Last night at the opening for Jay Howell‘s “Except My Love” at Slow Culture, presented by us here at The Hundreds, in conjunction with our capsule collection with Jay! The Hundreds by Jay Howell is now available at our flagship stores (THLA, THSF, THSM, THNY) and select authorized stockists. Maybe my favorite project of the year…
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As of today, The Hundreds by Jay Howell is officially available for purchase. To accompany its launch, we’re putting on an art show featuring new works by Jay this Friday night at LA’s Slow Culture Gallery. We sat down with the wildly talented oddball cartoonist and his beloved canine bestie, affectionately named Street Dog, for a glimpse into the less than streamlined thought process behind Except My Love. Never one to brag about his incredibly brag-worthy accomplishments, Jay describes this particular exhibition as the result of exactly what he does when he gets home from work everyday — pretty impressive, considering most people just hit the couch, watch Netflix, and eat hummus. Take it away, Jay:
Photos and video by Zach Marshall
It’s about time.
Crooks & Castles has finally opened their long-anticipated shop on Fairfax, and in true Crooks fashion, it’s somehow over the top, yet sophisticated and subtle. Located in the heart of Streetwear central, the shop is gilded with custom wood furnishings and trimmed with smart accent pieces – a nice change from dumbed-down street retail… Crooks is obviously for the more astute, refined customer. The lofty space also lends to an open and polished merchandising job, showcasing their latest hunting-inspired pieces, the classic black-and-white tees, and a proper headwear game.
Anyways, it’s nice to see the gang finally on the block in retail form. The kids have long been asking for it. And Fairfax feels a little more complete with this piece of the puzzle. Like they say, can’t stop the Crooks.
Gallery 1988 presents yet another ‘Crazy 4 Cult’ of cinematic proportions. Only this time, we celebrate the unsung hero of the Cult — the villain! The group exhibition features contributions from more than 50 artists offering their own interpretations of famous bad guys from film, television and commercials. Say Hi To The Bad Guy is an homage to the meanest of the mean, the characters the audience never roots for, the ones that often die without honor or glory. On display at Gallery 1988 West through November 9th, if you’ve ever been the type to hang obscure movie posters above your bed, trade comic books, sympathize with Two-Face, or re-imagine an alternate ending in which the evil mastermind earns the love of the damsel in distress, this one’s a must see.
Photoshoots with the stunning Iesha Marie and book signings at Barnes & Noble — at the very least, we’re a well-rounded web magazine. For your daily dose of beauty and brains, head next door to see Van‘s latest photo set and Sammy‘s coverage of the FRANK 151 X Diamond issue launch.
It’s up now.
You can also subscribe / play this episode via iTunes: itunes.dvdasa.com
The Hundreds is proud to carry ONLY NY, an independently owned label based out of Harlem, NYC. Founded in 2006 by artist Micah Belamarich, ONLY is inspired by the city, skateboarding, graffiti, the outdoors, and underground street culture since 1997. We chatted with Phil Gordon, one of the store’s employees; watch as he tells us about the history of ONLY, and their plans to grow the brand without sacrificing product or getting corporate.
Our friends are more talented than yours are. Check out the new video for fam Alexander Spit’s “Eleanor 60,” the first release from his upcoming album, Dillinger, braced to drop on November 11. Inspired by Spit’s roller coaster ride as an aspiring artist, “Eleanor 60″ pulls from Spit’s personal photo archives, featuring “Friends, strangers, Z list celebrities, and nights forgotten.” Enjoy the ride. As this video showcases, it’s been a wild one.
“Taking the road less traveled” is a thing some people say to present themselves as well-read and authentic. But when artist Tim Biskup references this Frost-ism in regards to his all-consuming creative process, you just believe it. And if you don’t, you probably have no idea how many demons one faces to make work as open and self-reflective as Tim’s. Even his home is off the grid, as we discovered last year, when we twisted through trees and traversed dirt paths to reach the remote destination for our studio visit. Nestled in the woods, above the distractions, he prefers to paint alone, fueled by solitude, introspection, and general punk-infused angst.
We meet on the eve of his new solo show, Charge, at Martha Otero Gallery, which opened this past Saturday.It’s a pretty symbolic time to be talking to the artist. In the months building up to this exhibition, he’s been at his most uninhibited self — relinquishing all control, trust-falling into his instincts, letting go and letting his hand run wild. Safety nets are for wimps.
Standing in front of his largest painting to date, a kaleidoscopic monolith of smoking owls, bearded men, shadowy figures, and horned creatures, the result is psychedelic and primitive, a hard earned reward for embracing pain rather than fearing it. Since it’s completion, he’s become addicted to making massive pieces. This particular one, entitled A Subtle Advertisement For Mind-Numbing Pain,is a microscopic peephole into what crosses his mind when he’s waiting in line at the DMV. Seriously, I’m afraid to ask what goes on in that brain of his when he’s trying to change an airline ticket.
The show’s title, Charge, came to Tim while he was trudging up a hiking trail. Upon reaching the summit, drained and exhausted, he decided to fully commit — to persevere and push forward through whatever “ridiculous” ideas dawned on him — no second guessing. He contemplated the word’s multiple meanings and its scientific origins, and after in depth analysis – he’s always “ping-ponging between strategy and chaos, thinking through things and making really spontaneous decisions” – resolved to put aside all the context and theory, and just focus on making work that felt true.
