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Jacques Derrida (1930 – 2007), born in Algiers, could be the founding father of the philosophical action Deconstructionism. Deconstruction is a vital process that tries “to undo” antitheses’ reason. But his work goes beyond’deconstruction.’ Belittled and despised by many instructors, Jacques Derrida’ function is on the other hand loved by performers, writers, individuals, and also the public generally. Actually Noam Chomsky, teacher and linguistics guru at MIT, called Derrida “a charlatan,” mainly because he couldn’t realize some of Derrida’s publishing. Obviously Chomsky mayn’t take time to try to learn the terminology that Derrida used in guides, posts, and his magazines and is actually a chaotic temperament. When I don’t understand just one word-of the things they are saying, aside from the topic of conversation and hear IT people conversing with eachother, they are n’t dismissed by me as ” charlatans.” I produce the concession they’ve their own dialect which the utilization it to speak and express the subtleties of information and computer-science. Derrida’s function has dismantled many of the assumptions we — normal people — produce about approved’details.’ Deconstructing also that was binary named oppositions to provide a good example, has assisted us recognize that constructed into these oppositions are hierarchical assumptions that confer power to one post on the different. While in the polarities’male/female,”presence/absence,”slave/master,”black/white,’ it is possible to merely guess which will be desired. Derrida’s function assisted us observe that binary construction thought American culture, in just a culturee.g.

This technique applies a fiber- additive to the concrete to get a greater relationship.

of people. However the target to the post is always to learn how to realize’writing,’ as expounded by Derrida. Of stimulating mental laziness in Plato’s dialogue Phaedrus, the designer of publishing, the Thoth, is charged. This is fantasy lore developed by Plato for we realize that speed of intellect stimulates. Rousseau also observed writing to speechas indicators like a supplement. In contrast, because Francis Bacon –the fantastic Elizabethan courtier and undergraduate– found conversation (“Idols of the Cave”) being a buffer to correct expertise, he proceeded to create several publications. In false account and the end news, while in the London Structure, acquired him a year particularly. The moral being: beware that presentation might be than writing more deadly. As it turned out, today we recognize that writing and guides are becoming the stores of wisdom.

There many problems in dissertation-writing that individuals frequently experience.

It is together with the published phrase that intelligence is established, preserved, and expanded inside the various quantities of individual undertaking. Also remarkable reason and arithmetic need the written expression protected and to lock explanations that are correct. Scientists use language to place forth their insights, their findings, and also to falsify or examine them empirically. Thinker Jacques Derrida views written down-in general a whole system that feeds the individual racearchi -criture. Inspite of the’complicated’ terminology he employs, we can extract some meaning by defining a few of the jargon: “What we have tried showing in following a connecting thread of the ” complement ” is that in what we call the “skin and body” creatures’ true existence… There’s never been anything-but writing, there’s never been anything-but substitutional and complement significations which may merely happen in a sequence of differential relationships… And so on indefinitely, for we have read inside the wording that the overall present, Dynamics, what’s called by phrases like “true mom,” etc.

Do state: include fats with a few nutritional value to the ingredients you currently consume.

have usually previously escaped, haven’t existed; that what inaugurates meaning and terminology is creating whilst the disappearance of pure profile.” To know fairly the above passage, one must go back to Immanuel Kant who distinguished between’actuality’ (the planet of nature and objects) and explanation and also the feelings that apprehend realityor as Kant contact it: finished.-in-itself. Based on Kant humans are destined to never know the one thing-in-itself. At best it may be represented by individuals by the mind’s kinds and also the senses. Just like Kant, Derrida has developed their own terminology; he uses the word’supplement,”substitutional significations,”chain of alternatives,’ as synonyms for that indicators with which people filtering, mediate, and represent truth. When he refers to fact, he utilizes’real life,”skin and blood pets,”the absolute present,’nature,”real mother,”original,”the matter itself of speedy present,’ as well as other equivalent utterances. Publishing for Derrida, is really a transcendental concept that guides individual thinking for individuals to endure on the planet of dynamics and manmade objects. Although speech is fast and ethereal, creating lingers and sequesters the traces of lifestyle and presentation to bring about finished-in-itself: a reputation. For Derrida: “Il n’y a pas de hors-texte”‘”There’s nothing beyond your wording.” Marciano Guerrero is a retired investment bank, Columbia University-intelligent, and Vietnam Vet (67-68). Mary Duffy’s e-book “Word Openers” includes every one of the publishing practices I personally use within my essays and misinformation:








