Category: Featured Content

New York’s house and disco evangelist Eli Escobar has been a familiar face on the city’s scene for the last two decades. Whether tearing it up at clubs across the capital (and beyond) or throwing down super-charged disco bombs on labels like Nervous, Strictly Rhythm, & Classic, Escobar rarely steps out of his four-four beat.

As one third of the Tiki Disco parties in Bushwick, as well as running his own Night People label, Escobar has been putting his own twist on the city’s house and disco soundtrack, joining the dots between yesterday’s golden era classics and today’s club anthems.

Supercoven Records is an underground record label and studio based in New York that was founded in 2006.  The label was started to release alternative musical concepts/ideas that Goretex had. Some artists associated with Supercoven Records include Non Phixion, Goretex, ILL Bill, DJ Eclipse and Blizz from Juice. The show offers a glimpse into the mind of Supercoven Records’ personal musical influences, ranging from psychedelic jazz, early seventies obscure heavy metal to modern underground hip hop. As always hosted by Amanda and Goretex, offering a wide range of musical gimmicks for all tastes. 

“There are only two kinds of music: good music and the other kind.” -Duke Ellington

AUX Cutter: Let’s talk about the whole idea behind the premises of when you’re creating these shows.

Nemo Librizzi: Though I didn’t list it on any of the flyers, I did a one-off radio show for the old Know Wave station that I called “Music Anhedonia.” It’s named after a condition where the sufferer gets no enjoyment out of music. For example, you could play them Michael Jackson or Mozart, and they won’t feel anything. They’d ask, “Why would anybody want to hear this arrangement of noises?” I kind of wanted to call the whole series “Music Anhedonia,” even though each show has its own name.

AUX: That’s the theme behind this body of work, right?

Nemo: Yeah, but I didn’t brand it that way. Maybe I should going forward, or I could even go back and rebrand it. It’s a funny and somehow appropriate name for my approach to radio.

AUX: Hey, let’s talk about some of the past radio shows you’ve created. There’s one show—how do you say that word? Haecceity?

Nemo: Haecceity. I don’t even know. It’s just one of these interesting words I stumbled upon in my studies. A word attached to an obscure philosophical concept. It gives me a little kick to hear these rare words, so they come across as good names.

AUX: And that show was based on a philosopher?

Nemo: Yeah, Ludwig Wittgenstein.

AUX: So, what was the underlying influence for this show?

Nemo: Honestly, my YouTube feed. The best $11 I spend every month is my YouTube Premium subscription. The algorithm has me pegged so well that it suggests different music according to my diverse tastes, but it also recommends scholarly documentaries. I’d always heard about Wittgenstein but never did the reading in college. One night, I watched an old video about him and then fell down a rabbit hole studying more. It’s not just his philosophy, but his way of life that was really intriguing. I sensed parallels, not just in myself but in a lot of Bohemian guys in our generation. He was one of the first of us, living a certain unorthodox lifestyle in a pre-modern age. His pioneering example inspired me. With all the music bouncing off his words, it just seemed to come to life.

Ladies and gentlemen, prepare to witness a seismic shift in the cultural landscape! Aux Cutter proudly presents an unparalleled auditory experience that will redefine the very essence of radio. Join us as the legendary Nemo Librizzi takes center stage, orchestrating a groundbreaking fusion of music and intellect that will echo through the annals of history.
Immerse yourself in the poetic brilliance of “Haecceity,” an extraordinary musical collage that intertwines the profound biography of the towering philosopher Ludwig Wittgenstein with an eclectic symphony of melodies. This is not just a radio program; it is a monumental artistic event, a once-in-a-lifetime journey through the labyrinth of Wittgenstein’s mind, meticulously crafted by Librizzi’s genius.

AUX: Your shows are like meditations. It’s almost like Ashtanga Yoga—the flow and sequences are the beads of all the movements. From spoken words and samples to the songs, it’s all like one long track. They’re not playlists; it’s just one continuous sequence.

Nemo: Exactly. Our friend Jim Jarmusch once complained to me, “Oh, you only play little pieces of songs.” And, of course, I took it to heart because he’s my mentor. But when I got home, I thought: they’re not pieces of songs. It makes for one whole collage. Often, I do play the whole song, but sometimes you don’t need to. Especially if it’s a song we all know well. Sometimes, just a little piece of it suffices to butt up against the next thing and the first thing it follows in the dialogue.

