You are on page 1of 100

THESE PAGES ARE HOT

CLICK ON THE PAGES


FOR REAL LIVE INTERNET ACTION

2 8 t h e fader­
MATCHMAKING WITH:: CRIME MOB’S PRINCESS & DIAMOND••CHEIKH LO & YOUSSOU N’DOUR MATCHMAKING WITH:: PETE DOHERTY & MICK JONES••DEVENDRA BANHART & BECKY STARK

SPRING 44 SPRING
STYLE STYLE
FANTASTIC FANTASTIC
THE FADER MAGAZINE THE FADER MAGAZINE
MARCH 2007 MARCH 2007

44 44
GANG GANG DANCE BONE THUGS-N-HARMONY
NEW REVOLUTIONS HIP-HOP’S DARK STARS RETURN
IN SOUND

NUMBER 44 MARCH 07 THEFADER.COM


HIP BONE

BONE THUGS-N–HARMONY HIP-HOP’S DARK STARS RETURN GANG GANG DANCE NEW REVOLUTIONS IN SOUND
THE CHINESE UNDERGROUND•
UNDERGROUND•EXPLOSIONS IN THE SKY
SKY••DC POST GO-GO
F
The Empire State Building design is a trademark of Empire State Building Company L.L.C. and is used with permission.
beam your
beatsShare select music wirelessly, mano-a-mano, anytime, anywhere. Fellow Zune-wielding friends can listen to each
song up to three times within three days and ßag favorites to buy later. Other basics include a vivid 3-inch screen,
FM tuner and 30 GB of me space. Ready. Aim. Beam.

Welcome to the social.

zune.net
It is no coincidence.

WHEN HE WAS TWELVE,


HE SINGED OFF HIS EYEBROWS
IN A CHEMISTRY EXPERIMENT.
// Scion Prole 437chm

Vehicle shown is a computer-generated image, not a real car. Scion in no way recommends or condones the random or experimental mixing of known or unknown substances, even in a beaker, unless
in a supervised laboratory and wearing proper eye, face, lung and skin protection. © 2007 Toyota Motor Sales, USA, Inc. Scion and the Scion logo are trademarks of Toyota Motor Corporation. For more
information, call 1-866-70-SCION (1-866-707-2466), or visit scion.com.
Los Angeles Miami New York San Francisco Georgetown Santa Monica
South Coast Plaza Dallas Ala Moana Stanford Topanga Houston Montreal
Toronto Opening Fall 2007 - Las Vegas Atlanta energie.it
©2007 Converse Inc. All rights reserved. CONVERSE is a registered trademark of Converse Inc.
JOHN VARVATOS is a registered trademark of John Varvatos Apparel Corp.
CLOTHES AND SHOES FOR GUYS AND GIRLS
(PRODUCT)RED is a trademark of The Persuaders, LLC and is licensed to (RED) partners. The goods and services of (RED) partners bear the (PRODUCT)RED trademark to support (RED).
Number 242 in a series of DIESEL “how to...” guides to successful living. For more information call Diesel U.S.A. 212 7559200 www.diesel.com
44
Fader 44
March 2007
Spring Style

Contents

Hua Dong of Re-TROS, photographed by Ariana Lindquist in Beijing, China, November 2006.

50 FADE IN GREENPAGES

52 NWSPRNT Artists, authors, gadgets and gadflys 170 Vinyl Archeology Folkie Funk

72 THE LOOK The tomboy chic of post-war London 172 Mixtape: Musics Dilla, Boredoms, Van Morrison & more

76 STYLE The most crucial looks 176 Jedi Mind Pix Music picks straight from the pros

178 Reheaters Idris Ackamoor

GEN/F 180 Beat Construction Dr Dog

90 Amy Winehouse 182 Books

92 Fam-Lay 184 Dranks

94 Voxtrot 186 Events

97 No Age 188 Stockists

98 Mr Vegas

100 The View 192 FADEOUT

102 Chrisette Michele A Harley ® motorcycle. One mass of rolling sculpture that speaks
of a path uncompromised. Tomorrow, ahead. Yesterday, behind.
Kick through some gears. And step where ordinary men fear to tread.
www.harley-davidson.com.

3 4 T H E FADER
fit your kit_esfootwear.com _the season is irrelevant when the goods are timeless
Fader 44
March 2007
Spring Style

Contents

Wale in Bowie, MD, photographed by Dorothy Hong, December 2006.

FEATURES

108 Bone Thugs-N-Harmony The Spiritualists

116 Gang Gang Dance Future Perfect

124 Beijing Rock The Chinese Beat

134 Explosions in the Sky Pyrotechnicians

140 Wale and Tabi Bonney New Slang

146 Collaborators Devendra Banhart & Becky Stark, Pete Doherty & Mick Jones,

Princess & Diamond from Crime Mob, Cheikh Lô & Youssou N’Dour

156 STYLE On the Corner

44 FREDPERRY.COM/SUBCULTURE

3 8 T H E FADER
PUBLISHER
ANDY COHN

DIRECTOR, ADVERTISING & BUSINESS DEVELOPMENT


MELANIE SAMARASINGHE

WEST COAST ADVERTISING DIRECTOR


PAUL FAMILETTI
FOUNDING PUBLISHERS
ROB STONE AND JON COHEN
ACCOUNT MANAGERS
GRAHAM HETH, DANA KROZEK
EDITOR-IN-CHIEF
ALEXANDRA WAGNER
ADVERTISING COORDINATOR
IVY QUEJADO
CREATIVE DIRECTOR
PHIL BICKER
PUBLICITY DIRECTOR
ED JAMES
DEPUTY EDITOR
WILL WELCH
MARKETING DIRECTOR
KAELA LAROSA
SENIOR EDITOR
ERIC DUCKER
MARKETING, MEDIA AND EVENTS
SAIDAH BLOUNT, EVAN FRANK, REBECCA SILVERSTEIN
SENIOR ASSOCIATE EDITOR
LINDSEY CALDWELL
FARM DEPARTMENT
ALEX ARCINIEGA, ANDREW BARNETT, CHRIS HANAKA,
ASSOCIATE EDITOR
GARY JOHNSON, KARA MARKS, TONY MESONES, JOHN
NICK BARAT
STAUB, KEVIN HUNTE
ONLINE EDITOR
FARM TEAM SENIOR REPS
PETER MACIA
MARVIN ALEXIS, NARCIS ALKHANI, MARY BLAS, BRYAN
BLOOM, JESSE CHEMTOB, BEN CHRISTIANSEN, ECHO
STYLE EDITOR
CURRY, BRYAN EDWARDS, JULIO ENRIQUEZ, STEPHANIE
CHIOMA NNADI
ESTES, TIM FRANK, MONIQUE FRAIZER, AZRIEL GILMORE,
HEATHER HENNESSEY, RICHARD HENRY, ED JEAN, DREW
CONTRIBUTING STYLE EDITOR
KRAMER, MICAH MCLEAN, MIKE ORLANDO, SAM PETER,
MOBOLAJI DAWODU
ZACH POLLAKOFF, TYLER PRATT, SETH PRELESNIK,
CHRISTINA RIMSTAD, MIKE SANTARPIA, CHUCK SEATON,
EDITORIAL PRODUCTION COORDINATOR
JOY SELA, NOAH SHOMBERG, GEOFFERY SUMMERS,
ALIYA BEST
BRANDON SWED, JAMES ZAKEE THOMAS, JOCELYN
TURNER, WESTMORELAND D WILSON III
PHOTOGRAPHY COORDINATOR
DOROTHY HONG
NEWSSTAND DISTRIBUTION
CURTIS CIRCULATION COMPANY
CONTRIBUTING EDITOR
EDWIN “STATS” HOUGHTON
SUBSCRIPTIONS Nitro drivers always make new “friends”. . .
FELICIA HILL
INTERNS
SAM HOCKLEY-SMITH, CHRISTOPHER JAMES RICHTER
UK EDITORIAL/OPERATIONS CONSULTANT
DEAN RICKETTS, THE WATCH-MEN AGENCY,
Just hope it’s not your “friend.”
WRITERS
020 7243 0171
SAM ADA, JOHN ALBERT, ALEC DERUGGIERO, OMAR
DUBOIS, RANJANI GOPALARATHINAM, DUANE HARRIOTT,
TRANSPORTATION/LOGISTICS
HELEN JENNINGS, KARIN NELSON, SAM RICHARDS,
CARLSTONE CORPORATION
CHARLIE RYALL, MATTHEW SCHNIPPER
THE FADER FAMILY
PHOTOGRAPHERS/ILLUSTRATORS/STYLISTS
AYDEN ABDUL-AZIM, CHIP ADAMS, MICHAEL ADASKO,
ALYSSA BANTA, ANNA BAUER, ANDREW BETTLES,
JOE ANGERONE, CHRIS BARBOUR, JESSIE BROWN, ERIN
ANDREW DOSUNMU, RICH-JOSEPH FACUN, EMMA
CHANDLER, EVAN COHEN, MIKE CRUZ, ERIK DANE, MATT
HARDY, ANDREW HENDERSON, KRISANNE JOHNSON, LIZ
DUFOUR, ROBERT ENGLISH, COLEMAN FEENEY, PAMELA
JOHNSON ARTUR, NIKOLAS KOENIG, MARTEI KORLEY,
FLOOD, EVAN FRANK, AMY FULFORD, CLAUDINE GOIN,
ANDREW KUO, ARIANA LINDQUIST, JASON NOCITO, YURY
VAUGHN GLOVER, ADAM GORODE, MARYCLAIRE
OSTROMENTSKI, KEN RUSSELL, MICHAEL SCHMELLING, RJ
GRACE, STEVEN HASELBACHER, JAKE HURN, TARIK
SHAUGHNESSY, IAN WRIGHT
HARRIS, CARA HELLER, CURTIS HOUSE, CALVIN
HWANG, GIANNI JACKLONE, VON JOHNSON, HARMEET
CUSTOM FONTS BY KEVIN DRESSER & PAUL ELLIMAN
KALA, LINDA LEE, VANESSA LEVY, DANI LOVETT, STEVE
LOWENTHAL, HEIDI LOWRY, JOHN MAJER, KIMBERLEE
FADER JAPAN
MAR, KELLI MCNAMARA, AMYLU MENESES, OPURUICHE
FADERJAPAN@BLS-ACT.CO.JP
MILLER, DAVID NATOLI, J NICHOLSON, ANDREW ORTEGA,
BLUES INTERACTIONS, INC.
PRIYA PALANI, ROBERTO SANTOS, PATRICK SCHMIDT,
9-2-16 AKASAKA, MINATO-KU, TOKYO
ROSEMARY SIMON, KRISTEN SPIELKAMP, KARLI STEIN,
107-0052 JAPAN
JEFF TAMMES, JEFFREY THROPE, DOUG TIMOTHY, AKIA
VALENTINE, BLAZE WONG, KOBI WU-PASMORE
EDITORIAL
SHIN’ICHI IWAMA
THE FADER
71 WEST 23RD STREET, FLOOR 13, NY, NY 10010
ADVERTISING
P 212 741 7100 F 212 741 4747
TAKASHIRO TAGUCHI
INFO@THEFADER.COM WWW.THEFADER.COM

THE FADER IS PUBLISHED EIGHT TIMES A YEAR.


SUBSCRIPTIONS: 1 YEAR (8 ISSUES) US $19.95 CANADA $50
INTERNATIONAL $75. ALL RATES IN US DOLLARS
SUBSCRIPTION INQUIRIES: SUBSCRIPTIONS@THEFADER.
COM.

COPYRIGHT ©2007 “THE FADER” IS A TRADEMARK OF THE


FADER, INC. ALL RIGHTS RESERVED.

ISSN#: 1533-5194

-------------------------------------

THE FADER INC.


The all-new 2007 Dodge Nitro.
CHIEF OPERATING OFFICER Bold is not enough.
ANTHONY HOLLAND
dodge.com/nitro
EXECUTIVE VICE PRESIDENT, GENERAL MANAGER
STEVEN JUSTMAN

4 0 T H E FADER
Fader 44
March 2007
Spring Style

Contributors

ARIANA LINDQUIST MICHAEL SCHMELLING KEN RUSSELL IAN WRIGHT


Photographer Photographer Photographer Illustrator

Assignment: Assignment: Assignment: Assignment:


“The Chinese Beat,” page 124 “Pyrotechnicians,” page 134 “Girls on Film,” page 72 “It Takes Two,” page 146

What Happened: What Happened: What Happened: What Happened:


Shanghai-based photographer FADER regular Michael Though veteran filmmaker This issue we commissioned
Ariana Lindquist toured the Schmelling jetted down to Ken Russell went to school artist Ian Wright to put his
wilds of Beijing’s underground Austin to shoot Explosions for photography, upon playful touch on portraits
clubs to document China’s in the Sky in their homes graduation he decided that of collaborating artists,
fledgling rock scene. Because and practice space. Once in his true calling was film. something he’s no stranger to
many of these bands haven’t Texas, Michael found himself Ken saved enough money to (peep F23’s Caetano Veloso
had much media exposure watching Red Dawn and create three amateur movies and David Byrne Hama bead
outside China, most were open eating at Panda Express with that garnered the BBC’s portraits), but the assignment
to Ariana’s snaps. “It was very the instrumentally expressive attention, catapulting him was not without its challenges.
easy access,” she says. band. “There was not the kind into a long, fruitful career After an initial pass in mixed
“People said that the music of ego-driven dynamic that of moviemaking. “I never media, the artist decided to
scene in Beijing was closed can happen on a shoot,” he took another picture again,” use a sophisticated child’s toy
and suspicious because the says of the close-knit group. he says. It’s been some 50 (Lite Brites) he had seen on
media tries to stereotype Even though Michael shot years since Ken took the television a few years ago.
them, but I didn’t find that at the guys in a more subdued pictures of the Teddy Girls, “I’m English, so I just figured
all.” Ariana initially intended environment, he feels he but recently there’s been everything is available here
to shoot the bands in a more was still able to capture the renewed interest in the in America,” Ian says. The
relaxed environment rather emotion and energy that their photographs he took early in elusive toy had him hunting
than on stage, but the winter songs convey: “I think there his career. At an exhibition of around New York before
weather (and cheap Tsingtao) are a couple pictures in there the work a few months ago, finally rush ordering them
kept folks warm in the club. that reflect the subtleties of a few of the original Teddy en masse from California.
the music.” Girls were in attendance. “I think the toys were too
Where else you can see her “They were unrecognizable, sophisticated,” Ian explains.
work: Where else you can see his married and with kids,” Ken “Or just poorly marketed.”
www.arianalindquist.com work: The New York Times explains. “They grew up
Magazine, New York, www. in a very rough and ready Where else you can see his
michaelschmelling.com neighborhood, but turned out work: www.mrianwright.co.uk
to be nice people.”

Where else you can see his


work: Women in Love, Altered
States, Tommy, Celebrity Big
Brother 5

KEN RUSSELL ©2006 TOPFOTO

PROVE YOUR RESPONSIBILITY, NOT YOUR CAPACITY.


4 2 T H E FADER ©2007 DEWAR’S, WHITE LABEL AND THE HIGHLANDER DEVICE ARE REGISTERED TRADEMARKS AND DEWARISM IS A TRADEMARK. IMPORTED BY JOHN DEWAR & SONS COMPANY, MIAMI, FL. BLENDED SCOTCH WHISKY - 40% ALC. BY VOL.
®
Fader 44
March 2007
Spring Style

Letters

FAN MAIL! GET FADE(RED)


That show last night [the issue #42 Release Thankfully, the (PRODUCT) RED products are
Party featuring Vietnam] was embarrassing. everywhere at the moment, including here at
I’ve seen Vietnam live five times and they The FADER! If you didn’t know, a portion of the
always rock small venues. WTF? The Syrup profits made from the sale of (PRODUCT) RED
Room did a better job. Ever heard of a “sound products go to the Global Fund, to fight AIDS in
check”? Your magazine is for lame-ass 35 y-o Africa. We have a Special Edition iPod Nano TM

twats. (PRODUCT) RED ($10 goes to the Global Fund


Fuck You. when you purchase one) for you to win, our
Blake Freitag FADER friends—all we ask is that you indulge
us with the three best songs with the word “red”
in the title. Whoever has the least worst choices
WE ONLY FUCK WITH CHARLIE WATTS wins! Send entries to letters@thefader.com. For
Dear FADER more information on (RED) go to www.joinred.com
In your Damon Albarn story [Issue #43, “Return
of the Rockers”], you claim he’s one of the two
or three biggest rock stars in England. Ummm,
aren’t there like five Rolling Stones alone? Did
I miss something?
Desmond

CHIWETEL HAS JAMS TOO, SIS!


Hey Hey Hey!
I was just uptown at my friend’s house drinking
wine and eating celery (don’t ask) and he
got the new Charlotte Gainsbourg album for
Christmas and we put it on repeat and had
more wine before going downtown to meet
friends. But I didn’t want to leave! And I don’t
even like my friend like that! The album is just
TOO GOOD to turn off. I’ve seen a bunch of
Charlotte’s movies and I fell in love her even
before she graced your cover but I just wanted
to say NICE ONE!!! She looked amazing and
deserves it!
Agatha OOPS!
In our Charlotte Gainsbourg cover story [Issue #41, “French
Revolutions”], we obviously had a brain freeze and spelled
UNDERGROUND KINGS! super producer Nigel Godrich’s name wrong.
Machel Montano on the cover? Where is
The story on LA Hybrid Soul [Issue #43, “Electrocuted Los
KEVIN LYTTLE??? Sorry but THE KING OF
Angeles”] said that Ty and Kori are signed to Will.i.am Music
MAINSTREAM SOCA IS NOT INTO YOUR
Group. They are in fact signed to Buddah Brown Entertainment.
UNDERGROUND MAGAZINE.
Anonymous

Wyle out with us on The Let Out—two hours of remixes, exclusives and the newest/oldest hot shit spun live by the FADER editors. Every
Friday from 6-8pm, East Coast time (motherbitches) on www.eastvillageradio.com, IM “EastVillageRadio” to get at us in the studio, boyo.

4 6 T H E FADER
Fader 44
March 2007
Spring Style

Editor’s Letter

S
ometimes people accuse the intrepid FADER staff of being insolent, corny or of simply
sleeping too late, but I prefer to think of our ragtag bunch of writers, editors
and lunch orderers as dreamers. That’s why when it was time to figure
out our March Spring Style Fantastic, we put the psychics on speed dial,
dusted off the dreamcatchers and spiked our apple martinis with valerian
root. In a magical, Technicolor REM, the juxtaposition of legendary hip-
hop mind blowers Bone Thugs-N-Harmony and up-and-coming downtown
body rockers Gang Gang Dance just came to us (along with a strange and
sort of unnerving dream about chorizo, but nevermind that). Say what you
will, skeptical minds, but somehow—like potato chips and ice cream, or
Kanye West and an abundance of id—it makes sense. Bone Thugs will be
launching thunderclouds over your nearest horizon sometime this spring
with the release of Strength in Loyalty—their latest oeuvre, produced with
the genius of Swizz Beatz and help from every other heavyhitter on the
planet, plus Will.i.am. Gang Gang Dance’s multi-rhythm, cross-pollinated
rock has been fucking us up for a while now, but with new tunes in the
kitty and a valid pass to Go Get It, we’re watching as they figure out what
to do with their potential stardom.
The visions don’t just stop there, of course (do they ever stop at Krayzie
Bone and Brian DeGraw?): we’ve also taken on some serious scene
reportage with a feature on Beijing’s burgeoning underground rock scene
and a one-two punch profile on DC’s post go-go headliners Wale and Tabi
Bonney. True to form (and issue theme), we also wanted to give our lovers
and sisters and brothers something fantastic in the way of wearable items
for party and play: please check out the exxxxxxxxxtended style section up
front and the deep fashion kablammy in the caboose, featuring gents on
the streets of Mumbai (née Bombay), basically chilling, but looking fly as
all hell while doing so. We think it inspirational. Finally, lastly, superficially
and thus sort of most importantly, you’ll see that this issue debuts a new
design and snappy layout—it’s sort of like we spent the winter in training,
getting tanned, learning French and figuring out which fork to use. Can a
magazine be debonair? No one knows for certain, but we’re sure as hell
gonna try.

On the covers: ALEX WAGNER


Bone Thugs-N-Harmony,
photographed by Jason
Nocito, December, 2006

Gang Gang Dance,


photographed by Jason
Nocito, December, 2006.

