I have been a maker of objects and images for as long as I can remember. Obsessive creation keeps me going. Having recently completed my MFA in Drawing at Kendall College of Art and Design, my current focus has been on gouache and graphite drawings on paper. I find utmost joy in experimenting in all things, whether I am combining images in a drawing, making creatures out of sculpey clay, giving a buzz cut to my cats, or cooking enormous pots of soup. I revel in mysteries, oddities, beauty, and laughing as hard and often as I can. When I am not making art, I love to swim in Lake Michigan and hike through the woods, scour people’s garage sales, read, and watch nature/science documentaries.
KELLY.ALLEN.
SWEET.LIKE.HARMONY.
1. What’s up Kelly styles? How are you?
What’s up guys? I’m great!! It’s a beautiful day! I just finished eating cereal and watching the finches and bees feeding off of our super tall sunflowers in the back yard. Funny, everybody’s yellow and black… they all match…. interesting….
2. @ what time in your life did you realize that art was a part of your creative spirit?
I have always been artistically inclined. I remember being really young and doing my own little art projects by myself. When I was about 5 years old, I remember taking my plastic trash can in my room and making it into a loom so I could weave bookmarks and things. Pretty weird. I have always loved music and dancing, but my greatest strengths and passion lies with making things with my hands and creating objects and images that are beautiful and strange.
UNTITLED.
3. What is it about Nature that inspires you?
Oh man, so much! I am awestruck constantly over the beauty and perfection of the creatures and systems in nature. There is a kind of wisdom inherent in everything on this incredible planet. I am amazed by schools of fish, flocks of birds and swarms of insects that all act in synchronicity, as if they were all part of the same body, as well the crazy similarities between macroscopic and microscopic life. I just saw a picture of the neurons in a mouse brain compared to a simulated image of the universe created by a group of astrophysicists. They look amazingly identical. Like Stevie Wonder said, “A Seed is A Star, A Star is A Seed.” It proves to me that everything is interconnected and interdependent upon on another in some way.
4. If you could be any creature what would it be & why?
Hmmm. I’m sure I would answer this question differently every time, but right now I would like to be a hummingbird. They are so crazy! I would love to be teeny tiny and fly so fast and gracefully. (I just found out they are the only bird that can fly backward.) I would love to spend my days drinking sweet flower juice, and I’d be all shiny and iridescent. Then, in the winter time, I would go on a major migration to Mexico with all of my friends and family!?!! Sounds pretty good to me.
EVERY.LITTLE.THING.
5. What role does music play in your art, if any?
Music soothes my soul. It really affects my mood and energy. I love to dance and sing (even though I’m not that great) and I pretty much always have music going while I’m painting, cooking, or whatever I’m doing. I love really old reggae and latin music like Desmond Dekker and Tito Puente, Motown, and all kinds of old random stuff, as well as lots of new stuff like M.I.A, Santi Gold, Girl Talk and Bjork.
6. Do you prefer aliens or white witches?
Well, I haven’t met either yet, and I think they’re both pretty neat, so it’s hard to say. I guess I’ll have to go with aliens. They probably have way more special powers than witches, and I would like to ask them a lot of questions. No probing though!! Yikes!
SAY.IT.TOGETHER.NATURALLY.
7. Is there a message behind your pieces?
Yeah, definitely. The main motivation behind my pieces is to encourage the viewer to kind of get lost in their imagination and realize relationships between all of the different things in each image. I want people to be removed from their every day mode of consciousness and experience my work from a place of curiosity, inventiveness, and creativity. I think it’s really important for us to engage with that aspect of ourselves more often. There’s so much more to being human than going to work, shopping, and watching TV. We are amazing creatures and we are surrounded by amazing creatures. My works are my expression of gratitude for the beautiful and bizarre life forms and systems and interconnections
HONEY.PLEASE.
8. If you could give one gift to the universe what would it be?
I would remove the capacity for fear in all people. Fear is the root of all hatred, anger, and violence. We’d be a lot better off without it.
The birth of 2-Tone ska was based on a failed attempt to marry punk and reggae. If you listen to early recordings of The Coventry Automatics or The Beat, their songs were either distinctly punk or distinctly reggae/rock, but not a combination of the two. In fact, it wasn’t until Jerry Dammers had the idea to use 60’s ska as the foundation for the band’s songs as a solution to the punk/reggae dilemma that the band’s look and sound finally gelled. While The Specials and 2-Tone bands embraced ska, other bands and musicians continued exploring ways to combine the energy and look of punk with bass heavy reggae. However, it wasn’t until the Basement 5 that this true marriage of punk and reggae was finally realized.
