January 15, 2022

$1.99 Vol. 1 Issue 9

MAGAZINE

BUSTA ICP TNS,

PSYCHO FC TC-5
ANDRE "LEROY" DAVIS,
COSE TDS, SLIM ART, HEMONE
(SPAIN), SUEWORKS (BRONX
TEAM), AND REVON TC5

Library of Congress
ISSN 2765-8902
Our Staff
Editor in Chief  Timur A. Davis Sr

Senior Chief Editor Tarikh Bandele

International Correspondent Sarah F. Davis

Senior Creative Editor Kandi Kain

Senior Art Editors  Kelson Colson, Maliq Griffin,

and Edward Wilkerson

Executive Art Director Chris "Merge" Callaway

Staff Writer(s) Raquel Batts, Tarikh Bandele,

Contributors  : Ralph "Tatu" Perez, Skeme TMT

INDS, Stem YNN, Luze FC, Acet TM7, Droe SKG, MAGAZINE
Wore TC5 FC Xmen, Skeme TDS, Zame TC5,
Prins TC5, Nab, Kes DW, Big Seven, Themba
MSE, Zear FC TC-5, El Da Sensei and Tame -
Artifacts, Hafiz Farid, Cassandra T. Spangle, Esq.,
Ray Oliver,Esq., TNR- 7HOOODS, B-Gyrlz (Sah-B,
Kandi Kain, and DJ Twista), Jo_Evokes, Suework
BT,and Babyrock137, Getlostalot, and Tean 5
TMT

Chief Photography Editor Carl Siyah Brown

Copy Chief Raquel Batts

Photography Editor  Jay Burn and Grace Davis,

and Timur A. Davis Jr

DU FUNK MAGAZINE
ISSN 2765-8902
DU FUNK MAGAZINE

CONTENTS
Page 6 -11 Page 39-42 Page 23 - 27
BUSTA: DYNAMITE ANDRE LEROY DAVIS: SULIMAN "SLIM ART"
ARTIST IN PHILLY ILLUSTRATOR ONQUE

  
Pages 6- 11
BUSTA: DYNAMITE ARTIST IN PHILLY BY WAY
OF BOGOTA, COLUMBIA 
By Timur A. Davis and Busta

Pages 47 - 50 PSYCHO, TC-5, FC, X-MEN

By Timur A. Davis and Psycho

Pages 51-54  
KING TAISE: BALTIMORE FILM MAKER,
MAKING STRIDES
By Doshon Farad

Pages 57-59
IT'S ALL ABOUT GRAFITTI
By Timur A. Davis and SueWorks, Bronx Team

Pages 39-42 
ANDRE LEROY DAVIS: HIP-HOP'S
EXTRAODINARY ILLUSTRATOR
by Timur A. Davis and Andre LeRoy Davis

Pages 67-69
COSE TDS
by Timur A. Davis and COSE TDS
 In what state did you start your craft of

BUSTA
graffiti and how long have you been a
practitioner of the craft?

I started painting graffiti in a town named

Chia, Colombia. And I've been painting for
about 15 years.

By Timur A. Davis
Photographs by EZRA and BUSTA
Did you start in High School and
who were some of your
influences on "Subway Art?
”I started in high school, and at
the time all I knew was graffiti
from Colombia, there was
limited information about graffiti
but I knew of Seen, Duli, Cope2,
Taki and some more. But my
main influences were from
Bógota, Colombia.
What year did you start and
who were some of your early
influences in Graffiti?
I started around 2006. And some
of my influences at the time was
dexs, open, beek, cam, skore999,
stinkfish, toxicomano and many
others.
When was the first and last
time you did a piece on the
train?
The first time I painted a train
was actually in 2014 when I
arrived to the states, and last
time was around 2 years ago.
How did Graffiti since the 1970s
have any of the traditional rules
changed and did Graffiti exist
before the “global-
commercialization” of Hip-Hop?
In my opinion the rules are just
guidelines to be respectful with
the other writers and keep
things in order but not everyone
follows the same rules, at the
end of the day everything with
time changes so it will keep
changing as long as there is new
people doing it.
And graffiti has been there for
ever in humans in my opinion,
the need of marking surfaces and
leaving your stamp somewhere
is a way to express and
communicate a message. In my
experience in Colombia, there
was a lot of political graffiti all
around the city and that started
way long before hiphop.
Has “Graffiti” changed since the
1970s?
Definitely, graffiti keep Evolving
and changing and popping
branches, with new technologies
that changed the spray paint and
paints in general to make them
easier to control, and more
support from the public it's
becoming bigger legally and
illegally.
How did you receive the tag
name Busta?
Since I was a kid they use to call
me Busta because my last name
is Bustamante, and also Busta
Rhymes was big at the time and I
was always into hiphop and
graffiti and I liked the way the
letters worked together.
What is the name of your crew
and founding members of the
crew?
I have a crew from my
hometown named NMF that
stands for Natural Mystic
Family, and it was founded by
Grone, Westo and I. And from
the US I'm in ICP from Philly
founded by Cool Cone and TNS
founded by El3 Aka Everlasting
and Supreme Soe.
Do you think Hip-Hop Music
regressed over the last decades,
"Since I was a kid they
and if so why? use to call me Busta
because my last name is
I do prefer the classics and old
school hiphop but like I said Bustamante, and also
before everything with time and Busta Rhymes was big at
new people in the industry will
definitely change for good or the time and I was
bad. That being said I think it always into hiphop and
changed but I don't want say it
regressed because also there is a
graffiti and I liked the
lot of room for exploration and way the letters worked
evolution.
together."
Have you had an opportunity to BUSTA
engage in freelance or contract
and/or art exhibits work with
your acquired skills?
Yes, I'm actually a full time artist
and I've been making a living and
supporting my family and my
passion of graffiti with the skills
I've learned doing it.
REVON Words REVON TC-5
Photography Revon

5!
Tc 5 !
Styling Timur A. Davis
 THE CHANGING
SOCIAL DYNAMICS OF
TC5
AN INTERVIEW WITH REVON TC5

