wordplay magazine issue 5
DESCRIPTION
Featuring Hilltop Hoods, Hunter, Yok, Creepy, Momentum SkateTRANSCRIPT
Colosoul/ issue five / 90
WORDPLAY
Colosoulvol5outlines.indd 9029/07/11 2:17 PM
From the editorWordplay is an independently published magazine striving to represent the consistently under-exposed hip hop community.
It showcases the high level of quality and camaraderie across the many elements of hip hop – musicians, fi lmmakers, street artists, dancers, entrepreneurs and skaters.
Managing Wordplay has been an incredibly steep learning curve. The most important lesson I’ve learnt? There is an astounding array of inspirational people blazing trails in their artistic fi elds. It is vital we acknowledge and appreciate their contributions.
Wordplay has come a long way in the past year. I am immensely proud of the pages you hold in your hands and extend heartfelt gratitude to those who have supported the magazines development.
Wordplay - street press for street culture enthusiasts.
Lisa MorrisonManaging Editor
Publisher/CEO Tricia RayEditor-in-Chief Christina BallicoManaging Editor Lisa Morrison
Front cover image Rowan Williamson. Photography by Belinda Gibson.
Writers Aleyna Martinez, Alex Engels, Bec Farag, Jakub Dammer, Jasmine Amis, Jayson Sinclair, Joe Citizen, Lisa Morrison, Matthew Savino, Tegan Carlson.
PhotographersAna Dotta, Belinda Gibson, Erikson Nygaard, Henry Buttsworth, Jakub Dammer.
Designers and illustratorsCaitlin Rainey, Glenn Maxwell, Kylie McGinty, Lilian Yeow, Rolando Garay, Sabrina Scheifele.
For information on advertising:Email [email protected]
Want to join the Wordplay Team? Email [email protected]
Wordplay Magazine is a publication of the Colosoul Group Inc. No part may be reproduced without permission from the publishers. The views expressed in this magazine are those of the respective writers and featured artists and may not necessarily refl ect those of the publisher.
contr ibutors
Hilltop Hoods 5
Hunter 9
Yok 13
Creepy 17
Zulu Nation 19
Porsah Laine 23
Janelle Vaccaro 25
Matt Darch 27
Rowan Williamson 29
Skate 32
CONTENTSFrom the editorWordplay is an independently published magazine striving to represent the consistently under-exposed hip hop community.
It showcases the high level of quality and camaraderie across the many elements of hip hop – musicians, fi lmmakers, street artists, dancers, entrepreneurs and skaters.
Managing Wordplay has been an incredibly steep learning curve. The most important lesson I’ve learnt? There is an astounding array of inspirational people blazing trails in their artistic fi elds. It is vital we acknowledge and appreciate their contributions.
Wordplay has come a long way in the past year. I am immensely proud of the pages you hold in your hands and extend heartfelt gratitude to those who have supported the magazines development.
Wordplay - street press for street culture enthusiasts.
Lisa MorrisonManaging Editor
Publisher/CEO Tricia RayEditor-in-Chief Christina BallicoManaging Editor Lisa Morrison
Front cover image Rowan Williamson. Photography by Belinda Gibson.
Writers Aleyna Martinez, Alex Engels, Bec Farag, Jakub Dammer, Jasmine Amis, Jayson Sinclair, Joe Citizen, Lisa Morrison, Matthew Savino, Tegan Carlson.
PhotographersAna Dotta, Belinda Gibson, Erikson Nygaard, Henry Buttsworth, Jakub Dammer.
Designers and illustratorsCaitlin Rainey, Glenn Maxwell, Kylie McGinty, Lilian Yeow, Rolando Garay, Sabrina Scheifele.
For information on advertising:Email [email protected]
Want to join the Wordplay Team? Email [email protected]
Wordplay Magazine is a publication of the Colosoul Group Inc. No part may be reproduced without permission from the publishers. The views expressed in this magazine are those of the respective writers and featured artists and may not necessarily refl ect those of the publisher.
contr ibutors
Looking over the Hilltop Hoods history, it’s littered with ‘firsts’. First Australian hip hop album to go platinum (2003’s The Calling), first Australian music group to have their own shoe design (with DC), first hip hop group to make a zombie film... Their success is dazzling and shows no signs of dimming, with 2012 seeing the Adelaide trio release yet another platinum album: Drinking From The Sun. Pressure spoke to Wordplay about the Hilltop legacy.
You could even say you’re in an advantageous position because no one knows where it’s going.We’ve always had the freedom to do exactly what we wanted musically, we’ve always been independent and I don’t think we could have done it any other way. If we had been pushed, we wouldn’t be where we are today. I think authentic music from the heart shines through.
I remember hearing ‘Nosebleed Section’ for the first time in 2004. That makes fourteen years before it really brokethrough. Did you always think it was just a matter of time or did you doubt that Aussie hip hop could take it this far?I most definitely doubted Australian hip hop could take it this far. The way we went about it back then, it wasn’t about blowing up or making Australian hip hop bigger than rock or whatever. It was about making the music we wanted to make and we did it because we loved it. We’d put on gigs for a few hundred people and half of them were friends and family. When it did blow
up it was like ‘oh shit, we’ve got to give up our day jobs now and be professional musicians’. None of that was ever expected.
That’s interesting. I find myself jumping to defend Australian hip hop in the face of critics but I guess I still engage in the culture when I can.Look, anything new will always have its critics and anything revolutionary will have people try and pull it down. Australian hip hop is that: a cultural revolution in this country that has happened over the last decade. It’s so ingrained with everyone from ten to forty years old, the kids getting hooked in high school all the way up to the veterans in the late 80s who were pushing it, now in their forties.
Is ‘State of the Art’ a reference to South Australia?Not at all - it has a double meaning, a reflection of the state of our art form at the current time and also trying to keep our music at the top of our game, keeping it state of the art.
Your previous album was State of the Art. Hip hop is boastful, but the Hoods are state of the art in Aussie hip hop. Are you conscious of that responsibility when you’re making music? I’m a very irresponsible person, it’s not something we consider when we go about making a record. It’s more something that’s applied to us by everyone else after the record has been done. At that point, people start telling us ‘there are great expectations of you’, ‘your record has done this or that’ or whatever. So it’s one of those things you think about afterwards, but when you’re making music you’re definitely in your own headspace.
Is it something you consciously push back or do you just forget about it?Just naturally forget about it. We’ve never felt much pressure that we needed to do anything different with our music and even if people tried to apply that to us I’d probably tell them to fuck off because our music is us and we’ve always been very uncompromising with what we do!
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Looking over the Hilltop Hoods history, it’s littered with ‘firsts’. First Australian hip hop album to go platinum (2003’s The Calling), first Australian music group to have their own shoe design (with DC), first hip hop group to make a zombie film... Their success is dazzling and shows no signs of dimming, with 2012 seeing the Adelaide trio release yet another platinum album: Drinking From The Sun. Pressure spoke to Wordplay about the Hilltop legacy.
You could even say you’re in an advantageous position because no one knows where it’s going.We’ve always had the freedom to do exactly what we wanted musically, we’ve always been independent and I don’t think we could have done it any other way. If we had been pushed, we wouldn’t be where we are today. I think authentic music from the heart shines through.
I remember hearing ‘Nosebleed Section’ for the first time in 2004. That makes fourteen years before it really brokethrough. Did you always think it was just a matter of time or did you doubt that Aussie hip hop could take it this far?I most definitely doubted Australian hip hop could take it this far. The way we went about it back then, it wasn’t about blowing up or making Australian hip hop bigger than rock or whatever. It was about making the music we wanted to make and we did it because we loved it. We’d put on gigs for a few hundred people and half of them were friends and family. When it did blow
up it was like ‘oh shit, we’ve got to give up our day jobs now and be professional musicians’. None of that was ever expected.
That’s interesting. I find myself jumping to defend Australian hip hop in the face of critics but I guess I still engage in the culture when I can.Look, anything new will always have its critics and anything revolutionary will have people try and pull it down. Australian hip hop is that: a cultural revolution in this country that has happened over the last decade. It’s so ingrained with everyone from ten to forty years old, the kids getting hooked in high school all the way up to the veterans in the late 80s who were pushing it, now in their forties.
Is ‘State of the Art’ a reference to South Australia?Not at all - it has a double meaning, a reflection of the state of our art form at the current time and also trying to keep our music at the top of our game, keeping it state of the art.
Your previous album was State of the Art. Hip hop is boastful, but the Hoods are state of the art in Aussie hip hop. Are you conscious of that responsibility when you’re making music? I’m a very irresponsible person, it’s not something we consider when we go about making a record. It’s more something that’s applied to us by everyone else after the record has been done. At that point, people start telling us ‘there are great expectations of you’, ‘your record has done this or that’ or whatever. So it’s one of those things you think about afterwards, but when you’re making music you’re definitely in your own headspace.
Is it something you consciously push back or do you just forget about it?Just naturally forget about it. We’ve never felt much pressure that we needed to do anything different with our music and even if people tried to apply that to us I’d probably tell them to fuck off because our music is us and we’ve always been very uncompromising with what we do!