To celebrate the arrival of TSL Flavors, our distributors in Malaysia has organized a special mural to celebrate the occasion in the area. Katun & Dmojo are the artists involved in the making of the wall, and the video you will see is made by Mack Stures with the editing work of Blvckmark8.
Find out more at |

“Primitive Glamour” recap featuring Willie Toledo photography

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The Seventh Letter Flagship Store and Gallery
346 North Fairfax Avenue
Los Angeles, Ca. 90036

On view:
November 7, 2015 – December 5, 2015

Online Gallery

#PRIMITIVEGLAMOUR #WillieT #TheSeventhLetter

XVLP Streetwear Collaboration: The Seventh Letter V Linkin Park

DSC05951TODAY at 3pm ONLY 150 The Seventh Letter V Linkin Park Long Sleeve Tee of their XVLP Streetwear Collaboration will be available IN STORE and ONLINE

Black will exclusively release on
White will exclusively release on
#XVLP #theseventhletter #XVLPxTSL

Linkin Park and Casey Zoltan discuss XVLP Streetwear Collaboration

Complex Style brings us Linkin Park and Casey Zoltan discussion on XVLP Streetwear Collaboration.

BLISS Magazine Issue 98 | Kevin Ancell

Conversation with Kevin Ancell
Interview: Casey Zoltan of Known Gallery :: The Seventh Letter

So, Kevin, congratulations on the show.

Thanks dude, it’s an honor coming from you.

It’s an amazing show.

It’s got some shit. I wasn’t gonna come home with a lot of crap, you know what I mean? It’s been 30 fucking years.

It is kinda crazy for artists in general. It is one of those things where, like, I hope this show sells because if not where am I gonna put all this.
I told Pat [Tenore] if don’t sell all this shit I quit. I fucking quit!

It’s so crazy. In my warehouse we have hundreds of paintings from artists… it’s overwhelming. So tell me a little bit about this body of work?
This is the last two years of… like I said before Pat put the ball in motion, he got me healthy again, I was all fucked up, and I was like, ‘I gonna do this! I gonna fucking do this for real!’ So, it just evolved on its own, the subject matter. I was reading the paper and I would be like, ‘Fuck man, these guys are fucking shit up right and left.’

Your love life had a lot to do with this show?

Uh yeah… yeah it did. It’s strange, but yeah it really did. It kinda put me in a real raw space. It was real visceral and I was fucking wide open and it just came pouring out of me.

It’s one of the crazy things about you for me, it’s that you’re such a hard-core dude and you’re also such a hopeless romantic.
I’m fucked dude. I could watch my bro get his face blown off and I’d be, ‘Ah fuck that sucks, that guy was all right.’ And then when it comes to matters of the heart, to the curb I go.


That makes you who you are, it’s pretty amazing. So what about Pat getting you ready for this show? Because that was a big part of it, getting healthy first and foremost.
Oh yeah, when I showed up I was a month out, I would have been dead if I waited another month. And he saw me and was like, ‘Whoa dude, you’re fucked. You’re not gonna make it.’ I even went to check up and the doctor was, like, backing up out of the room when the numbers came up because he thought I was gonna blow right there and was like, ‘Brah, you’re fucking dead.’ He was gonna admit me and I was like, ‘No, just give me the meds and I’ll handle it.’ The next day I went in the gym with Steffan Lugo and humped it out.

I think I saw you probably during that time and the next time I saw you you were skinny and in the gym and getting sober… it was pretty amazing.
Well… I bounced on the sober thing. That was a futile effort really.

I gotta cut in here, a beautiful young lady just popped in to tell Kevin that she’s going on a bike ride – a real ladies man.