Basement 5 were arguably the first black punk reggae band and are described by many artists who followed them as “hugely influential” and “groundbreaking”. Mixing punk rock elements with reggae and dub, they broke down barriers and paved the way for other black bands to play rock music (see Fishbone, Asian Dub Foundation, Living Color). Starting out in London in 1978, Basement 5 created a politically charged, futurist, punk-fuelled dub. Picking up where The Sex Pistols and P.I.L. left off, the band’s lyrics were an attempt to reflect the situation of young black and white people in Britain in the era of Thatcherism, high unemployment, strikes, racism, and working class poverty.
Originally assembled by former Roxy DJ and punk legend Don Letts with money from Island Records’ chief Chris Blackwell, the band’s lineup which also included future Big Audio Dynamite bassist Leo Williams, solidified when Sex Pistols/Bob Marley photographer Dennis Morris joined as the vocalist.
DENNIS.ALL.THE.WAY.LIVE.
According to his bio: Dennis Morris started his career at an early age. He was 11years old when one of his photographs was printed on the front page of the Daily Mirror. A camera fanatic since the age of eight, Dennis was known around his East End neighbourhood as “Mad Dennis,” due to his preference for photography over football. After inadvertently stumbling across a particularly feisty demonstration by the PLO one Sunday, the sharp young Dennis took his film to a photo agency on Fleet Street, who promptly sold it to the Daily Mirror for £16. Accustomed to raising money for films and camera parts by taking photos of christenings and birthday parties, Dennis was suddenly on to something; his hobby and all-consuming passion could be done for a living.
It was whilst bunking off school to wait for Bob Marley to arrive for soundcheck at the Speak Easy Club on Margaret Street, that Dennis’s music photography career really began. Marley, quite taken with the young teenager who was waiting for him, invited Dennis to come along and take pictures on the remainder of the tour. Running home to Dalston, Dennis packed his bag and jumped on the bus. His photographs of Marley and The Wailers became famous the world over, appearing on the cover of Time Out and Melody Maker before Dennis had even turned 17.
THE.HON.BOB.MARLEY.
It was Dennis’s photos of Marley that caught the eye of the young Johnny Rotten. Rotten, a massive reggae fan, had long admired Dennis’s work and requested that he take the first official shots of the Sex Pistols upon signing to Virgin Records. Still in his teens, Dennis was the same age as the Pistols and they soon learned to trust him completely, allowing him unrestricted access to their strange and chaotic existence. For a year, Dennis trailed the band, taking hundreds of undisputed classic shots of the band. The only photographer to put the Sex Pistols fully at ease in front of the lens, Dennis’s work with the band established, not only their public image, but also Dennis’s position as one of the most exciting and striking music photographers in the country.
THIS.IS.NOT.A.LOVE.SONG!!!
When the Pistols split it was Dennis who accompanied John Lydon and Richard Branson on holiday to Jamaica. Now a close friend of Lydon’s, the pair set about finding young reggae artists for Branson’s record label. Enthused by the A&R bug, Dennis took a job as Art Director at Island Records and signed The Slits and L.K.J to the label. Still working with John Lydon, Dennis was instrumental in creating the seminal P.i.L sleeves, logo, and metal box. His passion for music led him to form his own pioneering black punk band, Basement Five.
BASEMENT:5:.THE.OG…PUNKROCK…NATTY…
In their short life, the band supported John Lydon’s Public Image Limited (PIL) debut at London’s Rainbow Theatre, performed a number of shows in Portugal and signed to Island Records. The result was the album “1965-1980″ co-produced by the legendary Martin Hannet (Joy Division. Magazine). It became the first and only Basement 5 LP. Long out of print, it was eventually reissued as a partial album along with selected tracks from its original dub mini-LP partner ‘Basement 5 In Dub’.
Morris was kind enough to take out of his busy schedule to conduct an interview with me:
What was it like growing up in London in the 70’s?
Growing up in the seventies looking back was a very inspirational time due to the lack of money and opportunities we had to create our own identity (ie: clothes, find ways to make money..,), we had to be inventive; opportunities were never given, we had to take them! There were very few jobs.
Are there any similarities between taking photographs and writing/performing music?
For me photography / music are all the same. When I write songs/music, I write visually (ie: I picture the song in my head); I am a visual person. When I read, I read visually, the words become images; that’s why I am a very slow reader.