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all over Europe, Africa, South America, people all over make dope hip hop. If you really want to break it down then rock, jazz, blues, funk are all American.
On to Drinking From The Sun - how would you describe it in relation to your other work, including you’re older albums?Comparing to the older albums I’d say it’s actually listenable! [Laughs.] Comparing it to State of the Art, its livelier, fuller, more musical and more diverse, maybe a little shorter. I’d also say more relevant.
Listening to a track like ‘What The Season’s Change (from Left Foot, Right Foot)’ it’s so dark and raw…then listening to your tracks that will make it into the Hottest 100, it is almost like listening to a different artist.In some ways it is a different artist. While we have progressed in our rapping, DJing and beat making, in twelve years we’ve also changed as people. I’ve changed immensely, I’m not a different person, but the world changes and you go through different things. That track is so hard to compare to where we are now.
Would you say South Australia is the home of Australian hip hop?I’d say borders are in peoples heads: it doesn’t matter where you’re from, it’s where you’re at.
Australian hip hop has gone from infancy to adolescence or perhaps adolescence to adulthood. What’s one development you’re hyped to see and one you’d like to see less of?I think Australian hip hop has gone into adulthood and I’m proud it has really big balls! [Laughs]. That’s the only way I can answer that question - with a dick metaphor.
[Laughs]. ‘Dick metaphor’…so let’s say we are definitely out of adolescence.Yeah, too much hair on those big balls for adolescence!
I’ve got my arguments for Aussie hip hop detractors, in the interest of rallying the troops. What are MC Pressure’s?You can never please everyone. Not everyone loved rock back in the day. ‘Hip hop is not real music, it’s all American…’ Look I, from the bottom of my heart, laugh at these people. My nanna still doesn’t think rock is “real” music. What constitutes “real” music? Half of these rock/pop groups use a multi-track recorder l ike us. As far as hip-hop being American goes, it started that way, now it’s global. Australia, New Zealand,
A ‘time and a place’ type thing?Yeah. For example that track you mentioned is about a guy that takes heroin…no one even takes heroin anymore. What an 80s/90s drug that was!
Way to date your record! Ha, exactly!
There are some incredible guest artists on this track, reputable rappers from the US like Black Thought and Charli 2una. What was it like to have them on track?Black Thought is one of my all-time favourite rappers so to get him onboard was amazing. Very high on my wish list and the first rapper we asked and said he said yes. Ecstatic! Charli 2una: love J5, real nice guy, we met him a while ago at Splendour in the Grass. He actually came up to Suffa asking for a clean instrumental of ‘Nosebleed Section’ because they were sampling the break-beat in their shows. The other cats we’ve been friends with for years: Classified from Canada we did reciprocal tours for, Solo from Horror Show is obviously a local legend, Lo-Tek is a friend from Melbourne. You realize, working with artists from around the world, that they are just like we are and make very similar music for the most part. We all work towards similar goals.
Live photography by Jakub DammerOther images courtesy of the Hilltop HoodsInterview by Jakub Dammer
“Australian hip hop has gone into adulthood and I’m proud it has really big balls!”
87
all over Europe, Africa, South America, people all over make dope hip hop. If you really want to break it down then rock, jazz, blues, funk are all American.
On to Drinking From The Sun - how would you describe it in relation to your other work, including you’re older albums?Comparing to the older albums I’d say it’s actually listenable! [Laughs.] Comparing it to State of the Art, its livelier, fuller, more musical and more diverse, maybe a little shorter. I’d also say more relevant.
Listening to a track like ‘What The Season’s Change (from Left Foot, Right Foot)’ it’s so dark and raw…then listening to your tracks that will make it into the Hottest 100, it is almost like listening to a different artist.In some ways it is a different artist. While we have progressed in our rapping, DJing and beat making, in twelve years we’ve also changed as people. I’ve changed immensely, I’m not a different person, but the world changes and you go through different things. That track is so hard to compare to where we are now.
Would you say South Australia is the home of Australian hip hop?I’d say borders are in peoples heads: it doesn’t matter where you’re from, it’s where you’re at.
Australian hip hop has gone from infancy to adolescence or perhaps adolescence to adulthood. What’s one development you’re hyped to see and one you’d like to see less of?I think Australian hip hop has gone into adulthood and I’m proud it has really big balls! [Laughs]. That’s the only way I can answer that question - with a dick metaphor.
[Laughs]. ‘Dick metaphor’…so let’s say we are definitely out of adolescence.Yeah, too much hair on those big balls for adolescence!
I’ve got my arguments for Aussie hip hop detractors, in the interest of rallying the troops. What are MC Pressure’s?You can never please everyone. Not everyone loved rock back in the day. ‘Hip hop is not real music, it’s all American…’ Look I, from the bottom of my heart, laugh at these people. My nanna still doesn’t think rock is “real” music. What constitutes “real” music? Half of these rock/pop groups use a multi-track recorder l ike us. As far as hip-hop being American goes, it started that way, now it’s global. Australia, New Zealand,
A ‘time and a place’ type thing?Yeah. For example that track you mentioned is about a guy that takes heroin…no one even takes heroin anymore. What an 80s/90s drug that was!
Way to date your record! Ha, exactly!
There are some incredible guest artists on this track, reputable rappers from the US like Black Thought and Charli 2una. What was it like to have them on track?Black Thought is one of my all-time favourite rappers so to get him onboard was amazing. Very high on my wish list and the first rapper we asked and said he said yes. Ecstatic! Charli 2una: love J5, real nice guy, we met him a while ago at Splendour in the Grass. He actually came up to Suffa asking for a clean instrumental of ‘Nosebleed Section’ because they were sampling the break-beat in their shows. The other cats we’ve been friends with for years: Classified from Canada we did reciprocal tours for, Solo from Horror Show is obviously a local legend, Lo-Tek is a friend from Melbourne. You realize, working with artists from around the world, that they are just like we are and make very similar music for the most part. We all work towards similar goals.
Live photography by Jakub DammerOther images courtesy of the Hilltop HoodsInterview by Jakub Dammer
“Australian hip hop has gone into adulthood and I’m proud it has really big balls!”
87
Tell us about Periscope Pictures.
Alice: Sam and I have been friends since we were teenagers. He lured me back from Europe with the idea of starting a documentary production company together in Perth. We started the company about two years ago, together with Karin Lutz, and have made a number of short films that have been successful in local and international film festivals.
How did you meet Hunter?
Sam: I met Hunter at his house on the day his hair started falling out from chemotherapy. Even then, he was philosophical about it. I asked how he would feel about me coming into his life with a camera…I think his motivation was mainly to leave something behind for his son Marley to remember him by.
Describe him for our readers who never knew him.
Sam: Hunter was once known as the hard man of Aussie hip hop. Like rock stars in the past, drinking and drug taking went hand in hand with music and nobody went harder than ‘Huntz.’ His raw, larrikin-esque rapping in songs such as ‘Yokine’, about life in a rough Perth suburb, struck a chord with a growing segment of disenfranchised Australian youth who felt they had finally found both a voice and genre that truly represented them. When Hunter was diagnosed with terminal cancer in late 2009, he began to tell his own story in powerful video diaries, philosophical YouTube raps about his fight, daily ‘tweeting’ about life, music and his medical battle and in the lyrics of his songs. His new messages were amazingly positive for somebody going through such a grueling battle.
What motivated you to make the documentary?
Alice: Our friend Kai McGuinness came to us with the idea. He knew Hunter and wanted to do something to help him out. We filmed him a couple of months after he was diagnosed, just as he was starting his first round of chemo. Straight away we realized, ‘this guy is pretty different and this story is something special!’ He was so natural in front of the camera; so open, brutally honest and willing to share his physical and emotional journey with us. After his diagnosis, he realised how truly precious time is and felt that his party animal lifestyle had seen him waste a lot of his life. As we got to know him better, we felt we owed it to him to share his story and that it was an important message for young people.
Last October, the hip hop community went into mourning. Robert Hunter, a founding member of Perth’s Syllabolix collective, lost his life to cancer at just 36. A pioneer in the Perth scene and well-respected Australia wide, ‘Huntz’ did not retreat when faced with death, instead he united his peers to produce the ‘Aussie Hip Hop Supports CanTeen’ compilation, which raises much-needed funds for the charity supporting young people with cancer. Sam Field and Alice Ross, director and producer at Periscope Pictures, spent a year and a half shadowing Hunter as he battled the illness. They are in the post-production stages of a documentary about Hunter’s life and legacy. They shared their experiences with Wordplay.
This is an inspiring story about a young guy who turns his life around whilst staring death in the face...
Tell us about Periscope Pictures.
Alice: Sam and I have been friends since we were teenagers. He lured me back from Europe with the idea of starting a documentary production company together in Perth. We started the company about two years ago, together with Karin Lutz, and have made a number of short films that have been successful in local and international film festivals.
How did you meet Hunter?
Sam: I met Hunter at his house on the day his hair started falling out from chemotherapy. Even then, he was philosophical about it. I asked how he would feel about me coming into his life with a camera…I think his motivation was mainly to leave something behind for his son Marley to remember him by.
