B L E E DHas reasons to bleed

J e r e m y P r a s a t i kNo stranger to light

C Y N EThe revolution fight

K u r e bMade in Brazil

C a t a l i n a E s t r a d aOnce Upon A Time

D o p e p o p e + M i c h a e l G r o s s + A l i c i a T i s h e n k o + D e c y p l z + & M o r e

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BREED is a wide-reaching tool to share artistic views in a global scale. During the production, I’ve met some interesting & friendly individuals who contributed in shaping up our contents. Now, it’s finally here...the premiere issue, supports & feedbacks are welcome. BREED...together we grow!

Arga Yudhistira| Editor In Chief

Thanks: Kureb, BLEED, Kenneth, Catalina, Jeremy, CYNE, Mike, Alicia, Michael, Joe, Jonas, David, Decyplz, Jacob, Jacky...+more.

Cover illustrated by BLEED

www.breedmag.combreed@breedmag.com

Pasadena, California1+626+628+7653

breed: How did the agency first start out?

BLEED: In 2000 a collaboration between 5 people with different background came together and ended up within only one month into bleed. All five had experienced from agencies and were a bit fed up being told by the agencies to suggest safe solutions to clients, and most importantly solutions we didn’t even like.

This urge to make a difference and actually be honest about ourselves turned into bleed.

breed: Has it been a challenge to keep up with global trend?

BLEED: I guess we never aim for keeping our look international, the importance to bleed is to make the most out of each job. If it turns out that the result fits into updated global design it’s a bonus.

BLEED

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breed: How competitive is the design market in Norway as well as Europe in general?

BLEED: The competition in Central Europe is by far tougher than Norway, having said that the competition is always hard....

breed: What stimulates clients most in choosing BLEED?

BLEED: No matter what the clients are selling we want to challenge the clients within their category. Hopefully we live up to this 7 out of 10 times. Clients wants

to get pushed a bit, and in most cases they turn out very happy if they get something else than they expected.

breed: It’s obvious that you have strong portfolios in all design categories. Which category are you most notable for?

BLEED: That’s very tricky to comment. Both webdesign and printwork are notable.

breed: BLEED “challenges the borders between commercial arts & art projects”. How do you deal with

commercial minded clients?

BLEED: The commercial minded clients often wants “the next thing”, or “what’s hot”. It’s our job to serve the client with this in mind. Thinking and performing this will be all a designer at Bleed can wish for.

breed: You’ve been the recipient of numerous awards & recognitions, which is the proudest?

BLEED: Being short listed in Cannes/cyberlions with Nike is a proud moment.

breed: In the U.S., Hip Hop industry, from music to lifestyle products has influenced the youngsters greatly. What is your general comment on this market?

BLEED: The Hip Hop culture has a great influence in clothing, slang, street-wear and music all over the world, and it’s certainly represented in the graphical context too. I guess it’s the attitude

and the way of non-comprimising that attracts and reflects. Personally I like the total attitude hip hop represent!

breed: Number ten on your manifesto is “Bleed for the revolution!” Can you guys suggest a manifesto for ourmagazine?

BLEED: “Breed- Tie the knot”

(TIE THE KNOTTying the knot of the ropes in the marriage bed.

James in Japan writes: ... the priest performing the wedding would bind the bride and grooms hands with rope during the ceremony. In modern day, you will often see the priest place a sash around their hands rather than rope, and it is from this that the saying comes. Although the practice is not as common as it was, depending on your denomination it is still done.

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Cléber “Kureb” Horta

Cléber Antunes Horta Barbosa, also known as Kureb, freelance graphic designer currently living in Juiz de Fora (MG) began to work in 1999 in some visual projects involving night club events.

Worked in local advertising agencies as LAB AD, Mamute Studio and ISO4 Propaganda with clients like Club Privilège (www.privilegenet.com.br),

Gerdau (www.gerdau.com.br), Oi ClickCelular, SENAI Modatec, ElysèeModels, Muzik, and Amnesia and a lot of other local companies. At this moment, he’s actually working in some projects in Art Department of Federal University of JF, and preparing to launch his own site, www.kureb.com. He has generously contributed exclusive illustrations for our music articles.

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Jeremy Prasatik

Jeremy Prasatik is a project manager/creative director by day for norwal InterChange, Inc., a communications based development company in Addison, Texas, and by night is a freelance designer working under the persona jp33. Jeremy has worked on a wide range of projects for companies such as Cadillac, Hummer, Saturn, Chevrolet, JC Penney, Infinium Labs, Wharton School of Management, Relevant Media, Josh Gracin, Trace Adkins, Split, Emerica and Etnies to name a few.

