:
2:50 am
6:28 am
10:06 am
1:44 pm
5:22 pm
9:00 pm

They warn:
Times are approximate only – as the show progresses, it may fall behind from the times listed in the schedule due to processing lag time.

Directions:

‘Window’ is best viewed in the second from the left lane while driving south on Interstate 15 after the 91 Freeway interchange and before the East Ontario Ave exit. Please drive safely! See map for viewing route.

MAP

Thank you to BLDG BLOG for bringing this project to our attention.

If you ask Ozomatli’s Ulises Bella to pick a favorite taco spot in LA, get ready for a long answer. Ulises has hit seemingly every spot in town, and is always on the hunt for new locations. In the end, he decided to take LA TACO to his “favorite spot right now”, with an emphasis on right now. Don’t go looking for Ulises at this tacos al vapor spot, which is at the corner of Atlantic and 54th, because he will probably have moved on by the time this goes to press. In the meantime, enjoy these pictures of Ulises enjoying mass quantities of lengua, cabeza, sesos, chorizo, and asada tacos. When you’re ready to go visit in person, don’t forget to add some habanero “death sauce” to your tacos– Ulises recommends it.

All photographs by Erwin Recinos.

You’ve lived in Los Angeles almost all your life, how does the city inspire you?

Well LA is a beautiful city, with our mountains and beaches. I love how our city pops up all over the place downtown, Venice, Echo Park, Silver Lake, Culver City, Highland Park, Eagle Eock. All over there is this intricate Spanish Moroccan ancient Babylonian Mayan architecture and between the Griffith Park Observatory and the Bullocks Wilshire there is an underlying Egyptian/ art deco influence. These elements make this city aesthetically interesting to me. I think the local deserts and forests inspire me the most though. I go to these places when I’ve had my fill of the city and swim through rivers with my backpack on my head and cook dinner on mountaintops. LA gives me a bit of the whole world right here in one place.

Where in the city have your lived, and what is your favorite corner?

I grew up in the industrial back lots of Hollywood’s sound stages and set builders. I went to Bancroft jr High and then to Fairfax High. I liked the neighborhood so much I moved to the Fairfax Melrose district where I became a graffiti addict and let that hood become my center to spread out from. I later spent a lot of time on the East side of Hollywood and Echo Parkn through the Sanbourn yard and Belmont tunnel yard– these were the yards we use to paint at. I lived in Eagle Rock for a year and moved to echo park where I stay today. I love my bike ready art-centric music-blazing part of town.

Is all graffiti political?

Not all graffiti is done with political intent but the simple act is a political one in the sense of breaking restricting rules and expressing ones self. My art usually reflects a political form of communication so I can relay an idea worthy of discussion in a way that makes it interesting. I enjoy exploring the illusion and exposing hidden ideas of our world, I believe we get brainwashed along with our collective conscious through the obvious veins of media, school, etc.

What is the power of art with regard to change/revolution?

Art is the ultimate way to combat the machine because it reflects imagination, something the talentless authorities cannot control. So Art is the weapon of choice because it can speak and pierce straight to your person and you don’t need to read a book to get it. It just resonates with your mind (if it happens to be the type of art one likes) and gives you something to work with, or a new perspective. Some art is propaganda and it just goes to show that art is so powerful it can be used for all the reasoning we Americans can come up with to sell a product or an idea. Sometimes it doesn’t take a corporation to instill superficial ideas, many people will generate this type of art willingly so they appear to be artist of work that stands for real change and real revolution but fall short of doing the real work for the people while they make money off false hope.

Your powerful piece “Global Uprising” has a lot going on, can you take us through a few of the details in the work?

I created a piece called Global Uprising recently to applaud the Arab spring that was taking place. It was the first time in many years I felt a political change in the weather. It is so inspiring to see and be part of the American occupation and potential revolution. I created the piece old school style by hand carving each separation. The process I use is unique unto myself, I think. I wipe large swipes of paint onto a sheet and begin to remove the paint. I’m weird like that… anyway it creates an etched litho kinda hand paint combination that is more challenging for me in an age where everyone is trying to do it easier. I should lighten up a bit here and pay dues to the type of art I have seen that is a living example of what I speak. Diego Rivera, Irving Norm, Goya, and Robbie Conal, to speak on a few. Thanks for the great contributions and vision in art to a world that is sometimes blind.

What’s your favorite taco?

