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potuzzz · 2 years

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A Communist Take on the State of Rap/Hip-Hop 2022

Kendrick Lamar’s newest album, Mr. Morale and the Big Steppers (MM&BS) is good. I like it. I may or may not have some gripes about how the album physically sounds and a possible lack of (IMO) a strong sonic theme, but I have only listened to the album twice and I will certainly need at least 2-3 more listens before I can digest it and have a more dedicated opinion.

What I do have a solid opinion on is that, lyrically, it is amazing. Not just because of the usual flows, rhymes, wordplay or similes, no. The content of this album is an oasis in a desert. The progression of Kendrick Lamar from To Pimp a Butterfly (TPAB) to DAMN to MM&BS is a beautiful, powerful narrative and it gives me hope.

Not just general hope for the world, although Lamar is certainly an inspiring and soulful figure throughout his life. Specifically hope that rap/hip-hop can and will once again be the bedrock for communist revolution in America.

Tupac Shakur and many of the old-school, OG, “Golden Age” rappers were very close to the Black Panthers and their affiliates. This is not to say that the Old School was chock full of communists, no, but the potential was there. The capitalists saw this, they saw the revolutionary potential in hip-hop (as with much of African American music in general in the recent century or two), and thus they added its destruction and co-option to their laundry list of things to do to preserve the hegemony. They killed Tupac and many others, they began carefully and subtly integrating hip-hop into capitalism, defanging its revolutionary potential, and bought themselves a lot of time to boot.

The results were very disastrous. The rap community and thus many poor black Americans (and other people a part of said community and its many adjacents) became very capitalistic. The results are deserving of entire books on their own.

It took decades merely for hip-hop to regain its love for the fellow black person, as was accentuated and in many ways spearheaded by TPAB. TPAB was not a communist manifesto, but it was a strong and coherent reclamation of blackness and renewed the fight against white supremacy and the black plight.

Again the capitalists took a hard notice. They gathered together and whispered furtively in their ivory towers. They had only just managed to squash the Occupy Movement, and now with this new wave in hip hop Black Lives Matter was beginning to ferment. Although not explicitly anti-capitalist, the threat BLM posed to the capitalists was never underestimated, they knew exactly how the communists would use it to try and radicalize people further, to spread knowledge of the origin of black suffering and to mobilize people against it. What was to be done?

The capitalists learned from their past mistakes: outright assassination should be reserved for a last resort. It was messy, it was seldom airtight, it was fertilizer for anti-establishment conspiracy and general distrust of the hegemony, it was martyr-making. Softer, but more nefarious tactics and strategies such as co-option was the way to go these days.

Obama was the man for the job.

Most revolutionary energy was still easily channeled into merely hating Republicans, and despite his colossal litany of happy atrocities against both working people at home and abroad, Obama remained a very charismatic and well-loved figure, especially by African Americans who had been so hungry for a sign that they were finally to be respected and treated as normal human beings.

He positioned himself to decapitate two major threats, Kendrick Lamar and J. Cole.

It worked! Both potential revolutionary leaders were awed to be chums with the first black president. For someone not made aware of Obama’s crimes and his intentions, it’s not hard to imagine. Neither Kendrick nor Cole nor their music veered dangerously off the path of what was deemed acceptable counter culture.

However, for good and for ill, a lack of truth leaves festering questions that rot and writhe and form the base of a disease that, one way or another, will demand and receive an answer.

Kendrick was not dissuaded from loving his fellow black man, but the lack of complete answers added to the torments of his past that began to catch up with him. From this Hell, DAMN was born.

Hotepism had found Kendrick. The infinite but simultaneously dead-end of fascist conspiracy had hooked his ear. Black supremacy mixed very nastily with a sense that God’s chosen folk were being ruthlessly, deservedly punished for not living up to their superior status.

It seemed to have all the answers he needed...

And his suffering became acute. Very, very dark places. It only seems natural, right? This world is just inherently evil, right? Of course to become more knowledgeable about this world, about mankind, is to go down an irreversible path of torment.

Cole, too, was made inert. From dangerously teetering on the precipice of revolutionary change during the times of 4 Your Eyez Only and then the nauseatingly (for the capitalists) positive messages of K.O.D., back to the status quo comfortably within the capitalist framework of The Off Season. Cole was not tormented like Kendrick, but he too was in no danger of becoming a communist leader anytime soon with double-edged messages of internal growth and personal focus.

Another leader, far younger, and far more brash and uncontainable in XXXTENTACION blossomed quickly. His self-professed interest in politics and his far-left-leaning mind and heart were terrifying as he hooked a docile, apathetic, and self-destructive youth previously assumed to remain inert with little to no effort. His fiery rise was quickly, mercifully smothered, and whether the capitalists played a direct part in it or not, they were happy to see this sudden maverick already intending to quit music and start helping the poor flaked out of the sky. The co-option began within minutes of his death being announced.

Things looked bleak.

However, times are changing behind the scenes...

Who knows what has happened in the past years? People like Kendrick and Cole do not gorge themselves on the trappings of 2020′s rap celebritydom. They are private, they are human, they are trustworthy of finding their own way.

Kendrick Lamar has just released MM&BS. In it, for the first time since his two titanic previous releases, he is not waxing poetic about the awesomeness of Barack Obama. He directly mentions capitalism and mentions it with utter contempt. He seems to have also completely abandoned the false consciousness of hotepism, and instead blossomed into a new journey towards untarnished spiritualism. Socially progressivism of all sorts is deeply embedded into this project, with a resounding message of love, growth, compassion, forgiveness, community, and social change, with additional potshots taken at the capitalist special operations units previously untouchable to all but misleading fascists such as the “fake woke.” Materialism, celebrity worship, toxic contentedness, the cycle of abuse, classism, identity politics, queerphobia, and much else all take hard-hitting blows that, quite frankly, step a little bit outside the zone of green-level acceptable within the system. We’re officially back in the hard yellow with this; the capitalists have been pushed back all the way to TPAB-era threat-level, only, this time...they have no more tricks up their sleeve.

It’s not a huge conspiracy necessarily that this album isn’t doing the numbers of TPAB or certainly DAMN. Nobody needs to be pulling levers behind the scenes to make it clear that people these days, rap listeners these days, are attracted to negativity, shallowness, the punchy and the catchy, the homogenous and the cruel. DAMN was meant to be popular (not that it isn’t great, it’s fucking awesome) because of not only its mood and lyrical content but because the production and flow was so specifically tailored to be commercial-friendly ear-candy.

While I do wish there was some more ear-candy in MM&BS, I would never wish this at the expense of this new tone, this new message, this new resolved mindset of Kendrick.

That is not to say, either, that the capitalists AREN’T working to suppress this album in small ways. That being said, Kendrick is such a nigh-invulnerable staple in the industry that anything but throwing at least half of your weight behind him is foolish for those in the playing field. However, this might get easier as people proclaim it a “flop” due to the first-week sales and Twitter liberals shit their pants about the heavy presence of Kodak Black on the album, missing entirely the point of his very intentional inclusion in this record.

We should be wary. Don’t get too excited, and certainly don’t get comfortable. This is a blow to the capitalists in the war for the minds of the masses, but they will quickly recuperate and do whatever they can to ensure this threat is once again nullified.

What lengths will they go? Scandal? False flag? Assassination? There is nothing that they haven’t done a thousand times over and for far smaller stakes.

While we must remind ourselves that, while a massive artist, Kendrick is just one person, it is also worth noting that the very spirit of hip-hop has been affected by this. If Kendrick Lamar were to “randomly” die of a “heart attack” or have a laptop discovered in his house with 60 TB of child p*** on it, the damage is already done. The minds of the masses have been affected greatly by this album--not all directly, no, but the ripples this will create over the next 10 years of hip-hop/rap music and its myriad of adjacent communities it holds influence over in turn, these ripples will continue to grow in power and be less and less easily subverted by the capitalist powers.

They are running out of tricks. They enjoyed their 30 years of supremacy. However, they have been paying for today with tomorrow, as it is in the very nature of the god they worship. Incapable of long-term strategy, they have killed the pests of enlightenment with pesticides that we have only, after generations of death and suffering, grow immune to. They are running out of chemicals to combine. They are running out of methods to stop the inevitable. Their efforts have grown more desperate, their schemes more convoluted, the very mortality of their grip on the world exposed both at home and abroad with every passing day.

Kodak Black is not XXXTENTACION but his contact with such profoundly free and vibrant spirit will not leave him unchanged. From the old-heads to the youth, the spirit of hip-hop is being softened up from every direction for the torrent of communism to explode out of the dam. It is the only logical conclusion these events are leading towards. The capitalists will deftly forestall it, as they have been for hundreds of years--and we should certainly not kick back and relax and assume the day is won--but the spirit of hip-hop was never predispositioned to stomach lies in such volume, and it has been force-fed one lie too many.