Nemo: Going back to the idea of how your shows collage audio experiences, you could put a whole image or song, or you could just put an eyeball or snippet of a track. And then there was “Magnetic Declination.”

Nemo: Yeah, “Magnetic Declination.” It came from a YouTube thing I was watching about navigation. Apparently, at some point, magnetic north is at a different angle than true north because the compass needle points to where there’s a lot of iron ore deposits, but it’s not absolute north. Justifying true north against magnetic north is what Magnetic Declination means.

AUX: Your shows have titles as if they are paintings. “Magnetic Declination” is the compass, and whatever people claim—northwest, south, all that stuff—is it really accurate? Or is it just made up to keep people on their path? Like how some people stay up and get creative at night. Do you sleep at night or work at night? Who’s to make the rules? Everyone can just create their own paths, and that’s the key. “Magnetic Declination” is the name of that painting, and that painting is that collage run-on radio show. You used Rene Ricard as a theme for this show.

Nemo: You know, Rene was such a wild man in his everyday life. Yet, he was a strict classicist when it came to poetry. Like a guy with deep religious views who couldn’t help but gamble or go to strip clubs. A man has one way he keeps heading, but then he’s got another way he thinks he should head. So we’re always kind of looking at our compass to gauge the way we’re headed versus where we think we should be headed.

AUX: And then there’s the third radio show, “Sad About a Greek Pot.” Give us a little more info about this title.

Nemo: “Sad About A Greek Pot.” I was on an airplane watching a documentary about the Romantic poets—Keats, Shelley, Coleridge, and Wordsworth. I love hearing about their wild lives, even though I don’t always understand their poetry as well as I understand rap. When I hear rap music, like the moment you switch on the Wu-Tang Clan, I know just what they’re talking about. When I hear Keats or Shelley, I have to think a lot. What the hell are they trying to say? Keats has the famous poem “Ode on a Grecian Urn.” We don’t talk that way anymore, so I translate it to “Sad About a Greek Pot,” obviously a joke on their ivory tower poetry. To be fair, in their own time, they were talking directly to the people. Everyday people were reading poetry back then, just like everyday people today listen to rap music.

AUX: So Shakespeare was speaking in slang back then.

Nemo: Exactly.

AUX: All right, there’s a new show coming up.

Nemo : I have two new ones already in the can because I’ve been working feverishly. One is “Melodious Plot” with William Burroughs on the cover.

AUX: What’s the idea behind “Melodious Plot”?

Nemo: That comes from “Ode to a Nightingale,” another poem by John Keats. I like the play on words. The verse describes a place where songbirds are singing, a place where you sit and can hear the birds chirp. But I like that “plot” also means when something foul is going on behind the scenes. People today feel that way about a lot of politics and business—something’s not right, and behind the dog and pony spectacle, something fishy is going on. William Burroughs was always the king of that point of view. I use clips from a 1970s movie famous for the soundtrack Stevie Wonder made for it, though I didn’t include any of his music in the mix. “The Secret Life of Plants” weaves into the idea that there’s a lot more going on with plants than we could ever imagine. They’re basically sentient beings. Once you plug them into equipment, you can understand what they’re going through, what they’re thinking, what they’re processing. A friend in college played Mozart for his marijuana plants and shut all the competition down

AUX: I like what you’re talking about. The poetry of the melodious plot, the birds chirping in the background—we don’t understand them, but they’re plotting. It’s the same with plants, right? They’re forever plotting because they’re hearing what we’re saying when we’re walking by. They’re getting everything in passing, all this information from the ground up, in the air, absorbing it. So they’re forever in the plot.

Nemo: There you go. They’re in on something that we can only guess. I had already sent in another show, “Tempo Rubato,” even before “Melodious Plot.”

AUX: I like the cello with the eyes, him smoking a cigarette, blowing out the smoke, and saying, “Talent hits the target others can’t hit. Genius hits the target others can’t see.” Yeah.

Nemo: I think that’s the one where I quote Ramanujan. Wait. No, now I’m getting confused. Oh, that’s where I used Mozart. Ideas from the film Amadeus about Mozart and back to the Magnetic Declination idea of the artist as a nut job.

AUX: All these little worlds you’re creating out of sound have so many narratives to get lost in. I also like that you play songs you might not even love, but at that moment they speak to you, helping to tell the story of whatever you’re thinking about. Even some of the offbeat songs you’re choosing have some rhyme and reason at the moment when you’re creating the show.

