ILLMATICAL

Down By Law

[illmatical]

Eminem and Bruce Lee: Jokes and Spaghetti

Let me show you how to take an average rapper and make him great: The American Rap God. If stay with me, I'll show you how an actor who avoided competition during the apex of American martial arts, was hailed and is still considered to be one of the greatest fighters that has ever lived: This is the Way of the Dragon.

I vaguely remember the first time I heard Eminem. I was in a record store in Decatur, sometime in 98, a clerk advised me to listen to a track. He handed me headphones, proud of himself while doing so, wearing a goofy facial expression that read: This shit is funny. 

I wasn't impressed. I remember having significant music listenings in that store; Eminem was not one of them. Don't get it twisted, I wasn't hating on him because of his complexion. Never accuse me of rap racism. I listen to white rappers when I enjoy their music. I jumped around with the Everlast, kept it real with Milkbone and was cool with Vanilla Ice.

My problem with Eminem, then and now: He's a mediocre rapper at best. I'm from Queens, I grew up listening to rap music during the golden era; was introduced to Nas, Jeru, Black Moon and Wu Tang in 93, raised in the culture that crack built. If I had to define him based on my first listening, in my rap dictionary it would say: Eminem - A gimmicky and corny rapper with a nauseating voice.

Years went by, and Eminem stuck around. He reminded me of basketball player Jason Williams. Back in the early 90s, Ahmad Rashad introduced him to me on NBA Inside Stuff. He was an average ball player, but every once and a while, he would pull a move, one that other black players did with regularity, a move that would make you think he was a melanated soul, birthed on soul samples. He was cute, the brothers adopted him and he was branded: White Chocolate. 

Eminem was the same. He wasn't a good rapper, but he threw a few good passes. Like the brother wearing the silly ass grin in the record shop, Eminem made people laugh. He kept on rapping, balling with the brothers. Then 8 Mile happened. That film, made rap acceptable and palatable to white America, it gave credibility to Eminem's story away from the camera; regardless of how bad he sounded: 

/jokes and jokes and jokes and jokes/

/spaghetti spaghetti spaghetti/

/eight mile/ 

Truthfully, Eminem has never been digested sonically by black America. He's tolerated. Don't get it twisted, when a caucasoid has skills; negroids love them unconditionally. 

His astronomical volume of sales, primarily purchased by white America, equated to greatness. Dollars followed Mr. 8 Mile and flowed freely to every rapper that did a song or signed with his label. Black rappers know: Eminem money is better than keep it real money.

Fifty can tell you this, Rakim sold his soul and even Talib placated. Let this writer say what no rapper will utter (save a hungry spitter from the URL and Lord Jamar): Eminem is very basic. If he were black, with that voice and cadence, he'd get no burn outside of Detroit; probably not there either.  

Borderline mediocre skills and assistance from the media can make anyone great, just like Bruce Lee. In Hong Kong, he was raised in front of the camera; as the story goes, the child actor started studying martial arts when he was in his teens. Bruce was an actor first; he adapted his martial skill to his foundational craft. 

Like other eighties babies I remember when channel five still rocked kung fu flicks at three o'clock on Saturday. Although I missed the Kato era, older gods, including relatives, spoon-fed stories of Bruce's greatness. Like everyone else in America, I digested. 

I grew up, built with warriors; attained consciousness. The golden era of martial arts in America was the mid 1960s to late 70s, tournaments every other week; on every coast. While combatants named: Vic Moore, Chuck Norris, Joe Hayes, Karriem ABdAllah, Louis Delgado, Superfoot Wallace, Joe Lewis (not the black guy), Steve Sanders and Mike Stone were competing in and winning tournaments, breaking bones and winning championships, getting Deeboed and constantly knocked the fuck out; the man who would become the greatest martial artist of all time, bled on film, did pushups on one finger and performed speed drills. 

The martial artists community was cool with Bruce, he became their ambassador, generating that Eminem money; that: You're really not the best but since you're making my pockets fat, I'll keep quiet money. 

They fought, he acted; dojos were filled, everyone profited. He bested champions Bob Wall and Chuck Norris on film; America got hooked on that Bruce Lee, 8 Mile rap, that: I saw it in a movie so it must be real type of flow. 

Unfortunately, the great actor passed. Fighters knew that the public loved Bruce and thought he was great, so in his absence, they lined up for the opportunity to proclaim their status as his pupil. They knew that: Bruce Lee was better than me money goes a lot further than that, I'm a legitimate fighter who has won championships type money. 

Despite this, there are some who want to talk about alleged Bruce Lee battles that took place away from the camera. Let me tell you something, although I'm a writer, I've scuffled: Got a concussion from a Jamaican boxer in Canarsie and almost killed him, punched in the face twice by a sister named Joyce while her friend sprayed me with mace, got jumped by some skinheads out in Park Slope, knuckled up a bouncer the night Mosley got robbed versus Cotto, had a trifling negro slice my finger and after some guys tried to jump me, I opened someone's face with metal.

After all of this, I've got visible scars on my hand and lips. Sit in front of a fighter or someone who has had their ass beat as many times as I have; you will see remnants of combat and faces deformed from battle. Bruce's handsome mug never had any visible wear and there weren't any noteworthy fights away from the camera. Square biz.

You can't blame Bruce. All he did was act. He never said he was the greatest, he let the media do that for him. You can't blame Em either. The black rappers sold out and let him proclaim his greatness; declaring rap divinity. 

Whose hot, whose not is subjective. Whose remembered as being the greatest of all time is based on opinion as well. Unless you happen to be right person, the ambassador for a genre, one who can bamboozle an entire generation and ones thereafter; for that you'll need jokes and spaghetti. 

[illmatical]

Is Blackface Humane?

Recently, one of my favorite writers, Gavin McInnes, penned an article asking: What's the Matter With Blackface?

Some might argue that you can't take the guy who made the viral video 'How to Fight A Baby' too seriously. 

However, aside from being the cofounder of the international media conglomerate Vice Magazine and one of the progenitors of modern day Hipster culture; he's proven to be one of American's most influential voices. 

The article needs to be addressed because it reflects the mentality of millions of Americans.

His rant was full of colorful comparisons and illustrations used to reinforce his reasoning.  I'm hoping that everyone who enjoyed his article and found it amusing, will spend the same effort reading my response and "use a clear and open mind before jumping to any conclusions."

I'm an African American male who doesn't subscribe to the European classification of myself and people as a color. However, for the sake of this causerie, I'll do so. 

Truthfully, Gavin asked the wrong question, he should have asked: Is Blackface humane?

You can't reduce blackface to fifteen points of an article. The enormity of blackface goes beyond the word 'slavery.' It's a mockery of millions of humans who, for a few centuries, were murdered, robbed, raped, tortured and mentally abused.

American blackface is emblematic of the African Holocaust and the Trans Atlantic slave trade. You trivialize this catastrophe by reducing it to the word 'slavery.'  According to Merriam-Webster's dictionary, slavery is "submission to a dominating influence." If that is the case, then slavery isn't over and America didn't "end it" as Gavin noted.  

Again, according to Merriam-Webster, a definition for the word holocaust is "a mass slaughter of people." Throughout human history, almost every great empire or civilization has used slave labor. There have been very few holocausts.

On a cultural level, whites will say that blackface was nothing more than a form of harmless entertainment. This amusement was at the expense of a people they previously subjugated. Blackface is about whites in America stealing music and culture; blues, rock, rap and continually profiting from a group of people that were already disenfranchised. 

Blackface is also a reflection of American white wickedness. White Americans have never been held accountable for their crimes against African Americans. Blackface is humor to whites. Blackface is the African Holocaust's punchline. It's a running joke because African Americans have never received humane treatment from a country they unwillingly assisted in creating. 

The financial ramifications of the African Holocaust are evident in America. In addition to stimulating and developing America's economy, the African Holocaust provided a means to create an infrastructure for America's financial development. So the South may have been scorched earth for a year or two, but they had the infrastructure set in place, both agricultural and industrial, that expedited their recovery. The African Holocaust was the enabler for America's financial growth, allowing it to be the superpower it currently is. 

For the sake of this article, let's say that I capture a young white woman, I torture her and brutally rape her for one year. During this 'brief enslavement,' she's impregnated and because of her religious background, she decides not to have an abortion. She manages to get free, has the baby and I go to prison. 

Twenty years afterwards, her child becomes a star basketball player, perhaps the best that ever lived. He purchases his mother a beautiful house and he has millions of dollars. 

If I'm alive and still in prison, couldn't I reason that raping the mother was beneficial for the child because he inherited my black DNA; enabling him to play basketball better? Shouldn't I be freed from prison and everyone just forget about what happened to the young woman since her son is alive and from my point of view - prospering? Come on, let's keep it real, I raped that bitch twenty years ago, he's rich and that horrible event obviously has no bearing on her or her son's psyche or well being. 

Gavin's article and the comments from its supporters indicates that Europeans in America, the people we call whites, they truthfully don't understand the effects of the African Holocaust. We can't just all get along because we still don't understand one another -- not even on a human level. 

He argued that there have been numerous mass murders and crimes committed against humanity, however, in America, for some strange reason, any jokes regarding the African and Jewish holocaust are taboo. He made mention of the millions of Chinese killed during the tenure of chairman Mao, but as an someone who is currently living in China, I can tell you that this is no laughing matter. 

There is no hilarity concerning the tragedy that took place on September 11th, 2001. However, in China a year ago, a group of foreigners (not American) thought it would be a good idea to have a 9/11 party. They dressed up like terrorists and playfully shot their American captives. What is funny and humorous is all about perspective. Where you are, who you are and your position in life.

As Gavin pointed out in a past article, regarding the foundation of American culture; the only way you can achieve manhood is by way of experience. The heartache and the beatings. That's how you learn. 

Similarly, as a fellow libertarian, I believe the only way whites in America will understand the effects of the African Holocaust is experiencing a similar calamity. Whites will have to be enslaved for a few centuries. After this happens, after millions of Africans and every other ethnic group on the planet has profited from their labor and whites are cut off from their American ancestry and reclassified with a word that has no reflection of themselves or their people; like the word 'ghoul.' Then, at the end of the Neo-American Holocaust and as the ghouls try to put their lives back together and formulate a culture; they're constantly hindered by their government and placed in a paradigm that offers them little hope financially or mentally, then hopefully some of my progeny will occasionally sport their ghoulskin face as a form of amusement and deride this already powerless group of people. 

Then perhaps, whites will understand what's wrong with blackface. No, it won't be humane, but it will definitely be funny. 

[illmatical]

Behind The Great Wall: When I Stopped Being Black

When I packed my bags for China; this brother armed himself with with Black Power.  Amidst the bundle, were books on Black contentiousness and Black culture. I thought I was empowering myself, but truthfully, I came to China, with Black rage and unbeknown to myself, the misunderstanding of the American Negro.

In the United States, Africans Americans have been classified as Negros, Blacks and more recently, some have abandoned their African ancestry all together, settling to identify themselves solely as 'American.' At one point in time, the race story in America, it was White and Black, Europeans and Africans, White masters and Black slaves, two stories, and thanks to the "One Drop Rule," any person with African blood or ancestry belonged to the Black race. 

These days, in America, there is a conflict with who or what is Black. The classification of Blackness, no longer applies specifically to African Americans. These days, in America, when it is convenient, perhaps for scholarships or to enter certain social circles, anyone can claim Blackness. For years, I've used Black and African American interchangeably. Over the last few years, in America, I've found myself in debates with members of various ethnic groups, discussing or qualify, who or what was Black; never who was African. 

Since I've arrived in Beijing, I've taken some time and reconsidered my Blackness.  Seeing other brown faces, brothers and sisters from Africa or of the diaspora; I'm reminded of my ancestry, but definitely belonging to a specific group. The Black classification has no bearing in China. A country that doesn't adhere to the tenants of White supremacy and its classification of races -- well not outright. 

For, African Americans, there has always been ambivalence regarding race categorization.  We're Americans, the co-founders of the country, involuntary immigrants, or that is what we've been told; but we've been cut off from our African ancestry and culture. We're descendants -- strike that, were ascendants of Africa although many Africans do not view us as kin.

One thing remains clear, whether African American, African, Afro Latino or Caribbean --  China provides an opportunity for many of us to escape White supremacy and colonialism. Africans living in China can define themselves and abandon the shackles of mental slavery; we no longer have to be Black. 

