Estevan Oriol: megaentrevista

Fotógrafo, director, líder de los Soul Assassins, as del lowriding. El creador cultural definitivo en LA hoy. Entrevista definitiva también.

¿Quieren Los Angeles? Esto es Los Angeles totalmente. Fotógrafo, director, líder de los Soul Assasins, catalizador cultural. Y la neta verdad de la cultura latina que hizo propia a California. Si alguien entiende perfecto la estética y la estructura genética que compone al verdadero LA, ese es Estevan Oriol del East Side, donde se habla en chicano. OK, chequeo de credenciales: ex tour manager de Cypress Hill y House of Pain en su época dorada y fundador de Soul Assasins, la clicka original de chicanos del East Side devenidos en entrepreneurs (primero entre ellos DJ Muggs, a cargo de las bandejas de Cypress Hill, que salía con Carmen Electra cuando no era nadie) y que hicieron de su estética de bandanas, tattoos hasta los nudillos y camisas plaid abotonadas en el primer botón un microimperio. Por ejemplo, SA estuvo a cargo de todos los diseños de “Righteous Kill”, el film que reunió luego de años a Robert De Niro, Al Pacino y un montón de municiones, más trabajos para Blink 182, Fieldy Arbizu de los nü-metallers Korn o los mexicanos Maldita Vecindad. Y como fotógrafo, su retrato icónico de los dedos cruzados haciendo la señal de LA es la versión hip hop de los cuernitos metal de Ronnie James Dio y es la definición manual de toda una subcultura. ¿Clientes? Revistas como Flaunt, i-D o Rolling Stone. Su libro “LA Woman” es alta piel, mujeres anónimas en lingerie candente, y sus sujetos usuales son gangstas reales con vida en prisión o a punto de vivirla, Rosa Acosta, que es la mujer más hot del planeta Tierra, o stars como Snoop Dogg, Eminem, 50 Cent, Beastie Boys y Mars Volta o el muy importante Danny Trejo. Lo aprendió de su padre Eriberto, uno de los retratistas premium del viejo LA. Nada de digital: película. Oriol dice: “Así lo hace cualquiera.” Acaba de dirigir los promofilms de “Machete” la nueva de Robert Rodriguez, paseando en lowrider con el ícono mex de Hollywood Danny Trejo y su film, “Ink: The Movie”, es el documento definitivo del tattoo contemporáneo, via su socio y compañero de studio, Mr. Cartoon, dios de la aguja a cargo de la tinta que llevan desde Terry Richardson y Justin Timberlake hasta Beyoncé y trendsetter viviente con modelos de Nike propios muy buscados por coleccionistas. Todo esto se transmuta en Joker Brand, en ropa y toys como el Lost Angel, un ícono en vinilo, y su propio store, The Last Laugh, donde todo lo que ves es edición limitada y si se va, no vuelve. Todo en el Skid Row, barrio picante con los homies que no piensan ir a ningún lado y prócer del lowriding, o viejos Chevrolet Impala y Ford Mercury customizados con llantas gigantes y tiro bajo. Es un acto de devoción. Uno ama a su carro. O uno ama a LA. Todo va en conjunto.

Hiciste el promofilm para “Machete”, la nueva película de Robert Rodríguez: Robert De Niro, Jessica Alba, Michelle Rodríguez y Danny Trejo. Vos y él, andando en lowrider por East LA, hablando de la vida.
Danny está realmente envuelto en la escena de lowriding y yo tuve mi primer auto en 1989, así que te imaginarás. Y ocurrió esto, este proyecto artístico para promocionar a la película, la idea era pasear por el barrio, compartir recuerdos en un lowrider, y dije: “Claro, ¿por qué no? ¿Y por qué no ponerlo en film?” Así que lo pasé a buscar y arrancamos.

¿Crées que es el turno de Danny? Es decir, de que reciba el crédito que merece como actor.
Sí, ya le toca. Es tan bueno como siempre fue, pero a algunos les toma más tiempo que a otros dare se gran salto. Quizá cuando hizo “Heat” todo el mundo se dio cuenta lo cool que es, pero todo ocurre por una razón. Y ahora es la hora de Danny Trejo.

