yes tomorrow and it seems they will be attainable if youre swift. basic pieces make that pattern pop navys my favorite cw aswell but im good with just my pb vans
nice! i was just flipping through this magazine the other day. crazy that it came with a free leopard towel. can't imagine supreme doing that now
found these interviews on the supreme site
the text gets chopped, so i pulled the HTML below
enjoy
Interviewed by Angelo Baque
Angelo Baque: When did you start skating?
ERIC KOSTON: I started in 1986.
AB: Who were the skaters that inspired you growing up?
EK: guys like GONZ, NATAS, ERIC DRESSEN, LANCE MOUNTAIN, TOMMY G., NEIL BLENDER, MATT HENSLEY, JASON LEE, SAL BARBIER, JULIAN STRANGER.....man, the list seems like it can go on forever. What is so inspiring about those guys is their styles. They all look amazing on a skateboard.
AB: Biggest accomplishment you feel you have achieved so far in life?
EK: I’d have to say having my daughter, JuNe. For my wife and I to be able to create this being is more than an accomplishment, its something words can’t describe. It’s the best thing ever!
AB: What was the first company that sponsored you?
EK: H-STREET. It was unreal to me that I was on that team and that it was my first sponsor. Because at the time it was one of the best companies around. I was 15 and on the same team as DANNY WAY, HENSLEY, SAL BARBIER, MIKE CARROLL, these were all guys I totally looked up to.
AB: Besides the Brooklyn Banks what is your favorite skate spot in NY?
EK: The whole city is my favorite spot. When I skate there I just love being able to roll around, skate from spot to spot, cruise through the streets in traffic. That’s so much fun because its something I really don’t do living in LA.
AB: What is your favorite part in a video that you have been in?
EK: I don’t have a favorite. When I look back at all of them, it brings back all the good memories and experiences that I’ve gone through in my life. You put so much physically and mentally into a video part that I appreciate all of them.
AB: Do you feel that there is a difference between skating when you first started compared to the present day? If so, is it for the better or worse?
EK: It’s definitely much different than when I started. Its obviously so much more advanced, but its individuality I feel has remained the same. Skateboarding has gone through so many trends and phases in the past and now it’s taken all that and has become more diverse than it ever has been. Its cool to see a crew of kids outskating and they all have different styles or dress different than each other, yet they’re all kickin’ it together. That individuality is what makes skateboarding so great.
AB: Are there any young skaters coming up that you have your eye on?
EK: For sure, there’s so many... MIkeMo, MALTO, ALEX OLSON, TYLER BLEDSOE, GRANT TAYLOR, ROBBIE RUSSO, CORY KENNEDY, those guys all kill it.
AB: How has the transition been for you going from lakai to NIKE?
EK: It actually feels very natural. Now that I’m on NIKE it feels like I should’ve been there a long time ago. I’ve been collecting shoes since I was 19 and 90% of them are NIKEs. I’ve been into the brand for so long. All of the shoes I designed in the past have been inspired by different NIKEs, so now being able to work with them is awesome.
AB: What are your top 3 songs to skate to?
EK: PUBLIC ENEMY, "NIGHT OF THE LIVING BASEHEADS"; THE CLASH, "THE GUNS OF BRIXTON"; SUICIDAL TENDENCIES, "INSTITUTIONALIZED".
AB: What is the one thing you like about NY that you cannot get anywhere else in the world?
EK: RAY’S pizza. No one can **** with Ray’s.JA
Interviewed by Virus
JA breathes graffiti, he is one of the most prolific and omnipresent bombers in modern graffiti history to date. He writes as if it were a sport with fierce competitiveness and will. Originally from the upper West Side of Manhattan, he started writing graffiti in 1982 and took the name JA ONE in 1986. In 1990, JA had his name written from top to bottom in all of the five boroughs of New York City giving him the title "KING". Along with that title, JA was beaten and given 100 stitches to the head by crooked NYPD cops. At one point he was sued by the city of NY, the Mass Transit Authority and the Department of Transportation for $5 million in punitive damages. With all the hardships and battles that JA has faced, he is recognized and spoken of as one of the most controversial graffiti writers in the world.