I love tacos but I’m a Vegan so not too many around I can recommend unless I’m cookin’ but Cafe Gratitude has some very very natural tacos that are the bomb, pricy though.

What’s next for Mear?

For the next 9 months or so I am gonna be working on a powerfully inspiring body of work. It revolves around destroying illusions and replacing current modes of thinking. Critiquing our history while researching alternative versions of the documented timeline. I feel the need to expose what I feel to be some of the biggest fallacies of our planet and nation. Of course, this history can become rhetorical at times so there is a juxtaposition of mystery, mysticism, coinciding with the mythic challenges of humanity in our current state I’m integrating. In many ways I am working with the premise that things are naturally hidden so my work also embraces an element of riddle. There are parts spelled out and then there are parts that may take your investigation.

Do you feel you are part of a movement?

The movement I align with is finally growing in strength and numbers. People are getting into their quality of life, and awakening from this dumb jackass mentality of “stupid is popular” and becoming conscious of our selves in the context of the rest of the world. It has been 20 years of my personal dissatisfaction in American self-image. I came from the underground, where knowledge was power and stupid couldn’t cross the street by its self without help. So it is great to see intelligent people speak up and begin the new movement. It’s about time.

How can people fight back against  brainwashing?

People can fight this machine and break it down one cog at a time. They need to become interested in deeper matters than their personal image and excess wealth. Most of the obsessing people out there don’t even feed themselves good food. You see limos drive through McDonald’s, people sniffing toxic drugs, partying everyday and wasting their life on an obsession. When we awaken and take care of ourselves properly then we can take care of each other. There are plenty of teachers out there and if you awaken and make changes in your self then we too can become teachers to help others. It is very hard living in a big city with all the constant pressures to maintain a positive head state let alone spread positive energy so it starts within the individual. One must want the change in one’s self. One should question their own motives constantly and form a positive relationship with one’s self so they can remedy their current situation.

We are all connected to the bigger problem of this country. The government, corporations, the medical establishment, military, social, what have you are all connected to our apathy and ignorance of what has been going on. I won’t preach about specifics but America hasn’t ever been very kind with all its supposed freedom and liberty. One more thing, I am so tired of people telling me “America is the greatest country of them all, even at our worst were better than the rest”. Well that my friends is a pile, I’ve visited Japan, Germany, Switzerland, France, to name a few and these societies are no better but their head state is closer to a real ideal of freedom and liberty than I’ve ever experienced here in my home.

So I leave you all with some positive thoughts, we have come far from the wrongs of our ancestors and emanate from their best, we can now all connect all around the world. We are the result of love, even those who were thought to be mistakes. It’s all misplaced and placed love and even fighting for our freedom or our right to clean air is a quest for love. Sometime we have to fight for it. There’s no time like now. All Power To The People!!!

Visit Mear at MearOne.com. Tons of visuals, information and more.

Nomadé’s art started appearing around town a few years ago and immediately gained admirers city-wide. Their first solo show, Recent Artifacts, opens this Saturday night at Hold Up Art at 7pm. More info is at their website, thenomade.com. So, what’s their favorite taco? What’s their favorite part of LA? Read on to find out…

What’s your favorite taco?
Our favorite taco? You won’t really like the answer, unfortunately, because it’s from a place right across the street from our studio. The location of the studio is not something we make public, so we can’t tell you where it is. On the other hand, you will be happy to know that the creative force driving Nomadé is fueled by one great L.A. taco… with everything.

What is the relationship between The Nomadé and Los Angeles?
We all live and work in Los Angeles. It is our home. It seems only natural that our work reflects the city we know. If there is one thing that we never debated about, it was to include L.A. imagery and ideas.

Are you from LA? If not, what brought you here and what parts of town do you like/live in/etc. ?

There are four of us, and each of us are from somewhere else. Most of us either came for school or work or both and ended up making L.A. our permanent home. We live all over the city. East to West…not too far west. We have a studio around Mid-City, and we are there often. We like hanging out where the art is — Venice, Culver City, Downtown, Hollywood too.

What was the first piece of Nomadé art that went up in the streets?

It was a piece in Brooklyn, actually. It was our original image of the soldier holding the palette splashed with paint. We are pretty proud of it as it made it into Brooklyn Street Art’s “Street Art New York”.

The project seems to be expanding and getting more detail over time. Is that part of a plan or is it an organic evolution?

