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SKUMBALUCKAH

SKORE TRC

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That image ain't working mate :)

 

Heres a few more trawled off the web from Brighton . .

 

http://www.graffiti.org/brighton/skore/skor96_1.jpg'>

Brighton 1996 - Tenam Skore

http://www.graffiti.org/brighton/skore/skor97_3.jpg'>

(TRC) Brighton 1997

http://www.graffiti.org/brighton/skore/skor97_1.jpg'>

Brighton 1997 - Ten Skorehttp://www.graffiti.org/brighton/skore/skor97_2.jpg'>

Brighton 1997 silverhttp://www.graffiti.org/brighton/skore/skor98_2.jpg'>

Brighton 1998

http://www.graffiti.org/brighton/skore/skor99_1.jpg'>

Brighton 1999 Skore Tener

http://www.graffiti.org/brighton/skore/skor99_2.jpg'>

Brighton 1999 with Petro

http://www.graffiti.org/brighton/skore/skor99_3.jpg'>

Brighton 1999 silver

http://www.graffiti.org/brighton/skore/skore00_1.jpg'>

Brighton 2000

http://www.graffiti.org/dj/11-7-2001/large/skore.jpg'>

Brighton 2001

http://www.graffiti.org/dj/5-12-2001/large/sod.jpg'>

Brighton 2001 - Skore Oker Dels

 

Brighton Rocks!

 

Skore Nema Fire Euro Req She Slab Fluke Shar Crel Skare

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Also found this searching for DFM . .

 

SkoreDFM Interview: 1993 - Interview by SheDFM

 

<breve> What do you write?

Skore

<breve> Are you an artist?