Virus: What was the main thing that drew you into writing graffiti?
JA: The one thing that attracted me to writing was that it was so illusive, no one knew who was doing it. everyone around me who had the answers for everything in my life at that age had no answers for who the people were that I was in awe of. I felt like whoever these people were that were doing this would take me in. I went through a lot of **** as a kid. I really sought these people out because they gave me a sense of hope by what they did and who they were. going against everything they were supposed to do gave me hope. I thought that they were so fantastic and that they could say "**** that!" They can overcome anything they wanted to overcome. That’s how I saw it. If I could meet up with one of these guys, let alone the top guy, someone from a graffiti crew like AW, IBM or CIA? I would show them the utmost loyalty if they would take me under their wing. I felt I understood where they were coming from. That’s why over the years I have taken in many writers under my wing. Some have flourished, some have not, some are alive and some are dead. Some are on their master’s degree, some are on their third term of a 25 - to - life bid and that’s the reality of that. What I associated the most with writing as a kid was that there were people out there that would understand me and I would understand them. For a long time I didn’t connect with other graffiti writers, but I found that I became who I wanted to meet.
V: Why do you write? What motivates you and has that drive changed at all?
JA: It’s just the purity to want to write and express yourself. I write for myself and for my friends and if anyone goes over my friends I start going over them. I feel I had my crown firmly rested on my head by ’90 – ’92 and everything since then has just been confetti. It’s just been running up the score, it’s just been overtime, it’s just been moon walking over the competition. It doesn’t mean what it once meant to me as far as a competition thing. I love writing. I go alone most of the time. There is not a lot of guys I would trust to go with. I love doing it still. It has changed for me when you’re so caught up in writing to level of holding down the job 6 nights a week. You throw away your relationships with girls because you would rather go out and paint, war with people and in the day time when you’re off from work you go out and steal paint. You are truly a ****** up individual and at the same time you are caught up in the graffiti game and that’s what I was. And I don’t regret it. It was real and that’s what it was and yes I loved my girl friends but it was more than that. It gave me more. For myself, not to blow my own bugle, I prided myself on what I could do in a night. Compared to what maybe two or three people could do in a month and what I could do in a month outdid what a whole crew could do in a year. I love writing and I don’t research it. The internet does not count on any level and neither does this. I will continue to write when I want to write, where I want to write, how I want to write till the day I don’t want to do it anymore and I don’t know when that is. It doesn’t really matter anyway.
V: What do you feel is important to you in general? graffiti related or not?
JA: What kind of person you are. Being a good friend, a good father, a good mother, a good son and daughter. Being true to yourself. I don’t care how that sounds to anyone, it’s true. I started writing not to make friends but because the people I saw out there were rebels and renegades and I felt boxed in, ****** up and pressed against a ******* wall. I felt that no one understood me at all and I understood the graffiti writers at the time in my own mind in the sense of…WoW you went and did that! You were that motivated to do that? Well so am I man! That’s how I felt about that.
V: What is your main motivation when you’re going out bombing? The first thing you want to accomplish?
JA: Not to get caught. To have an agenda, lay it out and get it done. To be a professional.
V: As a professional, the height of your bombing in the 90’s what did that involve?
JA: I had a lot of different wars going on. I took them relatively seriously like in the game Stratego where your aim is to knock people out. I never lost a war till this day over 24 years of writing. I’ve taken on crews of upwards of 15 people and made them ******* quit graffiti and get into something else. That was by my own doing systematically. I am a very competitive person by nature but writing is something that I love and is in my soul. The difference with me and other people is, well, "I don’t want to get crossed out". If someone goes over someone that I’m friends with or is down with xTC? It’s on. It is what it is and going to bat for people is not a problem for me. If you can put aside your ego and your name, you can basically open up your artillery and blast everyone if you can accept casualties. I love going out in the wee hours of the night, outfoxing the police and ******* up the program, that’s what I do.