In what state did you start your craft of graffiti
and how long have you been a practitioner of the
craft?
My Graffiti started in Harlem, New York on
Westside 143rd Broadway and Hamilton is where I
am from started and I started in 145th tunnel.. I was
round 13 years old when I started out in like in
1978…I recall being in junior high school at IS 195
tagging on walls and in motion in last cars of the 1
Train... I use to see ZEPHYR, FUTURA, REVOLT
,DONDI, PJAY TKID 170, and KEL. They were 1 Train
line Gods during that time. The first time I ever
piecing on a train car, no lie was with ALIVE CIA (RIP).
He did my first whole car window down piece for me
in the INDS at 215th off of the one line.
What did you receive your tag name?
My name came as a twist off an MC named RAVON that
used to rhyme with his partner JONNY WAH they were
known Harlem MCs but I spelled my name with an E.
What was the name of your graffiti crew?
I passed onto my crew to my guy ROZONE it was NTA, the
others were TC5, IBM, TC, S6 a crew of my cousin TOXIC
and A-ONE rip, lastly a Yonkers, New York crew made up of
Yonkers writers; JOKER, REL and a noted writer named
PESER TMT who use big like a big brother to me.. Their
crew was TCK.
Any advice any upcoming graffiti writers?

When was the first and last time you did a piece Advice to upcoming graffiti cats; Do your thing with your

on the train? own style DONT try mimicking anyone else’s style because
then you’ll never become the best AT YOUR OWN ya dig!
I would say around 1980, last piece I did on a train car
been 1984. Graffiti to me changed from the 70’s to present
because there’s actually paint that now there’s dam near
NO DRIPS you really had to have PAINT KNOWLEDGE AND
CONTROL more so back in the day.. It’s become more
complex with styles and great colors WAAAAAAYYY MORE
ACCEPTABLE NOW lol... usually on a well-defined topic or
topics that are related in some way, such as a factual
account of a newsworthy event. The writer is objective and
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 In what state did you become
interested in art?

SULIMAN New jersey (Newark)

"SLIM ART" Did you start in High School

and/or was influenced by your
ONQUE family?

I started art at preschool age. I

was highly influenced by family
By Timur A. Davis
Photographs by Suliman Onque
( mother, brother, grandmother)
Who were some of the art teachers
that influenced you?
I was influenced by Professor
Bernard in elementary school (I was
influenced by Nettie Thomas and
Aleta Caldwell at Arts High.
Who are some of the noted
muralists that influenced your
style?
Jerry Gant
How many art murals and Black
Artists you worked on in the City of
Newark and neighboring cities of
the tri state area?
Have you had an opportunity to
engage in freelance or contract I have done freelance
and/or art exhibits work with your
acquired skills? commissions for over
I have done freelance commissions
30 years. I have been
for over 30 years. I have been in
over 30 exhibits, 7 of them as part of
in over 30 exhibits, 7
the Newark Arts Festival. I will be in of them as part of the
an Exhibit at The Akwaaba Gallery
509 South Orange Ave, Saturday Newark Arts Festival.
December 4th from 3-8pm with my
mother Yvonne Onque and my
brother Samad Onque (3 The Art
Way).

I work on over 30 Mural and art

beautification projects throughout
the Newark , Irvington, East Orange,
Elizabeth, Jersey City And in New
York. I have work with over 50
different artists and volunteers on
some of the projects.
ANDRE LEROY DAVIS
HIP-HOP'S Words: Timur Al-Basil Davis

EXTRAORINARY Image Andre LeRoy Davis

Artist: Andre LeRoy Davis,

ILLUSTRATOR
WebOne
 At what age did you begin
illustrating and who were some of
your influences in your family?
I started drawing from a very early age. I
definitely can remember drawing Spider-
Man and Godzilla over and over again at
around the age of five, so probably in
kindergartenorfirstgrade.Myoldestbrother,
Stephan LeRoy Davis is an artist so when I
usedtowatchhimdrawasalittlekidIwanted
tofollowalongandimitatewhathewasdoing.
Then of course when I did, I found out that I
could actually in fact draw, so I really can’t
remember a time in my life that I wasn’t
wielding a pencil or creating something on
paper.
From what magazines and newspapers did
you practice drawing and illustrating as a
younglad?
As a comic book reader and Mad magazine
reader I would often admire the comic book
cover art as well as the magnificent art that I’d
find while looking through the pages of the
comicsandissuesofMad.
I’d draw whatever cover that
amazed me the most as I tried my
best to duplicate every aspect of
what I saw. With Mad magazine and The craft and evolution of
the many different artists and graffiti from the different
different styles that you’d find
inside of each issue, I first became
styles of lettering, to the
aware of lampooning something, transformation of characters,
humorous stories, visuals and of
course caricatures.
to the overall skills of course
has changed like everything
What was the impact of Soul and
R&B had in your professional
else, but it’s the appreciation
development as an illustrator? and acceptance by some that
Hmmmm… The impact of soul and
has been the biggest change
R&B on my work? Looking back at from the 70’s.
my early work, like during High
School days and immediately after
graduating you’ll find pieces that I
drew, painted and created of such
notables like Donna Summer, Stevie
Wonder, Ashford & Simpson, Teddy
Pendergrass, Rick James and
Michael Jackson and The Jacksons.
Capturing their essence and flavor
was my creative gateway drug to my
start of visually paying homage to
my Hip-Hop lyrical idols.

