Hace un tiempo atrás hicimos esta entrevista al colega Max Vadala, la entrevista resulto muy buena y entretenida, fue uno de los posteos mas visitados en los últimos meses. Al margen de eso Max tiene una larga trayectoria, por eso en varios medios, fanzines, webzines les envian preguntas, en este caso no se de donde le hicieron una entrevista y decidió enviar la entrevista para que lo lean en ingles, acá paso a pegar la entrevista en ingles para que pueda llegar a otros destinos. Creo que la traducción la hizo Flower Power. Yo no se ingles, veridificul dijo Tevez.
Max Vadala
is an old colleague of mine who has released one of the most
distinctive fanzines of the local
HC/Punk scene. He is well-known for his
unique style . With just having a look at one of his designs you can tell right
away that it belongs to him,it has its
imprint, no shadow of a doubt. Not all
zines display such a unmistakable stamp. His designs and drawings have
travelled the world and the seven seas and have been imprinted on record
covers, fanzines, patches, T-shirts, band logos etc etc… Just a quick glance and you will get to know who is behind all this.
Max
answered a few old school questions from the Argentinian Northwest, where he is
currently living . He will talk about
his beginnings in punk up to date.
-I imagine
your first approach to pencil and paper was when you were a child . The question
is : what made you kept developing your talent years later; family background
or just your sheer interest?
I don’t
think it is related to family background
. I’ve always loved drawing and it was easy-peasy for me. My drawing teacher in
primary school envisioned this. He advised me not to ever stop doing it. (He is Omar Gasparini, search for what he
does, he’s very good)
My first
secondary school was based on advertising drawing. It was not exactly what I
was looking for - this was more technique-oriented . Finally I was expelled for
misbehaviour and absentism. Because of that
I ended up in the Fine Arts school , which , though not ideal, over time
I realized it was worth attending . (I was also expelled from there, but that’s
another story!)
How did you
first approach punk rock? Which were the first fanzines you laid your hand on?
When was that?
I first
approached punk thanks to my
neighbourhood friends in Catalinas Sur/La Boca. I lived there for my first 18
years.
There I
recorded my first cassettes. We were
skaters-punks, HC-skinheads.
Out of this
lot, a few bands arose which are now classic cult bands such as D.A.J-B.O.D-ALTERNATIVA
POSITIVA, NO DEMUESTRA INTERES (in the latter three of its members were from
Wilde - in the Southern area of the province, though Adrian, its frontman was
from La Boca.
The first‘zine
I remember buying was RESISTENCIA (Resistence). It visually impacted me.
Shortly afterwards I was at PUESTO REBELION ( Rebellion stand) buying all zines
from those times.
It was
‘88/’89 I guess.
-How did
you kick off with Bs As Desorden (BA Disorder)? What message did you want to
convey back then. How has it evolved , how did it finally shape its own
identity, the peculiarity of your own drawings and style?
We kicked
off with Bs As Desorden in mid-1993
along with Pichón -just the first issue with hime as he then carried on with his own fanzine called CIVILIZACIÓN VIOLENTA (Violent Civilization).
The idea
was sharing info that we had in fanzines
and magazines from other
countries by translating articles, spreading the word ,etc.
Over time
the drawings became stronger than the fanzine proper to the extent that there was very little text
in the latest fanzine issues.
Until issue
6 it was basically a classic zine (musik
/ social articles/reviews-flyers). Issue 7, as far as I can remember, was a
comic special -it included different artists, most of them connected to LAPICES
EN LUTXA (Struggling pencils)
From that
point onwards, the fanzine would only include illustrations and comics ,
mostly of my own authorship.
-Beyond the
chaotic punk aesthetics and fanzines what punk record covers or artists you
discovered during your early career and
who are those nowadays?
There were
different stages. There were some covers that caused great impact onto me and
later on I found out about their authors.e.g
PUSHEAD, Misfit’s EARTH A.D (Mad Marc Rude), Napalm Death’s SCUM de , Acussed’s RETURN OF
MARTHA SPLATTERHEAD , to name but a few. They are drawings I like even better than
the bands they represent! A pic, a collage , photomontage... Dead Kennedys
(Winston Smith), Crass (Gee Vaucher), the compilation PUNK & DISORDERLY 3.
There are
thousands , these are the first to come to my mind.
Pencillers
and artists are also several . Comics artists and painters of all times.
