July 15, 2017


Another one before the ice melts. One more. For kicks, for giggles, for shits. One last one. Just one. One more wave, another beer, a lap around the track. One last ball game, one last laugh. The ice is melting, it is rising, slowly in with the tide and out and in a little further, inching towards the shore, towards us. So I’ll have another one — before the ice melts. Before it’s gone. Before this is all gone. Everything is gone. What’s one more night, one more mountain, one more show, one more dance? One more time, to celebrate. One last time to go up and back again, what’s one more mile, one more round. Let’s go again, god damn it.

Blended or on the rocks? The rocks. If no one else wants to go, I’ll go again. This time faster, harder, quicker, before the ice melts. Before we get washed away.

They lived by this, breathed by this. It’s how they met, they were young, fell fast for each other and hard. Went through jobs together, houses, roommates, a try at a marriage, try at a baby.

Thinking there would be ice in their glass forever. The day would never come where their tongues would be stained by that watered down taste from a drink left unattended.

But the ice was down to a sliver now. It had melted; time ran out — tongues stained.

So the two of them, what was left, drove one morning up to the mountain top one last time, the mountain they went to their first time. This time in their electric powered car, no steady hum of the engine that his old stale tobacco-stenched truck used to make as it chugged up the hill and that’s all they’d listen to since his stereo had given out.

At the top, they kissed one last time. Drove down to the beach where he swam and she took a nap in the sand. After, they went to the bar — their bar, one last time, “for old times sake” they said.

Then they came home and made love, one last time. After, they sipped whiskey and laid on the couch naked, gazing into the fire, like they did the first night. Listening to music and the natural silence between them. She’d kiss his shoulder, he’d squeeze her tight. His arms, a blanket around her. Both feeling a warm sort of comfort, familiar to each; a memory.

Rattling his glass he got up and started into the kitchen running his fingers down her arm then up and off her shoulder as he walked by, “Get you something?” he asked.

“Yeah, let me have another one, before the ice melts.”


June 1, 2017

Samo©… Lives — A Resurrection of Diaz X Basquiat

Artist Al Diaz is releasing three photographic prints that he took in 1976 of his childhood friend and partner in starting the SAMO©... movement in New York, Jean-Michel Basquiat. Diaz, with the help of Instagram—SAMO©... and Massachusetts-based House of Roulx, has recently been bringing back the presence of the iconic SAMO©... a movement that overtook the streets of New York during the late seventies—spreading his work and SAMO©... across the globe to places himself and Basquiat never could have reconciled. The prints that are being released feature two portraits of a young Basquiat and photo of the two of both Diaz and Basquiat. (below)

Basquiat & Diaz - House of Roulx

Basquiat & Diaz - House of Roulx

Uncovered from digging through his old photographs in his basement on request from a friend, Diaz stumbled upon a side of Basquiat not many have seen—young and before he would rise to stardom. “These are pictures of him when he was a more innocent human being; a less damaged soul,” he says. Diaz briefly chatted with us over the reintroduction of the SAMO©... movement, social media and the release of moments between a dear friend of his and himself from a long time ago.

What are your motivations for resurrecting SAMO©...?

I started a few hours after the [recent presidential] election. I went out and started doing [tags] and haven’t stopped since. I have been doing it out in public places usually at subway stations, but this time around, being that it’s 2017, I’ve been using social media to get them out there. They don’t usually last long much in these days on the subway, they buff them really quickly. You have about a day. But the social media is how really people are seeing it, Instagram, Facebook, etc.


Are you a fan of all these necessary social media methods you have to use today?

I am not a huge fan. I’m not an advocate. I’m not going to deny its existence or anything. I am going to utilize it because it's a whole new generation and audience. It’s very useful. You know, I never had a cell phone when I was a teenager or in my twenties or through my thirties. It was never part of our culture. But I’ll be 58 in June and I have had a cell phone since 2001, so to me it’s not completely shocking of a thing.

Do you think people miss the emotion trying to be expressed seeing it through a screen as opposed to on a subway?

Yes, it’s not the same experience. Certainly not. When you see something live, in person, it always has a much more effect. I mean how many times have you seen certain great art works, you know? Take something like Guernica or like the Mona Lisa. I never saw the Mona Lisa, but I bet when I saw it, the real one, I would be like, "Oh shit, I’m feeling being in the presence of this iconic and powerful object," or whatever. But it’s cool that you can see it at least in social media. It reaches an international audience. I get requests from people from Norway and Australia; by the standards of which myself and Basquiat were active that was totally inconceivable, the idea of people being that far away knowing what we were into.

How did this whole thing with the photographs start?

Through a friend who has a company called Street Art Direct; he came to a show of mine in 2015. He knew who I was and was asking me if I had any old photographs because he was interested in maybe making a few copies. I went through my old negatives but couldn’t find anything but. I did find prints and that’s when I found the portraits. It took us about a year and a half before we even did something. It was through Street Art Direct where I got together with the Gendron Brothers at House of Roulx and they were willing to work with the old black and white 4x4 snapshot prints and enhance them to 18x24 images. It took some time but now they are very handsome prints.  

Basquiat 1976 by Al Diaz - House of Roulx

Basquiat 1976 by Al Diaz - House of Roulx

Why are these photos important?

They are important because there are not a lot of them, really and they are actually pretty decent portraits.  Because there are a lot of images out there of later Basquiat, theses are the few of Basquiat before 'Basquiat' was 'Basquiat' in a sense. These are pictures of him, he is a more innocent human being, a less damaged soul.

Basquiat by Al Diaz - House of Roulx

Basquiat by Al Diaz - House of Roulx

Diaz also has a personal show coming up in New York in the Meatpacking district at a pop-up gallery called Red Bird with artist Ron English and possibly Shepard Fairey.

Stay tuned.

Vintage SAMO©... photos via Henry Flynt

Basquiat photos by Al Diaz via House of Roulx

May 25, 2017

Workin’ Hard or Hardly Workin’ with B.Cools

The other day, we were neck-deep in work and one of the boys came thru with a box o' brewskis. Then we saw that the postman dropped off a very special delivery. The folks behind Barney Cools out of Sydney, Australia have been enjoying that sunshine we over at GRØSS have been missing all winter (their summer) long. That delivery was a new kit that the homies had sent us and whaddya know, with it came a weekend of sun. We hopped up to the roof with some frosty ones and a camera to kick off what hopefully will be a string of sunny Saturdays for the boys.

Break time in full effect.

The oversized signature fit of these B.Cools pieces makes for a super casual and relaxed fit—perfect for lounging like lizards. More photos to come.

👕: @barneycools
📷: @msa_photography