When did you know that Art &
Design and Illustration was the
right career for you?
For me it’s funny the play on words that I
hear with this question. I attended the
High School of Art & Design which was a
school where the best of the best artists
from different Junior High schools
throughout each borough gathered on
52nd street in the middle of Manhattan
at a school to learn, experience and be
educated about art. Going by some of
my earliest and fondest memories as a
kid who loved art, it wasn’t until I entered
the doors of Art & Design where I
actually first learned about the business
of art and how to become a professional.
Attending Art & Design High School is
the foundation of why I even thought of
and then realized that doing something
that I loved and that I was good at, “being
an artist” … could actually be a career.
What was it like to experience working
Has “Graffiti” changed since the 1970s?
as a professional artist for Hip Hop’s top
magazine The Source?
The craft and evolution of graffiti from
the different styles of lettering, to the
As a successful freelance working artist
transformation of characters, to the
before my time starting at the Source, for
overall skills of course has changed like
me it was just a fledging magazine that
everything else, but it’s the appreciation
afforded me the ability to illustrate and
and acceptance by some that has been
positively capture and document my Hip-
the biggest change from the 70’s. Besides
Hop peers and heroes in a magazine that
now having graf in books and in art
respected the culture. The Source was
galleries, graffiti that once only rocked
not yet what it would become when I
the sides of trains and that was
started working with them in September
considered vandalism… is now viewed as
of 1990. For me it was monumental and
art by those not in the culture. Graffiti
important that I helped in the early stages
now sets the tone and visual landscapes
to be a part of the Source’s foundation. As
of neighborhoods that allow murals to
the magazine grew stronger in
bless storefront gates and the sides of
readership and the significance of the
houses and buildings. Like Hip-Hop music
Source became what is and what it was,
is now the soundtrack for America, street
for me knowing that my column became
art and graffiti are the visual soul and
a focal point for many aspiring visual
essence of America, whether some
artists and readers is one of my Lifetime
acknowledge it, like it, or not.
Achievement Awards as a professional.
How does it feel to positively
influence young artists to walk in
your footsteps?
As a teacher molding young minds
at a High School in Brooklyn, it’s
my job and its aesthetically who I
am to bring my positivity into the
mix. With my art being an
extension of who I am, its just a
blessing that people who
appreciated my art, my humor, my
point of view and my positivity
were in tune enough to pick up on
it. The fact that it has been over
thirty years since I wrote and
illustrated the very first Last
Word and so many young talented
artists still reach out to me to
express that my work played a
major influence on what they are
currently doing, means that I have
done more than a few things right
with my creativity and how I carry
myself as a Black Man and as an
elder.
How has technology and NFT’s
(Non-Fungible Tokens changed the
socioeconomics of professional art
today?
In my opinion we are just at the start
of what nft’s mean and can mean for
artists today. It’s too early in my
opinion to know, but it feels like a
positive upswing and time will tell.
The nft world evolves and changes
in minutes, hours, daily and in a
matter of seconds. New paths, new
directions, new possibilities, new
ideas, that are translating to new
money being in creatives’ pockets.
“No Fucking Trajectory” is
impossible… that’s my current
definition or acronym for NFT! The
change is the now extended
meaning and power behind the
word, “possibilities”. In the immortal
words of the Hip-Hop soothsayer
Fat Joe, “Yesterdays price is NOT
today’s price”! And that is the
current nft effect glistening,
shimmering and surrounding the
works of creatives.
What is it like to work for Marvel
Comics and the opportunity to
engage in freelance or contract
and/or art exhibits work with your
acquired skills?
Creating and being commissioned to
create original art for Marvel was a
dream deferred that was brought
back to life in an instant. My work
ethic, consistency and hard work
helped to make a dream that I had to
draw comic books for Marvel way
back as a teenager in High School,
become a reality in my 50’s. I had
moved away from the idea and
thought of drawing comic books
years ago and I found my creative
lane and voice with caricature and
humorous illustration. Through the
years I’ve curated art shows, my art
has hung on the walls of art
galleries, museums, in magazines, on
album covers, inside books, on the
cover of books, in movies, on
baseball, basketball and football
cards, so I had put the work in. I was
prepared and ready and able when
the opportunity came knocking at
the door with Marvel.
 THE 48TH
ANNIVERSARY OF

HIP HOP
By Timur A. Davis
FC
Photographs by Psycho FC and Tc5
website

PSYCHO
NOMADIC  |  24
In what state did you start your
craft of graffiti and how long
have you been a practitioner of
the craft?
I’m from the Washington
Heights section of NYC. I got
introduced to graffiti in 1983.
Did you start in High School and
who were some of your
influences on "Subway Art?”
I actually started in middle
school. My boy Resk was the first
person I knew who could do a
burner on paper. The Tack Kaze
FBA/Tc5 shark car got me open
to graffiti. But the book Subway
Art was inspiring in general. I
knew right then there that I
wanted to get down with graffiti.
  What year did you start and who
were some of your early influences
in Graffiti?
I started in 84. Resk put me on.
Through him, I met Lil Man, Rize TNB,
Pure, Reas and Wane. My sister dated
Kano and through him I met Roz One,
Frosty Freeze. Then I met Eps, Nel
One, Zear, Zame, Poke and West all
around 1985. I also met Juice, Doze
and Seen Tc5. Doze, Flite, Futura,
Zephyr were heavy influences at that
time. I was also influenced by the
crews I was down with, Tc5, IBM and
FC.
When was the first and last time you
did a piece on the train?
I did a super wack Mom piece in
December of 84. The woman who
raised me had passed away so it was
very emotional. Lil Man had went
with me to 145th number one train
lay up. He had pull with the Ball
Busters who ran 145th at the time.
Otherwise, I probably would have
got robbed. It was a very hostile
environment. It was that day that I
knew I had to be on some gangster
shit if I wanted to be a “writer.”
How did Graffiti since the 1970s
have any of the traditional rules
changed and did Graffiti exist before
the “global-commercialization” of
Hip-Hop?
A lot has changed since the 70’s. The
quality of paint, the means to get the
paint, the time it takes to do a
production, the quality of the artistry.
Everything has evolved as it should.
Even the ways people gain fame
these days. People get known
through Instagram. We didn’t have
that. If your name rang bells back in
the day, it’s because you were truly
popping.
How did you receive the tag
"I'm from Washington
Have you had an opportunity to
name Psycho? engage in freelance or contract

I actually got it from skateboarding

in Washington Heights where there
was a lot of huge, steep hills and my
boys and I were skating up and down
this hills all day long. There wasn’t
many skateboarders in Washington
Heights back then. It was considered
some white boy shit.
and/or art exhibits work with
your acquired skills? Heights, NY. I got
I make my living doing tattoos. I’ve introduced to Graffiti
been tattooing professionally since
2006. I’m located at Ink Flow in 1983..."
tattoos in the South Bronx or as
they’re trying to rename it now,
SoBro.

Do you think Hip-Hop Music

regressed over the last decades,
and if so why?

Most of my peers hate the new music.