Since nature metaphors seem to be a recurring theme today, here’s another one to mull over. Tim shares an amusing but wise little morsel from a conversation between he and a gallerist friend a few years back. The two spoke about a river representing creativity. The river, with its refreshing running water, looks enticing. You want to submerge your whole body in it, but you’re scared, it’s cold. The challenge is to mentally prepare yourself for how freezing it’s going to be, specifically on the highly sensitive groin region. We have a bit of a laugh over this, but, well, um, the takeaway message is, “You just gotta get your balls wet,” and from there it gets easier. As he prepared for this show, resisting the habit to edit and censor, it’s this mantra he kept repeating. #ballsinthewater
Dimension-wise, this show is his biggest undertaking yet. The largest piece, the one with his brain on DMV, is comprised of several smaller canvases displayed adjacently, but created two at a time. Telling a cohesive narrative from these individual vignettes requires both technical mastery and gestures of faith; an attention to the minutia as well as an ability to calculate how the big picture will play out. It’s the most chaotic his work has ever been, but it’s the work he’s happiest with. “It’s completely satisfying.”
On this surface, his canvases are surreal, ominous, geometric and whimsical. You want to examine them for hours and the longer you stare the more time you feel you need. But its the backstories, the secrets that are sometimes invisible to the audience and only revealed to the artist, that make it invaluable.
Tim closes our conversation by recounting an anecdote about cave paintings from a BBC documentary he watched recently called How Art Made The World. Pointing to one of the darker, eerier works in the series, featuring three ghostly beings with empty eyes that follow you around the room, he tells me,”When you go into a trance, a grid pattern appears in your mind. Underneath this painting is a grid. You can see it coming through ever so slightly, but it’s mostly been painted over. These grids are how historians discovered that the cave paintings were really hallucinations. That’s why the animals all look so strange and distorted.” He continues, “I’m not tying to paint reality, I’m trying to paint the things that are creeping around the back of my head.”
Tim Biskup’s Charge is on view at the Martha Otero Gallery through November, with a number of interactive events scheduled in the interim. Be sure to check out his show, and when you do, stick your face and hands through the holes. Your participation is encouraged. And expected. Follow Tim Biskup on instagram @tbiskup. #allholesfilled
words by Jane Helpern
photos by Desiree Garcia
New York in the Fall is something else. Descending off the merciless summer humidity and just before the bite of the winter cold, there exists this perfect space of still life. The light is always at 80% brightness, which makes it ripe for photography, but also lends to the most serene social atmosphere. Everyone is super chill, happy zombie mode, vibing on PMA.
This is a really lovely photograph that I’ll never get any credit for because I’m just a “Streetwear designer!”
I actually really like the Margiela X Converse collaboration, but of course wish they were done in all black, which wouldn’t have made sense with Margiela’s stylings, which proves I can’t be trusted!
Yeah man, stumbled into Dave in front of the Kenny Scharf sculpture in Meatpacking. He’s filming a bit for Red Bull, and is pointing at the shop that originally inspired the “Dave’s Quality Meat” name.
This was my first time taking in the High Line, basically a mile-long stretch of totally Instagrammable moments.
I am just a Streetwear designer!
Speaking of IG, I posted this on mine and my Tumblr. It evoked a subtext of life and eternity, old age and love, faith in another in confronting an uncertain tomorrow. The only Comments I got were “I hope you skated that bench!”
There are just as many Citi Bikes as there are floating misinformation about them, it seems. If you don’t return them on time, you get docked a G-bone? They should have these but with skateboards. And unicycles.
Phoebe Lovatt is NOT stalking me (or the other way around. Swear.)
Most people go through life never really looking too closely at anything. Some don’t have the capacity to see, others just don’t have the desire to. In this world plagued by injustice and inequality, making the choice to stay aware isn’t always easy; so many turn a blind eye. Born in Mexico and raised in Los Angeles, Eyeone, member of the legendary LA crews Seeking Heaven and Second To None, has never been one to ignore what’s happening around him. He’s constantly observing and subverting, through art-based community activism, deriving inspiration from his surroundings and adding to the cultural conversation with his poignant and often political work.
While coming down Sunset, whether by way of public transportation, bicycle, skateboard or Prius, it’s likely you’ve slowed by his army of masked characters standing guard and keeping the peace. These signature figures, The Zapatistas, originated as a pro-bono commission for an international outreach campaign originated by the Mexican freedom-fighters — as icons charged with representing the different facets of their non-violent movement. From there the characters caught on, and were recently constructed in 3D for a collaboration with craftsmith, Le Human Being.
It was back in the 80′s, working as a graphic designer and doing flyers and album art for the hardcore and punk shows that he put on at a Latin American community center called Macondo Espacio Cultural – or The Macondo – that Eyeone got more serious about graffiti, meeting writers embedded in both scenes. There, he helped book the bands he loved, and cultivated a positive outlet for art, music, activism and community involvement; all still driving forces behind his more recent work, which deals with urban themes and how individuals interact with the city.