Although we have origins in different parts of the world, we have a similar struggle. We may not have taken the same route to get here; some came direct from the continent, surviving apartheid and colonialism, while others took a route through the African holocaust, via the Trans-Atlantic slave trade, forged in the Americas or the Caribbean; regardless, we're here.

Ironically, behind The Great Wall, in a communist country, the red flag with yellow stars might be a symbol for African emancipation. Perhaps it is time, to wake up; maybe it's time to start thinking and stop adhering to the classification of myself as a color.

Here in China; I can stop being Black and just be free. 

[illmatical]

HONG KONG: BLADE RUNNER CITY

"I've seen things you people wouldn't believe…" 

Those words were uttered prophetically by Rutger Hauer in the 1982 science fiction film, Blade Runner; based in the future during the year 2019. Director Ridley Scott, created a futuristic city, reliant on buildings, all of which were based on his exposure to The Pearl of the Orient. 

Hong Kong is known as Skyscraper City; it has more high-rises than any city in the world. Unlike New York City, which is neatly divided by rectangular blocks; the streets and buildings of Hong Kong have their own rhythm; singing their own song. There is no symmetry in building design; each architecture does its own dance, completely autonomous to neighboring structures. Collectively, creating a skyline of organized confusion; a beautiful architectural struggle.  

Hong Kong's aesthetics, surpass the film noir design of Blade Runner's fictional city with an attractive color palette. Buildings adorned in two tone colors; hot pink on one leg and sky blue on the other. Cream edifices have conversations with baby blue towers. The city's bedizenment; in the form of bright neon lights, penned in Chinese characters or English, with familiar brand names. 

Hong Kong, is a visual canvas, sketched by architecture and Feng Shui. Photographers and cinematographers bring this moving, modern canvas to life. The mountains of Hong Kong, they remain ever present, lurking behind Blade Runner City, reminding the viewer that a world does indeed lie beyond the architectural, man made masterpiece. 

Hong Kong is also known as "The City with No Ground." Tunnels and walkways above highways, link buildings and  interconnecting streets. Platforms guide pedestrians to their paths with more regularity than sidewalks. Hong Kong brakes the 2-D plane of conventional cities. An elevator will take you a pool on the 20th floor, in the middle of a skyscraper.The 100th floor of the International Commerce Centre, host a lounge and observation deck named Sky100, which provides a sensational view of Victoria Harbor. Although breathtaking, photographers may opt to avoid crowds and seek rooftops in Central or Kowloon. 

The citizens of Blade Runner City, their personalities and style reflect the urban environment in which they reside. The majority of people are Chinese and similar to the film there is a fusion of languages. Cantonese is mixed with English; creating a modern day Cityspeak. Every one is in a rush in this real life dystopia; it feels like you're a character in an ongoing film. The fashion and clothing are reflective of the tropical environment; loose and free flowing; all laced with a hint of Chinese culture. 

As a creator with working experience in the photography and design field; I can personally attest, that I have not seen anything like Hong Kong. I've lived in New York City, Beijing, Rio De Janeiro -- none of them compare from a visual perspective. 

Modern day Hong Kong is a visual that has surpassed Ridley Scott's cinematic masterpiece. Speaking of his performance in the film Blade Runner, actor Rutger Hauer said "30 Years ago, I saw the future…" He did, he was talking about Skyscraper City; he saw current Hong Kong. He saw Blade Runner City.

[illmatical]

LISTEN TO BRUCE LEROY

The streets have been calling for his story.  First it was Harlem, then NYC. All city. The network gave us burn in the 90s. All world. They were balling on the Internet, wondering where he'd been. They wanted him back. Some said sequel, a few others hollered remake. 

You see, my brother put a dent on the Jheri curl and Converse mix. Red glow has been on indefinite pause.  He puts his feet up in the Sho's row. He has the Kung Fu shit on lock and he ain't worried about no Black Toaist.

Still with Laura Charles. I never quite got over that. Mr. "I - would - like - meet - her" got a paint brush. She says he's a master. 

After all of this, glowing body, catching bullets in his mouth, this high yellow nigga still gets lost. The coolie moony kid knew that his story, was needed. He just didn't know how to tell it.  

I did the only thing a thorough dude like me would do. Like those old chop socky flicks, where the hero had to go through some excruciating trials to get some skills, I put my brother through the motions.

"Carry me on your back and rap!" I exclaimed. 

Being the chocolate-covered-yellow-peril that he can be at times, he was dumb founded. This nigga Leroy, he needed to search for some dumb guy, I mean Sun Dum Goy all over again.  

We didn't start our journey in Harlem, but on the left coast. Tacoma, then L.A. and back to Tacoma again. A necessary quest for supreme wisdom, the forgotten lessons from 1985. Being the spotrusher that I am, I thought I'd lay it down for you. Line for line, line for line, this is how we get down.

My brother started out on some "What it smell like/ What it is/ What it look like/ Yeah baby/ Do it/ What it be like/ …and that shit sounded terrible. It took some time, but he put that broken language together. Lyrically, he was spellbound. In 2012, my brother decided to tell the world his name. He got that 7th Heaven flow. 

Darnel Hill, the Tacoma based rapper, who previously went by DH, didn't realize he had the glow. It wasn't until after an arduous journey, searching for the wisest man in the universe, that he realized who he was. After releasing the EPs BLACK EVERYDAY and TO THE DEATH years earlier, BRUCE LEROY decided to shine with the eponymous LP entitled LEROY, in 2012.

He kept it real with me, his journey was 99 Problems and then some. Bruce Leroy said "Oh yeah man, It's like, when you're doing something, everybody is there to support you. When you're trying to do something, people are there for you, but once you actually need the support, they fall off. People have that crab in a bucket mentality. Once you're almost to the top, it's their instincts to pull you down. It comes with the territory of being an artist." 

Bruce Leroy ain't never lie.

Them maps on Google will say that he is a West Coast rapper, but my brother does the knowledge to artists across the country. His influences include Ice Cube, Bone Thugs N Harmony, Wu Tang, Outkast, Redman, Cannibus, Brother Lynch, Spice 1 and Mac Dre. 

The contrasting styles are evident on the 13 track LP.  On HIGHS & LOWS, you'll hear a rapid flow, paying homage to a PO PIMP from DO or DIE. "Belo, he has one of my favorite rap voices" explained Bruce Leroy. 

Whether it's the motivational WAKE UP, the chillaxed BACK TO THE INDICA, the menacing ONCE UPON A TIME or the heart crushing NO LOVE, he continues to show-n-prove. Bruce Leroy has bars y'all. 

On the track LEROY, our superhero goes half man, half amazin. He said Hip hop ain't dead and it has a superhero. "When you listen to that song LEROY, that song is actually it is a reflection of my personality, it is kind of funny, I got some bars in there, I tried to make sure nobody can put me in a bottle" says Bruce Leroy.

Ironically, an entire song devoted to our favorite film, isn't on any of his albums. He vacillates from good to bad guy and superhero to villain on 100 BARS OF DEATH.

Bruce Leroy explained how it came to be, saying "I never put the track on an album, because I was in L.A. getting that Hollywood run around for a long time, when I was out there. Somebody sent me the beat, and I was like, this sounds like some old Blaxploitation joint, kung fu shit. I didn't know it was going to come out to be 100 bars. I was trying to do The Last Dragon and capture that movie."

Line for Line, with 100 Bars of Death, this is how Bruce Leroy gets down. 

"I'm the baddest mofo down/ Around this town"

"It's The Last Dragon nigga/ So bounce and bow down"

"No ninja mask/ Just a sword and a hoodie/ I'm in it for the cash not chasing a fortune cookie"

"Ladies love me long time/ Cuz of my yellow glowing/"

"You can't get warm with the wool of a sheep/ Or the trigger nigga/ I be catching bullets with my teeth"

"I'm conceited/ But I've been romantically linked to Vanity"

"I'm on point/ I eat my popcorn with chopsticks"

"You don't want no problems/ Don't believe me nigga/ Go ask the Shogun of Harlem"

"This ain't Daniel son/ Nigga it's Bruce the truth"

My brother's determination and mental toughness, he put them together catching bullets on the streets of Tacoma. Back in the days, son was known as CHILL OUT LEROY. "I grew up fighting, doing a bunch of things I should not have been doing. I feel like now days, people they hang out with are not from the streets and that is not a bad thing. Everybody don't have to be from the streets. When you get into an altercation, everybody wants to get tough and buck, that is the difference between the soft cats and the cats who have really been there. When you really get into those altercations, they don't know what to do. They want to talk it out, they think that you're gonna find some paperwork. Nah, it don't work like that bro! Once we get to fisticuffs, It's a wrap hommie! We gonna square up and I don't mind squaring up! That's always been my problem. I've always been ready to fight, but I'm growing out of that mentality" said Bruce Leroy. 

From DH, to CHILL OUT LEROY, to a name that was just right.  He looked inside of himself, and a film he related to. 

"I'm an 80s baby, and I loved the movie when I was young. Me being the light skinned cat, everybody wanted to try me all of the time. I live in Tacoma, we rank like number 21 in the United States on violent crimes. People can't really point this city out on a map. It's a hard body spot. People assume, you're gonna be light weight or soft or something. I've been tested. When I look at Bruce Leroy from the movie, he was a cornball light skin dude walking around with a Karate gi, and nobody thought he was anything special. But he'll whoop your ass! That is where I got it from. He was a little pretty dude. You wouldn't be intimidated by him at first" said Bruce Leroy.

For my brother, writing isn't an option. He doesn't care who's listening. Whether you like it or not, his pen hits the pad, he couldn't live any other way.  

"I try to put my energy, whether it be positive or negative into my music. It's my outlet. A lot of people, they do music because it is cool... it sounds really simple. I do it because it's what I have to do. I'm a writer, when I'm stressed out, when I'm happy, when I'm in a good mood, I want to write something. It just so happens that somebody enjoys it" explained Bruce Leroy.

At first, no one was feeling the appellation. None of his friends. Not even the dead homiez. He realized that his music would name him king.  

"I got some of my friends who come and say 'I hate your rap name!' I got some people, that get it. But I have had people come up to me and say that I should change my rap name. I ask people all of the time, what is a Little Flip? What is a Bun B? What makes that name cool? It's you, you make that name cool! Once you get your music out and it is popping, anything is going to be cool!" said Bruce Leroy. 

He sees the metaphorical messages, encouraging the master within, in what many categorize as a cheesy Blaxploitation film. "Especially the Sun Dum Goy part. He's searching all this time, he's looking around… You think there nothing to be learned. You just learned something by chasing the bullshit. He's running around chasing this bogus theory, this guy, and he pretty much, it was him the whole time. At the end of the day, he was more important that that anyway" said Bruce Leroy.

My brother got his mind right. It took some time, but my brother don't carry me on his back no more. He's been through the chambers. He's bodied 100 lyrical Mr. Nuffs. On the mic, Laura asks him for moves. The only rapper to rewrite history without a pen ain't better than Bruce Leroy, the master with inception, he writes rhymes in his dreams. 

Bruce Leroy came back. Like ya'll wanted, but not how you expected. 

My brother put himself through the motions. You see, chasing that Sun Dum Goy, we fail to realize the master within, we chase the bullshit. We give our power away. It's safer to live through others. 

Y'all been out here on the nets, begging for my brother to come back. You want to see him in sequels, you want to see him in remakes. All that time, failing to hear the message he bought to you in 85.  

Whether it is our favorite film or an and independent rap album, we feel more comfortable having Bruce Leroy take that journey for us. Right about now, ya'll hearing your names of the illest shit I ever wrote. 

When you decide to take your journey, when you decide to look within, you'll hear a reoccurring message. 

What I've been trying to tell ya'll all along. 

It's what Darnell Hill heard when he set of for city of angels. What Louis Venosta told me in Times Square years ago. The same message Willie Hutch gave you, at the exact place he told you you'd find it. Around the same time Craig Sutton broke down The Wisdom of The Last Dragon.

Listen to Bruce Leroy.