Yeah, whatever. See what good it does me.

As we’re speaking about Kevin and his love life…
Disastrous love life.

Getting sober, dealing with a breakup, dealing with two breakups, dealing with sobriety, dealing with kind of a lot of stuff… do you think that’s what made this body of work so epic?
I’m sure it molded it in some ways. It doesn’t matter how fucked up I am… I can be really trashed, I still work.

Really? Into the same preciseness?
Yeah, yeah, yeah. I’m all about it. I’d have to be dead and then maybe I wouldn’t work.

So you can paint precise, clean lines, everything, drunk?
Oh yeah. It depends. I mean, I like to drink. But there were a couple episodes where I didn’t stop drinking 24/7 for like two months. In all my years I’ve never had the DT’s or anything, but the last one dude I was worked. Everybody’s human, you know, I’m not blaming anybody. It’s my deal; it’s not anybody else’s. But it doesn’t affect the shit bouncing around in my head. People look at me and go, ‘Where you come up with this shit?’ and I go, ‘That’s why I drink.’ I just gotta put those things to bed at night. Like The Heads, that piece, that five year run I did with that girl. That was a total accident. It just happened on its own. It was meant to be. I was just kinda pushing it along and it just became what it is. And that’s how a lot of these pieces start and how they all end.

Let’s talk about all the other stuff you’ve done for other artists and never really got credit for?

It was never the game in the beginning, it’s just that I could do it and they needed it. I would charge them a lot of money for it. Don’t get me wrong, I didn’t give it away. I grew up around here working for a lot of famous guys and just that’s the way it rolls, you know what I mean? You did the work and they got the glory and the money but they’re paying, you know what I mean? And I learned a lot of shit over the years that way. So I didn’t really have a problem with it. I got my props, the people who knew knew.

But not enough people know. I mean, there’s so many things that you’ve done that are in books and documentaries and historical pieces from all types of artists; from street artists to fine art… I mean all around, blue chip artists, all around the board that you’ve worked with, that you’ve done the majority of the work the people don’t know about it and still don’t know about it.
That doesn’t really matter to me.

Does it feel good to actually now be the artist and say you know what, now I’m gonna show the world what I really have?
It never really started that way. It was like, ‘Alright, I’m going home to Venice and I’m taking the arsenal of shit.’ Like I said, I wasn’t going to show up with crap and I wasn’t trying to prove anything… but I’ve fucked off for so many years. I’ve got to a point where I’m like, I’m just gonna leave as much cool shit behind as I can right now.

So this show is a homage?
Kind of, yeah. Well I definitely came home. I don’t know, it wasn’t really like, ‘look at me’ it was ‘look in me.’ I mean, I’m not gonna lie, I was like, ‘Alright, I’m gonna fuck some shit up with this.’

You had to show, uh… you know…?
Yeah, I had to throw down and all these guys were gonna be speechless and I might even get laid off this, you never know.

[Laughing] That’s amazing. Do you wanna talk about any of your past work and artists you’ve worked with?
Oh fuck, there’s just endless skateboard shit. All the old Dogtown shit…

What skateboard stuff? Give me a small list.
You know that Banksy hanging clansman thing. I’m pretty sure he got that off an old skateboard graphic, Jimmy Debos graphic.

Who else?
And like Spitfire logo and all that shit. I did a shitload of stuff with Barry [McGee].

What did you do for Barry?

Well… I did all the robots.

All the sculptures?
Yeah, I just built them. I did the molds for the heads. We had a lot of fun with it. Then I did some of the statues. And we got in endless fights because he’s just… triangles drive me nuts. He’d be painting triangles and the doors are gonna open in five minutes and I’d be all, ‘Come on dude, really? Get your fucking guy to do that shit.’ But he’s a fucking great guy and I’ve known him forever.

He was one of the first people that sat me down and really told me who you are.
Oh yeah?

Yeah. He was like, “Look dude, this dude is…” ‘cause I knew you like a dude like me. Like a dude from the street.

I am like you.