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Catalina Estrada was born and raised in Colombia, where she graduated in Graphic Design. She has been living in Barcelona for the past 7 years where she also graduated

in Fine Arts. She works freelance and also teaches illustration at IDEP (graphic design school in

barcelona). Her work has been published in two books just released by Die Gestalten Verlag: Illusive, and 1001 Nights. Also featured at the Communication Arts Advertising Annual among many others. You can see more of her work at www.katika.net

Catalina Estrada

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Seattle | April 14thO n c e U p o n A T i m e

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Alicia Tishenko

I was born in Kiev, Ukraine, but I have been living in New York City for the past 12 years (since ‘93). I am presently attending the School of Visual Arts, where my major is Advertising. I enjoy being involved in many areas of the visual design process, in particular: publication design, illustration, and photography. Photography became a hobby when I stopped dancing ballet around my late teens. (In classic Russian tradition, my parents enrolled me in classes at age 7, hoping for me to become the next Makarova.) Photography is a natural way of expressing the world I see. I don’t believe I will ever be as skilled as Ansel Adams, but I take photos that I appreciate the quality and the significance of. When looking at other artist’s photography, I take notice of originality, technical skill, subject matter, and presentation. Watching and learning from other artists making their vision into reality is inspiring. Simple beauty is inspiring.

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Michael Gross grew up in Montclair, New Jersey, and after spending a year traveling cross-country, settled on the west coast , spending his time bartending and exploring photography on the side. In 2000 he moved back to the east coast to pursue a career in photography, which culminated in a degree in professional photographic illustration from the Rochester Institute of Technology. Graduating in 2005 , Michael moved to New York City where he lives and works today. His extensive travels around the US and throughout Central America broadened his interests in photography, shooting people, still lives, and locations. His current portfolio can be viewed at www.michaelgrossphoto.com .

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David Silvosa is cabdesign, an architect & designer. This 23 years old from Spain working at ‘Carlos Ferrater & associates’ architecture office. His works exhibit at FAD | Barcelona, Spain: 14 lofts , diseño intacto [www.intacto.org] | MuVIM Valencia, Spain: mesa ‘05 with online exhibition to include Computerlove: RS04 & Computerlove: 14 lofts. Awarded by scolarship fundación caja arquitectos

in 2004 & premis habitàcola at first prize with ‘14 lofts’. Publication also featured on ‘Nuevo Estilo, Diseño & Arquitectura no 78’ , a Spanish architecture magazine. What’s next? Well, an artwork collaboration titled ‘Human?’ & more publication at Spanish interior design magazine ‘Eben’. Page 90-91 are collaboration with Marcos Olmo, Juan Seara and Sergio Suárez.

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illustration by K u r e binterview by A r g a

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breed: Can you tell us how CYNE linked up?

CYNE: CYNE met in the summer of 2001, to record a demo of tracks that would eventually end up on future 12” and album releases. Although we were introduced through mutual friends, Akin and Cise had been writing lyrics together since high school (and formed a number of hip hop groups in Gainesville over the years). Enoch and Speck met in high school, started making beats for an emcee, hosted open mic nights, and DJed around Gainesville. As a result, all four of us crossed paths a number of times, but never worked together. It was out of desire to build something in our community and a creative frustration that brought the four of us together.

CYNE

a comfort zone – meaning: being less formulaic about our songwriting approach, lyrics, samples, themes, etc. For certain songs, we challenged ourselves to record live musicians, to be sure to get the exact sounds, tones, and feel we were trying to achieve. We didn’t want to be lazy, compromise, or let song concepts fall apart.

breed: How do you maintain the fight against the mainstream industry?

CYNE: It has never been a conscious effort for us to “fight” the mainstream industry necessarily. We make records first and foremost that we enjoy and believe in, and we hope that other people will like them and find something they can

relate to in them. And, just the process of releasing music, independently, is a stand against the chase for commercial dreams and false perspectives on how music and art should be distributed and provided to willing or interested audiences. At the rate at which music is shared, it’s ultimately about a connection or a validation or sharing, not about pushing product. If you have to and choose to, you can prove and sustain yourself, financially, by getting out on the road, touring and meeting people face to face.

breed: How can there be more of hip hop on political and social issues today?

CYNE: Music that deals with political or social issues must be created out of a genuine need or feeling for it to really work and be effective. There are plenty of artists who pigeonhole themselves by making breed

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breed: The group’s early musical influences?

