G. A very, very popular, simple, simple question for me, and the way the cops think, is “I’m not so dumb as to not get caught graffiti, and then I can’t tell the kids anything about it. So we’ve got to keep them at bay.”
G. This makes sense, but it doesn’t necessarily work. A lot of times they get on my stuff. Like a lot of people, they’ve got a favorite artist who they like. Sometimes the artists that you like, they start to get on your shit. When I first got into graffiti, I was in the hood. I was doing that, and then a couple years ago, I had to go work for another label, and I was a big deal for about three to five years. We did a whole set of “Riot Fest” shows. I still get tagged a lot, but it’s kind of cool because it’s cool for them to see an artist that they know, maybe from their past, but doesn’t give a fuck. It’s cool.
Is it harder at first?
G. When I first started out, it was harder for me to get a break because it was like “Oh, you got a good piece, you’re just doing it a little too much to get a contract,” and then I would have to go out there and try and get a contract, and I was like, “F— this shit.” I wanted to work, but it was so difficult and time-consuming, and I have a lot of different artists that are really interested in getting them done, because they know when I’m in the studio, they can tell that I’m working on my own stuff. Now that I’m done doing that and getting a contract, and I’ve had success, it’s cool. I mean, it’s nice.
And you can sell your stuff and get away with doing it.
F. This also does feel like it’s gotten more complicated because nowadays, graffiti isn’t as safe, especially where the cops are concerned. You have to work really hard on those contracts and have the money to do what you need to do on your own free will. I mean, you have to make it clear that there’s money at stake. So, if someone says, “I’m going to do this and I want it to be good enough and they’re going to pay the money to me,” then I just give them my own money. But
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