Most definately

<breve> Take a while to explain your style to us

Although I paint in many different styles, the elements consistent to all my

pieces would be flow, proportion, possibility and balance. I can't

personally draw comfortably in a loose sketch style way. Of course havin g

reached a certain level of understanding with letters I can drop one off

freestyle sketches when needed, but I would never be totally happy with

painting them. I like to reassess and revamp them a number of times first,

balance them out. I often trace and retrace my sketches, filtering them,

altering and symmetricising the flow. It is for this reason that I don't

keep a sketch book, cos I don't traditionally sketch. I just have a folder

or sixfull of lots of bits of paper, which I use as a library, reverting

back to pick up on old themes and ideas again. Its also a ot more practical

for me. Living hectic I draw whenever and wherever I can. I keep everything,

good and bad cos often something I hate one day, I can get no further with -

another day, another vibe, can be the basis of a fresh outline. A library of

ideas, that helps me build an individual and consistent style. I am very

conscious of trying to build an individual style, to me a style should be as

individual as a fingerprint. I try not to stray too far fromn the path that

I am trying to travel which I'd be the first to admit limits me immensely

and makes it difficult to evolve. I am very conservative with my styles,

very regimented. My styles are very precise, very particular. I would say

the most influential thing to my style is music, as I always listen to loud

hip hop when I draw, 'Onyx' for the recent binge. The generally violent,

brutal, 'tooled up' nature of my work, partly I feel reflects this. Although

I am a calm, positive thinking person, and totally anti-violence wherever

possible, my pieces give the impression I'm a raving psychopath. I used to

have a bit of a problem with this, but it;s slowly been creeping in and the

last few months I've just ran with it. My work as such doesn;t reflect me as

a person, perhaps its an escape, or the dark side, the real me trying to get

out. Maybe its an alter ego. My other influences - books, films, and other

artists outside of graff - are also from the darker side of life, a healthy

interest in serial killers, hell, weapons, instruments of torture, occult

shit and weirdness don't help. It's a real struggle, cos I want my graffit

to be positive yet it often seems so negative emotionally, maybe I'm in a

transgression and it will all become clear. I often feel that the art

arrives from my pen first and makes sense only months later when it is

reworked, as if my fingers are ahead of my brain. I look back and am like

'oh shit, that was what I was trying to say'. If anything though, its a

total buzz, almost as if I'm possessed. Someone's sending coded messages to

me through my graff . . I know, weird. As I said in HHC recently, I feel my

graff has a very sharp steel feel to it, as I've described - mediaevil. I

feel this this has been an evolvement from the early London days of the

Chrome Angelz and later the Giantz, Nonstop, Nolimitz and TufArts - days

where if you check it out you will find sharpness throughout. I have a large

collection of London graff pictures documenting this, a nod to my roots,

which I feel are an important thread to my work. It was a strange thing when

I first experienced the sketches of 'She', 'Euroh', 'FIre' etc. from

Brighton and saw an unbelievable similarity of evolvement, and speaking to

themfound a similar love of the old 'TCA' styles. Hence I joined 'DFM', and

I feel we explore and evolve together. Between us I feel we rally have taken

graff to a new level, and kept London's rich style history evolving, moving

forward.

<breve> What is the motivation behind your wall painting?

Fundamentally I would say to get my work out there on the street for people

to see, to impress or to hope to impress my peers, and to freak or inject

question into the lives of the everyday people. Possibly also to hope to

inspire them to express themselves in some way too. On a deeper level I

guess its also forma an integral part of my style development, sometimes

ideas bounce from wall back to papper.

<breve> Do you wish you could keep your wall paintings?

The way I see it, I wish all my pieces could exist for ever, I'd rather have

them there in their environment for people to take in and appreciate, than

to have them stuck in some stuffy room. A style developed on the street for

the street by the street scene, in my opinion loses its essence and whole

point in an enclosed space. I make a compromise and keep photos, not a

satisfactory one, but short of painting and storing boards all my life, what

can I do? I hate leving a piece, when I'm done I hang around like a

protective parent, take 10 last looks, and then can't settle until I've got

the photos in my hand.

<breve> Do you paint canvas?

Currently no, I've infact only ever done one, four years ago, and that still

lies unfinished. I can't even really say I even think about doing them. To

me it's a post-graffiti thing, something I may get into later on along the

line. I'm not a great fan of graffiti on canvas as a rule and although I've

seen some excellent ones, I think it usually drastically limits our artform

to a few fades, lines and splodges. It's not practical to paint canvas with

a spray line of a quarter inch. Maybe its like I said, not being able to

loosen up or compromise my style, and being of an intricate nature really

puts my work in an untranslatable position as regards to it.

<breve> Is graffiti a career or should it be?

The word career just says to me people using the artform rather than living

it. Like 'I do graff cos it pays well.' It also suggests that you paint to

order, ie. what other people want rather than what you want to paint, in

which case, no it's not a career to me. Career suggests conformity and

compromise, and I think that belittles all that this shit means to me at

present, maybe 10 years down the line i'll feel differently.

<breve> Would you sell or exhibit work?

If someone held a group show or offered me a spot, perhaps that may inspire

me to try. I could don't have a problem with people selling and making money

from it.

<breve> Have you painted commercially?

I have in the past yes, and I have no regrets in doing it. and I would do it

again should the situation arrive. I don't consciously look for jobs, people

have pulled me in on them. But I'd rather see them go to someone who need

them to supplement their painting proper. The ones I have done, have been

where I can basically paint what I want, I've no real interest in

replicating logos in spraypaint. I've done a few bedrooms, a carnival float,

a couple of youth wings, festival demonstrations, a jacket, teeshirts, a

car, about four fairground rides. I'm currently in the running for a

nightclub, a backdrop for a rockband, a huge backdrop for a friend 'Blade'

who rhymes, a wall for 'Red Ninja, another float and more clothing . . but

most of them will fizzle out through my lack of real interest I'm sure.

<breve> Do you have an understanding of the alphabet, can you control it?

To me, understanding letters is about feeling at home within their confines.