[illmatical]

Kendrick Lamar Robs With Control

The Kendrick verse, it's a strategic move, he's put the industry in check. If he called you out and you don't respond, you're weak. If he didn't call you out, and you decide to respond like Ortiz, you're only helping his verse get more notoriety. I can't remember the last time rappers had their panties in a bunch, collectively bitching. Actually I can, back when 50 still had bars, and he taught us ‪#‎howtorob‬ ‪#‎kendrick‬ ‪#‎control‬

[illmatical]

Kevin Eastman Interview (Teenage Mutant Ninja Turtles)

ILLMATICAL: Kevin, thanks for taking the time. I guess I want to jump right in and ask what is going on with TMNT? There were some stories floating around about Michael Bay and a "turtles from space" story. Does it hurt to see a project like TMNT, something that started with such pure intentions, blossoming beyond your creative control? 

EASTMAN: *Honestly, I'm glad you got right to the point! Seriously! Here's the thing with the new film, I've seen a few different drafts of the new film script, and the latest version is one of the best TMNT stories I have ever read--I can't wait to see what they do with the final film--and I'm excited to have a small roll, basic consulting with the team (who have it well in hand) and doing some art/designs for it--whether they use any of them or not, I'm having a blast. 

Here's my thing with the Turtles, and comic book characters that have survived not only as comic over MANY years, but now live, thrive, and continue to dominate in all kinds of trans-media these days--after decades of re-invention. Over the TMNT's 30 year history, I have been either actively involved with, or have seen more then 300 cartoon shows, four movies, a live action series with a female turtle that I developed with Fox Kids (the main story was around a fifth Turtle named Kirby that they changed from male to female in the 11th hour to Venus), and countless Archie and Mirage Studios, and Image, and now IDW TMNT comics--and I'll tell you--if you have seen them all, you know some were good, some were really good, some of them just plain sucked--but the point is, re-invention, re-launch, and re-birth with a wide variety of creative teams is very basis of the industry we grew up in, and it is more actively changing now more than ever--and all of is is BASED ON all the work that has come before...

Artists and writers replacing other artists and writers on comic book titles has been going on since Superman number one--some were better than others, and here we are seventy years later and it is still going on. As a specific, I was a huge fan of Daredevil--(loved the Gene Colan issues)--and remember when they brought in this new kid on issue 158 named Frank Miller--a marginal title in sales at the most then, but suddenly ten to fifteen issues later--it becomes one of their best selling title--and man, what an awesome ride he took us on--standing on the shoulders of giants, he took the ball further down the field and so much more. But I also remember when he left DD, did Ronin, then came back, then left and did Batman..etc. 

My main point here is, Peter and I only "really" worked on sixteen TMNT books together (issues 1 to 11 and the four one shots) in the early days, but we "managed" the characters we created through countless versions and re-launches, before I "chose to" sell my interest in them to Peter, and he the "chose to" sell all of the interest in them to Viacom--and now, as a work for hire, I "chose to" come back and work on them--and am having the BEST time ever! Going back to work on the TMNT's has not only reminded me how much fun they are (I have not done a TMNT comic since 1996 before going to work on the IDW series a year ago) and how much I LOVE drawing comics. 

You see, these are all personal choices I have been "lucky" enough to be able to even make. I have the best fans in the world, I have the best job in the world, I am having the best time ever. I might look at a version of the TMNT's I like less than another--and there are others that I say, "That's not what I would have done with it, but that is pretty cool!" We did stuff in the new IDW series I thought fans would lose their mind over and we heard nothing, the new (and VERY awesome) TV series has a different take than the IDW comic, and the film has a different take than the comic and the TV series--all of this by the way, is exactly what we did in the early days--from the black and white comic, to the animated series to the film--all slightly different versions than the other--but all based on the same core property.  

I can't wait for all the coming versions, and whether I am part of them or not, there is nothing I would ever be bitter about, or angry over--I did what I did, and made the choices I made--pretty freaking cool if you ask me--and apparently you have!   

ILLMATICAL: You have an intriguing story. A compelling journey which started out with your love for comics. 

How important are comic book stores for not just comic culture, but American culture as well? 

EASTMAN: *For me it is hard to imagine a world without them--it has been such an important part of my life, so I do hope it is something that can be passed on and carry on, but things are different now--technology had changed that and will continue to. I take my kids to the comic store with me a couple times a month, I buy comics to read, they kind of look at them, but there are so many, they really can't decide where to jump in yet--and right now they like toys more (they are six and eleven). I think they will be around for a long time to come yet, but I think will evolve more and more into more "Pop Media/Trans-Media" that will need to carry toys, games, and related merchandise to maintain a successful business.   

ILLMATICAL: Although your art was illustration, the lessons you learned along the way can assist any artist or individual who has an inner passion and vision. Based on what I've ready, you had very little creative support from your family. What motivated you? 

EASTMAN: The lack of support I think I got from my family was more of a "you'll never be able to make a living doing comics and we don't want you you living at home all your life, so choose another career" concept than anything else! I like to use the term "I stand on the shoulders of Giants" in recent years, as like with a lot of other "artistic" mediums, sculpting, painting, music, theater even--all those that have come before, inspire us to do what we do--and sometimes, for a long time, we're not even sure why--it is like it is already inside of us. From just about the first time I read a comic I decided that that is what I wanted to do for the rest of my life--and I feel like, even more so having 20/20 hindsight, I am one of the few lucky ones to have achieved that.   

ILLMATICAL: I read a letter, written in one of your older comics, written by Ralph Dibernardo. He said that your work would never be repeated. With the advent of technology, there are more independent comics than ever. What are the ingredients that the next Eastman and Laird need to have in order to be "successful" in the comic and creative world. 

EASTMAN: Timing mostly. When we started the market place, whether it was the state of "non-returnable direct distribution" in the comics industry, the lack of other competing distractions--games, computers, etc., or comic readers were ready for something that was a bizarre as a comic titled, "Teenage Mutant Ninja Turtles"--an idea that heavily "borrowed" from all the most popular themes in comics at that time that allowed it to work--but most of all, we just landed in the market at exactly the right time. There were dozens of ideas out in the market at that time, probably a lot more, ideas that were better written, better drawn, better everything--but for some reason, when ours landed it clicked--the right place at the right time--like winning the lottery. 

BUT, what I do think helped from day one, and throughout the entire TMNT history, was the idea's and what we did with them really came from the heart, and purity of "We just wanted to draw comics--and we got the chance, we drew comics that we personally would like to read" and I think that came through to the fans in many ways, and many versions. We never started out by saying, "Let's think up the next big kids property" we started out doing something we loved doing, and stuck to our guns--good, bad, or ugly--but in our case, it worked, it resonated, here we are still talking Turtles 30 years after the first drawing was done. 

My advice; "Draw and work hard, keep true to yourself and the things you like--and never forget the giants that inspired you along the way--there is a reason they inspired you to do what you do--embrace it, study it hard, learn from it--they were once just like you--looking for their place in the world."  

ILLMATICAL: From what I read, you and Laird became acquainted through a professional referral. How important is networking for a comic book illustrator/writer or person trying to break into the business?

EASTMAN: More or less a series of happy accidents and a referral, and yes you should network. I moved to the Springfield, Massachusetts area in the early 80's and one day found a local cartoon magazine on a bus, and decided to go over and try to sell some of my cartoons to them--they didn't want them, but suggested I meet this other local guy, Peter Laird, who, as they put it, "Drew the same kind of Comicbook stuff I did." So I wrote Pete a letter and asked if he wanted to hang out and talk about comics because I was new to the area--he said yes, and a short time later we joined forces to start our own little studio to try to sell our idea together--and it was in sharing that studio is where we came up with the TMNT's together. 

Once we did the early comics and started going to signings and conventions, we got to meet a lot of other artists and writers, and creators--and after the shows ended, we'd all end up in some local bar talking everything from tools we used, comics we liked or didn't like, and places to find work--and who pays or doesn't. Most of those folks I met in the early days I still know and speak with today--we network, and find work together, or help each other find work.  

ILLMATICAL: Your story sounds similar to that of George Lucas. I hope you don't mind the comparison, but Lucas had a vision and from that, an entire universe was created. He wanted to avoid the larger filming companies and eventually became a entity himself. You had a similar vision with your publish company Tundra. You wanted to help creators publish work which could not find a home elsewhere. Has it been difficult to balance the creative - slash - business work load? 

EASTMAN: First, I take that as a huge compliment, thank you, but I think he was more driven and had a much bigger picture in mind from his beginning than we did--and in fact, he was a huge inspiration to us--he was the main reason we took the TMNT's into space in books, #4, #5, #6, and #7--we wanted to include some of our massive Star Wars influences in the TMNT story. I feel like we fell into our success more than his, as difficult as it was for him, he seems to have always had a bigger universe sized vision from the beginning--we borrowed more heavily from our inspirations and pieced it together as we went along. 

Once we became successful, we follow-up a lot of licensing and merchandising paths he did, and much like when he did, after people saw he was making to much money from his creations, they tried to change the industry so the corporations could steal/control more of the IP rights. With the TMNT's, no one ever thought it would do the business it did in the early days, so we got away with a lot, and once they saw it work for us, they changed it, so there could never be another property taken through the system, with the controls we enjoyed. That is how we "both" changed part of the systems we succeeded in, from greed. 

Tundra was a dream, designed like the Beatles "Apple Records" dream--and I tried to design it no to end the same way, but it did--I simply ran out of money to fund it--the same with the Words and Pictures Museum--I ran out of money to keep funding them and still be able to support my family. No regrets, and if I won the lottery I would do it again--I would do it differently, but I WOULD do both again, with the same intent--to celebrate the medium of "Comics" as art, and a business to protect the creators rights that work in this medium. Period.  

ILLMATICAL: Are there any stories within the film, gaming or cinema culture that has interested you over the last few years? 

EASTMAN: All of them. I love pop culture, past present and future and consume as much as time allows--which is why I have piles of stuff around my studio I can't wait to "Get To" and I will one day. I still spend most of my time in and around comics, I still own and edit Heavy Metal--so the interactions with the artists are some of my favorite--but at the same time suffers because I'm still trying to be an artist too! Never enough time in the day. These days I spend as much time as I can on Deviant Art, and hope to spend even more in the future. It is the coolest place to meet, greet, and hang out, and show all the latest and greatest successes and failures to your peers/artists/fans/friends. other than that, I don't have time to play many games, but I watch as many films in the studio (while working) as long as it doesn't become to distracting. 

ILLMATICAL: You're crazy busy. Do you ever have a moment of reflection and think back to first meeting Laird, pitching characters back and forth, thinking about the first turtles sketch and what would have happened had you not taken the initiative to contact him?

EASTMAN: I think of meeting and working with Peter often. It was a series of "accidents" that were so weird and specific, that allowed us to meet, create the TMNT's and work together--you could almost call is destiny. Sounds corny, but it is 100% true. Sometimes I feel like we were ment to meet, ment to create the TMNT's, etc., etc., etc--but I also think there are lots of examples of "exceptional" creative teams meeting by accident, causing an earthquake and moving on, in all kinds of situations--from Kirby and Lee to Martin and Lewis--but mine was meeting Peter, and the early days were the best. There was no cost to messing up anything, we had nothing to lose, and the landscape was blank--we could do what every we wanted--and we did. We were brothers in arms, troops in the trenches, we didn't always see eye to eye but we worked it out--we created, built, owned and controlled an empire that came from two goofballs sitting in an living-room/art-studio joking around. 

I often think I look at the past with rose colored glasses, and hind-sight is always 20/20--but it has been an awesome thirty year adventure--and if I had one personal regret, I think I would have tried a little harder to keep the band together, instead of rushing out there to be on my own after nearly fifteen years of working with Peter--I think that was a little short sighted on my part.     

ILLMATICAL: Your story, from what I've been able to put together online, is reminiscent to Harvey Pekar's AMERICAN SPLENDOR. You ever think about putting together an auto-biography?

EASTMAN: I think there are a lot of really great biographies within the short history of comics in America, Harvey's was awesome and heartbreaking--so was Wally Woods, Frazetta, and Kirby--Eisner and Stan Lee--I think I'm still pretty young, I've only been in the comic business for 30 years, with much more to say and do (I hope)--but one day it will make an interesting story--the TMNT's have left their mark on the industry--like those that inspired them, or the creators that suffered and fought to change the industry so we could own and control our characters--and benefit from our characters/creations success--I would love to find a format to tell all their stories--to me, everyone of them are equally important in there own way. 

I did a book about ten years back called "Kevin Eastman's TMNT Artobiography" which mainly covered some of my earliest influences, and a lot of the behind the scenes of the early TMNT--character designs, layouts, notes, paintings, etc., which was a blast--maybe someday I'll expand it--but for now, we just released it as a digital version (at www.heavymetal.com) and we'll see where I end up in a few years, and revisit the idea.  