Since I’ve
had Internet I’ve discovered brilliant
stuff.
Everything has
a direct or indirect influence on me.
* an
addition: Blogspot by
Sombra (No hay Salida zine/ Kontra la pare’ - Uruguay) He’s been doing
thorough research on artistic and punk (really not to be missed!)
www.10charruas10crestas.blogspot.com
-How many
issues has Bs As Desorden released? How
many shared issues have you had? Can you tell us a bit about Lápices en Lutxa (Struggling
Pencils)?
For the
time being (winter 2019) there are 24 issues edited . There were a few shared
issues along with En la cancha se ven los pingos (The proof of the pudding is
in the eating), Alto & Klaro (High & Clear) , Krea Desorden (Kreate
Disorder) from Ecuador and Comunidad Punk (Punk Community) from Mexico.
Lápices en
Lutxa was a collective/ illustrators’
partnership (all of them based in Spain, and myself in Argentina). I suggested
them we should have Lápices en Lutxa BA, as I was not “officially” part of Lápices
en Lutxa Spain. Unfortunately I couldn't manage to find committed people who would engage in the BA
branch.
The idea
revolved around comics with a “message”.
Its goal was spreading libertarian ideas and views by means of illustrations
The group
edited a very good zine called Por amor
al arte (For the sake of Art) which I distributed here in Argentina. And
they distroed there issues of my zine. After a while the collective vanished,
though you can still have a look at the pieces of work on the web by some of
its members such as Kalvellido,
Salamanca, Manolito Rastaman. In my opinion they are to be highlighted.
Has your
work been plagiarized? Has anybody
versioned any of your pieces? If so, have you seen any of them?
I regard
plagiarism , or- better worded-theft, the use of illustrations without authorization
or when seeking profit. I remember there was a shop in BA. I was asked to
screenprint 10 T-shirts with the “Crazy Cat” design. Then I learnt
they T-shirts had been made through sublimation printing (faster and
cheaper) without my consent. The shop closed down less than a year later. He
might have moved or he was cursed due to his mischief.
There are
those who use my drawings for
silk-screen printing and they don’t let me know. But as they are usually
DIY punk projects I don’t mind at all. I know everything I publish in the zine
or on the Web will be re-used sooner or later...
There are also
people that send me pics of my modified
drawings in tattoos, murals, sculptures etc. That would be some sort of
“ egobooster”, as I see there are other people who enjoy creating a new version
of my designs, in the same way I do with other people’s designs.
As an
example, I was sent -not a long time ago- a pic from Bariloche of a tattoo with
one of my designs (HC Chapulin Colorado). Prior to this, I was asked for
permission . Also I saw that Ratos de Porao’s ( Sewage rats) singer also
posted my version of Crucified by the
System , but he didn’t even mention my name!
You can find anything both in the real and in the virtual world.
-Which
formats were your illustrations edited in? (Leaving aside your own-edited
fanzines and books).
The most
exotic format was a wooden toy for very young children, crafted by a fanzine-fellow
called Beto Beles - Subsuelo Insurgente zine ( Insurgent Underground zine) from
Venezuela. A sculpure of the logo toy
which I designed for the
Municomio (Grand Bourg/BA). Also some skull flower crafted in metal by Kasa
Noise’s punky (Paso del Rey/BA)... There are also murals/tattoos/
screenprinting stuff, other zines. I had some other proposals about animation
but for now this has failed to materialize.
-We know
this must be tough… but choose three of your drawings you regard as classic and
which have your imprint.
As the Punk
Rock and Indian Ink’s intro goes: I consider “classic” or those that represent
me the following: How do you destroy culture? With torture. Another one is Punk is no violence.
Anyway, any of the pieces I’ve created over the last ten years are pretty
“identifiable”.
-Punk rock
and Indian ink has already been published for several years now and has been
reprinted twice. Tell us a little about this first experience . Did you think
it would reach so many faraway spots on the planet?
Punkrock and
tinta china has 4 re-editions ( 3 in Argentina and one in Mexico). The truth is
that I never thought about editing it in book format. I imagined it as
something very expensive and complicated. It was on Ale Natural's insistence (Tren en Movimiento
publiser) who persuaded me. It was a one-year work . I would go to his place by train and
bicycle, I would choose the material, scan-diagram, make print tests... a
tedious work . That experience changed my reality as a "penciller"
quite a lot. From the first book many people began to take my work
"seriously". Articles were
published in several mass media. I was invited to some exhibitions abroad. I
got several requests to make art
cover-flyers-designs for T-shirts ... and to date I continue working on this.