V: How has New York shaped you?
JA: I believe, well, I’ve traveled a lot in my life but New York City in my opinion is the greatest city in the world. It’s got the greatest diversity of any city. It has made me the person I am. I’m not shocked or offended by any cultures. Anything related to that was worked out when I was about 4 or 5 years old. I have very liberal and intelligent parents. I grew up in the melting pot of NY, which was the upper West Side of Manhattan, New York. I grew up with whites, blacks and hispanics. until I got out of my neighborhood, I didn’t know people thought differently.
As for growing up in NY back then, I got robbed maybe once a month. every kid who grew up in NY got robbed at some point and it was very predatory, it wasn’t shocking and it didn’t make the news. If you stood for anything such as writing graffiti or B-Boying because of the way you dressed you were going to get robbed. That’s how it went down. It either sent you to the showers or bolstered your ability in what you were fighting for anyway. It was a very black and white. Survival of the fittest. Come back and fight another day and if you didn’t, you don’t have no respect. It was tough when you’re a young man to stand up.
V: What is the illest experience you have had related to writing graffiti?
JA: I would say the illest thing that happened to me was in late July or early August of 1990, this is all documented. I was painting the FDR drive highway and I was chased by the police. I had the cops coming from the highway pa- trol unit from 125th St and the 3rd Ave bridge and the Tri-Borough Bridge. The cops com- ing at me 100 yards behind me had their guns drawn saying, "give it up, give it up!" I gave it up. I laid face down on the highway. This ******* piece of **** cock sucking cop beat the **** out of me while I laid down over the head with his knight stick. He gave me 130 some odd stitches to the head. All this happened to me while I was handcuffed behind my back. I ended up in the Harlem Hospital and the head triage nurse asked me what happened. The cops said I got hit by a Buick. What really happened I said to the nurse was I got the **** beaten out of me by a cop and she said "look at them all over there", there was about 8 of them all getting their stories together. I went to court and fought. At the court I saw 9 different police officers that weren’t even there all testify that I was running from another cop and was hit by a car. even though the lacerations to my skull weren’t conclusive with being hit by a Buick. That is why the charges against me were ultimately dropped but I lost a lot of respect for the NY police department. I understand what they go through on a day to day basis but at the same time a guy my age handcuffed behind my back laying face down on the FDR drive for 5 minutes being just seriously blasted by a nightstick by some drunken lucky charms cop is really foul. I know what I dealt with that evening is not even close to what a lot of black and hispanic people or even white people have had to deal with on a much more serious level as far as shootings and unsubstantiated shake downs and basically just racism. When I was being stitched up I was still in a state of shock, "like what?" I didn’t realize how bad my skull was because I was handcuffed to a gurney and this Russian nurse asked, "What did you do?" I said I was accused of writing on a wall. She was, "this is how bad they beat you for that!?" When I was in the hospital the cop who ****** me up and his partner who was there started kicking me in the side and said, "You like making the police run?" I said, "No". In retrospect I’m glad I did run. These scars don’t hurt anymore and the NYPD cops that did that are a bunch of brutal *************. Something to think about because if you want to do this it can happen and not just by the police but by anyone. There is more to the picture than meets the eye.RZA
Interviewed by Andre Torres
ANDRE TORRES: I wanted to start back at the beginning, if you could talk a little bit about com- ing out of Staten Island at the time, ’92-’93 with a sound that was definitely completely different than what was dominating hip-hop at the time with this sort of Cali-dominated slickness. You came with a unique New York grittiness that sort of set the stage for the future of New York hip-hop. It really kind of put it back on the map. And then everything that followed was in that same vein, I think. If you could sort of give me some insight, how you think that all happened.