Shit is not as lyrical, but I can’t listen
to Biggie, Rakim, KRS for the rest of
my life. I like a lot of newer artists.
Drake, Uzi, Future, Migos, Post
Malone, Pop Smoke and people that I
don’t even know who’s singing the
shit. Hip Hop music is definitely
different, but there’s still a lot of dope
music out
 FIRST CLASS

West, Jel, Serge, Psycho, Frosty Freeze,

Dontay, Eps, Dash and Doze FIRST CLASS
TOP ROW BOTTOM ROW CREW
KING TAISE BALTIMORE FILM MAKER
MAKING STRIDES
BY DOSHON FARAD

The African-American experience can be

described with two words: Perseverance
and Survival. More and more each day
African-Americans are finding ways to
voice the growing pain of our
community. Some of us have used
literature, while others of us have used
song and dance. Over the past two
decades, however, there has been a rapid
increase in African-Americans using
cinema and film to narrate our pain.
When we think of current African-
American filmmakers, more than likely
the first ones to come to mind would be
Spike Lee, Ava Duvernay, John Singleton,
and Tyler Perry. Like the African-
American filmmakers a few generations
before them, such as Oscar Micheaux,
Melvin Van Peebles, and Gordon Parks,
each of these modern-day cinematic
geniuses have created films that address
the very volatile social issues of the era,
particularly surrounding race as it
pertains to the African-American
community.
(Continued)
One doesn’t have to be a film critic to observe that most
current aspiring African-American filmmakers are
intentionally following the same social justice path as the
aforementioned individuals. Baltimore native Carltaise
Ransom is one such individual-who is not only a
filmmaker but began like many of his colleagues as a
playwright. In early August, I traveled to his hometown to
speak with him about his career, current projects, issues
affecting black people, and his future aspirations. I had
been following his work for quite some time, and what
caught my attention was societal themes that his
productions focused on; Anti-Black racism, black intimate
relationships, and class. We met at Pennsylvania Station
for the first time face to face on a hot sunny day. Prior to
that, he and I only communicated via social media and
telephone. When you first meet Carltaise the first thing
you’ll notice is his very calm and laid back demeanor as
he greets you with a friendly smile extending his hand. He
actually reminds me of half of the artists I’ve had the
honor of interviewing. The other half of course are not so
laid back (smile). As soon as we left the train station he
took me to a black owned vegan restaurant on the
outskirts of downtown named “Land of Kush” where we
reserved a table to sit down for our interview. I must say
speaking with him about his work could easily cause a
person to reminisce about legendary playwright August
Wilson. Since I’ve been following his work for quite a
while-naturally I began probing the origins of his career to
give our readers a snapshot into his life.
directing +
social media
“I got started because it's always been a part of
me. Ever since I was a child. I started singing
when I was like five or six years old. Started
acting when I was seven. And I started writing
plays at like nine or ten years old. Of course when
I first started writing and everything, my focus
was just to write and create. And of course as I
grew older-I wanted to write for black people-but
I didn't have a specific vision. But as I grew and
started experiencing life and started
experiencing racism, police brutality, and so
forth, and saw what happens to our people every
day-my focus became a definite focus and a very
intentional focus. I’m very intentional with what I
write as a filmmaker. I make sure that whatever I
write uplifts our people, is thought provoking for
our people. And I make sure to show healthy
examples of black love in my projects. It's
something that the creator put inside of me.”
Although he isn’t that old-Carltaise’s background
isn’t really that unique from other black artists,
singers in particular from one to two generations
before, in that the church had a tremendous
impact on his early artististic development. It’s
also quite clear that his acting background is
quite diverse including appearing in three very
popular plays. “At one point I got involved in
singing with the church choir. As things
progressed I started doing a lot of plays in local
theatres. I've been in dramas, comedies and
musicals. I’ve been in Smokey Joe's
(Continued)
Cafe and Five Guys Named Moe. I was
sick as a dog in that one. I got sick like
two days before its premiere. The last
musical I was in was Ain’t Misbehavin
which I was really excited to do that
role because I got to really step outside
of myself, because I’m normally a laid
back kind of dude. I even sang the song
‘Viper’s Drag’ that was also sung by
Andre De Shields in the same play.”
It’s quite evident that writing for
audiences has been a passion of Carltaise
for a long time. Like many filmmakers he
began as an aspiring playwright, but in his
case at a very young age.
“I started writing plays when I was like
nine or ten years old. Dramatic
monologues. I was asked to do stuff for
Black History Month in church. And so I
would write original pieces. I wrote a
two-part piece where I played dual roles
as a field slave and a house slave. The
field slave was talking about his
experiences, and the house slave spoke
about his experiences and how he felt
about the fact that the slave master was
his biological father but was still
treated like dirt. He hated the fact that
he had that white man’s blood in his
veins and wished that he could cut
himself open and let that white blood
just spill to the ground.”
For decades featuring actors who look like
us in a positive light on screen has been a
driving force among African-American
content creators. For Carltaise Ransom the
mission is the same.
Oscar Micheaux
“When I saw the lack of representation
on television. It was important for me to
write something that showed black
people in a positive light for ourselves
and not for what anybody else thinks
about us. Our power is not in what white
folks or any other race thinks about us.
But what we think about us. So I wrote a
film script that’s called Speak It Real
(2009). This wasn’t the original name. I
had an idea for an affluent down to earth
strong black family from this country but
with roots in Barbados. During the time I
wrote it I wasn’t aware that I had actually
had roots in Barbados. So I started
writing it and then I met someone and I
brought them in to be a co-writer. They
tried to steal my project from me. I got
them out of it.”
Carltaise mentions how quite naturally
there were a few obstacles along the way,
especially with him being a new black
filmmaker. These often include shooting
with a real low budget, hiring actors and
staff, shady employees, and finding places
for screenings. “We shot my first film. There
were a few screenings in Baltimore. It wasn’t
featured anywhere big. Someone who
thought it was good submitted it to the
annual Sundance Film Festival started by
legendary actor Robert Redford. It was
never entered. There was a European Latino
who shot the film. And we had an
agreement that he would shoot and edit the
film all for one price. Of course after
everything was shot he started hinted
around that he wanted more money. So I
had to find someone else to edit the film. In
the long run it turned out to be a brother
who edited the film.”
He mentions how elated he was
to get his first production off
the ground with such a low
budget and reactions viewers
had as well as errors he made
being a first time filmmaker. He
also mentioned future plans he
had for Speak It Real and a
slight dilemma he faced.
“It cost no more than $1,200 from
donations. I was so excited because it
was my first project. I didn’t notice
some of the mistakes the cameraman
made. Like in one of the scenes you can
actually see the boom mic. People who
saw the story really liked it and the
characters. The goal was eventually for
that project to become a series. But I
had to make a decision. Did I want to go
back and do the first part over again?
Or did I just want to continue the story?
And I chose to do the first part over
again although sometimes I wish I
hadn’t. It took a long time to try to get
it done again. We started shooting
towards the end of 2014. We didn’t get
it done until like 2017. This version was
in a film festival-the Baltimore
International Black Film Festival in
October 2017.”
(Continued)
Filmmakers like Spike Lee, John
Singleton, and Ava Duvernay have often
been accused of being “too black” in their
films oftentimes by their black
contemporaries for often addressing
issues that hit right at home in the black
community. Ransom is no different and
he gives rather a matter of fact response
to such criticism.
“I’ve been accused of hating white
people because I want to focus on black
people. And like I tell anyone-first of all
it takes energy to hate. And I’m not
going to put my energy into hating
anyone. My energy goes into loving
black people. A lot of other black artists
seem distant towards me. And I don’t
know why. They’re trying to obtain a
certain thing. Some of them tell me
they’re going to get an oscar in four or
five years. They’re reaching for a spot at
the table. I guess they feel like if they
show me any love for what I’m doing-it
might hurt them by associating with
someone like myself who is outspoken
and problack.”
I was very curious about his thoughts on I Carltaise ended by criticizing him for
his male predecessors such as Spike Lee, once saying that black artists should be
John Singleton, Tyler Perry, and Lee grateful for whatever roles they’re
Daniels-all of whom have drawn offered.
criticism for years over their movie
content. And of course no interview with an
African-American filmmaker can end
“Well I have nothing negative to say without discussing the pioneer himself,
about John Singleton. I admire him. Mr. Oscar Micheaux who directly or
Spike Lee-I really like his work and how indirectly inspired all of the
he stood up and spoke out. But you aforementioned filmmakers.
know his last film American Skin-when I
first saw the trailer I was excited “I just discovered him seven years ago. I
because I thought that it was actually admire him. It took huge initiative for
going to show black people fighting back him to stand up and do what he did
unapologetically. Then when I actually during his era despite what white
watched the film I saw how they fought society wanted him to do. I admire him
hard to humanize the white cop who had for building his own studio, shooting his
killed a young black man. I felt the film’s own films and putting black people to
message was compromised. Tyler Perry- work.”
I admire him for where he came from.
You know, being homeless and having to
sleep in his car. But I’m not too fond of
most of the work that he puts out
because it’s very stereotypical. Yes-he
keeps black actors working. But he
keeps them working in trash. People ask
me all of the time if Tyler were to reach
out and ask me to be in one of his films-
would I do it. Well I would have to see
the script first. I’m not just going to
automatically say ‘yes I’ll do it’ just
because he has a big name.I’d like to sit
down and speak with him sometime. Lee
Daniels is similar. He’s worse than Tyler
in some ways.”
UGLYKES1
DW
SUEWORK BRONX TEAM
UP & UP: A view of the

