THIS ARTICLE ORIGINALLY RAN IN THE ART OF STORYTELLING MAGAZINE ISSUE #1.

Conversation with Fred Gall’s Mom:

Freddy got his first skateboard on the boardwalk in Seaside Heights, New Jersey. He won one of those real cheesy boards. Freddy was playing one of those big spin wheel games and he won, but it was one of those games where you could win really big prizes. They had washing machines, TVs, and things like that, but all Freddy wanted was the skateboard. So what were we supposed to do? He wanted the skateboard so we got him the skateboard even though we could have gotten all these expensive prizes. But he took that cheesy skateboard and that’s all he cared about and he did really good with it. So next Christmas, I got him his first real professional skateboard, a Lance Mountain. I can’t remember what kind of wheels or trucks we got him but that doesn’t matter. Freddy loved that Lance Mountain.

“Tracker Trucks called, all the way from California they heard about Freddy, the little guy with the big moves, and they wanted to come see him.”

After that I would take him every weekend to the contests under the Brooklyn Bridge. I remember the fourth time we went there Freddy put his skateboard down and charged the bank. At that time Freddy was just a little kid. He put the board down and rushed right toward the bank and over into the street in the middle of traffic, like a mad man. I almost had a heart attack. Read more »

Most of you already know that in the first issue of our magazine we did an article on CLOWN the founder of  T.I.T.S crew.  When we put the issue together, we had a lot of east coast content and we wanted to do something on a west coast writer. CLOWN immediately came to mind.  Everyone here at the mag referenced him as a major inspiration, especially since most of the staff was heavy into graff during the time period where CLOWN was out there pushing TITS crew really hard.  I recently contacted CLOWN again to see if I could do an interview with him about the clothing line.  It was at that point that I found out the real story behind the brand.  TITS (the original graffiti crew) sent over this article and asked if I could post it up, so here you go.

Those Tits are Fake!

1995 was the year.  The graffiti writer known as “Clown” was looking to draw some attention to his name.  In a joking manner, the four letter word “Tits” was brought up.  Bang! A light bulb popped into the heads of a few other fellow graffiti writers of the time and after a few months, “Tits Crew” was born.  It took only a short time to form the crew which originally consisted of 10 members.  Soon after, Tits Crew was a smooth running graffiti organization.  At the time there weren’t many other groups who had four letter monikers to represent their crew, let alone four letters that even spelled out real words.  This excited the new group of graffiti artists because they all had a common goal, destroy and this new name for their crew was going to grab attention.  Original meanings for the acronym of the crew were brainstormed quickly.  “Time is too short”, “Terror in the streets”, “Thunder in the sky” and “Clown’s original, “Two in the shirt”.  It was genius.

“In other words, he stole the name of the crew and started to profit from it .  Marek never had any contact, any arrangements or any approval from Clown or any other member of Tits Crew.”

Clown, the crew leader of Tits was a natural at his position.  He was a motivator and a visionary.  The Crew never just walked up to the wall and started painting.  He instilled in the Crew to always approach the wall with a sense of perception, concealment and disguise.  He had taken these eastern philosophies from literature he had studied and lived by such as The Art of War, Thunder in the Sky and The Book of 5 Rings.  The crew would huddle up and pile into cars to find the best freeway spots California had to offer.    It didn’t matter what city or town they were in, the tags, throw up’s and pieces were flowing at a high volume. Using these methods, Tits Crew had made themselves well known by 1996.

In 1997, Clown proposed the idea of traveling cross country and getting up in every state so that you could travel just about anywhere in the U.S. and see a piece of Tits Crew.  Along with his fellow crew member and main partner in crime at the time, Clown and Kadie embarked on this adventure and got up in every state in the U.S. except for Alaska and Hawaii.  After two months of night and day bombing and practically living out of a Greyhound Bus, they returned home feeling accomplished knowing that the goal had been fulfilled.  Tits Crew was now known across the U.S.  In 1998, crew members Clown, Mews, Paydirt and Diet were on to a new endeavor.  This time, traveling to Europe to bomb and get the crew name out on a world wide scale.  Tits crew was now setting up new branches in unfamiliar cities and drafting new painting partners from other crew’s as well as new members for their own crew.  Tits Crew had already etched their mark in the underground graffiti scene.  Kadie and Leson moved to San Francisco and Clown, Necro and Slie all moved northwest to Seattle, WA.