RZA: I think for me, being the producer behind WU-TANG – what it was, you know, living in New York all these years, I’m a guy that went from Brooklyn, the Bronx, Queens – every borough I would go battle emcees and DJs. But living on Staten Island, it was kind of like being secluded and gave us a chance to nurture our own slang our own personality. And I was like the kid out there that was one of the best DJs out there. Some con- sidered me the best emcee on Staten Island, be- tween me and CAPPADONA always battling. But I think as a producer, what I did was I made music for emcees, for hip-hop. It wasn’t like okay, I love the LOW END THEORY album.But that’s Jazz, in its own way. RAEKWON was big on NWA and DRE’s first album. He used to always pop that **** in his car. But to me, that didn’t feel like I felt. So I made music that’s more like – it was kind of aggressive, angry, and it was for you to go out and rip the mic, kick the door, burn the building down. It was real just aggressive music, I think. And I think being on Staten Island, it kept it secluded, it kept it nurtured. Because I was doing that since ’87, making tapes and demos that were circling through the neighborhood. But it wasn’t until ’91 when they made a machine called the epS-16+ that I was able to take all this creativ- ity that I was doing before tracks and stuff, put it on one machine, add all these sounds to it, and make it go crazy.
AT: So, yeah it added a little bit more musicality, I think.
RZA: Yeah, I think so. And I mean, there was a lot of good music. Look at peTe RoCk and “Remi- nisce” with the horns, and – so they was doing it. I just think the keyboard technique changed it. And then also, my reach for what I wanted to sample. I mean, to me, I discovered that any noise is music, because it’s an emotion. That’s what I meant, like WU-TANG CLAN be attacking your emotions. I used to always say that to him. Like yo, my set is for your emotions, you know what I mean? Tearz – that song make you ******* – you know, you feel it as if it was a soul song, not a rap song. Can it be – I mean, you feel the sadness and the beauty of us coming out of the hood when you hear those songs.
And that’s how I wanted it to be, you know what I mean? And those same little chords – you know, I’m on ALICIA KEYS first album, A minor – those are the chords I was using. I didn’t know it was A ******* minor at the time, you know what I mean? Because I wasn’t a piano player. I learned that years later. But the A minor to the D, or the A to the C to the e – that progression is hip-hop. And the funny thing is when DRE came back with Still Dre, basically same chords, just inverted them. Same thing – the same thing I’ve been playing for years, but inverted. So it’s crazy.
AT: So I wanted to move – moving sort of past just the musical aspect. Obviously, WU-TANG was able to sort of transcend hip-hop in a way that I think prob- ably no others had at the time, possibly even since in the way that you were going beyond music and really kind of coming up with a sort of cultural phenomenon in the way that you were influencing the way we talked, the way we dressed. I mean, it was kind of like the first hip-hop brand, in a sense. What do you think it was about the music, as well as this whole sort of agenda that you had, that was able to attract so many different groups of people, from hip-hop kids to skate kids to college kids and white kids? I mean, it was sort of across the board. Everybody really kind of fell in line.
RZA: I think it got a lot to do with the – music is of course the key and the foundation of it, but also, look at the personalities of the crew. You’ve got nine guys with nine different ways of looking at things. You nah mean? Nine personalities. And I always say this about the WU-TANG to other people. These wasn’t no nine suckers. Any one of them was going to make it on their own, in their own world, because each one was like a boss to their own little crew. even though me and gHoST was roommates – it’s like u-god, he had his crew. RAEKWON, they had their crew – they had – you know what I mean about crew? Like crews in the streets. Not just rapping crews, but little shorties underneath them. So when you have that many elite personali- ties, that’s going to attract many different kinds of people. Also, growing up on Staten Island, for the years we spent on Staten Island – Staten Island, to me, is one of the first multicultural places in New York. There was a lot of riots going on in high school. You got to New York High and it was only like 90 blacks to 1200 whites. And the blacks are get- ting into ights, getting jumped and sent home, and **** – but we had that, but it was a mix of cultures. You got the Italian culture with the Ma ia mental- ity, young kids like that. You got hip-hop, which was us in the ghetto. You got the puerto Ricans, at the handball court all the time with them. All these different cultures, and we always come to the block parties, always see each other, your girls. I think that’s what made – when it came to the world, it was a Staten Island thing. We brought this blend of culture. Like me, I hung out with white boys all through ******* junior high, high school. I just saw one of my white homies – he’s an Italian dude named Jimmy. I also hang with a Spanish dude, John – my first DJ. Jimmy – you know, we would go to the ******* Silver Lake and get kegs of beer, nah mean? people were doing early skateboard stuff or stuff like that, that was happening. And so I think in our music, in our style, it re lected. And then when it came to the slang, it’s like Staten Island slang was a slang that was kept away from New York. So people in New York was talking similar to each other, be- cause they was all cross-pollinating. But Staten Is- land’s just sitting back.