ILLMATICAL: Speaking to the next story teller, the next indy creator who has a similar story or greater. What advice could you give for the time when things aren't working out?

EASTMAN: Man, when things aren't working out it is tough to keep a perspective--especially one that is upbeat and positive--and we're here for such a short time on the planet--I guess I would try to tell them to always be true to yourself, don't give up the dream, and work hard--but I would also tell them doing all of that doesn'tguarantee you'll be a success, rich, or any of that--there are loads and loads and loads of people far better at what I do for a living than I do, and they haven't been as lucky as I have been--even I, as lucky as I have been, haven't been as happy as I should've been--and half the time, for all the wrong reasons. 

For creative people, specifically in my kind of business: "Be inspired by the things that made you want to create in the first place, and go there as often as you can--that will always be your happiest place, and the place to get you up and working again--pushing harder, when everything sucks is the worst--so going back, will sometimes help us press on when everything seems like a total loss." 

It may sound lame, but for everyone, at the end of the day: "Try to be positive, try to be happy, hug the people you love a lot, work hard, help others--the small things really do matter." 

[illmatical]

Goodbye Rap, Life Was Good (R.I.P. Illmatic Flow)

I haven't written in a while. Nothing I'd want to publish anyways. The last few months, have been filled with longs days of hustle and evenings with an exotic strand of haze. As a creator, there is a certain amount of emotion infused within my work. I create based on what I feel. Earlier this year, spring turned into summer and briefly, life was good. My creative mind was flowing, I wrote articles and stored them in my mental. I had tracks ready to hit the pad. Then, it became a cruel summer. I couldn't write anything. 

Learning that Nas had possibly used a ghostwriter was devastating. Although he had been removed from the very top of my list of favorite MC's, I still had him lingering and ranked around four or five. All the while, believing that he belonged in the number one spot, if only he'd create something that was reminiscent of his prior form. Something Illmatic. 

I've dealt with the Nas mediocrity for years. When I moved to Brooklyn in 05, I'd frequently have debates with my girlfriends. Illmatic was my ace. I could play that card in any discussion on Rap. They would say "Jay-Z, Jay-Z, Jay-Z…" I'd respond by saying "Illmatic." 

I'd usually win. 

Truthfully, I knew that most of Nas's albums weren't great or even good. They were decent albums with him briefly showing his Illmatic form. Like every Nas fan, or if I dare to admit, stan, I was waiting for him to come back. 

It's kind of like the last few years when Mike Tyson was still in boxing. He wasn't his former self, but you paid the pay per view dollars to see him almost look like he did back then. And for a few seconds during the fight he did. The power and speed were there. Then, Iron Mike, messiah type, would dip on you, and you'd be left with lazy ass Mike Tyson, who didn't train. You'd come into the reality that he was not going to be champion again. No more first round knock outs. No more Illmatic. 

I could deal with the mediocre albums, because there would always be two or three decent tracks, the almost Illmatic flow on those songs, would make me forget about how bad the latest album was.

I come from a different era. 

There was a time, when anything Nas spat on was sacred. It was pure. It was poetry. As a Nas fan, you defended him constantly. You knew that he would come back to form and eventually, he'd get in shape, train hard and knock niggas the fuck out. But it didn't happen. 

What happened is that he went to Def Jam. He went on stage with Jay-Z and for those in the Hip-Hop community, the stans, living in their mom's basement, occasionally dreaming that we dropped bars like him, It was unacceptable and he was a disappointment. You realized that the good fight was over. Everyone stopped caring. Even The Roots caught jungle fever. 

As someone who writes, I can say that being accused of having a ghostwriter is career ending. If you enter journalism of any kind, you'll learn that your 'Word is Bond' and if you lie at any time in relation to your written work, you're finished. 

dream hampton is a writer who became a journalist. Before I write, I visit her page. Homegirl has bars. In Hip-Hop journalism she had to. When you're writing about some of the greatest poets and interesting entertainers, your reportage has to be more dynamic then their music. Her creative non-fiction is Rap music. Some of her articles have 5 mics. She has an Illmatical flow. She is an educated, around the way girl who'll be ivy league in one verse and in the next line, lyrically slash you. You fucks with her because she is the truth and her 'Word is Bond.'

dream hampton's tweet had more impact than any battle rap song. She 'Ethered' Nas. She exposed him and more importantly, she hinted that his latest effort, LIFE IS GOOD, which had him return to the Illmatic form, may include lyrical work that was written by someone else. How else could he suddenly return to 5 mic status? She told the truth and she was ostracized by the Hip-Hop community. When you break down the bars on QUEENS GET THE MONEY, you realize instantly that it has an Electronica flow. 

Don't get it twisted, I don't want to kiss homeboy or nothing, but as a man, you get this weird feeling. There is a connection. The same you have with the boxer you've followed through the amateurs. His wins are your wins. You told all your boys about him first, so when he finally wins the belt, you share the victory. When he gets knocked out, there is a pain inside of you. Seeing something that was so beautiful, be destroyed. It hurts a man's soul. 

As a creator, as a fan, dare I say again, someone who was a Nas stan, you don't get over this type of news. A Facebook friend summed it up saying "I'm tired of defending Nas." I agree. 

Nas was suppose to be our champion. Our warrior of light. He represented truth in Rap music and, in terms of urban tribalism, he helped the borough hold its head high. REPRESENT! REPRESENT! However, this latest treachery, this deceit is unforgivable. 

Ironically, the same week I found out about the ghostwriting, I stumbled onto Kool Keith's video 'Goodbye Rap.' The veteran had voiced his disgust with Rap music and announced that he was leaving the Hip-Hop game. During the same week, dream hampton had tweeted that she was walking away from Hip-Hop journalism, because of the lying which was created to cover up the ghostwriting tragedy. Truthfully I've made up my mind to do the same. 

I can't trust Nas anymore. I want to listen to his tracks, but I'm silently wondering who wrote the lyrics.  I'm no longer a Nas fan. Definitely not a stan. Queen's greatest son turned his back on us and the Hip-Hop community that loved him. Truthfully, what can you expect? These entertainers are human. "This ain't the Truman show, it's the human show" and people are selfish, greedy and sometimes devilish. 

But I have to move on. Time for me to make my own music. Rap music and Hip-Hop has run its course for me. I lived through crack and saw Hip-Hop develop before my eyes. I remember working at Macy's, located in Green Acres mall back in the mid 90s. Nas walked passed me while I was folding pants in the Tommy Hill section. He stared me down and I was motionless. Truthfully, I could not breath. 

That was then. Life was good. The music was pure. Not as corporate and none of us knew that Rap music would be where it is today. All I can do is enjoy my catalog of good Rap music. I'll stay digging in the crates. The new crop of Rap, the 'Plastic World,' which exists within Hop-Hop makes me sick. I'm afraid of the direction it is going. 

I'm going to follow Kool Keith and dream hampton and throw a deuce to the current state of Rap music. I'm definitely throwing a deuce to the MC, I had considered myself a fan of and dare I say, a stan. The man who was suppose to the borough's pride revealed himself to be our greatest lie. 

Shit was deep for a minute, but I'm over it. I'm ready to spit my own verses and get into the studio and make my own music. No ghostwriters. I'll remember Nas when he was Illmatic. Watching him on Video Music Box, battling Biggie, better than Method Man and more poetic than Jay. 

Hip-Hop is dead and so is the Illmatic flow.

Goodbye Rap. Life was good.

[illmatical]

FAITHLESS CITY

Written by Clarke Illmatical

The writing is on the wall. The 5PTZ graffiti art space which is located in Queens, New York is facing its end. The walls of the warehouse — turned art space may come down, making room for high rise condominiums.

Back in 1992, when the building owner Jerry Wolkoff had the faith of graffiti, he allowed the warehouse to be turned into the Phun Phactory. Aerosol artists could legally hone their skills and in a sense — get up. Jerry kept the faith and in 2002, MERES stepped in and became the administrator. The warehouse became the 5PTZ: The Institute of Higher Burning.

Jerry lost his faith in 2009, when a resident artist who rented a studio was injured in a stairway collapse. That accident initiated a number of building code violations and prompted Jerry to rethink the building’s future.

For the sake of this article, for those of you with the faith, aerosol art is identified as graffiti and the artist are writers.

The building’s multicolored canvas is a break from the mundane place that New York City has become. “How many places in New York can you go, where you’re guaranteed to see someone spraying on any given day?” asks MERES.

“This building is important. It’s more than just graffiti” explains MERES. Before trains were graffiti proof — before Jeru got loose –  the writers bench at 149th street in the Bronx, was the most important location for writers in New York City. There, artist would receive critique from other writers and watch incoming trains to see who was up. For those with faith in graffiti, that was the ritual.

Post clean train campaign, the 5PTZ has become a central meeting point for writers in New York City. “I got the old school generation that comes, we got the new school writers that come — the old school writers can tell their tales to the younger ones and vice versa” says MERES.  The 5PTZ is essential for the younger generation of writers who need to properly learn the art of getting over.

CHIEF69, the watch the throne writer, spoke on the importance of learning at the 5PTZ saying “I’ve gone there and the older writers, if they see someone like myself who has potential, they’ll show me techniques or something or they’ll give me that simple good conversation.”

COPE2 a king who destroys, the writer who went all city, then all world, spoke on the importance of the points of the location saying “It’s important in general because it gives graffiti writers a place to express themselves. Especially writers and artist that come from all over the world. It’s grown to a point, over the years — it’s pretty iconic. When I travel, a lot of writers ask me about that place and how when they come to New York, they want to paint at 5PTZ. So it got big. It got to a point it’s almost like a hall of fame. So it’s very important for the graffiti writers around the world and New York in general.”

Although graffiti didn’t originate in New York City, it blossomed on the trains and for that reason, New York City is considered graffiti’s mecca. Writers from all over the world have made their Hajj and put their work up at the 5PTZ. When walking the perimeter of the building, when examining the masterpieces, you’ll see signatures from countries such as Japan, Mexico, Italy, Brazil and Paris. “When writers come from overseas, there’s like three things they want to do. They want to hit a train, they want to hit the 5PTZ and they want to go to some Hip Hop events” said CHIEF69.

As I accompanied MERES on his routine walk around the building, he spoke on how the 5PTZ was a place where Hip Hop was living, saying “This place, we’ll rhyme in the summer. I’ll throw some instrumentals on and we’ll get it poppin — just start spittin. There are times when we will freestyle and some cat will come in… We all just start cyphering together. ” Whether the cyphers are focused on rhymes, graffiti or breaking, the 5PTZ has been a location where Hip Hop knowledge was transferred.

The possible changes at the 5PTZ speak on the new landscape of New York City. With the changes, the new generation of individuals who migrate to the city, those who contribute to gentrification don’t know the history of the neighborhoods they’re living in. “Things are going to evolve, but what sucks is that people don’t know the history and they’re losing the history… For you to loose contact with the origins, It’s horrible” said MERES.

MERES also reflected on his youth, and the positive things the graffiti lifestyle gave him saying “I did a lot of shit when I was younger — I could have done time. Graffiti was the outlet I chose and over all I’m glad. I have friends who are doing time for shooting or drugs and this [graffiti] gave me a means to stay out of that.” While working at the 5PTZ, MERES has seen a generation of writers and the influence saying “It’s about saving a few kids. That’s the magic of this place, 5PTZ has been here so long, I’m seeing kids grow.” MERES fully understood the importance of the 5PTZ when a writer named DRIP was killed in a car accident, and his mother choose to commemorate his memory with a ceremony at the 5PTZ. “That was one of the most dramatic things I’ve ever seen. Made me realize more than ever what impact this has on people and that shit is serious” said MERES.

More than anything else, the 5PTZ provided writers a location where they had an outlet. JESUSSAVES, the veteran tagger who became a street disciple spoke on the importance of the 5PTZ saying “Its not fair, because now we won’t have any permission walls to do. 5PTZ was the only spot we had to paint. I pray to God they open up another spot and we can paint legally. If not, people will get tempted to do something else. This is the reason why there’s a lot of vandalism going on. Police, they’re making a bid deal out of it. People will have no choice but to go out and vandalize. Because it’s in them.”

