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:   ·· DIE KRANKEN BOMBER 07/JUN/1998 ··   :
|                                          |
|  [AC] ATOMEone (TFP/IBS) Interview [AC]  |
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           |_________________|                    · diE kRANKEN bOMBER 1998


Heyho Whats up Writers/Freaks/Asciiers/whoeveryou are dudies ...you are now 
viewing the new DKB release! its about an ARTCRIMES Interview with ATOME of
IBS & TFP * Well just check it out and wait for the upcoming releases ...
this is our 43rd release since birth ...well have fun at all! and keep
the trains rocked ... 
------------------------------------------------------------------------------
Hello my friends * I have to notice you that I haven't made this interview
i just typed it in for the digitialized graffiti sceners * i got it from
ARTCRiMES (http://www.graffiti.org) just click the INTERVIEW bottom and
check the interview (with photos!) i did not rip the photos too! Cause
rippin photos is real bad! thanks for your support         <sANE2/dKB/sOiA>

AC: ArtCrimes
AE: AtomeOne/TFP&IBS
------------------------------------------------------------------------------

AC: You've been writing since you were ** or so? What's kept you enthusiastic
about painting? How did you get started so young? 

AE: I caught the train to school everyday. Started doing something without even
knowing exactly what it was that I was doing. I continued and then suddenly
realised what was happening around me. At first it was all a personal little
amusement thing on the way to school and then suddenly it exploded. 

Anyone will tell you, the developing and discovery stages of anything are the
most exciting. In writing, striving to achieve a certain level and then
maintaining that level is what keeps you on your toes. 

Admittedly it has been the ability to continually travel and share more and
more fun times that keeps me going. Sometimes I reach a point where the 1 or 2
junkies that I continually have problems with in Sydney make me stop and
question the value of being involved. If it weren't for the people who surround
me, and those who are close to me overseas, maybe I would have stopped along
time ago. 

AC: How long have you lived in Australia? 

AE: Far Too long. 

AC: Has it been beneficial to come up outside of the US and the US Influences?
 
AE: Yeah most definitely. 

Beatstreet, Subway Art, Style Wars and Spraycan Art reached Australia and
fueled a fire that was already burning. With that, thousands of more kids
started bombin'. 

You must remember that, apart from the above and a few movies that showed
pieces in the background, Australian writers had no other exposure. There were
no gallery shows. There was no physical contact with any New York writers.

This in turn caused a bigger need to create and innovate. By the time Phase2
and Daze got here, they were well surprised at the level reached in Australia.
The better writers were far more innovative than others outside of New York.
There was real innovation going on. It was clear and obvious that Australian
writers were achieving more in terms of styles. Some of which, believe it or
not, have also been big influences to some of Europe's BIG NAMES.

AC: What's it like for writers in Sydney? 

AE: It's pretty much the same as elsewhere, in that most of society hates it.
It's a combination of them not understanding it, mixed with the usual media
propaganda. That's not to say that it deters writers from doing the do, it just
makes it a little more stressful at times. Along with that, you have the usual
problems -- graf politics, crossing out pieces, beef, and all that other shit
which ultimately just breaks everyone down. 

After the Vandal Squad disbanded in late 1996, more and more kids have been
getting out there and destroying shit. 1997 saw the most graf on trains in
Sydney in a long long time. Shit is running. It's dope. A lot of younger kids
are just going ballistic. Dream, Kink & the Rek Crew, Clue etc. etc.

So far this year, it's all just escalated a little more, with more trains being
bombed, more writers emerging, and all in all just a lot more pieces. 
 
AC: What do you think about the hip-hop scene in Australia? Any good music
coming out of there these days? 

AE: There is a lot of good Hip-Hop in Australia. It just doesn't get out there
-- outside of Australia that is. 

The other usual problem is that those who are given the opportunity to voice
their opinions and represent - are usually just monkeys. I mean that's the case
here in Sydney. The music side of this culture is misrepresented by people who
want to be down as opposed to the people who are down. 

It's wack in the sense that these people doing all the talking are not Hip Hop
heads. They are merely using the tool of Hip hop (or Rap) to send their
messages. Meanwhile the real B.Boys end up trying to Re-explain that the
opinions and attitudes expressed by that certain CULT Group are not any
indication of where Hip hop is In Australia -- let alone Sydney. 

AC: What's up with trains there? 