De todas las mujeres que fotografiaste, uno no puede evitar quedarse con Rosa Acosta.
Wow, ¡Rosa! Ojalá hubiese llegado a mi libro, “LA Woman”, pero mi primer shooting con ella llegó justo después de entrar a imprenta. Todo es perfecto, todo, su cuerpo, su cara, todo es perfecto, man. Llega a la sesión tal cual la vez en las fotos, lo que ves es realmente lo que tenés, además es la chica más buena onda con la que trabajé.

¿Y con “LA Woman”, qué quisiste retratar, representar?
Fue responder a un prejuicio. Mucha gente de New York o de otras partes del mundo piensan que las mujeres de Los Angeles son unas rubias tontas, unas Barbies, que son todas como Pam Anderson: tetas falsas, culo falso, todo hecho, como si recién salieran de cirugía plástica. Ese es un mal estereotipo e hice mujeres genuinas, que vienen en muchas categorías. Madres solteras que viven de cheques de desempleo, chicas que trabajan, que estudian, strippers, porn stars, actrices. Un poco de todo. Hay cirugía, un poco, pero quería demostrar el rango, la amplitud.

De tu padre, Eriberto, ¿qué tomaste como fotógrafo?
No era que cada vez que él hacía fotos yo lo acompañaba. Sabía que las hacía, pero no vivíamos juntos, él hacía su cosa. No veía mucho su material, quizá un poquito aquí y allá. Pero en los 90s me dio una cámara, y me dijo: “Estás por todos lados con House of Pain y Cypress Hill, con esto del lowriding, vivís un estilo de vida cool, ¿por qué no hacés fotos?” Y no fue hasta después que ví las fotos de calle de mi padre, mostrando el estilo de la calle. Nuestras temáticas son similares, pero cada uno tiene su estilo.

¿Cómo definirías el tuyo, entonces?
Crudo, rudo y regular. No hay demasiada información, no hay conceptos locos detrás. De nuevo, lo que ves es lo que tenés. Rara vez uso Photoshop, es raro que una revista me lo pida. Quizá en celebrities muy grandes, que lo demandan. Pero mis fotos son lo que son.

¿Los Soul Assassins?
Eso nace de DJ Muggs de Cypress Hill. En los primeros días del hip hop se hacían samples de música, se tomaban pedacitos de canciones, clips de aquí y allá para hacer una canción.

Cosa que ahora es ilegal.
Claro. Y Muggs cortaba viejos discos de soul, así que de ahí viene Soul Assassins. Teníamos de todo, pasó progresivamente. House of Pain y Cypress Hill eran la música, Cartoon tatuaba y hacía aerografía, yo tomaba fotos y dirigía. Eramos como Wu Tang Clan, como nueve rappers pero en cada rama del arte posible. Yo giraba con Cypress Hill, por ejemplo, tomaba fotos, y a la banda le gustaban, entonces hacíamos la portada del album, y Cartoon les diseñaba el logo. Como que fue muy natural, nunca dijimos: “Hey, armemos una crew a ver qué pasa.” La música lo comenzó todo. Con eso fuímos a Argentina, por ejemplo.

1998, con Marylin Manson, estadio de Ferro, ¿no?
Cierto, con Marylin Manson, y fue, bueno, fucking crazy. No se entendía nada, todos los chicos escupían desde el público. Aquí en Estados Unidos es la peor falta de respeto, es como decir “fuck you”, indica que está todo OK para pelear. Ahí, no sabía, ¡que es al revés! De repente, sentía cómo un montón de cositas me golpeaban de espaldas mientras tomaba fotos, como que no era algo duro, así, bang, bang, todo en la espalda. Me doy vuelta, ¡y estaba todo escupido! Ahí digo: “Fuck this shit, me voy.” Y me explican que eso es señal de respeto, o que le gustás al público. Todos lo escupen a Manson, que tenía como un bustier, una cosa sadomasoquista, y se empieza a refregar las escupidas y se baña en vino. Habían avisado del escenario, un par de bandas, que no le gustaba que los escupieran, pero a Manson le encantó por lo visto.