“This article was put together by members of Tits Crew to inform as many people as possible that Tits Crew is not supporting and will never be affiliated with Tits clothing.”

One member in particular from the Seattle days of Tits Crew seems to stand out in a major way.  That would be “Mack”, also known as Marek Grubel.  Marek was brought into Tits Crew in 1999 by Slie and became his painting partner and running mate.  Marek’s entry into the crew was received with mixed reviews and emotions from members.  Some were concerned that Marek’s loyalties were to himself, not the crew.  They could not have been more right about this.  In 2002, Marek quit doing graffiti .  He had a baby on the way and was feeling like it was time to get things together.  He had lost contact with all of the existing members of the crew and was flat out forgotten about.  Marek’s short stint with Tits Crew was over.  He was no longer considered a graffiti writer by many or any member of Tits Crew.  Nobody heard anything about Marek until three years later.  A member of Tits Crew caught a link that brought them to a website for a clothing company using the Tits Crew name to help launch it, as well as the trademark “Two in the Shirt.” Apparently, Marek had came up on some money and copyrighted the acronym “Tits” and the phrase “Two in the shirt”, in which he made into a clothing company.  In other words, he stole the name of the crew and started to profit from it .  Marek never had any contact, any arrangements or any approval from Clown or any other member of Tits Crew.  It was all composed behind the backs of the guys who constructed this crew from the ground up.  This was a man who spent countless hours, creating lifelong memories and building trust over a 2 and a half year period with this crew.  And to now take a name that belonged to a group of men who worked years to bring it up and make it something, it was just unbelievable.

The point of this article is to expose the truth about Marek Grubel and his so called creation of the phrase “Two in the Shirt.” In a recent interview on www.senseslost.com he was interviewed saying that “Two in the Shirt” came about while “Drinking 40’s and eating macaroni salad from 7-11.” He went on to say that “It’s probably the expired mayo that sparked the think tank? I had no idea, I just know that I have a rare talent which is being able to be creative and also have a business ethic all in one brain.” The proof is there, the lies are ludicrous.

After 3 years of Marek pushing something that didn’t belong to him, Slie finally said screw it and put out a shirt with Marek. The only reason he did this is because he wanted to make sure the public knew that the real Tits members could drop conceptual clothing just as good if not better than Marek. Slie is dropping his own line soon with friend and partner Zack Stover called ‘Butter ‘N’ Bacon’.

This article was put together by members of Tits Crew to inform as many people as possible that Tits Crew is not supporting and will never be affiliated with Tits clothing.  Every week, someone from Tits Crew get’s a call, text, email or has to engage in some conversation about Marek’s t-shirt Company. If you are supporting Tits Brand Clothing, know that you are not supporting Tits Crew and you have been misled.

Money and greed are notorious for the dissolution of relationships and bonds. They can easily turn friends into foes and make people do downright crazy things.  Members of Tits Crew today are still active in the graffiti scene as well as moving forward in many ways of their own.  We all wish Marek Grubel the best, it’s just a shame that without our consent he took something sacred to us and turned it into another clichéd, embarrassing porn t-shirt brand, with no creativity of his own.

TITS CREW: Clown, MoneyShot, Mews, Paydirt, Necro, Drane, Slie, Kolage, Nots, Potna, Deas, Retro, Jaws, Deal, Guido, Pear and Plus (RIP).

Written by: Michael Tzimbal

www.jonbookerart.com

www.facebook.com/seventysevengallery

slieandco@gmail.com

www.butternbacon.com

THIS ARTICLE ORIGINALLY RAN IN THE ART OF STORYTELLING MAGAZINE ISSUE #1.

