-We definitely always listen to jazz when we write graffiti.
New York jazz, fast jazz.
*67 tradition. -Yeah.
-I want everything to go smooth.
I want me and everyone else to be able to, like,
do our graffiti and go home and sleep in our beds
and be able to wake up in the morning and be,
like, "Yeah, like, I went in last night."
-When you're out there, like, shit is graceful.
But a lot of shit comes with writing graffiti.
There's a lot shit that people don't realize.
Like, all the shit we -- we use, we either have to buy or --
or fucking steal that shit, you know?
Not to mention we go through thousands of cans a year.
-It's 5:25 in the morning.
We -- We started at, what, 1:00, and hit mad spots,
everywhere we went, actually. -Yeah.
-It's perfect. I'm really happy with it.
-This is nothing but tags and outlines
for people I don't know,
and this is a wall that gets buffed a lot.
A quick fill-in to show that I'm active and I'm out here,
which a lot of people are not.
We just hit the first spot,
which we weren't even meant to hit.
We just rolled by, and it was seeming like
it needed some fill-ins, so we rocked it.
-My name is Reazy. -My name is Nahyo.
-My name is Lance. -Young Bashington, Bash.
-*67 started about a year ago.
We were in New Orleans.
We all decided to go as a group together.
And on the flight, I was talking to Bash about and Lance about,
"Hey, like, we should make this crew.
We've been painting together long enough.
Like, it's gonna be a crew where none of are pres,
but we all have, like, shares in it."
And he comes up to me like, "Yo, man.
I think *69 would be a cool one."
And I was like, "I think it's *67, bro."
And he was like, "Yeah, yeah, that's it."
And from there, like, it was just on.
-We are all collectively doing this.
I think that's one of the best things about us
because there's not many other crews in New York City
that are doing that.
-Where we're going now is, like, these spots
that we scoped out the other night
where, like, the Bushwood Collective usually does murals.
-Yeah, I remember, like,
living in this neighborhood like a block down,
and I would see, like, tags and throws on the wall,
and it would get buffed every few months,
but it would still, like,
show me what was happening in the neighborhood.
And then now when, like, murals go over that,
it's like I lose that forever,
and now they have to look at, like, whatever this one person
who's not even from New York, like,
wants to do on their block, you know.
And it's just kind of, like, infringing.
-These used to be, like, highly trafficked walls
that everyone -- because of where it is,
and that's the reason they put it there,
but they're just stealing the space.
That shit was ours.
That shit was where all the history is.
-I don't really know what the stuff we're going over says,
but we didn't even really look at it
because we could see from the way it was done,
that it wasn't, like, name-based graffiti.
-Yeah, we do a lot of self-policing.
We all see what's going on. We're not blind.
Like, if someone does something stupid,
we're gonna call him out. -Yeah.
-It's all one big-ass fucking game.
It's get your name big and go as hard as you can.
-Tagging the crew and done.
-It's really hard to have, like,
an original throw too though because...
-It is. -...if your shit is like
all recycled letters, you know,
and there's not originality to it, it's fucking --
that shit is boring.
It's got to be simple with a little bit of flavor, you know?
But mad legible.
-You just have to, like, trudge through all the bullshit
and just, like, keep working at it and working at it
till it's so redundant you almost hate it.
And then you're gonna have a breakthrough where you're like,
"Wow, this is dope. Like, I want to keep rocking this."
-A lot of people don't do vertical tags,
that's why I do them. They're wasting space.
A lot of people would only try
and fit it, like, a sideways tag there.
You go down, take up the whole thing.
-Anybody can paint really clean,
but you can't teach style.
That shit doesn't come out of the can for you.
You have to freak that shit yourself.
-Yo. -Yo.
-Now I can hear you.
-They definitely seen us.
-Alright.
-We're going past this car, right?
Wait?
Alright. Let's wait.
-Is he saying anything, though?
Get in the car. -What do you want to do?
-Go start the car up.
Lance let's go. -We good. We good. We good. We out. We out. We out.
-4:00 AM, no one else,
just here and our boy and just, like, looking at cars
just trying to see who's a cop, who's not.
And it's really at that point
when you're freezing your balls off like,
"Yo, what the fuck am I doing here?
I could be home warm in bed, like, asleep."
-It's like I be wondering why I'm doing it,
but when I don't do it, I feel some type of way.
I don't feel good about myself, so,
like, tomorrow I'm gonna
feel good about myself after this.
-Graffiti is the only art form that is completely pure.
There is nothing in it.
No one, if you talk to anyone not us, not our crew,
anyone who has done graffiti,
they have gotten absolutely nothing from it.
And most of us, like me, don't know exactly why we're doing it,
but when we do it, it feels good,
and it just seems like the right thing,
and we're going to continue to do it
because of that.
♪♪