Interviews > Interview: ZEPHYR
Most recently, I had the opportunity to exchange words with of one of the most respected and known writers in Graffiti.
Zephyr has been writing since the late seventies and is truly a “King” in every sense of the word.
He was one of the most prominent writers during the train movement. He has influenced many writers with the style used in his pieces and his tags.
His work has been featured in both Style Wars and Wild Style. He is also the co-author of the book “Dondi White Style Master General: The Life of Graffiti Artist Dondi White”.
During the interview, Zephyr provides insight on the movement during its heyday, what it’s like to still get up at the age of 45, his feelings on the current movement in New York City and abroad.
I found Zephyr to be insightful, humble and still very humorous. Check out the following interview:
WHERE ARE YOU FROM IN THE WORLD?
I was born and raised in New York City. Manhattan.
WHEN DID YOU START WRITING GRAFFITI?
I started writing graffiti three or four years before I began using the name “Zephyr”, which I started using in 1977. Before “Zephyr” I wrote few very forgettable names like “Frodo”, “Trek” and “Kane”, which I rarely talk about because I made no significant impact and I was pretty much irrelevant within the graffiti culture. In fact, I really didn’t do much until I met Bil-Rock and Rasta and Revolt and we formed the crew the Rolling Thunder Writers (RTW), which was also in 1977.
Before I wrote “Zephyr” I was starting to get a little bit good with tag style and bubble letters, but I admit that the majority of my work was on paper, not walls. I had only one graffiti friend at the time, my friend Ian who wrote “Dice Three”. In my neighborhood, Yorkville, there weren’t many graffiti writers. In fact, I only remember seeing two other names during those years (approx. 1973-1975). Their names were “Bowie” and “Terry 149”, and I never met either of them, so when it came to doing graffiti I was pretty much alone, which limited me. For instance, before 1976 I didn’t even know where most of the subway yards were located.
HOW DID YOU COME UP WITH THE NAME “ZEPHYR”?
For the full answer, check out the documentary “Dog Town and Z Boys”. But I doubt anyone will go out and rent the film just for that reason. But it is a great movie about the birth of modern skateboarding that’s worth checking out. So now I’ll give you the short answer: As a kid I was fascinated with the exploits of the West Coast skateboarder Tony Alva and he was on a skateboard team called “Zephyr”.
WHAT CREWS ARE YOU AFFILIATED WITH?
I’m down with a crew called MAYHEM. The president is my good friend and artist extraordinaire, Chip 7. At age 45, I’m obviously the old man of the crew. The median age in MAYHEM is probably 27, but I have no problems with that. Rolling with young cats keeps me young and inspired.
You have worked with some legends like Basquiat, Lee Quinones and Dondi? Which artist has inspired you the most?
“Great artists”, like “great art”, are in the eye of the beholder. Being an artist can be a very tough gig. Waking up every day to forge ahead can be a real struggle, especially when it seems that no one cares about what you’re doing, so I try and think of visual artists in terms of their tenacity. With that in mind, I’d rather extend my love and respect to all artists, and not consider the subjective issue of who’s “great” and who isn’t. For now, let’s just say that all artists are great.
For me, influence comes from all sorts of places, including some that might seem surprising. Since I’m influenced and inspired by the way artists use color, line and form, everything is fair game in the influence department. For instance, Albrecht Durer is one of my biggest artistic influences, but looking at my graffiti I doubt that 15th century German Renaissance Art springs to mind.
The intellectual/media world puts visual artists in distinct categories. But I really try not to think in those terms because they seem manufactured and a bit arbitrary. Maybe classifying things makes it easier to talk about them, but all this compartmentalizing can also dilute and distract from the overall impact of the work. Intellectuals will argue that assessment enhances, but we’ve all experienced a time when we felt that a work of art lost some impact after being discussed, as opposed to simply being experienced. I’m not suggesting that everyone should treat art as something sacred or cerebral, but personally I do lean in that direction.
If all this sounds odd coming from a person who at times gets paid to write art commentary, I never do analysis, so I suppose I’m safe. With that in mind, I confess that I do, perhaps hypocritically, think of NYC subway painters as being in a class all their own. That’s because our movement was so original and profoundly distinct from any other that I know of.
The entire movement was extremely short-lived; approximately 19 years (1971-1989) and our practice and procedures were highly unorthodox. We stole our art supplies and worked illegally under horrendous and extremely dangerous conditions. We were also the first serious art movement in recorded history that I’m aware of was created and pursued entirely by kids.