An impressively active artist, every time we cross paths at an opening (which is frequently) it seems he’s got a new project or gallery show to tell me about. After a stint as Art Director for Scion, Eyeone decided to put curating (mostly) on hold to focus on his own painting. That is, until he was invited to participate in a prestigious project with the Getty Research Center. Alongside greats like Axis, Defer, Cre8, Heaven, and Prime, Eyeone co-curated a comprehensive black book of LA’s most influential graffiti writers — a breathtaking mammoth of a hardcover entitled LA Liber Amicorum (Book Of Friends), which binds together 143 pieces from more than 150 artists. And that’s just barely the preliminary sketch, we still have to fill the rest in.
Eyeone’s work is both introspective and responsive to his environment. When he’s not being hired to paint a mural that comments on the history of anarchism and immigration in Mexico and LA for the National Institute of Anthropology and History in Mexico City (or what he refers to as a “perfect commission”), he’s working in his studio, documenting graffiti culture through photography, or compiling LOST, a quarterly publication chronicling the underground graffiti art circuit. His latest zine, still in progress, examines the connection between writers and music, and challenges the pervasive assumption that graffiti is predominantly a product of hip-hop culture.
Though he may not be out bombing walls like he used to (as far as you know), there are plenty of writers out there carrying the torch and leaving their mark. “That’s one of the most fascinating things about graffiti,” he tells me. “There are always people picking up a can or a marker for the first time. No matter how many of us get into The Getty or score big ad campaigns, there will always be those kids out there doing it raw, just because they feel the need to do it. A lot of what I document is that– the new letters and new writers that turn up. Things you’re not going to see in a gallery or in the MOCA just yet. That’s the magic of graffiti.”
Eyeone came up catching the bus around the streets of Echo park and Angeleno Heights, staring out the window admiring the writing of Neo and Mandoe from the MAK Crew and Krenz aka Yem from AM7 (obviously all names that pre-date me). He grew up on these streets, and so it’s these streets he’s proud to give back to. The circle of life, in a very vital circle. Given his involvement with The Getty, it’s impossible not to discuss how the public perception of street art is changing as historical institutions reward its legitimacy and give credit where it’s long been due. We share a laugh over a Yoga video he came across on YouTube, filmed using one of his murals on Sunset as the backdrop. If you really want to talk about gentrification and the diluting of deep cultural meaning, look no further.
“When you’re painting walls, often times it’s a wall that nobody gives a fuck about. It’s the people that are sleeping against these walls who are the first ones to give you input and say they like or hate what you’re doing. It’s like you’re engaging with a whole other community of people surviving against all odds.Whether you extract meaning from it or not, it’s beautiful to look at, and far more attractive than the decrepit trash pile that was there before it.”
You can find Eyeone Seeking Heaven, immortalized in The Getty Black Book (more from that project to come), or in a number of upcoming art shows, including Artcrank at Space1520 and Dia De Los Muertos at Plaza de La Raza. Follow him on Instagram.
words by Jane Helpern
photos by Rick Rodney
collages by Eyeone
Back in New York City! We’re here to celebrate the 3 year anniversary of The Hundreds New York, with the one and only DJ Premier at the DL. But this was our first day in the city…
Holding down THNY. It’s Mone and Chris, and Zachy Horndawg in the middle, horning it up.
Roald, the Gonz, and Aaron out on our bench in front. Mark was all, “The kids out in Cali love this shit!”
One sanpaku watching.
Nice surprise. Alex Spit in the city.
Ate my favorite sandwich in the world for lunch. Yes, even more than Bay Cities, Alidoro… if you dig around the site, you’ll probably figure out what it is.
Man, good to meet up with Phil from Dertbag. I’ve told you his story here before but this dude’s got it dialed. Real Streetwear. A real creative doing real, opinionated things. Where has the designer’s perspective gone? Where is the drive to be different, to go against, to question the mediocrity and then break the norm? It’s Dertbag. Leaders of the new school, followers of the old school.
I love NY. Just walking the city, ran into so many old friends, made new ones. Brooke Nipar, Cutie, Eddie Huang, Phoebe Lovatt, NA, Sophia Chang… and that’s just Day 1.
Our friends, SoCal hardcore band Strife, have released a new video for “Carry The Torch” (featured on our collaborative 7″), with guest appearances by Stick To Your Guns, H20, Sick of it All, and Alpha & Omega. Strife is currently playing a few East Coast tour dates on the road out to Tsunami Fest, so if you happen to reside in one of the cities where they’ll be stopping for a scream break, go and see our buddy Rick Rodney’s head bleed. Be sure to tell them hi from Bobby and Jane. If you don’t quite make it to Syracuse, you can still Witness A Rebirth in Santa Ana and Sacramento the first week of October. And now for the video:
I’m a ’90s teen so Jessica Alba was as important to my formative adolescence and college years as chatrooms, raves, and eyebrow piercings. But somewhere between Flipper and Sin City, Jess went from being the hottest babe on the planet to a friend, and then a celebrated wife and widely-respected mother – She also ended up igniting a revolution to improve the environment around both children and home. The name of that revolution was The Honest Company and it has become a global movement, a lifestyle and philosophy, and for many parents, somewhat of a personal religion.
