“One of those landmarks of New York culture. You might not know what they really do but the energy they give to this shit is what makes it what it is.” Dante Ross.
Ricky Powell epitomises the confidence and swagger of the archetypal New Yorker. He describes his photographs as a "time capsule" and is surprised they've become so widely regarded. But widely regarded they are. Powell's epoch-defining images of Def Jam artists, New York street life and celebrities have become synonymous with a particular brand of cool.
This story appeared originally in Bonafide issue 05. The issue is now sold-out so we thought it would be nice to share with a new set of readers.
If you come from England and wore fat laces in the 80s, chances are it's down to the influence of Powell or his friend Henry Chalfont ("Hank… lives around the corner from me…cool dude…very chill"). Taking his camera everywhere, Powell has a "natural knack for documenting interesting people".
This isn't restricted to celebrities and artists, and Powell's lens seems to treat Madonna and Warhol no differently to New York's less renowned citizens. Whereas Glen E. Friedman provided covers for many of the iconic Def Jam covers in the early days, Powell is responsible for some beautifully candid moments outside the studio.
Deciding to become "official" in 1985, Powell's Minolta point-and-shoot and a "manual camera which I bought from a crackhead in Tompkins Square Park" seem entirely secondary to being in the right places with the right people. When discussing his street photography, he's much more likely to refer to his "smarts and intuition" or "the process and interaction" than equipment and it's this unbounded love of people that gives his pictures so much life and value.
Originally a Frozade vendor on the streets of New York after finishing college, he hooked up with the Beastie Boys for an early tour after introduction through a mutual friend. Later he was regularly referred to as "the fourth Beastie Boy" (a title also bandied about for DJ Hurricane and Money Mark) and immortalised on Paul's Boutique: "Homeboy throw in the towel, Your girl got dicked by Ricky Powell". Continuing to be Def Jam's unofficial photographer and accompanying the likes of Run DMC, LL Cool J and Rakim. Working for the LGI Photo Agency in the 80s, Powell learned about "the hustle" in photography and gained access to a galaxy of famous faces, although he is keen to distance his approach from today's paparazzi "roaches".
As well as his photography, "the lazy hustler" has released books and exhibitions, commercial work, slideshow tours and, with
Rappin' With The Rickster, a widely bootlegged cable-access TV show that recently made it to DVD. Here, in honour of our Old-School x New school issue, we've selected six Def Jam-related pictures by Powell with exclusive commentary and memories.
The Tour Bus. May, 1987
Somewhere during the European leg of The Together Forever Tour with Run DMC, Beastie Boys and Russell Simmons. I thought it'd be interesting to capture how the groups sat in certain spots. The two groups loved each other and this trip was like going to teen sleep-away camp.
Run with Rick Rubin. NYC, 1987
I was riding around with Run in his Beamer and we came upon Rick somewhere in the Village. Rick joyously came over to say hello. They'd had a big hit with Walk This Way, among other songs, and were sharing a moment of happiness. I had to catch that moment
.
Eric B and Rakim. The Apollo Theatre, Harlem, NYC, 1988
Rakim looks classic in his custom made Dapper Dan outfit. They were one of the best rap groups at that time. I like the back drop, that was a regular thing for shows then.
Flav and The Biz. Studio 54, NYC, 1990
When I saw these two kicking it in a boisterous manner I had to capture it, because they were two ‘All Stars’ of rap and I had to preserve the moment.
Run and Mike D chilling in Hollis, Queens, 1987
During a break in shooting a promo for their upcoming tour in Europe. I thought this picture of these two chatting along like this was classic looking, and thought it should be preserved for interracial harmony.
LL Cool J. Los Angeles, 1988
I was flown to L.A. to take a photo of LL rocking his new line of hip-hop gear. He was Big Willie Green at the time and I felt lucky/honoured to be doing an important shoot with him. He was cool with me, and I appreciated it…
Words: Kieran Hadley
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