If you feel trapped and frustrated by their face value limitations then you

will eventually drift into other aspects of art to express yourselves. Some

use the words 'I've gone beyong that' or 'I've done that and moved on'. For

me they never understood or found their beauty as they never truly felt

letters. It's like some have a feeling for them and some don't, many never

will. It's definatelyy an inbuilt thing, cos only when you feel totally at

ease and put your trust in their foundations, can you find the key to

expenting all your expression through their visual language, and build upon,

developing and flexing your style, showing your total control of the

alphabet. I can control it to do what I feel, the essence of graffiti.

<breve> Are you painting more for yourself, or for the graffiti culture?

That's a difficult question. If you mean what I paint then I would say

definately for myself. I'm building and developing a style. It's a personal

thing. I'd never compromise my style to follow the new thing, though outside

influences obviously creep in. If I'm happy with something then fuck

everyone elses opinion. My shits too deep. O would concede that the natural

psuedo-threatening competitive edge to my shit must be influenced by the

culture I compete within. If you mean the painting as a literal action then

I would have to say both. Graff to me is a team effort and I am always

conscious of my culture and my place within it. My effect on it by my

actions. It's kind of a them and us mentality, like a battle to get our shit

out there on the street. To get our voices heard above the roar of

'Cocacola' and 'KFC'. I feel 100% loyal to my quest.

<breve> What turning points have there been in your career as a writer?

I suppose most turning points in a writers career come early on. But looking

back through the years the first things sadly that come to mind are the

busts, houseraids and court appearances which were turning points in a

negative sense, cos when they come they screw you up for good. From then on

in your hands are tied. The paranoia sets in 'shit, who's at the door!', and

it's like a censor on your back. Luckily for me all my turning points

artistically came before the busts, so I was already on route. It's a shame

these days for new writers with shit so on top. At least I had a few years

of unadulterated fun back in the day. When I look back, the biggest turning

point to me was the Battersea park Capital Radio event in 1986, Electric

Avenue, with a line up including 'TCA', the giants, 'Nonstop', 'Tufarts',

Jump2 etc. There I saw graff first hand, met all my early heroes, bought

'Mode's buntlack off him and saw my first UK train pieces.

<breve> Where do you see yourself and the scene in future?

I just hope to continue my development as an artist and build upon what I've

already achieved. As for the scene, I believe it will remain as it is

currently in size, and hopefully mature and improve into the next century.

Very few writers turn their backs on graff, though sometry. Once

experienced, you're hooked, like it or not.

<breve> How do you think England stands in the world graffit style wars?

I thinjk we are one of the few countries who can stand tall on its own two

feet and credibly show its development style wise from day one to the

present, a steady development of style, scene and whole nine. There's been

no 'follow the next man' or head turning, it's been true to the game. from

day one and under far from easy circumstances and to me is wholly unique.

Maybe I'm biased but I see very little development in most countries, though

every country I suppose has its good and bad. Going by magazines though, it

seems many of the featured 'in' writers seem to follow the newest flavour. I

hope England doesn't. At the end of the day though I;'d say we rate as

highly as any other country outside the USA, and have and are a lot more

honest than most.

<breve> Do you think it is important?

I think the way we percieve ourselves, and the way we are percieved is

important, as long as we have and receive respect. However, I don't see that

it is productive to keep looking at evryone else. Keeping your own shit in

order is paramount. A style can develop only if it is kept within it's

original habitat. In a way graffiti magazines have mean't closer ties/closer

styles. It's good to feel like you run shit. But if you do you only end up

falling off again.

<breve> Any last words to wrap this up?

I'd just like to say to my accomplices, stay strong, think before you act,

plan your every move, illegal or legal. Stay true and focussed, don't be

influenced or swayed by others. Put in the time and believe me the rewards

are there. Believe in yourself and this country as a whole. Get off Europes

dick, they don't deserve us. Peace.

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And this from Hype magazine Australia . . .

 

 

---------------------

 

DFM interview 1994

 

<breve> What does DFM stand for and how long has it existed?