Nemo: It’s kind of like making a stew and placing an onion in the pot. You would never bite into an onion; you wouldn’t eat an onion on its own. Some music I would never listen to on its own, I find it ugly or displeasing, but it’s great in the mix right alongside beautiful music. The Music Anhedonia approach!

AUX: That’s the eclecticness of it all because it kind of jumps around and feels all-encompassing, a wide net. Your palate might discover anything in that $11.99 bag of tricks.

Nemo: My $11.99 YouTube hookup. “Tempo Rubato” means stolen time. If a composer writes down music a certain way, usually

Nemo: My $11.99 YouTube hookup. And “Tempo Rubato” means stolen time. If a composer writes down music a certain way, usually he assigns the melody to a time signature. But in some passages, the great composers will say this is on “tempo rubato”. So, according to the particular performance and skills and feelings, of a musician, you want to speed it up here. You may want to slow it down. That’s really up to you. You can improvise with the time. Thats how I feel as a composer of already found objects in music, I’m stealing my own kind of time from them. I’m putting Ghostface together with Janis Joplin, or I’m mixing, you know Duke Ellington with Kid Creole and the Coconuts, and maybe it’s the first time these sounds and unique voices have ever met. So I’m stealing them away from their their expected context.

AUX Right. Going back to the Magnetic Declination. Like you’re a compass for where the music is going.

Nemo: – I’m the standard. The way I’m feeling right now is the standard. And luckily, the way I feel is based on the elections, based on the summer heat, based on the climate change, based on women’s rights to have children or to have abortions, this unsolvable situation in the Middle East. All these things are affecting me in a similar way as they’re affecting other people. So I think people will hear themselves reflected in the way I’m listening to and presenting the music.

AUX: Dope, dope, dope. All right. Cool. That’s that for now. I’m gonna stop the recording.

Photographs by Alexia Contreras 

Born in Encinitas, CA

Lives and works in Milan

Instagram (here)

Milan centre

July 20, 2024

1:45pm

Navigli dj set

May 28, 2024

4:25am

Pedestrians

June 26, 2024

5:20pm

Ruins

July 2, 2024

1:30pm

When the sun comes out

June 22, 2024

6:15pm

Sempione #1

May 12, 2024

3:20pm

Sempione #2

May 12, 2024

3:00pm

Rave culture

June 21, 2024

2:45am

Listen to full mix live only on AUX CUTTER Radio

A film by Jun Ohki
Written and are recited by Olivia Rose

Music selected by Eric Duncan
Community Approved Productions

Sam Hayes

Born 1988 Hartford, CT

Lives and works in Miami

A film by Jun Ohki
Written and are recited by Clayton Patterson

Music selected by Eric Duncan
Community Approved Productions

Words by Cookies

The Knicks’ playoff run has turned New York into

Bing Bong Nation. Demonstrating the teamwork required to bring home the chip, aNYthing and Cookies Hoop have linked up with the “Locksmith” tee paying homage to one of the city’s most revered and feared native sons.

From his position as a point-forward-enforcer on the Knicks to his alleged role in The Notorious B.I.G.’s “I Got a Story to Tell,” Mase was a true original (coach Pat Riley called him “an oxymoron”).

The short-sleeve white tee features images on the front and back with two different phrases carved into his skull-an updated version of the signature look he used to get at Cutty’s in Queens. Get your muscle up!

On going recital

A film by Jun Ohki
Written and are recited by Suga Sarah
Music selected by Eric Duncan
Community Approved Productions

The THANK YOUS are inspired by the Tapes and CDs we grew up with. Some names we know, some we have to decipher. An ode to the squad and people that mean something.

Preview Tape (here)

Volume 1. We asked artist and poet Jack Walls years ago to write the first one, which was performed at various art happenings and exhibitions. Recently, we recorded Jack in Chicago for this audio archive of his THANK YOUS.

Photographs by Noah Colby | Instagram

Our monthly Pasta club at Pepe Rosso, were we gather the downtown family to snack and hangout.

On going recital

A film by Jun Ohki
Written and are recited by Alec Despot
Music selected by Eric Duncan
Community Approved Productions

In 2005, we invited the community our friends, families, and collaborators of aNYthing in the streets of NYC. We asked Akira Ruiz, a long time friend, to shoot the portraits of the gang. We found them recently on the glob and wanted to share. Peep.