Among NYC subway painters, I admire the work of so many——some are well known, some aren’t. Here’s a partial list of some great train painters I have been influenced by:
Billy 167 (rip), Dean (rip), Lee, Mono, Slug, Prof 2, Butch 2, Kado, Padre (rip), Part, Noc, Movin, Chain 3, Dondi, Revolt, Team, Derby, Jester, Son, Pro, Rasta, Repel, Slave, King Two, LSD-OM, Kool 131, Phase 2, Riff 170, Don One, Cliff 159, Fuzz and Aztec (rip).
Although this may seem like a long list, it’s not. I could easily make it five times longer. Every writer I’ve listed here is distinct; every writer represents an amazing story. Every writer I’ve mentioned contributed to the movement with pure style and raw invention. Unfortunately, too many of them are unknown or forgotten. Some are known within the culture, but unfortunately the work of most subway artists has never been properly recognized, even within the graffiti culture itself.
As far as non-subway painters, my favorite artist is the psychedelic artist Rick Griffin (1944-1991).
HAVE YOU EVER HAD ANY BEEF WITH ANY WRITERS?
Maybe and maybe not, but I prefer not to discuss the subject. In my opinion it’s just too negative a topic to warrant any attention. So let’s just say that I’ve been doing graffiti for over thirty years, and I’ll let you speculate.
WHAT IS THE BIGGEST SETBACK YOU’VE EXPERIENCED WHILE WRITING IN NYC?
The constant and relentless demonizing of this art form.
It seems like many of the writers that I have met have lived pseudo lifestyles. Almost like comic book characters. When you were in High School, was it known that you were a writer? If so, was this good or bad?
I attended a number of different high schools, and I was shown the door at more than one. At the school I graduated from, the teachers and the principal were upset with whoever was writing “Zephyr” all over the school, although I was far from the only graffiti writer in that school——it also got crushed every day by guys like “JOKER” and “SI THREE”.
I thought I was pretty slick because although there was a small student body there (12 kids in my graduating class), the teachers didn’t suspect me. Despite the fact that I was stoned all the time and had hair down to my waist, I was a good student and it never occurred to them that I was the one responsible for writing “Zephyr” on every available surface, with my favorite spot being the backs of the metal chairs. Unfortunately, right before graduation, a girl in the school who had a strong dislike for graffiti and me, decided to rat me out. The school threatened to expel me, but instead I ended up doing a lot of scrubbing and re-painting and they let me graduate.
According to Hip Hop historians, Graffiti is one of the four main elements of Hip Hop. Times have
changed. Do you still feel that Graffiti is a key element? Graffiti has been around much longer than some forms of Hip Hop.
I’ll quickly move past the concept of “Hip Hop historians” because in my mind, the credible confirmed existence of such an entity is less certain than the Loch Ness Monster, and raises as many ambiguities as your question itself.
I’ve appeared before a number of audiences to discuss the graffiti movement and often the engagements are presented in the context of the Hip Hop movement and culture, or revolution, as it were. In the effort of full disclosure, I always feel it necessary to discuss beforehand my thoughts on the complex relationship between graffiti and Hip Hop. It wouldn’t be right for me to accept an invitation, and then contradict a basic premise of the event when I arrive.
I don’t see graffiti as an original, organic element of Hip Hop because, as you pointed out, simple chronology contradicts that premise. Graffiti predates the Hip Hop movement, so these connections, as they are generally put forth and accepted, are not feasible. However, that does not mean that graffiti was not or has not been embraced as the chief visual art form of the movement, one that complements the other so-called elements, Em-Ceeing (rapping), Dee-Jaying, Breaking, Beat Box skills and gear (clothing and accessories), etc. Historically, pre-existing art movements have often been swept-up and embraced by other grand social/cultural movements, as is the case here.
The Graffiti movement took a serious blow when the MTA enforced their clean train campaign. Why is it that writers depended on working on subway cars? When did you realize that the MTA would be successful in their campaign? What was it like emotionally for the writers?
The trains were our creative outlet, our showcase and our lifeblood. Our relationship with those subway cars was visceral and profound, and so the eradication was emotionally devastating, and for many of us the heartbreak lingers.
Personally, I was naïve and optimistic and I didn’t expect the end to come like that, if at all. When I was active on the trains (1977-1985) I was unable to imagine a time when the trains wouldn’t have graffiti on them. I was so used to seeing pieces on the trains that I was convinced that all the eradication efforts would remain in vain.
