Beside my name / surname, I had an alias too, during the 90s. Through my tag I entered into the Writing movement, trying to being part of an international network based on inter-rails, actions, fanzines and jams. During the early 90s the italian scene was about to explode, and I experienced those first steps together with some important crews from Bologna, Florence and other epicenters. My best memories of those years goes to the actions and the sense of presence that writers lived bombing the streets. Once I started university, this direct connection faded away and I started watching the movement from outside, like an external voyeur of the phenomenon, appreciating how it changed and evolved during the last decades.
Such a book seems hard to put together, lots of networking, research, time, tell u s a bit about the process of the bookmaking please?
Basically the book started by my intention of reconnect some protagonists of the european scene and let them talk about their experiences. Looking at the editorial market, seems every effort is spent producing photo-catalogues and selection of pictures. Of course it makes sense due to the iconographic power of Writing, but I think so many memories and dynamics get lost in time. Therefore, in All City Writers every research and networking was spent gathering texts instead of pictures. And even if they call themselves “writers”, collecting articles wasn’t easy at all.
Who was involved as editor?
All City Writers is the result of a vast team of editors, around 30, including translators, text editors, graphic designers, photographers and photo editors. I’ve selected the team during summer 2008 as the ACW editorial office was about to be opened in Milan; beside few exceptions, I’ve selected every editor looking at their skills and background: expecially for text editors, I tried to involve outsiders with zero-knowledge of the graffiti world. In my opinion it was necessary as I wanted a book readable from everyone, not strictly writers.
Such a big book, you, the author, got some favorite chapter?
I’ve been fascinated by some stories narrated in some chapters but I would say every part has been developed with the same intensity. Of course receiving strong text from train bombers or amazing pictures of London, Amsterdam, Paris during the 80s let us work with more passion during the whole process.
How was the release party, we have posted some photos 2 weeks ago. Tell us about the feedback of the scene, the writers and of course the public.
Those days many guys were fascinated, like me, by the fact that a whole generation of writers finally had the opportunity to meet. I’m referring to the italian scene of the first period and the young guns of today: it was like a 90s jam with its main protagonists reunited 20 years later. Beside them, a considerable number of foreign writers came as well: a significant representatives of important crews like CTK, TCA, MSN, VIM, MOAS, ALL, SDK, WUFC, TFP, CDC, INC, DSK, GVB, WD, DDS and many others arrived to Milan from all over. Editors from important magazines like UP, XG or 14K participated too, increasing the value of the event. Foreign writers and some locals passed few days in a common space promptly baptized “the crackhouse”.. The evening presentation at LAP passed by without inconveniences.. I would say spotting just three tags in the whole area was a success, considering the presence of more than 1500 people. Things changed during the party…. as the whole club + the facade of the surrounding building had to be painted completely the day after. I assume it was a story already written… and seeing Ridder / ALL climbing drainpipes for 2-floors-high tags was…priceless
You have definitaly made the Book of the year 2009.Do you read other books? What do you think about all the books has been released the past years, hows your view on that?
I think that every time someone wants to publish a book regarding Writing (not only Writing but other products concerning youth and street cultures) should payback their movement, giving back something in terms of culture and research efforts. Publications like Graffiti Planet are good business but empty products, just produced for a potential income of money.
Bytheway, you write?
Let’s say I promote writing.
Whats next, any further planning for a new book?
I’m currently working on several projects, few of them are publications. Considering my slowness, I assume nothing will be out during 2010.
Thanks for the little interview! Anything to add!?
I would like to thank again every person involved in All City Writers, hoping it will be considered more than a collective project than a single-person effort.
All City Writers – The Graffiti Diaspora 406 Pages, Format: 24,5 cm x 33,5 cm Hardcover,
