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All photos belong to Zeta. As always you can listen to the episode here if you have Ivoox. I can remember going to local art academies and schools. I attended the School of Applied Arts and Crafts during my adolescence, but that was after getting to know graffiti. Just like most writers of that time, I grew through the influences coming to us from the USA, through breakdance and hip hop. I started trying to grow and evolve faster, further than just a calligraphy study of my name, I was working on scenes and characters. I was hanging out with Rayo, who was more or less my age and really got into letters. We complemented each other well, and started designing our walls together: him with the wildstyle and me with the background and characters. My local group was called Beat Snake and I remember having done a sketch of a snake with a Kangol on. In my early days I remember looking for a nickname, and first started writing Buffalo, then Pablo 85 and even Rocky, I guess referencing to the movie. I did my walls and graffiti a bit more consciously and putting Faze2 as my name. The excuse of having to paint a school worked as a good story to get our hands on that stash. It would have been special to me because somehow it meant being part of the world that had flooded us and had us practicing graffiti like junks. There were some break dance-style pieces in small alleys and hidden corners. They were neither for or against it. And there we went with our backpacks on, in December. We started our wall, next to an apartment block. That happened 3 or 4 times, and 10 minutes later a grandma walked down, poor thing, watching these kids drawing on the wall. There was a try to sneak away when she appeared, but finally I stayed with her, sympathizing. Suddenly, police sirens emerged. Turns out the cops say the same thing as the grandmother already had. They even wanted to help us load our cans in the car and take us home. In fact, we pretended to gather our things up, and just went on further when they left. We finished it that night. That wall was really long, so we painted a few more times there, but during the day, seeing at how that vandalism act had turned out. Because in those days there were no fanzines. Z - It expanded quite quickly, even though the movement was very locally based. There was some rivality when someone told you about, for example, a wall that had been done in El Soto. Talking with Henry about different personal things, he told me about some intricacies of what happened during the shooting of the film, his personal experience of the first contacts with graffiti. The whole family would go to the end of the railway line, even brought barbecues, because back then this was not perceived as a vandalic act. Beefs between writers were not the norm, there was a lot of respect. He told me he CAP crossed out people to gain notoriety, and when he decided to interview him for the documentary, he had an internal debate over it. But that was healthy rivalry, a competition between neighborhoods to boost our growth. We never had fights, there was never a real problem. In our neighborhood there was also Gallar Ags , and each was moving forward in their own way. In the beginning things were healthier, more laid back. And to come back to that piece, word started traveling fast and everyone was on the lookout; it transcended much more that we could have imagined. Lots of people told me it was like the coming of the aliens. But it inspired us to strengthen up, keep sketching and do pieces like crazy. We started traveling in those years and got in contact with people from Barcelona. It was personally a very active stage, painting pieces and growing as a writer. For my crew and I, the decisive moment came when we went to Paris and we had a direct link with the scene of another country. Z - Our bond with Paris comes from the fact that our crew Chop, Rayo generally had quite an acceptable level already. If I remember correctly, Rayo spent his summers in Benidorm, and there was a club where lots of writers from Paris used to hang out; they played the hits of the moment, Sugar Hill Gang , etc And there he saw some kids dancing break, and one of them was Nest. Rayo told me he went crazy when he saw those guys dance. Nest spoke Spanish, his grandmother was living in Alicante. And thanks to that, a friendship bloomed. Included were the legendary pieces from Chrome Angelz , Mode 2 , Bando … everything that was in Stalingrad. I was in 8th grade then, and I remember we did a Break Dance act at the end of the school year. We made some money, sold a couple of things as well, and earned enough to go to Paris with the class. I was already hooked on graffiti then, but this was a school trip. M - And nobody else painted in your class? Z - No, I do remember Julio being in my class, a B-boy… We had a tourist tour of Paris, and the whole city was bombarded with tags. I realized I had to come back to this city for what interested me. So, with the excuse of knowing Nest, Rayo and I saved some money and went to see him. It was crazy. It had taken off in Paris, and the multiculturality was stronger. Even if we were contributing with a bit of color, we still had a long way to go. Nest was a very active figure in the scene, he hung out with Jay One , Mode 2. I have never taken drugs, but I imagine this was like taking LSD and having a vision. It was brutal, an addiction. When we got home with all this info, it changed our vision and or way of understanding graffiti. Z - I think for those of us who had the opportunity to experience other realities, we realized the limit was not just local. This marks a difference in how you evolve, and your evolution reinforces the scene. He settled in Paris, and I guess the new coming of American artists meant a significant push in the Parisian scene. The opportunity to live this experience with them, known for their talent but not truly famous, was incredible for us. Sharp , A-One were also there, as well as Jon, who lived in the studio. It was our second time