Many would be politicians and individuals in law enforcement may be glad to hear about the impending end of the graffiti hub. They may feel as though they’re stifling the art form, but the clean train campaign should have been a lesson about the evolving culture. “If they took it away, it wont do anything.  That’s the thing about the art, the culture in general, it’s an art that will breed on. They’re always going to find another place, another spot to paint. There is always going to be  places to paint. Just like when the subway trains died people thought it was over. Graffiti went on, to highways rooftops and walls” said COPE2. The demise of the 5PTZ may have reverse ramifications and force writers back on the streets, or spark a return to the trains.

A city that doesn’t see the need to make 1520 Sedgewick a landmark, will be hard pressed to preserve the under appreciated art that flourishes at the 5PTZ. “A big part of why people don’t appreciate graffiti art is because they don’t understand it. And when people don’t understand something, they dislike it. Now that we’re aware that there is a time frame that the building may come down, we’re taking it day by day. Trying to do the best we can and bring awareness. For people who have not been here, come to 5PTZ, come check it out.”

Meres spoke on the current design of the 5PTZ saying “What we chose to do this year, since we knew we were going to redo it — Why don’t we crown the building with the fallen artist? This way, they’re closest to heaven.” Those who visit the points will see pieces dedicated to fallen kings like DONDI and IZ THE WIZ. Crowns on top.

There are no ill feelings towards the landlord, whose faith allowed the art to thrive on the property. MERES confirmed his faith in graffiti saying “I’m concentrating on now. This paint season, let’s have a great season, let’s have some good events. Get the walls looking beautiful and worry about next year when it comes. I have a hundred and fifty percent feeling that this place is going to stay. I don’t envision it as falling. I know things are against me, but it’s a magical place and I think that it will be here forever.”

The new version of New York City, is attempting to write over a lifestyle.  Unfortunately there is no more faith in graffiti — no crime in the city — and if New York doesn’t preserve its culture, their will be no love for the city. Speaking on the possible end of the points, COPE2 said “5PTZ history will be erased, but not graffiti history in general. It will never be erased, it is something that has made its place in history.”

When I spoke on the possibility of graffiti dying in New York City, Meres said “I don’t think graffiti will die in New York. It will keep going. I’ll keep going. I know there are others like me.”

New York City, remember your history. Keep your faith. Crowns on top.

Article originally published on CLOUT MAGAZINE

[illmatical]

NOVELL BELL: WHEN SHO'NUFF RETURNED TO HARLEM

Novell Bell, the Black Taoist talks MMA vs traditional martial arts, 52 Handblocks and the Five Percenters, Bagua, hustlin' to get to China, appearing in BET'S Iron Ring reality television show, the influence of Black martial artists and his appearance in a Playstation video game. 

Dear Sho'nuff,

 New York City got soft when you left. No one delivered the essence of the street and martial arts, the way you did. The meanest and the prettiest. The baddest mofo -- lowdown -- around -- this town. Hood swagger, red glow -- niggas knew, not to sit in the 'Sho's Row.'

The city is on some crouching tiger bullshit now. Skinny little lizards claiming to be last dragons. We've been waiting for you to come back on the scene. Word out on the street, is that there is a brother bringing the cool back to the martial arts world and standing up against against the bullshit!

I arranged a sit-down with Novel Bell aka The Black Taoist. I met him at the "designated place and at the designated time," uptown on a hundred something street. I thought I'd arrive at the park and find this guy doing a split in a tree, on some grandmaster shit -- fronting. Not Novell, this nigga came strutting from the direction of the housing projects in the opposite direction.

Novell Bell has cred, a champion of various full contact and tournament events -- regarded by many as an expert in a martial arts style known as Baguazhang, which he has adapted for urban environments. He's also been involved in martial arts promotion and one of the trainers of the BET martial arts reality show IRON RING.

While walking towards me, I felt like I was looking at a later version of you. He's traded the dry jheri-curl chonmage for a fitted cap, the venetian glasses for gold fronts, the Converses have been changed for some exclusive Nike dunks. He's switched up the swagger but kept the same attitude. 

As he crossed the street, I put things into perspective. Novell is a walking dichotomy. Our meeting at Central Park, offered the tranquility of the park, complemented by a body of water and trees. A few blocks away was the harsh reality of the projects. His name "Black Taoist," suggest someone who is in tune with nature, the world and the universe. Based on that'd you'd expect homeboy to be walking around in a robe, but Novell keeps is gully. He's a walking stop-and-frisk. Behind the fitted is a round face which could pass for mid thirties, but his scarred eyelids and worn knuckles are signs of an seasoned fighter. That nigga has fist of legend.

As we entered the park, he talked about wanting to fight MMA promoter Joe Rogan, because of comments made about Black martial artists in New York City. We strut towards his dojo and Novell goes in. "I'm trying to be a promoter for traditional martial arts, I'm not thinking about this MMA bullshit… but I got a plan for those motherfuckers! This shit is cool for what it is for, in the cage, but if me and you are banging in the projects -- I done seen many fights, in the projects where motherfuckers went down and they get stomped the fuck out! You ain't gonna be taking no guard, because if you do that to me, I'm gonna kick you in your ass!"

His dojo, an isolated section of the park. Where another teacher, some nigga name Master Kim, teaches a student something that I can't quite make out. Speaking to the teacher, he asks "Why didn't you come to my show?" The teacher and student smile and acknowledge Novell, as we make our way to some benches.

He optimistically spoken on plans to promote a show, which would feature traditional martial artists against MMA fighters or boxers. I spoke on a discussion I had in the past, with martial arts promoter Aaron Banks, who felt that MMA was not really martial arts. He said the sport would have damaging effects on the traditional martial arts economically and structurally. Banks referred to it as "degenerate fighting" or "street fighting."

Novell responded and spoke about the mentality of MMA fighters and then expanded on his fighting background, which started in Jamaica, Queens.

"You can't even call it street fighting, you're not going hard body on cats. My thumb may go into your eyes, or I may just grab your ears. They laugh at these funny looking moves, but they're designed for that, so if we're grappling, I may give a boxer uppercut, hit you, then rake your fucking eyes. That's how I am. That's how I will be thinking! They're not into that, their mindset is, that if they get hit, they know the referee is pulling your ass off of them! I know some brothers, you take them down, they can tolerate pain. There are some motherfuckers, I know from when I use to hustle, these motherfuckers know how to take pain, so you have to know how to hit motherfuckers!  When I was coming up, there were cats on Rikers island who use to be down with the Supreme Team, Fat Cat, Bugout, all those dudes! Cats use to bang… with 52, we use to just call it 'Jailhouse' and 'C67,' niggas never did none of this flashy shit!"

The Black Taoist aka The Black Tornado

Speaking on 52 Handblocks, he said "A few cats in Brooklyn would do it, because they wanted to showboat on you, but it's all related to boxing. It's not boxing all of the way, back then, brothers use to have flavor. They would showboat on you."

Suddenly, Bell's moves, his 52 Handblocks demonstration and commentary had me reminiscing on Queens -- before and after crack. During those years, I'd see 52 used frequently in the streets. Novell witnessed 52 Handblocks utilized by Five Percenters, who infused style with their fighting. "They may pop the hat on you -- in a fight! Born Life, Supreme, I-God, I know a lot of Five Percenters who was nasty with that shit. I-God who use to live on Liberty Ave. That nigga use to be a drug dealer, but he use to be 'nice!' He use to drive this Mazda that said POISON on the side. That was crazy, he was showboating. I use to run around Far Rockaway, Edgemier, Hamills. I use to live here and there. Far Rockaway, my mom lived over there and my father lived in Harlem."

Some of the Five Percenters, known as Gods, utilized their power in various ways. While giving him lessons with their hands, some tried to give him knowledge of self. Interested in the information, however confused by the actions of some would be Gods, who acted like savages and five pretenders.

"I started out with Sifu Rudy Curry Jr. He use to knock niggas out! He use to teach a lot of Five Percenters. Ghazi, he use to be a 52 cat, he use to be nasty with that shit in Baisley Projects, he use to knock niggas out! But he was Muslim, but he was nice with his hands before he got into Islam. When I was younger, him and his brother Justice -- Justice use to be nice with the shit. Justice use to try to get me to learn the mathematics and shit like that. I didn't understand it. I was coming from a Christian background. My mom would say 'What is this?' When you're a God, you're suppose to have knowledge of self, but a lot of these dudes, they just be talking! Back then, cats shoot the hands, and when you shoot the hands and you built, it wasn't about destroying each other! They always talking about build and destroy, they want to build but, they're really destroying each other. So how can you have unity? How can you have elevation? When they talking cipher, how you going to build, if you're trying to destroy when we first meet each other?" asked Novell.

His upbringing in the Desert, in Queens, has exposed him to many of the lessons. Over the years he has encountered a number of would be Five Percenters who tried to drop science, bomb him, but he is able to see their true uncivilized nature. He recognizes righteousness, true Gods -- some of whom are his students.

"That's why I say, these cats talk mathematics, but they really don't understand it. The talk it like they know it, so I don't have respect for cats who claim to be righteous, not really knowing themselves. So when these cats talk all this righteous shit, I sit back and listen. You talk, but then you're doing uncivilized shit! You talking about the eighty five percent is uncivilized, but you're uncivilized! If you're going to act God, you have to be fully God, you can't be perpetrating! Don't try to school me, and then act another way. Righteous people don't get down like that. I know a lot of righteous brothers that I teach over in Queens and they're cool, they don't act like that. If you're really into that, you're in harmony with yourself!"

 Although he is not a Five Percenter, he has a spiritual grounding and knowledge of self. He does not consider himself better than other sifus because of his travels to China. He does believe, that he has a calling.

The Black Taoist and friends

"I use to tell them, 'I'm not Godbody,' but my righteous name is Lao Qiang. That is the name given to me when I went to the martial arts temple. I am an Adriatic Black man! My next step is Egypt. Before I close these eyes, there is a reason I have to go there. I been to Hong Kong, Japan and all of this shit! I've been to some temples and seen Black faces and all of this, so now, I have to go where all the essence, where this shit came from!" said Novell.

During his early teens, he was introduced to Wing Chun.  A street fighter would direct him towards Sifu Rudy Curry Jr.

I got started when I was fourteen, I got started with this brother named Allah. He was a Muslim, we use to call him Ali. He use to be cool, he taught me Wing Chun. He taught me for about a year, my man Justice was like, 'That shit don't work, you have to learn how to flow!' He was talking about The Five Elements and the Tai Chi and this cat name Rudy. Justice was not the kind of cat -- for me -- when I was coming up, to respect anybody because he was nice with his hands. I seen him beat up a few cats who did martial arts… 'You have to know how to flow, I'm going to talk you to my man Naman' -- who is Rudy, but we use to call him Naman" explained Novell. 

Novell Bell and Sifu Rudy Curry Jr. 

When I see this motherfucker, I was like -- 'This nigga looks like a bookworm, he don't look like a fighter.' My brother, he's a fighter, he knows George Frazier's son. I use to see them niggas hanging together. I seen cats box in my backyard, my uncle use to do Tang Soo Do. I use to see them spar a lot. When I see Rudy, I was like 'This guy does not look like no fighter'" explained Novell.

I happened to see Sifu Rudy at one of Novell's recent martial arts tournaments. That nigga does look like a book worm, but he demonstrated some powerful Tai Chi movements. A street dude like Novell aint fucking with just anyone. After he developed some skills, his ego grew as well. Novell recalls chin checking niggas in the tournaments "I use to be hard headed. I thought I was the best. I use to fuck cats up in the street all the time. I use to be running through cats in the tournaments! Motherfuckers would be scared when I showed up."

Training during the 1990s

Beyond the glory, the street slang, there is a martial artists, who has spent several years educating himself in the art of fighting. Novell explains "Cats are scared of change, people want to say what I say. Put it that way! They don't want to be themselves. I've done did Bagua for...  I don't know how many years.  I did Shaolin! So when I see shit, you can't tell me no differently. I've done researched this shit, so I'm not going to do it the way you do it. Most times it is the Europeans, not to many brothers I know, that do what I do. It's hard work to do this. To really do Bagua, it ain't the common martial art. A lot of brothers do this hyper type shit. Grand Master Watts would tell me 'You have to have a foundation to have true understanding.' You can't just put a bunch of stuff together, he's one of my eldest, he really has inspired me the most. He's all about the functions, forms and shit. He would always tell me 'A lot of martial artists -- their kung fu is mixed up. You have to understand what you're looking at.'"

