Ses Essay @149st

SES ESSAY

Š2002, 2003 @149st Do not republish without permission.

I started in '74 (Though I tell most in '76 since in '74 I was an unknown in the field) as a busboy in The Bronx writing when writers like CHEI, JOY and other members of BF (Bronx Family) pretty much dominated the bus lines as did people like SHARK, CASH and BATCH TBB who was then the prez of the Bronx division of TBB. I made it a habit of keeping tabs on any writers from the '60s and '70s as eventually the trains would become my platform of preference and graffiti was and has always held great significance to me. Many great writers were prevalent throughout the '60s and '70s era whom quietly faded away but not before leaving a legacy of their own like: IN, BLUE BEARD 183, EL MARKO 174, PUNCH 204, RIPP OFF, 2 SWIFT (Whom I went to high school with.), WATUSI, WASP, TRACY168, KROME 100, KT3, JESTER, BUTCH, TEE, TO TOP, STIM (rip), SOLID (rip), STAY HIGH 149, NOC167, CISCO etc. etc. and although the list goes on and on representing different time spans each faded quietly into obscurity as I guess no one lasts forever although to those who know dear history they will never truly fade in our hearts and minds.

The product of foster homes and always predominantly a loner I did buses for about a year almost or just about till the end of '75 then began hitting trains starting with the 4 line. I lived for a period of time with RAT1 from TCA crew as a young runaway and knew STAIN 183 who in turn was a good friend with ties to people like PUNCH 204 and many other obscure writers from before his time like WATUSI and others and learned as much as I could from the time that predated the both of us.

I pretty much started on trains after the TCA era (The Crazy Artist) had finally ended of whom MITCH 77 aka TUE and 7-UP was once a part of and PBODY 170, not to mention many other greats like Z-28 and so on though actually by the end of '75 when I started hitting the 4s, TCA was already gone except for a handful of old pieces chipped or fading which still remained on the outsides as most of the TCA insides were gone. Mitch77 went on starting his own thing. The era I came from was to foresee many future greats who would come and many that faded and went but all of whom were each doing their own thing like LEE followed later on by COMET (who joined efforts with Blade who was already well established) and others, IZ, JESTER, KROME eventually giving way to time and in came the SEEN and DONDI era. DONDI was a good friend whom not only became notorious among the who's who of writers but whom I became friends with having nothing what so ever to do with graff and having hung-out with so to speak and which I met by chance under a whole different set of circumstances.

A whole host of others including inside writers from other lines which sprang up adding to graffiti's rich history. Although many perhaps may not remember a young buck writer from the Bronx named SES as back then I knew many of those well remembered like MITCH 77 who's house I'd been to and was much older than me at the time, but I was practically an unknown young buck not having yet developed anything in particular for which I'd eventually be known.

I also wrote with MOUSEY, SMILEY, DEZ and the original MOE (Gun Hill Road) whom I'd met while hitting Gun Hill's elevateds except many probably don't even remember me as back in '74 I didn't do much except buses until the end of '75 when I started hitting the 4 line in The Bronx where I lived and even at that who the hell a decade later would think that the (still fresh under the ears newjack) SES then was the same SES from (now who'd moved to) Brooklyn... (Sup Fella's sbeen a long long time).

Ya know, once I had established or developed a radically unique style for which I'd become known, unlike most writers, I shunned all publicity as I could have easily been in any of the graffiti movies or magazines and even most of the conventions I'd shun as well as I knew all the right people or definitely those who did so it sure wasn't for the lack of opportunity because the opportunities were there as well as those who'd invite me only I truly didn't care for that kind of exposure as I felt that graffiti emerged as an enigma rising seemly out of nowhere and that since it was the concept of graffiti itself as opposed to any writer or style which attracted me to it that this was the perfect setting for someone like myself who was always a loner so why should I change that when I was happily married to the way things were.

Me the loner creating artwork beneath the stars where time itself would seem to stand still and originally that's how graffiti sprang up anyway, practically out of nowhere hidden in twilight becoming a true enigma of the modern day world and to me the way or order of things suited just fine. Either running out into the night or drowning out sorrows or lost in fun while just being able to create true art beneath the stars was definitely my element and truth was a way of life that meant more than all the money or b.s. fame that any magazine or movie or false opportunity could ever hope to offer.

Having known so many writers and been presented opportunities throughout the course of time again had I wanted to I could have followed the course or venues of others but chose to remain as elusive as the first day I ever wrote making friends while writing with others or alone but remaining true to a paradise that I felt was my own rather than hob knob with pimps pimping the art.