Describe him for our readers who never knew him.
Sam: Hunter was once known as the hard man of Aussie hip hop. Like rock stars in the past, drinking and drug taking went hand in hand with music and nobody went harder than ‘Huntz.’ His raw, larrikin-esque rapping in songs such as ‘Yokine’, about life in a rough Perth suburb, struck a chord with a growing segment of disenfranchised Australian youth who felt they had finally found both a voice and genre that truly represented them. When Hunter was diagnosed with terminal cancer in late 2009, he began to tell his own story in powerful video diaries, philosophical YouTube raps about his fight, daily ‘tweeting’ about life, music and his medical battle and in the lyrics of his songs. His new messages were amazingly positive for somebody going through such a grueling battle.
What motivated you to make the documentary?
Alice: Our friend Kai McGuinness came to us with the idea. He knew Hunter and wanted to do something to help him out. We filmed him a couple of months after he was diagnosed, just as he was starting his first round of chemo. Straight away we realized, ‘this guy is pretty different and this story is something special!’ He was so natural in front of the camera; so open, brutally honest and willing to share his physical and emotional journey with us. After his diagnosis, he realised how truly precious time is and felt that his party animal lifestyle had seen him waste a lot of his life. As we got to know him better, we felt we owed it to him to share his story and that it was an important message for young people.
Last October, the hip hop community went into mourning. Robert Hunter, a founding member of Perth’s Syllabolix collective, lost his life to cancer at just 36. A pioneer in the Perth scene and well-respected Australia wide, ‘Huntz’ did not retreat when faced with death, instead he united his peers to produce the ‘Aussie Hip Hop Supports CanTeen’ compilation, which raises much-needed funds for the charity supporting young people with cancer. Sam Field and Alice Ross, director and producer at Periscope Pictures, spent a year and a half shadowing Hunter as he battled the illness. They are in the post-production stages of a documentary about Hunter’s life and legacy. They shared their experiences with Wordplay.
This is an inspiring story about a young guy who turns his life around whilst staring death in the face...
I read you were rejected by a lot of networks for funding. Tell us about that.
Alice: It’s very hard to get funding from a broadcaster as an emerging filmmaker - it’s very competitive and they are quite specific about what type of stories they want to tell. We tried to show them that this is a story with a massive audience and not just another hip hop film, that this is an inspiring story about a young guy who turns his life around whilst staring death in the face - someone who shares his experiences in a very public and honest way, through social media and video diaries. He just happens to live and breath hip hop also. It would have been easier to work on this project if we had received funding earlier, but…we will just get the story out in our own way.
It seems fitting Hunter communicated to strangers his cancer journey and after his passing had strangers financially support a film about his battle. Tell us about Pozible and how your documentary became ‘WA’s biggest crowd funded project’.
Alice: Pozible is a fantastic platform for Australian filmmakers, musicians and
artists to raise money for their project by offering rewards or pre-sales to the donors. We raised over $20,000 for the post-production of the project, which is in full swing right now. This would not have been possible without those donations; we really were blown away at the public’s generosity. We had a number of people contact us with interesting stories about how they knew Hunter, or how they had come across the project and what moved them to donate money. It does seem very fitting for this project to raise money in this grassroots fashion, reaching out to the community that Hunter help build.
Tell us about Hunters insights once he found out he had terminal cancer.
Sam: Cancer became a prism for Hunter through which life came sharply into focus. His realisations were that when time becomes limited, only what is truly important in your life holds any meaning. For Hunter, the important things in post diagnosis life were family and music - being who he was he put incredible effort into both right up until the end.
Hunter brought Australian hip hop artists together for the ‘Aussie Hip Hop Supports CanTeen’ CD. Is this part of your film?
Alice: Yes this will be in the film - he made three more albums after he was diagnosed: Monster House, Fear and Loathing and Aussie Hip Hop Supports CanTeen. The CanTeen album was a massive undertaking, especially for someone going through chemotherapy. Connecting the big named artists like the Hilltop Hoods with the younger crew was something that only Huntz could do, so it was the perfect last project for him. Part proceeds from the DVD’s sales will also be donated to CanTeen.
I imagine it was incredibly emotional meeting Hunter and then having to say goodbye. How has it affected you?
Sam: I only got to know Hunter after he had cancer. We spent the last two years of his life filming regularly, so in a way I feel I became one of the people who knew the ‘new Hunter’ best. Often I felt he used the camera as an emotional outlet too, he would save up things to talk about. When I would arrive and start to
chat, he would say, ‘wait until the camera is on and then I’ll answer that’, which is great as a filmmaker to ensure everything is expressed on tape, but sometimes I think because he was holding everything in until the camera was on, he would break down emotionally as soon as we started rolling…we had some very intense, emotional moments together. Unfortunately, I was away when he passed away and the last phone call I had with him I knew it might be our final goodbye. I feel like he trusted me to tell his story honestly and in a way he would have approved of and I’ll do my best to live up to that.
When will the documentary be released?
We hope to have it finished by July. We will be uploading regular ‘webisodes’ and bits of the footage until the release. We have recently added a few digital and cross platform specialists to the team, so there are some very exciting things in store for this project.
Will our readers be able to buy the film?
There will be a Perth VIP screening and after party for those who donated money or were involved with the project. Then we will tour Australia later in the year. We will also release a DVD of extra material: unreleased interviews, music, street art and more. You will be able to buy the DVD through our website and other outlets too.
I read you intend to enter the film to international film festivals, is this correct?
Yes. We feel this film deals with themes that are universal, which make it interesting for a broader audience than the Australian public. We have a very talented team of editors working on the project and have no doubt it will be of a standard suitable for several high profile international film festivals.
To keep up to date with the documentary, head to: hunter.periscopepictures.com.au, www.facebook.com/HunterTheDocumentary
The Australian HipHop Supports CanTeen compilation CD is available at www.ozhiphopsupportscanteen.com.100% of the profits from the 32 track, 2 disc release go directly to CanTeen.
Wordplay extends our sincere condolences to Hunter’s loved ones.
Interview by Lisa Morrison.Live photography by Henry Buttsworth.All images courtesy of Periscope Pictures.
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PTY LTD
See the world from a unique perspective
When time becomes limited, only what is truly important in your life holdsany meaning.
Perth lad the YOK treads an inky trail. After migrating to Melbourne, Australia’s street art capital, he now resides in NYC - the birthplace of graffiti. His instantly recognisable characters rarely incorporate letters but still convey ironic messages. The man behind the can told Wordplay about his influences, the shifting attitudes towards street art and his recent experiences in Asia that have him re-inspired.
Tell us about one of your earliest memories of painting.In kindergarten with my hands, painting big purple smear monsters with five heads.
What or who inspired you to become a street artist?Graffiti in Barcelona in the late 90’s, the Ayem Crew in Perth.
Who are some of your favourite street artists?There are a lot of Australian artists doing amazing work, people in Europe doing huge roller pieces, people guerilla gardening and yarn bombing. I love new things with new materials; it keeps evolving which is great.
What’s the story behind ‘The Yok’?I wanted to use a word that had no meaning, so all the work I did under that name gave it a meaning.
Your work features characters rather than the lettering generally associated with graffiti – how did you develop your style?The illustrators in Mad Magazine had a lot to do with the development of my style, in particular Don Martin.
Ayem Crew influenced me heavily by showing me the tricks of spray paint.
What is your opinion on the Perth graffiti scene at the moment?Love it! There are people doing extraordinary things - really talented minds doing rad pieces.
Who are some local painters we should keep an eye out for?Fudge, Fecks, Ayre, Dlae, Hosay, Gary Loser, PD crew, Hobo, Trevor 6025, Daek, Kid Zoom, Creepy, Fedup crew.
You spent some time last year painting in South East Asia, was all that work commissioned?Not really. I did live painting in a nightclub in Beijing, which was crazy! That was a paid job and I did another wall in Singapore.
Did you have any run-ins with the authorities over there?We had to pay $30 each to get out of some trouble in Thailand…we got lucky on that one!
What is the general attitude to street art in the Asian cities you visited?Graffiti isn’t really a problem yet so
people are more curious to what you’re painting; they see it as a painting first and judge it by it’s colours and subject matter, not as vandalism. Except in Singapore…they cut your hand off over there and feed it to you!
“We had to pay $30 each to get out of some trouble in Thailand...wegot lucky on that one!”You volunteered as an art teacher at an orphanage on the border of Thailand and Burma. Tell us about that experience.Wow, what a rewarding experience that was for me. Hanging out with those little dudes gave me so much motivation to keep doing what I’m doing. A team of international artists joined forces to help out the Little Lotus project, run by Spinning Top. We worked with two schools for a week each - one a Burmese refugee school
GRAFFING GARGOYLES the GLOBEaround
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South East Asia’s rich with cultural diversity, seeing most of it by bicycle and motorcycle you get a close up view. Returning home with my eyeballs filled up with gods, patterns, colour schemes, seven storey high six-headed serpents, thirty metre reclining Buddha’s, ornate temples, elaborate costumes, prehistoric landscapes and mythical stories…there’s so much to draw inspiration from! Returning to New York, I’ve noticed a weird cultural smash-up taking place.