I found a video of you doing a live set with Morcheeba from England. That bugged me out. It got me so amped up because I would never have expected seeing that combo. A lot of times artists stick to what they know and are too scared to do collaborations with artists outside their genre. To see a rapper from Newark, NJ doing a collaboration with a lounge band from England was refreshing to see. You seem to link up with a lot of unexpected people.

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You know what I’m into Big Joe? I’m pursuing entertainment. PERIOD. So any big entertainment figure I see, I introduce myself, I introduce Green and from that comes a lot of, “What you doin? Why don’t you rap on something?” In the case of Morcheeba, they actually sought me out because of the Fugees album. They said they liked the Fugees album and they are kind of like the Fugees over there. So they contacted my manager in England and we did it. I did a whole UK tour with them. We did Italy, Portugal, the whole thing.

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If I could go back in time I would try not to have met Eminem. I wouldn’t have met him and been his friend……Not this time, just straight business.

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You, Animal BMX, and Skavanger BMX also seem to have some strong ties. You rock their gear in your videos and they use a lot of your tracks and Mr. Green’s tracks in their videos. How did that come about?

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It is that time of year again for a brand new installment of the “Friends With Knives” stencil group show which will be held at Crewest Gallery in Los Angeles, California on Saturday, August 9th. This year PaperMonster has brought together an impressive lineup of artists including: Blek le Rat, Broken Crow, Chris Stain, Dave Lowell, E.L.K, Greg Boudreau, HAHA, Joe Iurato, Koleszar, Henry Quiara, Leckomio, Mefee, Nathan Phaneuf, PaperMonster, Peat Wollaeger, Scotch and Shai Dahan. This is a wonderful opportunity to view a huge range of stencil styles and stencil art techniques under one roof. For more info on the Friends With Knives group show visit: http://papermonster.wordpress.com

Friends With Knives Stencil Group Show
Opening Reception: Saturday August 7th @ 6pm
Crewest Gallery
110 Winston St.
LA, CA 90013
213-627-8272
http://crewest.com

THIS ARTICLE ORIGINALLY RAN IN THE ART OF STORYTELLING MAGAZINE ISSUE #1.

AEST’s graffiti interest started in a somewhat generic, funny way as he explains with a southern drawl, “Mang, I remember when I was a kid, I used to get my haircut at this barber shop and there was this hip hop, skyline, b-boy character thing they had going on. I never knew who did it, but that was some of the first graffiti I ever saw in person, (laughs) typical skyline hip-hop thing. Other than that, Thrasher magazine. You would always catch graffiti in the background of the skate photos.”

Thrasher magazine. You would always catch graffiti in the background of the skate photos.

AEST has been busy at graffiti since 1994. He got his start in Richmond, Virginia, a relatively small scene compared to the rest of the country, but definitely a scene that pumps out a ton of talent. Writers like ELK, SIGH, PENIS, LYES, and a slew of others, many of whom are members of DOS “Dirty Ol’ South.” “Richmond’s cool, Mang. It’s a small scene that’s definitely not as crazy as places like Chicago. I think the first piece popped up in Richmond in like ’84 or ’86, and it was pretty dead after that until the early 90’s. It doesn’t have as much history as other scenes, but I love it, because that’s where I came from.”

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AEST is the type of writer whose level of talent allows him not to be married to one particular style; the type of writer who takes his surroundings into account when painting. “If I am painting a train line spot, highway, or a freight, then I am going to do some simple legible stuff, but if it’s a wall somewhere where you can take the time to check it out, then I will flex something more complex.” Like many of his other DOS brethren, AEST isn’t much for words and doesn’t have any poetic reasons for painting graffiti. They do it because they are passionate about it. When asked how he would define his style, he said, “It’s a little bit classical I hope, maybe not too crazy, a touch of flair I hope.” And he burst into laughter as he said the word flair. “Shit, man, I don’t know, I just write graffiti.”

THIS ARTICLE ORIGINALLY RAN IN THE ART OF STORYTELLING MAGAZINE ISSUE #1.

