... the first to be recognized outside the nely formed subculture. Most idely credited as being one of the first riters of significance is JULIO 204. FRANK 207 and JOE 136 ere also early riters. On the streets of Brooklyn a movement as groing as ell. Scores of riters ere active. FRIENDLY FREDDIE as an early Brooklyn riter to gain fame. The subay system proved to be a line of communication and a unifying element for all these separate movements. People in all the five broughs became aare of each others efforts. This established the foundation of interbrough competition. riting started moving from the streets to the subays and quickly became competitive. At this point riting consisted of mostly tags and the goal as to have as many as possible. riters ould ride the trains hitting as many subay cars as possible. It asnt long before riters discovered that in a train yard or lay up they could hit many more subay cars in much less time and ith less chance of getting caught. The concept and method of bombing had been established. Tag StyleAfter a hile there ere so many people riting so much that riters needed a ne ay to gain fame. The first ay as to make your tag unique. Many script and calligraphic styles ere developed. riters enhanced their tags ith flourishes, stars and other designs. Some designs ere strictly for visual appeal hile others had meaning. For instance, crons ere used by riters ho proclaimed themselves king. Probably the most famous tag in the cultures history as STAY HIGH 149. He used a smoking joint as the cross bar for his H and a stick figure from the television series The Saint.Tag ScaleThe next development as scale. riters started to render their tags in larger scale. The standard nozzle idth of a spray paint can is narro so these larger tags hile draing more attention than a standard tag, did not have much visual eight. riters began to increase the thickness of the letters and ould also outline them ith an additional color. riters discovered that caps from other aerosol products could provide a larger idth of spray. This led to the development of the masterpiece. It is difficult to say ho did the first masterpiece, but it is commonly credited to SUPER KOOL 223 of the Bronx and AP of Brooklyn. The thicker letters provided the opportunity to further enhance the name. riters decorated the interior of the letters ith hat are termed designs. First ith simple polka dots, later ith crosshatches, stars, checkerboards. Designs ere limited only by an artists imagination. riters eventually started to render these masterpieces the entire height of the subay car A first also credited to SUPER KOOL 223.. These masterpieces ere termed top-to bottoms. The additions of color design and scale ere dramatic advancements, but these orks still strongly resembled the tags on hich they ere based. Some of the more accomplished riters of this time ere HONDO 1, JAPAN 1, MOSES 147, SNAKE 131, LEE 163d, STAR 3, PHASE 2, PRO-SOUL, TRACY 168, LIL HAK, BARBARA 62, EVA 62, CAY 161, JUNIOR 161 and STAY HIGH 149.The competitive atmosphere led to the development of actual styles hich ould depart from the tag styled pieces. Broaday style as introduced by Philadelphias TOPCAT 126. These letters ould evolve in to block letters, leaning letters, and block busters. PHASE 2 later developed Softie letters , more commonly refered to as Bubble letters. Bubble letters and Broaday style ere the earliest forms of actual pieces and therefore the foundation of many styles. Soon arros, curls, connections and tists adorned letters. These additions became increasing complex and ould become the basis for Mechanical or ild style lettering. The combination of PHASEs ork and competition from other style masters like RIFF 140 and PEL furthered the development. RIFF is noted as being an early catalyst in hat is termed style ars. RIFF ould take ideas from other riters and improve upon them and take them to another level. riters like FLINT 707 and PISTOL made major contributions in development of three dimentional lettering adding depth to the masterpiece, hich became standards for generations to come.This early period of creativity did not go unrecognized. Hugo Martinez a sociology major at City College took notice of the legitimate artistic potential of this generation. Martinez ent on to found United Graffiti Artists. UGA selected top subay artists from all around the city and presented their ork in the formal context of an art gallery. UGA provided opportunities once inaccessible to these artists. The Razor Gallery as a successful effort of Mr. Martinez and the artists he represented. PHASE 2, MICO, COCO 144, PISTOL, FLINT 707, BAMA, SNAKE, and STICH have been represented by Martinez.A 1973 article in Ne York magazine by Richard Goldstein entitled The Graffiti Hit Parade as also early public recognition of the artistic potential of subay artists. Around 1974 riters like TRACY 168, CLIFF 159, BLADE ONE created orks ith scenery, illustrations and cartoon characters surrounding the masterpieces. This formed the basis for the mural hole car. Earlier ground breaking hole cars ere produced by riters like AJ 161 and SILVER TIPS. THE PEAK 75-77For the most part innovation in riting hit a plateau after 1974. All the standards had been set and a ne school as about to reap the benefits of artistic foundations established by prior generations and a city in the midst of a fiscal crisis. Ne York City as broke and therefore the transit system as poorly maintained. This led to the heaviest bombing in history.At this time bombing and style began to further distinguish themselves. hole cars became a standard practice rather than an event, and the definitive form of bombing became the thro up. The thro up is a piecing style derived from the bubble letter. Th e thro up is hastily rendered piece consisting of a simple outline and is barely filled in. Mostly to letter thro up names began appearing all over the system particularly on the INDs and BMTs. Cres like POG, 3yb, BYB TC, TOP, made major contributions. Thro up kings included TEE, IZ, DY 167, PI, IN, LE, TO, OI, FI aka VINNY, TI 149, CY, PEO. riters became very competetive. Races broke out to see ho could do the most thro ups. Thro ups peaked from 75 thru 77 as did hole cars. riters like BUTCH, CASE, KINDO, BLADE, COMET, ALE 1, DOO2, JOHN 150, LEE, MONO, SLAVE, SLUG, DOC 109 CAINE ONE plastered the IRTs ith magnificent hole cars, folloing in the foot steps of giants like TRACY and CLIFF. STYLE REVIVAL 1978-1981A ne ave of creativity bloomed in late 1977 ith cres like TDS, TMT, UA, MAFIA, TS5, CIA, RT, TMB, TFP, TC5 and TF5. Style ars ere once again peaking. It as also the last ave of bombing before the Transit Authority made the elimination of riting a priority. On Broaday, CHAIN 3, KOOL 131, PADRE, NOC 167 and PART 1 ere expanding upon styles established by riters like PHASE 2, RIFF 140 and PEL. CHAIN later ent to the 2 and 5 lines ith the TMT cre. In style ar tradition TMTs o...
Download