It’s like – the same thing I think with Yon- kers and Long Island. When Long Island came on the scene with EPMD, RAKIM and them – there were a few other ones from out there. PUBLIC ENEMY, FLAVOR FLAV and them too. But their slang attracted a lot of New York- ers, because they had an isolated slang. When GRAND PUBA – JADAKISS and them ‘til this day – and the LOX. They brought that out-of- New York slang to New York. So it’s New York on the weekends, HEAVY D and them – same thing. So WU-TANG was the same thing, but even more concentrated. everybody on Staten Island moved to Staten Island from somewhere. So you got the Bronx, Brooklyn, Manhattan, all on this little rock now with all these cultures mi- grating up. And I think when it came out to the world, they felt it, they soared. And I always say that any member of the WU-TANG – if you can’t relate to one, you could relate to another.
AT: There was an interesting quote – you know FRANk ZAppA. He said something about, art is making something out of nothing and selling it. That sort of resonated with me, especially in light of this sort of hip-hop hustle. I was curious to know, what role, or how big a part of your life has art played in that respect?
RZA: FRANK ZAPPA hit it right on the nose. He’s right, you know. Art is taking – art is a creation. So when you create something, actually, you start from nothing. So when you create something, making something out of nothing, it seems almost mathe- matically impossible, you can’t find an equation for this. That’s why they can’t find god. You know what I mean? But that’s what art is. It is creating some- thing out of nothing. And selling it – it’s up to you to sell it or not. But somebody put a value on it. I feel the same about my beats and stuff like that. I feel the same about my sound. It was more like – like I say, hip-hop has been here. And they may take this as ego, but to me, nobody was making just some- thing that was only foundated in hip-hop. There’s no other way – you couldn’t call it nothing else. If you get that first 36 CHAMBERS album, you can’t put that as another category. It has to stay in hip-hop. It can’t got to the R&B cat- egory, the rock category. They try to say, oh, it’s punk Rock, they try to say everything about it, because it’s hip-hop is what it is. And hip-hop is that ocean to me. hip-hop is the ocean of music, where all other music has its distinction, hip- hop is that collage of everything put together, put a song from nothing, actually, and bringing it all together. And this is why– like, take the graved****z, another good example, why do I take horror sound effects or just aahhhhh (RZA sings)– Russian choirs and ****. How is that Rus- sian choir hip-hop? Because I see the hip-hop in it. I could take that which you would consider nothing and make something out of it. So I agree with FRANK ZAPPA. And I got a FRANK ZAPPA sample that he never would know I got. I know he’s not here any- more, I shouldn’t say this. But I got – even – I have all of FRANK ZAPPA’s stuff.
AT: Can you tell us what it is?
RZA: Yeah. I’ll share it with you guys. Don’t tell nobody.
AT: Yeah, yeah, I’m interested.
RZA: COLD WORLD. Yeah. You’d never know that’s FRANK ZAPPA.
AT: Now I gotta go back and check.
RZA: You might go through all of his records and still won’t find that’s the sound. But I mixed FRANK ZAPPA with the theme from Ten Com- mandments. So anyway, and that’s two different worlds right there, with some RZA drums and ****, and a ******* – wasn’t even a real high hat in that song.
AT: But under you it was all able to come together!
RZA: exactly, brought it together and collaged that **** together. So that’s art. You know what I mean?Puffy
Interviewed by Vashtie Kola
VASHTIE KOLA: There was such a strong move- ment coming out of New York in the 90’s- BIGGIE, MOBB DEEP, NAS, WU-TANG, and of course yourself. What was it about the climate of the 90’s in New York (or post 80’s) that produced such an amazing renaissance in hip-hop?