THE FADER 49
FADEIN

PHOTOGRAPHY JASON NOCITO


NWS
PRNT
• This winter Silver Lake
landmark and architectural
abnormality the Boat went
on sale. The building
served as the broadcast
and recording outpost for
First Mate Bob and his
Haven of Rest ministry
• Picture Box—the design
for several decades until
studio responsible for
the mid-’90s when the
everything from Grammy-
Dust Brothers bought the
winning Wilco album
property following their
covers to crazed out
success with Hanson
hardbacks featuring the
and (Beck) Hansen. After
work of Trenton Doyle
importing a Neve console
Hancock—has recently
custom-built for George
been staking a big flag
• For acolytes of Man Hero Martin and designing the
on planet comic book.
William Eggleston, there space with an emphasis
New releases include The
has always been the on live tracking, it became
Drips by Taylor McKimens
slightly underappreciated the personal studio for the
(documenting a day in the
cannon of photographer production duo. In 2003 they
life of your typical skin-
Mitch Epstein. Epstein’s opened it to outsiders. With
melting construction worker)
work over the last 30-odd recent temporary tenants
and PaperRad’s Cartoon
years has captured much of including Bright Eyes and
Workshop. Under the helm
the American Heartbreak Autolux, the Dust Brothers
of art director Dan Nadel,
and the Heartland in full • Before the 2006 Grammys, • Short of, like, stalking have rarely been able to
it’s a catalog like no other:
color composition, but we were curious to see if Philip Lorca Di Corcia’s on- book time there, so they’ve
Cold Heat follows its hero
the new book Work is a Sly Stone’s reemergence campus housing at Yale, the put it on the market with the
on “a life altering adventure
grand re-examination of would mean he’d be ready chances of glimpsing the hope that it will stay intact
through Prozac, corporate
the man’s oeuvre—shot to take us on a voyage boldfaced art gods behind and remain a hub of the
rock, globalization, and, of
around the world and through the hazed out the canvases/contact sheets eastside music community.
course, sex.”
updated with his most years. Next thing we know are slim. Photographer ERIC DUCKER
CHRISTOPHER JAMES RICHTER
recent projects. Pictures the First of the Space Age Jason Schmidt does the www.theboatstudio.com
www.pictureboxinc.com
of Indian men in strip Mohicans was onstage. We hard work for us. Artists
clubs are found alongside realized that the rumor that is the lensman’s first book
landscapes of West he was stashed away in a and it’s an all out whammy
Virginia power plants and Cali mansion with guns, jammy Who’s Who of the
massacred front lawns, drugs and Asian twins was contemporary art scene.
post-Katrina, in Biloxi, probably just a rumor, and Schmidt manages to frame
Mississippi. It’s all further that the truth was probably heavy hitters like Maurizio
proof that heartbreak and no more accessible, and still Cattelan and Wolfgang
beauty are bedfellows the not our business. Legacy Tillmans alongside rising
world over. ALEX WAGNER
is now reissuing all of Sly’s stars Banks Violette and Roe
www.steidlville.com studio albums—but it’s still Ethridge. ALEX WAGNER
up to us to decipher the www.steidlville.com
secret history of his resilient
funk. WILL WELCH

www.legacyrecordings.com

52 T H E FADER
S-90 Low
ROBOT AFTER ALL DAFT PUNK TURN THE KNOBS DOWN WITH ELECTROMA

NWS
PRNT

• In Daft Punk’s dialogue- silent. Made up of long and genuinely touching.


free art film Electroma they sequences of robots driving I actually shed a digital
present a bizarro version of in the desert, robots getting tear, but only because the
their Earth personas. This latex skin applied to them Emotron 230 chip that my
tale of two robots who want and robots feeling shame master installed enables
to be human is markedly in a public bathroom, that kind of thing. ERIC DUCKER
rural, slow, sad and often Electroma is both hilarious www.daftpunk.com

5 4 T H E FADER
HE • R W
R T RUN-
D. M . C . • THE KINK
S • D AY
D IRE
• ON

O
N OV C


&F HA

LF
A AN

LE
LOST ONES THE BLACK AND WHITE REALITY OF CHILD SOLDIERS D
LY
IN • THE WHO • J
ENEMY
NWS
,W ER

CO
• T. R


H LI C RY
RT UB

•S

RL
EX LE

PRNT • P
EA •T E

ES
U BE • THE FL HE

S
EO C


AM

LE
RO
ICE

LE

W
AM IN

• J
L

OW

IS
• G

AR
G • SNOW LIP

LIN
BR


C

IM
ON

WO
G

CH

G
ES


DO

ST

MY
OD
AM

S
T

ON
LI N
NR

YG
RAY

•N
• J

ES

R
UTH
SU

EC

OP

PA

EIL
K

• BO
MAC

RIE
INCE • GEORG

TRO
YOU
O
JIMI HENDRIX •

B DYLA
M • LO N N I E

• HANK WILLIAMS • JO
N

NG
S

L • TRA

N • MERLE H

• GEO
I
• CREA

A N

R
R

G

F
P

A
C
®

E
H

E
S

G
MIT

E
AD

H
G
T

S
• F
AD

N
AR
T
S

S
TI S

NY
R
R
E

D
H

U
N KIN

C
AT

PP
E

•W

AS
NG

BB
• P
S • GWE •

AN

H
ILL
P

I
CL
ILI

LK


IE

IE

RA
INT

OW


H NE

YL
C TA

Y
B L AC T LS

B
O

PR
E

R
K • RED H

ID
TH ON

D
CE

OY
V • •G
DA S •

B
• GE EOR W
EB

O
O GE JO

A
S NES • T H E S T O

JE
B IRD IER
BP CU
DB


CE

N
AR FF

J
• • L EY

IM
EFT Y • T H
FRIZZELL
M Y • THE WHO • E M
L E R R RN Y
D B E RO EST
K
LIN B CHUC DG
ER
TUBB •
• Today As Many As 300,000 in this series showcase
• S
Find your influences and then find theirs.
Soldiers Has Been Reported • JIM
Children Under the Age of In Over 33 On-Going or silhouettes of child soldiers
L K ER
18 Serve In Government Recent Armed Conflicts from one of the (reported) 36 A MY R
Forces or Armed Rebel In Almost Every Region of countries that use children
BO N E W ODGERS • T -
Groups. Some Are As the World is a new project in their armies. ALEX WAGNER
Young As Eight Years Old.
The Participation of Child
by LA-based visual artist
Clarence Lin. The 36 prints
www.thewarchildproject.com
Get a free 7-day trial at napster.com Find Your ®

5 6 T H E FADER © 2007 Napster, LLC. Napster and the Napster logo are trademarks of Napster, LLC.
FAST TIMES IN HARLEM, HIGH NICKY BARNES TELLS HIS TALE

NWS
PRNT

I’D PUT A LINE


“Now i hadn’t touched
heroin in years—That
was a high i couldn’t
control, but everything

OF HASH OIL ONTO


else? Fair fuckin’
game, So i put all of it
in a zing.

A REAL BIG CIGARETTE,


THEN ADD
BLACK MOTAH.I PUT
ON THE ANGEL DUST
REAL THICK,
SPRINKLED
ON CRYSTAL COKE We’d smoke that
shit regularly! Zings

AND
were the thing, great
for laying the skins.
Wouldn’t give you
an erection, but got

ROLLED IT ALL UP.


you to an arabian
nights floating
sensation, A cosmic
flow between you
and your partner. ”

• Out of somewhere deep Harlem’s multi-million the dunderheaded moves of


in the Federal Witness dollar heroin trade and in those that surrounded him.
Protection Program comes Mr Untouchable he paints But did he party? Oh, you
Mr Untouchable, the himself as a blaxploitation know this. ERIC DUCKER
autobiography of Leroy Tony Soprano, a man whose www.ruggedland.com
“Nicky” Barnes. In the progressive ideas were
’70s Barnes dominated constantly being undone by

5 8 T H E FADER
NWS
PRNT
• Though his address • Our dudes over at ANP • Leading up to the arrival of Panda Bear’s Person Pitch LP • LCD Soundsystem’s Sound
was in Washington DC, Quarterly have been this spring, the ursine member of the Animal Collectivo of Silver is a dance album
outsider artist Mingering putting out a mag that is previewed the album with three singles on three different whose lyrics brim with
Mike lived in a fantasy consistently rad enough labels: UUAR, Fat Cat and Paw Tracks. Each record resigned frustration, but its
world of his own device. to be consistently sold showcases Panda Bear’s sampler-based space case pop, beating heart is the song
He created sleeves for out—like Keyser Söze sold while 13-minute standout “Carrots” sounds like brohammer “Someone Great.” Building
imaginary recording artists out: poof and it’s gone! For is fiddling with his personal radio dial while submerged in on an instrumental first
obsessively catalogued on slowpokes like us, ANPers a bath of warm milk and mind butter. ERIC DUCKER heard on the 45:33 jogging
imaginary record labels. have just started a blog: www.paw-tracks.com mix made for Nike, LCD
Each of his 40+ record check rvcaanp.com/blog if centerpiece James Murphy
covers were detailed with you missed the latest Chris delivers plaintive vocals
gatefold interiors, liner Johanson interview. that counterbalance the
notes and a cardboard ALEX WAGNER track’s cheerfully pinging
record with the correct chimes. By the third stanza,
number of corresponding when Murphy mopes
grooves drawn into it. The worst is all the lovely
This spring, Princeton weather/ I’m stunned it’s
Architectural Press releases not raining/ The coffee isn’t
a compendium of the even bitter/ Because, what’s
maestro’s work: Mingering the difference?, he captures
Mike: the Amazing Career post-breakup ennui nearly
of a Soul Superstar. It as well as Prince did in his
doesn’t matter that none of lyrics for “Nothing Compares
these albums are real, by 2 U.” CHARLIE RYALL
the end of the book you feel www.lcdsoundsystem.com
like you’ve heard every
last song. SAM HOCKLEY SMITH
www.papress.com
• Jay Howell’s Dogs and
Dog Information is a
pocket-sized booklet of
ink dog drawings and, as
promised, accompanying
“information,” like suggested
dog names (Balls, Craig).
The sketches of panting
dog heads are jokey but
Howell’s canine kinship is
genuine. The author loves
his pets because they’re
“fucking stoked and so
should you be because you
take everything for granted
and you’re life isn’t that bad
and the world is awesome.” PHOTOGRAPHY JASON NOCITO (LCD SOUNDSYSTEM).
MATTHEW SCHNIPPER

kickuindahead@hotmail.com

6 0 T H E FADER
THE OFFSPRING SEEDS & RANKINGS

NWS
PRNT
IMAGE ANDREW KUO

6 2 T H E FADER
DEAD STONED & NAKED QUESTIONS FOR DEERHUNTER & THE BLACK LIPS

NWS
PRNT
IMAGE YURY OSTROMENTSKY

A
tlanta bands Black She used to listen to the
Lips and Deerhunter Stones and vacuum our
are easily two of shag carpets. And before she
the most fucked would leave each night she
up bands on earth right would give me a big kiss and
now—each seems to feed off it just stuck with me.
of the demented erotic squall
of the other. We emailed both What’s on your hi-fi? The
bands pretty much the same Falcons I Found a Love
batch of questions; Cole and (Wilson Pickett’s old band);
Jared from the Black Lips Love Forever Changes; Dave
answered between takes Dudley Rural Route 1; Red
for a studio album coming Sovine, because he talks over C

in May, and Bradford from country truck driving songs M


Deerhunter answered that make you cry.
between takes of playing Y

treated wine glasses for the What neighborhoods in CM


soundtrack to Spike Jonze’s Atlanta do you live in? Ian
Where The Wild Things Are. comes from the slums of New MY

WILL WELCH Orleans. The rest of us are CY


from Dunwoody, the finest
area in Atlanta. The only CMY
DEERHUNTER
place where there’s a tennis K
Are there any Atlanta court and a pool for every
landmarks that are relevant backyard. The only place
to band lore? Notown—a where there’s a nanny and
mythological place that was three cars in the driveway.
the back warehouse of this The only place where
old building in downtown poodles’ nails are filed down
Marietta that my dad used to the ivory bone.
to rent to run his mortgage
office. Deerhunter started What’s the most important
there. I’d stay there all night, hip-hop record to you? Three
completely stoned, making 4- 6 Mafia, Mystic Styles
track tapes until dawn. Black
Lips recorded there and even Don’t you have a new
have a song, “Notown Blues.” album out soon? We have
It had tons of weird shit like What’s the most important was DJing old garage rock my teeth hit my lips and it a live album recorded in
broken electric pianos and hip-hop record to you? Wu- records. Cole jumped on a accentuates my overbite. I Tijuana—it was a blast, a
percussion lying around. Tang Forever coffee table in front of me and look ugly. wild spectacle complete with
Now it’s a Mexican grocery got all in my face and was donkeys and $12 hookers and
store. What’s the story behind your like “WHO are YOU???” I told Is there anything non music vomiting gangsters.
first encounter with Black him his band reminded me of related that y’all do together
Lips? My friend Paul took early Beefheart. We’ve been often? We make out and
me to see his sister Sarah’s best friends ever since…. smoke joints and play with
band the Lids. This band switchblades.
called the Black Lips played “Cryptogram” and
and it was like watching a “cryptograph” are
BLACK LIPS
hurricane spinning in place synonyms. Any reason
and detuning itself. I was you named your album Where’d your band name
also really stoned. I sat on Cryptograms? Because come from? I had a fat black
this couch and somebody when I say “cryptograph” babysitter named Denise.

6 4 T H E FADER
SIGN LANGUAGE SHANNON EBNER’S UNNATURAL BEAUTY

NWS
PRNT

CM

MY

CY

CMY

• Artist Shannon Ebner meditation on language abutted by WATER drifting comments in themselves.
follows in the steps of and image. LANDSCAPE in silver balloons. Ebner’s Her pieces are also—in the
greats like Ed Ruscha, INCARCERATION teeters words reference political tradition of the Hollywood
bridging the gap between over a barren stretch of and religious phraseology sign—grand, sweeping
text and visual so that grass and mud, while the that isn’t always readily gestures of beauty.
each comments on the shadow of CHEMO floats discernible—but the ALEX WAGNER
other—a very 21st Century on a rocky lunarscape, juxtapositions are striking www. wallspacegallery.com

6 6 T H E FADER
OSAKA 500 TOMOE HAMAYA’S NITRO-BURNING POP ART

NWS
PRNT

• Japanese artist Tomoe phrases like “Tigerzap” The stickers have earned yet,” Hamaya says. “But I’m Osaka University, not for
Hamaya constructs his and “Sonic.” It’s modern Hamaya exhibitions at the looking for a chance.” He art, but for grad school-level
painstakingly detailed art for Ritalin kids, merging Kyoto Museum and the doesn’t have a gallery rep, mathematics. NICK BARAT
“Critical Hit” pieces out childhood toy obsessiveness Tokyo Wonder Site, as well or even a proper website, hayamatomoe@e-mail.jp
of model racecar decals, and media overload with as the admiration of graf but Hamaya knows the fast
stacking checkered flags the traditional Rimpa school graphic luminaries like track for weirdo stardom—
over intersecting lines of of decorative painting. KAWS. “I’m not famous he’s currently enrolled in
®

*Than our previous blend. © 2006 McDonald’s ®

6 8 T H E FADER
MAN DOWN WERNER HERZOG REVISTS THE HORROR WITH RESCUE DAWN

NWS
PRNT

• Werner Herzog has been German director’s latest early stages of the Vietnam with the film’s brutal
a crazerly prolific filmmaker is Rescue Dawn, a film War. Gorgeously filmed center only emphasizes
since the 1960s, but with based on the experiences in Thailand and starring the bottomless despair of
the 2005 documentary of Dieter Dengler, a friend Christian Bale, the film another terrible war we got
Grizzly Man he reignited of Herzog’s who was shot is bookended by almost ourselves into. ERIC DUCKER
a (relatively) greater down over Laos and kept satirical Top Gun-esque www.wernerherzog.com
interest in his work. The in a POW camp in the passages, but their contrast

70 T H E FADER
GIRLS ON FILM THE TOMBOY CHIC OF POSTWAR LONDON

LOOK
PHOTOGRAPHY © KEN RUSSELL TOPHAM/THE IMAGE WORKS

• Ken Russell was still a their styling, accessorizing to pre-war times, but for most part, the Teddy Girls is preparing an exhibition
photography student when with brooches and scarves, these working class women, stayed in the shadow of of these unpublished
he took pictures of London’s posing with umbrellas their clothes pointed to a their male counterparts (the images and others from ’50s
Teddy Girls in the mid-’50s. propped like walking canes different future. Pants were style was largely associated London—turns 80 this year,
Unlike the standard Teddy in the post-war rubble. signs of a modern age with rebellious youth), and and is the only professional
Boy uniform of drape coats Upper class gentlemen had where women could hold were never fully recognized photographer known to
and drainpipe trousers, adopted Edwardian garb down jobs traditionally as a subculture in their have documented the group.
the girls were playful in as a nostalgic throwback occupied by men. For the own right. Russell—who CHIOMA NNADI

72 T H E FADER THE FADER 73


74 T H E FADER THE FADER 75
THE LOCAL VANESSA DA SILVA IS LADY OF THE MANOR

STYLE
PHOTOGRAPHY EMMA HARDY

• As street markets go, tables overflowing with resident Vanessa da Silva. a gigantic neckpiece on
Dalston in East London high-shine African fabrics. The designs for her latest one tee, while a shopping
is what you might call “People always says ‘Ugh! collection of self-titled T- bag full of market finds gets
the magpie’s favorite—a Hackney,’ but actually shirts piece together all splashed across another.
hodgepodge of fake there is a lot of beauty in da Silva’s favorite local CHIOMA NNADI
bling, cheap and cheerful this neighborhood,” says goodies—a cobweb of www.vanessadasilva.com
cosmetic stands and illustrator and Dalston illustrated glitz makes for

76 T H E FADER
WORLD TOUR ADIDAS GETS GLOBAL

STYLE
PHOTOGRAPHY ANDREW BETTLES

• For spring ’07, Adidas This African-inspired jacket were used to create its
packed a suitcase full of takes its embroidered muticolored lining.
classic track tops and pulled neckline from the traditional CHIOMA NNADI
a Phileas Fogg, jetting beaded necklaces worn www.adidas.com
off on a round-the-world by Maasai tribeswomen,
tour to pick up new design while traditional African
tricks from all four corners. wax printing techniques

78 T H E FADER
STYLE like a
• A graduate of London’s Central Saint Martins, Charlotte
Mann used to make costumes for Russell Sage (dresses
formed from flowers, money and so forth) before deciding
• Like a sartorial Grey
Gardens, Austrian-born
designer Carolin Lerch’s
• Euro designer Joline Jolink shape-shifts through cultures like
it’s no big deal. In 2006 alone, Jolink went from Amsterdam
(where she lives and works) to Paris (to create a guerilla
dollar shop.
except delicious.
that painting pretty ladies was more fun. “I love drawing line Pelican Avenue fashion show outside of the Celine show) to Italy (where she
sexy women,” she says. “I love their bodies, faces, hair comments on the solitude represented Dutch design during the second European Fashion
and clothes!” Her obsession has come in handy—she of older Viennese women awards). Unsurprisingly, Jolink cites Amelia Earhart as an
doodled the backdrop for Peter Jensen’s Spring/Summer with its first collection, inspiration; her new collection channels a 1970s yacht trip
’07 show (it took a week, and several pens) and is currently Edition Dame. The wide, via a nautical color palette, stretchy fabrics, breezy neck-high
creating an installation for London boutique b store, round neckline of the silhouettes and a “fresh leaf” print design. Borrowing a bit
exhibiting with organic couturiers OsvoMode and “garden outfit,” is meant from The Love Boat and a bit from Balenciaga, Jolink’s clothes,
releasing a book of illustrations of said cute females. Of to “frame” the wearer’s which arrive Stateside this fall, possess an easy, irresistible
her day-to-day process, Mann says, “I wear dark glasses personality. “By framing docksider elegance. RANJANI GOPALARATHINAM
so I can get away with sketching them on buses without mature faces, I’d like to www.jolinejolink.com
them noticing.” HELEN JENNINGS give [these women] back a
www.charlottemann.co.uk certain dignity which I think
is fading in our society,
and especially fashion,”
says Lerch. The print, also
based on an ellipse, is a
computer composition of
indoor plants (common
in a Viennese household)
inspired by “symmetrical
flower compositions of neat
graveyards or arranged
bouquets.” Lerch then
uses the thoughtfully
deconstructed clothes in her
video art and in the context
of curating—a well-rounded
battalion with which to
raise “opposition to trends • For some, the art of
• Nothing is really better and the destructive attitude travel extends no further
than arts and crafts that of hypes.” In other words: than floral tapestry
double as both jewelry AND creativity rules! trolleys; for others, there’s
a drumstick accessory, so RANJANI GOPALARATHINAM Globe-Trotter. Since 1897,
we’re all for the psychedelic www.pelicanevenue.com the Hertfordshire-based
squeezeability of Pon Pons luggage brand has been
by Abby and Travis. the premier choice of high-
Confident that, “Pons can minded travelers from
make for a sexier wardrobe,” Winston Churchill to Kate
Abby says, “People love Moss. Why? Two words:
to touch and squeeze them.” Vulcan Fibre. Each leather-
The duo is currently trimmed, cloth-lined
“trying to make the best case is handmade using
pon in the world, the one this patented material
that will keep everyone up masterminded in the mid-
at night.” 19th Century to be as light
RANJANI GOPALARATHINAM
as aluminum and sturdy
as leather. Lucky for those
The New BK™ Breakfast Value Menu. Looking for a great
pondiriver.blogspot.com
Americans looking for an deal on breakfast? Hit the new BK Breakfast Value Menu. Pick up some tasty CHEESY TOTS,™

upgrade: Globe-Trotter
cases have finally—for the the amazing new Hamlette sandwich or eight other breakfast treats, all starting at a dollar each.
first time in their 110-years
of unabashed jet-setting—
There’s no better way to begin the day than with the King. HAVE IT YOUR WAY®
arrived in the States. Ah, Participation may vary.
the irony is rich. KARIN NELSON
www.globe-trotterltd.com
CHEESY TOTS™ is a trademark of H.J. Heinz Company and used under license by Burger King Corporation. TM & © 2007 Burger King Brands Inc. All rights reserved.