I used to frequent as a young buck (still fresh under the ears) at the old "Striped Cisco Club" in The Bronx under the elevated although virtually as an unknown were many greats came out of or went to and just about did as years would attest to hitting ever major yard or underground lay-up city wide as well as more elevateds than I care to remember and having been raised in both The Bronx and Brooklyn (Where I'd eventually move to and remain.) I was truly an all-city writer having hit every line in all of the boroughs at one point or another. See in '74 when I started I lived in The Bronx and wrote lots, did perms and buses and in the short span of time that I lived in The Bronx before I left The Bronx I'd hit so many places and moving onto trains that it was actually hard to believe even if still an unknown... hell at one point word had it I was wanted by Hickey and Ski for insides and they almost bagged me once at Esplanade but I managed to play the old hide an seek giving them the slip as at that time I was so active I hadn't even begun to acquire the skills which I would years later I'd be known for although I wasn't too shabby either but everyone thinks their great when still new or fresh under the ears.

Truly I had the best of both worlds Bronx, Brooklyn and even Manhattan (The place were I was actually born) and coming out of the 1974 era while keeping the above in mind I had the privilege to not only contribute to graffiti's rich history but as well to have met and associated with many of our past's truly unique artists and as destiny would have it I'd eventually become one of the greats securing myself a place among those who are true pioneers for having a vision and being dedicated to accomplishing what only so many can in their own unimitatble way leaving an indelible mark upon the face of graffiti's history. Make no mistake whether it's Gun Hill Road, Esplanade, Shea Stadium, Tracy Towers, Kingsbridge, Moshulu, The Ghost Yard, Duey Yard in Coney, Ditmas, City Hall, New Lots, The Bridge, Lefferts Blvd., Grant, Fresh Pond Road, Fort Hamilton, Fordham Road or the many other yards, lay-ups, elevateds, pull in and outs I've truly hit every single line throughout the boroughs from the number lines to the BMTs and INDs having paid my dues in the process of becoming a true all-city writer.

Being raised in The Bronx and Brooklyn and coming out of the mid '70s era left a very rich heritage in terms of my graffiti history as I made it a point to learn and keep tabs on the history of graffiti and all writers alike throughout and even before the '70s, as graffiti, truly being a major part of my life as much as all those key figures were and are, we all were part of a subculture which shared the same passion and love for an art which I wouldn't have any other way. As opposed to what many believe no I'm neither dead nor was born in either Brooklyn or the Bronx and though I lived in both I am actually a "Manhattan" born writer which I'm proud of as many greats came out of the heart of the city.

By the beginning of March 1976 I moved to Brooklyn and continued hitting alone after having lived and hit in the Bronx (Though years later would take me back to the Bronx and throughout the boroughs on a course that would change me and hone my skills) meanwhile living in Brooklyn I met up with others there which I became good friends and practically family with establishing very close ties though even so I still wrote alone lots or whenever I needed to be alone always having been much of a loner who'd love going solo especially deep in dark tunnels where the roaring of trains could sooth even the most troubled of souls. I met JOE aka JN 2 (rip) (JOE NUTS who was AC's brother) AC, BETE aka BT (BAD TAXI), KROOK aka KRK and KROOKLYN (Whom much like JOE rip has been one of my best friends, partners and would remain so throughout the years), TAX rip, SOR, RAC, MINOR 49ER, AS2, T59, CHEEBA, CHIEF TM5, TN, PASE, ROACH, SONIC, INK 76 aka IY 189 (Whom we hung lots and had a club hitting together as far back as in '76 so for those who don't know he definitely goes the distance as heaven knows the places and elevateds we did were murder, ha ha!) EL3-TNS (rip), RICH 2 TNS, SNIPER, and so many Brooklyn and lower eastside writers and others from different areas like BOM 5, PEEK, PG (rip), OE, P13, NEL, PEO, KEN 007, SPACIER, we all became friends and they in turn members of my crew "DOG - Devils or Diablos of Graffiti" at one point or another as I shared and became affiliated with their crews as well so we all were truly an all-city movement in the sense of being interconnected to other crews and sources while remaining friends and pushing each others crews throughout the years.

By the end of '77 something happened and I was no longer content as something graffiti-wise seemed missing and I saw the BMT, IND and IRTs writers alike focused on outside pieces or throw ups which I naturally knew how to do and was decent at even from the beginning (though which admittedly I did do but didn't concentrate much of my efforts on) again always having been naturally gifted artistically helped but it didn't fascinate me half as much as the actual penmanship from which all else sprang up or originated. Throughout all of graffiti many had there own unique hand styles both inside and outside of trains yet although all were quite original it seemed that the emphasis went into either getting up or just piecing while more and more to me at least it seemed more like a bore of boring factions at war with an art form becoming a quantity vs. quality type of deal with several exceptions of course as far as piecing and in general went although as far as the insides were concerned tagging seemed more of a quick getting up type thing since graffiti's inception and none of the arrows or added curves to a tag meant much to me as I saw the actual love of creativity towards the development of tagging or its penmanship as a whole as "artistically lacking" though again with very few exceptions as some outside/inside writers for their time seemed almost ahead of their time though again tagging "as a whole" as far as I was concerned seemed to me as if it remained trapped in a bubble of its own... The same old bubble in need of new blood. Writers back then would create new tag styles yes, but nothing that actually established notoriety for the "Art" rather then for the purpose of their own namesake or in my eyes at least not to the degree I felt was needed in order to change how many perceived tagging (Which was/is equally a skillful art form deserving of just as equal an emphasis), tagging to me represented the beginning or most basic of forms of this enigmatic art. The art of tagging seemed to develop slowly, each artist having a particular style that was unique to them but which to me and as a whole seemed stagnated nor was "Pushed to the envelope" development-wise as it should have been.