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upnorthtrips · 5 months

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Do Remember! The Golden Era of NYC Hip-Hop Mixtapes is the first comprehensive deep-dive oral and visual history of the golden era of hip-hop mixtape culture in New York City. From street corners to corner offices, mixtapes made a huge impact on the music industry and hip-hop culture in New York City during the late ’80s, ’90s, and early 2000s. Mixtapes helped dictate what rap songs were hot in the clubs, on the radio, and in the streets, and they influenced which artists would get signed to record deals. Mixtapes also showcased which DJs had the most skills and creativity, and who had the juice to pull the illest exclusives. Do Remember! combines the best elements of oral and pictorial histories to explore the evolution of mixtapes as a crucial component of New York City hip-hop culture. Featuring a comprehensive collection of rare mixtape cover art, never-before-seen images, vintage tracklists, and exclusive interviews with Kid Capri, Brucie B, Mister Cee, Ron G, S&S, Doo Wop, Green Lantern, Lord Finesse, Clark Kent, Bobbito, Cipha Sounds, Havoc of Mobb Deep, the late, great DJ Kay Slay, and many more, including a special foreword by Fab 5 Freddy, Do Remember! captures an era in New York City that went on to inspire future hip-hop generations all over the world.

BUY THE BOOK

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LISTEN TO THE MIXTAPE

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#DO REMEMBER!#Mixtapes #NYC Mixtapes #Rizzoli #Book #Mixtape Book

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umlewis · 1 month

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Lewis Hamilton on finding his personal style—and why Pharrell is his style icon

At Mercedes-Benz Australia and Vogue Australia's dinner in celebration of the upcoming Melbourne Grand Prix, the seven-time world champion and driver spoke candidly about all things Formula 1 and fashion.

How does Lewis Hamilton spend a Thursday evening, the day before a race weekend? If tonight was something to go off of, the answer would be waxing lyrical about personal style and his style icons onstage at a dinner trackside. The seven-time world champion popped into the Mercedes AMG Lounge at Melbourne's Albert Park for a dinner hosted by Mercedes-Benz Australia and Vogue Australia in celebration of the Formula 1 Grand Prix, speaking on stage with teammate George Russell and Fox Sports commentator Hannah Hollis. And there was no better person to ask about style than Hamilton, a driver who has arguably pioneered the modern synergy between fashion and Formula 1. A race week brings plenty of speed and adrenaline, but also outfit after outfit from Hamilton, who often roams the paddock in labels like Bottega Veneta, Valentino, Dior and Rick Owens. How, then, Hollis wondered aloud before a seated audience, did he discover his own sense of personal style, and what would he recommend to someone else attempting to do the same? "I'm sure many of you look at your old photos and think, 'What the hell was that?'" Lewis laughed. "But what I've discovered is it's a real process, a real journey. It’s just trying and being daring. I think I've tried so many different styles. I kind of describe my style as an evolution. It's whatever makes you feel great. The trick is about self-expression. None of us are the same as anyone else. We have our own unique tastes, but it's whatever makes you feel sexy! Embracing confidence." For Hamilton, style goes hand-in-hand with performance. "I grew up aspiring to be a Formula 1 driver. I wasn't thinking about my fashion sense on the journey," he continued. "I think a lot of drivers have gone through the same experience. Fashion is such an important way to express yourself, and you have got to feel good. If you're wearing something that you feel confident in, you walk in with a lot of extra inches in your stride and you know that's what you need when you walk into the paddock. When your fans have cameras on you and you've got your competitors around, you need to have that confidence, so I think fashion is actually really important. It's taken me a long time to get fashionable and a long time to actually convince the teams to change; I wasn't able to wear my own things. And then I started going to fashion shows. I really love the fashion shows because there's a very diverse audience; so many different people from different walks of life, all dressed in their own styles, with no apologies. So it's been a fun journey, and now all of these other drivers are starting to express themselves in their own way." On the topic of sartorial icons, Hamilton was quick to praise Naomi Campbell, cover star of Vogue Australia's most recent March 2024 issue. "Naomi is incredible. I met Naomi many, many times. In the first year [we met], 2007, she just immediately adopted me as a brother, so she's always been that big sis. But for me, when I was younger, I think I was heavily influenced by hip-hop, R&B and pop culture. I was always watching those videos when I got home. Pharrell, for me, was that style icon for me. I loved how he progressed from music into the fashion space when he was working with Chanel. And what he’s doing now, leading LV, is pretty incredible, so I look up to him for that."

#lewis hamilton #f1 #formula 1 #australian gp 2024 #fic ref #fic ref 2024 #australia #australia 2024 #australia 2024 thursday #not a race #2024 not a race #between saudi arabia and australia 2024 #pharrell #naomi campbell #with george

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urbanthreads · 4 months

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The Evolution of Style: A Deep Dive into Men's Urban Clothing and Fashion

Introduction

The world of men's urban clothing is a dynamic and ever-evolving landscape where style meets the streets, and culture shapes fashion. In this extensive exploration, we delve into the essence of men's dressing style, highlighting the best men clothing websites and the latest trends in young men's clothing, particularly focusing on urban wear for men.

The Historical Context of Men's Urban Fashion

The tapestry of men's urban fashion is rich and varied, woven with threads of cultural, musical, and socio-political influences. Its roots can be traced back to the bustling streets of New York City in the 1970s and 80s, where a revolutionary movement was brewing. This was not just a fashion trend but a powerful cultural expression that resonated across generations and continents.

The Birth of a Movement

In the 1970s, New York City was a melting pot of cultures, ideas, and artistic expressions. Amongst this vibrant chaos, the hip-hop scene emerged, not just as a genre of music but as a lifestyle that encompassed a unique way of dressing. The attire of this era was more than mere clothing; it was a form of identity, a bold statement of presence and resistance. Early hip-hop fashion was characterized by oversized silhouettes, sports apparel, leather bomber jackets, and flashy accessories, embodying the gritty and raw energy of the streets.

Art and Fashion Intertwine

Graffiti, an integral part of the hip-hop culture, played a significant role in shaping urban fashion. The bold colors, graphic lines, and rebellious nature of graffiti art found their way onto clothing, making fashion a canvas for self-expression. Brands that embraced this art form quickly became synonymous with urban wear, creating a visual language that spoke of defiance, creativity, and individuality.

Influences from Music and Dance

Music and dance were pivotal in propelling men's urban fashion forward. Breakdancing, with its athletic and acrobatic style, demanded clothing that was not only stylish but functional. Tracksuits, athletic shoes, and caps weren't just practical; they were integral to the dancer's persona. Similarly, rappers and DJs donned outfits that would amplify their presence on stage, often incorporating bright colors, bold prints, and oversized jewelry.

Socio-Political Statements

Urban fashion was never isolated from the socio-political environment. In the 80s and 90s, as hip-hop began to address social issues like racism, poverty, and police brutality, fashion became a tool for activism. Clothing with messages, symbolic colors, and designs that reflected cultural heritage became mediums to express solidarity and raise awareness. This era saw the rise of brands that specifically catered to the urban community, creating fashion that was not only trendy but also carried a deeper socio-cultural significance.

The Evolution into a Global Phenomenon

As hip-hop culture spread globally, so did its fashion. By the late 90s and early 2000s, urban wear was no longer confined to a particular group or locale. It had infiltrated mainstream fashion, with designers and high-end brands incorporating elements of street style into their collections. This fusion brought about a new era of urban fashion, one that blended the authenticity of the streets with the sophistication of high fashion.

The Contemporary Urban Style

Today, men's urban fashion is a diverse and dynamic field. It continues to be influenced by music, art, and current events, adapting and evolving with the times. Modern urban wear pays homage to its roots while continuously pushing the boundaries of style and self-expression. From the resurgence of vintage styles to the incorporation of sustainable materials, urban fashion remains a symbol of innovation, resilience, and identity.

In essence, the historical context of men's urban fashion is a story of transformation and empowerment. It's a narrative that speaks of the streets, the struggles, and the spirit of a culture that has profoundly shaped the way young men dress and express themselves today.

Defining Elements of Urban Style

Urban style, a term synonymous with individuality and cultural expression, stands out for its unique elements that have continuously evolved over the years. This expanded section delves into the specific fashion elements that constitute men's urban wear, highlighting the innovations by designers and brands that have made certain styles iconic within this genre. We'll explore the role of color, fabric, and design, each contributing to the distinctiveness of urban fashion.

The Significance of Color in Urban Wear

Color plays a pivotal role in urban fashion. It's not just a matter of aesthetics; color choices often reflect cultural, social, and personal narratives. Early urban styles were influenced heavily by vibrant hues and bold prints, mirroring the energy and dynamism of the streets. Designers have used color to make statements, with black often symbolizing strength and rebellion, while brighter tones like red, blue, and yellow represent vibrancy and vitality. The use of color blocking and the juxtaposition of unexpected colors have become trademarks of modern urban wear, allowing wearers to make bold statements through their attire.