NEMA - DFM stands for Da Freez Mobbe along with a hundred different

versions. The mob was formed in 1991 by me and 'Req'. The 1994 line up is

Nema Fire Skore Petro Euro Spike Carl123 and Tempt

SPIKE - Doctor Farten Moots Delicious Frozen Meals, 3 days

<breve> What's the English scene like today?

SPIKE - Rain, overcast later.

FIRE - The scene is progressing well with an underground feel still

PETRO - Hot, underground with a sick mentality. Writers keep themselves to

themselves. Our own.

NEMA - Yeah underground. Now graffiti is no longer some passing trend. Most

of the fakers and wannabees have long given up, leqaving a purer scene. IN

1994 it's clear to see whos who in the scene. We all know whos faking it.

SKORE - We have had a whole new wave of writers come through in the last two

years, a lot of which have as yet little artistic skill, but are young and

insane like we all were once. Coming through and seeing us older writers

holding it down, they sometimes get the idea that they are the first

generation ever to go all out, and that they're showing us all how it should

be done. There's often little of no respect for those who have gone before

them, and large scale pieces are often wasted by ignorant fame hungry half

assed pieces, usually no more than thoughtless stickups that any real writer

could have pulled off illegally somewhere. Consequently hall of fames give a

false picture of Londons real talent.. People refuse to waste their time

painting full on walls that'll be lucky to last the day before they're gone

over so you have to look a little deeper. On the plus side the new breed of

writers fuck the police off and cause keep them nice and busy so it's all

good. Full respect to anyone whos keeping the Underground running.

NEMA - To the average foreign writer England may appear dead but that's

because most English writers don't really give a fuck about sending out

photos just to impress. We don't write for international fame.

SKORE - In London we have our own heroes, we don't need other peoples.

EURO - Graff here definately has two categories. The real writers -

lettering, bombing, all out crazy shit . . and the aerosol artists, the

portrait kings, not real graff. It's Ok for Vangogh or some cunt but it

shouldn't be associated with the 'vandalistic graffix' we know, love and

uphold.

<breve> How was the scene before?

SPIKE - Well first the earth cooled and then the dinosaurs came, but they

got too big and fat and turned into oil. Then the arabs came and bought

mercedes benzes.

SKORE - London has always been too hardcore to ever have the perfect scene,

there are too many different types, territories and age groups to ever get

it together like the happy clappy production lines of other European cities.

I personally wouldn't have it any other way cos if I'd wrote only in the

hope that 'Adolf Hitler' and 'Napoleon' would suck my dick then I'd be a sad

a cunt as them. Londons always been kinda fucked up and I guess it always

will, despite some wishes otherwise. Writers ain't exactly controllable

people - that's the point. It's a shame these other bods we have chucked

down our throats don't realise it.

FIRE - Back in the day it was more about getting up and going all out, now

it mmore about bullshit.

EURO - Early days writers would converge at Covent Garden. Everyone wanted

to piece like the Chrome Angela. Letters and characters were emulated for a

couple of years, branching off into many forms of the Uks unique sharp

styles you still see today.

<breve> Why do you think it has changed?

FIRE - Busts, raids, courtcases, leading to many writers slowing down.

However there's still a hardcore of bombers out thers. These are the true

writers who keep the scene going.

SKORE - Realisation there was graff elsewhere other than London and NewYork.

I mean, we heard shit but early on everyone was wrapped up in London. Now

shit's changed. Personally I preferred it before.

EURO - Yeah. Europe, Australia, the states . . contacts were made,

influences of new styles and attitudes occured, and nowadays it's a new era.

The way it looks, in the next few years theres gonna be a lot of mad shit

going on.

<breve> What crews/artists are most active?

SPIKE - The unemployed ones.

SKORE - The most active all out crews in London are DDS, WOT, TKS, OTB, MTS

and DTB Its difficult because people are active at different times and at

different things, but the all round active writers that spring to mind

include Teach Diet Petro Nema Fume Sub and Fista. *These are the most active

writers, not the best.

NEMA - **THese are the don raja, come selector, yutes. Yush bad boys!!!