NANCY.&.SID…
As an A&R rep for Virgin Records you signed The Slits and LKJ who are among the most iconic bands to come out of the UK in the 1980’s. On the surface they are quite different. What did they have in common in your eyes?
I was in fact working with Island Records and my official position was head of Art with A&R capacity. This position came about through Chris Blackwell owner and founder of Island Records who approached me about joining the label. I was reluctant because Island had no one on the label I found interesting. After many meetings, I said I would only join if he let me sign and art directed LKJ and the Slits. He agreed. LKJ for me was the voice of the Youths of Black Britain. His poetry fused with Dennis Bowell’s Reggae beats captures the feelings of Black Britain of the time. The Slits were off the wall. I felt they would inspire other female artists to take up arms (ie instruments).
During the late 70’s punk and reggae came together in a way that was unprecedented. There was an openness about exploring and creating new sounds and mixing cultures. How much of that informed the Basement 5 look and sound?
Basement 5 came through boredom. Bob Marley had died, the Pistols had split, P.I.L was losing direction and for me there was nothing around musically that interested me. So I did what was for me a natural progression, having worked in both music genre and creating images& identities for other musicians. In the case of Basement 5, the look (logo, image…) came before the music. The music was a collage of many influences not just reggae or punk. Not coming from a music background helped to create a unique sound.
As the first black punk rock band you helped break down barriers and influenced later black rock bands like Fishbone and Living Color. As a trailblazer what kind of reception did Basement 5 get from audiences?
The receptions we received were varied…white rock audiences loved us, but black audiences thought we were weird. I remember once playing a gig in Hamburg in a club. The owner booked us having heard about us and assumed that because we were black we must be a reggae band. On the night of the gig, all the local black reggae fans turned up, as soon as we hit the stage and started playing, the place emptied. The owner refused to pay us saying that he booked a reggae band!
Can you share any unusual stories about any Basement 5 shows that were particularly memorable?
Germany was always a great place to play. One particular gig, a riot broke out. Basically I walked on stage with the band, walked up to the mike and this guy spat in my face. I grabbed the mike smashed him across the head, he started bleeding. His friends tried to get on stage, I kicked them off, a huge fight started in the crowd. The gig was canceled and we had to get the police to escort us from the venue.
The Basement 5 LP ‘1965-1980′ was produced by Martin Hannett (noted Joy Division producer) who had a very unorthodox reputation for recording songs in the studio. What was it like to work with him? Any unusual stories you can share about recording the album?
Working with Martin Hannett was a joy, he was truly a genius, rock’s equivalent of Lee Perry. Completely off the wall. We used everything available to get the sounds we wanted. I even did the vocals for Heavy Traffic outside the studio in the street. Anything was possible, he had an open mind, we truly connected. Incidentally the title 1965-1980 was a diary of my life growing up in Britain from 1965-1980.
Is it true that Charlie Charles from The Blockheads played drums in the recording studio and laid down his tracks in one day!
Charlie Charles from the Blockheads did play drums on all the tracks on the album. We had just finished touring with the Blockheads and had become great friends with Charles and Ian Durry. What basically happened was on the first day of recording, our drummer at the time (we had a lots of problems with drummers) completely flipped out. He had a nervous breakdown and walked out of the studio and to this day was never seen again. We were all in shock. Martin came up with the idea about Charlie Charles, I agreed, we made a call and within hours he was in the studio. He not only saved the day but also played some memorable beats. Sadly Charlie Charles is not with us any longer, like Ian Durry truly a great man.
After Basement 5 split up, you went onto form Urban Shakedown. Tell me about that band? Paul Weller signed you to his Respect Records label right?
Paul Weller did sign us to his Respect Label, in fact it was the first release on the label. After Basement 5 split, I worked to create a new sound. I was never truly happy with the bass sound on the album. So I decided to play bass myself with a young drummer named Michael Smith, stage name T. To get my sound, I basically split the sound on stage (ie: two rigs, one giving out bass end, the other top treble).
Your single ‘The Big Bad Wolf’ in 1984 with Urban Shakedown may have been the very first drum and bass song ever! What was the decision to just record bass and drums with horns playing a melody over the track to complement your vocals?
Big Bad Wolf was possibly the first Drum & Bass song, as I said earlier it was my desire to create something new. It was in my head I could hear it and see it.
Do you think the U2 borrowed elements of the Basement 5 look and sound?