It was then that I set out to change all this knowing the pen is truly mightier than the sword and that the "Art of the Tag" could be equally or visually as powerful as it bigger counterparts "Art-wise" and that a radical and complete over-haul would be needed which was no small task. The art of the tag comprises of many styles as a whole from different artists but which on a singular lever has never developed quite at the same pace as did piecing or throw ups for that matter. Drastic changes would be needed to bring graff back to its roots or to show all that one form of graffiti could be just as powerful or visually as impressive as its bolder "Off shoots" (since its all part of one package) and so I became a recluse practicing this art "The Art of Unconventional Penmanship" which is the true Art and beauty of Graffiti in its most basic of forms (The Tag)... A form which regardless of its many other faces or bolder expressions conforms to no known social norms or standards being a true collage of artistic interpretation rather a conventional format. I reasoned that if I could create something unique (Let alone a stylized representation no other could make claim to.) and unlike anything anyone else had ever seen before it would actually hold great significance to Graffiti's main roots and to this "Art as a whole" by giving something back to "Graffiti itself" proving both to myself and to all that eventually the art of "Tagging" was not only very much alive but also that visually it could stand tall and on a par or ground of its own never to be looked at in quite the same way as it could be Re-developed and crafted so as to make heads turn.

Throughout the '70s though many had unique hand styles yet even so the art of "Tagging" was in desperate need of new blood and so began my true crusade as I set out to "re-invent and re-write the art of the tag itself" (while piecing of course with every other chance) giving it new blood sweat and tears and creating a method of unique penmanship which would force others to take notice and say hey have you heard of SES or SES this and SES that, but NO, make no mistake it wasn't about SES, it was about the art as a whole and the art of the tag. It was about "History in the making" from where all else derived which would fuel my drive as I wished to contribute something which not only interested me most but which I felt needed to be EMPHASIZED with something new, something vibrant, something which would raise eyebrows just as equally and with the intensity to match which is what makes all art visually unique and what attracts the eye of the beholder.

I felt the need to bring the word "ART" back to the "Art of the Tagging" which is a unconventional format of stylized penmanship/handwriting but in a way none had ever seen nor would soon be able to forget and so help me I'd show em all. You see the art of tagging (Handwriting) was and has always been paramount to all of Graffiti as it is to the history of "Mankind itself" for reasons which would take too long to get into yet even so I set out to pave the way and create "True Change". Pioneering a cause which would make all take notice as I would change the "Art of the Tag" which from 1978 forward I'd devoted into transforming back into a presence of "Visual distinction" and one which by doing so would carve its own legend dripped in notoriety even though that (notoriety) was never my true intention as instead my devotion to the "Art" "The Art of the Tag". True pioneer's are those who leave indelible marks upon the hearts and minds of others accomplishing feats in an inimitable fashion which are just as admired and hated as sometimes a combination of both though no less a true sign of their existing uniqueness. These truly are a select few which regardless of debate are often debated leaving trails of smoke which attest to their inner fire and regardless of what anyone thinks those who know graffiti's history will either dispute or deny these claims yet one thing remains certain to all who know... The name "SES" is a trademark well etched in the history of graffiti as one thing remains certain "Tagging" was definitely transformed making the insides once again come to life by an inside writer who seemly rose out of no-where with a style that would speak for itself. SES aka SUBWAYSLASHER aka "S" is perhaps the most renowned of all inside writers in the history of graffiti using demolition like tactics, drippy markers and notably a style of tagging distinctly unique from others before and even after his timeframe which made his legacy a lasting one well remembered.

Throughout the mid to ending 80s many would witness off shoots developed or based upon his style some even using his letters or style outright in many different ways giving birth to their own unique styles. This legacy influenced many into paving new grounds and continuing to further the "Art" as with that alone as SES would say: "I'm proud to have been a Writer, but most importantly an Artist. I'll always remember a time when piecing was at its best and along came the one who brought "Life" to the insides and if this is a lie or isn't the mark of a "True Pioneer" then I don't know what else is but this much I know and that's that I'm proud to have lived and been a part of the "New York City Graffiti Era" as once upon a time and a very long, long time ago a young boy riding the train once looked up and silently thought to himself "One day I'm gonna' be the greatest inside writer these trains or anyone's ever seen and everyone is going to know me"... Care to guess who that was? Affiliations:
Just about every major crew that ever existed. Friends and Acquaintances: Too many to mention but to those who remember the SES way back when in The Bronx... Yep, it's me still alive and proud to have lived and been a part of it all.

The above is dedicated in memory of: JOE rip, TAX rip, EL3 rip, DONDI rip, PG rip...

(Always remembered and never forgotten)

Always --- SUBWAY SLASHER SES aka "S" 1974.

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