neighbouring peak from the

other challenging peak.

SUEWORK
In what state did you start your craft of
graffiti and how long have you been a
practitioner of the craft?

I was living in Washington Heights 169 St.

when I started my craft. My graffiti debut
was in 1985.

Did you start in High School and who were

some of your influences on "Subway Art?”

I moved to Jersey when I started High

School so yes, but I kept Bombing in New
York.no body really influenced me in
graffiti, I wanted to create my own style like
that they Wouldn’t say my letters resembled
another artist.
 How has Graffiti changed since the 1970s? Did
any of the traditional rules change?

It's All About Graffiti has change significantly since the 70s style,

lettering, colors, everything has evolved and gone

Graffiti
worldwide. The new Generation is trying to keep

traditions but it’s hard with the internet giving fame

to toys that never hit the streets.

BY TIMUR A. DAVIS

How did he receive your tag name Sueworks and

When was the first and last time he did a piece did you go by any other names prior to your
on the train? current writer tag?

My Name is an acronym “Styles Under Evolution” so

I hit a couple of train at the ending of the train era.
my tag street name is SUE. My artist name is
No big thing But I got my fame in the streets of New
“Sueworks” given to me by a female friend that
York.
wanted me to go out and party with her but I had to

work on a project I was involved with. Like Forward

Copy Report She started to shout come on Sue you

are always working I’m going to call you Sueworks. I

liked the sound of that so I kept it.

SUEWORK
S
What graffiti crews do you represent and
who were some of the noted members?
How did the concept of the BT graffiti
organization develop?

What impact does the organization have

on Young Adults and the community at
large in terms of Hip-Hop Culture?

I Rep BT crew Bronx team!

Alongside Jew long time friend, the
homie Pase, Abe, Infa, Neo, Teck and
the rest of the crew. Legendary
Bronx Crew started in the early 80s
and still killing it. BT is one of those
crews that’s been putting out
Quality work for decades so you
know the new generation have bin
influenced by the New York Style
that each members bring to the
table and will keep on making
history in this Hip-Hop graffiti
culture for years to come.
FLORIDA

Photographs by Mach A10

 Wynwood. Florida

THE WINTER ISSUE

Wynwood. Florida

totem tc5 fc xmen

ABLOH
Wynwood. Florida

REST IN POWER
Wynwood. Florida
89.5 WSOU FM
 In what state did you start your craft of graffiti and
how long have you been a practitioner of the craft?

I began writing graffiti at the tender age of 13yrs old in

COSE
1979 living in South Bronx, NY.

Did you start in High School and who were some of

your influences on "Subway Art?”

TDS
Manhattan Vocational Technical High School is where I
began meeting and connecting with other graffiti artists
like EL KAY TLP, BEO ROC, SCAM ONE TDS, and
MANE 167 TDS just to name a few. BEO ROC was a
kid from my neighborhood and he took me to do my
first Lay-UP on the NYC 6 Line Train. That’s when I fell
in love with Subway Art. We don’t call ourselves Graffiti
Artists… We call ourselves WRITERS. The Gov’t gave
us the name “Graffiti” back in the early days of us
By Timur A. Davis writers tagging & bombing because they saw our
Photographs by Cose TDS artform as vandalism back then. Now look at us,
‘Graffiti” is the most sought out Artwork in Art Galleries
worldwide in 2021.