in Paris, and we wanted to paint. Z - It was a bit dazzling. How was I going to go over that? Funnily, we had come with quite a sense of inferiority but instead, many people remember that piece. They made us feel like a part of them. There was friendship there, and they treated us as if we were one of them. Many remember it with melancholy, as for them it meant something important at the time. I too started doing illegal bombing, but there comes a time…. And those two ways can coexist, and can even coexist in oneself. But everyone has a right to do what they want. My view is that it was a positive one, but they disagreed because, for many writers, the handicap of having to paint with a Krylon which is an atomic bomb with a bit of paint , the can control you need to have, determines whether you are a good writer. And of course, with the low-pressure cans we have nowadays, anyone can paint. Z - Of course, but even so, what is the damn problem? The only intelligent thing said at that table was said by Dare, who shut us all up, talking about evolution and melancholy: Everything that brings you to a progress, to another level, is an important path to explore. Z - Indeed. And if you analyze it, esthetically it has nothing to do with it, but graffiti is a global language. Now there is no need for this exercise of research and investigation. But still, progress is progress, and what matters is what you do and what you like. On top of it all, writers came out from Paris. Z - Yes indeed. For example, we heard through our contacts in Barcelona that Futura had been there and had painted. Truth is that having the opportunity to travel helped us raise our own level, and that of the city. At a certain point, in line with what several of us were doing in the crew, there were others that were going hard, like RSC, Dark, Juez, Jes. At a certain time, we sort of lost control, but because we could. At first illegally, because those walls were not legal, but there was still that complicity with the people living there; they let us paint those walls. We were that other urban tribe, with our colors, we danced on the floor, we drew, and on top of it all, they made us popular on TV. All kinds of things happened in the main square, where I lived. Everything was mixed. We each went our own way, Gallardo, Use.. All of a sudden, these big mural walls were created and instead of seeing graffiti as a hall of fame that would get renewed, we went to conquer other walls. After that, we did have to renew each year, walls were getting scarce. M - Well, they had other problems to take care of, so some kids painting on the street would not seem so severe. Z - Exactly. Our crew was on good terms with the Youth Council , and they started giving us spaces, gave us a bit of money for paint or to bring people from Paris over. This in turn made people from other places come to Madrid. We started getting to know the ones who were keeping active in their cities, and the movement started growing on a more national level. He showed me some pics; they had already gone to London and showed us pieces from over there, of writers that also had quite a level like Goldie , NonStop, Fade, Cade , and I guess Pryde, Zack and all of them from Chrome Angelz. It was the start of a good back-and-forth of sending letters, right before fanzines arrived on a national level and were more available everywhere. That was our Facebook: going to the post office. Z - Really? I know the first numbers of Game Over were already out. I can see ourselves painting in Hermanos Laguna neighborhood and you guys came looking like a sight… Moockie and Kapi looked like they were from Euskalherriak, they had military jackets on and hair in half mullet, and you with a turtle neck on and a goodie good girl face. M - I have no idea. The only thing I remember about that trip is doing my first color piece, a horrible disaster, for which I was very embarrassed. Moockie has already been in Madrid on his own account, with Mata, and he had already seen the pieces by Mast. I remember you guys stayed NYE with us, you left after that and we stayed in touch. Z - There was a first phase, where they were very surreal, with barely any public, and no one remembers, because we were so few. Those were the breakdance jams, and I was the DJ. Well, if by DJ we mean the guy that had recorded tapes from the radio and turned it around when it was over. I remember having some dexterity, I did my best when recording from the radio; I obviously cut the song when the radio broadcaster got on talking shit. There was a magazine called Superpop that gave out a tape kit to edit your tapes, with a ruler and papers to cut out and set on your recorded tape. Very crazy. Thank to this we were able to have more talked-about jams. There was one with Jay One and Fasim , Jonone. Another one with Mode 2. It was thanks to the contacts we had with Paris that we were able to bring these people over. That was the biggest jam we organized, and also the last. We loved organizing them, did it with much enthusiasm, but it surpassed us. For us, having Futura come, such a reference, it was incredible. He was quite a character. We went to pick him up from the airport, all very excited, and suddenly we see this grown man, with a Russian-looking hat on, with a huge backpack on, skating on his board through the terminal. It was crazy funny. We had thought of a more formal reception. We liked him a lot, right off the bat. He was on his skateboard all day. We were having breakfast in the hostel. He walked in singing that song and we were all cracked up. Z - Yes, true. Mode also came on that trip, and there were some very funny circumstances. The same day of the jam, close to the music school where it would take place, we took them to eat at a Galician restaurant. We wanted them to taste something typical, and I remember they brought us some chorizo. On the paper tablecloths, Futura was doodling his coils with a slice of chorizo, but even better was Mode 2 cutting the paper to take home with him. And on the streets next to the event, Futura