You may have noticed a predilection towards rap magazines here before, and finding a stack of 20-year old publications a few weeks back I thought I’d lost had me feeling a little nostalgic for the days when WH Smiths had at least a few homegrown publications of worth on the shelf. Mainly because, with my Medusa touch, I managed to make every single UK rap magazine I’ve ever written for fold within a few months of publishing my work. Hip-hop magazines are a hard sell when you can log on and get something more up to date or catch something long form on Unkut or Complex.com, but there’s room for something created with care that captures the current state of the industry. Those with a long memory will recall an underrated British ‘zine called The Downlow that ran for four or so years (1992-1996) with an over designed, occasionally unintelligible layout with a ton of electronic typefaces that recalled David Carson’s work on Ray Gun around the same time or Neville Brody and Jon Wozencroft’s FUSE. It favoured words over pictures. 1992’s BLAG (which is, admirably, still standing) and 1995’s shortly-lived True (which switched to Trace after True folded) united hip-hop culture with style well, bringing some spirit seen in America’s Vibe and The Fader. I’m interested to see BRICK, a new British hip-hop publication, in the flesh — especially after enjoying the second issue of another London-based project, Viper. Founded and creatively directed by photographer Hayley Louisa Brown, designed by POST — and edited by RWD’s Grant Brydon, the careful approach to the all important look — complete with custom typefaces — is both evocative of the more sincere locally created mags of old and hip-hop’s current aesthetic (despite, bar honourable exceptions, a dip in the quality of album cover art during the last decade). Neil Bedford’s shots of Supreme-hating, Cobain swag jacking stoner Wiz Khalifa for one of BRICK’s cover stories made the Daily Mail (we’ve come a long way since that Snoop “KICK THIS EVIL BASTARD OUT” Daily Star cover) and hopefully that attention will turn into sales. Shouts to the team for making it happen. Go check out this fine It’s Nice That feature on the making of issue #1 and visit the official site here.
On the subject of rap and typography, the Heated Words crew are studiously examining the history and legacy of the mysterious but influential b-boy font seen on Dynamic Rockers, RAMM:ΣLL:ZΣΣ, Mick Jones, Biz Markie, Malcolm McLaren and Joe Strummer that defined 1982-era hip-hop style. Supreme have used a replica of this classic heat pressed typeface several times and Alex Olsen’s Bianca Chandon recently homaged a Paradise Garage tee with it on from back in the day. It’s integral to UK street style too — imported by intrepid tourists who hit up the Albee Square Mall to get a custom creation and the Heated Words: Initial Research exhibition to set off the project opens on the 27th of this month for a couple of weeks at London’s House of Vans. Videos, photographs by Martha Cooper, Mike Laye, Michael Markos and several others, old ads and some of the clothing in question. If you like some of the nonsense I link to here, you’re liable to really enjoy this one.
While we’re talking old magazines and Neville Brody, this Gilded Words piece is great: Jamie Morgan talking about a contact sheet from a classic Buffalo shoot for with Felix Howard for the March 1985 issue of The Face and the moment when every person started calling themselves a stylist.