When you’re not painting, what would we find you doing?Surfing or working on Kingbrown Magazine.
Lastly, describe your art in 3 words: Loopy spaz out!
Props to Army of Snipers crew, Sheryo, Dripnz and Megan Geliza.
Check out www.theyok.com and www.kingbrownmag.com for more Yok goodness.
Photography courtesy of The YokInterview by Jayson Sinclair
and the other a school for orphans. Before and after class we tried to paint their school from top to bottom, as well as build a bus shelter and also run a customization class.
Was that off your own back?I paid my own way for the most part as I joined late in the game. A few friends chipped in for material costs, for paint and pens for the kids, which was rad!
Tell us about what it was like painting with the kids over there.The day after the first class, we visited the rubbish dump where the kids live with their families. It was such a shock to see how they live, such horrible conditions. They were all using a poisoned water supply; one kid had lost the use of his arm as a result of this putrid toxic lake. Luckily, Fred (a rad dude living in the area) and Spinning Top are helping get fresh water. It was refreshing to see how happy the kids were dealing with such terrible living conditions; they were so motivated and eager to get hold of some paint and squirt it on the walls.
You returned with a bunch of new sketches – what effect did your traveling have on your work?
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Clockwise from top left:New York City, Photo by Jamie RojoNew York City, photo by Ross ClugstonLaneway Festival, photo by The YokLong Island City, photo by The YokLong Island City, photo by The Yok
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Clockwise from top left:New York City, Photo by Jamie RojoNew York City, photo by Ross ClugstonLaneway Festival, photo by The YokLong Island City, photo by The YokLong Island City, photo by The Yok
creeping aboutChances are, you’ve seen Creepy’s spindly-limbed characters on a wall near you. Murals in London, Berlin, Barcelona and the States to name just a few, have seen Creepy’s simultaneously vibrant and melancholic works become increasingly popular, due to his ability to represent the human condition. Addressing themes of nature, industrialization, time, life and death, artist Kyle Hughes-Odgers told Wordplay about his inspirations, methods and views on art.
What’s your earliest memory of painting?I’m not really sure. I was always into drawing growing up.
What inspired you to become a street artist?I wasn’t really focused on becoming a street artist. I just really liked drawing. I wasn’t sure how to show people my work, so sticking it up outside was an instant solution. Then I started getting more interested in decay, texture and scale.
Who are your favourite street artists?My favourite artists at the moment are Escif, John Brack, Charley Harper, Blu and Aryz.
What’s the story behind the ‘Creepy’ moniker?I liked the idea of a word that was in high contrast to the work.
Street artists who exhibit in galleries have often been labeled as ‘sell outs’, what is your view on the increasing commercialization of street art? I think it’s creatively suffocating to limit artistic potential into one category or creative outlet. I think galleries provide an amazing opportunity to present a different level of focus and ideas compared to the street. Showing inside is just as important as utilizing the scale, context and texture of outside work.
You’ve painted walls all over the world – where is your favourite mural to date and why?There was one particular rooftop spot in Brooklyn, overlooking Manhattan. I had the whole day up there and
The view was ridiculous.
You have an easily recognisable
on your artworks.I’m really interested in narrative, folk art, pattern making and handmade objects. I also love muted colour and vintage graphics. Old hand-painted signs and so on.
17
creeping aboutChances are, you’ve seen Creepy’s spindly-limbed characters on a wall near you. Murals in London, Berlin, Barcelona and the States to name just a few, have seen Creepy’s simultaneously vibrant and melancholic works become increasingly popular, due to his ability to represent the human condition. Addressing themes of nature, industrialization, time, life and death, artist Kyle Hughes-Odgers told Wordplay about his inspirations, methods and views on art.
What’s your earliest memory of painting?I’m not really sure. I was always into drawing growing up.
What inspired you to become a street artist?I wasn’t really focused on becoming a street artist. I just really liked drawing. I wasn’t sure how to show people my work, so sticking it up outside was an instant solution. Then I started getting more interested in decay, texture and scale.
Who are your favourite street artists?My favourite artists at the moment are Escif, John Brack, Charley Harper, Blu and Aryz.
What’s the story behind the ‘Creepy’ moniker?I liked the idea of a word that was in high contrast to the work.
Street artists who exhibit in galleries have often been labeled as ‘sell outs’, what is your view on the increasing commercialization of street art? I think it’s creatively suffocating to limit artistic potential into one category or creative outlet. I think galleries provide an amazing opportunity to present a different level of focus and ideas compared to the street. Showing inside is just as important as utilizing the scale, context and texture of outside work.
You’ve painted walls all over the world – where is your favourite mural to date and why?There was one particular rooftop spot in Brooklyn, overlooking Manhattan. I had the whole day up there and
The view was ridiculous.
You have an easily recognisable
on your artworks.I’m really interested in narrative, folk art, pattern making and handmade objects. I also love muted colour and vintage graphics. Old hand-painted signs and so on.
17
Quite a bit of your work has been on wood, in addition to spray can on bricks. Which do you prefer and why?I don’t have a preference they are just mediums that I use depending on the situation.
What’s your opinion on the Perth
There are some amazing artists that are getting a lot of attention for their work in Australia and internationally. It is well deserved.
Who are some local writers we should keep an eye out for?The Ayems.
When you’re not painting, what
I like to take my canoe and paddle as far out into the ocean as I can go before I get scared, which is pretty far because I’m very brave. Then once I’m out there I have long conversations with my underwater friends.
Any advice for aspiring street artists?Don’t label yourself as anything.
Lastly, describe your art in three words:Pattern, narrative, handmade.
For more Creepy delights, head to:http://kylehughesodgers.com
Interview by Tegan Carlson and Matthew Savino.Photography by Belinda Gibson.
“There are some amazing artists that are getting a lot of attention for their work in Australia and internationally...It is well deserved.”
Opposite: ‘This Wall Talks’ installation on the State Library Car Park wall, developed by Foodchain (City of Perth youth projects arm) and the William Street collective.Above: Murdoch University, main lecture theatre courtyard.Bottom right: Close-up of the mural self-funded by Ayers, Creepy, Daek, Fecks and Ruset on William Street.The piece was awarded gold in the Australian/New Zealand region of the 2011
18
and includes Melbourne, Sydney, Adelaide, Perth, Canberra and the Northern Territory. The Chapter is lead by Minister King Excel, who originally joined the Universal Zulu Nation in 1992. He received his Kingship in 2005 and in 2010 became part of World Council, receiving the ‘Minister’ title.
In 2004, while on tour in Australia, Bambaataa approached Ahki Fairooz, DJ and member of the Melbourne B-boy crew ‘Fresh Sox’ to form a Zulu Chapter. Bambaataa and Ahki Fairooz then reached out to King Excel to make it happen. In 2005, the Universal Zulu Nation Chapter of Australia became official.The members of the UZN 61 educate, develop and improve the present state of mind of adults and youth around the world through their message of ‘peace, love, unity and having fun.’ The members work to preserve hip hop culture and all art forms created from it, using music as a medium for cultural exchange and understanding.
having fun.’ The Zulu Nation offered seven ‘Infinity Lessons’, which formed the basic foundations of principles for a member. The lessons established a fundamental code of conduct and gave broad directives to the Zulu way of life. As Bambaataa began to see the impact of hip hop culture on youth
world wide, he then relabeled the organization to have ‘universal’ precede Zulu Nation. The Universal Zulu Nation now has hundreds of chapters spanning the globe: men and women of d i ffe rent nationalities, ethnicities, cultures, religious backgrounds and ages. The chapters and members bring culture, knowledge and history, while dedicating their lives to the preservation and education of hip hop culture.
Zulu 61 is the Australian chapter of the UZN. The ‘61’ represents the country code associated with Austral ia. The Zulu 61 chapter consists of members nationwide
Zulu 61 members:Malikah Chiara is getting her PhD in Aboriginal hip hop studies.Ahki Alex Scott conducts online hip hop history workshops and DJ workshops. Ahkis Peril, Paris and Obe produce murals and detailed aerosol art motifs around the city of Melbourne.Ahki MK-1 stays busy within his Sydney community by hosting the Sounds of Zulu Nation radio.Malikah Mirrah is a youth worker also studying a Certificate IV in Youth Work at TAFE. She has organised a youth music program called, ‘life, love & music,’ which aims to inspire ones passion for music and also build self-esteem.On Wednesday March 14, KRS ONE was inducted as the newest member of the Zulu 61 Chapter during his show in Melbourne.
Want to get involved? If you work with youth in your community, love hip hop and want to assist in preserving the culture, hit up www.zulu61.com.
Article written by Joe Citizen.Images courtesy of Universal Zulu Nation Australia.
Afrika Bambaataa and the Universal Zulu Nation (UZN) equal hip hop culture. Afrika Bambaataa is one of the founding fathers and architects responsible for inventing and spreading hip hop culture; Bambaataa meaning ‘affectionate leader’. He’s also recognized as one of the three main originators of break-beat DJing and the father of the electro-funk sound.