The MTA got all the trains clean in 1989. I had stopped painting subways in 1985, so I wasn’t as directly affected as those who were still painting them.
The MTA had a press conference in May 1989 to announce that they had “won the war on graffiti”, but I was still skeptical. I figured the graffiti would be back, but I was wrong. Since ’89 the MTA has succeeded in buffing all graffiti as soon as it appears on subway cars.
As far as the subway cars becoming the perfect medium for the message; that began back in 1970, before I got into the game. By the time I entered the fray graffiti was already a teenage rite of passage and a common practice among the youth of New York City. Doing your name on the trains was the goal, and I never questioned or analyzed it. You could say that graffiti pieces and subway cars were the perfect marriage; they just fit. Here’s how it happened:
Tracy 168 was one of the first NYC graffiti writers, and among the first to write on the outsides of the subway trains. In an interview he stated that when he first started tagging on the outsides of the trains he and his cohorts didn’t know what to expect. When the writers noticed that the tags they had put on on their way to school Monday morning were still there a week later, they were inspired and kept doing it. Suddenly, the new focus was on the exteriors of the subway cars. It was still a novelty; just a new surface to exploit, since writing in NYC was still, literally, a street phenomenon.
The early graffiti on the outsides of the subway cars was done when the trains pulled into the stations. Graffiti writers congregated at the backs of the stations and hit their tags on the trains as they pulled into the station to load and unload passengers. Subsequently, their tags ended up high on the train. If you look at old photos, or Norman Mailer’s 1974 book “The Faith of Graffiti”, you’ll see plenty examples of this.
The desire to put ones name on the exteriors of the cars was growing fast, and before long brazen writers were jumping down onto the live tracks to tag on parked trains. At night, extra trains “slept” on the middle tracks, known as “lay ups”. Although oncoming trains would pass, creating a potentially deadly situation, standing in front of a parked train permitted the writer a better scenario for leaving a nice signature than in-station tagging.
Subsequently, more elaborate tags, or “hits”, became commonplace. The names became bigger, and sometimes two different colors of spray paint were employed. Before long, fat tags with skinny outlines——often done with a second color——were painted around the perimeter of the signature for emphasis. This type of “hit” became the new standard.
The earliest subway writers were an ambitious bunch, and in their unstoppable quest to get their signatures on the train exteriors, they began going to extremes. Before long, they figured out ways to trespass into the subway storage yards, where they were able to walk right up to parked trains with their spray cans. Inside the yards they were able to spray on the trains, and while the risks were extensive, they did not have to be on a constant lookout for passing trains. Within this new crucible the work was able to develop quickly and dramatically. Names became increasingly elaborate and were dubbed “masterpieces”, a term that was quickly shortened to “pieces”. And the rest, as they say, is history.
I talk to older writers and it seems as though they don’t have respect for anyone writing currently. What are your thoughts on the current movement?
The current movement is amazing, although I’m not a fan of all the disposable commercial crap, like graffiti video games, but you can’t stop “progress” I suppose.
I’m a grass-roots kind of guy, so the commercialization, or what I’d call the “suburbanization” of graffiti, is a little depressing to me. Graffiti is perceived as a cute pastime now; within the milieu of modern life graff has lost its element of being socially dangerous. I suppose we will have to find something new and more provocative pretty soon.
The attitude you’re talking about sounds like a form of ignorance and/or close-mindedness. That’s a shame, but what can you do. Everyone lives his or her own way. I can’t tell people who to respect. If old writers want to be old and bitter and convince themselves that the culture ended the day they hung up their spray cans, that’s their prerogative. It seems like more of an ego thing than anything else, but c’est la vie.
The current movement is remarkable on so many levels, just look around! It’s touched every corner of the globe——the work coming out of the graff communities in Japan, Brazil and the Ukraine is off the hook, and next month the hot spots will be in other parts of the globe, some of which will undoubtedly be very remote. In fact, I just received photos of some recent graffiti from Tahiti, and it’s amazing. Africa is blowing up too; I’m in touch with some painters there, and they’re doing serious work.