You’re like me and I’m like me. He explained to me who you are as a fine artist and who you are as a human being. Him and Pat, I would say, really broke it down to me and there were a lot of things I never knew because I looked at you like an old-school Dogtown dude. That’s just OG right there. And they were like, “Look, he’s OG but he’s also the guy that did all these sculptures. He’s also the guys that did all these logos. He’s also the guy that kept this company together. This is also the guy that got these two together that hadn’t talked for 10 years and he made them talk.” You know, you’re just that dude. You’re the glue to a lot of what we know is current today.
When you get this old you gotta give back. I mean, I’m fucking old. Not maybe year-wise but physically I lived hard.


Yeah, you’re like a 250-year-old man by extremeness of your life.

Pat calls me the human barnacle. I’m all about the groms and showing people shit, I don’t care. A lot of people are closed arms and I’m like brining, I’d rather have kids in here working on my shit.

You’re definitely a sharer, you share. You share your knowledge.
Well it’s stupid not too, you know what I mean? You could be a fucking prick and then when you’re gone they’re gonna be like, ‘Oh yeah, that guy was a prick.’

I think from the same generation as you in a sense of like, you share with your friends and teach your friends and you want everybody to achieve but now it’s different. Speaking of different, your show is now in Venice and Venice is a little different now.
Oh fuck dude, I could barely find my way around on beach. It’s the way of things. It happened in San Francisco in my neighborhood. Barry and I were down in Northeast Mission. Margaret’s place was behind mine and there was nothing down there but hookers and then all of a sudden it was $45 bucks a square foot. It was nuts. It just happens. And unfortunately it just happens wherever I fucking go.

You keep getting chased out and you’re like, “I gotta go fucking find the new safe zone.”

Weird shit just happens. Like when I got here I asked, ‘Where am I staying?’ and they were like, “You’re staying at the Sea Shore Hotel.” And I was like, ‘You gotta be kidding?’ And they we’re like, “Why?” ‘Because right next door was the brothel I worked at when I was 13 years old.’ And they all knew me and it was fucking crazy. It’s still there. And the old Surf House is still there, across from the old Zephyr Surf Shop. I walked into Star Liquor across the street and it’s still the same old fucking guy working in there. There’s still pockets of shit. I heard a gunshot go off the other night in front of Cadillac Hotel and I was like, ‘Alright, that’s cool.” The choppers flying overhead.

Ghetto bird greeting…

But then I paddle out to Breakwater and some guys punking some chick and I’m all, ‘Hey dude, she surfs better than you do. Leave her alone, relax.’ And he goes, “Why don’t you go back to where you came from.” And I go, ‘I did.’ And I took him underwater and pulled his shit over his head until he got squishy and then I let him up. And then she fucking chewed him out.

Good for you. I think that’s something in us forever and that we are always gonna fight for something that we believe in and we have to.
That was part of coming back from the dead. That was hard, that was a fight but I wasn’t going to go out like that. I refused to do it. I mean, I almost let myself do it but I was like, ‘Fuck no! You traveled all this way and to bounce out without leaving anything behind for anybody is fucking lame.’

So you came with it.
I got with it. Plus Pat would have killed me if I would’ve died.

Speaking of Margaret, there’s a piece in here that’s a homage to her, correct?
Yeah, I wasn’t going to show it but… fuck, I was like, ‘alright.’ It’s just super gnarly. It’s that moment where she made that decision. Where she was gonna go and the kid would live. I mean there’s nothing else you can say about it. Everybody that sees it just gets freaked out.

You had a really close relationship with Margaret?

Oh, I was in love with her. I fucking loved her. I taught her how to turn. She could go straight but she couldn’t quite turn. She was great. As a matter of fact when she got pregnant, Barry and her were staying in this little shitty bungalow in Topanga Beach and my girlfriend and I were living next door. It was pretty crazy. It was good times. She was an incredible human being. But that’s the way it goes, you know. It’s the most selfless fucking act I have ever seen, and I’ve seen a lot of fucking shit. I still get all weakly about it when I look at it.