Bambaataa Kahim Aasim was raised in the late 60s in the Bronx River projects of New York City. Bambaataa was drawn to gang culture at an early age and joined a neighborhood gang, the Black Spades. He soon earned himself
a reputation for crossing into rival gang territory and forming relationships with other gangs.
Bambaataa became interested in DJing around 1973 when he heard Jamaican-born West Bronx native, DJ Kool Herc. Kool Herc originated break-beat DJing, playing parts of hard funk and rock records in a constant loop, in an effort to keep people dancing; this formed the basis of hip hop music. Adopting break-beat DJing, Bambaataa expanded his repertoire to include other types of music, using his influence as a Black Spade to throw block parties in the Bronx River area where he began performing with a group called the Bronx River Organization. He later reformed the group calling it the Zulu Nation, inspired by his wide studies of African history at the time. Block parties and jams became a cultural imperative for black and brown youth, transitioning the negative elements of gang culture into the positivity of celebration through music and dance.
The Zulu Nation began to grow rapidly and with gang legacies remaining, Bambaataa began to push the organization in the direction of his new motto, ‘peace, love, unity and
An insight into hip hop history.
Afrika Bambaataa and the Universal Zulu Nation (UZN) equal hip hop culture. Afrika Bambaataa is one of the founding fathers and architects responsible for inventing and spreading hip hop culture; Bambaataa meaning ‘affectionate leader’. He’s also recognized as one of the three main originators of break-beat DJing and the father of the electro-funk sound.
“The chapters and members bring culture, knowledge and history, while dedicating their lives to the preservation and
education of hip hop culture.”
Phrases you might hear Zulus say: Ahki (Ah-key) = Brother
Malikah (Ma-lee-kah) = Sister
Shaka = Protector/Security
Queen = Highest position of a female member
King = Highest position of a male member
2019
and includes Melbourne, Sydney, Adelaide, Perth, Canberra and the Northern Territory. The Chapter is lead by Minister King Excel, who originally joined the Universal Zulu Nation in 1992. He received his Kingship in 2005 and in 2010 became part of World Council, receiving the ‘Minister’ title.
In 2004, while on tour in Australia, Bambaataa approached Ahki Fairooz, DJ and member of the Melbourne B-boy crew ‘Fresh Sox’ to form a Zulu Chapter. Bambaataa and Ahki Fairooz then reached out to King Excel to make it happen. In 2005, the Universal Zulu Nation Chapter of Australia became official.The members of the UZN 61 educate, develop and improve the present state of mind of adults and youth around the world through their message of ‘peace, love, unity and having fun.’ The members work to preserve hip hop culture and all art forms created from it, using music as a medium for cultural exchange and understanding.
having fun.’ The Zulu Nation offered seven ‘Infinity Lessons’, which formed the basic foundations of principles for a member. The lessons established a fundamental code of conduct and gave broad directives to the Zulu way of life. As Bambaataa began to see the impact of hip hop culture on youth
world wide, he then relabeled the organization to have ‘universal’ precede Zulu Nation. The Universal Zulu Nation now has hundreds of chapters spanning the globe: men and women of d i ffe rent nationalities, ethnicities, cultures, religious backgrounds and ages. The chapters and members bring culture, knowledge and history, while dedicating their lives to the preservation and education of hip hop culture.
Zulu 61 is the Australian chapter of the UZN. The ‘61’ represents the country code associated with Austral ia. The Zulu 61 chapter consists of members nationwide
Zulu 61 members:Malikah Chiara is getting her PhD in Aboriginal hip hop studies.Ahki Alex Scott conducts online hip hop history workshops and DJ workshops. Ahkis Peril, Paris and Obe produce murals and detailed aerosol art motifs around the city of Melbourne.Ahki MK-1 stays busy within his Sydney community by hosting the Sounds of Zulu Nation radio.Malikah Mirrah is a youth worker also studying a Certificate IV in Youth Work at TAFE. She has organised a youth music program called, ‘life, love & music,’ which aims to inspire ones passion for music and also build self-esteem.On Wednesday March 14, KRS ONE was inducted as the newest member of the Zulu 61 Chapter during his show in Melbourne.
Want to get involved? If you work with youth in your community, love hip hop and want to assist in preserving the culture, hit up www.zulu61.com.
Article written by Joe Citizen.Images courtesy of Universal Zulu Nation Australia.
Afrika Bambaataa and the Universal Zulu Nation (UZN) equal hip hop culture. Afrika Bambaataa is one of the founding fathers and architects responsible for inventing and spreading hip hop culture; Bambaataa meaning ‘affectionate leader’. He’s also recognized as one of the three main originators of break-beat DJing and the father of the electro-funk sound.
Bambaataa Kahim Aasim was raised in the late 60s in the Bronx River projects of New York City. Bambaataa was drawn to gang culture at an early age and joined a neighborhood gang, the Black Spades. He soon earned himself
a reputation for crossing into rival gang territory and forming relationships with other gangs.
Bambaataa became interested in DJing around 1973 when he heard Jamaican-born West Bronx native, DJ Kool Herc. Kool Herc originated break-beat DJing, playing parts of hard funk and rock records in a constant loop, in an effort to keep people dancing; this formed the basis of hip hop music. Adopting break-beat DJing, Bambaataa expanded his repertoire to include other types of music, using his influence as a Black Spade to throw block parties in the Bronx River area where he began performing with a group called the Bronx River Organization. He later reformed the group calling it the Zulu Nation, inspired by his wide studies of African history at the time. Block parties and jams became a cultural imperative for black and brown youth, transitioning the negative elements of gang culture into the positivity of celebration through music and dance.
The Zulu Nation began to grow rapidly and with gang legacies remaining, Bambaataa began to push the organization in the direction of his new motto, ‘peace, love, unity and
An insight into hip hop history.
Afrika Bambaataa and the Universal Zulu Nation (UZN) equal hip hop culture. Afrika Bambaataa is one of the founding fathers and architects responsible for inventing and spreading hip hop culture; Bambaataa meaning ‘affectionate leader’. He’s also recognized as one of the three main originators of break-beat DJing and the father of the electro-funk sound.
“The chapters and members bring culture, knowledge and history, while dedicating their lives to the preservation and
education of hip hop culture.”
Phrases you might hear Zulus say: Ahki (Ah-key) = Brother
Malikah (Ma-lee-kah) = Sister
Shaka = Protector/Security
Queen = Highest position of a female member
King = Highest position of a male member
2019
For all your audio and video production needs.
www.burdcage.com
For all your audio and video production needs.
www.burdcage.com
23
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Were you always performing as a little girl?At age eight I was in a musical, ‘Oliver’. I learnt my parts along with everyone else’s and charged ten cents to give lessons to my classmates at recess! My mum bought me ‘Rockstar Barbie’, with keyboard and mic accessories...
When did you realise you wanted to sing as a career, rather than a hobby?Mum tells the story of when I was two and asked, “What’s the number for becoming a star?” In reality, I’ve always worked full-time, using spare time for creativity.
What does ‘Porsah Laine’ symbolise? Despite my outward bravado I’m quite delicate inside, like porcelain. Perhaps I should have chosen ‘porcupine’ – if you poke me the wrong way I’m likely to shoot a spiky needle at you! [Laughs].
What’s your opinion on the Perth hip hop scene? Hip hop is just coming into its own. As a community, we have a sense of history and respect for the founders: Syllabolix! This has never been more evident than since Hunter’s passing. He solidifi ed not only Perth artists as a community but brought the whole country together to raise money for CanTeen. At the moment, Creed Birch, Bitter Belief and Cortext are shining.
Worst ever gig?City Brothers Tour at the Foundry, I was supporting Downsyde and Drapht. Something went wrong with the CDJ, it de-pitched my backing music, was skipping all over the
place, sometimes not playing at all. Some crowd members started chanting ‘Drapht, Drapht, Drapht’ – I was in agony! I looked one of the girls in the eye and whispered, ‘Please don’t, that’s horrible’ - they stopped. I fi nished my set but inside I was dying!
Many creatives leave Perth – why have you remained?I have no interest in leaving Perth.
You’re currently finalizing three videos, how hectic has that been? I hate sitting idle so keeping busy for me is normal. Plus the visual engineers do most of the hard work. I come up with the ideas but they make it happen. Time and budget restraints mean things won’t always be what you want, but shouldn’t mean you don’t release things – there will always be haters!
‘Happy As A Pig In Shit’ is about internal wisdom and the clip is ani- mated – what was your inspiration?The song’s about how society boxes up our lives; I put forwardthe idea of breaking the shackles of societies expectations and living at peace with the good and the bad. I approached Fungus Studios to animate the clip as cartoons represent that anything is possible. I re-learnt that lesson – I’d been saving for a while then found out I needed
a hip operation. I was devastated and had to call it off, as I needed my savings for my recovery. Months later, when I was miserable and in pain, the team said they were going to create the animation regardless – legends!
Solo performances or collabs, small gigs or festivals – preferences?I’m a solo performer but jump at the opportunity to work with others. I get a thrill every time someone asks me to be a part of his or her song and I’ve racked up over a hundred colla-borations. My favourite thing is jamming, the moment you connect is a magni-fi cent experience and you can’t get that alone.