The Honest Company is based in Santa Monica, California in a super design-y loft and warehouse space. The big key to everything you’re about to see is Jessica’s hands-on involvement, from aesthetic to functionality and company infrastructure.
We’ll get to the product design in a second, but aside from all their eco-friendly, healthful, and affordable homelife assortments, my favorite part of Honest is the design direction. From the color schemes to the type treatments to something as simple as the butterflies with perceived leaves as wings, the brand is unique in their respective space as it speaks of cleanliness, purity, and – well – honesty from start to finish.
The layout of the Honest offices is open and spacious, catering to a free-flowing of ideas I’m sure… but also lending itself to a company where everyone is on the same page, everyone has the same mission, and they’re all in it together: to provide babies and their families with only the best.
In fact, that’s Jessica’s desk right there in the middle of the floor:
This is the epicenter – from here, the company ripples outwards.
As a young mother, Jess was always focused and centered on only the finest and safest products for her babies. So when she met fellow parent Christopher Gavigan (former CEO of Healthy Child Healthy World) at his book release on the same subject matter, great minds thunk alike and The Honest Company was born.
In one of the back rooms, Christopher still holds onto the rudimentary models Jessica pieced together to aid in selling the concept to potential investors.
For example, here, Jess was imagining a diaper packaging with a window whereby the parent could see the patterns. Something so simple, but different enough to be ingenious. One of those “Why didn’t I think of that?” sorta moments.
Fast forward to today. This is The Honest Company. (See what I was talking about with the smart and relevant design sense? How effectively it falls in line with the brand’s personality? Makes you wonder why all home products aren’t updated with today’s parent in mind)
And see how far those diaper packages with the windows have come…
Even within Honest packaging, they are continuing to evolve and improve on the generations before. The bathroom cleaner on the right was the original model, but they are moving to the new-and-improved bottle on the left. Reminds me more of a mountain-spring drinking water than a chemical-based mildew cleaner, …which is exactly why I would gravitate towards it for a safe and environmentally sound household cleaner.
Anyways, that’s today’s lesson, folks. You might be wondering why I’m writing a feature on a baby and home product line for a Street Culture web magazine, so how about this… Good design can draw the difference between communicating your story effectively and having it fall on deaf ears. A good idea can easily get lost in the wrong art and aesthetic. Selling your goods comes not just by a salesman’s pitch, but in how the product speaks for itself. A picture is worth a thousand words, shout them loud and clear.
And here’s the other lesson. You don’t gotta be a Golden Globe-nominated actress to create and build a successful brand and company. You just have to see a need, you’ve gotta fight to see that need explained and solved, and you got to work hard at spreading your gospel to as many people who are willing to listen as possible. And then one day you can have something like Honest — or The Hundreds — and it all started because you believed in something so deeply, that no one else in the world could ignore it.
Ben and I paid a little visit to VICE‘s new offices in Venice this morning…
Once everyone’s favorite magazine to everyone’s favorite web videos, HBO has taken VICE into the mainstream stratosphere, broadcasting their perspective on youth culture and news worldwide.
P.S. Speaking of Dave Choe, he’s hosting this next season of VICE.
This VICE West Coast base is just a few months old, so they’re still figuring things out. Here are some of the editing bays that will go towards stitching together all the content…
Editing bays on editing bays…
This particular space will eventually become a bar hang spot…
…which will open up a theater in the back.
From music to photography, fashion to politics, this next chapter of VICE has got all the bases covered. This is the new world order of media.
The Hundreds isn’t the only company celebrating a decade in this finicky business. The talented dirt bags over at HUF rang in their 10 year with hydration provided by Vitamin Water and salivation courtesy of Chef E-Dubble. Keith Hufnagel’s blaze-child certainly needs no introduction, as HUF continues to be one of the most original and nonconformist in the industry. And no, those socks aren’t hurting things either. Head over to V/SUAL for Van’s coverage of the #DBC shindig. Here’s to another decade of saying “Fuck it.”
So I was like, “Okay. I’m on the road anyways, be there in 20 minutes. I’ll stop by to chill.’”
And so I get there and Matt is talking to me about his next big project, which launches in a few weeks, and I interrupt him, “Hey, who’s on the podcast today?”
And Matt says, “Umm.. It might be just you.”
And I’m like, “Ha. I’m not gonna be on DVDASA, the #1-rated Health podcast on iTunes (at one point in time. As in, a single point in time.).”
The beautiful Asa Akira walks in the room. “Hey Bobby!” Warm, sweet-smelling embrace. “Ready for the show?”
“Oh, nah. I’m not going on!”
“What do you mean you’re not going on?” Dave peeks his head from the hallway. “Come on, we’re about to start.”
So I’m one of the featured guests on tonight’s podcast, which airs sometime soon, I think. Money Mark is next to me. Man, this guy’s been my hero forever.
All the DVDASA regulars are here. Critter’s on the beanbag behind me, taunting Dave and being white.
I hope you’ve listened to this podcast before. It was rated #1 in Health on iTunes one day, someday. But it’s hilarious. And it goes on for hours. Today we discussed everything from Filipinos to extramarital affairs, sad sex and cubic zirconia rings and sex and Filipinos and Filipino sex. Also, I never realized how fun and personable Asa is because I’m usually distracted by Dave’s spotlight-hogging and oh, porn. But yeah. She’s the best.