El lowriding, la vida de las calles en Los Angeles, tiene un atractivo enorme. Para alguien que vive a 8 mil kilómetros, es totalmente exótico. ¿Qué crées que atrae de todo esto?
Con respecto al lowriding, el detalle, sin dudas, los trabajos de pintura, todo eso. Los autos se hacen desde cero, tenés que reforzar el chásis si le vas a incluír hidráulicos, porque sino el auto, que es débil en comparación, se rompe, y hay que soldar metal. Tampoco querés una cosa que se vea horrible, así que lo pintás, y hay que rehacer todos los cromados, mejorar todas las partes de caucho. Pensá que estamos hablando de vehículos que tienen 50 años de edad. Todo ese detalle, todo ese trabajo que se ve y se aprecia es el gran atractivo.

¿Y de la cultura gangsta? ¿De las pandillas?
Te atrae el misterio que implica, la tradición. Por ejemplo, los yakuza en Tokyo, que se cortan los dedos para salvar deudas de honor, que se tatúan todos pero usan trajes increíbles encima, o la mafia italiana, los Sopranos, que tienen su estilo, y lo vienen haciendo hace años. Es una cultura, es una forma de vida, no es una moda, y la gente quiere saber de qué se trata, el por qué, flipan, deliran al respecto. Había un uniforme que usabas si eras hispánico, si eras de barrio: t-shirt blanca, pantalones Dickies, unas Nike Cortez o unas Chuck Taylor de Converse. Ahora está lleno de elecciones, mil marcas de ropa, todos quieren tener su identidad, ser diferentes. Ya no quieren ser una crew, al menos, unida visualmente. Las pandillas en realidad comenzaron como equipitos de fútbol, representando a sus barrios, tú eras de tu equipo, tenías tus colores y que los otros equipos se vayan al carajo. Así que se peleaban, se apuñalaban, iban a la cárcel, salían de la cárcel y todo se ponía peor. Hoy, juegan al fútbol para hacer treguas, para terminar las rivalidades.

Contratás ex-convictos para que trabajen en tus proyectos, ¿cierto?
Lo hago. A ver, ¿qué hacés después de salir de la cárcel, si es que no querés seguir en el crímen? Vas a pedir trabajo, y en la aplicación está el checkbox que te pregunta si estuviste preso. Si lo marcás con una X, perdiste. Es decir, ¿a quién contratarías para tu negocio? ¿A un universitario limpito? ¿O a un tipo que robó cosas y tomó drogas? Todos quieren al universitario. Entonces yo les digo a estos tipos: “Hey, vení, ¿querés trabajar? Vemos qué podés hacer.” Necesito gente en el depósito, los tomo. Hay un concierto, los mando a repartir flyers y pegar afiches o vender t-shirts. Pero quiero gente que lo tiene. Porque recién saliste de prisión no te voy a dar un attaché lleno de dólares. Se lo tienen que ganar. Además, en el entretenimiento no chequean antecedentes. Por ejemplo, un rapper, un actor: ¿a quién carajo le importa si estuvo preso? Es parte de tu mística, si quieren que actúes de preso, lo viviste, estuviste, sabés cómo hacerlo. Así que sirven para castings. Trabajamos duro aquí, nos levantamos temprano y nos acostamos tarde. Esto no es chiste.

TEXTO: Federico Fahsbender
FOTOS: Pablo Franco

1 Mr. Cartoon, tatuador y socio de Oriol junto a Tuti Gianakis en el tattoo parlor de Cartoon, Skid Row Tattoos.
2 Mr. Cartoon: su primera co-lab con Nike, Cortez estilo Moctezuma y su propio Bobblehead
3 Mr. Cartoon: Nike Air Force 1 25th Anniversary y sus celulares Samsung y Motorola
4 Mr. Cartoon: Nike Air Force 1 Livestrong y Lost Angel x Soul Assassins.

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