Both part of the plan and an evolution of the work. From the beginning we always wanted to produce pieces of the highest quality possible, both in the street and in the gallery. That was the plan. Where that was going to lead us we could never have really known. One thing that is important to know about us is how we make decisions. It has so much to do with the evolution of the work. It’s the dialog that happens within the group, everything we do, whether it is deciding to eat tacos for lunch, or choosing color for a current piece, We try to always come to a consensus.

Nomadé uses iconography from the past, what makes it relevant today and why is it important to you?

The images we use have far less to do with any specific meaning from ancient history and more to do with how they are perceived in a modern context. As much as we are all interested in art history, we are simply trying to create something relevant to modern day that hopefully resonates with and inspires our viewers.

Do you have a lucky number?

Come on……Four of course.

Don’t miss Recent Artifacts this Saturday at 7pm: 358 E. 2nd St, Los Angeles 90012

For your listening pleasure, enjoy the smooth, soulful stylings of LA’s own Tokimonsta. Relax as you fall into a magical zone where DJ Premier, Flying Lotus, Herbie Hancock and Billy Cobham hang out to smoke a J and take 5. Tokimonsta appears tonight at Low End Theory in Lincoln Heights: 2419 N Broadway, Los Angeles, CA. Tokimonsta’s EP Creature Dreams is out now– pick it up if you like music.

So, Tokimonsta, what’s your favorite taco?

Tacos Sinaloa in Torrance!

Photo credit: Shaun Bloodworth.

Vernon Courtland Johnson, or VCJ, is one of today’s most influential artists working in a commercial medium. His iconic designs for Powell Peralta have inspired thousands of other artists worldwide, and he routinely gets namechecked by street-art superstars like D*Face and Shepard Fairey. VCJ didn’t invent the idea of skateboard art, but he both defined it and set a standard that others have yet to match. VCJ is unique in today’s art scene, as his work is admired by an incredibly wide range of fans and other artists. Fine artists delight in his skill in freehand drawing, especially skulls. Street artists love the way he makes images iconic, and designs into globally recognizable characters. Commercial artists marvel at the precision and deceptive amount of detail he is able to work into every design. And those of us who are fans adore the power, humor, beauty, and intensity of his art– millions of us saved up our allowances to be able to buy a Powell Peralta deck with a VCJ design. TACO recently got the rare chance to ask Vernon a few questions… stay tuned after the interview for a mini gallery of high-res VC Johnson Powell-Peralta decks.

TACO: How did you get your start as an artist? When did you hook up with Powell Peralta?

VCJ: Born as a human with large brain and opposing digits, I learned to amuse myself with material found along the road on Campus Earth. Mud, rocks, sticks, water, paint, paper, metals, fire. I had an aptitude for art and other fixations from an early age. They let me play. George Powell married an older sister of mine and took interest in me as a late teenager looking for direction. When I was thirty, he noticed that I was floating along as a hippy who could work, so he hired me to help outfit a factory for mass production of skateboards. I was jazzed to have many creative projects every day and to master a production line towards market success.

TACO: Do you have a favorite of all the characters you’ve created? A favorite deck?

VCJ: No favorites stand out for me in my work. My skate poster series truly satisfied my appetite for mastery of composition, components and chiaroscuro.

George Powell and Vernon Courtland Johnson (right)

TACO: You’re an icon in many circles, but it seems that many street artists mention you as one of their primary influences. What do you think of street art and the way people re-use your iconic characters in their works?

VCJ: I am glad to be an inspiration to others in my time. I’ve been inspired by many artists and I’m sorry that I haven’t told them so. Some of them, like Escher, Eichenberg, and Rick Griffin, have passed on and I could have written to them, but I didn’t. I hope to do better with my praise of the living examples in the days to come. Street art looks to make the world a better place and to notify others of ones existence. I have such an interest myself and have placed sculptures in the ocean for the dolphins and divers to enjoy.

TACO: During the time when you were away from designing skateboard images, did you mainly focus on your sculpture? What can you tell us about your approach to sculpture and what you’re working on?

I took 20 years off in order to recover my health, to know myself and to develop an effective inner dialectic. The results have been very effective and assure me of long life. I spent time at the beach, in the ocean, and flew to Florida often , to swim with dolphins.