I think that’s one person that anytime anyone sees a photo of Margaret or talks about her, everybody gets a little quiet and kinda has to wipe the tears out of their eyes. Her presence was just so amazing and so beautiful.
Well, some of the guys showed up from New York at my place and instantly got weakly.

You got any good stories about Margaret?

[Sigh]… Well, sad ones. About four months before she died she just called me up out of the blue. She’s never called me before and she said she just wanted to see me. She showed up all pregnant and beautiful and stuff and we talked and we went down to the old boat docks… And I walked her to her car and she gave me a print and I was all, ‘What’s this?’ She goes, “I just want you to have this…” And in the back of my head I was thinking that something is gotta be going on here but I just didn’t put it together. And then later I got a call and was told I better get to the hospital right now. I that was pretty much the day she was gone. I was there the day that she died. Barry gave me a guitar and he made me play for her. I told him I couldn’t play and he was like, “play.” She couldn’t talk or barely breathe but everybody said she knew that I was there, so I played for her for hours. I’ll never forget it. And I went home that night and sold every guitar I ever had. I couldn’t play anymore for years. Yeah, it was fucking gnarly.

Tell me about you as a youth. Where did you grow up exactly?

I was a fucking degenerate. I was a little beach troll. I grew up about half a mile north of here, well this whole zone, from here to Ocean Park. When I was a little, little kid I lived on the North side of town with my parents. My father died when I was real young and my mom was a fucking train wreck so I went to live my brother on Third and Bay, which was right up the street from Zephyr Surf Shop. That lasted about two weeks and then I was just rolling down the beach. The older surfer guys just took me in… Craig Stecyk and all those guys. And then it was on, that’s when it all started.

I think what’s special about you is even though you paint these Michelangelo-ish-type, beautiful paintings that can be in any museum in the world you still remember your roots. And a lot of artists have forgotten them. There are a lot of artists that separate their fine art from the street art or from their surf life.
They start believing what everybody is telling them. Like, “You’re a fucking genius this, you’re a fucking genius that…” And they forget what made them what they are and I’d never do that. Once you do that it just starts falling down aesthetically. You just start doing a squiggly line and trying to sell it for eighty grand.

So what would happen if someone dumped 10 million dollars on your head? What would change in Kevin’s life?

Nothing. I would keep working. I would maybe rent a girlfriend from now on [both laughing hysterically]… So I don’t get all emotionally whipped. No, I don’t know. I’d probably give most of it away. I’ve always lived on the fly. I’m more comfortable on a couch than I am in a bed, even if there’s a girl in it. I’ve always just lived on the fly and everything always just worked out. If I needed to get rent together or whatever it would go to the last day and then the phone would just fucking ring. You just gotta roll with it. But if you are tied to something like money… I mean, don’t get me wrong, I not being gallant or anything. Money is money, you need it to operate, but I’ve seen the trap it lays for people and I’d never let that happen. But I’ll take the fucking money, cash that check.

Speaking of money, I mean, it’s kind of a trip because you’ve made so much money in your life… I mean, the logos, the fine art and just all the things that you’ve worked on… I mean, RVCA. You were a big part of the brains behind RVCA.

I don’t know about brains… I always loved what he [Pat Tenore] did. I remember the day he told me he started a clothing company and I was like, ‘Dude don’t, it’ll fucking ruin your life.’ And he just goes, “Would you do it anyways?” I was like, ‘Alright,’ how are you gonna say no to that? But yeah, I don’t really have anything – I have my truck, surfboards, my horse and a bunch of fucked up paintbrushes and that’s about it. And I like it that way. I once put down roots and I was pretty happy but things happen. It was time to get up and just live your life. So I’m all about disappearing. I’ll probably disappear for a couple years and everybody will be like, ‘What happened to that fucking guy?’ And then I’ll come back and slap them in the face.

I kinda thought that after this show, I’m surprised you’re still here. I was thinking, oh shit as soon as the show is over or maybe before it even opened that Kevin was gonna disappear.
No, I wanted to be here. I brought a painting that wasn’t done and worked on it while the show was opening because I wasn’t gonna staff it with somebody that didn’t know what the fuck they were talking about. It just seemed kinda rude to me to put this shit up that’s all kinda allegorical and not be around to even explain it.