I have far more respect for the graff troopers doing their thing today than “legends in our own mind”, so-called “old school” graff writers who sit on their couches with their old photo albums and rest on their laurels, telling war stories about things they did 30 years ago. Driving your Buick to the Harlem Hall of Fame once a year in an attempt to maintain some thread of past glory is better than doing nothing, but it won’t earn you much respect from me. Graffiti is graffiti, not a commercial design, not a legal wall, not a backdrop in a music video. If you want to know you are still alive and you want to be called a graffiti writer, fuckin’ be one. Grab a can and go paint something. It’s that simple. And by the way, if it’s something that someone gave you permission to paint, news flash: You aren’t doing graffiti.
If someone wants to learn about the Graffiti what movies and books should they check out? Which have you contributed to?
I’ve contributed to a few, but that doesn’t necessarily make them great, although the Martha Cooper book “Hip Hop Files” (I wrote the foreword) is full of great photos.
I’ll mention five books, and keep it simple. Unfortunately, filmmakers seem to have trouble when it comes to capturing the essence of graffiti and/or Hip Hop at large. There are probably some excellent films out there that I’m unaware of, so I may not be the best source. The only film I can whole-heartedly recommend, and it’s not really on a direct Hip Hop trajectory, is “Breath Control” by Joey Garfield. It’s a documentary about the human beat-box phenomenon. Five books I’ll give props to are (in no particular order):
Jeff Chang, “Can’t Stop, Won’t Stop”
Fricke, Ahearn, “Yes Yes Y’all”
Vincent Fedorchak, “Fuzz One”
Ivor Miller, “Aerosol Kingdom”
Joe Austin, “Taking The Train”
What was the craziest thing you ever did to put a piece up?
Every mission is dangerous; every mission is crazy; I can’t single out just one. But back in the 80’s I got shot at by some angry folks who apparently weren’t big fans of graffiti.
Are there any unsolved mysteries in the Graf world? Was there ever any artist who never claimed there [their] work? Was there someone who did amazing work and you never got to find out who they were?
I’m not only a graffiti practitioner, but also a big fan of the form, so meeting the artist behind the name is always a huge thrill for me. Of course not every writer I’ve met has had a warm personality; there’s even a few I would have just as quickly avoided meeting. But all the closest friends in my life——folks like Dondi, Revolt and Ezo——are all from the graffiti community.
The film “Wild Style” (1982) is about a graffiti writer named “Zoro” and the mystery surrounding his secret graffiti-writing identity. In a great case of art imitating life, the subway painter LEE played “Zoro”.
When I was coming up in the mid 70’s, LEE was a graffiti god. His trains were on a different level altogether, and of course everyone wondered about the guy who was painting these extraordinary masterpieces.
But LEE was smart, and to accomplish what he did during his writing career (he painted over 150 wholecars), he kept a very low profile. Subsequently, stories and rumors about who LEE really was abounded. For instance, one story I heard was that he wrote “LEE” because it was his last name and that he was Asian and lived in Chinatown.
Of course LEE did eventually come out of the void around 1979 when he teamed up with Fab 5 Freddy and started doing a lot of high-visibility work, including appearing in the “Blondie” video for the song “Rapture”. But for a long time, LEE was the king of trains, and managed to fly way below the radar.
There are, of course, many NYC writers that I haven’t met that I would like to. And there are some, like VFR or SENTO, who are known for their secretive natures. But given the illegal nature of graffiti, keeping a low profile is a very wise choice.
I’ve heard all kind of stories, when you look back on all of your adventures, what was the most amazing or oddest thing that you have ever seen?
Back in 1979 I was doing a piece in Riverside Park with RASTA and a naked man wandered out of the darkness and walked over to us and struck up a conversation. That was odd.
Another thing that sticks out in my mind was being invited to Rikers Island a couple years ago to paint graffiti on a handball court in the juvenile wing there. Having personally “visited” Rikers at one point in the 80’s on a graffiti arrest, the irony of returning under those circumstances was simply surreal. Painting that wall in Rikers was an experience I won’t soon forget.
Okay, if you could put a piece on any landmark, what would it be?
I would like to write on the Whitehouse, and believe me, I would definitely use profanity.
For more information on Zephyr, please visit www.zephyrgraffiti.com.
Interview By Clarke
Tags > art > artistic > Artists > bombing > culture > Design > graff > Graffiti > graffmuseum > New York > NYC > old school > sast > saster > spray paint > street > streetart > streets > streets are saying things > style
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March 6th, 2006 at 2:10 pm
Props to King Zeph, always tellin it like it is, and like it was…
March 8th, 2006 at 6:41 am
thanks a lot for this great interview!