AE: Trains will always be the jewels in the chest. Everywhere. Regardless of
time and conditions, I think they have been, and to an extent will always hold
the true essence of writing. It will always be possible to do a train sometime
somewhere. Yeah definitely the authorities are always scheming on anti-
vandalism tactics, but just look at New York and the old saying of "where
there's a will -- there's a way" becomes very much apparent. 

Here in Australia, it has been very much the same as elsewhere. There were big
boom periods where a lot of trains were being done, high-quality pieces and a
lot of them. Right now in Sydney, there is massive surge by the up-and-coming
writers of today to demolish the system. 

They are doing A LOT. 

Personally nothing beats painting a train. Nothing in writing that is. To be in
a yard surrounded by steel, painting in the darkness with a thousand emotions
running through your body is an experience in itself. How I wish we could all
stay young for longer.....

As for freights... people in Sydney do paint them, but by no means are they as
big a deal as in the U.S. I guess here they're just another alternate surface
as opposed to a scene within a scene. They're definitely not trains though.
Never have been never will be. 

AC: How important are trains now? 

AE: As you get older in you definitely become a lot more morally aware. There
become a whole lot of issues that are always on the tip of peoples tongues.
Especially when you step into the public arena. 

My answer to all of that is a (very) general one: the trains are the sacrifice.
They were back in New York, and they will be and to an extent have been -
everywhere else. 

The trains allow for total and ultimate freedom of expression. As crazy as that
may seem considering the extremes that some go to, not to mention penalties
associated with getting busted. 

Personally I see the painting of trains as being the test, the educator, and
the experience within the experience. There are times when the excitement and
the real feeling of being a visual terrorist are so strong that you just crave
for nightfall, you know. And then, there are those times of real near-death
experiences -- which cause you to question everything -- its worth - your worth
-- the whole thing. 

But again, I wouldn't change it at all. painting trains is such an important
part of the culture for so many reasons other than being hardcore and or being
"up". 

In many ways the trains are where you put your skills to the test, break
society's rules and laws, and reach an understanding of what it is really like
to be writer. 

AC: While you're younger you roll with a variety of people for the impact of
getting up or whatever. It's cool and it's so much fun getting together with
other writers from all over the city.

AE: Now it's totally different. The fun is and always will be there, but we
(IBS) are like family. We have a respect for each other as people. It goes
much
deeper than just painting associates, you know. Mentally we're on the same
levels. The painting might have originally brought us together but over the
years you experience a lot of what life dishes out and you're there for each
other.

As for TFP, it's a lot the same. When we hook up with each other in some
crazy
city, we're just friends who also happen to be tourists having our own kind
of
fun. Yeah sure our idea of fun includes a few other extracurricular
activities,
but like Redman says... "If you see a bag of weed lying on the floor -- what
the **** you gonna do?"

AC: You travel a lot. How do you manage it?

AE: I work -- non-graf related work. It's simple. As much as writing is a
big
part of my life, it certainly doesn't pay the bills. But at the same time,
that's by choice. For me it's about the experience and experiences shared
while
out there. This is my escape from the ins and outs of everyday living.

Pimping yourself is compromising the ethics of our culture. Yeah sure it's a
fine line between making a living and being a gallery slut, and there are
definitely a lot of people at both ends of the spectrum. So to avoid that
whole
nonsense, I just avoid "it" to begin with. I mean I have been involved with
legal jobs and have also had a few things exhibited, but I'm definitely not
painting shit just for the money and or doing gallery shows so I can enter
the
gallery to my resume............ like some we all know.............

I guess in many ways it does get complicated, but again it's up to the
individual. I have seen pieces in galleries that have been raw -- almost
like
they were actually peeled from a wall or train. And on the other hand I've
seen
stuff that makes me laugh. I mean good artwork but definitely not piecing.

AC: Where's the best spot you ever painted? Where do you like to go and why?

AE: I don't really have any one particular place. There are a whole lot of
places that hold deep memories... some we didn't even get to finish but the
company, the surroundings, the mission, all of it adds to the experience.

Still there are always going to be spots like those big bad yards in the
Bronx
.... The hills and cows in Bavaria, those lovely young ladies in
Amsterdam.....

Mmmmm I guess as a whole...Europe for the painting fix and New York for the
vibes.

AC: Is battling important anymore?

AE: If it's constructive then yeah of course. If people are racing each
other
for a line or shit like that then yeah go for it. But when it's just there
for
bullshit, well why bother.