A lot of my friends said, “I went to see the Kevin Ancell show” or “I wanna go see the Kevin Ancell show” and I told everybody, “Did he explain the show to you?” Or if you go make him explain the show. The work is obviously beautiful, beyond beautiful. But, when you talk about it’s a million, I mean I’m talking a million times more beautiful.
Well, you open up a book for them and you read the first couple pages and they get it. But yeah, everything in here has a heavy story to it. And that’s always been my thing… Like in Hawaii you talk story or sing songs that tell the history of or whatever. And this is gonna sound corny but I think I’ve lived a lot of other lives because I’ve painted shit here and I don’t know where I came up with it. Like the stories and other stuff, and the way they unfolded. And it came from somewhere else… I mean, I was a sixth-grade dropout.

What’s a difficult task for Kevin Ancell?
Oh fuck! I told you already, the chicks dude. It’s just brutal. The only thing I can really think of is drinking. Yeah, I love to fucking drink. Maybe it’s an escape, I don’t know. I met a girl opening night, you know. She was down with it. We spent like a week together or something. Then one day she’s like, “You know, the age thing… it ain’t working for me”

Was that the girl that walked in earlier?
No, no… that was a different girl.

Different girl, huh? Because you were in love with her the last time I was in here?
No, no, she’s like my kid. I got demoted to surrogate father [both laughing]. Yeah well, you gotta do what you gotta do.

Hawaii, tell me about Hawaii?
Fuck, I love Hawaii. I was there when I was real young.

How’d you end up there?

I just split; I was like 16 or something. I wound up in Kauai and I stayed for a long time. I bounced back every now and then. Then, I started going over there with the RVCA guys: Fuller, Makua and all those guys. So I was plugged in. Those are the guys along with Barca, Kamalei, Kala… and it just snowballed from there. I went back to Kauai to do the Andy Irons tribute at Pinetrees and a painting for Aunty Darcell, who died, and I did one for Uncle Bobo. And the whole community would come out, and bring food, and it was just incredible. And they were like, “If you don’t come back, don’t ever come back!” I’m all about it. I just wanna go over there and paint shit all over the fucking place.

I spent time with you over there in Hawaii and when I’m in Hawaii with you I feel like I’m with a local. To me, I feel like that’s your home.
Yeah, I definitely could easily post up there and I probably will. But, as far as the local thing goes, they just tolerate me, that’s all there is to it. And that’s something that people don’t understand; if you’re just hanging over there it’s just because they’re tolerating you. And they’re very touchy about who speaks up for them and what they say. It goes right back to respect, you know? Same here. There’s people that lived here for 15 years they think they know something and they don’t know shit. And there’s a lot of them. Red Dog always would say, “Just because you pay rent here doesn’t mean that you are a local.” So, as long as you mind your “p” and “q’s” you’re alright. And I’ve fucked up before so I know. I came close a couple times… with my bros too.

Do you think you’re going to end up over there?
Yeah, probably. I’m definitely gonna go hang; I just got it too good over there. And it’s a good atmosphere for me.

Let’s say this, your work will live forever…
Well, one would hope. I mean, it is what it is. We could all just be vaporized next year, who fucking knows… But, there is the off chance that we do make it through all this bullshit.

I think that’s the beauty of really doing really beautiful work, someone is always gonna appreciate it. I mean, even if it ends up in a trashcan someone’s gonna take it out.
Yeah, it’s just no better or less than anybody else’s work. To me, it’s just me. You know, I appreciate everybody being supportive, but like I said before you gotta be really careful about believing that you’re better than the next guy. Now there are guys that I think are just fucking lame but I think that’s more of a personality trait.
I mean, I don’t kid myself, I don’t know shit. You just gotta move on down the road.

That’s one of the crazy things about Kevin Ancell, that you can do another show that would look nothing like any of this and it would all be just as good as this if not better and would be completely different. I mean… you’ve got a lot of masks.
I’ve got a lot of tools.