Fabric: Blending Functionality with Style

The choice of fabric in urban fashion is a careful balance between functionality and style. Initially, durable materials like denim and leather were popular due to their longevity and ability to withstand the rigors of street life. As urban fashion evolved, there was a shift towards more versatile and comfortable materials. Cotton, especially in its heavier forms, became a staple for t-shirts and hoodies, offering both comfort and a suitable canvas for graphic prints. The introduction of athletic materials like polyester and Lycra catered to the needs of those who sought clothing that was not only stylish but also adaptable to an active lifestyle.

Design Innovations in Urban Wear

Design in urban wear is where creativity knows no bounds. Oversized garments, a hallmark of urban fashion, are not just a style choice but also a nod to the hip-hop influences where larger-than-life attire symbolized presence and power. Designers have innovated by introducing asymmetrical cuts, layering, and unconventional silhouettes that challenge traditional fashion norms.

Brands have also embraced the fusion of streetwear with luxury fashion, creating pieces that are both opulent and street-ready. This blend has led to the creation of unique items like high-end sneakers, designer graphic tees, and luxury sportswear. Collaborations between leading fashion houses and streetwear brands have further pushed the boundaries, leading to collections that are culturally relevant and fashion-forward.

Graphic Designs and Logos

Graphic designs and logos are integral to urban fashion, often serving as symbols of brand identity and cultural affiliation. From bold statement prints to subtle logo placements, these elements add character and distinction to urban wear. Street art and graffiti have been significant influences, with many designs featuring intricate artworks that tell stories or convey messages.

Accessorizing in Urban Fashion

Accessories are not mere additions in urban style; they are essential components that complete the look. Snapbacks, beanies, oversized chains, and statement watches are more than just fashion pieces; they are part of the urban identity. Footwear, particularly sneakers, holds a place of reverence in urban fashion. The rise of sneaker culture has seen collaborations between artists, celebrities, and brands, turning sneakers into coveted items of fashion and collectibles.

The Role of Cultural and Social Influences

Urban fashion is deeply intertwined with cultural and social influences. It's a reflection of the wearer's background, beliefs, and experiences. Designers and brands have recognized this, often incorporating cultural motifs and social messages into their designs. This aspect of urban fashion not only adds depth and meaning to the clothing but also connects wearers with broader cultural and social narratives.

The Digital Revolution: Men's Clothing Websites

The landscape of men’s fashion, particularly urban wear, has undergone a dramatic transformation in the digital era. The advent of online shopping has not just made fashion more accessible; it has revolutionized how men interact with fashion. This section delves into the nuances of digital marketing, online retail trends, customer behavior, and the overarching impact of social media in the realm of men’s urban clothing.

The Emergence of Online Fashion Retail

The early 2000s marked the beginning of a new era in fashion retail. E-commerce platforms began to emerge, offering a variety of clothing options that were previously limited to brick-and-mortar stores. Men’s urban clothing found a new avenue, with websites dedicated solely to this genre. These platforms offered a wider range of sizes, styles, and designs, catering to a diverse audience. The convenience of shopping from anywhere and the ability to compare products and prices quickly became appealing aspects for the modern shopper.

Digital Marketing and Its Impact

Digital marketing has played a pivotal role in shaping men's urban clothing trends. Through targeted advertising, fashion brands have been able to reach their ideal audience more effectively. Social media platforms like Instagram, Facebook, and Twitter have become crucial for brand promotion, enabling labels to showcase their latest collections, share lookbooks, and even directly engage with customers. Influencer marketing, where fashion brands collaborate with social media influencers, has emerged as a powerful tool in driving brand awareness and sales.

Online Retail Trends in Men’s Urban Clothing

The trends in online retail for men’s urban clothing have seen a shift towards a more personalized shopping experience. Websites now use data analytics to understand customer preferences and offer tailored recommendations. Limited-edition releases, exclusive online drops, and pre-order options have become common strategies to create hype and exclusivity around products. Furthermore, the rise of mobile shopping has prompted websites to optimize their platforms for mobile users, offering seamless and user-friendly experiences.

Customer Behavior in the Digital Space

Customer behavior in the context of men’s urban clothing has evolved with the digital age. Shoppers are more informed and have higher expectations. They seek authenticity, quality, and exclusivity in their purchases. Online reviews and customer feedback have become significant influencers in purchasing decisions. Consumers often rely on these reviews as a source of trusted information, impacting the popularity and sales of specific items.

Curation of Collections on Online Platforms

Men’s clothing websites carefully curate their collections to align with current trends and customer preferences. This curation is not just about selecting items; it's about creating a narrative that resonates with the target audience. Websites often collaborate with designers, artists, and influencers to curate exclusive collections. Seasonal trends, cultural events, and even political and social movements can influence these collections, making them relevant and timely.

The Role of Social Media Influencers

Social media influencers have become integral to the fashion industry, especially in urban wear. Their ability to influence public opinion and trends is undeniable. Influencers often partner with clothing brands to showcase new collections, share outfit inspirations, and offer exclusive discounts to their followers. Their endorsement can significantly boost a brand's visibility and credibility.

The Impact of Online Reviews

Online reviews have become a powerful tool in the fashion industry. Positive reviews can enhance a brand's reputation and increase sales, while negative feedback can lead to a decline in customer trust. Men's clothing websites often encourage customers to leave reviews, as these serve as valuable feedback for both the brand and potential customers.

Youth Fashion: Pioneers of Urban Trends

The world of youth fashion, particularly in the urban landscape, is a continuously evolving tapestry of style, culture, and expression. Young men, especially, are not just consumers of fashion; they are trendsetters and pioneers, significantly influencing the direction of urban style. In this expanded section, we delve deeper into what drives trends in young men's fashion, incorporating insights from interviews and quotes from young fashion influencers, designers, and stylists. We also examine the impact of global events and shifts in popular culture on these trends.

The Voice of Influencers and Designers

"Young people are looking for authenticity in their fashion choices," says Jordan Lee, a noted fashion influencer. "They want clothes that tell a story, that resonate with their personal journey and the culture they are part of." This sentiment is echoed by Mia Wang, an up-and-coming urban wear designer, who adds, "Today's youth are blending traditional elements with modern cuts. They're not afraid to mix and match, creating a style that's uniquely theirs."

Renowned stylist Elijah James comments on the practical aspects, noting, "Functionality has become as important as aesthetics. Young men want fashion that suits their active, on-the-go lifestyle but also makes a bold statement."

Influence of Global Events

Global events have a profound impact on youth fashion. The recent pandemic, for instance, has seen a surge in the popularity of comfortable yet stylish home wear, with an emphasis on versatility. "The lockdowns led to the rise of ‘Zoom fashion’, where the focus is on waist-up dressing. It's all about striking a balance between comfort and presentability," observes fashion blogger Emma Liu.

Environmental concerns are also shaping fashion choices. "There's a growing demand for sustainable fashion among the youth," says sustainable fashion advocate, Ryan Gomez. "Young people are more conscious about the environment and are seeking brands that align with their eco-friendly values."

The Role of Popular Culture

Popular culture, particularly music and movies, has always had a significant influence on youth fashion. The rise of K-pop, for instance, has introduced a whole new aesthetic into the urban fashion scene. "K-pop stars are not just music icons; they're fashion icons. Their unique sense of style has a huge fan following worldwide," states music and fashion journalist, Sophia Kim.

Social media, especially platforms like Instagram and TikTok, have become a showcase for youth fashion. Influencers and ordinary young men alike use these platforms to display their fashion choices, often setting trends in the process. "Social media has democratized fashion. Now, everyone can be a trendsetter," says digital marketing expert, Tyler Chen.

The Future of Youth Fashion

Looking ahead, youth fashion is poised to become even more diverse and inclusive. "We're moving towards a more inclusive fashion world, where there are no rigid gender norms or rules. It's all about self-expression," predicts gender-neutral fashion designer, Alex Parker.

Exploring Current Trends in Young Men's Fashion

- Athleisure Evolved: Sportswear and casual wear merge to create a comfortable yet stylish trend.

- Retro and Vintage: The resurgence of vintage styles and their reinterpretation by today's youth.

- Eco-Fashion: The growing demand for sustainable and ethically produced clothing among young consumers.

The Future of Urban Fashion

As we gaze into the horizon of men’s urban fashion, the future promises an exciting amalgamation of technological innovation, sustainability, and evolving consumer trends. This expanded section offers a deep dive into the anticipated future trends, spotlighting emerging designers, cutting-edge fashion technologies, and the shifting paradigms of consumer behavior. Additionally, we will delve into the growing significance of sustainability and ethical practices in the urban fashion sphere.