Most inspirational hip hop artist?Layla – she had the courage to break into a scene with no females and the audacity to lyrically challenge them. She’s an amazing woman who supported me from the beginning.
You’re currently collaborating with Downsyde, Bryte MC, east coast and Perth artists, as well as recor-ding your own new album. Where do you get your energy?! [Laughs]. When you cut out unim-portant things there are a lot of hours in a day! When you’re doing what you really want to do, the universe conspires to help you and energy comes.
Finally, describe Porsah Laine in three words:Passionate, passionate, passionate!
Interview by Bec FaragPhotography by Anna Dotta
If you’re not familiar with the name Naomi Pietracatella, you could be forgiven; she’s widely known as Porsah Laine. A beloved member of Syllabolix – a collective of independent hip hop artists – this songbird keeps soaring. Porsah spoke to Wordplay about her passion for Perth, hip hop music and upcoming projects.
For me, it’s not about being known; it’s about being a respected part of
the music community and supporting those
around me
“
”
There’s a great vibe amongst Perth dancers...it’s a great city where anyone can create their own
opportunities if they’re driven and have vision.“
”
When did you decide dance was going to be a career rather than a hobby?I hit 20 and realised this is what I want to do with my life; I’ve got to stop waiting for someone else to believe in me and make it happen myself!
Have you been able to sustain your- self as a dancer or had to do other work? If so, what?For the most part yes. I’ve been fortunate with overseas contracts, cruise ships, shows, freestyling, choreographing and teaching. My current classes are doing well and continuing to grow. I also worked at Hairroin Salon in Hollywood in 2009, which was a fun experience and still allowed me to network within my industry.
Do you find the Perth arts community supportive?There’s a great vibe amongst Perth dancers. While we don’t have all the opportunities of a big city there’s also not as much competition, so it kind of evens out. It’s a great city where anyone can create their own opportunities if they’re driven and have vision.
You worked in LA for three years. What’s the dance culture like there?The scene in LA is fiercer and more competitive. People are really hungry for it, which creates great perfor-mers with people pushing their limits. We can be a little complacent here but at the same time the scene is more nurturing.
How did your time in the United States influence your style?I left Perth all about hip hop, but culti- vated a more feminine style dancing in heels as that’s common over there with auditions and gigs.
You’ve worked with some big names throughout your career; did anyone have a significant impact on you?Choreographers and fellow dancers more than artists – I’m fascinated by how they work, their creative process and self-expression. One of the biggest celebrity influences was Pussycat Dolls (PCD) creator, Robin Antin. My boss at Hairroin Salon was her and the PCD’s hair stylist, my ex shot behind the scenes for their videos and I always did well in Robin’s au- ditions, making it to a callback of four girls. Being around that energy and seeing the ins & outs of creating and marketing a successful girl group stuck with me and I’ve gravitated towards that concept.
Favorite & least favorite performer?As far as artists go, I love M.I.A’s vibe – too cool to care is pretty hot. Least favourite would be Britney – time to give it up, CBF is written all over your face.
Tell us about your new project, ‘Nylon’.Nylon is a five female ensemble in- cluding myself as creative director, choreographer &dancer,Jerrie Demasi as lead vocalist and backing dancers Claudia Cirillo, Jess Godwin and Tameeca Brezac. It’s sexy, raw, expe-rimental and a complete privilege to work and create with such talented beauties. Inspirations include 1980’s Prince girl groups and Madonna, The Pussycat Dolls, Santigold & M.I.A.
You choreographed a spoof for 92.9, ‘All The Pregnant Ladies’. What was it like choreographing pregnant women?That was a really fun gig though I feel bad for the ladies because I was all work and forgot they need to sit and drink often. My bad!
Have you had other unusual dances?Another 92.9 gig, a flash mob for the Justin Bieber concert choreo-graphing mums for a ‘Never Say Never (To Your Mum)’ spoof. I also choreographed the firemen’s calen- dar launch – lots of fun and plenty of hot bodies to make up for their lack of dance experience!
You currently teach a ‘Heels and Dollbabys’ class. How’s that going?It’s been great! I enjoy getting sexy with the girls, giving them an avenue to express their sensuality. Watching them transform beyond their regular everyday personas is one of the most fulfilling parts of the work I do.
Inspiration?Music, art, fashion, experience, emo- tions and deadlines!
Favourite dancer?It has changed as styles have evolved and I’ve matured. At the moment I can’t get enough of Sophia Aguiar, or choreographer Matt Cady’s unique style – so deep! Shirlene Quigley’s heels class in LA – she has so much emotion in her choreography it’s like therapy!
Janelle Vaccaro ’s been dancing and choreographing for over a decade. Following her dream to be a professional performer and teacher, she’s lived in Hollywood and worked with the cream of the crop in the entertainment industry. She told Wordplay about her influences, inspiration and her hot new venture Nylon.
Interview by Jasmine AmisPhotography by Erikson Nygaard‘Nylon’ image by Chai Chieng
Janelle teaches Hip Hop at 5pm and Heels & Dollbabys at 6pm Thursdays at King Street Ar ts Centre, Perth City.
For more information:janellevaccaro.com janellevaccaro.wordpress.com
25 26
There’s a great vibe amongst Perth dancers...it’s a great city where anyone can create their own
opportunities if they’re driven and have vision.“
”
When did you decide dance was going to be a career rather than a hobby?I hit 20 and realised this is what I want to do with my life; I’ve got to stop waiting for someone else to believe in me and make it happen myself!
Have you been able to sustain your- self as a dancer or had to do other work? If so, what?For the most part yes. I’ve been fortunate with overseas contracts, cruise ships, shows, freestyling, choreographing and teaching. My current classes are doing well and continuing to grow. I also worked at Hairroin Salon in Hollywood in 2009, which was a fun experience and still allowed me to network within my industry.
Do you find the Perth arts community supportive?There’s a great vibe amongst Perth dancers. While we don’t have all the opportunities of a big city there’s also not as much competition, so it kind of evens out. It’s a great city where anyone can create their own opportunities if they’re driven and have vision.
You worked in LA for three years. What’s the dance culture like there?The scene in LA is fiercer and more competitive. People are really hungry for it, which creates great perfor-mers with people pushing their limits. We can be a little complacent here but at the same time the scene is more nurturing.
How did your time in the United States influence your style?I left Perth all about hip hop, but culti- vated a more feminine style dancing in heels as that’s common over there with auditions and gigs.
You’ve worked with some big names throughout your career; did anyone have a significant impact on you?Choreographers and fellow dancers more than artists – I’m fascinated by how they work, their creative process and self-expression. One of the biggest celebrity influences was Pussycat Dolls (PCD) creator, Robin Antin. My boss at Hairroin Salon was her and the PCD’s hair stylist, my ex shot behind the scenes for their videos and I always did well in Robin’s au- ditions, making it to a callback of four girls. Being around that energy and seeing the ins & outs of creating and marketing a successful girl group stuck with me and I’ve gravitated towards that concept.
Favorite & least favorite performer?As far as artists go, I love M.I.A’s vibe – too cool to care is pretty hot. Least favourite would be Britney – time to give it up, CBF is written all over your face.
Tell us about your new project, ‘Nylon’.Nylon is a five female ensemble in- cluding myself as creative director, choreographer &dancer,Jerrie Demasi as lead vocalist and backing dancers Claudia Cirillo, Jess Godwin and Tameeca Brezac. It’s sexy, raw, expe-rimental and a complete privilege to work and create with such talented beauties. Inspirations include 1980’s Prince girl groups and Madonna, The Pussycat Dolls, Santigold & M.I.A.
You choreographed a spoof for 92.9, ‘All The Pregnant Ladies’. What was it like choreographing pregnant women?That was a really fun gig though I feel bad for the ladies because I was all work and forgot they need to sit and drink often. My bad!
Have you had other unusual dances?Another 92.9 gig, a flash mob for the Justin Bieber concert choreo-graphing mums for a ‘Never Say Never (To Your Mum)’ spoof. I also choreographed the firemen’s calen- dar launch – lots of fun and plenty of hot bodies to make up for their lack of dance experience!
You currently teach a ‘Heels and Dollbabys’ class. How’s that going?It’s been great! I enjoy getting sexy with the girls, giving them an avenue to express their sensuality. Watching them transform beyond their regular everyday personas is one of the most fulfilling parts of the work I do.
Inspiration?Music, art, fashion, experience, emo- tions and deadlines!
Favourite dancer?It has changed as styles have evolved and I’ve matured. At the moment I can’t get enough of Sophia Aguiar, or choreographer Matt Cady’s unique style – so deep! Shirlene Quigley’s heels class in LA – she has so much emotion in her choreography it’s like therapy!
Janelle Vaccaro ’s been dancing and choreographing for over a decade. Following her dream to be a professional performer and teacher, she’s lived in Hollywood and worked with the cream of the crop in the entertainment industry. She told Wordplay about her influences, inspiration and her hot new venture Nylon.
