Shepard Fairey

For the seventh installment of our Vinyl Five series, we catch up with American graphic artist, social activist, and hardcore vinyl lover Shepard Fairey. 

In 1989, while attending the Rhode Island School of Design, Fairey created the André the Giant Has a Posse sticker campaign, featuring a stylized image of the wrestler André the Giant. This project was the foundation for his seminal Obey series, which helped to push Fairey into underground superstardom and eventually the public spotlight. As the world of graffiti began to morph into what is now generally referred to as Street Art, the more traditional wild style tags began sharing walls with more stencil and image-based artists like Blek Le Rat, Banksy, D*Face, Futura, Stash, and many others. Fairey was at the forefront of this artistic movement, capturing the world's attention with his provocative Obey artwork posted up in some of the most insane locations imaginable. Fairey continues to blur the boundaries between traditional and commercial art through type and image, communicating his brand of social critique via prints, murals, stickers, and posters in public spaces. Fairey is perhaps best known for his Hope (2008) campaign, which portrays a portrait of then-presidential candidate Barack Obama in red, white, and blue.

As Fairey's artistic output grew, he transitioned from the streets to the galleries and eventually established the design agency Studio Number One, enabling him to steer the creative direction of some of the world's most prominent brands. In his rare moments of leisure, Fairey assumes the persona of DJ Diabetic, curating a mix of punk, indie, a hint of metal, hip hop, and other genres that harmonize perfectly with his prolific and thought-provoking artwork. 

Q&A

In a world of streaming and almost limitless titles available, why do you think people are going back to vinyl? 

Because life in the digital realm, though convenient, can feel fleeting and lacking in substance. Vinyl is tangible and provides meaningful experiences by yourself or with friends. Vinyl is a conversation starter. The commitment to owning and playing vinyl symbolizes a deeper connection to the music and musicians and can be an important part of a social bonding experience. Vinyl does not reward impatience… you can't easily fast-forward or skip songs. Albums are listened to the way the artists meant for them to be heard. I mean, it's also fairly common knowledge that having a great record collection elevates you above the crowd!

If you had (or have) your dream vinyl listening room, what would/does it look like? What would/does it sound like?

It looks like our dining room/sitting room which has two Technics and Yamaha monitors, but the turntables are also connected to Sonos for sound throughout the house.

Tell us a story about each of the records you selected. Why do these albums mean something to you?

1. The Clash: London Calling

The Clash is my all-time favorite band. I got Combat Rock and their self-titled album in 1984, but I got London Calling as a gift from my grandparents in 1985. The Clash started as Sex Pistols imitators in '76, but by '79, they expanded their horizons to include reggae, rockabilly, soul, and jazz influences. They were punks who believed that term meant you could do anything you wanted musically, not just follow the '77-era template. The Clash band members, especially primary lyricist and lead singer Joe Strummer, are role models for me because they blended great music with social commentary and donated their talents to several causes they believed in. The Clash showed me it was cool to give a shit. All of the Clash's albums, up until Cut the Crap, are great, full of brilliant songs in many styles, showcasing courageous evolution, experimentation, and providing sonic thrills. 

It is very hard for me to pick a favorite Clash album. I love the surly attitude and intensity of the first Clash album and the stylistic diversity of Combat Rock. Still, my favorite album, which I think represents the Clash at their focused best, is London Calling. London Calling is fantastic all the way through. The album has classic songs like "Train in Vain," "Rudie Can't Fail," "Clampdown," and "London Calling," but my favorite is "The Guns of Brixton," which was written and sung by bassist Paul Simonon, who grew up mainly listening to reggae. 

Q&A

What's your favorite record store?

Amoeba is hard to top, but Safari Records in my neighborhood is very well-curated. Sick City is great for punk/indie/glam/goth. There are lots of good spots in LA. 

When you shop for records, do you make a plan or just ransack the stacks and hope for the best?

No plan is better.. just exploring and finding intriguing stuff is the best. I bought the first Interpol album in 2002 just because I liked the cover. It is an all-time favorite that started with a hunch.

When listening to records, what’s your go-to beverage? Whiskey? Wine? Beer? High-end mineral water? Nada?

I can't make visual art buzzed, which is probably good, but I find I'm a smoother DJ after a couple drinks… music is about relaxing and going with the feel. I'm flexible with drinks, but IPA, tequila, or good gin are my go to when I have options. 

Did you make mixtapes as a kid? How elaborate were they? Did you deck them out with custom inkwork? Fill them with rare grooves? Were they full of your favorites you wanted to share? Tell us.

Yes, I too liked girls as a teen, but found conventional language with them challenging. Since I went deep to learn about bands, I loved the opportunity to flex on obscure songs and info. Even though I'm an an artist I never made elaborate mixtape covers because I feared it would expose the depth of my affection and make me vulnerable.