PUFF: I think because we were the children of the 80’s. That was one of the strongest periods in hip-hop history. So we were the children of RuN-DMC, LL CooL J and RAkIM. That era gave birth to us and that was the era that hip-hop started going to arenas, crossing over and being on MTv. They had opened up so many doors for us that so long as we stayed true to the game and took the teachings from them then we would be successful. It was a great time because the forefathers had built the appetite so much we had to be dope. We had to be good kids in a sense, we just had to follow in the footsteps. The foundation had been laid down so lovely by LL, RAKIM, RUN-DMC and THE BEASTIE BOYS and just PUBLIC ENEMY. The way they were doing it, I mean I don’t even know if we couldn’t went wrong, I mean we could have not been paying attention. I mean I’m leaving so many people out like DE LA SOUL, Q-TIP and POOR RIGHTEOUS TEACHERS you know what I’m saying? The list goes on and on, you were just hit with nothing but flavor. It was hard to be wack but the people that took it really seriously we really benefited from it. We were the ones that were ready to take it at the time and you know on top of that it was just an important time. It was after the economic climate of the 80’s and record companies were so thirsty for rap we were really making money. We were really like rich kids. Like if you was hot and you wasn’t on your way to being a millionaire something’s wrong.
VK: What do you feel about NY speci ically at that time that helped that era of hip-hop?
PUFF: I think there was a lot of clubs and a lot of places for us to go party at. hip-hop was finally being accepted by the masses so it wasn’t a thing that was looked down on. It was the thing everyone wanted to be apart of, every commercial, everybody wanted to be associated with it. You wasn’t cool unless you had a hip-hop CD or you didn’t know anything about hip-hop. No matter what color you were. It was really at that point when it just was at one of its hottest points. It had so much diversity too at the time because you still were coming out of the stage of what the NATIVE TONGUES, PUBLIC ENEMY and then the start of “gangster rap” and what was go- ing on in R&B, everything was going on at the same time and it was true to its essence.
VK: From your perspective how have things changed in New York from the 90’s until now?
PUFF: I think a lot of the soul of it is missing. Like the reasons why people do things or I think people wear things to look cool. I think people listen to music and go to clubs because its a fad. I think in the 90’s and the 80’s it was a culture, it was part of the way you were and you loved it. Its just like anything when the money comes in and messes it up and you know the fame comes in and messes it up but then you have the commercialization of it that dilutes it and waters it down. And I know you are talking about NY but I think NY and the music and the arts go hand in hand. Like the soul of NY, our music, our clubs, our art, the way we dress, our style, the whole thing. NY has been commercialized and it has become cookie cutter.
VK: Until recently Skate culture hasn’t really had a strong impact on hip-hop, however, hip-hop has had a profound effect on Skate culture - particularly in the 90’s in New York. Albums like Ready to die mark an important moment in time in Skate culture. What’s your view on the connection be- tween Skateboard (downtown) culture and hip- hop?
PUFF: I think the reason why a lot of people gravitate towards Skate culture I just think of the rawness, the grittiness of it, the fashion and also it doesn’t have as many boundaries. There is no stereotype. It’s not like somebody playing ball or rapping. It’s a product of the environment. Like a part of rebellion and it coincides with the mean streets and the pavement. You know the roughness of it. And you know most skateboarders are multi-cultural. They listen to all types of music and wear all types of clothes and they are a tight knit culture. You know, I just looked up and it was more multi-cultural than you would think as far as NY. When you used to think about skate- boarding you would think about some white boys in LA or something like that. Here anybody can skateboard and you know **** is dangerous too. That’s the thing that NY it takes whatever it takes. In LA now they have nice skate parks and they get paid money and ****. out here you can get hit by a car or kill yourself on a pot-hole ******* around being out here. It just has that element of danger, that element of rebellion that Rock-N-Roll was made out of.