FIRE - Crews in London like DDs and TKS are pretty much running things plus

there are crews like DFM and ILC who are doing it for the rest of the

country. Writers that spring to mind include Petro, Skore, Teach, Diet,

Shuto, Nema, Alert

NEMA - THe most active all out crew in England is DDS (Diabolical Dubstars).

A hardcore crew who's writers stay true to the game. Active train writers

worth mentioning are Sub, Shuto, Diet, Teach, Petro.

PETRO - In London DDs kills BTP. DFM for style - pornography . . Sub SHuto

Diet Teach Sham59

EUROH - Let's not forget WD PFB.

<breve> What's English paint like?

SPIKE - Sort of runny colour stuff in a can of course.

PETRO - Cor blimey guvnor, it's bollocks.

SKORE - ENglish paint is notiriously bollocks. Most heavily active writers

have to supplement their painting with regular European racking missions.

This a relatively new thing (1991+). Before that we were always paint hungry

and many still are.

FIRE - British own brands aren't too good except for the odd half decent

colour car opaint. Luckily we can get hold of German & Dutch paint fairly

easily.

EURO - It's starting to sort itself out. new brands are coming out and

proving to be baaad, especially Hycote acrylic car paint.

<breve> Are there opportunities to paint trains?

SPIKE - Yes, when they stop.

SKORE - Of couse, anythings possible. Any problems are rarely in the

painting, they're in the comeback. Having said that, it depends where you

paint. In London, different story. You have razorwire and metal post

fencing, infrared lasertrips, cameras, yard security patrols, motion sensors

on the fences, and their most recent one - portable hidden cameras planted

in prime yards spots which recently caught someone out and ended up on the

TV painting a wholecar up a ladder. Further out of London on the commuter

trains (BR's) you have a few hours and little security. London bieng London

though, certain trains are considered pussy, train snobbery is in effect,

sometimes it seems London writers write for maximum risks, and many have

upto six busts mounted up, and will eventually go down if they aren't

currenty. Due to overcrowded prisons and queues for court dates, crimes can

mount up before the first of many reaches trial.

NEMA - If we couldn't go yard, why fuckin bother. After all the first ppiece

ever was on a train, trains will always be the major part of our scene.. Now

in the 90's there seems to be a new breed of diehards who refuse to lose and

no matter how many times you bag them, they keep cutting that fence to catch

wreck. True vandalz. However, there's a nother crowd, a crowd of so called

writers who just paint portraits and abstracts that have decided that they

no longer need to paint pieces or be out there bombing - Ha, ha, I don't

think so! Man in New York didn't start writing just so they could write

their name pretty. They didn't say 'Hey, I like the way Taki dots his I'

Hell no, they said 'this guys getting up!' He's famous, I'm gonna get up to.

Style came after. Just so you stood out amongst the throng.

<breve> What are English chicks like?

NEMA - Y'all know English girls are the queens of the world. They run all

lines.

FIRE - They're cool. DIrty old trouts!

PETRO - Slappers, beef curtains, lils that pay the bills, wet buckets.

SPIKE - They speak really good english!

EURO - Ask my girlfriend.

SKORE - Gay!

<breve> Are the drugs good? Do drugs have any influence on your style? If not,

what does?

FIRE - I'm fucked enough without drugs.

NEMA - We got crazy drugs, but I wouldn't say that they have any influence

on our styles except for the stonefreestylers, too fucked to see the

outline.

SKORE - They effected you, you got 12 months for selling it!

PETRO - ParanoiDDS

SPIKE - I can taste purple, and hear green.

EURO - The drugs interrupt the flow someti...

<breve><breve>WHich parts of Britain go off the most?

EURO - My arse.

SKORE - LOndon and the home counties, Manchester, Brighton, Nottingham,

that's about it. Newcastle, Bristol and Sheffield have in the past too.

