Son of Sam Meets King From Queens

I did not know Caine other than by reputation. The # 7 line didn’t boast a lot of talented writers in the early to mid-seventies , so Caine stood out like a blazing North Star in a dull dreary sky. Focusing on conceptual pieces with colorful backgrounds and detailed characters, he was way ahead of his time. His letters which were passable were not the focus of his work.And ,although he often wrote with guys like Mad 102, Flame and Tage,  it was Caine’s name that stood out most. I can recall going to a Mets game around 1975 and seeing Caine’s Welcome to Hell car with the Alice Cooper face on one end of the car and the skull man on the other pull up on a Manhattan- bound 7 train as I was heading to Shea Stadium. As if by reflex, I jumped off my train and ran to the other side of the platform to get a closer look.I waited for the doors to close and after the oblivious passengers exited Caine’s masterpiece , I began running alongside of the moving train until it pulled out of the station. My admiration cost me a few innings of Mets baseball, but Caine’s was way more captivating than the mediocre ‘75 Mets squad. Eddie Glowaski a.k.a. Caine also had a dark side. Caine paved the way for Lee Quinones’ conceptual whole cars although their messages had no similarities. The fact that Caine operated on the most isolated of all I.R.T. lines the # 7 train made him unique in graffiti history. I will not speculate on his life outside of graffiti , but wanted to share this journal entry that I happened upon during the course of researching my book.

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