NOMADIC  |  24
What year did you start and who
were some of your early influences
in Graffiti?
I started TAGGING walls & buildings
around South Bronx in 1979 and
Subway BOMBING in 1981. My
early influencers that were most
prevalent to me are LEE
QUINIONESS, SEEN UA, DONDI
CIA, MITCH 177, NOC 167, and a
few others.
When was the first and last time
you did a piece on the train?
My first time doing a piece on the
train was in 1981 on the 6 Train
which was my home line. My last
train piece was in 1984.
How did Graffiti since the 1970s
have any of the traditional rules
changed and did Graffiti exist
before the “global-
commercialization” of Hip-Hop?
In the 1970’s graffiti was still in it’s
infancy since its origins in the early
1960’s but in the 70’s is when you
really started seeing people names
tagged all over buildings and trains
using basic letter print handwriting.
The late 70’s & early 80’s is when
you really started seeing Writers
turning their handwritten names
into works of art on walls & trains.
Yes, graffiti did exist before the
commercialization of Hip Hop.
How did you receive the tag name
Cose?
My first tag name was “GAP-ONE
MGA” I wrote this tag for about 1.5
yrs. in my early stages of tagging.
However, I wanted a different name
and back in the day my favorite soap
was call COAST. I liked the way that
sound so I changed my name to
COSE and I’ve been using that tag
name ever since.
What is the name of your crew(s)
and founding members of the crew?
The founding member’s of THE
DEATH SQUAD are KOOL 131, MR.
JNX 174, and CHAIN 3 (1976).
Chain 3 was the first President and
later on Kool 131 took over as
President and made PART 1 Vice
President.
Do you think Hip-Hop Music
regressed over the last decades,
and if so why?
I don’t know if I would use the word
regress. In the early days of Rap
music it was about a dance & party
vibe to have a good time to forget
the troubles at home, then it started
changing to lyrics about what’s
going on in peoples neighborhoods
and MC battling. These days its
about materialistic things &
violence. I guess it could be
considered by some as a form of
regression depending on your
perspective.
 Words Timur A. Davis
Photography COSE TDS

Have you had an opportunity to

engage in freelance or contract
and/or art exhibits work with your
acquired skills?