8 0 T H E FADER
CONSTRUCTION WORK ENGINEERED GARMENTS REINVENT STYLES

STYLE
PHOTOGRAPHY DOROTHY HONG

• Before crotch shots and Japanese designer Daisuke menswear—mili-jackets company launched nearly boot is made in partnership
sweatshop-free unitards, Suzuki has always had a and hunting coats all 10 years ago, even though with a small studio in
American apparel soft spot for the glory years manufactured using old the line was until recently, Massachusetts. Each pair
was a lofty notion of of Americana and feeds US standard techniques. only available in Japan. molds to the wearer’s feet
craftsmanship, a beast of this sartorial habit with Unsurprisingly, everything’s Traditionally worn for for custom-made footprints.
an industry standard that’s Engineered Garments, been produced exclusively trekking or padding around CHIOMA NNADI
sadly seen sturdier days. his line of built-to-last in the States since the in the wild, their Arrow Moc www.engineeredgarments.com

8 2 T H E FADER
A G THING GINO GREEN TRIPLES UP

STYLE
PHOTOGRAPHY DOROTHY HONG

F
or the past year and Dave: We recently went to
a half, a stout half Atlanta and people were
Irish and half Puerto buying our sweatshirts off
Rican outsider/insider people’s backs! Not to blow
simply known as Prince has Sean Jean or Rocawear’s
been on the road with his covers, but nobody’s buying
clothing line, Gino Green fucking collections anymore!
Global. By now, you’ve seen So, Prince came up with
the stuff everywhere: the the idea that if it’s hot, let’s
tees and hoodies covered get it in before they bootleg
with the “g” that more or less it—niggas ain’t fuckin’
passes for a “9.” Prince let us bootlegging Akademiks ’cos
aboard the GGG tour bus on that shit don’t sell! Niggas
a short stop at their NYC HQ only bootleg shit that sells.
to meet the rest of the family. Niggas bootleg Gino Green
and Air Force Ones, not 8-
What made you start Gino Ball jackets!
Green? Prince: I’ve been Mata: The bootleggers are
doing this my whole life. even coming with more
It all originated from the styles than us!
culture itself—I’m a graffiti Dave: And when the
artist. And I didn’t become bootleggers come up with
a rapper first and then go long-sleeve tees, we come

STYLING BY CHIOMA NNADI. KEVIN WEARS T-SHIRT BY GINO GREEN, JEANS BY PARISH, HAT BY AIR JORDAN.
into designing; I’ve always out with leathers!
wanted to be a designer.
Sort of like a battle? Mata:
I can appreciate that. But Exactly. We’re not trying to
why the name Gino Green “I WANTED TO genuine in and out. As far as else from overseas gonna WORN BY: lose touch. Basically, we’re
itself and not say, Tony MAKE IT LOOK Green, I feel as though it’s the tell us how to wear our pants 50 CENT like a drug: you’ve got coke,
Black or Henry Indigo, even? LIKE THREE 9S most powerful color in the and cut our pants?! PAPOOSE weed, dust and all that.
SO THAT THEY BUSTA RHYMES
Prince: I was watching a COLLABORATE universe. Now, the profit in coke is a
TEGO CALDERÓN
lot of Italian designers and AS GS. THAT What’s the story behind the fast flip, the profit in dope is
REMY MA
I’m aware that the market WAY YOU GET How do you think you really “g” as a “9”? Prince: We a big flip…. But, the weed
KEYSHIA COLE
follows a lot of Italian THE BEST OF differ from say, A Bathing go back to the days of Louis is a guaranteed flip—it’s a
LLOYD BANKS
designers, so it had to have BOTH WORLDS Ape or Ice Cream? Prince: Vuitton and Gucci and their slow process but it’s always
AND HAVE DADDY YANKEE
a little of that niche to it. Plus We respect Bathing Apes eye-catching logos. A lot of TONY YAYO pure and you never lose out.
PEOPLE SAYING:
we use a lot of Italian fabrics ‘WHAT IS THAT? and everything, but Bathing people know that clothing LIL SCRAPPY Guess which one we are.
so it just made sense. To us, IS THAT A 9 OR Apes ain’t from where lines do two-digit numbers: DJ KAYSLAY OMAR DUBOIS
the word “Gino,” means A G?’” we from! We all from the 67 for Polo or even 05 for DJ PROSTYLE www.ginogreenglobal.com
boroughs of New York, FUBU. But I wanted to do
we’re from where hip-hop a three-digit number, and
started. That’s the culture, make it look like three 9s so
the concept, the language, that they collaborate as gs.
the swagger, the walk, the That way you get the best of
BMWs, the fitted hats. That both worlds and have people
shit is a New York thing! So saying: ‘What is that? Is that
really, at the end of the day, a 9 or a g?’ There goes your
how the fuck is somebody marketing!

8 4 T H E FADER
IN LIVING COLOR ZIGFREDA SPINS KALEIDOSCOPE THREADS

STYLE
PHOTOGRAPHY DOROTHY HONG

Damon Albarn,
Damon Albarn,
Tony Allen,
Tony
Paul Simonon,
Paul Simonon,
and Simon Tong
and Tong
Produced by
Produced by Danger
Danger Mouse
Mouse
"[an] incredibly
"[an] incredibly beautiful
beautiful record"
record"
-NYLON guys
-NYLON guys
"The Good, The Bad And The Queen adds
"The Good, The Bad And The Queen adds
up to, among other things, another
up to, among other things, another
STYLING BY CHIOMA NNADI. MODEL MONICA NELSON.
brazenly inventive chapter in Damon
brazenly
Albarn's inventive chapter in Damon
restless career"
Albarn's
- Paste restless career"
- Paste
• Some designers rely on she says. “There were throughout the new inspired prints by hand and we used to meet. Then we
In stores and online now
muses, but for Brazilian
designer Katia Wille,
thousands of giant colored
balls bouncing all over
Zigfreda collection—from
bouncy primary-colored
runs the business with her
Dutch husband. “When we
named our cat Ziggy, so
of course Zigfreda for the InAvailable
stores at and online now
inspiration is a good San Francisco and it just separates to jumpsuits lived in Holland I used to label—it just seemed to Available at
commercial break. “I saw seemed like a metaphor illustrated with airplanes call my husband Zigfredo make perfect sense!”
this commercial for new for harmony.” Hints of and colored bubbles. Wille after the Segafredo coffee CHIOMA NNADI
flat screen televisions,” TV reverie can be found drew all the celluloid- that was sold at the place www.zigfreda.com

www.virginrecords.com © 2007 Thirteen Limited under exclusive license to EMI Records Ltd., in the United States to
8 6 T H E FADER
www.thegoodthebadandthequeen.com
www.virginrecords.com Virgin Records America, Inc. All rights reserved.
© 2007 Thirteen Limited under exclusive license to EMI Records Ltd., in the United States to
AIR APPARENT DJ CLARK KENT’S AIR FORCE ONE ADDICTION

STYLE
PHOTOGRAPHY DOROTHY HONG

Total number of Air Force gave a bunch of them away. them anywhere else at the Storage location: My house buy them in Japan and
Ones purchased: About time. in Brooklyn and my mom’s Australia.
3500, but I do own a few Air First pair ever purchased: basement.
Jordans too. A silver and white pair I got Average number of wears Favorite pair: White on
back in 1982. I went down per sneaker: One. It used to Average number bought white low-tops. CHIOMA NNADI
Number currently in to Baltimore to buy them be more, though. Now they per international shopping
collection: About 1400. I because you couldn’t get look dirty after one wear. spree: 10 to 40. I often

8 8 T H E FADER
“I WROTE
SONGS ABOUT
RELATIONSHIPS
I t’s 8PM on a Friday night in New
York City and Amy Winehouse
wants a tattoo. Another one. Her
THAT ALMOST left arm has already been graced
ENDED ME.”
by an upside-down horseshoe and
a topless model, and her right has
been inked with a greaser chick in
red pumps, a tied-up shirt and the
name “Cynthia,” but somewhere
inside the neon yellow tattoo
parlor next to East Village Radio, a
buzzing needle whispers her name.
“Don’t get one now!” says DJ Mark
Ronson, who brought Winehouse
over to the station to guest on his

GENF
show. “It’s going to make you too
tired to sing.”
After listening to Winehouse’s
Back to Black, exhaustion seems
like it would be as much an asset
to the singer as an impediment.
BOTTLE The album is a showcase for
ROCKET Winehouse’s smoldering voice—a
ragged, throwback croon that
AMY makes you wonder why anyone
WINEHOUSE’S would ever stop calling nightclubs
WASTED R&B “gin joints”—and her deeply
confessional lyrics, which detail
broken hearts and broken bottles in
equal measure. “This album was so
easy to make,” Winehouse would
explain over the phone, back home
in London for a live show a few
weeks after the EVR stop. “I mean,
I wrote songs about relationships
that almost ended me. When you
write about stuff that’s so personal,
you don’t have to dig that deep.”
Yet for all its inky tears, the actual
music on Back to Black, produced
by Ronson and beat extraordinaire
Salaam Remi, is a rather upbeat
nod to Motown classics and Phil
Spector’s girl group backbeat.
Lead single “Rehab” might be the
happiest song to ever contain a
line like I’m gonna lose my baby,
so I always keep a bottle near, and
it’s follow up, “You Know I’m No
Good,” is no less poppy, even as
Amy Winehouse, backstage Winehouse wails to an ex-lover, I
at G-A-Y, London. cry for you on the kitchen floor.
Ghostface Killah recently added
verses to “You Know I’m No Good”
for his More Fish album, and as
that track gets spins on US urban
radio—and Back to Black’s US
release draws near—Winehouse
finds herself positioned as an
unlikely R&B diva and hip-hop
guest star. But who else is going
to share her fondness for tats and
top shelf liquors? “You know that
Ronnettes tune, ‘Be My Baby?’” she
asks. “When I was with Salaam
last time, he had me sing that
chorus, but make it B-boy, be my
baby, Then he tried to get me to
do a verse! I was like, ‘I thought
you were going to get Nas or
something?’” NICK BARAT
PHOTOGRAPHY LIZ JOHNSON ARTUR
“SHARKS
S omehow, despite the fact that Virginia thinking they ain’t doing nothing. Go fuck Fam-Lay onstage
DON’T GOT has thoroughly dominated commercial around and they bite your damn leg off.” He at Norfolk, VA club
NO TYPE OF rap and R&B since Teddy Riley relocated says it with the same dry humor and nautical
Norva before a show
with Pharrell and
EXPRESSIONS to VA Beach over 15 years ago, the current drawl that coats his raps in salty Norfolk air. Clipse.
ON THEM, SO
PEOPLE GET kings of the Tidewater, the Neptunes, can’t It’s what distinguishes him from the almost
IN THE WATER get anybody to put their friends’ records region-less sound of his friends, Pusha T
WITH THEM out. Clipse finally got their due, but now it’s and Malice, and what makes Fam such an
THINKING THEY Norfolk’s Fam-Lay sitting in the chamber, appealing spokesman for the area. In fact,
AIN’T DOING
NOTHING.” one shelved Def Jam album already fully as he sits in front of the local barbershop/
shrouded in dust and another album, Dat music-talk shop, Furious Styles, Fam is
Missile, floating somewhere on Interscope’s frequently approached by random kids and
Spring/Summer ’07 schedule. If nothing else, neighborhood acquaintances as if he were an
Hell Hath No Fury should have snapped some elected official. “Even though Clipse are just
execs out of their slumber and solidified a date 20 minutes up the road,” he says, “we got a

GENF
for Fam’s album, which is already leaking completely different thing going on over here
nuclear material like a Russian submarine. in Norfolk from Virginia Beach.”
Label antics are frustrating, but a Gangsta On the Neptunes-produced “Head Bust,”
Grillz session with Atlanta mixtape impresario it’s readily apparent Fam has no intention of
DJ Drama will plug the holes for the time masking his Southern accent—his tumbling
being. Fam, meanwhile, has already been intonation oozes charm over what he
through it once and trusts it won’t happen the describes as “mean monster shit.” It’s true,
JAWS same way twice. Referring to his new label, Pharrell and Chad save some of their ugliest
Fam says, “They know what we trying to for Fam, but he’s going sub-Dixie for the rest
FAM-LAY IS do, the direction we going. So I ain’t mad at of his album, racking up beats from David
GONNA BITE all. [The Def Jam shelving] was a blessing in Banner, Three 6 Mafia, DJ Toomp and Shawty
RAP’S LEG OFF
disguise because we ready now.” Redd. The all-star production might turn
When Fam talks like this, like he’s about heads to the bottom of the map, but Fam-Lay
to prey on the rap status quo, it’s hard not to will bring them right back to Norfolk.
notice the full-sleeve tattoo on his right arm. PETER MACIA
“Yeah, I got an armful of sharks,” he says.
“Sharks don’t got no type of expressions on
them, so people get in the water with them

PHOTOGRAPHY RICH-JOSEPH FACUN

92 T H E FADER
“I PRETTY MUCH
R amesh Srivastava keeps a blog, and friends remain Grammy-less—Voxtrot still Voxtrot at home in
LOST IT AND this past September he detailed how a hasn’t even released an album. Srisvastra Austin, TX.
BURST INTO Voxtrot practice made him cry: “More and is flippant about the public’s (or, as he puts
TEARS, WHICH more I find myself in a scenario where I am it, “the blogosphere’s”) desire for the band
IS COMPLETELY
RIDICULOUS.” situated in a room with a group of people to release a full-length (he’s big on EPs).
listening to one of our songs boom out of a Nonetheless, Voxtrot plans to “supposedly”
set of speakers, and as the song plays people release an album in the spring on British label
issue their various views about the song’s Playlouder.
strong and weak points. I fucking hate this. Early in our conversation, Srivastra tells me
On the particular day in question, as this was that he dropped out of college to play music.
occurring, I pretty much lost it and burst into He’d been writing “man and his guitar” songs
tears, which I know is completely ridiculous.” and playing loosely with Voxtrot, but finally
Maybe it’s ridiculous, but it’s better than not he let the band coalesce and bubble up. He
caring and making bad music. In the song says it so plainly, as though all 23-year-olds

GENF
“Rise Up in the Dirt,” he sings boastfully that abandon parent-satisfying BAs to pursue their
he believes in love and, naturally, in the eternal musical dreams. When I ask him if it’s
next line he professes that he’s married to strange—such new semi-fame and praise—he
his work. Really, Voxtrot and Srivastava are answers so quick it’s almost curt: “No, I love it.”
indistinguishable. Then he takes a mental step back, laughs tiny
So Voxtrot (the music) sounds just this close and pauses, then finally admits with playful
to Voxtrot (the band). The sound has little self-awareness that, of course, “Pride comes
THE accoutrements to represent emotions—maybe before the fall.”
MISEDUCATION there is a blow of a French horn for emptiness,
MATTHEW SCHNIPPER

VOXTROT IS a piano trill for failed effort. The songs aren’t


THE INDIE POP epics but instead little vignettes of young life
JOHN LEGEND reinterpreted as guitar-based pop music.
They sound vaguely British, and when the
keyboard kicks in, maybe more than a little
like Ben Folds Five. There’s a universality
to Voxtrot, like an indie-pop John Legend—
incredibly personal, widely loved and critically
acclaimed. But unlike Hill, Srivastava and

PHOTOGRAPHY ALYSSA BANTA

9 4 T H E FADER
“IT ALMOST
D ean Spunt and Randy Randall were play them off each other or allow them to No Age play Dave
SEEMED LIKE somewhere in Germany on the edge of slug it out. On “Semi-Sorted,” while the bass Young’s warehouse in
CONTINUING emotional breakdowns when the realization drum keeps time like a heartbeat at rest and
Los Angeles, CA.
ON AS began to take hold. It was the summer of the guitar struggles in a straightjacket of fuzz,
WIVES WAS
POINTLESS.” 2005 and they were in the midst of a fear Spunt sings We all stick to our sides/ We all
and self-loathing tour of Europe with their don’t know why. March brings the first official
band Wives—driving themselves in a rented releases of No Age music, coming as five
station wagon, searching for vegan food and different EPs on five different labels—Upset
playing on borrowed equipment. In 2001 the the Rhythm, Deleted Art, Youth Attack,
two had formed Wives with drummer Jeremy Teenage Teardrops and Spunt’s own Post
Villalobos, eventually becoming one of the Present Medium—though they admit they
leading lights of LA’s young punk community, probably should have put more thought into
but Villalobos had quit the group at the which indie got what songs.
beginning of their preceding two-month tour No Age has become an exercise in freedom

GENF
of the US, forcing them to recruit a Texan for Spunt and Randall, not only letting them
teenager as a replacement. After a show in play whatever type of music they want, but
Essen, they realized how unpsyched and also allowing two guys who’ve been seen
trapped they felt by the music they were as “guys in bands” since before they turned
playing. “It almost seemed like continuing on 20 identify themselves as something greater.
as Wives was pointless,” says Spunt. They They have already made ventures into
decided that the shows on that tour would be clothing and visual art, and LA’s cultural
OWN ZONE their last under the Wives banner and then edgeriders have embraced the group,
everything became a whole lot better. When booking them to play galleries like New Image
NO AGE FLY they returned home they remade themselves and Tiny Creatures as well as the birthday
THE FLAG OF as No Age. of Chinatown boutique Ooga Booga. Semi-
FREEDOM With Randall on heavy pedal-ed guitar joking about the differences in audience
as Spunt sings and plays drums, No Age reaction to a No Age show and a Wives show,
retains the duo’s interest in hardcore, but Randall says, “I don’t get as many high fives.”
they are more likely to bury or burn it in their To which Spunt adds, “More people have
songs. Dealing with dual desires to be more been like, ‘Let’s collaborate, let’s design a
experimental and more pop, they don’t let shirt together.’” ERIC DUCKER
either side control the conflict. Instead they

Knowledge is contagious. Infect

PHOTOGRAPHY RJ SHAUGHNESSY
thetruth.com

THE FADER 97
“I STILL BELIEVE
T he story of Mr Vegas is the stuff of (aka “Hot Fuk”). “I didn’t want to just come Mr Vegas on the street
TO THIS DAY dancehall legend. A modest career doing back in and record a lot of songs like ‘Nike Air’ in Kingston, JA.
THAT IF YOU’RE reggae covers like “Killing Me Softly” was and ‘Heads High,’” Vegas says of his strategy.
MY FRIEND, IT’S sidelined in the mid-’90s by a broken jawbone, “When I did [’90s throwbacks] ‘Constant
FOR LIFE.”
but rather than miss the chance to jump on Spring’ and ‘Taxi Fare,’ people said, ‘Ok, he’s
Jeremy Harding’s classic “Playground” riddim, making some noise.’ But when I said ‘Do You
Vegas voiced “Nike Air” with his jaw wired Know,’ they start believing.”
shut. Unable to mold his mouth around the Between the cover tunes, the veteran status
notes, he half-rapped Mi wan’ fi see yuh and the interpretation of material from all over
hand inna di yeeairr… in a nasal monotone the dancehall map, you might legitimately
that became the trademark on a string of think the name “Mr Vegas” was in tribute to
oddly addictive ’90s hits. A pitch-perfect Sinatra or Wayne Newton. In fact, Vegas was
counterpoint to his dancehall schoolie Sean named for a local strip club (for rocking shirts
Paul on tracks like “Hot Gal Today,” the two fell in go-go dancer pink “long before pink started

GENF
out dramatically when the 12-inch appeared wearin in Jamaica!”), but he seems to have
minus Vegas’s name. “I still believe to this grown into the name’s other connotations.
day that if you’re my friend, it’s for life and no “When I look at a great performer, I have
record label or nobody can come between,” to see why them stick around for years and
says Vegas. “If you and me put in heart and years—it’s the stage show. In order for me to be
soul to blow a song up in Jamaica and then around this long I can’t come to no show an’
it’s promoted as just you when it start takin flop. I rock any crowd: Spanish, Japanese…I’m
THROUGH on wings overseas…I can’t see eye to eye just an entertainer.”
THE WIRE with that.” Although long since squashed, the
EDWIN “STATS” HOUGHTON