And you know how to use them.

That’s the thing, for a long time a really didn’t. Then I was like, ‘Whoa, look at all this shit, let’s play!’ And I’m patient… and I think that’s a lot of people’s problem. And I think I’m smart how I work. Because to do this kind of shit you can’t just wing it.

So when you focus you focus?
Yeah. Well… I may be drunk that night but when I get up in the morning I’m good to go. And I don’t need fancy brushes; I don’t need any of that shit. You should see my rig; it’s just burned up stuff. It’s bad.

It’s unreal. Looking at these paintings, sitting in this room… your art, your life, everything gives nobody in this world excuses.
Yeah, I tell everybody when they ask for advice: don’t believe that you can’t do anything, don’t let anybody tell you that you can’t do anything.

You are the prime example of “by any means necessary.”
Yeah, I mean, fuck, I had it as bad as anybody. But I know a lot of people that had it a lot worse and they thrive. It’s only a problem if you make it a problem. I don’t always live by that but I firmly believe it. You know it’s always easy to give people advice yet impossible to take it.

It’s hard to preach water while you’re drinking wine… and Kevin likes his wine.

Yeah, yeah I do. [Chuckling.]

Any last words?
Fucking have fun man!


PRIMITIVE “GLAMOUR” Featuring WILLIE T photography

UPDATEFLYER_1024x1024Join us this Saturday for the opening reception of Primitive Glamour here at The Seventh Letter Flagship Store and Gallery!

Paying tribute to our stay in London, we’ll be showcasing the work of Willie T, along with exclusive apparel, skate product and a joint Frank 151 book, all part of a month-long Primitive pop-up initiative at The Seventh Letter Gallery. Food, drinks and British entertainment will all be a part of the fun, capped off with the premier of our Glamour documentary film. #PrimitiveGlamour

Opening Reception: November 7, 2015 | 8-11pm

On view: November 7, 2015 – December 5, 2015

The Seventh Letter Flagship Store and Gallery
346 North Fairfax Avenue
Los Angeles, Ca. 90036

Online Gallery

Primitive presents “Glamour” Official Trailer

In 2014, we packed our bags and set out on a trip of inspiration to London. What ensued over the following days, weeks, and eventually months, was organic storytelling of the UK’s Glamour modeling scene and the controversy behind it. Documented through the vision of our Creative Director Jubal Jones, photographer Willie Toledo and filmmaker Jeffrey Woodings, Glamour encapsulates a story of modern day censorship as it explores the slow down of topless modeling and the many facets of Britain’s long-standing acceptance of bare-breasted female models in nationally circulated newspapers. #PrimitiveGlamour

Director: Jeff Woodings (@woodsvideo)

Art Director: Jubal Jones (@PrimitiveJubal)

Photographer: Willie Toledo (@JustWillieT)

Music: Kanye by The Chainsmokers feat. Siren (Courtesy of Dim Mak Records)


PERSEVERARE: Saber x Zes, Downtown LA

The “Arts District” Downtown Los Angeles is slowly becoming an epicenter for the arts and art commerce. Unfortunately it also means the people who helped build this culture are being pushed out, including the legacy of graffiti that was painted for over twenty years.

“We were painting this neighborhood before it was even coined the Arts District”.

This recent mural Saber and Zes have painted is a gesture towards this long term legacy as well as an homage to our future as evolving artists.

The Seventh Letter, Montana Colors, Branded Arts, American Tea Room

Filmed By

Zane Meyer
Johnathan Ball
Derek Hackett
Jon Vassilakis
Justine Jamie

Drone shots by

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PangeaSeed’s Sea Walls: Murals For Oceans – Cozumel 2015 presented by The Seventh Letter

PangeaSeed's Sea Walls: Murals For Oceans – Cozumel 2015. Presented by The Seventh Letter from CHOP EM DOWN on Vimeo.