I really doubt any opinions are going to change on the strength or weakness
of
one piece. Consistency is what it is about! Most people just don't realize
it.

AC: Your style is highly developed and unique. What is it that you're most
concentrating on in your own style now? ? Are you in an experimental phase
or
a refinement phase?

AE: Basically just pushing it... bending and shaping the letters infinitely.
Keeping the skeleton visible to some degree, but yeah, just pushing it...

Of late I feel I have been getting closer to being more satisfied with what
I'm
doing. I'm trying to create a style of fills that matches the style of the
letters. Over the last few years I've been trying to reach a level of style
that is timeless. Timeless in that you can look at the piece a year or even 5
years later, and it still holds tight. I think DeroTFA mastered his shit to
this exact level.

I've actually even started drawing my sketches with lead pencil for the
first
time in about 5 years, along with actually drawing in a book. That's kind of
new for me - really strange in a way.... But good though.... I am kind of
surprising myself (to an extent).

I've never been one to sit down and draw with colour markers and that whole
blackbook thing. Even now it's just pen or text. I mean it's cool to see
some
of the books and drawings out there, but again for me personally I've always
preferred to be out there painting instead. As of late, refinement is one
way
of putting it... being back in the lab is another.

The thing with pencil is that you can forever be rubbing things out... kind
of
sucks in a way.... I just seem to find that I lose too much of the
spontaneity
of drawing. In another light though, it's a new technique of drawing that
even
by its appearance changes the overall look of the finished sketch. Again
giving
me another perspective and ideas in relation to executing the piece.

AC: I notice that most of your angles between straight lines are 90 degrees
or
45 degrees. Are these just the angles you feel are right or do you have
another
reason to do it that way?

AE: I really have had no conscious thought about them while sketching....
It's
kind of weird because at certain times while drawing "A" I actually think of
B.Boy stances and bone constructions... how they would look bent this way
and
that way.....

AC: What does it take for you to feel you've done a really good piece ?

AE: I don't know. Sometimes you just have a really good feeling ..... other
times I'm spending so much time goofing around enjoying the day that I do
end
up losing a little concentration on what I am doing.

It's weird, half of the time I'm not really too satisfied with what I have
just
done. It's several weeks or months later when I come across the photo that I
actually take the time to look at it closely and try and work out what it
was
that I was trying to do on the day....

AC: Who do you think was the greatest influence on your style? Is there some
Case2 in there somewhere?

AE: It's more like Case2's mentality than his style that influenced me. I
was
already of the feeling that this was something that "we" did. It wasn't for
the
adults to control or to even understand.

With that...it was definitely guys like Case2, Nok, Mitch77, Dondi and a few
others who confirmed those thoughts. Their pieces were like the ultimate
language that unless you were a writer you would have no idea... they were
just
crazy shapes that constructed together formed letters....and messages.

That's not to say I jumped straight into wild style, My first piece was
actually a small block letter "funk" piece, and amazingly it's still up
today.
Very faded but still there.

At first I was much more into bombing. Piecing was too easy. There was a
layup
right behind where I lived, so it was just easy to paint. Getting up was
what
it was all about. And getting up with mad tags. Clouds, stars, numbers, the
whole thing.... It was ultimately the crew (the original IBS) that
encouraged
me to get into piecing regularly. That was about late 85. By then I had only
done about 30 pieces and most were either smallish or on trains, so there
was
no real study of style going on.... After some time I just moved more into
concentrating on letters. Using what I had learnt in tags and throwups and
just
adding things to the letters and so on.

AC: You've said that there's a lack of originality in the writing of today.
What's holding writers back? Has it just all been done?

AE: Well yes and no. I mean guys like Delta and Sento (for example) are just
amazing letter creators of the modern age. But for every one Delta piece,
there
are 100 cheap imitations. That's where I think the lack or originality comes
into it.....

It's almost all right to fully bite an established writer's style. You know...
They just say, "he is my influence".

It's wack. I mean, what people don't understand is that in order to innovate
and or create, you have to have a complete understanding of the subject.
It's
easy to take a portion and just reproduce it over and over until you master
it
and ultimately get "known" for it. It's easy to Paint a 3d style when you
have
20 shades of one colour enabling you to get the most exotic effect
imaginable.