VK: You are someone who has had real longevity as an artist, and as a business person. SupREME has also enjoyed longevity as a brand. What do you think the secret of longevity is in the greater context of youth culture?
PUFF:I think staying true to self and not being afraid of taking risk and reinvention. That’s a hard balance to stand for what you stand for and believe in but at the same time embrace change and not lose the essence of who you are. Its a balancing act that SupReMe mainly does and I mainly do. The longer you do that the harder it is.
From your perspective, what distinguishes New York from other cities in the world?
PUFF: The way it looks. The way it smells and the amount of people and the tension in the air. The way it looks at night. There is no place in the world that looks like this place at night. And at the heart of this place people are really trying to make it and survive. This is not the place where people are trying to give up. even our homeless people have a certain fight and a certain swag about them. Where it’s like they are fighting to stay alive. This is not the place where you going to want to give up or just lick your wounds and cry. This is the place where you have to get off your can and fight. And that’s the thing, NY makes you a fighter.
VK: If you had to pinpoint - what is the most significant single moment /turning point of your career?
PUFF: I honestly had a couple.
1) MARY J. BLIGE- the partnership
2) The day I met BIGGIE.
3) The day BIGGIE died.
4) The day I made MISSING YOU
5) The day I finished the NYC marathon
VK: What is your favorite food? What’s your favorite spot uptown?
PUFF: Italian food. probably RAo’S in Har- lem.
VK: What is your favorite place in New York City?
PUFF: My favorite place is Central park.
VK: What individual has had the most impact on your life as an artist, or as a businessman?
PUFF: BIGGIE
VK: Staying in business, fashion, music and keeping your relevance past ten - year span is not a feat that can be accomplished overnight. How would you describe or explain the ethos of your work ethic?
PUFF: I’m crazy...(laughter afterwards...)
VK: What is a pioneer to you?
PUFF: A pioneer is someone that even when they are scared they do it anyway.
VK: How do you think New York has had an impact on who you are and what you’ve accomplished?
PUFF: New York has made me for better or for worse. It’s made me strong. It’s made me rude at times. It’s made me cold but it’s also made me warm and caring. It has made me diverse.
VK: Of all the projects you have had a hand in, which has been the most satisfying? Why?
PUFF: I know it’s the corny that everybody says but it’s one of the truest statements but there is nothing like looking at your kids.
Business-wise it would have to be BAD BOY RECORDS.
VK: What upcoming projects do you have that we can look forward to?
PUFF: LAST TRAIN TO PARIS.
VK: A lot of the youth forget about the work that you did prior to the year 2000, your career stems from the year 1988 up until now. Supreme has connected with icons in the past such as BAD BRAINS, MALCOLM MCLAREN and PUBLIC ENEMY with the intention of educating the youth. What would you like them to know about you that you feel has been overlooked?
PUFF: I always try to make music to make people get an emotion and make them dance and make them feel good. I never really wanted to make music that would bring people down. I’m a producer first even as an artist or even as a record owner, I approach the business as a producer but from day one I have always wanted to make people dance, make them feel something and I always wanted to take it to the next level. Whether people have understood me or not I take pride in knowing I did a lot of things first and I didn’t do first to be the first one to do it. I did it to open up doors and so people can come behind me. And hopefully one day people will see that or understand that so when they look back at fashion or they look back at television or they talk about cats traveling out of their hood and going to different places and getting their passport stamped, they will understand some of the reasons why I did it. They will understand why I ran the marathon, why I have the billboard in Times Square. It is not self serving as you know in hip-hop it can be perceived. Its more to show people that they can do it. I take pride in that message coming through when I see other people doing it and knowing that someway or somehow I had an input in that.
I prefer a snapback for wearing front ways. I can do the same with the camp but I prefer the backwards tilt with that. I posted some pics a while back like that
as a button yes...on a yellow polo though...?
different strokes...all good mane
This.
y'all still think Supreme might actually drop that AJ1 collab?
willmax hasen't been wrong but damn...preme can't even drop flops yet