Emergence of New Designers and Aesthetics

The urban fashion landscape is continually refreshed by the influx of new designers who bring with them innovative ideas and unique aesthetics. These emerging talents are redefining the boundaries of urban style, infusing traditional elements with futuristic designs. "We are witnessing a renaissance in urban fashion, where new designers are daring to challenge the norm, blending cultural heritage with modern design," notes fashion critic Lara Edmunds. These designers are not just creating clothes; they are crafting narratives that resonate with the modern urban dweller, often drawing inspiration from global cultures, street art, and contemporary issues.

Technological Advancements in Fashion

Technology is set to play a pivotal role in shaping the future of men's urban fashion. Wearable technology, smart fabrics, and digital customization are areas ripe for exploration. Tech-infused clothing that can change color, regulate temperature, or even display dynamic graphics is on the horizon. "Imagine a jacket that adapts to the weather or a t-shirt that reflects your mood through dynamic designs. These are not far-off concepts anymore," states tech-fashion innovator, Raj Patel. The integration of virtual and augmented reality in fashion retail is also transforming how consumers interact with clothing, offering virtual fitting rooms and immersive shopping experiences.

Shifts in Consumer Behavior

The urban fashion consumer of the future is expected to be more informed, discerning, and value-driven. There's a growing emphasis on personal style over blind trend-following. "Future consumers will look for fashion that aligns with their personal identity and values," explains consumer behavior analyst, Mia Zhang. They are likely to favor brands that offer customization, personalization, and a strong narrative.

Sustainability and Ethical Fashion

Sustainability is no longer a choice but a necessity in the future of fashion. Young consumers, in particular, are increasingly conscious of the environmental and social impact of their clothing choices. "Sustainable practices will define the future of urban fashion. We're seeing a shift towards eco-friendly materials, ethical manufacturing processes, and circular fashion models," notes sustainable fashion expert, Oliver Greene.

This movement towards sustainability is driving innovation in materials, with the emergence of biodegradable fabrics, recycled textiles, and plant-based leathers. The concept of circular fashion, where clothes are designed with their end-of-life in mind, is gaining traction. This approach not only minimizes waste but also encourages practices like recycling and upcycling.

Ethical Practices in the Fashion Industry

Ethical practices in the fashion industry are becoming a significant factor in brand perception and consumer choice. Transparency in manufacturing processes, fair labor practices, and support for local communities are aspects that modern consumers are increasingly prioritizing. "Brands that are committed to ethical practices are not just doing good; they are building trust and loyalty with their customers," states fashion industry analyst, Sarah Kim.

Conclusion

As we culminate this comprehensive exploration of men’s urban clothing, it becomes evident that this style transcends the boundaries of mere fashion. Urban wear is not just about the clothes we don; it's a powerful medium of personal expression and a reflection of a lifestyle deeply ingrained in modern culture. Throughout this blog post, we have navigated the rich and multifaceted landscape of men's urban style, uncovering the layers that compose its vibrant history, distinctive elements, and progressive future.

From its historical roots in the bustling streets of New York City, echoing the beats of hip-hop and the vibrancy of street art, to its current status as a global fashion phenomenon, men's urban clothing has consistently been a mirror reflecting societal changes and cultural trends. It's a style that tells a story, one of rebellion, innovation, and resilience. The defining elements of urban fashion - bold colors, innovative designs, and statement accessories - are more than fashion choices; they are symbols of individuality and creativity.

The digital revolution has significantly transformed how urban fashion is consumed and perceived. With the rise of online shopping, men's urban wear has become more accessible and diverse than ever before. Digital platforms have not only changed the shopping experience but also revolutionized marketing strategies, creating a new paradigm in the fashion industry. This evolution is a testament to the adaptability and forward-thinking nature of urban fashion.

Youth fashion, particularly in urban wear, continues to be a driving force behind emerging trends. Young men are not mere followers of fashion; they are pioneers, constantly pushing the boundaries and setting new standards. Their choices are a reflection of their identities, beliefs, and the world they inhabit. This dynamic nature of youth fashion ensures that men's urban clothing remains fresh, relevant, and exciting.

Looking ahead, the future of men's urban clothing is bright and promising. With the advent of sustainable practices, ethical fashion, and technological innovations, urban wear is set to evolve in ways that are not only stylistically groundbreaking but also socially and environmentally responsible. The integration of personal values with fashion choices marks a new era in the urban clothing narrative.

In conclusion, men's urban clothing is much more than a trend. It's a cultural phenomenon that encapsulates the essence of modern urban life. Its ability to adapt, reflect, and influence makes it a significant part of the fashion industry. As we move forward, it will continue to be a fascinating area of study and appreciation for anyone interested in the intersection of fashion, culture, and personal expression.

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art-that-fucks-you-up-tournament · 8 months

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SET NINE - ROUND ONE - MATCH FOUR

"Headdress – Shadae" (2019 - Dana Claxton) / "Untitled for the Image Flow's Queer Conscience exhibit" (2023 - Julianne Clark)

HEADDRESS – SHADAE: THE EVOLUTION OVER TIME!! THE WAY OUR CULTURE SHIFTS!! THE ROOTS OF OUR PEOPLE!! this piece gives me those capitalized Emotions because of the way the my stack. the headdresses and the baseball caps and the way it sort of calls “we are the same and we are still here” idk but it’s enough to make me a little bit deranged. (anonymous)

It's the literal weight of tradition resting on your shoulders combined with the many identities you hold. The person in the photo is wearing things that belong to herself, her husband, and her culture, and I just love the way it all comes together. (mod m)

UNTITLED FOR THE IMAGE FLOW'S QUEER CONSCIENCE EXHIBIT: The queer conscience exhibit asks of the artists: "What could you do with a clear conscience? Who could you be? How could you live, free of judgment, shame, expectation, or fear?"

This photo is all about childhood. It says, "If I had a clear conscience, I would go back and be a little girl who played basketball with the boys and played in the dirt under the trees. I would have been different, gender non conforming, and I wouldn't have felt guilty, or shameful, or bad, I would have just been a carefree little kid."

Also, the picture itself is just achingly beautiful. (@tofuapathy)

("Headdress – Shadae" is one of a series of photographs done by Hunkpapa Lakota artist Dana Claxton of First Nations womens' collections. This piece specifically is described as "Shadae mixes it up with hip-hop baseball caps, a Coast Salish woven cedar hat, and her husband’s pow wow/peyote fans".

"Untitled" was taken by Julianne Clark for the Image Flow's Queer Conscience 2023 Photography Exhibition for the question "What could you do with a clear conscience? Who could you be? How could you live, free of judgment, shame, expectation, or fear?")

#art that fucks you up tournament #polls #atfyu polls #id in alt text

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hiphopncountrychick · 8 months

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🎤🌟 Once Upon a Beat: The Birth and Tale of Hip Hop! 🎶📜

Gather 'round, music lovers and history enthusiasts! Let me take you back to the gritty streets of the Bronx, where a musical revolution was about to be born. 🏙️🎧

In a world colored by disco balls and rock anthems, a new rhythm began to stir. It was the late 1970s, and amidst the concrete and chaos, something magical was brewing. Picture a neighborhood pulsating with energy, where creativity and resilience ran through the veins of its people.

Enter the pioneers: DJs spinning vinyl records, searching for the grooviest beats; MCs, or "masters of ceremonies," stepping up to the mic with tales from the corners of their lives; B-boys and B-girls, turning empty lots into dance battlegrounds, showcasing moves that defied gravity. This was the birth of Hip Hop.

The turntables spun stories, the lyrics wove narratives, and the dance moves spoke a language of their own. It wasn't just music; it was a voice for the unheard, a spotlight for the marginalized, and a celebration of the struggles and triumphs that shaped a generation.

From those humble beginnings, Hip Hop exploded like fireworks on the 4th of July. It spread from block parties to boomboxes, from borough to borough, touching hearts and inspiring minds. The movement was unstoppable, giving birth to legends like Grandmaster Flash, Afrika Bambaataa, and Run-D.M.C., whose words and beats resonated far beyond the concrete jungle.

But Hip Hop didn't stop there. It evolved, adapted, and embraced new influences. It wasn't confined by geography or language; it was a universal language in itself. From the golden age of the '80s to the fusion of the '90s and the innovation of the 2000s, Hip Hop kept rewriting its own story.

Today, it's more than a genre; it's a cultural force that shapes fashion, art, and social change. It's a reminder that from adversity comes creativity, from struggle comes strength, and from beats comes unity.