Wade Oats & Kripsy Kier

Alex Corporan

Thressasfour & Agathe Snow

Dave Meats

Mike Malbon & Steve Malbon

Harold Hunter & Aaron Bondaroff

Harold Hunter

IRAK crew – Agathe, Semz, Earsnot, Glace, KSer

Livingroom Johnson

Malachi, Kiernen, Taiowa Costello

Kenji Fanta

Kunle Martins

Married to the Mob – Jackie, Leah

Manon von Gerkan

Mike Saes & Bill Spector

Rick, Nemo & Fulano Librizzi

Nemo Librizzi

Peter Bici

Ricky Powell

Rob Jest

Rockers NYC – Sean Reveron & Marcus

Roxy Cottontail

Rub n Tug – Thomas Bullock & Eric Duncan

Ruslan Karablin

Sammy Da Jew, SSUR, AK, Freeze & J$

SEMZ

Armando Nin Exhibition at FOREIGN & DOMESTIC

January 25 – March 10, 2024

24 Rutgers Street, New York, NY 10002

Armando Nin paraphrases different preceding genres, such as photography, painting, and assembling found objects, and plays with them to identify new capacities. The focus of his multifaceted body of work is about generating a domain for spirited experimentation in which new images can arise, from what is typically considered the “mundane”. Nin’s recent development of work utilizes materials such as etch-bath, latex, layout fluid, and soot from smoke, to be elevated to the same importance as oil or acrylics.

Opening Night Portraits by artist Ryan Mcginley

Photographs by : Ryan McGinley

Location : Pepe Rosso, 168 Sullivan St, New York, NY 10012

Grace Ahlbom

Louis Shannon
Entrance Gallery 

Alix Vernet & Lily McInerny

Ruslan Karablin

Mike Saes

Dyna edyne

Edwin & Alain Levitt

Noah Colby

Arthur Soleimanpour

Sabrina

Kiernen Costello

Teddy

The 2 Thomas’s
Thomas Polcaster

Wik & Dyna

Kiernen Costello & Lucia Gonzzzalez

Isaac

Aurel Schmidt & Maggie Lee

Noah & Lucien Smith

India

Akira Ruiz

Ben Solomon

Lou Dallas & Zac

Rafmatics

Wade Oates & Maggie Lee

Anatoloy, Lorenzo Lamarucciola & Aaron Bondaroff

Despot & Adam Zhu

Winter Drop Out Now visit store.anewyorkthing.com

8 Is Enough Zip Hoodie + Speedball Jaquard Knit Sweater

The Shit T-Shirt

The Dream T-Shirt – Real Tree

Backdoor Rashguard

Eagle Long Sleeve T-Shirt

911 Is A Joke, Factory T-Shirt

aNYthing Jersey

Logo T-Shirt

Community Approved L/S Tee

Bubble Logo Crew Neck Fleece

Photographs by : Kalil Justin

Model: Renna,

Model: Katherine Li Johnson

Styled & Model by : Lucia Gonzalez

Paintings by : Kiernen Costello

Location : Rockaway, Queens

Disciplined, Focused, Sacrifice, Work Ethic. The willingness to put comfort and ease aside to achieve a goal..

aNYthing is honoring the youth athletes of New York City who represent and embody this way of life. Young athletes dream of playing professional sports. A step along that journey is playing in college. Its a rigorous and often stressful process to achieve that goal. Hours and days and years of practicing, training, and playing. Thousands of kids throughout the city grind day in and out on fields and workout facilities. It is not glamorous and is often unrecognized for those who are not familiar with this culture.

Here are our first group of athletes who have achieved their goals of furthering their playing careers by playing in college. They have been Committed. They serve as models and positive examples for younger athletes within the city. Showing what hard work and discipline can achieve. To be able to play on a bigger stage, get an education, and see other aspects of the world.

The Beatnuts Street Level LP from 1994, I think this record is underrated,  as far as  beats, the shit is a masterpiece. And I think there was so much dope shit coming out at that in that era that, people kind of looked over this project. I think this is probably like, one of the illest boom bap New York records. It’s in my top five for sure. They’re known for production. 

It’s cultural it taps into like cult, it’s downtown, it’s Uptown, got this guy on a one track, they got crazy hooks,  it’s a combination of different things. First of all Mark, the 45 king passed away not too long ago. He was the king of finding these kind of funny samples, sampling these children and making these records kind of like bringing the inner child in you. Those beats for instance where the biggest hits. Jay-Z, hard knock and I feel like The Beatnuts were always digging these kind of quirky samples, and plus I know them, so I’m a little biased.