For the past 25 years Derek Riggs has supplied us with countless images of the most well know monster in heavy metal history, Eddie Maiden. Eddie has transformed Iron Maiden into a merchandising giant. The attraction to Eddie is as strong today as it was with his first appearance in 1979. Riggs is opinionated, upfront, and out to impress no one. We linked up with him to talk about art, religion, politics and of course Eddie. Enjoy.

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Iron Maiden’s management came across a painting of yours that featured a character called Electric Matthew. Electric Matthew would later be transformed into Eddie Maiden. Obviously the original Electric Matthew wasn’t designed specifically for Iron Maiden. What was your initial inspiration for the character you were creating?

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The original picture was inspired by a photo of a dead soldier’s skull that I found in TIME magazine when I was about 15. I used it in a photo-montage, stuck it to the front of a folder and covered it in plastic. Years later I found it and decided to use it for the basis for a picture. It was the late 1970’s and Punk rock was big in England. I thought that maybe some punk band might be able to use it.

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What was the creation process like when doing the Iron Maiden album covers? Did you have free reign on the designs or did most of that come from the band?

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Most of the time almost nothing came from the band. I would get a title or the title and a direction to go in and then I would send a sketch to the manager Rod Smallwood. We would talk over the idea and decide if Rod felt it needed anything. Quite often he would just say go ahead and I would get on with the job. For example, the brief I got for Somewhere in Time was, “We want a city like the one in Blade Runner,” and the rest was left pretty much up to me. The look of Eddie was my invention, as was the content of the city. Steve came to me near the end of the work and asked if I could include some little details, like the names of his previous bands.

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Of all the Iron Maiden covers you created, which one is your favorite?

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Somewhere in Time, because of the detail. I like detail. Clairvoyant and Can I Play with Madness because they are so ape shit, and Stranger in a Strange Land because it looks like Clint Eastwood.

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For the 80’s, some of the album covers were very over the top. The Sanctuary single’s sleeve had a picture of Eddie with a knife in his hand, standing over the dead body of Margaret Thatcher who had just been caught tearing down an Iron Maiden poster. Did you come under attack for that and did you have any issues with doing a cover with that kind of imagery?

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How does military grade nerve gas get out of a secure facility? From that time on my experiences with the medical profession indicated to me that my health has been monitored by someone other than the local doctor.

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We are sponsoring a show at Flatcolor Gallery in Seattle. If you are in town stop by to check it out. They will be giving out free copies of The Art of Storytelling Magazine to the first 50 attendees. The posse hooked up a nice show, Chip, Bigfoot and El Kamino. Check back next week for photos.

THIS ARTICLE ORIGINALLY RAN IN THE ART OF STORYTELLING MAGAZINE ISSUE #1.

Okay, so I moved to New York City when I was eighteen having grown up and spent my real formative years in Ann Arbor, Michigan. I started my life in San Francisco, California and spent my first four years in the Los Angeles area. When I was seventeen I managed to graduate high school. I got out a year early and used the year between seventeen and eighteen to plan and fantasize and get the dream together that I could take with me to New York City. By the time I moved to New York I set up some jobs, internships, and some other opportunities. I wasn’t sure what I wanted to do, maybe I thought I would go to college. Within those few months all my plans and my sort of initial infrastructure I tried to lay out for myself fell through or I quit at basically.

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I was singing that and the Bill Gates looking guy said, “and I think it’s going to be a long long time till you ever play in this venue… get the fuck out!” He was serious and that’s when the tears welled up in my eyes and I lost it.

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Out of all the things I thought I was really going to enjoy I didn’t enjoy them as much as I hoped, which included working at an avant- garde fashion company, working at an art gallery and trying to get an internship at an art magazine. So in one hand I was a bit disillusioned and disappointed that when I was growing up back in Michigan all these opportunities of this sort that New York had to offer seemed so thrilling. I then realized that it wasn’t going to be my New York experience and my experience wasn’t necessarily going to come from these particular opportunities. It was going to come from my attitude and what I can do personally in the city, not what anyone else can do for me.