  In his book THE YIN STYLE BAGUAZHANG COMBAT MANUAL, Novell indicates that a practitioner should devote two hours or more, per day, to develop the foundational skills for Bagua.

"Kung fu, they have what they call Gong Li, you have some people who put forms together -- how can you say you do Shoalin, if you don't do Gong Li. Neigong is the internal, the mind. In order to really develop the mind, the Gong Li must be trained. The mind and the physical. That's why the stances, must be on point. That is why in China, the real good ones, they'll have you doing the routines and your shit will be strong! Even my Bagua, it took years to do that. Half these cats that be talking -- cant even fuck with me in Bagua! I'm like the Muhammad Ali, of Bagua! A lot of these White boys don't really get it. They go over there to China, they get a little certificate and they come back to the states, and they teach" said Novell.

On the real Sho, he is tired of these "Wassah Niggas" teaching, meditating in bushes, not fighting and claiming they were the greatest. He explained how he got his mind right. "They wanna talk that textbook theory to you. The Chi, the energy and neutralizing… I use to believe all that shit too my nigga! When I was reading the books, it inspired me! Until I went to the boxing gym and this old ass nigga named Henry fucked me up! You know what I did? I emptied my cup."

In his book, in the section entitled THE REALITY OF FIGHTING, Novell explains that sparring will never equate to real combat on the street, regardless of how many hours are put in. This is what is needed in martial arts. A nigga that will keep it real. As he explains in his book "Real fighting is low down and dirty! There's no honor or respect!"

 Speaking about other Bagua teachers, in his book he says "Most Baguazhang practitioners and today's world renowned, so called Bagua teachers never were in any real fights in their life. Yet they write books, videos and teach useless methods of combat!"

He spoke truthfully on martial arts sparring "Sparring won't give you that same intensity as someone trying to take your life. And I've had niggas try to take my life. It ain't the same feeling. It's not. My trainer helped me, but you're always going to have that fear. I don't know how to put it in words, but it ain't the same shit. Anything can happen. You can fight a motherfucker and he hits you with a heineken bottle!"

I was surprised to hear an experienced martial artist and fighter like Novell talk about fear, but he was just being real. That is what is needed, someone who will let you know that you can still get your wig split after you get your black belt. 

The toughness acquired through a life of combat, was complemented by a mental fortitude, developed through experiences and hardships in life. He reminisced about living on the streets, being homeless and fighting to survive.

  Novell Bell demonstrating in Chinatown

"I don't have an ego -- but I don't really fear death any more. When you're homeless my nigga, and you don't know when you next meal is coming, it's like you wake up, I've been in those situations and I've been on the A train, going from Manhattan, all the way to the last stop in Far Rockaway and then back. I've been at parts of my life -- motherfuckers, their subconscious has been left behind. That's why you see those people that is homeless, they can't cope with that type of hardship. You see them, they loose it after a while. They lost their faith in themselves. I've almost been there, because you're fucked up when you're homeless."

 Homeless and hungry, he utilized his martial arts skill and continued the legacy of Black martial artists, like Ron Van Clief and Nathan Ingram, who fought in Chinatown's underground tournaments. Back in the days, The Black Taoist, was known as "The Black Tornado." 

"I use to fight in those underground shits, that's why Master Cho, may he rest in peace, he hooked me up in Chinatown and I use to fight for them triad niggas -- but fuck it! Niggas use to call me the Black Tornado down there! I don't know why they use to call me that! There are so many underground fights. It ain't what you think! Mixed martial arts will get there ass handed to them. The triad dudes who run that shit, those dude be banging. It's big money in that shit. You see niggas get carried out of there!" said Novell. 

Our conversation shifted focus and we started discussing racism in martial arts and the accomplishments of many Black martial artist being diminished. Novell added "There's a lot of racism my nigga, in martial arts... You gotta remember why we get lost, because we're Black. If a Chinese motherfucker died today or tomorrow or a Japanese motherfucker died today or tomorrow… Im not racist, I'm just saying motherfuckers would be all at their funeral! Take for instance, Moses Powell. Did you see any of those Chinese boys up in that motherfucker? When LaPuppet died, I did not see any of those motherfuckers up in there. I'm just putting it out there!" 

Brother aren't getting any shine. A major contributor in the exclusion and accomplishments of Black martial artists, is the very entity that should be the most credible source --  BLACK BELT MAGAZINE. 

"Black Belt magazine, they interviewed me, but I don't trust them. You think about Ronald Duncan. He's a brother who knows Ninjitsu, but who are they always putting on the pedestal? -- Stephen Hayes. I don't even do Ninjitsu, but I knew Ronald Duncan , from being in South Side Queens, I seen him fuck some dudes up, that's how I know about him" said Novell. 

During a previous discussion with Professor Duncan, he vehemently spoke on the ongoing problems regarding racism in martial arts. It is hard to put it into words -- if you've ever been around a killer or someone who has killed, they have a certain way of looking at you or -- looking through you. I sensed this in Professor Duncan. I thought it was just me, until Novell shared his feelings on America's first ninja.

"A long time ago, he probably doesn't remember. He fucked some dudes up one time. He fucked these dudes up on Liverpool. That how I remember him. I wanted to go to his school, but he had these red eyes. I was scared of that motherfucker -- he always looked like a straight killer. I went in there and he just looked at you -- I just walked out. I ain't going to this cats school. I use to hustle, I've been around killers, I can see it in his eyes. This is when I was young. He had red eyes, he use to teach down Jamaica ave. I know he use to teach down there. He use to have cats rolling and doing all kinds of crazy shit. I went there. I was on my journey trying to find different teachers."

Sifu Rudy Curry Jr. and a younger Novell Bell

He mentioned his journey, looking for teachers. I had to ask, how can someone know if the art they are studying is viable? What should someone study? I spent several months in a favela in Brazil. During that time I had the opportunity to fuck with Brazilian Jujitsu. I thought it was ill. I just don't like being on the ground and in between some dudes legs all the time. Novell went in saying "I believe this -- fuck Brazilian Jujitsu! I tried it out. Motherfuckers could not really tap me the fuck out! I ain't know shit when I got up on there! They couldn't really tap me the fuck out. They tried. It's wrestling, White boys in known to wrestle. Let's just keep it real. Brothers was know for the boxing, White boys was known for wrestling… When you hit that ground you have to know, to protect that neck. keep your joints in, relax… move. Keep moving your hips, your whole body. They catch brothers because -- we ain't getting to close to another male. Thats how we flow. We like, 'Yo you getting to close move over!'"

I feel the same way. As mixed martial arts has developed over the years, it took a while for me to get into it. When I first started watching it, I just saw two dudes humping on the floor. That was not my thing. On the real Sho, I don't even think them village dudes like MMA!

"I'm a realist, I'm a survivalist, I don't train for the ring. I will spar a motherfucker! If they can do all that on this hard concrete, god bless them. It is good for entertainment, but it is really geared toward European culture. A lot of brothers are not into that. They have a little Rampage, a few Jon Jones… they trying to get us to watch it, but come on!" said Novell.

I had to interject and go in on that bullshit MMA movie Warrior. That was the most ridiculous movie I ever saw in my life. A promotion tool for MMA. The trainer in the was on some "Feel the Beethoven!" shit  -- Get the fuck out of here! Then they had some young hispanic dude, trying to sound like a Black man, flipping and bouncing our lingo. Can't blame him though, he was just an actor caught up in some White guy's wet dream. On the real! Fuck Beethoven and fuck that movie too!

Novell dropped science and told me about a flick that he fucks with, called FIGHTING BLACK KINGS. A documentary style film from the 70s, featuring William Oliver.

 When one looks at Novell in action, there is a rhythm to his movements, a fluidity only seen in Black men. Novell explained saying "Everything migrated from Africa, other cultures they expand on the knowledge. We basically are the fathers, and they are the children. When you think about it. In China... Bagua, it was created from this cat name Don Chuan, but the elements, if you look a lot of things, the way the movements are, this shit is not designed the way other martial arts styles is designed. It is about rhythm… There is a difference between talent and skill my nigga. When we talking about kung fu. There is a certain essence you have to get to develop power. All these kung fu guys have no fucking rhythm. That's why I be laughing!"

When Black martial artist talk about race in the arts, I have questions. Here in America, are we learning arts developed in Asia or is this a cyclic process? Are we simply learning arts which were stripped from us during the middle passage? Deep shit my nigga.

Novell adjusted my thinking, if there is racism in the arts, we don't have to look outside our own community, crabs in the barrel syndrome, may have entered the martial arts world. "There is always going to be racism, but we can talk about racism, but there is racism amongst our own kind. Our own people don't like to see the other man get up… I should have more coverage, you would think my brothers would support me a lot more, but they don't want to see me get to the top they want to see me stay down there" explained Novell.

Novell Bell, Bagua training

Novell continued to keep it one hundred, although a Black man, he has respect for Chinese fighters. "When I was homeless, I use to fight a lot. These tournaments I host, that shit ain't nothing! If I take these dudes to a real fight, with cats that can really bang -- they won't last! I thought I was the shit when I was over here. But when I went to China, niggas was fucking me up. Chinese boys that look like they was eating McDonalds. Big ass Chinese boys, those San Da boys. I thought I was nice…"

This nigga kept making references to China and his time there. His voyage was provoked by an interest in the martial arts. Funded by hustle and flow. 

Novell Bell (Center) - Hustle and Flow Days

"I tell people, I use to hustle, I was making all of this money. I said, I need to take my ass and learn because I love kung fu. I use to hustle for this cat named Green Eye Understanding from Liberty Ave -- him and Powerful. I never knew it was illegal at first. I wanted to look fly like them… I paid off my debt to society and the universe, the way I see it. It was wrong selling that shit to my people. At the time, I did not give a fuck. My moms had put me out too. I had to do what I had to do, to survive. I was making so much money too, selling and shit , I had to start saving. So I got me a little room, had a little safe. I use to train in Chinatown and fight in these underground shits. That's how I got my connects. I spent four years there… I had money. When I was hustling -- that money --I don't like thinking about the money that I had. If I had that money now, knowing what I know now, this MAN UP STAND UP would have been blown up" said Novell.

Every one a while, this nigga stops sounding like The Black Tornado and more like The Black Taoist. No need to be a God, in order to drop science. He provided knowledge that went beyond fighting and martial arts "I'm forty four now. Martial arts, you can never stop learning. Martial arts teaches you. Each day I learn something new about how I can improve myself. I keep it one hundred, I'm not going to act like I'm some righteous motherfucker or I'm better than everyone else. I'm not. I'm a human being and I enjoy life. I go to clubs with my boys, shit like that. I put shit on Youtube that most sifus wouldn't! That ain't me. I enjoy kung fu my nigga, at the same time, I learned, always be yourself whether people like you or dislike you. Always be you. Not everybody is going to agree with you!"

His outspokenness on his videos have helped his reputation. He's become a spokesman for not just Black martial artists, but traditional martial arts as a whole. "You have to have a foundation. A lot of the sifus in kung fu, a lot of them is overrated. When I say overrated, a nigga can come down here right now and we can throw the hands, that's the kind of nigga I am.They aint like that! Imma a keep it real with you! That's the real way of kung fu! The real way of kung fu is "Truth comes to the light in a fight!" said Novell.

The Truth Comes to Light in a Fight - Novell Bell

When I spoke to that nigga Aaron Banks a few years ago, he said that MMA would wipe martial arts out, unless collectively, they made a stand. Novell made a similar comment saying "I was going to stop doing MUSU because I was saying, these motherfuckers don't want to fight. What's the point? I'm trying to take this to another plateau! Is kung fu and karate going to make a stand? They have to do it now! You have to upgrade. My whole shit is different. If you go to those other karate tournaments, they're still doing point karate. You can't do that no more. That shit has to go, you have to stop!" explained Novell.

I've heard that a person with a vicious temperament, would beat a trained martial artist who did not have the mental. Novell has seen this, and explained "That's true. It's the mentality. It is something that I can't convey in words. It is something, you know when the switch is on. I done seen cats, real thugged out motherfuckers, they get a few 'Old Es' in them, and they flip the fuck out. I seen cats, I seen martial arts dudes get fucked up. That's why I'm into this practical shit. Fighting goes down with movement and rhythm. Bottom line! You have to be ready for, modern warfare. In modern warfare, this martial arts shit, for me is longevity. I got my glock up in my crib, I got my knife and I'm nasty with a knife, so, I don't play that shit. If a motherfucker runs up on me -- my mind has to transform man. Once you hit me it's either me or you!"