Little by
little, I started "profiting” from
my drawings in exchange for my time and energy and creativity. However, even
today there are people who write to me believing that I should make them drawings
for FREE just because they are “also punks"... Although this kind of attitude
is, luckily, disappearing from my way.
I always underline that I ‘m not seeking $$ in
Exchange for my work, I also accept barter for... but most people find it harsh
to get rid of the capitalist logic.
Argentinian
bands are understanding that cover art is a core part of the message they convey,
I calculate that if it wasn't for our critical economic scenario, more people
would come to me asking for my work.
My book was
the first Tren en Movimiento release (nowadays TM is one of the most renowned alternative
publishers here in Argentina). It was also my first published book!
The book
reached many spots. " The book around the world" arose from that
idea. It would be an album with photos friends
are sending me from all over the world. Several photos from exotic places. My
favourite one is in a Nepalese village where my friend Cecy gathered several
local women for the pic- Cecy is the main collaborator. She has sent pics in Malaysia, Nepal, Indonesia, Philippines,
Cambodia...etc!) African lands will also appear.
-The second
edition is coming soon and the first one will be reedited in Portugal, right? Let's
talk a little bit about this, how the reedition was conceived and how you are
selecting material for this second edition.
The idea is to include material from 2010 to date
(vol. 1 goes from 93 to 2010, which is when we finished it). As I said before, after the 1st book I got a lot of work on
demand ( from bands mostly), so I have a lot of material!... The Portuguese edition
was thought to be presented in different book-related events both in Portugal
and Galicia.
-PUNK Y
DERIVADOS (Punk and byproducts) was a section that was gaining importance in
the zine, and we as readers were looking forward to a new issue so that we
could read the stories. How was the
process and how it ends up being published in book format.
Punk y
derivados was a drawing that came out in a Spanish zine in the 90's. It depicted the evolution or different branches of punk, sxe-oi-crossover-goths-etc...
I made a re-version of the punk family tree. In thefollowing issue I released a drawing where I ironically highlighted some
punk-skinhead attitudes back then.
In the next
issue I told a tragicomic anecdote in a 2Minutos gig. At that point that zine
section became permanent: real life stories or anecdotes related to punk
experiences - as incredible as it sounds nowadays, before the Internet appeared,
punks (and youngsters in general) used to meet up in the street,at corners,
parks or squares. .. there I developed
this "ability" or "magnet” with supernatural beings or human
specimens that do not fit in ordinary social patterns.
This
section, then , it became the most "expected" part by the Buenos
Aires readers. When Ale Natural suggested me I should publish
a book, I first thought of compiling all the stories of Punk y derivados but he suggested starting with only one drawing. Both formats worked,
text and design! Currently there are friends translating it into English and
Portuguese . We will re-edit it with both translations as soos as we can.
-
Today it’s your own imprint your “trademark”.
What new techniques have you been using , or
resorting to, software etc? What’s your
favourite drawing technique?
My technique is not quite farfetched, at the
beginning I used to draw with microfibers, then I switched to the pen and
Indian ink and at the moment I’m using brushes filled with water to make
watercolors. I put Indian ink on them and then I scan them giving some digital
retouches with photoshop like contrasting or re-assembling the elements. I try
to show that they are "handmade" drawings with brushes and not with
digital tools (though I don't rule out the use of digital tools in the future).
-Over all these years we’ve seen your art in
several places, gigs, punk book fairs, etc. Where do you feel more comfortable
in?
When I exhibit what I do, I always try to do
it in the environment in which I have always moved (concerts/okupas/independent
cultural centers/etc). I'm not
“famous” and I don't have the Art
contacts so I doubt very much that I'll be called from outside the punk communty... "Art"
is like music: it's not about how good
your stuff is but about what contacts you have or how much money you can invest
to promote yourself.
My only
manager and/or press agent IS MYSELF!
- How do you see the fanzine movement today? 5
fanzines and 5 bands to recommend?
There are still some zines, as I said before.