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So at that point I was still looking for some other job. One day I was reading the Village Voice newspaper and looked through the classified ads, this was before the Internet had really caught on so this was like ‘97 or ‘98, and there was always music jobs – drummers wanted, band members wanted and then occasionally something else that was more your day-to-day job that you could really rely on for the long term. I had grown up playing piano my whole life and felt pretty confident as a piano player. One day I saw an ad that said keyboard player needed for nightly performance at one of New York’s greatest clubs and it was like $1,500 a week and I was blown away. It might not actually have been $1,500, it might have been $500 a week but whatever it was it was more money than I ever even had. So I said I can play keyboard, I can learn any song they want me to learn, this will be great. I would get to play with the house band in a bar, it sounds amazing. For some reason I just seemed like a no brainer. I felt very relaxed about this whole idea and could really picture myself doing it, so I called up the club and there was a very nice woman that answered the phone and I told her I saw the ad and that I would like to come and see about the job. She said okay and that I could come down anytime and meet with the owner. He was going to be there that night if I would you like to come by. I said sure. This was good. This is momentum, this is the right kind of inertia and perhaps this is all meant to be.

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Michael J. Dalton II

BUILDING VIOLENCE

JUNE 30, 2010- AUGUST 4, 2010

OPENING RECEPTION:

JULY 2^ND, 2010 5PM-9PM

The 3rd Street Gallery is pleased to present a solo exhibition of photographer Michael J. Dalton II.

A select group of photographs and found objects from Dalton’s on-going body of work, Building Violence will be on display that provides us with examples of his landscapes, architecture and portraiture work. Dalton’s images uniquely portray a topographical documentary of the industrial northeast in constant flux.

By photographing creation and creator, destruction and destroyer, Building Violence examines the topographic effects of commerce, urban planning, gentrification, eminent domain and the result of man’s ability to totally affect the landscape as he sees fit.

This project directs the viewer’s attention to an overdeveloped industrialized and sometimes toxic part of a specifically American landscape. Coping with the cycles of demand, production and modernization, the landscape is caught in a violent destruction and construction process.

However, Building Violence seems to lack a formal critique on modern building practices as its author removes himself and allows for a more democratic way of seeing how the landscape evolves in all its subtle absurdity. With a stronger attention to formal elements and utilizing before-and-after comparisons, images like, “Tree Brace” soften the violence of the project as a whole, downplaying it as a critique.

Dalton also turns his lens towards the people who are involved in the building and destroying process. By creating portraits that mimic some of the structures found in Building Violence he acknowledges the human hand involved in physically creating and destroying, as well as the people who are influential in the changes that occur around the Northeast.

The found objects exhibited are items Dalton had encountered while working on some of the same construction sites he photographs. They serve as physical evidence along with the use of his 8×10 camera and personally printing on 30×40” chromogenic photographic paper mounted on plexi-glass.

The Industrial and commercial landscape that are shown in Building Violence are captured in moments of upheaval in both creation and destruction. Sometimes this change is caught in a standstill and is left to decay among the asphalt, concrete and steel, only to be overgrown by weeds. It is up to the hands of humanity to decide how The Northeast will appear—and it is up to the viewer to decide whether the evolution of the land is beneficial to its community or destructive in nature.

Michael J. Dalton II graduated from The School of Visual Arts with a BFA in photography and has been shown in galleries in Philadelphia, New Jersey and New York. Dalton currently lives in Brooklyn NY and works as a Construction laborer in NYC.

Love this song.  On repeat all day.

Finally after months of hard work we are happy to release our online shop.  99% of our products have been uploaded to our inventory, however we still have a ton of Vinyl Toys to import so keep checking back for that.  Our shop can be accessed by clicking the “SHOP” tab in the header bar or by going directly to www.analogcartel.com Hit us back and let us know your thoughts, what products you would like to see in the future and any other comments you have.

I came across a really good interview that KAWS did for Interview magazine.  Toby Maguire conducted the interview and it is a nice read. Check it out.