So next time you nod your head to a catchy rap verse or find yourself moving to a groovy beat, remember the journey that brought us here. Hip Hop is a story of empowerment, expression, and evolution, and it's a story we're all part of. 🎵📖

#HipHopStorytelling #BeatsAndBeginnings #MusicalRevolution #FromTheBronxWithLove #inspiration #wholesome #hip hop #hiphop #rap #music #history

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moneeb0930 · 27 days

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THE GULLAH GEECHEE PEOPLE

The Gullah Geechee people are descendants of Africans who were enslaved on the rice, indigo and Sea Island cotton plantations of the lower Atlantic coast. Many came from the rice-growing region of West Africa. The nature of their enslavement on isolated island and coastal plantations created a unique culture with deep African retentions that are clearly visible in the Gullah Geechee people’s distinctive arts, crafts, foodways, music, and language.

Gullah Geechee is a unique, creole language spoken in the coastal areas of North Carolina, South Carolina, Georgia and Florida. The Gullah Geechee language began as a simplified form of communication among people who spoke many different languages including European slave traders, slave owners and diverse, African ethnic groups. The vocabulary and grammatical roots come from African and European languages. It is the only distinctly, African creole language in the United States and it has influenced traditional Southern vocabulary and speech patterns.

The ancestors of the Gullah Geechee people brought to this country a rich heritage of African cultural traditions in art, foodways and music. Today’s Gullah Geechee arts and crafts are the result of products designed by their ancestors out of necessity for daily living such as making cast nets for fishing, basket weaving for agriculture and textile arts for clothing and warmth.

Deeply rooted in music traditions brought to the Americas by enslaved Africans, their music evolved out of the conditions of slavery that characterized their lives. The influence and evolution of musical forms that arose out of Gullah music can be heard in many musical genres such as spirituals and gospel music, ragtime, rhythm and blues, soul, hip hop and jazz.

Religion and spirituality have a sustaining role in Gullah family and community life. Enslaved Africans were exposed to Christian religious practices in a number of ways and incorporated elements that were

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ghostonly · 5 months

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So I was grabbed hold of by my music hyperfixation today and it turned out, today's the day I learn more about the history of American music as made by African Americans. Since, you know, they did most of it.

I've known for a long time that American music has deep roots in Black experiences and culture, but it was always such a behemoth of genres and artists that I didn't know what exactly I liked or where to start.

So, today, I figured I'd do what I do best and start with all of it at once.

Okay, not exactly. I'm doing it in chronological order. But in order to accurately order the shitload of playlists and folders I was making on Spotify, I needed to know what order those genres were discovered in.

I am not in school for this, I'm not educated on this and, as a white person, I don't feel like I have the nuance, experience, or understanding to properly write a massive post about this topic, but I did want to share a few articles I've read today, because they were extremely well-written (as far as I can tell), informative, and moving.

Reasons to Read These

African Americans have been the driving force in just about every music genre that's come out of America. If you don't already know that, or want to know more, you should read these.

Do you find music and musical evolution fascinating? You should read these.

Are you queer? Disco is part of queer culture as well and the overlap between Black and queer culture in that time period leans heavily on disco, which is fascinating and part of your own history. You should read these.

If you care about racial tensions in the US, the article that talks about Earth, Wind, & Fire goes into the ways disco impacted racial tensions in the US in the late 70s. It's good knowledge to have under your belt. You should read these.

Bonus shout out to The Get Down on Netflix. I watched this a year or two ago and was obsessed with it for a few days until the fixation passed. This is part of the driving inspiration for me looking into the history of disco and hip-hop so extensively today, because the vibes in the show were just... enrapturing. And, looking at the Wikipedia page for it to double check how it was received by people who know more than me, it does seem to have good reception. I especially like that they involved historical pioneers in its creation (DJ Grandmaster Flash, who invented modern use of turntables for hip-hop, DJ Kool Herc, and Kurtis Blow, all in their 60s and part of the original hip-hop scene in the Bronx). So if you want to watch something that will get you hyped about disco and hip-hop, I can just about promise you that'll do it. Needless to say, I will be rewatching it very soon.

Long but detailed and very well written. Has many artist suggestions:

A shorter summary for someone who wants a quick read:

I hope some of you will click through and learn something with me today c:

#music #history #music history #jazz #disco #hip hop #rap #queer #queer history #black history #blm #black music #black music history #earth wind and fire #african american music #racism mention

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1997thebracket · 7 months

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Round 1E

Daria: You’re standing on my neck. Daria is an animated television series that aired from 1997 to 2002; a spin-off of the popular series Beavis and Butt-Head, Daria helped codify the image of the American disaffected youth. Daria Morgendorffer, a highly intelligent but deeply cynical and acerbic teenage girl, navigates the banality of high school and suburban family values alongside her best friend, her sister, and her classmates. Her deadpan humor made Daria an iconic character in 90s pop culture, resonating with audiences for her dry social commentary. The series takes a tongue-in-cheek look at societal conformity and the absurdities of the mundane, utilizing the music and styles of the era to great effect, making the show endlessly nostalgic but never cloying or forced. Daria represents the unimpressed but privately vulnerable tone of 90s youth in a way few other pieces of media can. Now, up next on Sick Sad World…

Missy Elliott’s Supa Dupa Fly: Beep beep, who got the keys to the Jeep? Supa Dupa Fly is the debut studio album by American rapper, singer, and producer Missy Elliott, released in 1997. The album is a landmark piece of hip-hop and R&B history, characterized by innovative production, unique sounds and samplings, and Missy's unmistakable rap style. Its futuristic and genre-blurring approach set it apart instantly; the album features a fusion of hip-hop, R&B, and electronic elements, while Missy's confident and distinctive lyricism shines throughout. Hits like The Rain (Supa Dupa Fly) and Sock It 2 Me showcased Missy's individuality and marked her as the voice for a generation of female rappers, to say nothing of her equally iconic music videos. Supa Dupa Fly is widely regarded as a seminal work in the evolution of hip-hop, breaking boundaries and earning critical acclaim for its fresh sound and bold approach to both music and visual storytelling.

#daria #mtv 1997 #missy elliott #supa dupa fly #1997

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sakshisuma · 3 months

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Harmonizing Souls: Exploring The Timeless Allure of Music 🎶

Introduction:

Music, a universal language that transcends boundaries and cultures, has been an integral part of human expression for centuries. From the rhythmic beats of ancient drums to the complex compositions of contemporary symphonies, music continues to captivate and connect people worldwide. In this blog, we delve into the multifaceted world of music, exploring its historical roots, emotional impact, and evolving forms.

1. The Evolution of Music:

Take a journey through time as we explore the evolution of music, from the earliest forms of vocalizations and primitive instruments to the sophisticated genres and styles that define today's musical landscape. The rich tapestry of musical history reveals how different cultures and societies have contributed to the diverse array of sounds we cherish today.

2. The Emotional Power of Music:

Why does music have such a profound impact on our emotions? Delve into the psychology of music, understanding how melodies, harmonies, and rhythms can evoke a wide spectrum of feelings. Whether it's the uplifting crescendo of a symphony or the melancholic notes of a blues guitar, music has the power to connect with our innermost emotions in ways that words often cannot.

3. Genre Diversity:

Explore the vast diversity of musical genres, from classical to jazz, rock to hip-hop, and beyond. Each genre brings its own unique flavor, reflecting the cultural, social, and historical contexts that shape its development. Dive into the distinctive characteristics of different genres, appreciating the creativity and innovation that fuel musical evolution.

4. The Influence of Technology:

Examine how advancements in technology have revolutionized the music industry. From the vinyl records of yesteryear to the digital streaming platforms of today, technology has not only changed how we consume music but has also shaped the very sounds and production techniques employed by artists. Explore the pros and cons of these technological shifts in the music landscape.

5. The Artist's Journey:

Step into the shoes of musicians, understanding the creative process, challenges, and inspirations that drive their work. Whether a classical composer, a rock guitarist, or a hip-hop lyricist, each artist contributes a unique voice to the ever-expanding symphony of human creativity. Discover the stories behind iconic compositions and the artists who have left an indelible mark on the world of music.

Conclusion:

As we conclude our exploration of the enchanting world of music, it's evident that this art form holds a timeless allure. From its ancient origins to the cutting-edge sounds of today, music remains a powerful force that transcends boundaries and unites people across the globe. Whether you're a casual listener or a dedicated musician, the beauty of music lies in its ability to inspire, comfort, and connect us in ways that resonate with the very essence of our humanity.

🎼🎶🎶🎶🎼🎶🎶🎶🎼🎶🎶🎶🎼🎶🎶🎶🎼

#harmonizing Souls #music #peace #kim namjoon #rm #Spotify

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intellectualstonerz · 19 days

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Why J. Cole (J. Cole Apology)

In the realm of hip hop, competition is an essential driving force, fueling artists to excel and innovate. J. Cole's recent apology to Kendrick Lamar for a diss track feels out of place in a genre where lyrical sparring is celebrated. Competition, from legendary battles to modern spats, has always propelled hip hop's evolution. Kendrick Lamar himself has embraced competition, famously declaring himself the "King of New York." Apologizing for engaging in this tradition sends a message contrary to hip hop's spirit, stifling creativity. Rather than discouraging confrontation, artists should embrace it as a catalyst for growth. While there's a line between healthy competition and hostility, J. Cole and Kendrick Lamar's exchange appeared as a friendly spar, ultimately elevating both artists and the culture. In conclusion, J. Cole's apology, while well-intentioned, overlooks the importance of competition in hip hop. It should be celebrated and embraced, driving artists to new heights of creativity and excellence, ensuring the genre remains vibrant and relevant.