I have had several art commissions

in the past but made the transition
to exhibiting my work in Art
Galleries around NYC. Now I’m in
the process of exhibiting my works
of art in Europe.
BLACK 45 - PHOTOGRAPHS
 AND THE TEST
OF TIME
Written by Kandi Kain
Edited by Tarikh Bandele
Hip hop has now become a main staple
in American culture with a huge global
impact. It is a tinted lens of how the
world views Black and urban culture in
America. The artform is often depicted
as a vicariously promiscuous and
hazardous lifestyle. A brain-pick session
was held with six men who served over
hundred years in North Carolina’s state
prisons and a retired New Jersey prison
warden to discuss the notion of hip hop
as a contributing factor of the ‘pipeline
to prison’. The definition and meaning
of a prison are a place of confinement or
captivity for a predetermined amount
of time as punishment for individuals
who break laws. Theoretically, the
system is designed to rehabilitate misfit
souls, but anyone whose names were
replaced by numbers can attest that it’s
a well-oiled machine intended to kill the
spirit, smother talent and suppress the
aspirations of its occupants.
Residents, who refrain from identifying
themselves as inmates, were regularly
musically profiled and stereotyped by
correction staff due to their preference to
watch BET videos and listen to hip hop
music. It was often alluded to be the cause
of their incarceration, recidivism and an
accumulation of write-ups. James
Slaughter, retired Warden/Administrator,
overseen an average of twelve hundred
residents at East Jersey State Prison in
Rahway, NJ. He defined his job as “….
making sure the inmates don’t kill each
other, staff don’t abuse inmates, inmates
don’t mishandle staff, and shutting down
drug trafficking…” administration was
adamant about decreasing inmate opioid
overdosing.James,a90shiphopenthusiast,
works out to M.O.P. and watches YouTube
shows like Gully TV. His favorite rap music
group is Public Enemy and his top 5 emcees
are Jay-Z, Nas, Rakim, Big Daddy Kane and
KRS-1.
In the early nineties he managed Warner
Bros. rap artist, Sah-B, a female emcee, and
quoted Beat Street as his favorite hip hop
movie.
He admitted that hip hop was a bridge of
communication between himself and
majority of the population. It helped in
interpreting the ‘slanguage’ used amongst
the residents. Like the time when he was a
sergeant at Annandale Prison and he was
referred to as ‘OG’ by an inmate and
another officer was alarmed. He sternly
asked if James was going to allow the
inmate to address him in that way. He was
able to explain to the officer that it was
being used as a term of endearment and no
disrespect was intended.
WALKING THE YARD
During processing, a resident’s
measurements are taken for an orange or
khaki colored uniform required by most
facilities.
In the state of North Carolina, unless
you have a medical exemption,
residents are required to wear state-
issued sneakers and slides. It’s not
easy to pop your collar and have
swag in a place where intentional
individualism is forbidden. High
priced sneakers (tennis shoes),
jewelry, and designer garments are
banned. The only name brand you
may get is Bob Barker, a family-
owned cut-and-sew business from
North Carolina that provides clothing
for correctional facilities. Unless
other arrangements have been made,
whatever clothing the resident wore
when taken into custody, will be the
same clothing they’ll be wearing
when they leave. Personal
belongings, including shoe strings
and belts, are kept in an envelope
given at release and due to the
hurriedness of reestablishing
freedom they are commonly
forsaken. This may have given birth
to a hip hop fashion statement,
sagging pants and stringless kicks
(sneakers).
can use redirection to ensure that the
reader keeps reading the article and to
draw her attention to other articles.
For example, phrases like "Continued
on page 3” redirect the reader to a
page where the article is continued.     invested in pleadings for spray paint,
  While a good conclusion is an
important ingredient for newspaper
articles, the immediacy of a deadline
environment means that copy editing
often takes the form of deleting
everything past an arbitrary point in
the story corresponding to the dictates
of available space on a growing up on the same genre of
page. Therefore, newspaper reporters
are trained to write in inverted
pyramid style, with all the most
important information in the first
paragraph or two. If the less vital
details are pushed towards the end of
the story, then the impact of draconian
copy editing will be minimized. It is
debatable about the origination of the
purported folklore about the meaning
of sagging pants because it’s pretty
hard to get clothing 2x your actual size
in prison.
BOOM BAP TO THE FUTURE 🡪
I can’t help to wonder if parents
could’ve seen the forecast of hip hop’s
lucrative future, would they’ve
magic markers, beat machines,
microphones, turntables, and studio
time to support their child’s creativity.
The ‘young-at-heart’ energy of hip hop
is a fountain of youth for Generation X-
ers and presently, it’s the first time two
generations (parent and child) are
music. Frank, a father of two sons, still
has a deep passion for hip hop while
sincerely appreciating the rap music
his two preteen sons listen to today.
James and his twenty-seven-year-old
son both share a love for the conscious
lyrics of Jay-Z, J-Cole, and Kendrick
Lamar. It wasn’t uncommon to
discover fresh new talent in the
facilities. You could hear the guys in
the yard and walking the wings rapping
and freestyling. In most prisons there is
a resident ‘Card Man’, an artist who
designs and draws greeting cards for a
small fee.
BLACK 45 - Photographs
 Just an example of how skill sets are
transferred in the most untraditional
environments as a means of survival.
Frank vividly recollects on times he was
scolded for the ink stains in his jeans
due to the magic markers he used to do
graffiti writing busted in his pocket.
GLORY OF THE STREETS
Do you think hip hop culture glorifies
drug use, criminal behavior, or
misogyny?
Hip hop is an easy scapegoat and place
to point the finger to cover up for
insufficient parental skills. Back in the
day, hip hop had a wider variety of
personalities and characters but now
there is an unaccountable influence
pumped into the public airwaves by the
media like pesticide on a fertile crop.
Lyrics are often misinterpreted and
exaltation, Mecca, a former ‘lifer’,
stated “We are good at talking about
bad things, our ills, with an upbeat
energy.”
Similar to how everyone in the room
responded when asked about the length of
time they spent in prison, no one seemed
beaten or downtrodden, but spoken as a
true testimony. Scottso, formerly a lifer
before his release a year ago, reminiscences
of the hip hop songs he listened to before
going away for thirty years ago. “They were
sensible, meaningful and focused on
building up the culture. The artform was
made to reflect what was going on.” Frank
eagerly chimed in. “They were talking about
the things [that] I was doing.” Justin, who
served 14 years, believes hip hop was used
as a means of expressing what we were
involved in and continues to be a means of
earning a living. He claims it’s the testimony
of the unheard “…who I am, what I’m going
through and things I do to get out of
situations.” Tommy, the youngest of the
group at 32 years old, views hip hop as
more of an influencer than as a tool for
glorification of violence. He also believes hip
hop is getting a bad rap. “Parents, friends,
and the environment is more of an
influence.”
He admitted to listening to Snoop Dogg’s
cd every day when he was younger but
never had a second thought about gang
banging or pimping hoes.” But he did admit
how influential the opening scene of the
movie Belly was on his criminal career. The
visualization of how to pull off a lick (i.e.,
robbery) helped him manifest his own
robberies. Apps914, a New York native
who relocated to North Carolin, intensely
remembered artists like Will Smith and
Jazzy Jeff recorded songs about having fun
and enjoying summertime. However, he
does feel there is glorification to an extent
with artists like Future promoting drug use,
popping pills, and drinking ‘lean’. Lean is
street terminology for prescription cough
medicines that contain promethazine (an
antihistamine) or codeine are sometimes
combined with soda and candy in a drink
called “lean” or “sizzurp”. James, with
nearly three decades in law enforcement,
agreed the menacing cadence, violent
energy, and harmful misogynistic lyrics
does help fuel the pipeline to prison.
Butalsonoted,aftermanyconversationswith
his residents, the absence of fathers in the
home, dysfunctional family structure, drug
use, sentencing guideline, education system
andlawswerealsofoundationalproblems.
IUSEDTOLOVEHER
Does the culture promote a sexually deviant
orpromiscuouslifestyle?
Hip hop has become the genre where the
culture vultures embezzle and rinse their dirty
money, immoral ideas and deviant behaviors.
It has been converted from an underground
lifestyle and into a vulgar mainstream
spectacle. Who is responsible for the public
‘wenching’ of women in hip hop? All present
agreed that no one speaks more greasier
about women than women themselves. Are
womenbeingscapegoatedasthetrojanhorse
to introduce sexual perversion disguised as
independence and self-empowerment?
Mecca’s perception is that rap panders to the
lower self and the lascivious perks of half-
naked girls, excessive cash and luxury cars.
Today’smusicvideosarelikesoft-pornandit’s
the only genre of music that markets a
shamelesslifestyletoyouththroughits’music.
So much so, that women represent
themselves in such a degrading way
without any coaxing. Mecca
challenged us to think about the
lifestyle Hugh Hefner represented
and compared it to the “hip hop”
lifestyle. Hip hop is American
culture and proudly hails the old
adage ‘sex sells’, or is hip hop sex on
sale? Before spending more than a
decade locked away in a prison,
Tommy recalled how it was seemed
lethal to call a black woman out of
her name, referring to her as a “b” or
hoe. She would hit you or spit in
your face, only to return home to
black women labeling themselves as
these very epithets. As a warden
and administrator, James Slaughter
would receive numerous requests
for administration to subscribe to
cable channels that featured reality
shows like Love & Hip Hop and
similar series. These shows were
highly demanded by younger
residents at Annadale Prison
because it showcased scantily clad
and hyper dramatic behavior of
black and brown women.
CONNECTING TO THE SOURCE
After sentencing is rendered and
the gavel slams, and you are
transported back to your new
residence for the next several years
or decades, hip hop can bring you
closer or drive a wedge between
reality and fantasy. Laying in a cell
daydreaming about the last day you
spent outside, the last song you
heard, movie you watched, food you
ate and hug you received is a
memory you want to save on your
internal hard drive. For some hip
hop was (and is) a coping mechanism
and others a staunch reminder of
the fun you’ll be missing. East Jersey
State Prison, aka Rahway Prison, is
one of the few prisons in New Jersey
where inmates are allowed to have
instruments in their cells. Yet,
James, once given a directive by
higher-ups to confiscate all
instruments from cells, strongly
advocated against it, understanding
how it could potentially cause a
major disruption in daily operations.