CYNE: We all come from varied musical backgrounds. None of us were trained properly with musical instruments, but each of us absorbs and listens to a wide range of genres and eras of music, that it has an impact on our sound and songwriting direction. To try and list this would be difficult. For hip hop, I think we all see artists like Wu-Tang, Nas, Outkast and De La Soul as major influences. But, we also have all been influenced by a number of other non hip hop artists, which again are much too vast to fully list, but would include: Kraftwerk, Bad Brains, Marvin Gaye, John Coltrane, Stevie Wonder, Gang of Four, Stereolab, Prince, DJ Shadow, Curtis Mayfield, Fugazi, Miles Davis, CAN, Hendrix, Robert Wyatt, Fela Kuti… but, the list could go on forever.

breed: How much evolution in ‘Evolution Fight’ comparing to your previous albums?

CYNE: With this record, there was a focus on creating a more cohesive album than “Time Being”. We invested a lot of time in making sure that the tracks all fit together and worked as a whole, where in the past we would maybe just do it on a more track by track basis and see how they would fit together after the fact. “Time Being” was a much earlier documentation of how the four of us approached music as well. At that point we were still fairly new to working with each other and knowing what we were each going to bring to the table, on top of it being our first real attempt at making a full length record. “Evolution Fight” was a different process entirely in the fact that we were much more of a unit, and broke out of

CYNE: Our good friend, Florencio Zavala (www.brownlikeme.com), has done all of our recent artwork. Flo has continued to understand and work alongside our music and concepts – his art has always been an extension of each of our releases. Our older records, on the Botanica del Jibaro label, were designed by La Mano Fria (www.betabodega.com).

the not too distant future, though. Our goal is to have a few short/scattered tours between now and its release. Then, we are gearing up for a full tour towards the end of 2006/early 2007.

breed: Any artist you’d like to collaborate with?

CYNE: Ghostface, Outkast, El-P, TV on the Radio, Prince, To Rococo Rot, etc. Again, this list could be endless, for us. The collaboration process opens the platform for shared and new concepts of musical direction, and breathes new life into your approach. A lot of our more recent works have been collaborative efforts (Daedelus, Depth Affect, Giardini Di Miro, Nujabes, The Mercury Program).

breed: CYNE has some of the most creative album-art out there. Who handles the art direction? breed

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records going against any and everything that fits their “political” agenda. Obviously it is great if a hip hop artist tries to tackle an issue that is meaningful and important to society but not everyone is Chuck D. Some artists go so overboard with it that they beat the idea or subject matter into the ground and it comes across as preachy or over the top. Finding a balance where you can effectively make people nod their heads and simultaneously learn something or be provoked to change your perspective on something is a very hard feat to pull off.

breed: Any plan of touring the US / Europe this year? Ifyes, any confirmed major cities yet?

CYNE: We’re working on completing our next full-length album, and taking significant time to pull it together. Hopefully there will be some 12”s or something to that effect in a

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illustration by K u r e bphotography by C h i C h a nalbum art by B i l l U e c h i

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S T. E V E

Music just ain’t what it used to be… but independent hip hop seems to be steadily pushing the envelope. Without the glamour and bullshit of most mainstream rap, independent hip hop artists such as Decyplz continue to “keep it real” and deliver quality music with a genuine message.

Decyplz consists of producer m[ ]ndless and emcee Saint Eve, both representing Fullerton, Southern Cali. With their debut album “Middle Ground,” they have joined a circle of peers who strive to bring hip hop to the next level. “’Middle Ground’ is neither mainstream nor underground,” explains Saint Eve, “it’s

Decyplz

a balance that we hope to contribute to the hip hop world.” The album is full of raw emotion; just imagine a heated voice painting over classical melodic beats. “This 10-track release is a testament to the pains and struggles of life,” says m[ ]ndless, “specifically our lives. But it’s something everyone can relate to because it’s real.”

The group wrestles with the role of starving artist, juggling day jobs and the perfection of their art. Not enough money to pay the bills, and not enough time to perfect the art. Hopefully “Middle Ground” will bring balance to Decyplz as well as the declining world of hip hop.

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Passing through downtown Los Angeles in one rainy day between 2nd and 3rd street by Little Tokyo, I couldn’t help stopping to snap images of the artful wall. What one might think of it’s not being too friendly of a neighborhood, the streets host some of LA’s finest graffiti works and hidden eating spots. Yes, some of the most authentic and decorative restaurants. The next few pages showcase chapter one of several, since we couldn’t capture all sections of wall to fit in this issue.

2nd & 3rd st. L o s A n g e l e s , C a l i

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story by A r g a

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Thanks to all crew participated, to all artists for submitting their pieces, to readers and subscribers.

Copyright © 2006 BREED.All other Copyrights are property of their respective owners or contributors.

BREED Magazine3202 E. Foothill Blvd.Pasadena, CA 91107U.S.A.

www.breedmag.combreed@breedmag.com