U2 took everything from us. We played a few gigs together and we always blew them away. Our guitarist JR always wore a cowboy hat and played a flying V guitar; think of the Edge. Also he had a unique style of playing (rhythm and lead combine); think of the Edge. Bono’s stage antics were a complete copy of me, climbing on the PA, flag waving….There is a saying in Rock: “Beware of the support band!”.
The Basement 5 album captures the dismal years of Thatcher’s reign in the UK and yet the songs have a timeless quality. What’s you take on the current state of affairs around the world?
Bob Marley said “time will tell”. Look at the Basement 5 song “Last White Christmas” change is coming…”. Listen to “No Ball Games” Youth frustration, “Too soon” man’s fascination with space while the earth is dying, “Immigration”. I feel I got it right and it gives me great pleasure to know that there are people like yourself worldwide who feel the same. Thank you for your support. I will continue to create new images and sounds.
This issue features the late great Shawn Mortensen before he passed away. We interviewed him briefly at the Iconoclast pop-up store right before his book signing of Out Of Mind and photographed him at his house.
“EVERY TIME I HEARD THIS “TOTAL ECLIPSE” BY ALAN PARSONS, I THOUGHT “I GOTTA USE THIS IN A MIX, IT’S GOT THAT PERFECT SPACE ODYSSEY 2001 VIBE, KINDA LIKE THE LONG VERSION OF THE INTRO TO CELTIC FROST’S “INTO THE CRYPTS OF RAYS”. IT’S COLD.
SO I GO FROM COLD TO BEAUTIFUL BUT STILL LO FI SAD/MELANCHOLIC ON THE “WITHOUT REASON” TRACK FROM PEGASE. ONE OF THE BEST SONGS I HEARD LAST YEAR. TO TIE IT UP TO CHRISTIAN DEATH, I NEEDED A MIDDLE SONG, A BRIDGE. AND I FOUND THAT IN “NOWA ALEKSANDIRA” BY SIEKIERA, LIKE IS IT PUNK, IS IT NEW WAVE, IS IT GOTH…AND THE TEMPO WORKS WELL WITH THE PREVIOUS PEGASE TRACK..AND SO COMES THE ROMEO’S DISTRESS, LONG TIME FAVOURITE OF MINE SINCE I DISCOVERED IT IN THE 80S, A DJ FAVOURITE OF BOTH ME AND EINAR FROM INFERNÖ/BEYOND DAWN, VIRUS ETC. THE WHOLE ALBUM IS A SCORCHER.
THEN SINCE THE TAPE SHOULD ONLY BE 30 MINUTES LONG, I NEEDED A SHORT LINK TO SOMETHING MORE METAL, AND AFTER CHRISTIAN DEATH I’D HAVE TO GO WITH SEPTIC DEATH OR RUDIMENTARY PENI, I THOUGHT. I GOT THAT RUDI-TRACK FROM A FELLOW MUSIC FREAK FROM AUSTRALIA (HI ANDREW) AND THAT TRACK IS SO INSTANT. BEFORE THE BEHEMOTH OF “SIGHT OF THE WISE” WITH SACRILEGE. EVERYONE PLAYS THEIR 1ST ALBUM, I USUALLY GO ON ABOUT THE 2ND ONE AS THE RIFFORAMA ON IT IS PRICELESS – IT WAS HARD TO GET INTO AS A KID BUT THAT ALBUM IS THE GIFT THAT KEEPS ON GIVING. I GET TOTALLY LOST IN IT. THEN TO JUST CONTINUE THE WHAT IS IT STYLE, I BLAST THE FIRST TRACK OF THE SINDROME DEMO FROM 87/88, THIS WAS THE VOCALIST OF CHICAGO GODS DEVASTATION’S NEW BAND, AND ONE OF THE MOST PROFESSIONAL DEMOS OF THE 80S. I’VE BEEN PLAYING IT FOR 21 YEARS STRAIGHT!
SO, AS A WEIRD BREAK AND LINK TO BOTH THE EERIE INTRO AND THE ORGAN ON THE BEFORE MENTIONED SACRILEGE TRACK, I SHOOT IN ONE HEAVY PSALM THAT A MASTER DJ HERE IN OSLO BURNT ME, TOTALLY OBSCURE VINYL OLDIE… AND IT CONTINUES WITH THE INTRO TO THE RECENTLY DISCOVERED “AT THE MOUNTAINS OF MADNESS” BY BLACKFEATHER, THANKS TO PETER IN WOLF 359 FOR SHOWING ME THAT SHOCKER FROM 1971.