The internet has changed everything, including the zines’ world. I'll name 3
that are fundamental and unique in their style: La Ponzoña (chaotic collages, punk art full of irony and
criticism), Dekadencia Humana (must
be the most ancient zine in Argentina). Many insights and writings from his
editor and info related to the anarkopunk and political punk world) and En la
cancha se ven los pingos (a typical fanzine which includes a mix of his
editor's musical tastes -punk, Oi!, heavy, rock, social criticism, from a
street view approach. No academic-philosophical researches. Stories about
fictional characters based on the youth subcultures. These 3 zines named have
their "book version" published
by Tren en Movimiento.
As for bands the ones I like the most are: Responsables
no Inscriptos (RNI), Qué Risa, Los Disckolos, KrestaMurti, Tango 14,
Bokasucia... all of them are still playing and active and you can listen to
them on the Internet.
-As a bonus track, let's talk a little about your musical side,
Massacre en el Autocine was the first band you had, right? Tell us a bit about it. Your second band Acidos
Populares. Tell us a little bit about this band since not all of its members them
live in the same city. Tell us also about the experience of your solo album.
As regards
my "musical side" let me tell you that I don't feel a MUSICIAN
or even an ARTIST, I only use this as a means of expression, both with the
guitar and with the brush I do "what comes out" (which is not always
as I imagine it).
The band I played in was Massacre en el
Autocine, I had no musical notion but I had already read the inspiring phrase
that goes as follows: "In punkrock
anyone can grab an instrument and make their own band!" . Music wise we
were trying to make horror punk, I think this label didn't exist yet - 1992 . Our
main influences were 45 Grave/Misfits/Undead, B films and classic horror literature
(Poe-Lovecraft/etc.). The lyrics were written by Vicky (RIP), she read a lot
and was very good at writing. it was a big loss, the first friend that was
leaving me...
M.e.e.a became Bs.As. Desorden
(same name as my zine, since we had a gig with CHIQUERO - where Esteban's brother, guitarplayer in B.A. Desorden. We didn't have a name, just
some rehearsals plus 5 or 6 songs). The idea was to make Oi! or punkrock
77. There were 2 punks and 2 skinheads
in the band.
Bs.As Desorden lasted for less than 2 years. Nogal appeared soon
afterwards. It was made up of a frontgirl (Brenda, currently in Bloodparade). We
all had diverse experience in bands: I.D.S., Espias Secretos, Fuerza Interna
and those already named). The result of this all was a quite original punkrock band.
At the end of 1996 I joined Acidös Pöpulares,
and jsut after that I joined Klub 699 (
I spent 1 year there, recorded 2 songs for a compilation and left) . we were
already playing quite a lot with Acidös, everywhere: the capital city and Gran Buenos Aires...
Terror y Miseria was later formed. That was the time when anarkopunk was all the rage (1997). Many events, many people got together at Plaza Congreso’s
fanzine fair. All Terror y Miseria members were actively engaged in the fair.
In 1997 I also joined Sopa de Garron, but we played ocassionally as Panke lived in Santa
Fe and me in Buenos Aires. In 2000 we travelled to Mexico for the international
Enkuentro Anarkopunk and we seized the opportunity to make a mini tour TyM/Sopa
de Garrón. We played in several cities...
Back then all Pöpulares members lived in
different cities, for that reason almost spontaneously different lineups arose
in different regions of Argentina. We
ocassionally played with a certain lineup depending on the place we were . The
lineups were as follows: Acidos
Populares (Buenos Airess), Acidos Kuatreros (Rio Iv -Cordoba/V. Mercedes -San
Luis), Acidos Tucumanes (Tucuman) and there were also Acidos Jujeños (Jujuy)
and Acidos Patagonicos (Trelew/Puerto Montt-Chile). Gringo and I were part of all lineups. Also
musicians from other bands joined us: Sirvientes
de Nadie (Jujuy), Kara de perro/El contuvernio (Tucuman) Causa de Accion/Tumba
37 (Rio Iv Cdba), Desastre Total/Old Skulls/Amnecia (Bs.As.) Que Risa (Trelew)
Aversion Social/Ñankupel (Puerto Montt-Chile).) There is a new album
already recorded that we hope to release in 2019. It will
be called "El Exilio" and it includes some unreleased songs, others
from a former BA lineup, 2 songs with the Acidös Kuatreros and some old
re-versions with the current BA lineup, with a better sound.
Thanks Seba for your patience and for taking
my work into account.
You can contact me by email at
dismadre@gmail.como// FB Max Vadala or instagram Bs.As. Disorder...