#j cole #kendrick lamar #hip hop #rap #rapper #hip hop culture

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gsohb · 1 month

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Is Hip-Hop Entering Another Golden Era?

Dependent upon how old you are, Hip-Hop's "Golden Era" could've come at different times for you.

Perhaps your Golden Era occurred during the late 1970's - early 1980's, when Hip-Hop's culture was being birthed in the boogie down? Or, maybe your best memories of Hip-Hop didn't really start until the 1990's, 2000's?

Whichever it was, try to remember that feeling, because I sense we're entering another one of those. Considering the state of Hip-Hop as is (distilled, dead?), I'm honestly looking forward to seeing what gets birthed as we near the mid-point of the 2020's.

It's been said that female rap is dead. Well… If female rap is dead, is not all rap dead?

I'm not necessarily looking for constant beefs (although I admit, they do add a bit of fun to the mix). No, I'd like a musical and cultural evolution that can be created from everything we've been holding back, artistically, for the past decade.

___ With a looming beef over our heads (Kendrick, J.Cole, Drake), I admit that I'm honestly (figuratively) sitting in the stands, popcorn in lap, waiting to see:

Who hits next?

#rap #hip hop #god #nyc #reviews

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cinematicct · 9 months

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Encino Man (1992)

This comedy film stars Brendan Fraser in his breakout role as a prehistoric caveman who finds himself in the 20th century after two high school nerds/best friends discover him frozen in a block of ice.

Other cast members include: Sean Astin as Dave Morgan, Pauly Shore as Stanley “Stoney” Brown, Megan Ward as popular girl (and Dave’s crush) Robyn Sweeney and Mariette Hartley and Richard Masur as Dave’s parents. Ke Huy Quan (future Oscar winner of Everything Everywhere All At Once) plays a small role as a computer geek.

Brendan Fraser, Sean Astin and Pauly Shore are a tight onscreen trio. Brendan Fraser may not have much dialogue (since he plays a Neanderthal-type role), but his physicality and insanely goofy tactics are exactly how he conveys an animalistic sense of curiosity and astonishment. Sean Astin (post-Goonies/pre-Lord of the Rings) not only has the attributes of a socially awkward dork, but he emphasizes his character’s desperation so strongly, you hope he eventually fits in with the crowd. Pauly Shore (who delivers spaced-out dialogue with a surfer accent) is totally far-out as a super chill BFF.

The dynamic between the three guys is basically the central theme of the story. Dave and Stoney each see an opportunity to finish high school with a bang with this particular caveman. However, Dave wants to be popular among his peers, whereas Stoney wants to introduce the radical outlook on societal change to their strange new friend. The caveman (given the name “Link”) in turn helps Dave and Stoney rediscover their own coolness.

The setting takes place in Encino, California during the grunge era of the early’90s. Simultaneously, the film contrasts the Stone Age with that particular time period. In other words, this movie literally depicts the evolution of mankind in comical fashion. Unlike the time back when cave dwellers played with primitive tools made from stone, the ‘90s were a time when teens would gather at public hangouts (hence Dave attempts to dig a swimming pool in his backyard), dress in loose yet stylish clothing and listen to varieties of music (specifically either from a Walkman or at concerts).

Speaking of tunes, the soundtrack contains a list of rock, hip hop, metal, electronic and pop hits from the 1990s along with some original songs. The track list includes: “Let’s Get Rocked” by Def Leppard, “I’m Too Sexy” by Right Said Fred, “Feed the Monkey” by Infectious Grooves (who appear as themselves in the prom scene) and “You’re Invited (But Your Friend Can’t Come)” to name a few. Cover versions of “Wild Thing”, “Stone Cold Crazy” and “Wooly Bully” are also heard.

Now, for people who might’ve had low opinions of this particular movie in the past, to me, Encino Man has achieved a significant cultural impact in its own right since it represents what it’s like to have fun and be your own person. All that said, I honestly recommend this wildly entertaining cult film to every dedicated fan of Brendan Fraser.

“PEACE OUT, BUUUD-DY!”

#Encino man 1992 #brenaissance #high school comedy #brendan fraser #linkavitch chomofsky #sean astin #Dave Morgan #pauly shore #Stoney brown #Encino California

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therecordconnection · 5 months

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Ranting and Raving: "Rapper's Delight" by The Sugarhill Gang

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Recently, I started reading The Come Up: An Oral History of the Rise of Hip-Hop, a really great book by Jonathan Abrams that came out back in October last year. It’s a thorough work, taking its time to really cover the genre, from all its major landmarks (New York, Los Angeles, Philadelphia, the Midwest, etc.) and most of its major players are interviewed and represented in it. I really recommend it if you’re someone who doesn’t know a lot of the deep lore surrounding hip-hop’s history (like me) and you’re looking to learn more.

2023 marked the year of hip-hop’s fiftieth anniversary and it’s done a lot of well-earned celebrating throughout. There were tons of retrospectives done, the Grammys held a live concert to honor the occasion, and many Spotify playlists were made to help a new generation of hip-hop lovers go back and become immersed in the full history. It’s a good thing that the fiftieth anniversary had so much dedicated to it and people could enjoy looking back, because this year has been very strange for the genre in terms of mainstream Billboard chart success.

From August 2022 to August 2023, no rap song topped the Hot 100 chart, which hasn’t happened for twenty-three years. Rappers were still very much successful and there were still albums that hit the top of the album charts (Lil Uzi Vert’s Pink Tape, Travis Scott’s Utopia, Drake’s For All the Dogs topped it twice) but there was no single song that topped the Hot 100. That dry spell finally ended when Doja Cat managed to break the slump with “Paint the Town Red,” which became a number one hit back in September. In a year where Morgan Wallen and Taylor Swift reigned supreme with no end in sight (especially if you’re Taylor Swift), it was almost a good thing that hip-hop was able to focus on looking back and enjoying how far it's come and celebrate all that the genre has achieved in such a short time.

Anyway, as I was reading the first chapters of The Come Up, which focus on hip-hop’s birth in the Bronx and how it grew out of New York and out of the block parties DJ Kool Herc was throwing in 1973, I was captivated. As I kept going though, there was one thing I kept wondering about.

When do the Sugarhill Gang enter into the story?

When I was young, I had always been under the impression that the Sugarhill Gang were among the first rap pioneers, more or less believing they were the first MCs to spit into the mic and bring hip-hop into the world. They... kinda did, but also not really. They were responsible for playing a major part in the genre becoming the cultural juggernaut we recognize it as today, but as for pioneers? Your mileage will vary on that and I hope that’ll become clear soon as we start discussing them.

Now, I want it to be known that being a white guy from Bumfuck Nowhere, Pennsylvania, my hip-hop history knowledge has always had giant gaps in it that I’ve only been starting to fill up in recent years. I imagine for many others like myself, they’re only just now really learning the history of hip-hop’s birth in the Bronx and what the first MCs unleashed. If you’re not much of a reader, Netflix’s Hip-Hop Evolution is a really great series that covers a ton of that early history. Charlie Ahern’s 1982 film Wild Style also serves as a historical time capsule of that history as it was being written. The Sugarhill Gang get discussed in Hip-Hop Evolution’s second episode, but they’re nowhere to be found in Wild Style.

So, as I was learning about hip-hop and rap’s origins in New York, eventually the Sugarhill Gang did make an appearance. What I ended up learning gave me an entirely new fascination with a song that up until recently I had just found enjoyable and didn’t think too much of. “Rapper’s Delight” is such a fascinating song. Let me count the ways. Why don’t we start with who the Sugarhill Gang are?

The story of the Sugarhill Gang begins with a woman named Sylvia Robinson, often dubbed the “Mother of Hip-Hop.” A shrewd businesswoman, she was the head of All Platinum Records, a label that started in and ran through the seventies (Sugarhill Records, where “Rapper’s Delight” was released, was a subsidiary of All Platinum and formed in order to focus on the emerging rap scene). Robinson was also a musician herself, being one half of the guitar duo Mickey and Sylvia, scoring a hit in 1956 with “Love is Strange” (a song you definitely know if you’ve seen Dirty Dancing). Sylvia herself also had a hit in 1973 with the song “Pillow Talk.” Robinson has lived a life that goes beyond the scope of our subject today, so we’ll stick with knowing her as a businesswoman. If you want to learn more about Robinson’s story, this Billboard piece on her from 2019 is a good place to start.