Heather Leather is on my other side. Speaking of stealing the spotlight.
But then she lost the closing round of “Bobby Trivia” and had to smell his thumb, which he rubbed behind his ear. So basically she smelled behind his ear. And almost gagged and screamed something about cheese.
Soooo what did you do today?
The Shadow Conspiracy, brainchild of Ronnie Bonner (Sparky’s Distribution & Subrosa), emerged onto the BMX scene hardly over a decade ago, but in a short time has blossomed into one of the most thriving, institutionalized names in BMX for the brand’s painstaking attention to detail, patented Interlock V2 BMX Chain, and collaborations with notable industry contemporaries, including the likes of Invisible:Man, DUB, Vans, Lotek and Stay Strong.
Ronnie is a legend to the game and our partnership (or better yet, friendship) with the prevailing BMX grandmaster begins at just about the inception of both brands, around the time when we were just getting on our feet. Truth be told, the story begins even further back than that, when our very own Bobby Hundreds and Shadow’s Ronnie Bonner used to ride bikes and hang out together besides LA’s OG bike crew, Casual Suspects.
The idea to collaborate with The Shadow Conspiracy has long been sprouting in our minds, and Shadows’ alike. This project was a long time in the works (ten years to be exact), but the end result bore something beyond either’s wildest expectations.
What was the catalyst behind the The Hundreds X Shadow Conspiracy collection?
Patrick Hill (The Hundreds): The inspiration from the beginning was always to pay homage to vintage BMX, but at the same time showcase what the new scene in BMX is, which is like… it’s my favorite thing about BMX right now. The new style of BMX is so rad. It’s like a ton of Hesher kids. BMX still has an edge – it’s still tough, it’s still in the streets. So the main inspiration was to kind of pay homage, but at the same time have a modern take on it. The bike has an old school color theme, but it’s a very technically advanced bike. So we tried to match that in the apparel, too. The jersey, for instance, is a really old school jersey design, but it’s made out of a coolmax mesh, so it’s wicking fabric that won’t smell and will keep you cool.
Ronnie B. (The Shadow Conspiracy): This bike is one that any top pro can jump on right now and shred, and that was super important. This is not a fashion bike project. It’s not a 24″. It’s not a 29″. It’s a 20” BMX bike, and that is what we at Shadow wanted to showcase in this project – true BMX.
Scotty Litel (The Hundreds):As Pat had mentioned, the driving force for this bike was to pay homage to vintage BMX while working on a modern canvas (Shadow parts). Having the opportunity to build a 20” bike from the ground up with a progressive and respected brand such as The Shadow Conspiracy has been a dream come true. With such a great mutual respect for each others’ brands, and a long-standing friendship, it only made sense to create a project built around respect and friendship.
Ronnie B:For this project, We wanted this frame to be custom made so it could become the canvas for the Hundreds art and to showcase our parts. So we actually went in and made a frame, a fork, and other parts for this bike so this could be a true, one-of-a-kind project. I think the whole theme of this is friendship, and craftsmanship.
Scotty Litel: We knew that working with Shadow was going to give us the ability to do things that we haven’t had with previous collaborations, especially on bikes. And going in there and working with somebody that cares as much as Ronnie and the whole Shadow crew is really important to us. It’s really important for us to see that somebody else is as stoked on a project as we are. And it makes it such a true collaboration. We worked very hard all the way through, with attention to detail being paid every part of the way.
Tell us about the relationship between The Hundreds and Shadow Conspiracy.
Ronnie B:This project was not born by a marketing focus group telling us what the hot new trend was going to be. This was born and built on people with like interests crossing paths for over a decade, and through conversation and hanging out, a project emerged.
Scotty Litel: The relationship between The Hundreds and The Shadow Conspiracy began when both brands were born. Both The Hundreds and The Shadow Conspiracy share similar brand morals and beliefs, and we always knew that one day we would work on a project together when the timing was right. Both brands have a great amount of respect for each other, and this has made this collaboration truly a unique situation.
Ronnie B: Both brands have know each brand from day one. Its crazy thinking about when I was at the Rosewood store back when it was the office. I remember him [Scotty] sitting at his desk thinking, “This space is awesome.” I understand what The Hundreds is and The Hundreds understands what Shadow is.
Scotty Litel: One of the big things that really attracted us to Shadow was just the difference between the brand and some of these giant companies that don’t understand what the lifestyle is or what the culture is. People that really eat, shit, sleep and breathe it – that’s Shadow Conspiracy. That’s something in our world. That’s what we do. And we want to work with people that have the same passion for what they do in their respective industries and with their respective products. That’s also why this partnership works so well – that is, it is a very organic element. That mutual line of respect is so high for both of us.
What was your favorite part of the collaboration?
Scotty Litel:My favorite part of this project was seeing the first sample, but really my favorite part of this project has been working with Ronnie and having the opportunity to build an even stronger relationship with The Shadow Conspiracy. I have such a great deal of respect for Ron and his crew, and it’s a rarity these days to actually work on a collaboration with someone who cares about not only the final product, but also the entire process that goes into creating a project of this magnitude.