I developed my skill with applied kinesiology and mastered the ability to read the body’s systems, which I have used now for 20 years. I am used by many for my ability to scan systems for origins of disturbance and for restorative measures. My wife also reads systems with muscle testing, which facilitates her professional work with clients. We have published a workbook for those who take our course in Instantaneous Intelligence & The Mojo Philter. After setting this major piece of true-life-work in print and sealing it into a time capsule, I began to engage ferro-cement as a convenient sculptural medium. Layers of expanded metal are cut, manipulated into layered forms that will hold cement that gets pressed into the layers, finished and cured, then to be painted. Cheap, fast, durable, ferro-cement. I’m working on a Phoenix that rises up from a stand to 8′, to honor a community here that burned in the last big fire.

TACO: One of your decks is now in the Smithsonian, have you been to visit it? Where do you see your place in history?

VCJ: So, my work is represented in the Smithsonian now… I guess I can die happy. I heard that a wine label got into the Library of Congress a few years back. I’m warned about pride but feel the tingle. After all is said and done and we’re laid to rest, it’s funny what we get remembered for. You should read my “Lymerics for the Mystic Minded”, not out yet, but some of my best work in black and white.

TACO: What’s your favorite taco?

My favorite taco place is “Pinchy Tacos” in Watts. They don’t sell to the public, only to pinchy dudes like me who like the best. Don’t tell Hector and Lupe that I told you anything more specific, ‘cuz they’d 86 me.

Do you have a lucky number?

I’ve answered 7 questions … One for each chakra. I trust I’ve hit all bases. One last question and response. My favorite number. After a brief pause to consider, I shall offer “7″ and/or “6″….. “7-6″ This represents my enthusiasm for soul. To all Souls now extant on the physical plane I say, ” I wish for you all, the highest fulfillment.

Manifest Essence, V.C. Johnson

Vernon Courtland Johnson Gallery

Click on each image for a large version

Special thanks to Michael Furukawa and everyone at Powell Peralta for helping to arrange this interview.

We feel very lucky to have you working here in LA. What drew you to this city?
I guess for the most part it was the weather?

We came here on vacation about 4 or 5 years ago, and just fell in love
with The chaos that is Los Angeles….but i think the main reason why we
first decided to actually move over here was the year round amazing
weather! It just cant be beaten!

Do you have a favorite location that you’ve painted in Los Angeles?
As for walls that we have painted in LA, i think our favorite spot so far
would be a wall that we painted just a few weeks ago in Downtown LA with
the twins How and Nosm from New York.

The wall was on the side of the Neptune Building near the corner of 3rd
and Alamada. We painted the spot as part of the LA Freewalls project with
Jetset Graffiti.

It was about 5 stories tall and about 120 feet long, It was by far the
largest we have ever gone, and it felt really good to go so big!!

What’s your favorite taco?
We really like Machos Tacos in Los Feliz!! They are always on point!

What are your upcoming show or events or special projects?

At the moment we are just working on a body of work for our upcoming show at Thinkspace Gallery in culver City.

The show will be in August, so we are just working full time towards the show for the next 3 months!

What is the biggest artistic difference between DABS and MYLA?
Myla is definately more patient, and Dabs is a little more impulsive, which is great because you need to have both!

How about personality difference?
I’m not sure there really is any differences any more?
As the years go by we just become more and more like each other.
When we first met there was definitely differences between us, but as the
years have gone by we just keep becoming closer and closer to each other.

Do you have lucky numbers?
“29″ and “7″

All Images Copyright Julius Berman. Click for large versions.

Native Angeleño Julian Berman is the hottest young photographer working today, and has already had his work on the cover of Billboard magazine. His special connection to ODD FUTURE has opened the door, and he’s come charging through with portraits and other images that can’t be ignored. You’ll be hearing a lot about Julian in the coming years, so let’s get to know him a little bit…

Let’s start it off the TACO way– what’s your favorite taco?
Favorite taco spot? I’ve definitely got a few…. Benitos is always local and the rolled tacos are absolute perfection. King Taco is good if you want some authentic street tacos, and if I feel like getting a little funky, Albertos in Anaheim is always an option after a show at Chain Reaction or a long day at Disneyland.

How did you get into photography?
I got into it about three years ago… Eleventh Grade. To be honest I just took photography classes in High School, but never realized I’d tackle them and gain such interest so quickly. From there on, instantly hooked as I started to notice I was getting better and better.