JU-JU at A1 Records NYC. Photo by Jeremie Delon

Vic at A1 Records NYC. Photo by Jeremie Delon

I met them through Lucian from Luck of Lucien. Tribe called Quest. He put us in touch with them like when he got deported in 1995, he was still in touch with them. And when I came here, he was like, “yo, talk to those guys”. And those guys were delightful human beings. At the same time, they were open minded, on some quirky, weird shit. They were on a different level. They were part of the native tongue.

Photography by Ryan McGinley

Music by Eric Dunks

Rooftop of Dierbian artist Rafram Chad dad’s home. Le Kram, Tunisia.

Bird Shop in La Marsa, Tunisia

The Cafe in Saf Saf; in La Marsa, Tunisia

Marché Centrale in Downtown Tunis, Tunisia.

Animation by Alec Castillo (instagram)

Written by : Fabian Daniel Tomas

View on store here for Paisley Bandanas

shot by: Lucien Smith

music by: Eric Duncan

Eric Duncan aka Dr. Dunks curates this edition of GENRE:NOW aNYthing’s dive into music we love.

Dunks unlocked his storage unit to bring us this classic LP recorded live in the Bronx at Yankee Stadium in 1973. The featured album is played in its entirety followed by tracks from the various artists credited in the live show. Check out the playlist below… It’s a New York Thing..

Eric looked at who the players were, and then went into their catalogs and selected one or two songs from them. There were special artist on that record such as Manu Dibango Soul Makossa an African saxophone player, Carlos Santana’s brother joins in as well. Jan Hammer who did Miami Vice later on in his career, He’s also on this record, Duncan put “Crockets theme” on the playlist. Duncan tried to highlight every single personthat was involved on The Fania All-stars Live at Yankee Stadium album.

Certain performances in music history stand out as truly legendary. One such moment was the spectacle that unfolded at Yankee Stadium on August 24, 1973, as Jerry Masucci presented the Fania All Stars in an unforgettable live performance. This was more than just a concert; it was a shift in the world of music, an eruption of salsa that left a mark on entertainment history.

40,000 fans descended upon Yankee Stadium at a time when salsa was still finding its footing in the United States. This concert represented a shift in the music landscape. Yankee Stadium, typically reserved for baseball and colossal sporting events, transformed into a colossal dance floor.

Salsa music replaced the crack of the bat, forever intertwining the stadium’s legacy with the history of Latin music. The concert showcased salsa’s rich tapestry, fusing Cuban, Puerto Rican, and Dominican influences. The Fania All Stars, one by one, unleashed their musical magic. Celia Cruz’s electrifying presence was a force of nature, Hector Lavoe’s soulful crooning reached deep into hearts, and Johnny Pacheco’s virtuosity on the flute cast a spell on the audience.

Jerry Masucci, the co-founder of Fania Records. His passion and vision would elevate salsa from the streets of New York to a global phenomenon.

The Fania All Stars were a constellation of salsa’s brightest stars. The lineup read like a who’s who of Latin music royalty: Celia Cruz, Willie Colón, Johnny Pacheco, Hector Lavoe, and many more. These virtuosos united under one banner, poised to ignite Yankee Stadium.

Abhi Chatterjee is the perfect example of a block print artist who knows how to strike just the right balance of technique and tone. His technical style is precise and shows both Western and Eastern influence. Because he prints by hand, you sometimes see small

Fly Trap Sweatshirt

Photos by Kalil Justin

Artwork by Abhi Chatterjee

“imperfections” in the prints which can be the result of the inking or printing process. The reason why I put the word imperfections in quotation marks is because I don’t consider these things to be flaws. These are the tiny details that give life to his images in unexpected and unusual ways. It also shows the hand of the artist, and gives soul to an art technique that can sometimes seem cold and detached.

Fly Trap Hat

Block printing, a form of art-making that consists of carving, inking and printing wood or linoleum, is a centuries-old technique that is practiced today. The dynamic, graphic quality of block printing is unique and has appealed to the sensibilities of artists throughout the ages.The result is an interesting amalgamation of ancient and modern that leaves a lasting impression.

documentary by andrew tobar

Block printing, a form of art-making that consists of carving, inking and printing wood or linoleum, is a centuries-old technique that is practiced today. The dynamic, graphic quality of block printing is unique and has appealed to the sensibilities of artists throughout the ages. Throughout the 1990s and 2000s, there were few artists in the art scene that made block prints. And those who try the technique often find it difficult to escape the Medieval European or Japanese Ukiyo-E aesthetics that are so overwhelmingly associated with that art form. In my opinion, the best artists who make block prints are those who embrace the traditions of the technique and combine them with contemporary subject matter.