I relayed an account of when I fought this Jamaican boxer nigga out in Canarsie. Homeboy lit my ass up, until I wrapped my hands around his throat and attempted to take his life from him. Novell explained "That's that dragon in you! You got the tiger, you got the dragon, Most people think the dragon is the one with the wisdom. No its not my nigga! Who do you think is going to be the most deadliest? The tiger or the dragon?" I did't quite understand the parable, but it is good to know a nigga has some dragon on reserve.

During my previous build with Professor Duncan, he explained that there was something different regarding Black martial artists. We move differently, we act differently and we have a different genetic code. Novell shared similar statements saying "Chinese boys, we have to school them on how to move. Look at every great boxer, you see any Asian boxers? Even the White guys, Rocky Marciano had a certain movement but it wasn't like a brother. Tyson took it to a whole new level. I take the movements and put it in my flavor. I have to make it my own, with some rhythm. With some style, some grace and some flavor."

Novell Bell and Professor Watts

Although he has appreciation for his Asian teachers, he admits that the heaviest influence has come from Black martial artists. Sho'nuff niggas! He spoke on being influenced by Ronald Duncan and Moses Powell. Years later, being advised by Professor Watts who studied under Powell. "That motherfucker ain't no joke! You take him, he inspires me, because every time I have a problem or I throw down or something, I call Grandmaster Watts, I call him. He inspires me, because all these Chinese dudes, I got homage and respect, but when I came back here, a nigga I really looked up to was Ronald Duncan. I use to watch his videos, it helped me. When I watched Moses Powell -- that's when everything unlocked for me. His movements, were so similar to Bagua. It was on some deadly shit. I can relate to it" explained Novell.

I recently had the opportunity to converse with Professor Watts. He's a street nigga like you Sho. Interesting conversation, in which I became acquainted with "Niggatron." That's a Black guy who transforms on you, switches up on you. Novell at times is Niggatron, but not in a negative way. One second, he's that street dude, then transforms into another person while performing his Bagua demonstrations. The Black Tornado transforms into The Black Taoist. I wonder how this street dude, was able to chill out there in China.

"A lot of brothers can't relate to Chinese dudes because their culture is different. I have a lot of students that relate to me because, I never was teaching. I don't like to teach. It takes a lot of time. A lot of these cats, can't get it. You have to have a passion for this. It is not like karate or that type of shit. You have to have some rhythm and to have rhythm you have to know how to dance. if you don't got the rhythm you won't be good at it" explained Novell.

He gained national exposure when he appeared in BET's martial arts reality show IRON RING. "When I did the IRON RING shit, niggas fucked me! I gave these dudes all the ideas. The way that shit was set up, I didn't get any paper from that. I got burned. The show was suppose to be like MAN UP STAND UP. The Europeans did not like that… "

Despite the unpleasant experience with those crab ass niggas at BET, he built up a name for himself in the martial arts world. He played the lead antagonist in the film short HERO.

Novell Bell in the short HERO

Niggas are starting to take notice. He was most recently featured in the Playstation game MMA SUPREMACY. He spoke on his involvement, insisting that his character is the best, utilizing his urban Bagua.

"My name is in the game. It's me! You gonna see my Black ass in Harlem. I gave them ideas how to do the game. I put that shit in Harlem. That's how I do, I don't be bullshiting! I told them to have my scene in Harlem, my story, my technique is no hold bards… I don't want my character like them MMA dudes, I ain't trying to be conceited but I know my character is the best!" said Novell.

The Black Taoist in MMA Supremacy 

My build with Novell, helped me appreciate or come to an understanding that I have developed after talking to a number of fighters. It really comes down to an individual's nature. Years ago, when I was in a boxing gym looking for a trainer, trying to find out if I could get into the sport, a trainer mentioned that after you get hit, you'll run or get angry. Some niggas have dragon in them.

 "A lot of shit today in martial arts, cats don't want to be themselves. Martial arts is suppose to teach you to be yourself. Anyone can be a fighter, you have to think, these shits are designed for killing -- you have to be on that mindset. When we use to bang in the projects, I been knocked unconscious sometimes. It was kind of a lesson in disguise. A lot of these guys, will say, 'I never lost!' A lot of these kung fu guys, they never been hit. You know what impressed me the most. You want to impress me, I want to see what you do after you been rocked… Don't let anyone fool you. You're always going to have that fear in you. You have to know how to control that fear. I been in situations when motherfuckers tried to kill me over packages they said I took. I been in the room, with brolic niggas who tell me to come upstairs and when I get up there it was for some other bullshit -- they was trying to get at me. Sifu Rudi can tell you, in Baisley projects, I had to fight like eight niggas. These niggas had me, they fucked me up. If it wasn't for him teaching me that Tai Chi shit, how to roll with the blows. I would have been fucked up. In a real fight, it teaches you movement. So you have to have that mindset -- to kill! A lot of these motherfuckers think they are killers! If you have to go and really hurt someone -- Can you do it? If you have to second guess yourself, your not ready. I been in situations, when I punched a nigga in the throat. That's how I think. I've had fights with big niggas That's why I study the Yin style" explained Novell.

As we finished our build, that Master Kim nigga came over and talked to Novell. I thought he would pull a Niggatron and start talking all philosophical. Get up and bow or some shit, homeboy sat on his bench and playfully barked at Master Kim for not attending the MAN UP STAND UP. You could see that there was a mutual respect, one that Novell earned because of his devotion to the arts.

 As we exited his dojo, Novell started talking about the future. Plans to create a fictional animation and his plans to develop martial arts. "I'm trying to build it up it up and inspire these niggas to keep training. Fuck MMA! That shit just pisses me off. I rather have kung fu vs boxing. You go to most kung fu school and they're still doing the old school way of training! That shit don't work over hear in the states! I respect the full contact karate because they bang. I believe the traditional kung fu can take over MMA. Just need a nigga like me that runs his mouth, and hype this shit up. Motherfuckers will come out and watch this shit!" explained Novell.

As we reached the park's entrance, the taoist in him took over, and before we parted, he spoke on the importance of spirituality when studying martial arts, saying "Martial arts is a spiritual thing -- It's energy. Its a metaphysical type of shit to connect you to the universe. Everything in the universe. We are all citizens of the universe. People think Bagua is dancing. Look at every ritual on the planet. Everything is circular my nigga, its all connected… Martial arts, without spirituality is suicide!"

Sho, you know me, I'm trying to be a righteous Black man. I don't even like to use the "N" word, but its contagious and after you're around Novell, you'll want to be one of his niggas too!

As he made his way back towards the direction of the projects, I felt that he'd hold your legacy down. I'll put work out on the street and let niggas know "Playtimes over!" -- SHO'NUFF HAS RETURNED TO HARLEM!

Your Nigga,

Clarke

P.S.: Forget about Leroy Green, that nigga fell into some pussy back in 85 and we have not seen him since!

[illmatical]

JESUS SAVES: THE LAST KING OF NEW YORK

New York City is dying. "The writing is on the wall," and it speaks death. The city that birthed and raised hip-hop, has been on life support since 9/11. The EKG analysis bleeps faintly, reporting on a dying graffiti culture. 

No other sector of urban culture is suffering more than graffiti.  Gentrification writes over the kingdom. Electronic surveillance and stringent penalties for vandalism has kept a realm of writers in check. "Getting Up" has become commissioned walls, galleries and if you're fortunate, a temporary location on one of Meres's walls.

As the kingdom of crowns went into cardiac arrest, an unlikely individual was blessing the city. He wrote for a king and in the process, he himself was exalted. In doing so, becoming one of the most prolific graffiti writers in the city. 

As New York City's graffiti culture took a turn for the worse, when death was eminent, someone said, have faith brother, stay strong sister -- JESUS SAVES.

"I've been in graffiti since 87. I grew up with graffiti, there was graffiti everywhere, all over, more than what it is nowadays. It was a different world, the hip-hop scene was different, the graffiti scene was different. The music was different, the styles were different. There was a lot of break dancing involved, a lot of graffiti involved, a lot of DJing involved, MCing, it was pure at that time. It was real hip-hop back in the days" explained JESUS SAVES. 

The universe of New York City is a composed of 'hoods' which sometime seem like worlds of their own. There, inside of the galaxy of Brooklyn existed the world of Bushwick. During the mid 90s,  Bushwick was synonymous with drugs and crime. One section was labeled "THE WELL" by the New York Times, which referred to its abundance in drugs and nefarious activities. 

JESUS SAVES spoke on life in Bushwick saying "It was dangerous, people getting shot, stabbed, robbed for their Adidas or Pumas, eight-ball jackets."

Before JESUS SAVES found religion, he was known as SPAIN in the streets. A casual tagger married to the corner. "I started writing SPAIN in like 93. I was into it before, but I mostly caught a lot of tags in 93. I wasn't too much into it. I would catch SPAIN bubble outlines. To this day, people still call me SPAIN. I was going to school, but I would also be in the streets, hang out with my boys, smoke, drink -- up to no good. Me and my friends would break into cribs. We would do little stick ups here and there. Even though the guns I use to carry was never real, it was always a lighter gun, but I would always scare people off, tell them to run their wallets, you know, stupid little things like that. I got locked up for that one time. That's like the only felony I have."

In 1995, a near death experience caused him to reevaluate his position in life. The streets tried to take SPAIN. The king took over, proving that JESUS SAVES. 

"I was in this drug mix. I use to chill on Church Avenue, that was my hangout spot. I would hang out with a couple of drug dealers. I was able to go down to the basement and see scales, they would pack up weed and coke. They would have me do a deliveries for them, pick up the money and have me as a lookout. There was a time, after being there for like three weeks, I told them that I did not want to be involved anymore. I wanted to start working and do my thing. They said that I was not suppose to leave like that. They said that they still need me to be a lookout. I said that I could not because I had to think about my future and do my thing. 

Thirty minutes later, they gave me a blunt as a go away present… 

I passed out, I got dizzy. I felt like my body was getting paralyzed. After a couple of drags, I got unconscious and I fell. I felt like they put something in my weed. Like they poisoned me. I got a bit messed up in the head. Sometimes I'm not aware of things I say or think. I think it was for me to die. I was in Kings County hospital. I thought I was going to die, and I gave my life to the Lord." 

"I felt like I owed God my life, I was in the drug scene, I got hospitalized, I felt like I owed god my life because, I could have died. I felt like what I smoked, was something set up to get me killed. I don't know. I thank the Lord that I'm here. God gave me a second chance to live."

Grateful for another chance in life, he expressed his gratitude the only way he knew how.

"I started writing JESUS SAVES in 95, but I would only bomb Brooklyn, just my neighborhood, Bushwick. From 96 and 97, I started spreading out, I started hitting mad different parts of Brooklyn. That's the same year I went to other boroughs. Like Manhattan, Queens and Bronx. I started heading out there as well. Then I started going all city. By 99 or 2000, I was already All City.

JESUS SAVES tag, is probably the illest tag in the city. The most wicked. The most consistent in form. You look past the letters and become entranced by the ability to replicate the same message, numerously, with accuracy. More than religion, his "saves" are hypnotic. 

SAVES spoke on the creation of his bold hand saying "I picked a tag, and I picked a hand style to it. Since it is graffiti. I had find a way to write it faster. Instead of separate letters I had to find a way to connect it. Since it is graffiti. By connecting it -- it was a faster way of writing it. If I was to write it separate, it would take forever. Wit this style, with this logo, it is like one stroke, it is faster. Right now, I can catch a tag in 30 seconds."

Like God, he's omnipresent. In the world of NYC, he's on all continents. The phone booth in Flushing, the mailbox in Dumbo, the gate in the Hunts Point and the tagged up crack house in East Harlem. 

In New York City, his name rings bells outside of the graffiti community. Despite their faith, or lack of, everyone knows JESUS SAVES. We slap him five when we're on the way to work. When we stop at the bodega to get a blunt, he's there waiving at you. Or when you're sitting in some remote, end of the earth type place in the world of NYC, the place that the map makers said you'd fall of, you'll see him there, winking at you. 

It took several years, but after a decade of writing, he would be recognized by graffiti community, with a lukewarm reception.