Interview by Jasmine AmisPhotography by Erikson Nygaard‘Nylon’ image by Chai Chieng
Janelle teaches Hip Hop at 5pm and Heels & Dollbabys at 6pm Thursdays at King Street Ar ts Centre, Perth City.
For more information:janellevaccaro.com janellevaccaro.wordpress.com
25 26
What do you look for when sourcing fashion labels?
Guys: I try not to stock labels that focus solely on their brand within the designs. I believe fashion makes you a walking billboard, so why wear logo branded gear showing off someone else’s ideas? I recognize it’s important to get your name out but believe you can do that without flogging your brand all the time. A good example of this is ‘Booger Kids’: all their designs are quirky, cartoon and video game inspired, yet you never see BOOGER KIDS plastered everywhere - they keep their name strictly on the washing instructions tag. Girls: I have a team of ladies I consult when making decisions.
These girls are regular customers…when choosing stock why not go straight to the intended source for their opinions? I encourage them to focus on bright, bubbly prints, as that fun attitude is what 1UP is all about.
Favourite game?
I like to play arcade games from the ‘90s, like NBA Jam and Mortal Kombat. A big fan of scrolling games like Snow Bros and Bubble Bobble.
Favourite film?
I don’t have a favorite film. Since age 16 I’ve been noting down every movie I’ve seen on a list, at the moment it’s around 1800. I prefer to only watch a movie once. If I really like a movie, I often won’t revisit it for five or six years as I think watching it over and over tends to diminish your feelings for it. If I were to pick a favourite genre, it would be documentaries or films set in a dystopian style future.
What’s in store for 1UP in the future?
I’m planning a tour to the east coast with some films that worked well here. The majority of films I show are Australian premieres and I feel they deserve a bigger audience than just Perth. I’d like to launch Australia’s first VOD platform for independent films, which would allow you to stream them directly to your computer, tablet, smart phone or internet-enabled television anywhere in the country.
Describe 1Up in three words:
I prefer sounds - the Coin noise from Mario Bros, the Pipe Warp and Jump noises.
Equal parts fashion boutique, games arcade, art gallery and theatre, 1UP Microcinema recently celebrated its one-year anniversary. Creator Matt Darch told Wordplay about Perth’s arts scene, passion for pop culture and future plans.
For upcoming screenings and events, head to www.insertcoins.com.au or pop into the store at 312b William Street, Northbridge.
Artw
ork b
y Aa
ron
Ma
in
Interview by Aleyna MartinezPhotography by Belinda Gibson
28
What did you do before 1UP?
I worked at ECU and Murdoch universities. I’ve moved from helping kids study to dressing them, serving them drinks and showing them weird movies - finally my Psychology degree is coming in handy!
What inspired you to open 1UP?
When you reach a certain level of fandom within the arts, the next step is to contribute to the scene. Over the years I’ve tried printing my own shirts, DJ-ing and producing, customizing sneakers…the only problem was my stuff sucked! So I assessed what skills I did have: marketing, bringing like-minded people together, budgeting and organising. The result is 1UP - I don’t create the content, instead I provide it in one setting.
What does ‘1UP’ symbolize?
Most people associate 1UP with the green mushroom in Mario Bros but it occurs in most old video games. The name’s somewhat ironic considering the micro-cinema is up one flight of stairs.
How did the public respond?
We had no people to the first screening - I took the attitude it could only get better! Since then it’s been up and down - some movies appeal to the public more than others. Overall, it’s taking a while to wake the public up from their Cineplex slumber and I have a lot of competition from outdoor cinemas. We might not be on a rooftop, next to a casino or in a park but we don’t show films you can get at Video Ezy in the $5 section! At 1UP, you can forget ‘Gold Class’ where you lay back and eat gourmet pizza, here we’re proudly Brown Class’!
Tell us about the process of opening a store in Perth.
I had the concept for five or six years. I moved back to Perth and started saving. The most important step is to find a location - I applied for a few tenancies before obtaining this one. Looking back, I’m glad I didn’t get those. The video game memorabilia I had due to collecting for years, so the décor came together very quickly.
High points?
Meeting so many interesting people and making heaps of new friends. I’m not a hugely social person –1UP gives me an endless stream of regulars and new people to become friends with.
Low points?
I nailed everything in my control but things like lease agreements, liquor licenses, building approvals… Perth is caught up in so much red tape - everyone knows it but no one does anything about it. Public servants love my idea, but they have to pull out planning books and regulations. They don’t realise that people made those laws; only people can change them. If anyone is looking at opening their own place, feel free to contact me and I’ll talk you through some things you need to consider about tenancies.
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What do you look for when sourcing fashion labels?
Guys: I try not to stock labels that focus solely on their brand within the designs. I believe fashion makes you a walking billboard, so why wear logo branded gear showing off someone else’s ideas? I recognize it’s important to get your name out but believe you can do that without flogging your brand all the time. A good example of this is ‘Booger Kids’: all their designs are quirky, cartoon and video game inspired, yet you never see BOOGER KIDS plastered everywhere - they keep their name strictly on the washing instructions tag. Girls: I have a team of ladies I consult when making decisions.
These girls are regular customers…when choosing stock why not go straight to the intended source for their opinions? I encourage them to focus on bright, bubbly prints, as that fun attitude is what 1UP is all about.
Favourite game?
I like to play arcade games from the ‘90s, like NBA Jam and Mortal Kombat. A big fan of scrolling games like Snow Bros and Bubble Bobble.
Favourite film?
I don’t have a favorite film. Since age 16 I’ve been noting down every movie I’ve seen on a list, at the moment it’s around 1800. I prefer to only watch a movie once. If I really like a movie, I often won’t revisit it for five or six years as I think watching it over and over tends to diminish your feelings for it. If I were to pick a favourite genre, it would be documentaries or films set in a dystopian style future.
What’s in store for 1UP in the future?
I’m planning a tour to the east coast with some films that worked well here. The majority of films I show are Australian premieres and I feel they deserve a bigger audience than just Perth. I’d like to launch Australia’s first VOD platform for independent films, which would allow you to stream them directly to your computer, tablet, smart phone or internet-enabled television anywhere in the country.
Describe 1Up in three words:
I prefer sounds - the Coin noise from Mario Bros, the Pipe Warp and Jump noises.
Equal parts fashion boutique, games arcade, art gallery and theatre, 1UP Microcinema recently celebrated its one-year anniversary. Creator Matt Darch told Wordplay about Perth’s arts scene, passion for pop culture and future plans.
For upcoming screenings and events, head to www.insertcoins.com.au or pop into the store at 312b William Street, Northbridge.
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Interview by Aleyna MartinezPhotography by Belinda Gibson
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What did you do before 1UP?
I worked at ECU and Murdoch universities. I’ve moved from helping kids study to dressing them, serving them drinks and showing them weird movies - finally my Psychology degree is coming in handy!
What inspired you to open 1UP?
When you reach a certain level of fandom within the arts, the next step is to contribute to the scene. Over the years I’ve tried printing my own shirts, DJ-ing and producing, customizing sneakers…the only problem was my stuff sucked! So I assessed what skills I did have: marketing, bringing like-minded people together, budgeting and organising. The result is 1UP - I don’t create the content, instead I provide it in one setting.
What does ‘1UP’ symbolize?
Most people associate 1UP with the green mushroom in Mario Bros but it occurs in most old video games. The name’s somewhat ironic considering the micro-cinema is up one flight of stairs.
How did the public respond?
We had no people to the first screening - I took the attitude it could only get better! Since then it’s been up and down - some movies appeal to the public more than others. Overall, it’s taking a while to wake the public up from their Cineplex slumber and I have a lot of competition from outdoor cinemas. We might not be on a rooftop, next to a casino or in a park but we don’t show films you can get at Video Ezy in the $5 section! At 1UP, you can forget ‘Gold Class’ where you lay back and eat gourmet pizza, here we’re proudly Brown Class’!
Tell us about the process of opening a store in Perth.
I had the concept for five or six years. I moved back to Perth and started saving. The most important step is to find a location - I applied for a few tenancies before obtaining this one. Looking back, I’m glad I didn’t get those. The video game memorabilia I had due to collecting for years, so the décor came together very quickly.
High points?
Meeting so many interesting people and making heaps of new friends. I’m not a hugely social person –1UP gives me an endless stream of regulars and new people to become friends with.
Low points?
I nailed everything in my control but things like lease agreements, liquor licenses, building approvals… Perth is caught up in so much red tape - everyone knows it but no one does anything about it. Public servants love my idea, but they have to pull out planning books and regulations. They don’t realise that people made those laws; only people can change them. If anyone is looking at opening their own place, feel free to contact me and I’ll talk you through some things you need to consider about tenancies.
27
Rowan Williamson, (AKA ‘Frodo’) is a Freo local, rides for Momentum Skate and is about to launch his first own apparel line of hand-painted shoes and printed shirts. He told Wordplay about his passion for Freo, skate culture and inspiration.
Tell us a bit about yourself.I was born in London. My family came here on holiday when I was about nine; the following year we moved here. Since then I’ve been circling around Fremantle - I live in South Fremantle at the moment. For a long time I’ve considered Freo to be home.