Most writers who started in the last 5 years have started with the aid of
mags,
flicks, videos, and or computers, which of course is normal to a certain
degree

However, I do wonder how many of them can do fresh tags.... fresh throw
ups...
simple letters, etc., etc., and that too includes some of the so called "big
names" Through that, you really can tell if someone has got that real
writer's
blood, or if they are merely artistically inclined and are simply here for
the
cheap fame. Don't be fooled by all that big colorful rah rah shit. That's
just
technique disguised as style.

AC: There's a lot of discussion these days about technique vs. style. What
are
some of your thoughts on this? How or when does technique overwhelm style?

AE: Technique will never burn style. That's like saying a clean blockbuster
will burn a fully original piece with drips. Never going to happen.
Technique
is the means to an end.

Style is what you should be trying to achieve. You know, you can paint and
paint and paint .... Have mad skills, be technically crisp... but if you are
just chomping someone else shit - what's the point.

AC: How can true style be cultivated? Who's got it?

AE: Through my experience, those out there who I believe have the dopest
styles
have the ability to pull off the funk with all elements of writing.

Sento TFP is one of the best examples of this. If you look back to the
bombed
NYC subways and follow his progression, you will see it. He mastered tags to
throwups, clean simple letters -- round and blockbusters, semis to wilds,
and
then applied them to all different names for further development. He has a
complete understanding of each letter -- proportions, shapes, curves,
structure
etc. -- and applies that knowledge to the ideas he has. The end result you
can
see out there today.

As for all this 3d style debating that's constantly going on, well I will
continue to say this. Delta to me is the MASTER of it. The difference
between
his 3rd-dimensional pieces and others is that each letter has a style of its
own -- the 3d element is incorporated to give further flow and further
dimension. You could pull out each and any letter and it will still be able
to
hold tight. They're not letters that are merely blockbusters reshaped with a
perspective that allows for the 3D to be exaggerated.

On top of this, the fading of similar shades of colours is minimum. Often he
uses colours that don't match at all and still pulls it off. They just seem
more natural. This to me is the difference between STYLE and TECHNIQUE. One
colour or a dozen Colours - in Delta's pieces, style is always apparent.
There
ain't no cheap shorts.

These are only two examples, there are definitely a lot of writers out there
who have cool styles, probably A LOT more than I even know of .....
Letter constructors.


AC: Who are the 5 best writers of all time? Who are the 5 up-and-comers to
watch?

AE: Wooooh.

Personally they would have to come from New York....and I doubt I have seen
half of what's been done. From what I have seen my personal 5 favorites
would
have to be something like (in no order) Phase Two, Case2 TFP, Slave, Dondi,
and
Mitch 77. The reason for these over a lot of others is, when I see a lot of
what they did more than a decade ago I still freak. The pieces \ style they
were pushing have been timeless.

AC: What do you think about doing productions?

AE: Here's a touchy topic.

If visually executed correctly -- they are dope. But as MODE2 once said --
"the
scenery is really only there to attract the Norm".

Realistically they don't understand the letters at all. So in an attempt to
draw them in or juice them for jobs, big productions are done. It's
definitely
nice to see a big wall with a theme, it undeniably looks nice.

Ultimately though, my focus is on the letters. Incorporating your letter --
manipulating skills into your name. A 2-colour fresh piece to me is still
more
appealing than a big production. I don't really care how artistically
talented
someone is -- or if they can apply 10 shades of one colour, or paint
detailed
portraits and all that other production-related shit. That's not having
style
in terms of writing, that's ability to apply artistic technique -- once
again.

The focal point should always be the letters. I mean really, how can one
claim
original style by painting 28 meters of scenery and a piece that's 1& 1/2
meters of struggle. Good art work probably -- but then again who is that
person's audience - writers or $$$$$$$$$$$$$$$$$$$$$$$?

AC: Since you've tried so many kinds, what kinds of paint do you prefer?

AE: Some paints are definitely better than others, but all can be used.
Personally Beltons pretty much have this shit locked down. Colour ranges -
paint quality etc., etc., etc.... although Rustos are also really fresh
paints
for that fast blast on any surface. Marabus were considered to be the cream
of
the crop for a long time. They still have some fresh fresh colours though.
The
Krylon company should just blow the fuck up. All their paints just seem to
be
getting more and more watered down...most colours are just getting so shitty
it's depressing.

AC: What do you think about stickers? Anyone doing any interesting ones?

