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On November 4th 1987, the proclaimed Godfather of “gangster rap” Ice-T, released his first studio album, Rhyme Pays. And the single that emerged from that album defined the “gangster rap” genre. “6 N’ the Mornin’” (which was the B-side to “Dog ‘N the Wax” (Ya Don’t Quit-Part II), produced by DJ Unknown), had a storytelling
“You’se a d**k blower, tryin’ to speak the Dun Language / What the drilly with that though? It ain’t bangin’/ You hooked on Mobb-phonics, Infamous-bonics / Lyin’ to the Pop Dog like you got it!” Most people have unique ways of communicating in their social circles, crews or to their family. Emcees are no
Back in the eighties, a Hip Hoppers gear had to be funky fresh and the velour tracksuit with a pair of shell toes was a must fit for any b-boy and b-girl. After all, the world of Hip Hop was ushering in their own distinct styles with a unique take on all aspects of fashion.
Since the early part of the twentieth century, African-Americans expressed themselves through hairstyles that seemed to go hand and hand with the music and culture of the times. The Afro (the natural) was symbolic to the Black Power Movement that lasted from the late sixties to the early eighties and served as a mark of
Before platinum and the “bling bling” label, Hip Hop had another form of juice that signified more than wealth. The dookie rope (roll) was a symbol of arrival and respect that popped up around the necks of some of the most prominent artists when our favorite culture was in its infancy stages. They were not
When Carl Jones entered the fashion world in 1989, his concept was different than most. His goal was to create a reputable clothing line but he also wanted to bring forth a message that would break social prejudices. His aspiration was to rupture the color lines with garments that had messages to elevate the mind