Moreso, because most of the guys in
Rahway are older and long-timers, and
music is nonthreatening self-expression for
coping, stress relief and anger management.
Mecca, once a lifer in North Carolina’s
Department of Corrections, said he initially
disconnected completely from the culture
because it made him homesick to watch
music videos shot in places he’s been, with
people he may have known, and may never
see again because of his life sentence. In the
early nineties he was able to peek through
the curtains to get a glimpse of hip hop with
publications like Vibe and Source magazines.
It kept his ear to the speaker about who was
who and what was hot. This opened a niche
market and lane for magazines like F.E.D.S.
and Don Diva to cruise into success.Most
facilities provide access to music, usually a
watered-down radio version, but
nonetheless a way to stay connected to the
culture. Residents were frequently musically
profiled and stereotyped by corrections staff
due to their preference to watch BET videos
and listen to hip hop music. It was often
deemed to be the cause of their
incarceration, recidivating and accumulating
write-ups.
Mecca, like Scottso, Frank and Apps, received their
sentencesintheearlynineties,remembersteachable
rhymes by KRS-1, Public Enemy, and Nas that
preached about the dangers of the street life, black
historyandofferedsolutionsforsocialills.Butmuchto
their dismay, the hip hop they yearned for that was
once full of substance, was now replaced by the new
streetphilosophyofadorningstripperswithrainfallsof
cash, hard drug indulgence like Mollies, luxury cars
withshinyrimsandlavishamountsofmonies.Unlike,
the older guys, Tommy had a phone 80% of his time
incarcerated and stayed connected to hip hop. He
fondly remembers how Lil’ Wayne’s Squad Up
albums kept him motivated as he walked the yard
with his headphones. Unlike Justin, who was only
equipped with an FM/AM radio, and access to
watered down and commercial rap music, similar to
hip hop processed with artificial preservatives and
geneticallymodifiedlyrics.
CRIMINALMINDFULNESS
Mecca shared a story about a guy he did time with
whoadmittedhemurderedhisgirlfriendwhile‘under
theinfluence’ofNotoriousB.I.G.BiggieSmallsmadeit
popular to be a big overweight black guy and was
convinced that he should handle situations just as his
lyricaliconwould.
Biggie’s lyrics taught him how to hustle, treat women
and respond to crisis situations, which unfortunately
landedhiminprison.
Apps914self-confessedthatbecausehewasinvolvedin
a felonious lifestyle, he only listened to music that
reflected his interests at the time. ‘’Kick in the door
waving the 4-4’ was feeding my soul and that’s all I
wantedtohear.”
SOLUTION
Drugs impair good judgement and critical thinking skills
thus creating a gateway for poor decision making.
However, good parenting has to be held accountable.
Parents, married or co-parenting, have to be a child’s first
teacher, disciplinarian, friend, and role model to expose
thechildtoknowledgeofself.
On his last day before retiring, James held an exit
meeting with the Inmate Liaison Committee, a board of
residentsaged45-60,formedtoexpresstheconcernsof
the residents to corrections staff, to share a request. He
explained that he understood that it’s harder to gain the
trust of the youth as a law enforcement officer and
asked the members of the group to use their influence
and leverage when they are released to talk to the youth
and encourage them to stay away from the prison
system.
 In what state did you start your craft of
graffiti and how long have you been a
practitioner of the craft?

My beginnings were in 1991/1992, it is

HEMONE1
already 30 years, in the game.

Did you start in High School and who

were some of your influences on

SPAIN "Subway Art?”

If it would be at that time of school because I

By Timur A. Davis
Photographs by Raul Cabezas
remember being a bad student and soon I
left school because the whole book was an
inspiration, many styles, many colors, and
trains, but I liked them a lot, DONDI,
DUSTER, SEEN, SKEME, JONONE, but as I
have said the whole book was a great
influence.
 How did Graffiti since the 1970s have any of What is the name of your crew(s) and
because, as I said before, it would be around
the traditional rules changed and did Graffiti founding members of the crew?
91/92 my beginnings, although a year before,
exist before the “global-commercialization”
I was attracted to Breakdance and the
of Hip-Hop?
aesthetics of this culture.
3RL (Third Rail). SAP (San Andres Posse). A3
without a doubt, it has changed and continues (art attack artist) NHC (no color), some of the
to change today, unfortunately, I think that members are founders and also belong to the
What was your first and last Graffiti train?
for the worse, the values, respect, and the rest of the groups, I leave some names, BIZ
way of understanding this culture have been (ZEE), FASIM, CAD73, FREE, CROM, DIVE
lost, today there are many more people who DIVOSSO, SIXE, DOSE (ZEUS), INUPIE, and I
My first train would be for the year 1992.
paint, but Many have no idea or care, where could put many more members that although
been without painting trains for a long time,
all this comes from, my generation had they were not writers, they formed and are
but in the same way I think they will always
enough problems with the police with justice, part of some of the groups, DJ´S, BREAKERS,
be waiting for me to paint them again.
and we were treated as criminals so that MC´S, PRODUCTORES, DEALERS ..... there
today those people who live among cotton do are some groups that He is no longer very
Has “Graffiti” changed since the 1970s?
not have respect for the writers of graffiti, active, and his time passed strongly, but I put
people who cannot write but can paint, who it out of nostalgia, and because of what I
have never painted a train, nor have they represent in a stage in which they were very
I have not lived the era of the 70s but I think
walked among them, who have not had to recognized, someone else stops putting it,
that if I change the rules without a doubt,
escape from the police, they have found it all because the EGO of some members and with
Graffiti did exist before all this, since it was a
done, as I have said many people but few age one becomes tired of the nonsense, so at
way of expressing oneself, and making visible
represent. that point, I decided to only put my first
in the form of protest, problems that
groups, when everything was pure and fun,
everything the world knew, but few dared to
How did you receive the tag name Hemone? today I pay more attention to people and not
say publicly, a way to make yourself visible to
to the group they belong to, and that is what
the rest and express yourself.
is worth to me, to be in a good group does not
My name, before HEMONE, I had some make you a better person, but good people
names, but around 92 I started painting EM always will be.
and signing EMONE, I just liked how it
sounded and it looked good, later around
96/97 to make it a little bigger and visible add
an H, and over time HEM / HEMONE ended
up being my nom de guerre, and by which
people ended up knowing me.
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BRONX TEAM!
COMING
SOON
Tuff City, Bronx, New York
EZRA KEO
156 Crew, Art Exhibit; Bronx Museum circa 2015
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