DANCEHALL beef proved penny-wise and dollar-stupid for


VETERAN Vegas, who disappeared from the juggling
MR VEGAS DID around the time his sparring partner went
IT HIS WAY platinum.
Suddenly, however, in 2006, Vegas
transformed his status from MIA to comeback
kid with hits as wildly disparate as the sweetly
sentimental one drop “Do You Know” and the
raunchy uptempo bashment of “Hot Wuk”

PHOTOGRAPHY MARTEI KORLEY

9 8 T H E FADER
“WE LIKE TO
A s a UK band, you know you’ve made Babyshambles, the View ambushed his The View in New
HAVE A DRINK it when you have your own football tourbus; the evening ended with Doherty York before their US
IN OUR HAND, terrace-style chant. “The View, the View, playing harmonica along to their demo and
debut.
AYE.” the View are on fire!” is the chorus that has inviting them to open for him the following
pursued these Scottish scallywags for the last night. A few weeks later, former Libertines
year as their following has snowballed—it A&R James Endeacott made them the flagship
started with hometown evangelists, but now band of his new 1965 Records imprint.
practically all-comers are seduced by their With mentors like Doherty and legendary
ragged, uplifting anthems. Like the Arctic drug repositories Primal Scream, it’s no
Monkeys before them, the View are scarily surprise that the View have attracted a
fresh-faced—average age 19—and have reputation for hijinks. They are named after a
effectively demolished the barrier between local inn in which they used to rehearse, but
band and audience. The kids in the front row were banned from for racing microscooters
are the same kids who “treasure beer cans” through the function suite and stealing beer

GENF
and “talk of dreams, romance and excess” from the bar. Falconer also recounts tales of
throughout the View’s breathless urban hymns. the group driving cars in reverse down one-
“Pretty much every one of our songs is way streets and running through town in
about our friends,” reckons deceptively winter wearing nothing but a Scotland-flag
cherubic singer Kyle Falconer. “There’s no thong. He is unsure as to whether the View’s
point in racking your brains trying to come hedonistic outlook constitutes a philosophy,
up with a lyric that’ll change the world—if but concedes, “We like to have a drink in our
ROMANCING you write about what you know best, people hand, aye.”
THE STONED will be able to relate to it.” The View learned Everything has happened rapidly for the
to play along to Oasis, Fleetwood Mac and View, with the self-confessed “noise and
THE JOYOUS
EXCESSES OF the White Album but, as for so many bands thrashiness” of their invigorating debut Hats
THE VIEW of their generation, the Libertines were the Off to the Buskers a direct result of the band
catalyst. “Other bands taught us how to play transporting its live show into the studio and
music, but they had the attitude,” Falconer getting out again quickly in order to enjoy life
says. Totemic Libertines frontman Pete Doherty some more. “We’ll give it a bash,” Falconer
also influenced the View’s career rather more says, when pressed on his ambitions for
directly. When he visited their hometown of breaking America. “But we don’t think much
Dundee, Scotland with his post-Libs outfit about the future.” SAM RICHARDS

PHOTOGRAPHY ANDREW HENDERSON

1 0 0 T H E FADER
“THE FACT
M y first time through Jay-Z’s comeback the initiative to ask Arie to stick around to Chrisette Michele
THAT NAS album Kingdom Come, I didn’t know hear her performance. Arie’s booking agent on the set of the
USED EVERY what to expect. I knew there’d be the Beyoncé was impressed and immediately booked the
video shoot for Nas’s
“Can’t Forget About
SINGLE THING hook de rigueur, but it was the surprising, singer for a tour alongside Kem, Angie Stone You.”
THAT I DID
JUST MADE ME crackled and filtered jazz vocal chorus on and Arie. After the tour, Michele returned to
WANNA CRY.” “Lost Ones” that stuck out: Lost one/ Let go her open mic shows while her management
to get one/ Get one/ Lose some to win some/ mailed out a few demos. An A&R for Def
Story of a champion/ Sorry, I’m a champion/ Jam showed up at a few of the Village
Ya lost one…. I actually backed the song up Underground performances and scheduled a
to catch the lyrics, then looked for the name meeting for Michele with LA Reid, who then
of the singer—Chrisette Michele. Turns out signed her on the spot.
Michele not only sang the hook, but also Growing up, both of Michele’s parents were

GENF
wrote it. Soon her name popped up again active in their Patchogue, Long Island church.
when Nas released Hip Hop is Dead—Michele Her mom was the choir director and her dad
contributed songwriting to “Not Going Back,” played the organ and served as a deacon.
lyrics and vocals to “Hope,” then I noticed She has strong Christian values, and given
her jazzing up “Still Dreaming” and “Can’t the general video vixenized tomfoolery of
Forget About You,” which paired her up with the R&B industry, it seems like a frightening
a sampled Nat King Cole…. Damn! Of her step for her. But there’s no need to question
impressive run at the end of 2006, Michele Michele’s bravery after her performances with
THE CHAMP says, “As a new artist you go in and say, ‘I Nas and Jay, and to call her a gospel artist
hope they like me!’ and the fact that Nas used would be missing the point—you won’t catch
CHRISETTE every single thing that I did just made me her preaching through her music. “There
MICHELE IS want to cry. Like, ‘Word? You sure?’” are enough church people in the church,”
ALREADY Since a track coach handed Michele her she says. “I’m really excited to just be myself
WINNING very first CD at age 17 in her high school outside those four walls.” LINDSEY CALDWELL
hallway, she’s been studying jazz and
pursuing a music career. Michele got turned
on to open mic nights during her time at
Five Towns College, regularly performing at
the Village Underground. Michele noticed

R E M I X E D
India.Arie in the crowd one night and took

AV A I L A B L E N O W E X C L U S I V E L Y T H R O U G H i T U N E S
EDITORS REMIX EP
01. CAMERA (SEBASTIAN REMIX)
02. MUNICH (GHISLAIN PORIER REMIX)
0 3 . A L L S PA R K S ( P R I N C E L A N G UAG E R E M I X )
04. BLOOD (P NICE REMIX)

ALSO AVAILABLE
THE BACK ROOM

K E E P C H E C K I N G W W W. E D I T O R S U S . C O M F O R U P D AT E S O N T H E B A N D
AND LOOK OUT FOR ANOTHER AMAZING ALBUM IN 2007
PHOTOGRAPHY KRISANNE JOHNSON
editorsofficial.com editorsus.com myspace.com/editorsmusic kitchenwarerecords.com

1 02 T H E FADER
TAKE EVERYTHING YOU LOVE ABOUT
TECHNOLOGY AND MULTIPLY IT.
TAKE THE FUN, THE GAMES, THE CURIOSITY,
THE EXPLORATION, THE CREATIVITY, THE EXCITEMENT,
THE PROGRESS, THE LEARNING, AND THE PASSION…
AND AMPLIFY IT.

NOW TAKE EVERYTHING YOU DON’T LIKE –


THE LAG TIMES, THE LOCK UPS, THE STUTTERSTEPS…
AND DELETE IT.

IT’S A NEW WAY OF COMPUTING.


IN FACT, IT’S COMPUTING THE WAY IT WAS MEANT TO BE.
INTRODUCING INTEL® CORE™2 DUO. Intel’s new Core™2 Duo desktop processor
multiplies everything you and your music can do. Now you can experience performance up to 40%
faster and over 40% more energy efcient – it’s about enjoying your music any way you choose.
Learn why at intel.com/core2duo
P erformance based on SPECint*_rate_base2000 (2 copies) and energy efficiency based on Thermal Design Power (TDP), comparing Intel® Core™2 Duo E6700 to Intel® Pentium® D Processor 960. Actual performance
may vary. See www.intel.com/performance for more information. ©2006 Intel Corporation. Intel, the Intel logo, Intel Core, the Intel Core logo, Intel. Leap ahead., and the Intel. Leap ahead. logo are trademarks or registered
trademarks of Intel Corporation or its subsidiaries in the United States and other countries. All rights reserved.
SPRING ETERNAL
Bone Thugs-N-Harmony•Gang Gang Dance•The Chinese Beat•DC Capitol Rap •Explosions In The Sky•Mind-Swapping Collaborators•Bombay Street Style

1 0 6 T H E FADER THE FADER 107


Resurrecting Bone Thugs-N-Harmony

S
P
I
RI
THE
T
U
A
L
I
S
T
S
STO RY E R I C D U C K E R P H O T O G R A P H Y J A S O N N O C I TO
BONE THUGS-N-HARMONY

A pril Love
met Bone Thugs-N-Harmony out in LA
in ’94 and started doing their hair shortly
thereafter. Her first gig was a music video whose
name she can’t remember, but based on the vague
details she gives, it was probably “East 1999” from their
first full-length E 1999 Eternal. The shoot went late,
of course, and Bone Thugs had to get to New York for
an awards show. With paper maché or some shit still
in their hair, they convinced Love to come with them
across the country in a private plane. The morning after
the ceremony, Love woke up and all the management
folks she had been dealing with were gone and had
been replaced with a new crew for their tour that was
about to start. When she tried to get a ticket back to
California they told her she couldn’t leave them and
gave her $1000 to go shopping for clothes. She ended
up on the road for eight weeks. “Every time I wanted to
go home they started throwing money at me,” she says.
Since then Love has been in charge of braiding, fro-ing,
combing out, blow drying and ponytailing the members
of Bone Thugs-N-Harmony’s hair, even though private
planes and endless cashflow are no longer their reality.
In the mid-’90s the Cleveland-born quartet of Krayzie
Bone, Layzie Bone, Bizzy Bone and Wish Bone were one
of the biggest and weirdest acts in hip-hop, if not in all
of popular music. They were four skinny boys who made
their corner of E 99 & St Clair sound like the gateway
to hell and brought a horse drawn carriage on stage at
the MTV Video Music Awards. Rap was just beginning to
realize that all its stars might not come from the coasts
and some shots had already been fired from Chicago
and Flint, but no one expected that the Midwest would
claim its place through the gloom of Cleveland. With
their long hair and ill-fitting Indians gear, Bone Thugs
looked like more countrified versions of Compton and
East Oakland’s street reporters, yet in their lyrics they

Krayzie Bone’s frequent


guest verse work allows
younger groups to pay
homage to Bone Thugs.

1 1 0 T H E FADER
BONE THUGS-N-HA R M O N Y

added an element of morbid spirituality that mixed


the traditions of black Christianity with the occult. “Mr
Ouija” from their 1994 debut EP Creepin on Ah Come Up
is darkside doo-wop where the harmonized plea to their
version of Mr Sandman is not for some lollipop dream,
but to tell them how they’ll meet their maker. Then they
blast the old “Name Game Song” full of holes: Murder-
murder-mo-murder, mo-murder-murder-mo-murder,
mo-murder-murder-mo-murder, mo-murder-murder-mo-
murder, mo-murder, mo-murder, mo-murder….
A decade later, Bone Thugs-N-Harmony is down to
the trio of Krayzie and the cousins Layzie and Wish.
Flesh-N-Bone, the unofficial fifth member and Layzie’s
brother, has been serving a ten year prison sentence for
armed assault since 2000, with the possibility of parole
in 2008. The troubled Bizzy has other issues he’s dealing
with and is estranged from the group. This spring brings
their seventh album Strength in Loyalty, the first release
on producer Swizz Beatz’s Full Surface imprint, a new
venture backed by Interscope.
Second chances for rappers don’t come often, especially
not with the support of one of the music industry’s
most successful labels. Former Goodie Mob member
Cee-Lo recently caught another break with Gnarls Barkley,
but he was aided by luck, Danger Mouse’s quirky
understanding of the modern pop landscape and the fact
that most of Gnarls’s fans hadn’t heard of him the first
time around. As for Flavor Flav’s resurgence…it’s best
not to think about it too much unless you want to bum
yourself out.
During the making of Strength in Loyalty, Bone Thugs
were party to how hip-hop albums are now put together
on major labels. In the past the group mainly stuck to a
single producer for the duration and kept features to a
minimum, but for these sessions big name beatmakers
and guest vocalists were piled on: Akon, Will.i.am, Cool
& Dre, former rivals Three 6 Mafia, Twista (who they also
once beefed with), the Game, Jermaine Dupri, frequent
collaborator and style disciple Mariah Carey, Big Boi,
Kelly Rowland and others. They’ve also worked with
unproven producers like the Platinum Brothers and Swizz
Beatz protégé Neo da Matrix, as well as indulged some
of their stranger tendencies—like recording a song based
around a sample of Fleetwood Mac’s soft rock triumph
“The Chain” and another that features Tupac Shakur’s
furious rantings played continuously in the background.
For Strength in Loyalty, they finished close to 100 songs
and at press time it was unclear which ones would make
the final tracklist.
Under these circumstances, the recording process seems
impersonal, but recognizing the opportunity they had,
the members of Bone Thugs say this album made them

“The rap game is real hard


right now, not just for people
trying to get in it, but for
people that’s in it,” says
Wish Bone.
BONE THUGS-N-HA R M O N Y

tighter than they’d been in years. “We became off into a full on croon. On “Body Rott” from E 1999 that had previously been dedicated to they still regularly tour with each other. While Control radio show on KPFT in Houston hit not to, saying at the time that he had another
close family again,” says Layzie Bone, the most The Art of War, Krayzie nimbly click clacks their their friend Big Wally—in tribute to Eazy and this lifestyle pays the bills, it doesn’t sit well the rap gossip links network. In the difficult purpose in life, so we respected that. This dude
forthcoming member of the group. “We lived outlook on life: We paper chase and smoke everyone else they knew who had passed. with everyone. “Our families be like, ‘Why y’all to follow segment, Bizzy raved like a street could come back home any time he wants to.”
together. Everyone had different condos in the blunts/ You’ll never find a thuggish bunch of Their outlook had always been obsessed get to be together so much?’” says Layzie. preacher and finished off thoughts by dropping To convince Swizz they were still worth
same apartment complex, so you know, we’d niggas like us/ Don’t be so quick to test us/ with coffins and who was filling them, but “Our kids are like, ‘What’s up nigga? Can I go his voice into a conflated impression of a signing, the three remaining members came to
go down the hall, cook eggs at a nigga’s house. I’ll be annoyed and might bust/ I’ma have to with the remix of “Tha Crossroads” they on the road?’” demon and a professional wrestler. He alluded New York to work with him for a week, banging
Everyone would come up with a chorus line at talk to Eaz-eeeeee/ Through the ouij-eeeeee/ became pallbearers, shepherding the dead The group had been searching for a new to currently being homeless and spending out almost 20 songs. In the end it was their
night, wake up and go to the studio together.” So I can see if maybe he can tell me why you to the other side. While other rappers started label in 2005, but without Bizzy Bone’s high- time in the bus station. Asked about what work ethic that most impressed him. “They
When they were coming up, Cleveland was hatin’ on meeeeee/ Bitin’ on meeeeee/ Why you wearing suits to play mafia, Bone Thugs pitched whisp haunting their songs, they happened to the money he should have made didn’t want to fly in first class, they didn’t
an R&B city dominated by Gerald LeVert. All want meeeeee/ To show a nigga Leatherface wore them because they were in mourning. weren’t finding the right takers. Then they from his past success, Bizzy replied, “When want no hotel like that, they didn’t want no car
the members of Bone Thugs started off as in meeeeee. Their ties to the afterlife persisted through heard that Swizz Beatz had expressed interest you look at blowing up and you look at the service to the studio,” says Swizz. “They was
singers, but converted to hip-hop at a young The group caught its first break when, their collaborations with 2pac for “Thug in them. In the late ’90s Swizz made his name different things, once you get to the physical just the epitome of what a group should be,
age. Cleveland was also a city still struggling following the splintering of NWA, Eazy-E saw Luv” and the Notorious BIG on “Notorious with slabs of avant digital menace for the Ruff realm of it, and once you start looking at that and they sold millions and millions of records.
with the fallout of the crack epidemic. “All the possibilities in Bone Thugs—after they had Thugs,” which made them the only artists to Ryders camp that somehow managed to find like that, that’s why you stay in the streets, I had to respect that.”
that religion that was going on in the family taken two cross-country Greyhound bus rides collaborate with rap’s two slain gods when mainstream appeal. In the following years, he that’s why you stay in the hood, that’s why you For all the bleakness that exists in the music
and the strength and the black unity, it really seeking his attention—and signed them to his they were both still living. has continued to produce panicky East Coast stay around the people that ain’t got nothing, of Bone Thugs-N-Harmony, the possibility for
broke down,” says Layzie. “My mom and label Ruthless Records. He then bought them Though Bone Thugs-N-Harmony’s profile bangers for hip-hop and pop artists including because they ain’t got nothing to say but redemption has always existed inside of it.
damn near all my aunts and uncles, all them one more set of Greyhound tickets to come declined after 1997’s double album follow-up TI, Busta Rhymes, Jay-Z, Beyoncé and JoJo. loooooooooooove.” On the intro to Creepin on Ah Come Up, the
motherfuckers was pimps, and right after Big out and record in Los Angeles. “We stayed The Art of War, Strength in Loyalty is not a Although it is dark and hellish in its own Layzie and Bizzy had reconciled previous first sound is vocals played backwards, the
Ma and Pop Pop and Gram Gram died, shit just in so many damn hotels, we stayed in every reunion album. Bone Thugs have consistently way, his music is far from Bone Thugs’ usual problems long enough for the duo to make persisting musical shorthand for satanic
went to Hades. Motherfuckers ran down the hotel in LA. We got kicked out of every last put out music since Creepin on Ah Come Up, stalking, gothic style. Still, Swizz considers 2005’s Bone Brothers album, but when Bizzy messages. But flipping the clip in reverse reveals
house everyone grew up in. Average hood shit, one of them,” says Krayzie Bone of those early even if the music itself hasn’t always been himself a longtime fan of the group and missed a series of tourdates to promote the that the message is actually the beginning
average life.” Like many, Bone Thugs identified days. “E finally said, ‘I gotta get y’all a house. consistent. The present trio even spit out the recognized the following they still have. “Bone project, the static returned. Layzie said he of the Lord’s Prayer: Our Father who art in
with NWA’s inner city misery tales about life in Y’all need your own space.’ We got kicked out album Thug Stories on Koch in June of 2006 is damn near a cult,” he says. “You should see was willing to reconcile again with Bizzy for heaven…. Sitting with Wish Bone, a man who
Los Angeles, but they took the devotion even of that motherfucker too. Back then we was and Krayzie Bone has had cameos on high- how these people come out to shows without the sake of the Full Surface deal and the has the grim reaper tattooed on one arm
deeper by using a single verse as the jump-off wild, we was like straight off the streets and profile problem starters including Lil Jon’s “I them having new hits. When you ain’t got no group’s management even brought in DMC and a skull on the other, I asked him what he
point for their idiosyncratic style. “We heard we wasn’t understanding nothing about the Don’t Give a Fuck” and Chamillionaire’s “Ridin’ hits, you see who your real fans are. They have of Run DMC to help mediate the process of thought the main themes that defined their
MC Ren flipping over the beat really hard one game.” Dirty.” “We still here, handsome, healthy. The people supporting them with Bone tattoos and him coming back, but Bizzy wouldn’t commit. work were. “Basically, love and truthfulness
time and it just stuck with us,” says Wish Bone. Bone Thugs-N-Harmony became rap stars thing was we had to grow up,” says Layzie. everything and no hits out.” “Bizzy basically made that decision himself,” through our music,” he replied. The interview
“We started speeding up and before we knew off the success of songs “Thuggish Ruggish “We been together since we was 12. We Bizzy has left and returned to the group says Krayzie. “We went down to the wire. We was soon over and Wish had April Love braid
it we was doing something new and we didn’t Bone,” “For the Love of Money” and “1st of tha basically raised each other. So when niggas numerous times during their long history. Over tried to have him involved, he said he was his hair before his redeye flight back to
even recognize it no more. We didn’t even Month,” but they didn’t become pop stars until started having children and different business the years there have been reports of religious involved, but at the last minute he chose not Cleveland. Nursing Miller Genuine Drafts, Layzie
know it was that different because we was so the summer of ’96, when they scored what aspirations, we had to grow our own ways. It awakenings, him being too drunk to perform to.” Requests to get Bizzy to comment for played a video game of Family Feud on his
secluded with each other.” was possibly the most unexpected hit since wasn’t losing our way, it was finding our way.” at shows and a childhood history that involved this article weren’t answered, but the group laptop while Krayzie read the script for the
The signature Bone Thugs flow is a highly the Red Hot Chili Peppers’ “Under the Bridge.” In finding their own ways, the three kidnapping and possible molestation. In April maintains that a full reunion is still not out of movie they plan to star in and release with
articulated fast rap that they unexpectedly Eazy-E died of AIDS shortly before the release members of Bone Thugs now primarily live in of 2005 the realities of Bizzy’s emotional state the question. “People be mad at us like, ‘Why Strength in Loyalty. The only time they needed
accelerate or downshift at will. Syllables pop, of E 1999 Eternal and, almost a year later, Bone three different cities—Layzie in Atlanta, Wish in became more widely known after his brief, the hell did we kick [Bizzy] out the group?’ to talk to each other was when they asked to
ping, internally combust and sometimes float Thugs redid “Tha Crossroads”—a song from Cleveland and Krayzie in Los Angeles—though downloadable appearance on the Damage when it ain’t like that,” says Layzie. “He chose borrow a lighter. &

“We basically raised each other.