In 1979, All Platinum was facing bankruptcy and was in desperate need of a smash hit in order to save it. Robinson had agreed to attend a party at Harlem World, a popular disco club in the late seventies and early eighties at 116th & Lenox Ave, in Harlem. Abrams tells the story of how Robinson first discovered the music that could save her label in The Come Up:

“Robinson witnessed Lovebug Starski work the turntables and the crowd into a frenzy with his call-and-responses. Robinson wanted to capture the music and release it commercially. When Lovebug Starski declined the arrangement, Robinson went on a hunt for other artists.”

Robinson’s search for talent, led by her son Joey Robinson, Jr., took them to a pizza parlor in New Jersey. It still exists today. It’s Crispy Crust Pizza in Englewood, NJ (the surviving members of the Gang are interviewed there in Netflix’s Hip-Hop Evolution). The story goes like this:

The Sugarhill Gang are made up of three guys: Michael Wright (“Wonder Mike”), Henry Jackson (*Big Bank Hank”), and Guy O’ Brien (“Master Gee”). Robinson only came to hear Big Bank spit, but Wonder Mike and Master Gee also auditioned for her. Unable to make a decision on which one to go with, she ultimately decided to say “fuck it!” and made them a trio.

It’s the best decision she could’ve made.

They auditioned on a Friday night and by Monday they were in the studio cutting the track. The three guys just kept passing the mic to one another and eventually the full song wound up being fifteen minutes long.

We’ll get into the rhymes a bit later, but now that we’re familiar with the gang, we should cover what “Rapper’s Delight” ended up being the first of. Hip-hop may have already existed in the Bronx and New York scene for about six years before the gang came along and scored a bonafide hit, but the song does have legitimate cred. It’s the first rap song that made it onto the Billboard Hot 100 and the first rap song to break into the Top 40. It paved the way for Grandmaster Flash and the Furious Five to get onto Billboard with 1982’s “The Message” (peaked at #62) and led to eventual chart dominators like Run-DMC and the Beastie Boys, which would start sprouting up a few years after the Gang made their mark. The Sugarhill Gang are also some of the first rappers to film an official music video (which is linked above at the top) and be seen performing on pre-MTV television (there are so many videos out there of them performing this on TV shows. It’s nuts).

Listening to it, it’s not hard to understand why this song still gets written into the history books. First, this shit holds the fuck up. Second, it’s probably the easiest example to use if the aliens ever visit and Captain Cleevmorp asks, “W h a t i s t h i s t h i n g y o u c a l l . . . ‘r a p m u s i c’?” It’s ripping off a disco song that was barely three months old at the time (“Good Times” was released June 4th, 1979, “Rapper’s Delight” appeared September 16th, 1979) but at its core, it’s a rap song and nobody could mistake it for anything else. Did I mention this is ripping off a disco song that was barely three months old at the time? I feel like that’s an important part of the story.

Do you like “Good Times” by Chic? If you do, then hoo boy, do I have the song for you! I don’t think I’m blowing any minds here when I say that musically, “Rapper’s Delight” is quite literally just three guys rapping over an instrumental version of “Good Times” by Chic. I feel the need to stress that it is NOT a sample of “Good Times,” though you would be forgiven for thinking it is. “Rapper’s Delight” came out during a time when the technology for rap sampling and looping didn’t exist yet, so the production team behind “Rapper’s Delight” had to bring in session guys to recreate the song from scratch. They did such a good job recreating it, Nile Rodgers (guitarist) and Bernard Edwards (bassist) from Chic threatened to sue them. They eventually settled out of court, getting co-writing credits on the song and, according to the Library of Congress, “a substantial undisclosed amount of money made off of album sales and performances.”

Chic won, but Curtis Brown, better known as New York rapper Grandmaster Caz, didn’t. Now might be a good time to start talking about the lyrics to the song.

For brevity’s sake, we will not be going over all fifteen minutes of this thing (I’ve never made it through the entire song. It just goes on-and-and-on-and-on-on-and-on). Rather, we’re going to focus on most single/video versions of the song and just cover the most important parts.

Wonder Mike is the first one up. Equipped with a friendly voice and a smooth delivery, he spits some of the most important opening lines in rap history.

I said a hip hop, the hippie, the hippie The hip hip hop and you don't stop the rockin' To the bang-bang, boogie, say up jump the boogie To the rhythm of the boogie, the beat

According to Mike in Hip Hop Evolution, these are the lines he used when auditioning with Sylvia Robinson. Those four lines alone tell you everything you need to know about rap flow and delivery. It’s obviously very primitive compared to what MCs are doing now (and even what MCs were doing when this song got big) but to an unsuspecting audience outside of New York that had no idea what the hell rap was at all, those lines are an immediate attention grabber. I’ve always adored the line that comes after those initial four: “Now, what you hear is not a test I'm rappin' to the beat.” It’s a great way to present something strange and new to an audience without alienating them or scaring them away. People in 1979 had long known about disco and would’ve recognized the music immediately, but the rapping part was a new ballgame and Mike’s delivery in the opening verse lays down the framework for the rest of the song. At its core, “Rapper’s Delight” is a laid back and fun party anthem and he immediately sets that tone with his opening verse. He’s a good straight man compared to the goofy braggadocio that starts immediately once he passes it to Big Bank Hank.

If “Rapper’s Delight” is beloved, it’s because Big Bank comes in and just kills it from the moment he steps up to the mic. The man just sells it and then some. He’s got great flow, a fun loving attitude, tons of style, and a goofy but confident swagger completely on lock. Depending on the version you’re listening to, he’s going for almost two minutes straight with barely any breaks. For one of the first rap songs ever put to vinyl, it’s an impressive feat. He’s got a lot of really great rhymes too.

It’s just a shame he didn’t write a lot of them...

Remember when I said Chic won their lawsuit threat but Grandmaster Caz didn’t end up being so lucky? That’s because a good chunk of the rhymes Big Bank is using are actually Caz’s and it wasn’t a secret to the New York rappers hearing it at the time.

One dead giveaway is in this line: “The women fight for my delight / But I'm the grandmaster with the three MCs.” Three MCs, huh? But there’s only three of you. There would have to be four of you in order for that line to work. It worked when Caz said that as part of the group Cold Crush Brothers, because there were four of them. Another Caz line is near the beginning of Big Bank’s first verse: “Check it out, I'm the C-A-S-A-N, the O-V-A / And the rest is F-L-Y.” “Casanova” was a nickname of Caz’s. Caz reveals more stolen rhymes and where Big Bank got them from when interviewed for The Come Up:

“Sometimes I’ve been misquoted, and then sometimes I’ve made the mistake of saying I wrote all of Big Bank Hank’s lines for ‘Rapper’s Delight.’ What I meant is his verses. I meant his rhymes. But the little bridges, the hook, that’s DJ Hollywood. That, ‘Imp the Dimp, the ladies’ pimp. The women fight for my . . ., that’s Rahiem from Grandmaster Flash and the Furious Five. Those two things, I didn’t write, but the full rhymes he says, ‘I’m the C-A-S-AN, the O-V-A from the time I was only six years old’ and then the Superman and Lois Lane, I wrote all of that.”

Whether Big Bank got to see a book of Caz’s rhymes and learn them from reading that is up for debate. Caz claims in both The Come Up and Hip-Hop Evolution that Hank didn’t have to study. He knew them all just from knowing Caz and being around him. If you want to hear Caz get bitter about it (which he has every right to be) he addressed this issue of plagiarism in 2000 with the song “MC Delight” (“the cat who bit this rhyme was my manager, pure treason I'll tell you why...”).

It does take the wind out of the sails a bit when you learn Big Bank cribbed from other rappers for “Rapper’s Delight,” because he’s a very fun and energetic performer with a great voice and great flow, but once you learn the rhymes were stolen from guys who would never get any of the glory of “the first rap hit,” you start to feel bad and look at Big Bank as nothing more than a thief. It blows. New York DJ Grandmixer DXT voices the backlash and problematic nature of getting caught ripping somebody else off in Hip-Hop Evolution:

"Hank was saying a rhyme that we was hearing at the parties already, and he's saying somebody else's rhyme. And for us, that's a catastrophic no-no. There were people who would get beat up for saying somebody's rhyme. And here's a record where this guy bites and actually records it. Like, that was just the worst thing ever."

It goes without saying that the biggest problem with Hank ripping off rap’s founding fathers in the Bronx is that the Sugarhill Gang gets credit for being the first rap stars when one of them is pretty shamelessly ripping off lines from every rapper he heard in New York. There’s no evidence that everything in Hank’s verses are ripped off from somewhere, but there’s evidence of plagiarism all the same. Luckily, Master Gee and Wonder Mike’s parts are both authentic as well as fully written by them. Which is good because once Gee takes over from Big Bank, he takes a little time to get going, but eventually starts feeling himself and really starts delivering some Grade-A stuff. Most of his lines are either about bragging about his status as a ladies man, observations about the listener dancing to the music, and how he’s the youngest member of the three, but can still keep up with the best of them. I do like that his first brag is how he goes by the “unforgettable name” of Master Gee. Personally, I actually think all three of their names are pretty dumb and lame as far as rap names go, but they’re among some of the first rappers so it’s not like they had any way to avoid that.