March 20th, 2006 at 9:26 am
Zeph:
I knew you back in the day. I lived down the block from Vandal and hung with Rasta, Sag3, Bilrock, etc.
Good to see you doing well.
–W-Bear
March 21st, 2006 at 8:39 pm
One of the most clear and poignant reflections about the movement, Historically informative and Inspireing. I am proud to be the one of the sons Of one of the greatest grapety writers that ever lived.
wood work squeaks and out come the freaks.
Rebels rock the blind light…
March 27th, 2006 at 9:28 pm
YO zyph I`m impressed.. I had no idea how well educated you are. I have to tell you if ever I want somene to explain Graffiti as art to the President of America., your first in line. “Pal”
I`m almost embarrased to say what I`m going to say. “Almost!”
Ok Andy here goes..wait I`m not that well educated so I`ll have to put it in Laymans terms. Ok here goes..
Shit I remember when I first met you with NE back in??when was it.( 78?) you and NE got into an arguement cause you was buying paint..yea! it was on 72 & b-way next to Greys Papyas..Yet you talk about..”We stole our art supplies and worked illegally under horrendous and extremely dangerous conditions.” Painting a train was dangerous?..Come on all it took was some balls to tresspass on privet property and common sense not to step on the third rail..
I got to be honest Andy..you said all this crap about graffiti today being and I`ll qoute ya pal..”The current movement is amazing, although I’m not a fan of all the disposable commercial crap, like graffiti video games, “I got to laugh..My man you was one of the first to jump on the, what I call the hip hop media ban wagon. I remeber seeing you talking about how we went to yards and painted and that we stole our paint. You duche bag you forgot that yall1980s glory hounds Broke the cardnal rule and talk to the media period!
You helped with that movie Wild style..nigga you wasnt even down with wild style but yet you try to give tracy props after yall stuck a knife in his back with that wild style movie..zeph you didnt even know what wild style ment back then..FYO wild stlye wasn`t a style of letters it was a way of life. I say this because I remember listening to you spew out what wild style was in some of those lectures you did for what ever media was listening.Man give me a break. Quick question how much money did Dondis family get for that book you cllobarated on? dont think for one minute I dont have love for you zeph.I do. you killed some of the lines buddy and I allways have respect for that. But you see you got to be real nikka. I realize one thing in life and that is to be real. You mentioned that at that time graffiti was a right of passage. Shit we are from to diffrent worlds. I didnt have kids in my school telling me that to be cool I had to paint a train. Shit no one in my school ever knew I was a writer. Shit I`ll keep it real, I flunked out of school so I could paint trains..
The irony of that is that when I went to get my GED is when I met you. I did notice you didnt mention my book in your top choices of books..was it something I said in it.. I noticed that all your old school information or opinion is based on some old graffiti books “yes you are smart.” zephyr guys like you is why graffiti got so comercial. Dont ever forget that buddy. So think before you say things like “I’m a grass-roots kind of guy, so the commercialization, or what I’d call the “suburbanization” of graffiti, is a little depressing to me.” See Andy I`m feeding into this crap cause I read this…”I have far more respect for the graff troopers doing their thing today than “legends in our own mind”, so-called “old school” graff writers who sit on their couches with their old photo albums and rest on their laurels, telling war stories about things they did 30 years ago. Driving your Buick to the Harlem Hall of Fame once a year in an attempt to maintain some thread of past glory is better than doing nothing, but it won’t earn you much respect from me. Graffiti is graffiti, not a commercial design, not a legal wall, not a backdrop in a music video. If you want to know you are still alive and you want to be called a graffiti writer, fuckin’ be one. Grab a can and go paint something. It’s that simple. And by the way, if it’s something that someone gave you permission to paint, news flash: You aren’t doing graffiti.” and yet you mentioned you was INVITED to paint Graffiti at rikers is..didnt you get your own news flash..buddy..
ANd I aint going to front. I drove a buick back in those days to the hall of fame and yes I wrote a book on 30 yr of war stories..But I dont know about that couch thing ..shit I still go out there and paint all kinds of things with these new guys.I guess in 30 more yrs I`ll be talking about them war stories again..
Peace Zeph.. DR BAD
March 29th, 2006 at 6:19 pm
I`m just breaking your balls Zeph..I love ya…much respect but keep it real..
