3.1 Early graffiti pioneers (TAKI 183, Cornbread, etc.)

Early graffiti pioneers like TAKI 183 and Cornbread kicked off a movement in the late 1960s. They tagged their names across cities, sparking a culture of "getting up" and achieving fame through widespread graffiti.

These pioneers developed unique styles and techniques that shaped graffiti's evolution. Their work emerged from urban decay and youth rebellion, becoming part of hip-hop culture and inspiring generations of street artists to follow.

Early Graffiti Pioneers

Key early graffiti pioneers

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• TAKI 183
  • Greek-American youth from Washington Heights, New York City who gained notoriety for tagging his nickname "TAKI" and the street number "183" throughout Manhattan in the late 1960s and early 1970s
  • Widely regarded as one of the earliest and most influential graffiti writers, his widespread tagging helped popularize the concept of "getting up" and achieving fame through graffiti (subway cars, public walls)
• Cornbread
  • Born Darryl McCray in Philadelphia, Pennsylvania and credited as one of the first modern graffiti writers, active in the late 1960s
  • Tagged "Cornbread" in various locations around Philadelphia, including on the jet plane of the Jackson 5 and on an elephant in the Philadelphia Zoo
  • Prolific tagging and daring exploits helped inspire the growth of graffiti culture (public transit, landmarks)
• JULIO 204
  • Early New York City graffiti writer active in the late 1960s and early 1970s, known for his distinctive style and use of the number "204" in his tags
  • Contributed to the development of graffiti writing styles and techniques (bubble letters, wildstyle)
• STAY HIGH 149
  • Wayne Roberts, a Bronx native and influential early graffiti writer who developed a unique style incorporating a smoking joint as part of his tag
  • Pioneered the use of spray paint and the development of throw-ups and piece-making in graffiti (murals, burners)

Social context of graffiti emergence

• Urban decay and social inequality in disadvantaged neighborhoods affected by poverty, racism, and lack of opportunities
  • Graffiti provided a means of self-expression and asserting one's identity in the face of marginalization (inner-city communities, public housing)
• Youth culture and rebellion challenged authority and traditional norms
  • Writing graffiti was seen as a rebellious act, allowing young people to make their mark on the urban landscape (abandoned buildings, train yards)
• Rise of graffiti coincided with the emergence of hip-hop culture, which encompassed music, dance, and visual art
  • Graffiti became an integral part of this cultural movement, alongside rap music, DJing, and breakdancing (block parties, music videos)

Impact on street art evolution

• Popularization of tagging and "getting up"
  • Early pioneers like TAKI 183 and Cornbread established the practice of tagging one's name or pseudonym throughout the city
  • Concept of "getting up" and achieving fame through widespread tagging became a driving force in graffiti culture (quantity, visibility)
• Development of graffiti styles and techniques
  • Early pioneers experimented with different lettering styles, designs, and techniques, laying the foundation for diverse range of graffiti styles that followed (3D lettering, characters)
  • Innovations such as throw-ups, piece-making, and the use of spray paint were pioneered by early writers and became staples of graffiti art (fat caps, stencils)
• Legacy of early pioneers inspired and shaped the work of countless graffiti writers and street artists who followed
  • Styles, techniques, and ethos established by early pioneers continue to be referenced, reinterpreted, and built upon by contemporary practitioners (wheat pasting, stickers)

Styles of early graffiti pioneers

• TAKI 183 and Cornbread
  • Both known for prolific tagging and inclusion of numbers in their tags (183 and Cornbread's street number)
  • TAKI 183 focused primarily on tagging his name, while Cornbread was known for daring and unconventional tagging locations (bridges, billboards)
• JULIO 204 and STAY HIGH 149
  • Influential in the development of graffiti writing styles and techniques in New York City
  • JULIO 204 known for distinctive style and incorporation of the number "204", while STAY HIGH 149 pioneered use of spray paint and development of throw-ups and piece-making (top-to-bottoms, whole cars)
• Regional differences
  • Early pioneers in New York City like TAKI 183, JULIO 204, and STAY HIGH 149 were part of larger graffiti scene that emerged in the city during late 1960s and early 1970s (subway system, Brooklyn)
  • Cornbread, based in Philadelphia, represented a parallel but distinct graffiti movement that developed in other cities across the United States (Baltimore, Boston)