So when niggas started having children and different business
aspirations,
we had to grow our own ways.” —LAYZIE BONE

1 1 4 T H E FADER
Somehow, in the middle of an ultra-square
new New York, Gang Gang Dance is
slowly closing in on the perfect global beat

F
U
T
UR
E
P
E
R
F
E
C
T
STO RY W I L L W E LC H P H O T O G R A P H Y J A S O N N O C I TO
GANG GANG DANCE

“I started meeting thugged out house producers and thugged out gay dancers and everyone was just rocking out and

N ot too long ago, a self-styled downtown


New York legend was quoted in the New York Times Magazine in
an article about streetwear as saying, “I’m so downtown I don’t
go above Canal Street.” It was a hilarious and surprisingly subtle
moment for the Times, a paper that would often have you believe
that, because of rising rents and changing neighborhoods, the
Money came out on the Social Registry in 2005. God’s Money
was the first recording that reflected what the band’s sound has
become, born of a tension between tumultuous world-futurism
abstractions and a dirty, rhythm-heavy sound that knocks. The
band’s bizarre musical vocabulary definitely takes some getting
used to, but the rewards are one of a kind—frantic, corner-
bending, electro-acoustic rhythms and lush, left-hook melodies.
Gang Gang is hyper-aware of the breadth of music bubbling
out of all corners of the earth not just in eras past but also right
now, and each band member has an active relationship to big
loose scene that is generally known as downtown New York moved swathes of sounds. It is evident if you go hear DeGraw DJ at the
to Williamsburg, Brooklyn in the early ’00s and onwards and wildly popular Morrissey party at Sway on Sunday nights, where
outwards from there—to Greenpoint, Bushwick, Long Island City, he sandwiches all manner of hectic electronic and street music
Red Hook and even to East New York. But what the “Canal Street” between his DJ partner Benjamin Cho’s plays of “Shoplifters of the
comment touches on is that, really, the heart of “downtown” World Unite” and “The Boy With the Arab Strap.” And his band is
has stayed put. The Lower East Side—condos, hotels and all—is actually pulling from all those sounds: from the skittering clomps
still the cultural epicenter of the now-sprawling, multi-borough of grime, the quavering vocal lines of Hindi film music, the slick
downtown grid, which means not only that the outer boroughs club bounce of hip-hop, the pillow-y synthetics of new age and the
tend to choose you, but also that downtown, like the cost of living, frantic booms and one-hand keyboard twinkles of dancehall. But
has grown up. even before all that, Gang Gang Dance’s story is a New York story,
At a recent photo shoot, Lizzi Bougatsos of the New York-based beginning with the fact that, like much of New York, none of the
band Gang Gang Dance got an eyeliner pen out of her bag and four band members are from the city.
wrote “212” on the cheekbone of her bandmate Brian DeGraw. Bougatsos is from Long Island where, as a kid, she devoted
When asked half-jokingly about it a week later, DeGraw offered herself to modern dance, then moved to West Virginia for an art
a mostly musical explanation, saying, “That ‘Brooklyn band’ tag degree and earned a reputation opening for punk bands with
is something that we don’t want to be associated with because spoken word performance art. Diamond had a high school band
it’s become this pigeonhole label—it’s like a genre of weirdo in State College, Pennsylvania, moved to DC for a year, then
music: ‘Brooklyn noise, blah blah blah, fuckin knob tweakers.’ moved to New York in 1995, where he worked at the Pink Pony
I’ve never considered Gang Gang to be a part of that. I guess on Ludlow Street, hosting avant jam sessions, playing violin and
our friends are partly responsible for the creation of that thing, supplying then-broke downtowners with free caffeine. DeWit grew
which is cool, but we’ve always just lived on the Lower East Side.” up in Grand Rapids, Michigan, where he was an indie rock singer-
Although DeGraw’s intention was to demand a certain amount of songwriter. After high school—inspired by Teen Beat records—he
factual correctness and perhaps respect for Gang Gang Dance’s moved to DC. DeGraw grew up a New Haven hardcore kid who
trajectory as a New York band, there is also a status claim of ended up at Corcoran College of Art + Design in DC because Nation
sorts buried in there. Gang Gang Dance isn’t just not a band of of Ulysses was from Washington. He enrolled to study fashion
nouveaux weird-for-weird’s sake knob twiddlers. It is also, more photography, but his two favorite professors told him to leave.
importantly, a Manhattan band born out of the final throes of one Art school, they said, is for people who want to learn how to be
era of downtown New York that is now awkwardly, finally maturing artists, not for those who already are.
in another era of downtown entirely. It has proven to be a grueling
position to occupy. Josh Diamond had left DC by the time Brian DeGraw and Tim
DeWit arrived there separately, but the magnetic pull of the capitol
Vocalist and percussionist Lizzi Bougatsos, keyboardist and as an imagined underground utopia for an entire generation
electronic percussionist Brian DeGraw, guitarist Josh Diamond
and drummer Tim DeWit formally created Gang Gang Dance in
the early 2000s. Their first release Gang Gang Dance came out Opening spread: Brian
DeGraw. This spread: “There’s
on a label called Fusetron, then they released an LP (Revival of no formula for what we do,”
the Shittest) and an EP (Hillulah) on the Brooklyn-based label says Tim DeWit. “Ultimately
the Social Registry. Finally, their semi-breakthrough album God’s that’s the biggest problem.”

I was the one playing drums and there were dancers hanging off poles and lesbian MCs who hated my guts because I was
this white dude, but slowly I started to win them over and they were in my face freestyling like, ‘Uh! Keep it tight!’” —TIM DEWIT
GANG GANG DANC E

of kids who grew up on hardcore is essential to the current


American underground musical landscape in general, and to
Gang Gang Dance in particular. Although DeGraw and DeWit
met and eventually moved into the Embassy, the group house
that was founded by Nation of Ulysees in DC’s Mount Pleasant
neighborhood, both skim over their arrival at a punk rock mecca in
the mid-’90s and instead focus on their discovery of other cultures
there. “There’s nothing to do in DC, so everyone just spent all
their time learning about different kinds of music,” DeGraw says.
“Because of the Ethiopian side of the neighborhood that we
lived in, Ethiopian music was obviously the main thing that we
could physically access.” DeWit, meanwhile, initially moved into
a predominately black DC neighborhood while working a job at
Tower Records. He had never so much as heard hip-hop before,
but was suddenly immersed in black culture, smoking weed for
the first time, getting exposed to hip-hop, jungle, trip-hop and go-
go and generally bugging out.
As the cultural fabric of Washington DC began to rearrange
DeGraw and DeWit’s musical imaginations, DeGraw
simultaneously talked his friend Jim Loman into moving to DC,
where the trio linked up with guitarist Raquel Vogl and formed the
Crainium. Loman not only implemented a sort of punk-feminist
manifesto for the band, but also enforced a schedule of hyper-
regimented practices. Soon they were touring and recording an
album produced by Guy Picciotto from Fugazi. “Basically the
process taught us discipline,” DeWit says of the Crainium. “And
I transformed so much during that time that I stopped doing any
sort of drugs or drinking or having sex. I was looking for some
new gender in this new…it was this crazy artsy weird kid shit, and
music was the sacred thing.” Although DeWit remained in the
Crainium, he increasingly recognized his detachment from the DC
punk community. “Through those realizations of myself,” DeWit
says, “I started to play music with free jazz guys that had kicked
heroin and been in Vietnam and they were just blowing their horns
and feeding off my energy, then I would go to Crainium practice
and then I also got involved in this theater group.” The theater
group was named Vashti, after the woman who refused to undress
for the king in the Bible’s book of Esther. “I started meeting
thugged out house producers and thugged out gay dancers and
having these jam sessions,” DeWit continues. “Everyone was
just rocking out and I was the one playing drums and there were
dancers hanging off poles and lesbian MCs who hated my guts
because I was this white dude, but slowly I started to win them
over and they were in my face freestyling like, ‘Uh! Keep it tight!’
I’m getting goose bumps just thinking about it, you know? That
felt so much more revolutionary than being in this obscure avant
punk band.”
When that avant punk band eventually dissolved, DeGraw
began considering a move to New York where he could maybe
show his visual art at real galleries, and eventually DeWit and
Loman made the move with him. Soon DeGraw and DeWit were
going to art and fashion parties and performing informally with
various collaborators including Bougatsos, who had continued
to do performance art and sing, and Diamond. At some point
DeGraw and DeWit found a rehearsal space, and it happened to
be shared by Animal Collective and Black Dice. “Those guys were
a huge influence,” DeWit says. “They were younger than us and

Lizzie Bougatsos’s bandmates


often refer to her as LZA, after
the Wu-Tang’s RZA, one of her
heroes.

1 2 0 T H E FADER THE FADER 121


GANG GANG DANCE

“We played Oberlin on a tour and every kid was like, ‘I’m moving to Williamsburg!’ and it was like, ‘Oh great—
they were big Crainium fans, but it was crazy to go to that practice leap forward with God’s Money, yet Gang Gang is still struggling
space where we would all jam together—this crazy, psychedelic, to deliver on the expectations. In the last ten months, the band
break-down-any-kind-of-form shit. We were kind of like, We want has spent four weeks sporadically in recording studios, shaping
to make this experiential music too. That’s when Liz and Josh the next album, but everything they’ve recorded is just sitting on
got on board, because both of them could just go for it.” At the DeWit’s computer. Every night he listens through it on his
time, Gang Gang’s lineup also included a sort of freestyle multi- headphones until four, five, six in the morning, but he’s got almost
instrumentalist/performer called Nathan Livingston Maddox. In none of the tools (you can’t mix a record on headphones), only
2002, Maddox was watching a storm on the roof of a building on some of the know-how and none of the money. There’s tons of
Broome St and was suddenly struck by lightening and killed. His incredible material—you can hear the band reaching towards a
death was a massive jolt for the band, but also, eventually, an fully realized sound that combines the messy, transcendent live
inspiration. “It started a momentum, I guess,” DeWit says. “We quality of four musicians jamming in a room together with the
knew we had to respond to that somehow, and we wanted to be crisp, thumping whomp of speakerboxxx beats. But how they can
more direct. It was like, ‘That’s what dying looks like—we don’t make a record out of all that tape is unclear. In the meantime, the
want to do that yet.’” Social Registry is releasing a Gang Gang Dance DVD/CD package
called Retina Riddim that was created entirely by DeGraw using
Although Gang Gang Dance is, as the band insists, a Manhattan the video editing program Final Cut. Armed with tour video he
band, Josh Diamond lives in a bleak corner of Williamsburg, recorded on an amateur camera, DeGraw created an art film
Brooklyn that’s cut off from the subway stops, the new eateries collage and an accompanying 25-minute audio piece that he built
and the Tasty D-Lite franchise by the elevated menace of the using isolated scraps of footage as building blocks. It is not the
Bronx-Queens Expressway. “I’ve been in New York for 11 years, work that fulfills the band’s potential, nor is it meant to be. It is
but I feel really bad for the youth that come here now,” Diamond another beguiling addition to the group’s diverse repertoire.
says. “I’m kind of in hell in some ways—I equate Brooklyn and
this community in some ways with hell just because of what I There are plenty of examples of New York musician/artists who
experienced when I was like 19 years old in the Lower East Side. were around-the-way local figures that, at some point, stopped
It was a magical time. Seventy-year-old artists hanging out with doing a little of everything that interested them and poured all
young people and real fucking freaks. I came here to witness the their efforts into one project. Some of them have sold a staggering
death of the ’80s New York scene, and now I feel so bad for all amount of records. Gang Gang Dance is not on that track. The
these people. We played Oberlin on a tour and every kid was like, band is talking to bigger labels than the Social Registry, and
‘I’m moving to Williamsburg!’ and it was like, ‘Oh great—good Brian DeGraw absolutely means it when he says, “We started
luck!’ I’m living the same way I was living 11 years ago, and I something, and we gotta fuckin finish it.” But there’s no question
don’t really feel very good about that. People move here with big that Gang Gang will always be a weird, difficult listen, and DeGraw
dreams all the time, but I don’t know what they’re looking for.” states clearly that he will continue to do everything—the band,
Even if most of the kids now moving to Williamsburg, Bushwick the visual art, the DJing—without finally picking one or the other.
and Long Island City don’t know what their specific dream is, what “It’s not the easiest thing in the world, but I think it’s all become
they’re probably looking for is the feeling that Diamond found at a unified thing like a whirlpool,” he says. “The more I stick with
the Pink Pony and DeWit found in DC with Vashti. If Gang Gang it, the more I realize that it’s all swirling in on itself and becoming
Dance has one foot in a different era of New York City, in many one greater thing.” The concept for the solo art show he’s been
ways it’s because they have that old school, madcap energy—the working on, for instance, came from realizations he had while
love of spontaneity, diversity, impulsive collaboration; the desire DJing, and DJing is an extension of listening to a ton of music and
to play a gig one night, to sit in with friends the next, to help a playing in Gang Gang. The idea is to think in a global rather than
friend prepare for a fashion show in a week and to have an art local context—to try to explode ideas of genre. Within the Gang
show coming up in a month. From the beginning it has been Gang framework, DeGraw and his bandmates are getting there—
Gang Gang’s blessing and its curse that each of its members are pushing further out by collapsing more and more of the world
involved in projects outside of the band—it’s almost as though and their ever-farther-reaching experiences of it into their sounds.
Gang Gang only exists when its four unique elements are in Somehow the music is simultaneously becoming an increasingly
the same place and begin to react and combust. But the band singular vision with an ever more centered, almost primordial
hasn’t figured out how to be both extremely spontaneous and rhythm at its heart. But even if the band never makes an album
extremely focused. After the early albums, the band made a huge that turns the quartet into something bigger than a New York
band, it’s already a landscape much bigger than New York that
When he’s not working at a
Gang Gang Dance is concerned with. “We’re basically concerned
nearby bar, Josh Diamond about World War III,” says DeWit. “I think our music, to me, is some
prefers to stay home. weird way of acknowledging people that I can’t even hear.” &

good luck!’ I’m living the same way I was living 11 years ago, and I don’t really feel very good about that.” —JOSH DIAMOND
On a warm Saturday at the end of last
year, a fine, cantaloupe-colored haze

THE
settled on Beijing. One professor at the
city university insisted it was a natural fog
that periodically blanketed the city, a fluke
weather phenomenon. A local resident
shrugged and said, “They must have
turned the factories back on today.” A tour
through Beijing the week prior showed
posters hung all over town for the Forum
on China-Africa Cooperation, a two-day
summit dedicated to the economic
partnerships between China and the
African nations, including war-torn Sudan,
Uganda and Rwanda. The photograph
showed two hands in prayer: one white
Millenial Beijing and the lost art of rock & roll (Chinese) and one black (African). Another
resident explained that the previously
clear weather was probably the result
of the government shutting off the local

CHIN ESE
factories for the week of the convention—
to improve the Beijing air quality, or at
least the visiting dignitaries’ impression
of it—an Orwellian whitewash for an
unsavory example of global financing,
circa 2006. Some 70 percent of Beijing’s
energy continues to come from burning
coal—meaning that for someone else,
somewhere else, on some different day
of the week, there’s sure to be another
gauzy day of filthy air.
At the start of the 21st Century, China
has shown that it will take even the most
unsavory john home for the night if it’s a
chance for fast cash; it will accordingly
pimp its own resources for a cheap power
high. Though shaking hands with despots
might leave a greasy sludge on the soul of

B EAT
a country, China moves forward, upward,
inwards with shameless, alarming speed—
its shoddy, modern skyline dotted with
complexes that name themselves after
New York City neighborhoods: NoLIta,
SoHo and Central Park are all to be found
in Beijing, slapdash recreations of caché
even more disposable than the Vegas
version of the Empire State. If you have
the money, a one-bedroom apartment
in one of Beijing’s better neighborhoods
can run you upwards of $2000 a month,
happily in-step with any given Wednesday
morning apartment listing on Craigslist
Manhattan. There are Starbucks that have
metastasized all over the city before there
were even independent coffeehouses to
protest their own marginalization.
Embracing capitalism has been very
good for China, and a very good lesson
for the rest of the world. Responsible
governance—the thin (and ever thinning)
veil worn by Western brides—is not a
priority in the People’s Republic, and
the world’s most populist country has
only paved the way for others like it
STO RY ALEX WAGNER PHOTOGRAPHY ARIANA LINDQUIST to stomp as they please. Yet China is
also fundamentally and unrelentingly
Communist, and will make a show of
regulating, punishing, censoring anyone

124 THE FADER T H E FAD E R 125


BEIJING ROCK

or anything deemed too challenging to the fine balance


between Western capital and State dictates. Starbucks
extra hot venti green tea lattes in Beijing’s SoHo may be
some mindfucked version of Eastern-Western-Eastern
globalization—but the Chinese government can still
threaten to arrest you if you sell Bright Eyes mp3s
without government approval.

D-22 is a small music club in the northwestern section


of Beijing, squarely situated in the city’s University
district. Its sweaty stage is packed into the back of an
even sweatier room, surrounded by tables and chairs
and framed by an upstairs area of dubious plywood
construction, meaning you’re probably better off standing
on top of it than beneath it. It rings with local good vibes
that feel a lot like someplace in Greenpoint, Brooklyn,
only the cheap beer is Tsingtao, not Pabst, and the
music is conspicuously less influenced by, like, Can or
Cerrone. Micheal Pettis, an ex-financial whiz from New
York, founded the club a few years ago with an eye
towards nurturing local talent and fostering an honest-
to-goodness Chinese underground music scene, which
is to say that sinophiles with blogs and Western music
magazine-types are welcome, but the door price might be
slightly friendlier if you’re a senior at Beijing U. The night
that local band Joyside was playing, there were Chinese
kids with bangs and piano key-patterned belts, a lot of
fucked-up Converse high tops and one dude with long
dreadlocks and a backpack, all of which would engender
a kind of Holy shit this is fucking China?! to those relying
on staler, grayer versions of modern Beijing. Shang
Huan Huan, Joyside’s lead singer, was on stage playing
a slightly overcoiffed version of garage rock, thrashing
around in a pair of leather pants as the audience nodded
its collective head with pleasant blasé that seemed
almost New Yorkian in its posture. Joyside’s most recent
EP, Bitches of Rock n’ Roll includes the surprisingly
poppy songs “Eat Me,” “Hey Bitch,” and “My Eyes Pissed
Again,” but that evening, Shang chose to end their set
with a cover of the Contours’ “Do You Love Me?” With the
exception of some very successful New Jersey weddings
at the shore, it was probably one of the more heartfelt,
raucous versions of Corny Love Song ever performed—
the Contours would have been confused and proud.
The current indie music world in Beijing is dominated
by a handful of bands—ones that have been in existence
mostly since the beginning of 2000 and have achieved
various (moderate) levels of success. PK-14, one of the
city’s most popular groups—a post-punk outfit fronted by
33-year-old Yang Haisong—began almost 10 years ago.
Yang has a gentle, thoughtful air, capped off with Buddy
Holly glasses and perfectly faded blue jeans that stand
in contrast to the faux punk studdery and bleached tips
sported by much of his imitative Beijing punk brethren.
About seven years ago, Johnny Leijonhufvud (originally
from Stockholm, Sweden) joined the band, opening
up tour possibilities for the group: PK-14’s tour roster

In recent years, Beijing’s


music scene has witnessed
the birth of micro genres from
Scandinavian black metal to
Floridian death metal.
BEIJING ROCK

shows gigs in Northern Europe, Vienna and all over the


Chinese countryside.
PK 14’s onetime drummer, Hua Dong, has since

T
gone on to acclaim as the lead singer in the band Re-
establishing the Rights of Statues, or Re-TROS, which
features a familiar brand of dark, angular rock, akin
to much of the new-New Wave rock that first began
appearing in New York and London in the early 2000s.
One of the most acclaimed underground acts in Beijing,
the band’s latest album Cut It Off, features Brian Eno on
keyboards; the band will embark on their first US tour
this spring. Re-TROS spent much of 2006’s winter holed
up in an old factory-turned-loft at the edge of the city,
writing material for the next album, but sometime in
mid-November, the band turned up at a last-minute label
showcase at 2 Kolegas. A music club at the Northeastern
edge of the city, 2 Kolegas (oddly, a version of the
Spanish for “Two Colleagues”) is situated next door to a
drive-in theatre that is widely acknowledged to double
as a stomping grounds for prostitutes and their clientele.
The night of Re-TROS’s show, someone in the audience
cautioned against drinking the whiskey: the rumor is that
much of the liquor in Beijing’s smaller bars is bootleg and
likely to make you sick or blind. No one paid attention
and everyone got very drunk instead. As is their custom,
Hua spent the whole show facing his bassist (and
girlfriend) Liu Min, their backs almost (but not quite)
turned away from the audience throughout their somber,
feedback-heavy, shredding set—miles away from the
Contours and anyone else.