AE: Pretty cool. Just another way to get up more than anything. I have seen
probably the best ones in New York. They are just another medium used to
reach
the same final goal.

Personally I don't have the time and facilities to pump out dope ones you
know.
As for tagging on stick it notes ... well I'm not too interested in that
shit
.... I thought we had markers with dope inks for that getting up type shit.

Using the right equipment and you can really make some funky ones though,
that's for sure. I've seen some cool ones...TWIST, DELTA etc. etc. etc..

AC: What else would you like to tell the world about your writing, your
lessons
learned?

AE: NOTHING LASTS FOREVER. As corny as it may sound, make the most of the
situation while you can. It's optimistic to think that raw graf will last
forever.

This whole thing is opinionated. Don't be so damn paranoid. If you take
offence
to a comment whereby your name isn't even mentioned, well then maybe you are
guilty of the statement? You work it out.

There are definitely rules and unwritten laws to follow. Finding where you
fit
in the overall picture and what kind of impact you are making is up to you.
Striving as an individual in turn allows the culture of writing to strive.

The petty bullshit of who is this or that, the politics of scenes everywhere
is usually just bullshit. Concentrate on what you are trying to do, look out
for you and your crew, and you will start to realize that all that effort
and
dedication pays off.

Respect comes from those who first of all respect writing for what it is,
and
then of course respect others enough to let them be. Look around, the
writers
who not only have the dopest styles are those that pursued their efforts and
avoided most of the nonsense.

AC: What's important to you after all this time?

AE: Pushing on.... Meeting more and more writers, painting, experiencing new
and more good times ... traveling and seeing those who are close to me
around
the world. These guys are like family. Mmmm... There's still a lot more to
see
and do that's for sure.

AC: Any advice for the shorties?

AE: Letters letters letters. Work it all out. Keep pushing with them. Fuck
all
this colour money commercial shit when you first start.... Concentrate on
developing your style -- logo -- symbol and the neatness and colour co-
ordination will all come with practice. It's about letters first and
foremost.
Where you take it from there is up to you.

ATOMEONE iBSTFP and you know I don't stop. 
-------------------------------------------------------------------------------
Well thats it freaks ..trade the file around and of course check the interview
live on http://www.graffiti.org with flicks and all the mass bullshit! this
time only trading it to you! ....peace my friends ...
DIE KRANKEN BOMBER 1998 <<< << <
     > >> >>> sANE2 [ DIE KRANKEN BOMBER / SICK OF IT ALL ]
-------------------------------------------------------------------------------
[EOF] - BBS ADDS HERE ... hehe maybe the first one is mine ..dunno ...2stoned!

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 |::::| aBHO                                                         |::::|
 ______     __          _____     ____  _ ___ _  __ _ ________  __    __  :
_)     \_ _/ (_______ _/  __/___  \   \ _____ (__) \\_)  ._  (_  (____) \ .
\     ·  ))   _     (_)  _)    /  _\   \\   (_   _  \_   l/  _/_      _  \_
 \_    \ \ _  (_     /      _/.._.__  /_ .__/  _)   .)___\     \_    )   .)
  /_______\/___/  _ /__________||_|-(_____|_  __\____|--/________/________|
 ......      /_____/  -[tHE yARD]-          \/ -[100% lEGAL!]-  /    ......
 |::::| [sTAFF]        - sANE2 - rEZiNE - diPSWiTCH -        [sTAFF] |::::|
 |::::| [gROUPS] - dKB uHQ - sOiA gHQ - wX wHQ - ddB sUPP - [gROUPS] |::::|
 |::::| [sLOT1]       - 36k6 - +49.221.9348812 - 36k6 -      [sLOT1] |::::|
 |::::| [sLOT2]       - iSDN - +49.221.9348812 - iSDN -      [sLOT2] |::::|
 |::::| [sLOT3]       - iSDN - +49.221.9348812 - iSDN -      [sLOT3] |::::|
 |::::| [tELNET] - 3 sLOTS - theyard.dyn.ml.org - 3 sLOTS - [tELNET] |::::|
 |::::| [fiLES]  - aMiGA - aNSi'n'aSCii - gRAFFiTi - mODS -  [fiLES] |::::|
 ·····:·· ·      -[tHiS iS gERMANY'S gRAFFiTi bOARD nO.1!]-      · ··:·····
 - -- · - -------------------------------------------------------- - · -- -