2. Public Enemy: It Takes a Nation of Millions to Hold Us Back

I was turned on to Public Enemy by a Thrasher magazine review of their debut album Yo! Bum Rush the Show. Thrasher magazine, which was the closest thing to a Bible in my life at the time, described Public Enemy's music as "the new punk rock." By '87-88, I felt punk and hardcore had become a bit formulaic, and I was ready for some new raw power. I picked up Public Enemy's Yo! Bum Rush The Show album, and it floored me with its heaviness and defiant swagger of the music.Songs like "Public Enemy No. 1" and "Right Starter" have booming delivery and immediate but razor-sharp lyrics from Chuck D, the man who was soon to become a hero of mine. "Yo! Bum Rush The Show" is a powerful debut statement for Public Enemy, but it was only the warm-up for the sonic and lyrical firestorm of its follow-up It Takes a Nation of Millions to Hold Us Back. 

With It Takes a Nation of Millions to Hold Us Back, Public Enemy rose to an artistic level not seen before in hip hop and set a standard for musical, lyrical, and image genius that has rarely been achieved by any artist since. It Takes a Nation of Millions to Hold Us Back deals with politics and race in a supremely sophisticated yet visceral way over a backdrop of densely collaged and diverse samples. The opening track, "Bring the Noise," begins with air raid sirens and a sampled voice saying "too black… too strong" and then launches into the meat of the song with one of the most memorable lyrics ever: "Bass! How low can you go… death row, what a brother knows." 

The tension between melody and dissonance is maintained throughout the album in the music and lyrics. Chuck D's lyrics are the precise reason I took a deeper interest in black movements and leaders like the Black Panther Party and Malcolm X. Chuck turned historical black figures into superheroes, in a way that spoke to teenagers everywhere. Public Enemy proved it was possible to reach the bourgeoisie and rock the boulevard… to make you shake your rump and pump your fist. It Takes a Nation of Millions to Hold Us Back showed Public Enemy as one of the most outspoken forces in music, politics, and culture. The influence on their peers was evident as the late '80s to mid-90s golden age of hip hop was filled with social commentary and gritty storytelling that some called "The CNN of the streets." Public Enemy's logo was great, their beats were great, and their lyrics were powerful. They had all the angles locked down.

Q&A

What are some of your favorite music films or documentaries? 

Spinal Tap, The Filth and the Fury, Moonage Daydream, Westway to the World. Bob Marley - One Love. Straight Outta Compton. The Defiant Ones is a great series. 

If your career had a soundtrack, what artists would be on it and why? 

You can watch the film Obey Giant and see my life set to a soundtrack!

Any genres of music that are a hard pass? 

EDM for the most part other than Daft Punk, Prodigy, and Chemical Brothers. I do love some electro-adjacent bands like LCD Soundsystem and Peaches. Kraftwerk is genius and is its own category.

Do you organize your records? If so, how? 

It's not an exact science since I have thousands at this point, but I have them alphabetized, some by BPM and genre, and others in a "go-to-favorites" section. My DJ selections depend on the culture of the event, but Z-Trip proved to me that genre blending can not only work but also push the energy level up. 

Any favorite record labels? 

Certain eras: Def Jam from the mid- to late 80s; SST in the 80s. Dischord in the 80’s. Of course, Motown had an amazing run in the 60s and 70s.

3. David Bowie: Ziggy Stardust

I first noticed David Bowie in 1983 when his Let's Dance album came out, and its hits like "Let's Dance," "China Girl," and "Modern Love" were getting heavy radio play. I liked those songs, and I think I even connected the dots that he was the collaborator with Queen on the great song "Under Pressure," but I did not become a die-hard Bowie fan until I picked up Ziggy Stardust and the Spiders From Mars from a flea market in my early 20's. My used copy of the album had a scratch that skipped in the first song, "Five Years," and I listened to that album so much that I can't hear it in any format without expecting I'll need to lift the needle to keep the word "people" from repeating infinitely. 

Ziggy Stardust is one of my favorite albums ever. It makes sense that it was Bowie's breakthrough album, not just because his newly adopted androgynous glam image was provocative and mesmerizing, but because the songs on the album are incredible! At first, my favorites were obvious rockers like "Suffragette City" and "Ziggy Stardust," but over the years, folkier songs like "Soul Love" and "Starman" really grew on me. It's almost impossible to pick a favorite Bowie song from Ziggy Stardust and the Spiders From Mars, but I'll go with "Moonage Daydream" because it has Mick Ronson's rocking guitar and also features unexpected instrumentation including piano, strings, sax, and flute that make it both tough and pretty. I love the lyric, "Don't fake it baby… lay the real thing on me," all the lyrics have a sci-fi hipster coolness to them. The song is powerful, beautiful, hypnotic, cool, and a great indication of Bowie's vision to push boundaries with his art. He did that for the next 40 years.