The result is an interesting amalgamation of ancient and modern that leaves a lasting impression.

Brian Reedy. Artist/Mentor

Billy’s Record Salon

133 Manhattan Ave,

Brooklyn NYC

11206

It was 1997 when this spaghetti outpost opened in SOHO on Sullivan Street, They fed the community and housed all the scenes recipes. The other day while eating a bowl of pasta at the new Pepe Rosso location, Lorenzo Lamarucciola left his phone on the table, we asked him what random photos he has on his phone that he took through the years, so he scrolled through and this is what we got, a little taste of the flavors of Pepe Rosso to go

Fat Jew.

John Wilson

Eric Duncan

Dev Hynes, Lorenzo Lamarucciola, Tyler the Creator

Barbara Torasso

Jack Greer

agnès b. is an artist a peer a friend and a visionary. If you are from a NYC SOHO of the mid 80’s and now, you know The agnès b. store was in your face on Prince St dead center, rite across from the original bohemian hangout Whole foods nothing to do with the corps.

She opened her first international store on Prince Street in New York’s SoHo district in 1983 the store was a meeting point and a lot of young creatives had jobs there [Artist Suekwon, designer Gaby Basora, Jennifer Baker /formerly of Bookmarc, Brigitte Prat / formerly of Lulus cuts and toys, Joe Avedesian, Megan Owen / biologist studies polar bears and pandas]. The store supported emerging artist and more. It sounds like the same blue print that is being used today in shops, brands and movements. She plays a big part in the formula so let’s give praise and flowers to agnès b.

agnès b. understands the abstract idea of a platform of culture that stages and sets up art, fashion all as one, it’s an energy thats is tangiable. She showcased the work of emerging talents alongside her own designs. From Jean-Michel Basquiat to Keith Haring and David Lynch, Harmony Korine, Futura 2000, Ryan McGinley. agnès b. played a pivotal role in shaping the careers and propelling them towards international acclaim.

agnès b.’s unique character is defined by her unwavering commitment to promoting the arts. She believed that fashion transcended mere clothing and embraced its intersection with culture, art, and society. Her philosophy is encapsulated in her famous quote.

“Fashion is not something that exists in dresses only. Fashion is in the sky, in the street; fashion has to do with ideas, the way we live, what is happening.”

In 1984, agnès b. opened the Galerie du Jour in Paris, exhibiting Graffiti artists such as A-one, Futura 2000, Henry “Banger” Benvenuti, Sharp, and others; Bazooka, Bad BC, Echo et Mode2, JonOne 156, BBC (Bad Boys Crew), Ash, Skki et Jayonedont, Les Tétines Noires, les Frères Ripoulin. The library-gallery on rue du Jour eventually relocated to rue Quincampoix in the 4th arrondissement. A second library-gallery agnès b. then opened in Japan.

In 2003 agnès b. organized a show called the “a NEW NEW YORK scene” champion the next generation of artist in a post 9/11 NYC, she flew 20 artist to Paris and put them all up. Artist including Dash Snow, Jose Parla, Dan Colen, Ryan McGinness, Craig Costello, The Kid America Club, Brian DeGraw and more..

agnès b.’s influence and legacy continue to resonate today. Her innovative approach to fashion and her support for artists have reshaped the industry, leaving an indelible impact on the worlds of fashion and art.

In 2020 agnès b. opened her foundation called La Fab. in the 13th arrondissement of Paris.

1977 After creating a striped top for the film Who Are You, Polly Maggoo? in 1966, she launches it in her collections. Made from the cotton used for rugby uniforms, the classic piece is made in four stripe versions and was worn by David Bowie (left).

“Since we launched, we’ve always sold the 12mm and 16mm striped tops, and we won’t stop. It’s a garment you know you can keep forever. It works for children, men and women. David Bowie loved it. We have pictures of him towards the end of his life wearing the larger stripe. No one knew it was agnès b. I never told anyone that we were dressing him.”

Memories of Paul C McKasty

The Sound of Paul C, He was a producer and engineer who had his life tragically cut short at the age of 24 in what remains an unsolved murder and one of the greatest losses in hip hop history. For those unaware of who he is let’s just say that without him the likes of Large Professor would perhaps never had made the impact that they did on the music.

A proper Organized Konfusion shout out to Paul C at the end of Fudge Pudge.

Here is a found playlist of tracks he engineered, mixed and co-produced.