Master Gee’s most impressive moment is this verse right here, written out in full:

I got a little face and a pair of brown eyes All I'm here to do, ladies, is hypnotize Singin' on-and-and-on-and-on-on-and-on The beat don't stop until the break of dawn Singin' on-and-and-on-and-on-on-and-on Like a hot buttered pop-da-pop-da-pop, dibbie dibbie Pop-da-pop-pop, you don't dare stop Come alive, y'all, gimme whatcha got

It’s stuff that’s downright corny by today’s standards, but Gee’s ability to spit all that without getting tongue-tied is more than I can say for myself. He’s got really great control; all three of them do. Mike, Big Bank, and Gee each deliver their parts like a never-ending party and when you listen to the full version of the song (that fifteen minute monster!) it has the feel of a party where you and your friends are just shooting the shit and passing around a blunt or something to each other. The three of them all seem like friends that are collectively goofballs just having a good time, which is one reason why I think the song has enjoyed the long life it’s had.

I also think the reason this song has lived so long is because white people LOVE this song. Of course they do! It’s a pretty sanitized version of the kind of music that was being made in New York at the time. There’s no message to it, no commentary about social issues, or even using old records in a creative way like the DJs of the day had been doing. Everything about this song was specifically engineered to be commercially viable, right down to completely ripping off a song that had already been a hit less than four months beforehand.

A mainstream audience (read: white) was absolutely slammed with pretty much nothing but disco for most of 1977, all of 1978, and most of 1979 before a bunch of people finally snapped and held a massive bonfire in Chicago about it. “Good Times” was something they already knew and something disco lovers still enjoyed, so you could ease them into this strange new thing called “rappin’ to the beat” and they would understand it without being confused. To most, it was probably just a different style of disco song at the time. It wouldn’t be until the mid-eighties when people would start to begin to understand a better definition for what rap is.

Obviously, the song has a wide appeal and white people really enjoying it isn’t the only reason, but that definitely plays a major factor. You’re looking at the song that inadvertently launched a thousand novelty rap songs in the eighties, all featuring white guys who should’ve never been allowed to be anywhere near a rap song. Rodney Dangerfield with “Rappin’ Rodney,” the Beach Boys with the Fat Boys on “Wipeout,” Joe Piscopo doing “Honeymooners Rap” with Eddie Murphy, and, lest we forget "The Super Bowl Shuffle" by The Chicago Bears Shufflin' Crew. What I’m trying to get at is this: The Sugarhill Gang made it so that if they, three dorks from New Jersey working in a pizza parlor, can rap, you probably can figure it out too. Adding to the “White People Have Propped This Song Up as a Monument” theory is how many things have referenced this song over the years. Here’s a Homer Simpson toy that raps the song and dances to it. The grandmother from The Wedding Singer famously does it (also adding to the “elderly women rapping” trope). Jimmy Fallon once had somebody cut and splice NBC anchors Brian Williams and Lester Holt rapping the song. Kid Rock’s breakout 1999 hit “Bawitdaba” references the song in its chorus (“Bawitdaba, da bang, da dang diggy diggy / Diggy, said the boogie, said up jump the boogie”). And there’s of course the famous 2002 Las Ketchup song “Asereje,” though you probably know it better as “The Ketchup Song,” which is about someone who goes to the club and asks the DJ to play "Rapper's Delight" and sings along in gibberish because he doesn't know the English lyrics. The point is that this song has been propped up by a lot of people who should NOT be considered rappers (yes, that includes Kid Rock).

I think the first time I ever started to have suspicions that the song wasn’t universally adored was when I watched In Living Color for the first time. There’s a sketch in the first season where Keenan Ivory Wayans plays Jesse Jackson and goes for the joke that everyone used to make about him: That he speaks in rhymes, almost like he’s a real life version of Gruntilda the witch from Banjo-Kazooie. Anyway, there’s a sketch where Jackson is giving his final State of the Union address (in the world of this sketch, he beat George H. W. Bush in ‘92 and has been president for eight years) and gives his address in the most basic AA BB CC rhyme scheme that wouldn’t look out of place in a children’s book. After a few of them, Wayans-as-Jackson breaks and quickly says: “Hip hop, you don't stop the rockin' / To the bang-bang, boogie, the beat,” which I took to be an insult that the rhymes in that song were just as basic as anything Jackson had ever said. The idea that “Rapper’s Delight” was wack was something I think I had already known in the back of my head but didn’t want to say because I thought that would just make me sound like a guy who hates fun. But, upon reading and hearing testimonies from the founding fathers of rap in New York, I realized that the big sin of “Rapper’s Delight” wasn’t that it was wack...

Its biggest sin was that it was made by a bunch of posers.

Sylvia Robinson didn’t know anything about the hip-hop and rap scene developing in New York, but she knew it was something that could be monetized if it was done and presented in the right way. Wonder Mike and Master Gee weren’t real rappers with any credibility, they were just guys working in a pizza parlor in New Jersey who were given the opportunity of a lifetime. Big Bank was the only one who could lay claim to having connections in the Bronx. He grew up there, worked the doors at famous Bronx nightclub The Sparkle, and also served as a manager for Grandmaster Caz (whom he would later rip off). “Rapper’s Delight” wasn’t made by starving artists who were pivotal to creating a new scene, it was made by a bunch of posers who had everything to gain from it. New York rappers interviewed in The Come Up knew this and were justifiably pissed about the song. The only testimony that was kind to them came from Kool Moe Dee, who understood the backlash as well as the song being embraced by white America.

“I understood why there was a lot of MCs at the time that didn’t like it, because I just think the social construct of oppression puts us against each other in many ways. In my opinion, many African Americans have a hard time giving other African Americans credit for achieving because so much of white America accepted that record and they started to define it from their perspective. And we’re saying we’ve already been here; it’s not new. So a backlash was on Sugar Hill that wasn’t deserved because they didn’t ask for it. ... So it was never not really hip-hop. We just had gotten more lyrically sophisticated at that time and the record was a great record. And looking back, if it wasn’t for Sugar Hill, we might not have an industry as prominent as we have because of the success of ‘Rapper’s Delight.’”

Kool Moe is right. It wasn’t their fault that “Rapper’s Delight” took off the way it did. Robinson was cashing in on what she saw as “the new thing” and wanted in. The song taking off the way it did happened the way a lot of hits happen: it was the right song with the right artists at the right place at the right time. “Rapper’s Delight” has stuck around the way it has because it captures a beautiful moment where music history is at a crossroads. The golden age of disco is going to be gone when the ball drops on January 1st, 1980, but rap music is only just getting started and by the end of the eighties it will begin its big mainstream explosion and keep going from there.

“Rapper’s Delight” captures rap in its beautiful infancy. What it lacks in authenticity, it makes up for by being representative of what was going on at the time. It’s a time capsule. No matter which version of this song you choose, it sounds like a never ending party that everyone is invited to and a party where everyone is your friend. It’s fun, it’s infectious, and the three hosts are entertaining as hell as they pass the mic back and forth and keep the party going. Mike, Hank, and Gee created a fun rap song for beginners: it’s a very easy song to understand sonically and it’s an easy song to learn how to rap along to. The rhymes aren’t super complicated and the most you’d have to learn and work out is how to get the flow right and how to not trip over the words. If you can master Wonder Mike’s opening lines (if a Homer Simpson toy can do it, so can you!) the rest comes easy. Learning Big Bank and Master Gee’s parts aren’t complicated either and it becomes fun to recite along with them once you start getting it down. The beat of “Good Times” is very easy to keep up with and follow so that helps it as an excellent beginner song. Despite the criticisms against it, “Rapper’s Delight” still stands as a fantastic party song and it’s not hard to see why people still enjoy getting down to it even now. If you play it at the right party, you’ll hear a whole room recite the lyrics and just have fun with it. Hip-hop and Rap started life as block parties DJ Kool Herc was throwing in ‘73 and the Sugarhill Gang continued that tradition by capturing that party on vinyl. The rap world has changed in many ways since the Gang started rappin’ to the beat, but it keeps its status as a legendary rap song because it’s the party rap song that all party rap songs aspire to. Forget authenticity and leave your notions about “what rap really is about” at the door and just let loose. With the Sugarhill Gang, the party goes on-and-and-on-and-on-and-on

And the beat don't stop until the break of dawn.

#original post #ranting and raving #sugarhill gang #music criticism #Youtube

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