How did you get into skating?I was an impressionable youth (as I think we’ve all been at one point or another) and had brought my rollerblades on the bus to show one of the cooler kids. He pointed out that rollerblades aren’t cool and that I should start skating - I did. The following week, it fell out of fashion and only a few of us stayed interested, of which I was one.
First board?My first board was a Girl. My good friend Chris found it in a park back in 2001, knew I was interested in skateboarding and gave it to me.
You ride for Momentum – how did that come about? The Perth skate scene is so tight that everyone pretty much knows everyone. I started riding for Momentum around about the time I started getting half decent. They started me out on just a deal, and have been nothing but good to me since.
Favourite trick?That’s an easy one – it’s the tre; the trick I named my company after. ‘Tre’ is the affectionate terms for a 360 flip, where the rider jumps in the air, the board rotates 360 degrees and flips all in the same motion before the rider lands. Hard to land, near impossible to master.
What’s your earliest memory of drawing?I remember doing a really crappy drawing of a tiger in a forest at my grandma’s house in Scotland. She told me how beautiful it was; it’s that positive encouragement that’s kept me going all these years.
Let’s talk about your label ‘Tre’. What does the name symbolize?I named it after the 360 flip, but over time it has begun to mean much more to me. Tre represents nature, the inspiration for many of my designs. Tre represents style, for the tre is one of the most stylish skateboarding maneuvers. Tre represents growth, for every tree starts out as just a seed.
How did the hand-painted clothing and shoes come about?When we were in high school, my posse and I were making our own t-shirts of our favourite skateboarders – it’s developed from there. The shoes started with me walking my dog in brand new white slip-ons. We made it around the block alright, I had a massive brown smudge on the front of my shoe. My first thought was ‘ruined’! But then I whipped out some paints and not only saved the shoe but made it better than it was to begin with. That’s when I realised I’d stumbled onto a good thing.
Musicians, Fremantle and nature seem to inspire your designs. Tell us about your creative process.My subjects are often famous artists or places of significance, but my inspiration is life itself. I can’t sit down and design t-shirts, I just live life and the designs occur to me. A lot of the hand-painted shoes are commissioned - people have a favourite artist, a place they want to remember or a design. Or they may have no idea whatsoever, so I ask them if they have a favourite artist, a place that needs immortalizing or whether they just want me to go nuts!
What are your plans for ‘Tre’?The line I’m currently working on will be a limited line of a select print that is never to be repeated. Each range is a fresh batch of new designs.
Do you ever skate in your hand-painted shoes?I try my hardest to resist the urge, given how much time I pour into them. I think it actually takes longer
to paint the shoes then it does to destroy them skating! Unfortunately, that has been the fate that has met many of my creations. One dude even bought a pair, holes and all - I never imagined anyone would want a pair of completely thrashed shoes.
Worst injury sustained from skating?A recurring one that has forced me to completely change the way I skate. I used to jump down a lot of big gaps and flights of stairs; all fun and games at the time, but now I have ‘jumpers knees’. The doctors’ advice: cease the offending action - skateboarding. I would sooner stop breathing.
If you’re not skating or sketching, where would we find you? Working with my friend Caspar and his brother Sam building limestone walls - that’s my day job.
Where can we get our mitts on ‘Tre’ gear?Look out for Tre at local skate shops and selected retailers this winter.
Favourite skater and why?Tom Penny - all time most stylish skateboarder, in my humble opinion. It used to be Andrew Reynolds, a guy famous for jumping down big gaps, but I feel like he led me somewhat astray.
Favourite artist and why? Bob Marley, not only a brilliant musician, but also spent his years spreading a positive message to the world. Standing by his convictions to the grave – that’s why he’s my favourite artist.
Who should we should keep an eye out for in the Perth skate scene?All timers: Alex Campbell, James Whineray, Nick Boserio. Up and comers: Quayde Baker, Justin Lloyd. Woolstores: Beren Matthews
Finally, sum up ‘Tre’ in three words:The right energy.
Interview by Alex Engels and Lisa Morrison. Photography by Belinda Gibson.
“I used to jump down a lot of big gaps and flights of stairs...
now I have ‘jumpers knees’. The doctors advice: cease
the offending action. I would sooner stop breathing.”
3029
Rowan Williamson, (AKA ‘Frodo’) is a Freo local, rides for Momentum Skate and is about to launch his first own apparel line of hand-painted shoes and printed shirts. He told Wordplay about his passion for Freo, skate culture and inspiration.
Tell us a bit about yourself.I was born in London. My family came here on holiday when I was about nine; the following year we moved here. Since then I’ve been circling around Fremantle - I live in South Fremantle at the moment. For a long time I’ve considered Freo to be home.
How did you get into skating?I was an impressionable youth (as I think we’ve all been at one point or another) and had brought my rollerblades on the bus to show one of the cooler kids. He pointed out that rollerblades aren’t cool and that I should start skating - I did. The following week, it fell out of fashion and only a few of us stayed interested, of which I was one.
First board?My first board was a Girl. My good friend Chris found it in a park back in 2001, knew I was interested in skateboarding and gave it to me.
You ride for Momentum – how did that come about? The Perth skate scene is so tight that everyone pretty much knows everyone. I started riding for Momentum around about the time I started getting half decent. They started me out on just a deal, and have been nothing but good to me since.
Favourite trick?That’s an easy one – it’s the tre; the trick I named my company after. ‘Tre’ is the affectionate terms for a 360 flip, where the rider jumps in the air, the board rotates 360 degrees and flips all in the same motion before the rider lands. Hard to land, near impossible to master.
What’s your earliest memory of drawing?I remember doing a really crappy drawing of a tiger in a forest at my grandma’s house in Scotland. She told me how beautiful it was; it’s that positive encouragement that’s kept me going all these years.
Let’s talk about your label ‘Tre’. What does the name symbolize?I named it after the 360 flip, but over time it has begun to mean much more to me. Tre represents nature, the inspiration for many of my designs. Tre represents style, for the tre is one of the most stylish skateboarding maneuvers. Tre represents growth, for every tree starts out as just a seed.
How did the hand-painted clothing and shoes come about?When we were in high school, my posse and I were making our own t-shirts of our favourite skateboarders – it’s developed from there. The shoes started with me walking my dog in brand new white slip-ons. We made it around the block alright, I had a massive brown smudge on the front of my shoe. My first thought was ‘ruined’! But then I whipped out some paints and not only saved the shoe but made it better than it was to begin with. That’s when I realised I’d stumbled onto a good thing.
Musicians, Fremantle and nature seem to inspire your designs. Tell us about your creative process.My subjects are often famous artists or places of significance, but my inspiration is life itself. I can’t sit down and design t-shirts, I just live life and the designs occur to me. A lot of the hand-painted shoes are commissioned - people have a favourite artist, a place they want to remember or a design. Or they may have no idea whatsoever, so I ask them if they have a favourite artist, a place that needs immortalizing or whether they just want me to go nuts!
What are your plans for ‘Tre’?The line I’m currently working on will be a limited line of a select print that is never to be repeated. Each range is a fresh batch of new designs.
Do you ever skate in your hand-painted shoes?I try my hardest to resist the urge, given how much time I pour into them. I think it actually takes longer
to paint the shoes then it does to destroy them skating! Unfortunately, that has been the fate that has met many of my creations. One dude even bought a pair, holes and all - I never imagined anyone would want a pair of completely thrashed shoes.
Worst injury sustained from skating?A recurring one that has forced me to completely change the way I skate. I used to jump down a lot of big gaps and flights of stairs; all fun and games at the time, but now I have ‘jumpers knees’. The doctors’ advice: cease the offending action - skateboarding. I would sooner stop breathing.
If you’re not skating or sketching, where would we find you? Working with my friend Caspar and his brother Sam building limestone walls - that’s my day job.
Where can we get our mitts on ‘Tre’ gear?Look out for Tre at local skate shops and selected retailers this winter.
Favourite skater and why?Tom Penny - all time most stylish skateboarder, in my humble opinion. It used to be Andrew Reynolds, a guy famous for jumping down big gaps, but I feel like he led me somewhat astray.
Favourite artist and why? Bob Marley, not only a brilliant musician, but also spent his years spreading a positive message to the world. Standing by his convictions to the grave – that’s why he’s my favourite artist.
Who should we should keep an eye out for in the Perth skate scene?All timers: Alex Campbell, James Whineray, Nick Boserio. Up and comers: Quayde Baker, Justin Lloyd. Woolstores: Beren Matthews
Finally, sum up ‘Tre’ in three words:The right energy.
Interview by Alex Engels and Lisa Morrison. Photography by Belinda Gibson.
“I used to jump down a lot of big gaps and flights of stairs...
now I have ‘jumpers knees’. The doctors advice: cease
the offending action. I would sooner stop breathing.”
3029
32437 Hay Street | Subiaco | Western Australia | (08) 9388 1916
Lee Jeans | Wrangler Jeans | Ben Sherman | Mooks | Mossimo | Elwood
32437 Hay Street | Subiaco | Western Australia | (08) 9388 1916
Lee Jeans | Wrangler Jeans | Ben Sherman | Mooks | Mossimo | Elwood
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