Are you from LA? What inspires you about the city?
I am born and raised in Los Angeles, California. I’ve lived in the same house my entire life, and to be honest, could never imagine moving. Los Angeles as a city is very inspirational, showcasing so many different types of individuals, cultures, and lifestyles. So many different communities and places to explore, it’s pretty neat. Also, who doesn’t love a little bit of traffic, overpriced gas, and smog here and there…

What’s next for you and your art?
Next up for me and my art, definitely trying to expand my client base and work out cameras with different formats. Of course there are tons of projects with Tyler and the Odd Future dudes, but I am test driving some other projects out very soon. Gear wise, I just picked up a Mamiya 7, a 6×7 Medium Format rangefinder which will be an interesting aesthetic, and I am very excited to put that thing to use. As of right now though, just really shooting plenty of film, simply just documenting my day to day…

How did you hook up with the Odd Future crew?

I went to High School with Taco, and I believe I met Tyler through the Hypebeast forums about two years ago.

We would skateboard on the weekends or just plain hang out, but I would never have thought it would evolve into the friendship and bond we all currently have. It has definitely been a crazy ride, they have grown so much in the past six months, and I feel like they are definitely a contributing factor to all of my success as of late.

That Billboard magazine shot was dope. How did it feel to see it in print?
When I first heard of a potential shoot for Billboard, I was a bit overwhelmed. I definitely did not soak in the reality of how ridiculous of an opportunity this was. When the magazine finally came out, I was speechless. To see one of my photos on the cover of a MAJOR magazine like that is surreal. Until this day, whenever I take a peek at the cover as it lays on my desk, it still baffles me, like damn… I REALLY shot that! I would have never thought anything that major would ever happen in my photographic career.

It’s amazing if you think about it, both the photographer and the subjects of the piece are all so young. Why do you think really young people are able to make such an impact right now?
The youth is definitely making a huge difference in culture today. I feel that it is a lot easier for other kids to draw inspiration from somebody their own age, somebody they can relate to. The Odd Future dudes and myself, we are all still a bunch of kids, and regardless of what people stay, we all inspire each other, pushing for the absolute best. I fully back that.

What music are you listening too currently?
Music wise, been into a lot of current East Coast hardcore bands doing great things, Free Spirit, Disengage, Stick Together. Listening to a lot of old straightedge bands too such as Turning Point, Unity, Straight Ahead, Stop and Think. Also got some buddies down in the Inland Empire absolutely killing it in Soul Search and Minority Unit. The California hardcore scene is definitely making a comeback…

So are you in school right now? What are you studying?
I currently go to Santa Monica College, as a Business major. I was doing photography for a bit, but I could not fathom going to class for 5 hours at 8AM, and being forced to take multiple classes in which I have already mastered every concept, or just being forced to shoot lame ass assignments. I actually did really well in High School, but college on the other hand, I am not too fond of. I’ve realize it is something that I need to do, so at the moment I am pretty much just going with the flow. There are so many god damn people there though, that it is nearly impossible to get most classes though. Transfer wise, that is still all up in the air, but I’d love to stay in Los Angeles, and hopefully find a balance between school and shooting photos. We’ll have to see what happens…

What does straightedge mean to you? How did you first get involved with that lifestyle?
Lastly, the dreaded straightedge question ahahah. Simply put, I do not drink, and I do not do drugs. Never have, and never will. Straightedge is just the commitment to a drug and alcohol free lifestyle, though many people tangle up the meaning of it and get far too head over heels. A lot of the music I listen to backs the straightedge, and you can definitely tell lyrically. I was never that kid growing up, I remember ages ago, when everybody else was out partying or doing stupid shit, I was probably in my room watching Food Network, listening to music for hours, or out skateboarding. I never really got sucked into that realm, and especially now that I am far more grown up, I do not plan on it any time soon.

Got any shout outs?
Shout outs to my parents for always being there for me no matter what, my badass cat Rudy, Lucas, Carlos, Gio, Tony and the rest of the family at Diamond and all over Fairfax, Soul Search crew and all of my boys holding it down in the inland empire, Dertbag Phil, Julian and Stray Rats, all of my boys over on skateperception. Shoutout to everybody in Los Angeles shooting film and doing it right. Shoutout to everybody that steals my photos off of flickr, and to those who told me I’d never make it in photography, watch me sucka!!!

Julian Berman: Flickr | Tumblr | Twitter