The Williamsburg studio of the artist known as KAWS is neatly lined with racks of acrylic-paint bottles in primary colors and guarded by a cluster of standing toy collectibles—life-size 3-D comic book characters of his own design—like a platoon of robot children. By the window, there is a small-scale model of the Aldrich Contemporary Art Museum, in Connecticut. KAWS, an unassuming, soft-spoken 35-year-old New Jersey native named Brian Donnelly, is plotting his first solo museum show at the Aldrich next month. It will serve as the unofficial grand induction to the institutionalized art world for the graffiti artist, painter, illustrator, sculptor, toymaker, and product designer. Yet KAWS has a long history outside of the white cube. His street-born cartoonish graphics—specifically spermatozoa-shaped figures with x-ed out eyes—have achieved a subcultural iconography. He has applied this KAWS signature to his street art, a clothing line, heroically outsize toys and sculptures, and countless cobranding ventures with labels like A Bathing Ape and Marc Jacobs.

KAWS was a teenager growing up in Jersey City in the late ’80s and early ’90s, where he spent his high school years graffiti-bombing trains, walls, and billboards. He honed his street-art act in New York City, hanging out with the spray can–wielding skate kids in downtown Manhattan. He graduated to a more covert form of interventionist street art in the mid-’90s, when he began unlocking the glass panels encasing bus stop and phone booth ads. He stole the posters, added his own graphics to them in acrylic paint, and then surreptitiously put them back. These hits were so skillfully executed—brushstrokes are never apparent in a KAWS painting—that often no one could distinguish the artist’s work from the original advertisement.

After graduating from New York’s School of Visual Arts in 1996, KAWS traveled to Japan, pursuing his street-art projects with Tokyo subculture heavyweights Hectic and Jun Takahashi of Undercover. In 1999, KAWS made his first toy with Japanese company Bounty Hunter,a vinyl figure of Mickey Mouse with x-ed out eyes (as if Mickey just drank from a bottle marked POISON). Nigo, the tastemaker behind A Bathing Ape, asked KAWS to collaborate on a clothing line in 2001 and began collecting his pop paintings of cartoon characters like the Simpsons, the Smurfs, and SpongeBob SquarePants.

Channeling the commercialist attitude of Claes Oldenburg and, more recently, Takashi Murakami, KAWS has produced everything from x-marked sneakers for Nike to an album cover for a special edition of Kanye West’s 808s & Heartbreak (2008). To sell all the KAWS-mobilia, the artist opened a dazzling Masamichi Katayama–designed store in Tokyo in 2006 called OriginalFake. Although KAWS does not separate product from art or art from product, it was only a matter of time before the art world caught up with him. He found Los Angeles–based dealer Honor Fraser, who took on not only the paintings but the whole breadth of his work.

With a monograph from Skira/Rizzoli due out this fall and the Aldrich show at his doorstep, KAWS has gotten approval from an art-world establishment that he felt would never take his guerrilla act as its own. He bought a building not far from his Brooklyn studio, which his good friend, the interior designer Katayama, will convert into a massive studio that will become the creative hub of the KAWS universe. That’s all in the future, but it is one KAWS can see from the seventh-floor window of his current studio—which is where the actor Tobey Maguire, a fan, friend, and collector, interviewed the artist.

Click here to view the full interview

Some old friends just opened up a record shop in Brooklyn.  I missed the opening night but from what I heard the space, concept, and merchandise is on point.  Stop in and check it out the address is listed below and you can click here to view their facebook page.

BLACK GOLD RECORDS

461 Court Street

Brooklyn NY

11231

Open daily except Moday. 11am-9pm Sundays 11am-5pm.

F or G train to Carroll Street. WE BUY RECORDS!!!

I came across a great interview today on SLAMXHYPE, with Erik Brunetti of FUCT.  Over the years I haven’t kept up too much as to what was going on in the street wear world.  Recently I started to gain an interest again and obviously I went back to what I knew as a kid, FUCT, SSUR, FRESHJIVE, and X-LARGE.  Anyway, it seems like Erik doesn’t do a lot of interviews, so I was real stoked to find this one. You should also check out www.fuct.com it is a great blog and one that I enjoy reading from time to time.  It Looks like Erik is working on a film project now.  You can see a teaser on the site.