NEMA - The South is the busiest. It seems up north they've forgotten what a

train looks like, although tere are a few that stay true (Carl123DFM &

Fista). The scene down South revolves around train writers. If you disagree

you'll probably read this and then go paint your portrait, or maybe a scrap

train and say you're down. Fuck you! You probably think you're so goood you

don't even need to prove yourself, yeah right!

PETRO - Kerbs Y fronts, screwface.

<breve> Likes/dislikes?

FIRE - I love seenign a train piece running, and chasing tubes for photos.

Also, seeing your pieces in other peoples photo albums or in magazines. I

hate all the attitude, but with such a lot of competition, there's always

gonna be beef.

NEMA - I hate all toys who be chatting shit to the next man about writers

trying to be down, plus all the BBoys and Fake MCs pretending to be writers

. . ha, ha, ha!

SKORE - Hmm, I wonder who that could be!

PETRO - I love feeding my sick addiction. I've got paint in my brain,

twisted. I hate getting older, graff-end of.

EURO - Apricot paint, thick as fuck. Wildstyle letters.

<breve> Final words, any chase stories?

SPIKE - There were six of us in the yard. We had just put up the outlines

when the sirens went off. We turned and ran, ignoring the warning shots.

Scrambling up the bank we were pinned to the ground by sniper fire. Luckily

I had my bullet proof lighter and we quickly rolled a joine and created a

smoke screen. This gave us the cover to escape.

NEMA - Kill all buffers, toys, vandal squads, trains . . and remember

bombers are forever.

PETRO - Get chased - we live hip hop!

SKORE - Just do it.

FIRE - Keep writing whatever!

EURO - DFM, wildstyle bastards.

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Bored at work - last lot . .

 

>

Plaistow 1999

 

http://www.graffiti.org/dj/n-igma4/g-park/large/skore-rough.jpg'>

Grove Park 1999 - Lets himself down by painting with the grass!

 

http://www.graffiti.org/dj/n-igma4/sutton/large/skore-dek.jpg'>

(Ske) Sutton 1999

 

http://www.graffiti.org/dj/n-igma3/fulham/large/tener-dek-skore.jpg'>Fulham 1999 - Rumour has it Tener shit his pants that day!

 

http://www.graffiti.org/dj/n-igma5/grove-park/large/skore.jpg'>

Grove Park 1999

 

http://www.graffiti.org/dj/n-igma4/w-park/large/shine-skore-dek.jpg'>

Ladbroke Grove 1999

 

http://www.graffiti.org/dj/n-igma2/misc/large/skore.jpg'>

Fulham 1999

 

http://www.graffiti.org/dj/n-igma1/twickenham/large/tener-skore.jpg'>

Twickenham 1999

 

http://www.graffiti.org/dj/n-igma5/joints/large/pcs.jpg'>

Fulham 1999 with Crok & Perps? - Crok should have his own thread - BaaaaD!

 

http://www.graffiti.org/dj/n-igma10/fulham/large/lc.jpg'>

Fulham 2000 - Dek Skore Merc

 

http://www.graffiti.org/dj/n-igma10/neasden/large/dsmtd.jpg'>

Wembley? 2000 - Dek Skore Merc Taran Dsire

 

http://www.graffiti.org/dj/14-2-2002/large/sss.jpg'>

2002- Seak Shok Skore

 

That's the lot!!! - off to start a 'FireDFM' thread

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Guest imported_b0b

My Goodness, L12 posted.

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Guest imported_b0b

Cor Blimey Mate! He posted again... and as he says he beat loco to it!

 

L12/back from the dead.

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FFFFFFFFFFFFFFFFuuuuuuuuuuuCkin king shit fer sure. trips me out to see writers that wrote when i was like a little kid, and there still goin? DiZam :king:

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Guest imported_b0b

Loco has been digging in the shoeboxes! Good work. Give us some more rarities,..

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Originally posted by b0b

Loco has been digging in the shoeboxes! Good work. Give us some more rarities,..

I will get the JCB out.....digggin deep!!!!!!!!

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