Eric Deal's book GRAFFITI NEW YORK speaks on saying "JESUS SAVES is a unique writer...His concept is unique among writers, but his approach and technique are in keeping with graffiti tradition. He is an all-city street bomber and has gained respect for the volume of his work."

Despite the all-city status, his ascension to the peerage was arduous. The religious connotation was not received well by many members of the graffiti community. 

"I felt so underrated so many times, I felt rejected from the game because of what I write. I still consider myself a graffiti writer. A graffiti artist! I don't feel like I'm any different from any other writer. The only thing that makes me different is that I go all out for Jesus. I go all out for the Lord, because of that, there's many people that don't want to hear about it, or they don't agree with it -- feel like I am too religious. I'm not being religious, I'm a believer, you know what I'm saying? I had a lot of people saying that what I do is not graffiti because I'm not suppose to include religion or the gospel in the graft game, because graffiti is not about church. And graffiti is not about Jesus, graffiti is strictly street. I know what I do is street, but I am still not accepted in the game. They say graffiti is street, about bringing the dirty life and I'm bringing the gospel. People don't understand, there is different types of graffiti. We have Egyptian graffiti, we have gang graffiti, we got hip-hop graffiti…we even have police graffiti (Laughs)… Yeah, vandal squall is catching tags to catch other writers. Graffiti is freedom of speech. It is about self expression!" explained JESUS SAVES.

Before going all-city, he paid his dues on the streets -- literally. JESUS SAVES shares his experience of writing, while being homeless. "2005 is the year I caught the most wreck cause, I was homeless for three weeks. I had nowhere to live. I would actually spend my twenty four hours, seven days a week, just tagging and bombing and It was fun. In those three weeks, I was homeless, it was my best bombing times ever. I felt freedom. I didn't have to waste time worrying about paying rent or wast time worrying about going to sleep. Being homeless for those three weeks was my only chances to catch a lot of tags and not worrying about if I got locked up. I would bomb, day time, night time and go to every borough. I would sleep at a friends house, shower, eat, then I slept once and while. Then, I would hit the streets again. Being homeless, made me motivated to catch a lot of tags. This was in 2005, I made an effort to go to church on Sundays."

Experiences like this have kept JESUS SAVES humble. In graffiti, he's the underdog king. He's a struggling artist, whose passion have kept him in the game and allowed him to reach all-city status. 

"I would write at night. Break night to catch as many tags as possible. There's times I am by myself, I catch a lot of tags. I love catching tags, it's fun. I love catching wreck. Hitting up trucks, vans, walls, not clean stuff, but all graffed up. I would take the train at one in the morning, go somewhere far and be like, wow, I can't believe I'm actually going this far when I should be sleeping, but its all for the love of graffiti."

The good king elaborated on his techniques regarding spray paint and why writers should never hit clean walls saying "I went all-city with paint, I would carry gloss, black Rusto, and a flat white Rusto and I would carry paint markers, like silver and black. Those are my colors. Those are the only colors I use. I would make sure I have fat caps and skinny caps, so when I hit little spots, I can catch a tag that can make it fit perfectly. I would use fat caps to hit big spots. It was fun. I knew how to bomb professionally. I knew what to hit and what not to hit. I never hit clean property.

Never!

I would not write on clean stuff because people would clean it the next day, that's number one. Number two, when you're writing on clean property, they can tell that it is a new tag. Because if I catch a tag and there is not a lot of graffiti on it, they can tell if it is new. Number three, if you catch a tag on a clean property, they can report it to police, and when they take pictures of it, you become a "hot boy" and when they take picture of it, you become wanted, and you don't want that. Hitting up spots where there is a lot of graffiti is the best, because it's not going to be painted probably in the next twenty, thirty years. Which is why, a lot of my tags are still rocking. Number one, I use permanent paint, Rusto, that will last there for another fifteen or twenty years. Also because I hit spots that that I know will rock there for long. It's been three years, I haven't touched spray paint and I still see my tags all over. Still looking fresh, still looking new."

His blessings on the city eventually caught the attention of the biggest graffiti fans in the city, the New York City police department's Vandal Squad.

"Yeah, Vandal Squad -- They was looking for me so badly, they really, really wanted me. At first, nobody knew who I was. A so called friend of mine, who became a cop, he found out who I was, what I wrote -- he came out and locked me up, then that's when Vandal Squad found out who I was. Everybody congratulated him, so Vandal Squad found out who I was. They got my New York state ID. They went to my address. They showed a search warrant. Went to my room and took pictures for proof that I'm the JESUS SAVES guy. They would take picture of my tags in the street and bring them to court. This took place in like 2005" said SAVES.

He has paid the price for his faith in graffiti. Arrested over fifteen times. He recalled the number of occasions he has been locked up for the game saying "There was a time, I did two weeks, there was a time I did thirty days, there was a time I did sixty days, there was a time I did ninety days, there was a time I did ten days, there was a time I did twenty days… I get locked up for graffiti, they take pictures of all of my graffiti tags, while I'm in the cell, they drive around and take pictures of my graffiti tags, they pile up a case against me, and they take me to court!" 

Saves described the arduous process of going through New York's infamous judicial system, and interning in the notorious Rikers Island jail complex. Although a man of God, the SPAIN in him would allow him to navigate the situation. Speaking on Rikers he said "The longest I been in Rikers was forty five days. I walk in, I don't socialize with to many people. I keep a lot of things to myself. There is only certain people, I socialize with. Not everybody. There is only certain people you can be cool with and socialize with. I read people, I sit down on my bed and stare around. I can tell who is real and who is not. Who is a pretender and who is not. Who is are real gangster and whose not. You can see it in their face and their talk. You can see it in their conversation. Sometimes there are people that brag a lot. These are people who brag about things they did, but I don't look at them like gangsters. These are people who are probably deep inside, they're scared. They wanna play that tough role because they're locked up. I don't have to act that way. I am humble. I don't have to act street or gangster. I get involved with positive people."

A writer, writes. Being locked down could not prevent SAVES from getting up. "There's no markers, they call out yard, where I would lift weights at. I would catch myself picking up like, three rocks -- put them in my pocket. I would use those rocks and catch a lot of scratcheys. Every time they would transfer me to different cells in Rikers, I would carry the rocks and catch a lot of scratcheys everywhere. I had so many people telling me they would see my tags all over Rikers Island. People would tell me, 'I seen your tag in C73, C76, C95…'" said JESUS SAVES.

His devotion for God and for graff, have caused some to question his sanity. He recalled an instance after getting arrested, speaking to a judge, saying "I tell them the reason why is because I tell them this is my way of spreading the word of Jesus Christ. They look at me like I am crazy. There was a time the judge didn't give me time in jail, he gave put me in the MPC  -- Manhattan Psychiatry Center. Because I told him that I wanted to spread the word of Christ. I told him that his is my way of spreading the word for Jesus. They think I am crazy, they got no choice but to put me in a crazy hospital."

A graff career has its share of beef, as a  writer's name grows, so does his adversaries. SAVES has had his share of issues, beefs with other king or writers hoping to steal his crown. The God in him made him stay cool. The SPAIN in him caused him to confront one writer. "I won't mention no names. A couple of graffiti writers who is ragging me and going over me. Sadly these are people who are close to my age, in their late thirties. They want to act like they are fifteen and they want to act like they are gangsters. Send me a lot of threats online. I actually got to find out where one of them lives at. I went to his house, rang his bell and he wasn't there. I am very humble and nice, but when I feel like someone is threatening me, I am the kind of person who likes to get things out of the way. I don't like to hide from people and live in fear. If something is going to happen, I want to get that over with. I went to this guy's house, he wasn't there. I left a sticker on his door, to let him know that I was there. Its a permanent sticker, I made sure that it is well put with my tag on it!" explained JESUS SAVES.   

At times, JESUS SAVES wants to hit the streets again, battle, but the risk of incarceration and loosing the positive direction have helped him reconsider. "There are times I want to make a comeback. But I'm not going to take the risk of getting caught for this guy, because I know that if I get caught, he is going to be a free man, doing what he is doing. Going over me. While I'm in there suffering. My freedom is too valuable. It's almost like, if I find my girl cheating, and then I kill the guy and they give me twenty five to life, I'm gonna be in there doing twenty five to life, while my girl is having fun with some other guys. My freedom is too valuable."

Some beef goes beyond the streets and it turns into an obsession. JESUS SAVES describes international beef saying "I also caught tags in Europe, this guy that's going over me in Bushwick, actually managed to to go over me out there in Europe."

International fame, and a strong following engenders imitators."Yeah, there is a couple of guys writing JESUS SAVES. There is somebody who is actually writing like me. Not only here in New York, people send me pictures from Florida, Columbia, from other countries, imitating my hand style. Everybody loves my hand style. My hand style is what inspires me to keep writing. I love my hand style. I love my tag. Not only is it a good message I'm putting out there to represent the gospel, to represent Jesus, but I'm also inspired by the hand style, by the writing which keeps me motivated to write, and to put JESUS SAVES out there to the limit!"

Although he stopped writing several years ago, he's still harassed and arrested by the Vandal Squad, although he's never actually been caught writing. JESUS SAVES spoke on the difficulties of the graff game after 9/11 and how the city changed.

"I complete stopped tagging three years ago. Well, I was too hot, I was getting hot with police and I was wanted. When I got caught, they were telling me, this is it, If you get caught one more time, you're going to be facing a one to three. So that kind of like stopped me from spray painting at night. Plus, now a days, now its even harder… you have police everywhere. It's a different time, back in the 90s, if they catch me with markers or spray paint on me, they would probably just, give me a ticket, or tell me to go home. Make me throw all of my stuff down the sewers, or maybe spray paint my jacket or my face. 

Who ever starts writing now, they stepped in at the wrong time. Right now it is strict and they are trying to make it a felony. When I started it was sweet. After 2011, after the world trade center thing, that's when everything changed. That's when they started putting cameras everywhere, when they started making graffiti a felony. After 2011, I started getting locked up for graffiti. It was crazy."

He's no longer writing in the street, his all-city status, his international recognition have allowed him to elevate his work. He spoke on the current state of his reign, saying "I had to chill because now I have my own t-shirts, my own pins, my own vinyl stickers, I'm piecing, I'm doing commission walls -- it allows me to step up… Now I can travel overseas and paint, instead of worrying about catching tags in New York. Right now, as bad as I want to go back out, make a comeback, hit the streets, catch tags, I really have to think twice. Before I even think about coming back or catching another tag. I feel like I pushing my tag to the limit, doing shirts, doing shows, going to school, working, upgrading my life. Upgrading myself. I don't want to be a forty year old guy with no job, no future -- getting locked up continuously for graffiti. That is sad. Nowadays there are a lot of writers coming up, it is difficult. I think about my past and the advantage of catching a lot of tags, which got me were I am now. Now with things being difficult, young cats will have have to be a bit more cautious, some might get away with catching a lot of tags, because graffiti is never going to stop, graffiti is never going to die. There are a lot of writers all over New York City, being born even as we speak. As we speak, there are probably some young cats doing graffiti at this time. I was there, who knows, they may make it to where I am at or even bigger than what I am." 

The writing is on the wall. Once a creator and innovator of urban culture, New York's reign is over.  Other cities have established themselves as creative meccas and landmarks in the graff world. The forthcoming end of the 5PTZ arts space signifies another phase or page being turned in the history of New York City graffiti.

There will be those who will take offense at me stating that JESUS SAVES is the last king of New York or me speaking on the fading culture. Listen closely, brothers and sisters, you will hear a dim pulse.  

As new generation of writers look for faith in graffiti, they will be inspired a message. Have faith brother. Stay strong sister. JESUS SAVES

[quazimottoonwax]

[illmatical]

Million Hoodie March for Trayvon Martin. Union Square NYC. March 21, 2012

Photo by J. Quazi King

http://quazimottoonwax.tumblr.com/

[illmatical]

FORGOTTEN FURY: BEYOND BRUCE LEE

The Forgotten Fury project is a look at the many martial artist who contributed to martial arts in America, but have been overlooked and their legacies forgotten. 

Visit the website here

[colormysoul-blog]

[afrosensual]

That headline.

[illmatical]

Beyond Bruce Lee: The Forgotten Fury

Was Bruce Lee the greatest martial artist? Was he really a fighter? Who were the greatest fighters during the golden age of martial arts, in America?

[afroholic]

[illmatical]

Treat your ears right. Listen to this album.