PangeaSeed, the international marine conservation organization, in collaboration with 1xRUN, Tony Delfino, and World Art Destinations, hosted the second annual summer series of its groundbreaking mural festival, Sea Walls: Murals for Oceans. The festival took place from July 17 – 26, 2015, creatively beautifying the Caribbean island of Cozumel, Mexico, while bringing education, connection, and inspiration to the community. This special video give the viewer an insider point of view of daily events and interactions between the artists, staff and local community.

Within the span of 5 days, 35 large-scale public murals were realized throughout Cozumel’s town center, addressing pressing marine environmental issues such as shark finning, over fishing, coastal development, climate change, and coral reef conservation. This series of Sea Walls murals helps educate and raise greatly needed awareness within the local and tourist communities for the plight of our ocean and the life that calls it home. In addition to the realization of the murals, the artists had the opportunity to immerse themselves into and experience the various marine ecosystems of Cozumel Island, and learn from local experts about environmental challenges they are facing. The team also had the chance to both witness endangered sea turtles lay their eggs, as well as help release sea turtle hatchlings into the ocean.

Throughout the week, PangeaSeed team members facilitated youth educational activities where the island’s local kids were able to learn about the importance of marine animals such as sharks, turtles, and dolphins whilst making arts and crafts from reclaimed materials. Furthermore, a public screening of award-winning documentary film México Pelágico attracted over 100 residents to the main square of Cozumel. The film highlights the vast diversity of marine biodiversity in Mexico, the challenges, and pioneering efforts to help sustain the health of the ocean ecosystem in Mexico.

PangeaSeed’s Sea Walls: Murals for Oceans is the first movement of its kind helping to save our seas via public art and activism (ARTivism). The festival featured over 50 contemporary artists from across the globe, collaborating to bring vital ocean environmental issues into the spotlight. Sea Walls: Murals for Oceans aims to educate and inspire individuals and communities to protect the planet’s most important ecosystem: the ocean.

“The power of public art and activism has the ability to educate and inspire the global community to help save our seas. No matter where you are in the world, the ocean supplies us with every second breath we take and life on Earth cannot exist without healthy oceans. With dwindling global fish stocks, rising sea levels, and widespread pollution, whether you live on the coast, in the city or in the mountains, we should all feel responsible for the health of the oceans and life that lives within it,” says PangeaSeed Executive Director Tre’ Packard.

The renowned artists involved in the project included 15 local islanders, 11 from Mexico and 24 from eleven countries around the world, all using paint donated by Montana Cans and Osel:

Aaron Glasson (New Zealand)
Alexis Diaz (Puerto Rico)
Amanda Lynn (USA)
Bicicleta Sem Freio (Brazil)
Caratoes (Hong Kong)
Celeste Byers (USA)
Christopher Konecki (USA)
Colectivo La Quinta (Mexico)
Cryptik (USA)
Curiot (Mexico)
CYH Jayson (Taiwan)
Dherzu Uzala (Mexico)
Ever (Argentina)
Faith47 (South Africa)
Fintan Magee (Australia)
Honghikuri (Mexico)
Hueman (USA)
Ian Ross (USA)
Jack Fox (South Africa)
Jason Botkin (Canada)
JAZ (Argentina)
Jesús Benítez (Mexico)
Kai’ili Kaulukukui (USA)
Liz Rashell (Mexico)
Meggs (Australia)
Melhor (Mexico)
Naturel (USA)
NEWS (Mexico)
Osel Paint Crew
Paola Delfín (Mexico)
Phlegm (UK)
Seher One (Mexico)
Tatiana Suarez (USA)
The London Police (UK)
Tristan Eaton (USA)
Zio Ziegler (USA)

Follow @pangeaseed and @seawalls_ on Instagram and Twitter, and visit for more information on how you can help save our seas.

Video By Zane Meyer
Drone shots by Derek Hakett and Zane Meyer
Addition footage donated by Nate Peracciny

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The Seventh Letter Flagship Store and Gallery
346 North Fairfax Avenue
Los Angeles, Ca. 90036

Opening Reception: October 16, 2015 | 7-10pm

On view: October 16 – November 4, 2015

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