Ronnie B: My favorite part is probably the Seat stay bridge. This bridge took an hour to machine. Details like this show how much we all care!
Available at The Hundreds’ flagship locations (THLA, THSF, THNY and THSM) and authorized stockists on Thursday, September 19th, 2013; and The Hundreds’ Online Shop the following Monday, September 23rd, 2013.
words by Olivia Stiglich
photos by The Shadow Conspiracy
The Beast of the East meets the Best of the West.
Joey Badass– hot off the tails of Rock the Bells — stops by The Hundreds Homebase.
You know Ben and I’ve been an advocate of Joey’s from the get, blindly supporting his music before our paths even crossed. What you maybe didn’t know is the feeling’s been mutual, as Joey and the Pro Era unit have been down with The Hundreds for years. From dropping “Hundreds jeans” in songs to wearing the Charlie pullover in his upcoming music video. Joey geeks on our rare Supermax collaboration bandana that was offered with our first issue of The Hundreds Magazine. He takes my last one…
See no evil.
And then literally stumbles on my vintage Rebel XT, which is just sitting on the ground because I’m brainless. This is the first digital SLR that captured the early years of The Hundreds’ blog. Holding a piece of history, Joey was like, “You gotta put this in a case!”
Strength in numbers. Also with Statik Selektah and and Kirk Knight..! PRO ERA.
Not the last you’ve heard of The Hundreds and Joey…
Here’s a quick recap of Friday night’s group illustration show at Slow Culture, up for the next few weeks and featuring surprise pop-up shops throughout its duration. Scroll down for cameos by a very sleepy Benjie Escobar (below), and mug shots from the other artists who weren’t overwhelmed by the crowd and/or missing in action.
An unseasonably warm San Francisco afternoon… Summer’s finally here!
First stop over at one our favorite skate shops in the world – and arguably the best in SF -FTC.
Good to see our fam, Tunz, behind the counter. Don’t mess with this kid!
The good ol’ days…
Right on the corner of Haight and Ashbury is RVCA, who has a great window display up right now:
And down the street are the TRUE shops, one of which is dedicated to a Staple pop-up for the time being:
You’ll see us right on the counter:
TRUE has been our loyal SF stockist since the get.
I love Super 7 because it’s like my entire life story : hardcore, Star Wars, skate… this poster pretty much sums it up.
Also checked in on Black Scalebut your boy rushed me and said “NO PHOTOS!”, what’s up with that Mega/Alfred??
Over to maybe our favorite shop in the city outside of our own, Benny Gold, which is proudly promoting its Jansport X Pendleton collaboration:
Lunched next door at the Monk’s Kettle with Hiromi and Ben Gold:
They say the coldest winters are summers in San Francisco, but not today. SF LOVE.
Zach Cordner has seen it all, and we mean that quite literally. In his almost two decades shooting professionally, he’s snapped the portraits of a good portion of Hip-Hop and Hollywood’s elite, and he’s got the stories (and memories) to prove it. To be fair, what he does can’t be categorized as “snapping.” That makes it sound too easy. In this age of digital crutches, photoshop and insta-filtering, Zach is old-school. Meticulous. A self-confessed perfectionist. He lights everything through the lens and does minimal post work. No smoke and mirrors or cheap magic tricks. What he sees is what you get.
We’ve featured celebrity photographer Zach Cordner on the blog before. In fact, you may remember, The Hundreds hosted his first solo photo show and pop-up shop at our Rosewood Gallery back in 2011. Zach and Bobby go back almost twenty years — to a dorkier time when they were both just straightedge kids united by a love of skateboarding and hardcore music. At one point, Bobby was actually Zach’s photo assistant for one of his first big gigs atRolling Stone Magazine (although Bobby’s effectiveness in this department may or may not have been hindered by his attention deficit). Like we said, the man with the cam has stories, others of which involve declining a prestigious offer to be the White House Photography Intern in favor of taking a position as Transworld Photo Editor, being the youngest member accepted into an Eddie Adams Workshop at just 19, and getting his first contact high trying to get “the shot” while Method Man and Redman bogarted many a blunt.
We could go on and on about Cordner’s star-studded portfolio, but to do so would take longer than reciting a list of all prior Grammy and Oscar winners (at least from the last ten years). To put his status into perspective, he was the only photographer to be personally invited on stage to shoot Jay-Z’s performance at Coachella (an event which he’s been shooting for the last 13 years). Which brings us to our next point.
TONIGHT, our good friend, the acclaimed Zach Cordner, will be having a photo show at Ironlak in Los Angeles. The exhibition will feature predominantly hip-hop, street culture, and music photography, and the prints, t-shirts and posters will be priced affordably. For just $175 you can own a print of rapper T.I. taken one week before he was arrested for gun possession. This also just happens to be one of our favorite photos in the show, from the content to the color and composition, it’s a perfectly captured image. One that you’ll have to go and see for yourself.
We hope to see you all tonight to check out some iconic moments in Hip-Hop and music history. We caught up with Zach during yesterday’s install for a preview of what’s in store for tonight. Zach dedicates this show to his late aunt Linda, who was a huge supporter of his photography career.