RockersNYC is proud to present the legendary crust punk band AMEBIX on their first tour in 22 years, and 1st US tour ever!!! The show was fast & heavy in all the right places. Unlike many reunited bands, the magic is still there for AMEBIX, and their guest drummer Roy Mayorga of NAUSEA fucking killed it! This show reminded us why AMEBIX spawned the crust punk genre, and we cannot thank them enough for their epic performance.
Thanks for taking some time off to do this interview with us. Let’s start with some questions on the background of Cassette Playa. So when did you start up Cassette Playa and what inspired you to create your own label?
Cassette Playa was started to fulfill an ancient Essex prophecy.
I’ve been doing Cassette Playa in some form since I graduated in 2004, Nicola Formichetti (creative director of Dazed and fashion director at Vogue Homme Japan) bought my graduate collection for his store - side by side in Tokyo. I made collections for/sold to them right up until the store closed at the end of last year. I was also working as a stylist - with M.I.A and for ID/Dazed/Super Super. I’ve done 6 collections and showed at London fashion week for the past 4 seasons.
The name Cassette Playa is quite unique. How did you come up with this name?
It comes from my name, I guess it’s my alter ego, I like superheroes and tribes and gangs, and with that there’s always a name. I’m also a bit shy so that helps *laughs. I was over the name for a bit because it sounds kinda retro and with Cassette Playa I’m always thinking of the future but I think the name has kinda lost any previous meaning/association now (at least it has for me/I hope so). I guess it’s like that with any brand or band name, you build your own identity and give words new meaning.
KEY.2.THE.GATE.#1.
So where do you get your inspirations from for your designs?
Everywhere. The Internet… But on repeat: comics, science fiction, horror films, computer games, rave, metal, gifs, and web based art.
I like things that are pure and graphic, keep it cartoon… cartoon couture.
I’m especially interested in ancient civilizations, I believe in preserving and moving forward that knowledge, imagine ancient rituals with new technology and adopted cultural references. I envision these rituals assimilated in a future post apocalyptic city.
What do you think of the current fashion landscape? With the economies of the world taking a bit of a hit, does it pose a bigger problem for you then brands with more conservative styles?
I think there is always a market for luxury and in the economic situation people will still crave something unique. If we are heading for economic collapse, end of modern civilization this is your battle paint! Fast forward the apocalypse.
KEY.2.THE.GATE.#2.
Is it important for people who wear Cassette Playa to understand your direction and inspirations?
Yes but I don’t think fashion should be over-intellectualized, your world can be deep but the communication should be instant. I know and hope it’s obvious that Cassette Playa has lots of levels but as long as the people wearing Cassette Playa get it on some level (rather than following hype or a trend) then I’m cool.
To you, what is the relationship between visual design and communication?
Fashion is pure communication. Your style communicates who you are and what you believe in - that’s bait. I’m interested in coded communication, global visual and web based languages like gifs, smileys and text messaging. I see them as modern day hieroglyphics with Cassette Playa we don’t have one logo and reject traditional branding but I think we have built a strong and recognizable visual identity. I see our prints as cyber symbolism.
KEY.2.THE.GATE.#3.
Let’s talk about your recent collaboration with Nike Sportswear. How long ago did the planning begin as the Blazer was seen during the launch of your 2008 spring/summer campaign.
We first designed the Cassette Playa x Nike Blazer for our spring/summer 2008 show “Future Primative” we worked with Jesse Leyva to perfect the design for its launch this year.
What are some brands that you respect?
Jeremy Scott, Bape, Billionaire Boys Club, Walter van Beirendonck, Gareth Pugh, Raf Simons, Bernard Wilhelm, Romain Kremer, Stussy, Undercover, Pam, Thierry Mugler, jpg + jcdc.
KEY.2.THE.GATE.#4.
What’s on the horizon for Cassette Playa?
This season we are showing a diffusion at MAGIC Las Vegas and more limited edition digital print pieces. Womenswear next season! Nike collab drops in winter 2009. A few different collaborations are also in the works with RockersNYC, Phenomenon, P-Thug from Chromeo and more this year including another potential show with jcdc. I want to do more styling, shoots and keep working with artists and bands. I’m just discussing a project with Shawn Mortensen and have some art and film projects I want to realize. And I’d like to spend more time in Japan if I can, me and verbal have been talking about doing something together in Tokyo.
