![]() ![]() ![]() I was raised in the death culture of the ’50s, it was the backwash of World War II. Jim Evans: These guys are kind of lucky, ’cause youth culture actually existed when they came up. Jim, coming up in the ’60s and ‘70s, you had an entirely different experience than Estevan and Risk did, but music was also central to your development as an artist. I did good on that one and ended up rolling with them until 2005, when they quit touring. The guy who was our tour manager just fucked up, you got a job with us now.” My first job was at Woodstock ’94. Thank you very much, I’m going back to construction and working the clubs.” They’re like, “Nah, don’t even trip. I called the homies from Cypress, “Thank you for this opportunity, I traveled the world, I made a little bit of money, I was able to finish my lowrider. “Jump Around” became one of the biggest hits ever. Just make sure they show up to all their interviews on time, to their shows, just look out for them.” So I went on tour with them and that summer they blew up. It’s with these white boy rappers.” I was like “Fuck, what’s this gonna be like?” He goes, “It’s Everlast! I want you to tour-manage his new group called House of Pain. Then Muggs in ’92 said, “I got a job for you. He was gonna pick one, but he used them all.Ĭypress Hill / Photo by Estevan Oriol Cypress Hill He had me design three sets: one was New York-style graffiti, one was gang writing, and one was the hybrid of both. And then I got a check for $30,000! Back then that was a lot of money to me. I put it in my apartment and just stacked it up. I think I got every case of Krylon in LA county coming in at that time. I was like, “Yeah this is gonna be a lot, it’s going to be like $30,000.” They thought I meant $30,000 worth of paint. I was doing that video because I was just trying to get paid. There’s no choreographer writing that shit out, he just got in there and did it. He’d jump around the car dancing, doing all this stuff. I hid up in the rafters and I was watching him. ![]() He’d clear the set and choreograph the whole thing. This guy goes, “You’re responsible for all the beautiful artwork?” I was like, “Yeah, I guess so.” And I was like, “Who is that freak?” They were like, “That’s Michael Jackson!” I didn’t realize how much of a genius he was. The Michael Jackson thing was great because when I did that I was in such a bubble. RISK: Yeah, I did the MTV Videos Music Awards, Arsenio Hall Show. Michael Jackson, Ice Cube, Chili Peppers. You also did the set designs early in your career for several music videos. Studio visit with Risk, Estevan Oriol & Jim Evans. Like Aerosmith and Joe Perry and stuff would call me up, we’d hang out, I’d take them bombing. I just became the graffiti artist for the rock stars. If they needed an artist they’d call RISK. Living in Hollywood and having a studio there, running around with those people, as we’d grow up together and become successful, we’d feed each other. The beginning of heavy metal glam rock with Mötley Crüe and all that stuff was just starting, so I got to meet a lot of these bands because I’d be out tagging and they’d be out putting out fliers. So I came out here and I used to go up to Sunset to the Whisky and Gazzari’s and the Rainbow and all of these places. I got infatuated with Led Zeppelin, and I just loved rock music. ![]() I was a kid and I’d sit in the room while they practiced, seeing people doing drugs and drinking. My uncle was in a band and he introduced me to rock music at a very, very young age. What are some of your earliest connections to music in Los Angeles, and how did that help shape your career? One connective element with all three of you is the integral role music played in your careers. ![]()
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