Q&A

Where you a member of the Columbia Record & Tape Club? Or did you by chance sign up your neighbor and watch for a package to arrive?

My parents were too cheap for that, but once I figured out taping, I was a member of the "friends and family plus" tape club. If an album was a banger, I'd invest in the vinyl or ask my grandparents to get it for my birthday! Later, I figured out combing through flea markets and second-hand stores. Digging is fun!

Besides vinyl or music, what else do you collect? 

Art, books, and scars… maybe not in that order. I've found exotic sneakers to be a great investment… just kidding!

What new albums or artists do you have in your current rotation that are flipping your lid right now?

I love Wetleg and Yard Act from the indie/post-punk zone, and I'm very into Joey Valence and Brae from hip hop. 

4. Black Sabbath: Paranoid

I also got into Black Sabbath at around age 20 . Because I'd been a punk in the 80s, I originally fell into the tribalism of punk vs. metal, but Metallica and Motorhead opened my mind to Black Sabbath. The first Sabbath album I picked up, Paranoid, happens to be perfect from start to finish. The opening song, "War Pigs," is an anti-war song that is alternately slow, menacing, frenzied, and energetic. However, since I came to Black Sabbath at a time when I was listening mostly to punk, the faster tempo of the song "Paranoid" was immediately appealing to me. It provided the gateway for me to dive enthusiastically into the rest of Sabbath's music. I often played the song "Paranoid" over and over for an adrenaline boost while skating my mini-ramp.

The Paranoid album set the metal sound template that many others imitated, but few could write the great songs Sabbath could. I methodically acquired all of the Sabbath albums with the original lineup, fronted by Ozzy, and they all have great material, with their self-titled debut, Paranoid, Master of Reality, Sabbath Bloody Sabbath, and Sabotage all being masterpieces. I was fortunate enough to meet Jack Osbourne through my friend Big Dave in 2000. My relationship with Jack and Big Dave has led to several great Ozzy and Sabbath projects over the years.

One of my biggest "I'm not worthy!" moments took place when Dave took me backstage to meet the Sabbath guys in 2004 at Ozzfest and bassist and lyricist Geezer Butler was wearing an Obey shirt! My wife Amanda and I saw their final show in Birmingham, England, in 2016, and Sabbath remained a phenomenal live band until the end! It was an honor to create the art for Sabbath's vinyl box-set, The Ten Year War.

Q&A

Headphones or speakers? 

Speakers unless I'm on a plane.

Is there any specific person, place or moment that minted your love of music?

The first time I heard the Sex Pistols as a 14-year-old blew my mind and opened my mind. I quickly learned that while the Sex Pistols made powerful music, their impact was the result of a full cultural assault, including great art from Jamie Reid, media manipulation by Malcolm McLaren, and fashion by Vivienne Westwood. The Sex Pistols made me think of subversive possibilities.

5. Portishead: Dummy

Portishead's Dummy came out in 1994 when my excitement about hip hop as the most vibrant, creative, and relevant genre had begun to dim slightly.  I felt that the socio-political urgency of groups like Public Enemy, Boogie Down Productions, and others had given way to lyrics more focused on materialism and sexual conquest. I loved the sonic collage created by the layering of samples in hip hop, so when I was pointed toward DJ Shadow and Portishead as examples of a genre called "trip-hop" I was intrigued. 

Portishead's debut album Dummy used a lot of the same production techniques and sonic feel as hip hop but added live instruments and sublime female vocals courtesy of Beth Gibbons. The influence of spy film soundtracks threw a stylish noir mystery into the mix as well. The song "Sour Times," with its lyric "nobody loves me… it's true," became an immediate college radio hit and worked its way to MTV and some mainstream radio, too. I hadn't thought about it that much, but it would be fair to say a lot of the music I liked was aggressive and very masculine. I noticed that a lot of the girls I hung out with liked Portishead, so the Dummy album seemed to be playing everywhere and it grew on me quickly. 

The entire album is great, full of unexpected textures, beautiful melodies, and vocals, but enough grit to feel angsty. "Wandering Star," "Numb," and "Glory Box" are favorites of mine, but I always listen to the whole album. 

Listen in Hi-Res

As part of our Vinyl Five series, we ask our esteemed participants to play their thoughtfully picked records on a premium Victrola Hi-Res turntable while sharing their thoughts and feelings. Using either wireless aptX™ Adaptive Bluetooth connectivity or wired with a switchable preamp standard RCA outs, Hi-Res turntables provide vinyl listening in stunning clarity.