throwing himself at cars to be able to stop his skateboard. Very unusual. Aside from the writers, obviously music had great importance. CPV performed, a legendary concert that many remember. Because of the connection with others from the scene, we had the best of the best of everywhere. For many, these jams were the place to find the role models of the scene. Truth is that whenever you heard of a jam, you knew it was a mandatory date that year. Did Bunker shop already exist or not yet? M - Yes, that was before Montana existed. The first was in Lesseps, right next to a small park. The shop existed, the magazine too, and I already had interacted with Jordi of Montana. The first times I heard about them was because they were selling belt buckles. The guy bought them in England and brought them back, he had Beastie Boys t-shirts, and Public Enemy patches for our jean jackets. After that first store, one opened in Tirso de Molina, in Magdalena street; I started working there, doing aerography during the summer months. It was specialized in urban gear of that time, and it started to bring in specific hip hop products. Z - No, this was the one before. It was quite a big place. They started bringing Ewings, and stuff like that. In Madrid, the type of buyers in Triburbana were more the b-boys and cool rappers. He had no clue. That was a kind of competition. At first we painted with Novelty and Duplicolor, but I guess later on we started using Felton too, as they had a wider range of colors. This was a very prolific period because we painted a whole lot. It was us five, and I think later came Nest. I got to this conclusion talking to Moockie about it, because there is a poster of Game Over with a staff worksheet on it. The scene was so well settled nationally, that jams were being made at a whole other level. Z- Of course, haha. We also had the chance to meet the people of Mollet, PDM. Everyone went through that place. Z- Yes, for sure at the beginning, with his folks there, and his cork-soundproofed bedroom, where it was so cold and so warm…. Where do you live? And that was the excuse, in the most natural way, and it extended and went on for quite some time. That was a type of link-up that was happening all over the world. I do remember a golden age of fanzines, pictures, trips… And maybe I do see that the American scene takes a sort of second position, at least the role models that we had, and what was happening in Europe started growing, with the Battle of the Year, etc… These things really drove some energy to the scene. Regaining the positive constructivism, everything contributed, the synergy and energy was getting created by the growth of the writers themselves, and that in turn gave momentum to the scene. The first pieces were probably not much more than tags. I think once we started stealing them at the drugstores, Novelty, Duplicolor, we noticed those were better; but the cans we stole at auto shops, lots of them were metallic, and very watery. Another funny thing we understood once the movies and books started coming in, was the matter of sizes. We tried to be as neat as we could, within the possibilities the spray cans were giving us. A sort of common knowledge started growing based on our experiences, slashing the hole of the cap, stealing varnish caps, or whichever. Later once we went to Paris for the first time, we tried out Sparvar and Buntlack, and met writers that had mastered the skill of the technique. We were in Stalingrad, seeing pieces by the BBC. After being with them, we knew what we had to look for. A flash that appears to quickly disappear again, and a bunch of information you cannot access. You start trying to translate all of that, with all the differences there were between writers, and at the beginning your way forward is copying like a little parrot: arrows, shines, shadows, 3D, all of it at once. In my wolf piece, the figure has shine even on his jacket. In Paris I tried Buntlack of Marabu, Germans, which was model building paint, also available in the stores in Madrid, but of course they cost about five times more. And if you bought one and used it for your outline, everyone freaked out. That was our secret. Mi first characters had a more Disney -ish esthetic because I had learned illustration, and they had more to do with that than with B-boying. We were evolving through our references. So, in the end, I transitioned to Fazeta. I liked the combination of letters, with the addition of having a wink to my childhood reference, Mazinger Z. I liked the name; the letter Z is powerful, and you can make it have lots of styles. Almost all writers go through this exercise of trying out and changing. Chop, Moockie and I, in a jam who-knows-where. This was your usual noisy club, music blaring. We were painting inside the bar. The club in full swing, the waitress serving, it was really crazy. The owner, all happy, buying us drinks, bringing girls over Once the jam was over, the owner of the club volunteers to take us to Barcelona. Once we took off, this guy kept on making sick jokes and telling us he needed to make a stop to pick up a female friend of his; he also had to take her to Barcelona. Halfway, he stops, and this woman gets in, looking almost like an escort, with a fur coat on. We: completely shy because of the situation, and all giggly. Chop and I nod. Moockie sat in the middle and was looking at us weirdly. Of course, the man stops the car. He just presumed that lady was a prostitute. Imagine their faces. The rest of the journey was in complete silence. A life of lust. I forgot to ask, what would be Zeta's soundtrack from those years? A3 Noticias. M - Your universe expanded… Z - I think for those of us who had the opportunity to experience other realities, we realized the limit was not just local. M - Sure, but style is style… Z - Of course, but even so, what is the damn problem? Faze2- Ray One- At is Def. Nest, Zeta, Mode2. Blackbook Mode2 y Faze2. M- And afterwards, was the city destroyed? M - Is that not the one I visited?

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