DR Bad TVS Reppin Yonkers NY
April 2nd, 2006 at 3:14 am
yo i saw u around in the city ur amazing i just started so yea u can call me a toy, though i am trying my hardest to get ups. wat kind of advice would you give someone.
April 6th, 2006 at 7:21 am
Damn. Why my boy Andy can’t get more than 7 comments?Stay strong homie! Now you got 8!
April 10th, 2006 at 7:36 pm
zeph is one of few true graff schooler around.. mad props for the dondi white book and the knowledge of graff history and seeing his art work around town on the trains, wall also art gallerys dude get massive love from the crew sharp, jon one, pckid rip, fuzz, ezo, dr revolt, noc167th dage one otb cod 3br ak crew
April 15th, 2006 at 2:07 pm
Mr Bad’s comments are really off point. Zephyr is one of the only old school writers from his generation painting illegally. You must be blind to the fact that Zeph has painted 100’s of freights in the last few years while the rest of the writers from his generation are painting illegal walls.
April 17th, 2006 at 10:55 am
Tisk Tisk..rolling steel
My man trust me I know what Im talking about.. And its on point..And FYI we old school mofos love to paint subways the real deal.. And I know zeph aint doing that..Fraights..lol,,shit I painted a 100 fright in 1 night in NM..lol….
April 17th, 2006 at 12:19 pm
ZEPHYR….YOUR ONE OF THE FRESHEST EVER MAN!!! WORD!:shock:
April 17th, 2006 at 2:36 pm
hold it down zephyr…..all these kids out in thailand love you
April 17th, 2006 at 6:42 pm
The fact of it all Mr Bad is that freights are illegal. Zeph is still at least doing illegal art. Whether or not the risks of doing maybe less then going to hit subways. It still illegal. In NYC for instance the vandal squad raid freight spots. So not much of a difference of charges if you get caught. How many old schoolers from Zephyr’s generation are still painting illegaly? Its a handful if even that.
“You said you old school mofo’s love to paint trains.”
Im assuming you dont write Mr Bad then…cause with no disrespect I never heard of you. Then again if you are still hitting transit I guess you wouldnt be posting online that you do. Respect if you are but respect to Zeph for doing his thing as well.
April 18th, 2006 at 4:05 pm
Zephyr,
Keep it real as you continue to do pal, tell your story as you yourself saw it which I’m sure you did here. You definitely were one of my favorite writers back then and still continue to be today.
Much respect
Poem-one.com
April 19th, 2006 at 4:03 am
fuck artist, fuck 5-0, graffiti is only bombing and vandalism destroyin all govertment not to do legal shit yo
April 22nd, 2006 at 10:46 am
As I recall you and your man Revolt used to get snuffed and chased out the one tunnel….
by the Ballbusters….
May 14th, 2006 at 7:29 pm
Brother Zeph, Its been so long….Hoping all is well with my old RTW Homey!!!
BILROCK-161(aka.Sage)
RTW President-for-life
(sorry Brother MIN)
July 25th, 2006 at 8:20 pm
Big Ups to Zeph,
Cool ass dude….
–Peace
August 13th, 2006 at 10:08 pm
whats up andy..long time no see or hear…to set a fact straight, yo didnt rack all of your paint (if you did rack paint at all)…we (me and skay2 rip) caught you several time buying paint…once at pearl paint…where i had first met you…and another time at a hardware store on second ave….i still got love for ya, and respect you as a graff artist…if i didnt i wouldnt of had stopped the kids from 13th street from giving you a serious beat down at the fun gallery, which i doubt you would have recovered from…..anyways peace, and good luck in all that you strive for
August 27th, 2006 at 3:00 pm
i have to say i was a friend of pckid for near 20 year\
he was one of a kind….a great force in art…..a few did not like him
but yet knew he had that what we called art he had taken by the balls..
he had passed last year……..from what i learn from him..
is art is a mass of minds….that are linked by soul…..
i saw ones who said this and that…said i did this1st…yet did not..
ones who sold them self for paint..yet who fell short…..pc kid was not one of those lost souls
i can say……..pckid not make the fullness of greatness…
like he should have……..but that is the price….for art…..lost love..
it can break u..yet ..mend u r heart
October 4th, 2006 at 12:07 pm
Zephyr,
seen you in THE ART OF STORYTELLING great movie you really speak your mind.
R.I.P. NACE
October 5th, 2006 at 6:17 am
zephyr, u r a t.r.u fuking genius.end of.