Ironlak is located at 5125 Hollywood Blvd, Hollywood, CA 90027,(323) 284-8510
words by Jane Helpern
photos by Zach Marshall
This dude is an L.A. treasure. Consistently consistent.
I can’t call them “fans” because we’re not celebrities. They’re not “customers” because it’s not just a business transaction. I guess the closest word I can think of is “family.”
Thank you to all our brothers and sisters who came out to The Hundreds San Francisco this afternoon to say Hi…
Living in LA, we spend a significant percent of our days commuting from place to place, staring out the window in dead stop traffic, admiring the colorful lettering plastered across walls and alleyways as we try to avoid contracting road rage and a ticket for obsessively checking the Instagram feed. With so much scenery rife with politics and history sprayed right in our own backyard, just driving from A to B can be more of a tutorial than visiting an art gallery. If you know what you’re looking at. That’s where the Getty Research Institute and their rare books curator David Brafman come in.
LA liber Amicorum (Book of Friends), more popularly known as the Getty Graffiti Black Book, is the beautifully-bound brainchild of avid street art collector, Ed Sweeney, featuring more than 142 original pieces from 150 of LA’s legendary graffiti and tattoo artists, including Angst, Axis (featured on the book’s first page pictured below), Big Sleeps, Chaz, Cre8, Defer, Esteven Oriol, EyeOne, Fishe, Heaven, Hyde, Look, ManOne, and Prime (to name a few). “Some of the artists were from rival tagging crews and weren’t willing to be in the same room together; they were willing, however, to have their work bound together into the Getty Graffiti Black Book,” says curator David Brafman. After years of collecting within the genre, educating himself on subculture’s most influential artists, Sweeney was struck with the groundbreaking idea to build upon the traditional graffiti black book — the graffiti artist’s sacred bible — and turn it into a large-scale, comprehensive “Black Book” of 21st century Los Angeles streetwriters. A merging of mediums that was, up until now, unprecedented.
To begin this ambitious project, David, Ed, and GRI’s head curator Marcia, invited LA’s foremost tattoo and graffiti artists to visit the Getty Research Institute to discuss would-be plans for the future project. For inspiration, the group scanned the vault’s collection of rarebooks from the 1500s to 1700s — a holy grail documenting type design and Renaissance calligraphy — the roots of modern day lettering and typography, without which programs like Illustrator and InDesign would be null and void.
This past weekend, the Getty Research Institute held a private viewing of the book, reserved for the contributing artists, their proud families, and other involved parties. We were honored to be welcomed into the room to observe the landmark moment when many of these longtime writers would see their life’s work and passion immortalized in hard cover, and recognized as a legitimate and historically relevant art form for the very first time. Brafman thumbed through the book page by page — inviting each artist to speak on his or her piece (only three female artists are featured in the book, and none were present the day we visited). Many of them touched on the importance of leaving a legacy behind, and many more were moved to tears by this momentous occasion. In the streets, there may be beef, but in this room, it was all about celebration, peace, and celebrating these pieces. Fore a more detailed account of the book and participating artists, visit The Getty Research Institute. You can read Brafman’s comprehensive blog post about the project here.
Steven Arroyo is in “the business of putting asses in seats,” an amusingly unglamorous truth that only partially portrays his fixation with chairs, 99 of which hang from the ceiling of Potato Chips, Arroyo’s popular Los Angeles sandwich shop. The other contributing factor is laziness, he jokes flatly– a self-proclaimed morning person, he’s obviously anything but. It’s early, before 10 AM, and Steven Arroyo is burning sage and dragging on an American Spirit cigarette. On a typical weekend, he’d already be maneuvering the flea market circuit, bargaining over old furniture, which he would then upon acquisition (and much to the dismay of the vendor) kick holes through, “adding character.”
“I needed a collection of things with history,” he says of that particular incident, adding, “I want to build something that’s timeless, where you walk in and you feel like it’s been there 50 or 60 years.”
I arrive 20 minutes late for our meeting, but I imagine it doesn’t matter much, because in my head he’s already been awake since dawn, watching the sun rise through the infinite horizon of windows that frame the loft like a halo. I arrive at his warehouse and follow a voice up a staircase into a colossal raw rectangle constructed from glass, steel and concrete. The room extends for what seems like miles, vast and empty, except for one potted houseplant, and — yes, you guessed it — two chairs, one for me and one for him. Enter the Glass Onion, Steven Arroyo’s soon-to-be sprawling industrial residence/gallery space/photo studio, available for events and day rentals, located on the cusp of Downtown LA.
On acquiring this bare bones domicile in dire need of a little TLC, he tells me (nonchalantly as if deciding between ordering the chicken or fish for dinner (which, come to think of it, for a man in his line of work, is no small matter), “I’d been living in this plush apartment for a while and I just wanted a change. I saw this building, and I thought, ‘Ok, that’s obnoxious to be living in a 4100 sq. ft. place, how can I incorporate a business element to this?’ I saw the space and the incredible light, and it just screamed ‘photo studio.’ I think southern light is really important to photographers, and we had it. So here we are.” Arroyo has lofty plans for the renovation, including a cyc wall for shooting, and a claw foot tub, for–well–soaking it all in.