Last night we co-sponsored an art show at the Zakka Shop in Brooklyn.  The event was hosted by Mathmatiks and the turnout was great.   It featured works by Nick Kuszyk, Jade Kuei, El Kamino, Chip 7 and Pars Kid.  We gave out over 100 copies of The Art of Storytelling magazine and we also released our first figure called eyeball kid which was a collaboration between The Art of Storytelling, Chip7 and sculptor Danny the Farrow.   All in all it was a great night.  Zakka is now carrying The Art of Storytelling Magazine as well as The Art of Storytelling DVD so if you need copies of either you can pick them up there.

Outside of the event, the shop itself is amazing.  They are stacked with vinyl toys, a ton a rare books and dvd’s, clothing and more. You should definitely stop by to check this place out.  Here are some flicks from the event.

CLICK HERE TO SEE MORE FROM THE SHOW >

D-Nice has been putting out these videos for a while now, they are called True Hip-Hop Stories.  I might have posted one up in the past, but Chip actually brought them to my attention once again.  They are really well put together, both the video quality and content is on point.  It is refreshing to watch a hip-hop interview and not listen to some thugged out bull shit.  I posted the interview with YZ because it was one of my favorites but you should check them all out.  He did pieces with B-Real of Cypress Hill, Doitall, Masta Ace, Doug E Fresh and Slick Rick and a bunch of others.  His website is http://www.d-nice.com and you can watch all the videos on his VIMEO page.

THIS ARTICLE ORIGINALLY RAN IN THE ART OF STORYTELLING MAGAZINE ISSUE #1.
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THIS ARTICLE ORIGINALLY RAN IN THE ART OF STORYTELLING MAGAZINE ISSUE #1.

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Here is a sneak peek at the two cover versions for issue #1. 1,500 copies will be designed by JOR and 1,500 copies will be done by DALEK  Click here for a breakdown of the issue.

Here is one of my new Gene Simmons sculpts for an upcoming custom figure I will be creating.  I just have to figure out which era I want to use it for.  I will make one with pupils and one without.  I will post the photos when it is finished.  Hit me up if there are any customs you would like to see in the future.

- The Farrow

Just came home to a batch of our first figure, Eyeball Kid by Chip 7.  The molds and paint job came great.  The mold maker did a good job preserving all the detail which was my biggest concern.  We are doing 30 figures in the black color way.  We will have them at the Zakka store for May 25th’s show.  I am going to stop by uncle Nooche’s house tonight an we are going to start the assembly process.  Really stoked to see the finished product.  I will post shots once they are fully assembled.

The 100 Helmets of THE VADER PROJECT

 Freeman’s Los Angeles Auction Preview Exhibition
Opening Reception: Friday, June 11, 2010  6-10pm
Los Angeles Exhibition On View: June 12 – 20, 2010  Noon-6pm
6812 Melrose Avenue
Los Angeles, California
www.thevaderproject.com

The Vader Project Catalog Signing – Los Angeles
Featuring 20 Participating Artists
 Saturday, June 12, 2010  2pm

Freeman’s Philadelphia Auction Showing
On View: July 5-9, 2010

Freeman’s Philadelphia Auction
July 10, 2010
Freeman’s Auction House
Philadelphia, Pennsylvania
www.freemansauction.com

 This summer, The Vader Project launches the final chapter of its four-year art odyssey. The iconic collection features 100 Darth Vader Helmets re-imagined by today’s most notable artists. Completing its epic world tour, The Vader Project returns to Los Angeles in June for a special ten-day exhibition in Hollywood as a preview to the upcoming Freeman’s Auction in Philadelphia.
 

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Metal legend Ronnie James Dio dead at 67

Check it out, Saturday June 19th the BFF 10 Year anniversary street party.