Given China’s seemingly misanthropic cultural landscape


(repression of free speech, attempted censorship of all
non-government sanctioned materials, wild embrace of
Korean pop music), many oversensationalize the very
existence of Beijing’s underground scene with a refrain
that goes something like In the shadows of Communism,
these rock musicians are the bastard children of
Democracy—as if the secret bootlegging of Interpol
albums is in some way a middle finger to the heavy hand
of the State. In truth, Yang Haisong, PK 14’s lead singer,
just bought a rare John Frusciante/Joe Lally album from
his local CD store—one that sells “cut” CDs (deemed
factory rejects as a result of overproduction) that are
otherwise illegal to sell in other countries. The Chinese
government makes very public decrees about regulating
music downloads on the internet and sanctioning CDs
and films (officially there are 20 Western movies allowed
screening rights in China each year) but the reality of
a country with 1.3 billion people and an impossibly
massive pirate industry looks a lot less stark. Kaiser
Kuo, ex-bassist for one-time Chinese metal legends
Tang Dynasty, explains, “My wife just watched the latest
season of Grey’s Anatomy. I just watched season three of
Deadwood. You can buy fucking anything.’’
Government censorship of lyrics, one of the timeworn
themes in Chinese rock mythology, no longer really exists
except for the most high profile artists. Singer Cui Jian,
who most acknowledge to be the most Dylan-like figure

PK-14 jams a show


at 2 Kolegas.

128 THE FADER T H E FAD E R 129


Bitches of Rock n’ Roll includes the surprisingly poppy songs “Eat Me,”

“Hey Bitch,” and “My Eyes Pissed Again,” but that evening, Shang chose

to end their set with a cover of the Contours’ “Do You Love Me?”
BEIJING ROCK

in the country (both in terms of musical significance


and over-referenced signpost) has been very publicly
censored for his anti-government lyrics; Jian’s debut was
shortly after the demonstrations at Tiananmen Square.
Though Jay-Z was forced to cancel a recent concert
in Shanghai when the government deemed his lyrics
“too vulgar,” word on the street was that the promoter
couldn’t sell enough tickets and this was his way of
saving face. In fact, Re-TROS has a song called “TV Show
(Hang the Police)” that they’ve released and sold on CD
through their Chinese indie label, Modern Sky. And it’s
a toss up whether a song called “Big Pimpin” is more or
less vulgar than a song called “Eat Me,” but it’s a good
bet that being a black American rapper playing Hong Kou
Stadium is cause for more official alarm bells than being
young, Chinese and rocking a club of 100 in Wudaoku.
Ultimately, even the point about high profile
government crackdowns versus street level swindles
begs an update, because, for the most part, Tiananmen,
free speech and Prime Minister Hu Jintao’s latest dictate
aren’t even on the underground agenda anymore. Now
that Fugazi rarities are readily available in Beijing’s
backyard, and Re-TROS can call for the boys in blue to be
Hung under their shotguns…before we’re all murdered
with little reproach, the lines of protest are that much
fuzzier. Most of the current crop of Chinese musicians
are the first generation of China’s one child per family
law: they’re the first generation to see a rising, wealthy
middle class and the possibility of (and pressure to
achieve) even greater financial success in their future.
“My parents are not happy,” says Hua. “They wanted me
to be a rich man, or a teacher. To have a fixed job—not
like now.” In addition to Franz Ferdinand and Pitchfork,
Chinese musicians have become familiar with the
Western exports of powerlessness and political apathy in
the face of intoxicating, unapologetic profit. As American
musicians long ago retired the flags waved by Baez,
Dylan and Hendrix, so goes the rest of the world. “When
people do do stuff that’s political,” says Kuo, “I have a
very strong inclination to believe that it’s not sincere, it’s
just to attract attention.”
So while Chinese megaclubs pump out saccharine
pop tunes alongside American and Korean hip-hop,
the underground musicians play on, finding their way
around the notes and improvising the attitude. For now,
most of their music remains a diluted solution of what’s
come before—says Christiaan Verant, one of the minds
behind fm3 and the Buddha Machine (and a long time
resident of Beijing), “The only way that Chinese scene
has ever begun to grow has been when a Westerner has
brought over the music.” The filthy exhilaration of shows
at CBGB’s and the heydey of punk’s overtly political
ethos may be light years away from Beijing’s cardboard
high rises and its swollen coffers of dirty cash, but in this
climate of change, corruption and fucked-up redemption,
there’s most certainly music to be made. F

Guitarist for Re-TROS, Hua


Dong says many young
Chinese have forgotten their
history before the Cultural
Revolution.

1 3 2 T H E FADER THE FADER 133


PYROTECHNICIANS The carefully plotted emotional outbursts of Explosions in the Sky
STORY JOHN ALBERT PHOTOGRAPHY MICHAEL SCHMELLING
EXPLOSIONS IN TH E S KY

“If a 14 or 15-year-old kid is coming to watch us, you have to think that it’s not the first band out of the mainstream he’s listening to.”—MUNAF RAYANI

A
residential street in Austin, Texas lined players—and there definitely appears to be a need for their lush and where they had reunited to work eclectic day jobs, make short videos and band’s bearded guitarist, Mark Smith, gestures down at the pedals with
with small, single story homes and loving music out there in the world. How else to explain a band that gets occasionally write songs. Then they noticed the flyer. a smile. “This is basically what our sound is right here,” he says.
overgrown lawns seems more like the little press or radio play, yet sells records and packs concert halls from Los “I came across it and immediately showed the others,” Rayani says. “We It would be easy to assume that Explosions’ intricately structured songs
setting of King of the Hill than a hotbed Angeles to Croatia? weren’t actively looking for a drummer, but we were so taken with it. It was are born out of endless hours of improvisation, but, as the band explains,
of experimental music, yet it’s kind of an a color flyer with big letters and it listed bands that we liked, but beyond the reality is quite the opposite. Each song is carefully and meticulously
ideal place to meet the amiable members The flyer that brought the musicians together back in 1999 read, simply, that it was the pictures, this weird collage he had made. So we called him plotted, every nuance and chord progression discussed and debated until
of Explosions in the Sky. They are gathered “Wanted: sad and triumphant rock band,” the unabashedly earnest up and from the first moment we met, it was just awesome.” Days later, all involved are satisfied. A single eight-minute song, they say, can take up
outside a house looking more like hip graduate students than a band who message bolstered by images of a soaring eagle, dogs and snow-capped Rayani says the four convened at a local pizza restaurant and proceeded to to a month to complete. Without lyrics to chart the emotional tide, they
reputedly brings audience members to tears. The four joke easily with one mountains. The band’s future drummer, Chris Hrasky, had recently arrived in bond over their collective obsession with the films of Wes Anderson before make up short narratives and write the music to them. “They’re not super
another, speaking with the coded familiarity of old friends, which makes Austin to attend graduate-level film school but then left the program after heading for James’s nearby apartment to listen to tapes of songs the trio detailed stories,” Hrasky says, sitting on the floor. “For example, a 13-year-
sense. Old friends is really what they are, and, as much as anything, it’s only a few weeks. Uncertain of his future and contemplating a return to his had written. Soon after, they began rehearsing. old kid who steals his parents’ car to go see his girlfriend who’s moving out
that deep friendship—love, really—which infuses their unapologetically native Illinois, he says he felt inexplicably inspired to create the odd little “Chris and I were talking just a while ago,” Rayani says. “And he said of town. I think it’s actually more of a way to help us finish a song.”
heartfelt music. flyer and pin it up at the local record store. “I really don’t know why,” Hrasky something really deep. He told me it was as if there was this tiny light way When asked about their individual musical tastes, the members
Like other bands affiliated with the loosely defined “post rock” genre, says, laughing. “I mean the idea of even putting a flyer up in a record store off in the distance, and he shot an arrow and somehow hit a bull’s eye, collectively say they listen to everything from classic metal to R&B to
Explosions specializes in long compositions, averaging eight minutes- was so out of character for me.” which was this sad, triumphant rock band.” mainstream hip-hop, and make an effort to infuse their own unorthodox
plus, which feel less like conventional rock songs and more like epic His future band mates—bassist Michael James and guitar players Mark compositions with an underlying pop sensibility. “I think in this genre of
movements—melodic guitars, bass and drums intertwine and constantly Smith and Munaf Rayani—had all grown up together in the West Texas city Explosions in the Sky’s rehearsal space is a surprisingly small, windowless music,” Rayani says, “which falls under the umbrella of long winded and
build to feedback-infused crescendos then retreat, all without a singer. of Midland, a once-thriving oil town now known as the hometown of George unit in an industrial park, something like a large bedroom or an extremely pretentious songs—and rightfully so—we’re trying to get away from that
The effect is mood altering yet non-invasive enough to encourage serious W Bush (though it was later revealed Bush was actually born in Connecticut). pleasant bomb shelter. A simple drum set is arranged in one corner and as much as we can, and add an element of pop.”
introspection, a cinematic soundtrack to individual moments passing. It’s The three had known one another as teenagers, skateboarding and playing three amplifiers are positioned against the walls. The carpeted floor is “I like the fact that you can actually hum our songs,” Hrasky adds.
sound as pure emotion—the emotion of the listeners as much as the in bands, before individually migrating to the cultural mecca of Austin, ringed with a large, arching collection of multicolored effects pedals. The “There are melodies that might stick in your head, or at least we try.”

Guitarist Munaf Rayani Drummer Chris Hrasky

1 3 6 T H E FADER THE FADER 137


EXPLOSIONS IN TH E S KY

“Guys will write to us and say they use our music to pump up for a football game. Which is weird, but I’m not embarrassed by it.” —MARK SMITH

While the subtle infusion of pop has undoubtedly helped the band the movie or TV show, they’ve picked up our album.” that. It sounded melodic and it was nice, but it didn’t have anything we of their audiences, they are almost equally pleased at the decrease in the
connect with more of a mainstream audience than many of their genre “Guys will write to us and say they use our music to pump up for a were really excited about. And so that’s when the despair started. Thinking, median age. “In the last few years it seems like there are a lot more kids,
contemporaries, it was Friday Night Lights that brought the football players. football game,” Smith says. “Which is weird, but I’m not embarrassed by it.” ‘It was a good run while it lasted. We got much farther than we ever thought which is pretty exciting,” Hrasky says. “We’re getting 15-year-olds who are
The band was selected from relative obscurity to score the big budget Watching Friday Night Lights, it is easy to understand the band’s growing we would.’ But then we just kept at it, because this is what we all want to do.” into emo bands.”
Hollywood film adaptation about the harsh realities of high school football appeal. What might initially seem an awkward juxtaposition—the band’s The new album, All of a Sudden I Miss Everyone, has all the group’s “It gives me a lot of hope for music,” Rayani adds. “If a 14 or 15-year-old
in the West Texas town of Odessa, a milieu located mere miles from where symphonic guitar music layered over gritty scenes of Texas high school life, earlier signatures, but there is now a subtle darkness to the soundscape, kid is coming to watch us, you have to think that it’s not the first band out
three of the members grew up. “We walked the hall with those kids growing with all the typical desperation, heartbreak, violence and uncertainty— the beautiful guitars now counterbalanced with huge dissonant walls of of the mainstream he’s listening to.”
up,” James says. works to near perfection. The music never seems overbearing, yet it feedback and thick, resonating power chords. There is a haunting acoustic Sitting with the members of Explosions in a checkered tablecloth Italian
The band did not simply license a few pre-existing songs, but were succeeds in pulling the viewer back enough to infuse the smallest scenes piano on several songs and the once subtle drumming now has the heavy, eatery, it’s hard not to view them as an anomaly in a business known for
actually sent from Austin to Hollywood, where they composed the with an epic importance, perfectly conveying the heart-on-the-sleeve, all-or- concussive thud of metal, which, they say, is entirely the point. “We bitter infighting and obligatory self-destruction stories. They are friendly and
film’s score to scenes projected onto a screen, the same process used nothing, hormone-pumping drama of the teenage experience. wanted it to sound like a rock band playing really loud and playing this straightforward, interacting with each other much like brothers, hugging
by composers like Danny Elfman or Hans Zimmer. It was undoubtedly a absurd type of music,” Hrasky says. “This was the first record I was able and putting their arms around one another. The four insist they never
risky move by the film’s music supervisor Brian Reitzell, who had previously Rayani’s apartment sits atop a rustic garage in another Austin to take home and listen to it and not just immediately turn it off. It just intended to make a career out of playing in Explosions, and could hardly
worked on Lost in Translation and The Virgin Suicides (and who plays drums neighborhood. The four members of Explosions are spread out lazily sounds the way I had always hoped our records would, live and fiery.” have anticipated even the success they have had thus far, though they
for Air), but one that seems to have paid off substantially. It is the band’s across the room, on the floor, a bed and a chair. The sun has begun It was, afterall, the band’s fiery live show that landed them a record deal are sincerely happy for it. While they are by no means naïve, there is a
moody, introspective compositions that elevate the project from a proficient to disappear, casting a warm, diffuse light as the band members talk when a friend sent a cassette of a performance to Jeremy Devine, founder definite sense of idealism to who they are and what they do. Not so
but formulaic sports movie to something bordering on art. about the impending release of their new record. This is actually of the label Temporary Residence. The band members also confirm reports much that everything will turn out okay, but that the music they make has
“I was just telling the boys the other night, the ripple of that movie is the band’s second attempt at making the LP. In the summer of 2005, they of audience members weeping at their shows, and add that fans have now a real ability to transcend and emotionally connect—which seems about
so far beyond our sights,” Rayani says. “Because of it, all kinds of people spent several months composing an album’s worth of material only to started following them from concert to concert, so much that the group now as rebellious as anything else around right now. In a sense, this is art rock
are listening to our music. Somebody who doesn’t know anything abandon the songs and begin again. “That stuff just seemed…fine,” Hrasky feels compelled to change their setlist each night so as not to shortchange for the emo generation: structurally and texturally complex, meticulously
about underground rock or indie music, but because they heard us in says. “That’s how I would describe it. It didn’t really do much for us beyond the diehards. And while they are grateful for the passion and increased size mapped out and discussed, yet totally in service of the heart. F

Bassist Michael James Guitarist Mark Smith

1 3 8 T H E FADER THE FADER 139


Raised on Reaganomics, go-go, and the neverending pursuit
of freshness, Wale and Tabi Bonney rap for the capitol.

NEW SLANG

STORY NICK BARAT PHOTOGRAPHY DOROTHY HONG


DC HIP-HOP

W
ale is picking at some followed by two other go-go laced singles, “1 Thing” and
french fries in a burger “Breakdown,” and there was nothing else on the radio in

“You had the Slick Rick, the Kid N Play influence,


spot on Georgia Ave DC or elsewhere that you could even start to compare it
in Washington DC, to—until fellow local Tabi Bonney made it on the air a
right by the Howard few months later with his own hybrid single, “Doin It,”
University campus,

but the city


and the wildly successful “The Pocket.” On first listen,
when I ask him about the first time he ever heard go-go “The Pocket” doesn’t seem musically beholden to the city
music. “I remember the back of the school bus,” he says. in any way, but between Bonney’s relaxed, pause-heavy
“I went to school in Silver Springs, because DC schools rhymes and homegrown expressions (When somebody

was go-go.”
were getting blasted at that time for dirty water, this that syses you, you see a girl that’s tight or summ’n…she put
and the third. We used to use my cousin’s address, they you in the pocket! When you rockin bamas, stylin on ’em
interrogated me and knew we were lying but didn’t really and stuff…), you realize it couldn’t have been birthed
care. There were nine of us—I was the youngest, and all - TABI BONNEY anywhere else in the world.
I remember was them going, ‘Keisha got a big ol’ butt!’
and the bus shouting back, ‘Oh yeaaah!’ Now, it’s like the Inside Tabi Bonney’s small basement apartment on
‘Oh yeaaah!’ kids started growing up, and this is what Capitol Hill, Ayn Rand’s The Fountainhead sits on a
we got.” bedside table next to some PlayStation games and
Go-go has been the sound of the District for years: vintage Versace pillows, and an enormous flatscreen
live bands and deep percussion, overextended grooves, TV plays MTV Jams with the sound off. Hanging
repetition, chants and audience participation. Chuck on one of the walls is a framed LP cover featuring
Brown and his Soul Searchers first molded the sound Bonney’s father, Itadi. The elder Bonney made a name
out of R&B yelps and James Brown funk in the late ’70s for himself in the West African country of Togo playing
with tracks like “Bustin Loose.” Early rappers like Kurtis soukous and high-life music, and after marrying Tabi’s
Blow and Salt N Pepa would often incorporate go-go mother (a DC resident running an international school in
elements into their tracks, and by the end of the ’80s, DC Togo with the Peace Corps), the family remained on the
artists were starting to reach the rest of the country on road. “We would always be on tour, or living in France for
their own, with hits from Trouble Funk (“Pump It Up”), a year or two,” says Bonney. “My sister and I would be
the Junkyard Band (“Sardines,” produced by Rick Rubin), onstage with him, dancing on TV shows in Africa for the
and EU, whose “Da Butt” was immortalized not only on president and stuff like that. Even then I knew I wanted
Wale’s bus, but also in Spike Lee’s School Daze. At the to be in entertainment. I didn’t know if it was going to be
same time, the city was just as well known for blights— music—I just knew I didn’t want to lead an ordinary life,
from skyrocketing murder rates to “Bitch set me up!” because I wasn’t around an ordinary life.”
surveillance footage of then-mayor Marion Barry smoking Once the Bonneys settled in the States, a preteen
crack in a DC hotel room. For the next decade, as national Tabi got a secondary musical education from his DC
interest would ebb and flow, go-go venues like Club U surroundings. “You had the Slick Rick, the Kid N Play
were consistently plagued by fights and stabbings, yet influence, but the city was go-go,” says Bonney. “I was
the music itself remained vibrant as second generation slightly sheltered—I didn’t go out to the clubs all the time
groups like Backyard Band rose up with a harder take because people were getting killed, but we had tapes,
on the sound; their frontmen were not MCs in the usual you’d hear it on the radio, sometimes bands would be set
sense, but “talkers” or “callers” who took the traditional up on the corner, too.” While studying at Florida A&M in
call-and-response elements in a more rap-like direction. Tallahassee, Bonney saw some local success with his rap
Still, just as with Baltimore club, Chicago juke and group Organized Rhyme, rocking tracks he describes as
other regional inner-city subgenres, the relationship “underground hip-hop with a lot of samples—the Police,
between go-go and present day hip-hop has been stuff like that.” But he always found himself returning to

“I’m no gang banger,


tenuous at best, running the gamut from occasional the sounds he came of age listening to.
homage (Ludacris performing a go-go version of “Pimpin “When I was working on my [solo] album, I was
All Over the World” backed by Rare Essence on the VMAs) thinking back to those hustling days in the ’80s, the
to straight jacking (Jay-Z taking RE’s “Overnight Scenario” golden age of DC,” says Bonney. “There was a guy around

I’m just a real


for his “4am at the waffle house…” bit on “Do It Again”), Lincoln Park who we always looked up to, he’d have a
but rarely meeting in a wholehearted embrace. This past brand new car every month. He had this pet monkey—he
spring, however, drivers could tune into DC rap radio would come through and the monkey would be wearing

genuine dude in Washington DC”


almost any time of day and hear the signature go-go drum all Polo. Who has ever seen that in the streets?” On
rolls of Northeast Groovers’ “Off the Muscle” blaring from “Lunchin” (“That’s like, if a girl or somebody is trippin,
their speakers. It wasn’t the actual song, but “Dig Dug,” they lunchin,” Bonney explains), the mission statement is
a rap single built off a sizeable NEG sample, performed - WALE made clear: I ain’t no herb, no bama, no busta, no mark,
by a new artist named Wale (pronounced Walé). Over the no slouch, no loser, no nothin/ I’m that cat that’ll hit you
hypnotic loop, Wale shouts out his hometown’s go-go with a couch or a stove/ I slap you in the mouth so bust it/
bands, crack dealers and college hoops teams, appointing People be illin, thinking they tight/ Pardon me while I hurt
This page: Tabi Bonney in his Capitol
himself the “ambassador of rap for the capitol” before Hill Backyard. Opposite page: Wale, they feelings!/ Lunchin! Lu-lu-lu-lunchin! The beats on his
listing the sticker price on his SB Dunks. It was soon sidekicking on a porch in Bowie, MD. album, A Fly Guy’s Theme, are as minimal as the rhymes

1 4 2 T H E FADER THE FADER 143


DC HIP HOP

“I’m an embodiment
of where I’m from.
I rock a little different
from everybody,
are easy, sometimes only snatches of an accordion a chemist), and “Lucky Me,” where Wale candidly speaks
sample (“You”), go-go loops (“Beat Rock”) or even on growing up with two immigrant parents while shuffling
just beatboxing (“On It”). As a result, its biggest charm between the Northwest DC projects and suburban
lies in just how awesomely unassuming a throwback it Maryland. “I’m no gang banger, I’m just a real genuine
is—Bonney describes the album as “cool guy tracks and dude in Washington DC,” he says. “I’m an embodiment
little treats for the ladies,” and like Devin the Dude or Del of where I’m from. You might double-check me because
the Funky Homosapien before him, he makes life as a I rock a little different from everybody, but that’s my own
laidback dude sound pretty damn exciting. style. I’m gonna make that accepted.”