A seasoning veteran, the mover and shaker with the salt and pepper stubble, ruddy complexion, and eccentric fashion sense (white jeans and leather mandals over mustard yellow socks today), is as much an institution as are his ambient dining establishments. After coming on the food and beverage scene in ’95 with a little bistro called Boxer, Arroyo has since rolled out (renamed, sold, and shut down) a handful of hotspots, most notably Cobras & Matadors, Church & State, and Malo. These days, he’s still king of the block where it all began. With two restaurants (Escuela Taquería and Potato Chips) and one curated concept shop (Pigeon) all confined within a walkable radius, he poses a dangerously convenient threat for those of us who are powerless over beef and pickle tacos, handmade ceramics and woven blankets (I’ve heard there’s a group of people who meet for that on Melrose).
Though rightfully regaled as a proprietor of eateries, Steven Arroyo has an eye as discerning as his tastebuds. A curator, collector, treasure hunter, and self-taught interior designer, he’s singlehandedly responsible for the modern vintage vibes that have become his trademark (He doesn’t believe in hiring “designer designers” because “their vision gets in the way of what it’s supposed to be, which is just a restaurant”). All of his businesses, however different, are branded with that distinct Arroyo thumbprint, a slightly lived in quality indicated by striped, hand-painted signs, charmingly chipped tile (“I love the life on it”), and an assortment of knick-knacks haphazardly mismatched to create a Portland, Oregon-visits-Marfa, Texas kind of environment. Picture log cabins, fire pits, cacti, and the smell of cedar incense, and something delicious cooking on the wood-burning stove.
On the importance of remaining consistent (but never redundant) throughout all that he does, he compares his restaurants to an outfit he puts on in the morning and feels comfortable wearing all day. He elaborates, “You’ll notice, with my designs, there’s a lot of repetition. When you speak of the chairs, you might be speaking of the 99 that hang from the ceiling [in Potato Chips]. Not all of them are the same, but they’re in the same genre. When I see all of those in repetition, it pleases my eye. It’s the same with the shoes [in Escuela]. Hanging one shoe could be an ode to a drug dealer–that’s where he sells his drugs–but to hang almost 900, it becomes an installation. Twenty months ago, no one cared about something as common as a shoe last. Now, I’ll go on Instagram to see what’s going on with Escuela, and there are 1000 pictures of the ceiling. It’s flattering. It’s all about repetition. That’s why this space is really important to me, because of the repetition of the windows. It’s about building a collection. All of the sudden I had this collection of windows that came with the price of admission. For me, I focus in on something, and I can see the big picture, and I think the big picture looks better when you’re seeing things from different angles. It’s a better study.”
Arroyo, an avid collector of pottery and photography, has long been a patron of the local fine art scene. At Pigeon, he recently curated a collage of images by Gregory Boroquez, an East LA photographer whose work became well-known after he stumbled into a Hollywood shootout between a gunman and the police, pressing his own camera trigger while the gunman was shot dead to the ground. No stranger to creative celebrity, his restaurant regulars include the likes of Scott Caan and Curtis Kulig, to name a few. Given Arroyo’s sharp eye and distinguished sense of style, which has already, and will continue to, endure the test of trend and time, we expect this next step to be as smooth and seamless as the backdrop of the Glass Onion photoshoot set. Here in Los Angeles, there is no shortage of critically-acclaimed places to devour tacos and tapas, but that has never stopped us from crossing town to snag a table at one of Arroyo’s spots. Glass Onion is currently undergoing a major makeover, but will be camera ready by October. If history is any indication, you should start scheduling your photo shoots early. Like now. Follow Steven Arroyo on Instagram here.
Our collaboration with CLOT is fast approaching, so to encapsulate the project and its theme (East meets West), we pulled off a photoshoot down in Yorba Linda today in probably the most “American” setting we could find. Thanks to Rick Rodney for shooting, Edison Chen and KP of CLOT for participating, and Misa Campo for modeling. The results should be here shortly…! #MADEINCHINA
The last time we caught up with our friend Jon Buscemi – over a year and a half ago – he was still behind-the-scenes at Gourmet Footwear. Since that time, there was a bit of a shake-up and Jon parted ways with the brand he helped nurture and create. Fast forward to earlier this month, Buscemi unveiled his latest project, GREATS – an online, direct-to-consumer shoe company whose vertical approach is not unlike that of Warby Parker’s eyewear distribution. The idea is that GREATS will never be wholesaled and will stand for quality footwear constructed of the most premium materials, while sold at a more tolerable price-point because the middleman is exed out.
I sat down with Jon in his Hollywood office to talk about his final bow at Gourmet, what sets GREATS apart, and what’s next for the visionary shoe brand.
video by Joey Graziano
Contrary to popular belief, I don’t wear jewelry. I can barely deal with a watch on my wrist. But our jeweler Kia (Stein Diamonds) can occasionally lure me downtown to see what kind of heat he’s been packing. Like this million-dollar watch. Literally. Time is money. (Figuratively).
Nice trio of Rollies:
More where that came from:
These are much more my speed. Vintage Pateks:
And this is way too fast for me. 35-karat fancy intense yellow diamond, sitting at somewhere around $2.5 million USD:
This fancy blue diamond is flawless, hovering around one and a half million dollars:
Nick, here’s your next t-shirt!