If Tabi Bonney is DC’s understated rap celeb, Wale is On Wale’s MySpace page, a snapshot of him and Bonney
its baby Kanye West (or, as a WKYS program director standing shoulder to shoulder has almost double the
would joke, “Wale Fiasco”), a supersized personality comments of any of the other photos. “THA POCKET
in golden Nikes ready to take over the world, jotting vs. DIG DUG = TiGHT. YALL SHOULD mAKE A SONG
down almost too-clever lyrics in his Sidekick whenever 2GETHER,” “2 niggas puttin DC on da map!” and more
he’s not compulsively checking MySpace messages on it. than a hundred other well-wishers have left their notes
He’s already got a mini Grammy Family in tow: a longtime of support for the duo’s sign of unity. “[Wale] was the first
DJ, two eager managers and a clique of close friends rapper from DC that I heard and was like, ‘He’s tight,’”
with names like Jay Promo and Sneakerman Dan. Wale’s says Bonney, and Wale holds his counterpart in similar
orbit even includes local video model Angel, a G-Unit regard. “Tabi’s always there for me,” he says. “He helped
favorite who just happens to drop in and drop jaws as we with everything, from dealing with the negative feedback
grab lunch on Georgia Ave; he insists they’re on strictly to hooks to just everything.”
platonic terms. “She understands where I’m coming from, Yet even if they weren’t so friendly, the two MCs would
so we just bonded,” he says. “You can’t stop DC from probably find themselves linked for the rest of their
saying what they want to say about you, and they say shit careers. One glance at the cheesy mixtape covers in any
about her all the time. It’s good to have a homie in your mom and pop record store will tell you there are many
corner who gets it.” other MCs hustling throughout the District, but Wale and
What do people hate on him for, exactly? “‘Wale not Bonney were the ones to capture the imagination and
street, he just a go-go rapper, he not from DC, he can’t expectations of their hometown, where “Taxation Without
rap,’” he says. “But they know I’m good. It’s not like Representation” is printed at the bottom of license plates,
they can say ‘You suck’ and look to their left and their and the collective desire for recognition is immense. As
man’s like, ‘You right.’ It’s more like ‘You suck’ and their with any artist who’s tasted the first spark of success,
man is like, ‘I don’t know, Joe. You hear that mixtape?’” Wale and Bonney no longer view their future as a series of
On his well-rounded Paint a Picture and Hate is the New “if’s,” but “when’s.” Bonney is filming a proper video for
Love CDs, distributed for free online and hand-to-hand “The Pocket” with Swishahouse lensman Dr Teeth, while
throughout the city, Wale makes a convincing case for finalizing national distribution for A Fly Guy’s Theme, and
his embryonic stardom. Over Kanye’s “Touch the Sky” Wale continues to record steadily, taking trips up to NYC
instrumental, Wale thanks listeners for their support like to soak up knowledge jewels from Roc-A-Fella engineer
a pro (“Good morning DC! My name’s Wale, you prolly Young Guru, who promises to link him up with Swizz
know me from the rap…”) and follows up “Dig Dug” with Beatz and Just Blaze. “I been MySpacing Just to find out
“They Warming Up Caine,” remaking Big Daddy Kane’s where he got those drummers,” Wale says in traffic, while
“Warm It Up” into a tongue-twisting indictment of DC’s listening to Blaze’s nine-minute epic “Why You Hate the
drug problem (Government officials is rude in the District/ Game” from Doctor’s Advocate. “He won’t tell me where
They do the shipment, we do the pitchin/ They do the he got the drummers! I’m gonna have them on my album.
scorin, we more like Pippen/ Lockin us up for the drugs Go-go with an orchestra! If don’t hear that, you know
that we dealin/ But I don’t know no hood nigga that’s somebody messed up my budget.” &

“People see DC as just hoodlums,” says Wale.


“I want that whole Nelly movement.”
but that’s my own style. I’m gonna make that accepted.” - WALE
IT T AKES
A
Tribute
To
Collaboration

TWO
On the following pages are illustrator Ian Wright’s portraits celebrating some of modern music’s most
exciting long-term—and just starting—creative partnerships.
• Devendra Banhart and Becky Stark are both currently spreading fairy folk dust across Los Angeles’s
music scene with as many friends as they can find. Banhart and Stark’s respective bands, the Queens
of Sheeba and Lavender Diamond, were featured on a split 7-inch from LA’s Cold Sweat Records.
• Former Clash guitarist Mick Jones began working with Pete Doherty when he produced both albums
by the Libertines. He has continued their relationship by helming all of Doherty’s Baby Shambles
releases, including the recent The Blinding EP.
• Princess and Diamond are the two female rappers in Atlanta’s five deep Crime Mob crew. Crime Mob’s
new album Hated On Mostly is out this spring.
• Senegalese musician Cheikh Lô was discovered by his countryman Youssou N’Dour in Paris in the
later ’80s. N’Dour produced Lô’s debut and, both together and separately, they have explored the
potential reaches of afropop.

IMAGES IAN WRIGHT

T H E FA D E R 1 4 6
BECKY STARK & DE V E N D R A B A N H A RT
PETE DOHERTY & MICK JONES
PRINCESS & DIAMOND
YOUSSOU N’DOUR & C H E I K H L Ô
SHIRT BY TROVATA, PANTS BY ENERGIE.
With hundreds of stitches in
his hands, a glock in his waist
and the dancehall’s first truly
psychedelic voice, Mavado is
taking gun talk to outer space
O
ANY N
WAY T
HE
!!! C
O
R
E N
R
PHOTOGRAPHY ANDREW DOSUNMU STYLING MOBOLAJI DAWODU
SHIRT BY VALENTINO RED.
THIS PAGE: SHIRT BY DIOR HOMME, PANTS BY UNIQLO, SUNGLASSES BY RAY-BAN. OPPOSITE: SHIRT BY DIOR HOMME.

1 5 8 T H E FADER
SHIRT BY VALENTINO RED.
THE FADER 161
SHIRT BY J LINDEBERG, PANTS BY PERRY ELLIS, SANDALS BY DIOR HOMME.
THE FADER 163
SHIRT BY FREMONT.
THE FADER 165
THIS PAGE: TANK BY YMC, PANTS BY COSTUME NATIONAL, SHOES BY J LINDEBERG. OPPOSITE: TANK BY ACNE JEANS, JACKET BY PERRY ELLIS.

CHOKY: SHIRT BY ACNE JEANS.

1 6 6 T H E FADER
SHIRT BY HUGO BOSS.
THE FADER 169
GP
VINYL ARCHEOLOGY
EXTRA SENSITIVE
GETTING IN TOUCH WITH THE FUNKY SIDE OF FOLK

Delaney & Bonnie and Air Air (Embryo 1971) Linda Lewis Heartstrings
Friends D & B Together Back in that hazy summer of (Reprise 1975)
(Columbia 1972) 1999, yours truly spent a three- “Hey Linda, I’ve been trying
While we’re on the subject of day weekend in a share condo to get in contact with you to
the Carpenters, did you know the NYPD runs down on Court see if you’d come to the Big
that “Superstar” was a cover? I St near City Hall. Even though Apple to perform. We’ll pay
was pleasantly shocked to hear the accommodations were free, you and everything! The last
the definitive version of that I wasn’t feelin’ the cramped time I tried the contact link on
tune on this album. Originally quarters or the cheap boxed your website it didn’t work.
titled “(Groupie) Superstar,” cuisine. When they decided Don’t worry, I’m not a stalker,
this song gets the gospel to end my vacation, I took the but I have been known to
Jo Mama Jo Mama (Atlantic wail treatment from Bonnie train home, retreated to my burn down karaoke bars that
1970) Bramlett, who sings the hell out bedroom and immediately put don’t offer your tracks. I do a
I’m at a Giles Peterson gig of it like any white girl raised in on this album, the only one this killer version of ‘Reach for the
in NYC back in ’95 when he East St Louis should. Oh did I Air ever put out. Hearing the Truth.’” Seriously, this woman
drops this crazy organ-led, mention she was also an Ikette? desperate voice of Queens- can sing her ass off. She has a
horn-fueled funk number Not only am I laminating her bred Googie Coppola sing the five-octave vocal range that
that boasted the chorus Love a ghetto pass for life, while I’m lines, Here I sit in this jail cell/ can rival Minnie Ripperton and
will get you hiiiiiiiiiiigh… with a at it, I’m going to give one to Wondering what kind of key will a swagger that totally sets her
technicolor three-part harmony her husband Delaney as well. get me out of here… My mind apart. She’s also still cashing
that stretched on ’til infinity. I Eddie Kendricks, Tina Turner isn’t free and never will be/ Until paychecks, collaborating with
immediately made a drunken and Booker T played on D & B’s you come back to me, this grown Turin Brakes, Jamiroquai and
beeline to the booth with two albums for free! DH ass man had to shed a tear. DH Basement Jaxx. AD
other brothas to inquire about
the cut. When Giles exclaimed Bonnie Dobson Good Odetta Odetta Sings
“Jo Mama” he was met with Morning Rain (RCA 1970) (Polydor 1970)
three “Whatthefuckujussay?” I’ll never forget when Duane The original folk soul sista
screw faces and thrust the dropped this little bomb on created the definitive folk funk
jacket into our hands, shouting, me. Like any other beat junkie track with “Hit or Miss,” a
“It’s the title! The title!” Primarily or loop head, I was salivating gutsy, self-penned slab of self-
made up of members of Carole when he played the crazy harp affirmation. You might recognize
King’s backup band, Jo Mama strings of “Milk and Honey.” it from DJ Shadow and Cut
made two albums of slightly Sadly, Bonnie Dobson oozes Chemist’s all 45s Brainfreeze
cheesy, yet very earnest, good folk cheese and often kind of session. This also gives me an
time mellow West Coast funk- blows, but occasionally she excuse to tell this story: I was
n-roll. Well, funky if you think Rodriguez Cold Fact makes up for it with songs like an Hollins and Starr Sidewalks Barbara & Ernie Prelude
DJing a fashion aftershow party
Carole King’s Tapestry is kind of (Sussex 1970) apocalyptic track called “Morning Talking (Ovation 1970) To… (Cotillion 1971)
years ago and Kate Moss got up
funky, like I do. But then I think The first time I listened to this Dew” that’s about nuclear Naming your album Sidewalks The resumé on this record is
and started to dance to “Hit or
the Carpenters are also kind of album I ended up putting “Sugar devastation. Primo also needs Talking means that it might be Retardo Montalban: Keith Jarrett
Miss” in front of the booth and
funky. They have to be, because Man” on repeat, immediately to get his hands on the opening time to put down the pipe, on piano, Grady Tate on drums,
her boobs fell out of her loose-
they’re one of a very select called my trusty “delivery track “Light of Love.” It has his but I’m glad that Chuck Hollins Joe Beck on electric piano,
fitting blouse. She didn’t fix the
few white artists you’ll see in service” and ordered some name written all over it. AD and David Starr decided not Ralph MacDonald on conga &
situation until the song was over.
any older black person’s record “tkts to the magic show,” while to. Instead, they kept hitting percussion, Chuck Rainey on
God bless cocaine! DH
collection. DH the dungeon master took me it and produced gems like bass, Barbara Massey on vocals
aboard his “silver magic ships” “Staying High,” complete with and Ernie Calabria on guitars. Oh
full of “jumpers, coke and sweet a thunderstorm outro, sirens yeah, Deodato conducted and
Mary Jane.” Sixto Rodriguez got and gunfire samples. DJ Shadow offered his orchestral expertise.
no love in the US whatsoever must have strapped on his Boo-Yah-Kah! Google any of
when this album was released, Birkenstocks when he decided these musicians and make note
We’ll be upfront: there’s a side to us that most men are afraid to show, but we fully embrace. Sure we love our but strangely achieved cult to sample the chimes off of of all the heavy cats they’ve
hip-hop and we’ve got breaks for days, but what we truly dig is sensitive ’70s soul music with folk sensibilities status in South Africa, where “Twin City Prayer” for his epic jammed out with. This abum is
and vice versa. You know, earnest vocal stylings, dopey lyrics filled with hippie idealism and boatloads he performed to a sold out “What Does Your Soul Look like Prelude To… the second
audience in ’98. AD Like (Part 3).” AD coming of baby Jesus. AD
of studio trickery. Generally we only share these records with each other and the members of our band
Prometheus’ Tears (Jean on finger cymbals, Jared on wind chimes, Pete on tambourine and Small Change on
pan flute). These funky folk albums were for the most part inexpensive and very easy to find, but now they
are becoming big ticket eBay items. Apparently people are becoming more comfortable with expressing their
softer side. That’s OK, and you’re OK too, maaan. ALEC DERUGGIERO & DUANE HARRIOTT

Alec DeRuggiero currently works as a music consultant for Gray V and was the music director of the nightclub APT in NYC for seven
years. Duane Harriott is a DJ, writer and music savant over at Other Music in NYC. Together they are Audio Archeology and you can
hear their mix of the music discussed in this article at www.audioarcheology.net.

1 70 T H E FADER THE FADER 17 1


GP
MIXTAPE
MUSICS
COMPILED BY NICK BARAT, LINDSEY CALDWELL, ERIC
DUCKER, SAM HOCKLEY-SMITH, WILL WELCH

a few) with a couple


Farsi drops and scratch
segues thrown in for good
measure. It flies from
Baris Mancho’s manic
“Cleopatra” to the Cairo
Jazz Band’s “D onence”
lazerjam in less than an
Thes One Lifestyle
hour and will likely have
Marketing (Tres) Boredoms Super
you planning your next
For all we know, these Roots (Vice)
vacation to the Middle
surprisingly great Man, I was so bummed
East. PM
remixes of music from after the Boredoms’
forgotten Minneapolis Seadrum/House of Sun
commercials (imagine came out and I went to
Donuts constructed out see them and Eye had an
of nothing but vintage organ instead of a piano
Krispy Kreme jingles) onstage. “Seadrum” was
were being tended to in maybe my favorite piece
Thes Uno’s mind garden of music from 2005, but,
for years. By releasing with the organ wank
the project now, in the instead of the piano
wake of hit MF Doom runs, I ended up in the
Van Morrison Van
albums about Cartoon venue’s bar drinking with a
Morrison at the
Network characters and couppla other sulkers. The
Movies (Manhattan)
critically lauded LCD band has always operated
Coming on the heels of
Soundsystem mixes for in big concepts that are
Scorsese digging up Van
Nike, the producer gives surrounded by fine lines—
Morrison’s cover
Lifestyle Marketing a timely depending on your tastes,
of “Comfortably Numb”
and clever little boost, you’ll either bug out or
Various Artists British Street Soul (spinemagazine.com) especially when I caught
with members of the
fuck off. It’s happening
Band and Pink Floyd
If this magazine was a record store (and sometimes I think myself humming “Grain all over again as I wade
for The Departed, the
it should be) I would put British Street Soul in my section of Belt Beer” and realized through Vice’s six reissues
curmudgeon in me wants
that I was just virally from the band’s Super
the Employee Picks display this month, with little stickers marketed a product that
to call this collection of
Roots series, which they
Morrison soundtrack-
I cut out during lunch that said NICK’S SECRET HEAT or doesn’t exist anymore. NB scattered throughout the
featured songs an
GROWN N SEXY or something. Then I’d print out a little ’90s. Next up: the much-
opportunistic cash grab.
rumored “77 Drums,” a
blurb to glue on the index card underneath, talking about how And it probably is. It is
performance piece for 77
UK producer Dobie filled these two excellent discs with his also a prime stash of
drummers, jumping off on
Morrison’s engine revvers
favorite homegrown R&B by everyone from Galliano to Soul and an impressive
07/07/07. I’ll do everything
under the house of sun to
II Soul to Finley Quaye (remember him?), taking special care testament that 19 fairly big
be there, but I’m packing a
to highlight actual favorites, not just the hits—which is why deal films have utilized his
flask and a pouty face just
music. The real standout
there’s no “Back To Life” from Soul II Soul, and why one hit is his other collaboration
in case. WW
wonder Junior is represented by a song that wasn’t the hit. with the Band, the
Dr Delay Rajaz Meter
Then I’d feel really pleased with myself about the GROWN N cocaine and purple
(Funk Weapons)
suit-powered “Caravan”
SEXY sticker, ’cause nobody really reads blurbs, but that kinda Oddly enough, I was just
from The Last Waltz
stuff moves records. NB about to ask my camel
concert documentary,
what he wanted for his
while the aforementioned
birthday when this mix
“Comfortably Numb,”
showed up in the mail.
recorded live in Berlin in
Re-giiiiift! Named after the
1990, is more impressive
ancient Bedouin rhythm
in concept. But what a
said to correspond to the
concept! ED
natural swagger of camels,
Dr Delay’s insanely well-
crafted mix collects some
of the gnarliest funk and
psych I’ve ever heard,
from countries I’ve never
been to (Ethiopia, Turkey,
Egypt, Lebanon, to name

1 72 T H E FADER
GP
Each and every week the FADER team brings you two hours of the best internet radio in the
world. Mixtape bangers, rare vinyl, exclusive unreleased cuts, and very special guests on the decks
MIXTAPE and on the mic - it’s exciting and totally unpredictable live radio, beaming direct from 1st Avenue
MUSICS to your computerboxes.

You Feel It” video. Either the mid-period “Ecstacy,”


way I like it, and you know filters them through some
what else you can do Nintendo bloops and
with that pixie dust don’t comes out with an almost
you? LC new wave interpretation
that completely blows the
original out of the water.
I’m not saying every Bone
song needs this sort of
Audionom
treatment, but I wouldn’t
Retrospectiv
be mad at Copy if he did
(Kemado)
about 50 more of these.
The thing about Swedes,
SHS
which the dudes in
Audionom are, is that
when they offer you Various Artists Relish
something, it’s never Compilation (Relish)
really what you get. Like German label Relish gets
if a Swede offers you the automatic double
chili, expect some rice thumbs up for having
and carrots in it. It’s still both metal techno mob
delicious, but it ain’t David Gilmour Girls and
exactly chili. It’s the same electro soul savant Don
with Audionom’s self- Cash on their roster, but
proclaimed “kraut rock” I’m considering naming
Various Artists A Date
With John Waters
THE FADER
on this collection of their
work from 1999 to 2002.
pets after them for this
retrospective compilation
(New Line) PRESENTS
Technically, the repetitious that makes 30 minutes
This collection of “love”
songs personally chosen
“THE LET OUT”
riffs, extended freakouts on the elliptical machine
and proggy time changes by filmmaker and
J Dilla Ruff Draft (Stones Throw) fly right by. The first
subculture icon John
are kraut-like, but the disc finds Headman, the
guitars are way more There was always something endearing about Dilla’s loyalty to Waters casts a twisted
producer and DJ who is
Motörhead than Can. In his not-quite-next level Detroit MC brethren, but 2003’s Ruff light on relationships. The
the man at the head of
fact, let’s call it Powerkraut, selections range from
Draft EP was the only official munchkin from his cruelly brief Relish, mixing together
masters like Ray Charles to
or Pauerkraut. PM mainly remixes, while on
discography where he handled all the production and vocals the ultra kitsch Clarence
disc 2, songs stretch out
himself. A year after his death, the previously European vinyl- “Frogman” Henry to the
to their full acid insanity.
cheerleader sneer of Josie
only blammy has been reissued domestically in expanded two Either way, I’m clocking
Cotton, but after reading
CD form, with the second disc featuring instrumental versions 3.52 miles traveled and
the “Christopher Walken
317 calories burned,
to facilitate more intensive studying from his beatmaking as the Continental on
motherbitches. ED
SNL” style liner notes by
disciples. Dilla’s original intent was for Ruff Draft to sound like Waters, I can’t escape
a cruddy cassette, but here the tracks have been cleaned up visions of being lured
and remastered to knock blocks off with their strange strain of and then trapped in his
Various Artists Elaste Baltimore home while he
space Cadillac music. “Nothing Like This” retains its majestic,
Vol. 1: Slow Motion dances around, caresses
Disco (Compost) heart-breaking classic status, though after all the heavy J his mustache and blasts
This collection of woozy DILLA CHANGED MY LIFE talk, hearing the previously this mix on repeat. I might
wonders is the kind of not become his “disciple”
unreleased “Wild” (which samples an English kiddie singing
music that is played at like Bart Simpson did,
those parties here in Slade’s “Cum on Feel the Noize”) serves as a reminder of an Copy Bone Thugs but at least I’d enjoy the
New York that are always important truth about Dilla: dude was funny. ED Harmony N Copy music. SHS
actually packed and (CD-R)
where everyone is actually I’m a pretty big devotee of
dancing. Every time I make Bone Thugs’ Cleveland-
it out to one of those slanted G-funk, so
parties I wonder if it’s whenever I hear “Bone
the laser disco that’s got Thugs remix” I usually
people all fired up or if it’s
the cluster of Threeasfour
take the huffy “if it ain’t
broke…” viewpoint.
Every Friday on East Village Radio
designers sprinkling pixie Copy’s remix disc flips Listen live from 6-8pm EST or subscribe to the podcast
dust all over the dancers
like in the Jacksons’ “Can
Bone songs I’m less
enthusiastic about, like
www.eastvillageradio.com
Made possible by
PROVE YOUR RESPONSIBILITY, NOT YOUR CAPACITY.
1 74 T H E FADER ©DEWAR’S, WHITE LABEL AND HIGHLANDER DEVICE ARE REGISTERED TRADEMARKS AND DEWARISM IS A TRADEMARK. IMPORTED BY JOHN DEWAR & SONS COMPANY, MIAMI, FL. BLENDED SCOTCH WISKEY - 40% ALC. BY VOL.
GP
JEDI MIND PIX
RECOMMENDED LISTENING
FAVORED TUNES FROM FAVORITE DJS

RONNIE DARKO TAP.10 SNACK & C’MISH


If you’ve ever checked a Spank Rock performance On his recent mixtape All Yay Music, Bay Selector duo Snack & C’mish hail from the
(and if you haven’t, put this magazine down and Area selector Tap.10 blended hyphy hits, turf Bay Area, but have recently rooted down in
get thee to a sweatbox, post haste!) you’ve seen obscurities and originals from his own Honor Brooklyn’s Bushwick neighborhood, where they
Marylander Ronnie Darko behind the decks, Roll crew (Trackademicks, Spank Pops, and ride bikes and release Mac Dre/Polow da Don
providing live turntable action with partner in more) into one non-stop bass casserole. Tap blends to the interweb. They also spin records
beats Chris Devlin. But RD’s also a talented brings that same spirit to club gigs at Milk and for the faboulous at NYC spots like Players’ Club
party rocker and scratchy scratcher in his own Lucas in SF and events throughout the Bay. and MoMA, and mix the bi-weekly Turntable Lab
right. Check the podcasts and mixes over at Check his podcasts on youthradio.org and his Radio show on brooklynradio.com. Check them
www.lorddarko.com to find out more. latest gigs at myspace.com/djtap10. out at snackmode.com and turntablelab.com.

Burgundy’s jazz flute solo


had an illegitimate love
child born with monster
truck wheels for feet and
a thirst for blood...this
would be it.

Freeez “Pop Mark Ronson & Daniel Alchemist ft Prodigy Bonde Do Role In Flagranti
Goes My Love” Merriweather “Stop “I Betcha” (ALC) “Quero Te Amar” “Convolution”
(Streetwise) Me” (Allido) Al and Prodigy are a (Mad Decent) (Codek)
I found this ’80s electro- It doesn’t happen too winning combination for Brazil’s Bonde Do Role The first time I dropped
pop gem for $2.85 at often, but maybe once sure. I’m amped after kids never sounded so... this at a gig, Snack was
a downtown record every year I will have a hearing their few joints Miami? Could’ve sworn in the leaker and said he
store in Baltimore two song on constant repeat together from Alchemist’s it was Egyptian Lover on heard a stadium roar. He
years ago. It’s a bonafide Bruce Channel morning, noon and night, No Days Off mixtape. Al production, but surprise came back out and saw
party starter with a giant “Hey Baby” (RCA) and go out of my way places a melodic, jazzy surprise, it was none girls doing the horny dog,
intro perfect for cutting There’s only one thing sharing it with everyone synth sample on top of other than Egg Foo Young a dude doing a strange
up and mixing—horns, girls like better than the so I can claim credit for some Mtume drums, behind the beat. Baile one-handed push-up
synths, claps, congos, movie Dirty Dancing, putting them up on it first. then in comes the Earth, funk with a freestyle twist dance and my quiet co-
vocal echoes, all in the and that’s the music Right now this cover of Wind & Fire interpolation. equals major dancefloor worker ripping off his shirt
fi rst 30 seconds before from the movie Dirty the Smiths’ “Stop Me” is Apparently, Prodigy has a damage. and spinning it around
the drums hit! Most Dancing! Once they hear my joint. whole project produced his head. David Cross
people don’t know what that harmonica fl oat by Al called Return of the even tried to peek at our
this is when I play it, but over those original snap Mac that’s about to hit. Serato!
it’s familiar enough to music drums, the ladies
get them dancing every get all nostalgic and sex
time. crazed. Trust me, this
instantaneously makes
any club a sock-hop—
and every dude Patrick
Swayze.
Adam Kesher
SA-RA Creative “Modern Times
Partners “Nasty J Stalin “The (Passions Remix)”
You” (GOOD) Function” (Zoo/ (white) Krazy Baldhead ft Tes
This song is some new Livewire) Passions brings the heat “CrazyMuthaFucka”
school naked-funk, like While hella rappers are on this one, transforming (Ed Banger)
Aromadozeski “Nasty Girl” or Prince’s changing their sound the Kesher boys’ punky Forget the fact that Tes
Therapy “Strudel “Erotic City.” I’ve been to jump on the hyphy track into an evolving sounds high pitched,
Strut” (Future hearing rumors that these bandwagon, J Stalin comes electro-disco-rave thing, ’cause its all about the
Primitive) guys (now just a duo with with something a little with jackin’ percussion, production, KB is really
If you’ve been to a Spank Shafiq and Taz) are having more mobbin than most chopped vox and monster trying to kill the floor with
Rock show, then you label situations with BS of the current Bay rap bass. Drop this in the this one. Mix this at 2AM
HAVE heard this song. mergers and whatever, batch. He’s definitely one spot and about halfway when you see the neon
This is the Swiss Army but SA-RA needs to see to watch from the Yay, through (when the heavy fishnet girl rolling her eyes
Knife of records and it the light of day soon. along with the production bass kicks in), watch out and biting her lip. Truss.
never leaves my bag. duo the Mekanix, who for pumping fists. Then “Apple Juice” on
If “Apache” and Ron produced his whole the b-side slumps into the
project. future with sass appeal.

1 76 T H E FADER
GP
REHEATERS
FAR OUT
IDRIS ACKAMOOR’S GREAT TRIP

I
t was in the 1970s that authentic influences of
multi-instrumentalist these travels. “Do you
Idris Ackamoor began know other African-
to reshape the obsolete American jazz musicians
notion of “world music” in who visited African
an increasingly shrinking countries and played
planet. His compositions and learned real African
incorporated music in the very early
intercontinental and 1970s?” Emura asks. “Even
cosmic sources, opening Pharoah Sanders didn’t try
passages into boundless it, but Ackamoor did it.”
periods and locales, each Although centered in
one seemingly unearthed Africa, over the years
from futuristic sarcophagi. Ackamoor incorporated
Collected on Music of Chinese and Guatemalan
Idris Ackamoor 1971- percussion into his music
2004 (reissued by Osaka, as well, and has most
Japan’s EM Records), the recently embraced Cuban
songs on this compilation stylings. By initially
provide an immersion transporting the world
into Ackamoor’s time- of sound back to Yellow
and-space-transcendent Springs, which did not
brand of avant-garde afro- afford him the exposure
jazz. The retrospective that his hometown
includes some of his of Chicago afforded
recent work with the contemporaries like Sun
Idris Ackamoor Quartet Ra and the Art Ensemble
and the Idris Ackamoor of Chicago, Ackamoor
Ensemble, but it is heavily was able to infuse his
weighted by songs from music with a unique and
the early to mid-1970s personal sincerity—what
from his earliest bands, Emura refers to as the
the Pyramids and the “earnest attitude” that
Collective. inspired him to reissue
Despite the expansive Ackamoor’s work. As
resources he drew from, Emura further notes,
Ackamoor came from “Performing free jazz in
modest Midwest roots. the 1970s in Ohio…it was
He grew up listening not New York or Chicago,
to Motown and playing you know?” SAM ADA

basketball on the South to Africa. During this and Kikuyu tribesmen,


Side of Chicago, then later journey, which the now and participated in a
started his jazz career and San Francisco-based Juju healing ceremony.
founded the Collective at Ackamoor calls “one of The impact of these
Antioch College in Yellow those points in life that journeys carried over into
Springs, Ohio. While becomes an epiphany,” the Pyramids’ customs,
enrolled there, Ackamoor he traveled from including their colorful
PHOTOGRAPHY NOAH ROLLINS

ingeniously convinced the Morocco to Ghana to Egyptian-styled dress


school to fund his self- Kenya to Ethiopia with and the use of indigenous
designed study abroad only his instruments instruments like the
program that involved a and a tape recorder. masenko and the Ugandan
brief stay in France, where He played with kings’ harp. Koki Emura, head
he formed the Pyramids, musicians, watched the of EM Records, was
and a subsequent trip performances of Maasai especially drawn to the

1 78 T H E FADER
GP
BEAT CONSTRUCTION
ANYTHING IS POSSIBLE
DR DOG FIGURE OUT FREEDOM

PHOTOGRAPHY ANNA BAUER

U
sually when a took their advance and pretty much recorded an sound less like a hippie it does, you can hear it. You
band blows their bought Soundgun Studios album and had to scrap declaration and more like can hear everything: raspy
advance in one in northern Philadelphia. the whole thing. It was a production motto. throats, guitar fuzz, little
shot, it ends in a pile of They renovated it into one like kids in a candy store As a result, We All Belong brushes across a snare, the
bodies and bottles. Dr big open space, renamed it getting sick.” is stacked with songs that pluck of the bass. You can
Dog instead spent it on Dr Dog Studios (or Meth For the first time in the marry the band’s lo-fi practically hear the incense
making their dream rock Beach, depending on who band’s career they had the tradition with its newfound burning in the studio. Lack
sound even dreamier. After you ask) and dropped their time to record songs more technical prowess, allowing of restriction, more than
years of recording in living new 24-track mixing board than once, so they started them to create meticulously any romantic shoestring
rooms and basements on, smack dab in the middle of over with a fierce self- spontaneous pop sunbursts, situation, forced Dr Dog to
at best, an 8-track, the the room. The new setup editing decree in place. “If a sound halfway between determine their future, and
always self-produced band allowed the band to flesh it isn’t awesome, it has to Magical Mystery Tour and We All Belong goes grand.
signed to Rough Trade, out its each and every go,” says guitarist/vocalist Hunky Dory. Bowie and the PETER MACIA
musical whim. Probably Scott McMicken. “We have Beatles had studio whiz
too many of them. “It to be able to stand behind Ken Scott, but Dr Dog
was garbage,” says bassist/ every idea, because we have make their own decisions.
vocalist Toby Leaman to know that what we’re A shaker or cowbell that
of the initial purgative doing is right for the song.” previously might not have
sessions. “The songs were This stance makes the new found its way onto a song
gone. It was mayhem. We album’s title, We All Belong, now gets room, and when

180 THE FADER


GP
SUBSCRIBE!
MIXTAPE
BOOKS
COMPILED BY NICK BARAT, MATTHEW SCHNIPPER,
ALEX WAGNER

William Eggleston 5x7 Jayson Scott Musson


The Black Boy George
(Twin Palms) (jaysonmusson@gmail.
Photographer William Eggleston, com)
America’s drunk, romantic genius, When the eggheads put
always has a way of pulling back us in charge of doling out
MacArthur grants, Mr
the curtain on brilliant harmony Musson will be PAID. His
in the everyday—his shots of rappy raps as one third of
lonesome, perfect ketchup bottles, Plastic Little are fine and
nighttime Arco stations and the all, but we’d cut the check
on the basis of The Black
bare bulbs on red ceilings are Boy George, his second
some of the finest works on film volume of propaganda-
of the late 20th Century. Though styled screeds against art
he’s long been considered the school dudes (“I’ll see you
down on 5th and South
Patron Saint of Roy G Biv, what with an easel and a dream,
people don’t know is that Eggs using your ‘Starry Night’
was equally (frighteningly) adept mug to mix burnt sienna
and cadmium red into shit
at black and white: 5x7 is the rare
that won’t sell”) art school
compendium that includes the girls (“Yeah you with the
maestro’s b&w portraits. Much hook nose and the Bloc
like his other work, the portraits Party haircut that’s just
long enough in the back so
are effortlessly composed, but
dudes will still know you’re
Eggleston still undercuts them a girl and hit on you at
with a spontaneity and intimacy parties”), and his favorite
that gets at the crazy, forlorn target, himself (“Where
the fuck is my NAACP
and innocent inside his subjects. Visionary award at?”).
And if you still think that black When was the last time
and white portraiture is snoozy Anthony Braxton came
stuff, ill-fitting one of the most with the jokes? NB

luxuriant lushes of them all, Jason Tanz Other


then take solace: Eggleston shot People’s Property
the bulk of these photos at 3AM (Bloomsbury)
(presumably zooted on J&B) at a Tanz’s poses the question:
“What could be more
now-shuttered club down South, thrilling, more noble, more
called—if you can believe it—TGI fulfilling, more terrifying, than
#37 SPRING STYLE MARCH 2006 FEATURING GHOSTFACE KILLAH, LOVE IS ALL, AKON, MIRA BILOTTE OF WHITE MAGIC AND EIGHTBALL!
Fridays. AW living in somebody else’s
skin?” To answer, Tanz
never offers a scarecrow
opinion for provocation,
but instead wades high in
the murk of rap music and
“white people.” Along the

1 Y EA R / 8 I S S U ES FO R $ 1 9 . 9 5
way, he name checks Tricia
Rose, lots of NWA and
Eric Lott’s not dissimilar
book on minstrelsy, Love
and Theft. Tanz’s work, not
quite as dense or academic
as Lott’s, is warm and often
SUBSCRIBE NOW AND RECEIVE A FREE CD:
unsure—perhaps that’s
NINA SIMONE REMIXED & REIMAGINED - 13 BRAND NEW REMIXES WWW.MYSPACE.COM/NINASIMONE
the approach necessary to
broach delicate topics of
race, art and authenticity? SUBSCRIBE ONLINE AT WWW.THEFADER.COM
MS

1 8 2 T H E FADER SUBSCRIBE DON’T MISS AN ISSUE! BACK ISSUES AVAILABLE ONLINE WWW.THEFADER.COM FREE CDS AVAILABLE WHILE SUPPLIES LAST. SORRY, NOT AVAILABLE FOR CANADIAN & INTERNATIONAL SUBSCRIBERS.
THE FADER 183
GP
MIXTAPE
DRANKY DRANKS
COMPILED BY CHIOMA NNADI, ALEX WAGNER,
WILL WELCH

PHOTOGRAPHY NIKOLAS KOENIG

Patron Silver pour or two, but after that, mature—don’t hesitate to I’m not much of a firewata of it all and make Uncle
Basically the You Already it was like word got out and get into it!” “It’s incredibly swigga myself, but when Tony proud. CN
Know Who It Is of booze— the wild animals could not be smooth!” “It goes down the Crown Royal XR (extra
it’s so obvious that I would sated. I don’t know who the easy!” “Once you’ve had rare) sampler came in the Tuaca Liqueur
be ordering Patron shots on lady with the snaggletooth one drop, you’ll never go mail I knew it was the extra Sometimes I find myself
any given night of the week (I think?) who keeps vigil back!” Aw maaaaan, this good stuff by the clinical hot thinking about Nero and
that I can’t do it, except for outside my office is, or drink review is like some sauce-sized bottle it came in. am just totally floored
when I do. Last Thursday I what that mysterious flock of kind of bear trap meant to Meaning the full-size was too that like, Holy shit Rome
threw caution (and a couple pigeons outside my window get this polar cub clamped. fancy to be devirginized by burned? WTF? Were there
of breadcrumbs and an old everyday at 4PM means, but I I’ll just leave it at “HIGHLY an amateur like me. Anyway firefighters back in LXIV
gum wrapper) to the wind am not into it, dogs, and the RECOMMENDED” (seriously) from what my amateur or what? Tuaca sounds a
and picked up a bottle of Patron bottle is empty. AW and keep it moving.... WW tastebuds can gather, there’s lot more like a minor but
Patty Silver from dude at definitely a full-bodied pivotal character from
the liquor store downstairs Black Bush Fine Irish Crown Royal XR spiciness to XR, with a Apocalypto than the name of
and brought it up to the ole Whiskey When my dad’s cranky pleasant aftertaste sensation an aged Italian liqueur, but
office. Did you know that Given the name of this super friend Uncle Tony came that is way more warming the ancients did all kinds of
carrying around a bottle of fine bottle of Irish, I’m gonna sniffing around screaming, than burning. Here’s hoping crazy shit that I can’t begin
Patron is a lot like carrying resist the temptation to riff “Gimme firewata!” I knew one day I’ll be able to sort to wrap the old noodle
around a freshly baked cake on the obvious here and that a tall ass glass of my blends from my single around. On a what’s-past-
filled with hundred dollar instead talk about—what whiskey was the only way malts, appreciate the silky- is-precedent tip, the Tuaca
bills? People can smell the else?—taste. “It’s plenty to get rid of him. Personally smooth super premiumness label features one dude in a
stuff! Here is an actual toga who “just happens” to
description of the scene: be passed out on the floor
colleagues who had not while his “friends” convene
stepped into my office since in the corner, presumably
1994 to ask me a question conspiring to kill Ceasar
about, like, Coolio were or scratch dude’s chariot
knocking down my door. or some otherwise nasty
The guy who buys all the Roman-style trick. I’m not
office supplies came in with naming any names here but
a “set of spare highlighters I did manage to enjoy a few
in case [I] wanted them.” sips of Tuaca myself last
Mobolaji the fashion dude week and if anyone has seen
came knocking with a tray my toga laying around, it has
of warm cookies and “free a red trim and gold olive
socks.” Sure I gave people a branch detail. AW

1 8 4 T H E FADER
GP
EVENTS
FADER 42 IS#UE RELEASE PARTY
LIVE AND STILL BOOGALOOING WITH THE BOYS OF VIETNAM

A BUDWEISER SELECT EVENT


P L E A S E R E M E M B E R TO D R I N K R E S P O N S I B LY

• First we put the music world on smash by


throwing the most tweaked-out, psychedelic
folks we could find on the covers of our
42nd issue—Mavado and Vietnam. Then we
thought we should get a truckload of Bud
Select beer, a space in Williamsburg (the
Glasslands Gallery), a couple hundred of our
best friends and our favorite tweaked-out,
psychedelic musicians to perform live. That’s
right, an issue release party featuring Mavado
and Vietnam. As it turned out, Mavado
missed three (3) flights from Jamaica, but
WTF did it matter? Vietnam ripped so hard
that, deep into their incomparable live set,
they blew a power fuse and walked off stage.
We soaked it all in for a while, hung out for
a while, then spilled out into the Brooklyn
night, feeling good about it all—feeling deeply
tweaked and forever psyched.

PHOTOGRAPHY DOROTHY HONG


GP
STOCKISTS
WHERE TO BUY THE
LOOKS YOU LOVE

PHOTOGRAPHY ANDREW DOSUNMU. STYLING MOBOLAJI DAWODU. TANK BY TROVATA.

A G THING ON THE CORNER J LINDEBERG www.jlindeberg.com


AIR JORDAN www.jumpman23.com ACNE JEANS www.acnejeans.com PERRY ELLIS www.perryellis.com
GINO GREEN GLOBAL www.ginogreenglobal.com COSTUME NATIONAL www.costumenational.com RAY-BAN www.rayban.com
PARISH Available at Up Against The Wall stores DIOR HOMME www.dior.com TROVATA www.trovata.com
nationwide ENERGIE www.energie.it UNIQLO www.uniqlo.com
FREMONT www.fremontapparelco.com VALENTINO RED Available at Valentino Boutiques,
HUGO BOSS www.hugoboss.com Fred Segal and Bloomingdale’s nationwide
YMC www.youmustcreate.com

188 THE FADER


©2006 Environmental Defense

cross fingers

fight global warming.com

ISSUE #45 ON SALE MARCH 27 2007


FADE

©2007 Callard & Bowser Inc.


OUT

PHOTOGRAPHY JASON NOCITO

Gang Gang Dance’s Lizzi Bougatsos at home in Manhattan.

1 92 T H E FADER

You might also like