It’s been a minute since I bought a regular rap magazine, but I’m still buying hip-hop related books like a fiend. Scarface’s recent autobiography was an ultra-downbeat read, but a worthy one (I was pleased to see that have hated the cover art to Geto Boys’ Da Good da Bad & da Ugly as much as I did) that’s a fine accompaniment to Prodigy’s book (still the ultimate hip-hop bio) and the Q-Tip, Lil’ Kim and Benzino memoirs seem to have vanished from the release schedules after a on-off wait of almost Rawkus Kool G or Heltah Skeltah-like levels. The one that I’m ultra hyped for is the Nas autobiography, It Ain’t Hard to Tell: A Memoir, which, according to Amazon and the publisher, Simon and Schuster, drops later this year, on November 10th — four years after its announcement caused some brief blog fuss. Rap books get delayed even harder than the damn albums, but if Nasir Jones opts to make like P and pull no punches, it’s going to be a classic. In the interim, I’ll probably pick up the Luther Campbell, Buck 65 and Kevin Powell books in coming months, but there’s one extra volume with some serious potential — Rap Tees: A Collection of Hip Hop T-Shirts 1980-2000 by collector and connoisseur DJ Ross One, which drops on Powerhouse in October. Promising hundreds of promo, bootleg and concert shirts representing Sugarhill, EPMD, the Wu, BDP, 2Pac and everyone else, the Screen Stars style cover art has me sold on it already. This kind of archive is my idea of heaven — if somebody gathers the rap promo sticker collection of an OG like Jules Gayton and publishes it, I’ll be in heaven. On the Scarface front, the impending existence of a 33 1/3 book completely dedicated to The Geto Boys, thanks to travel writer and New Yorker contributor Rolf Potts, is something to celebrate too.
Tag Archives: lil kim
MORE READING MATTER
I generally don’t take product for paragraphs on this blog, but if anyone wants to send me books or magazines that are good it’ll save me some cash and I might up them here. I spend way too much money on reading matter and there’s some prospective greatness in the pipeline — Enjoy the Experience about private press vinyl covers drops on Record Store Day via Sinecure and it’s clearly necessary, with a limited edition version available on the publisher’s site. Earnest strangeness in its most irony-free form is the best kind of strange. Nina and Cieron’s What We Wore project is gathering true British style and error since the 1950s, with a book dropping next year that will be the antidote to simplified notions of sub-cultural style.
Everyone I ever see in iconic images of mods, rockers, teds, casuals and the rest seem to get it right — I want to see the sartorial misfires, tryhards and those who couldn’t afford the right stuff but had a go anyway. That’s what helped shift Spliffy garms — when you’re surrounded by style struggle, bad becomes good. Good books on sports footwear that aren’t Japanese language are thin on the ground — after the reprint of Bobbito’s Where’d You Get Those? at the end of the year, Slam Kicks: Basketball Sneakers That Changed the Game drops in February 2014, written by Slam’s Ben Osbourne and Scoop Jackson. I’ve wanted a sequel to Sole Provider for a while, so this could fill that bookshelf gap. In the meantime, go and pick up the Gonz issue of Huck, because pretty much everything in it is good.
I have no idea what the story behind these Cole Haan wingtips with Air Max 2013 technology is, but pebbled leather and speckles kind of works. Is this some response to the Prada Levitate’s AM97-esque look (Edit: Shouts to Todd Krevanchi for pointing out the resemblance between these and the Air Max Sentry which had the ’97-style unit on a sensible shoe design)? I assume they’re some internal experiment that’s destined to never release after the Cole Haan/Nike separation, but they’re avant-garde in their jarring trad-tech collision. These were spotted on Mr. Salehe Bembury’s blog with zero explanation as to how they came to be.
Speaking of big air (and I apologise for all the Air Max references in the last few blog entries — I was working on Air Max related Nike projects and became obsessed all over again), back when Lil’ Kim didn’t Vybz Kartel herself and wasn’t obliged to live up to the soft porn persona she created the following year, she made grape AM95s look incredible with Junior M.A.F.I.A.
Chaze from Grim Team doesn’t just produce extremely hard QB and Bronx hip-hop — he keeps to his French origins with some synth-led sounds. Grim Team isn’t afraid to get its hands dirty and Chaze’s This Was Your Town (featuring Casey Mecija) video is directed by Jay One and contrasts beauty with a heavily bombed Paris setting. Nobody does destruction like the French, down to the trucks — proof that there’s style in willful regression. Pretty ladies in camo coats who dig for vintage clothes and records is a winning addition to a promo too.
IT’S A COLD WORLD
Hip-hop style has evolved a lot, but in a world where you only have to make something basic in leather to be crowned king of the high-end crossover, it’s way dumber than the late 1990s Tunnel-era take on fashion was. Bright red leathers in XXL Tim Westwood sizes and canary yellow technical wear, with a Hype Williams fish eye effect and the Casio demo keys stays winning. Back when ‘Clef was pulling his weapon out on an editor rather than posing on a bike in his pants, people weren’t even looking for any pseudo-intellect in rap or hunting for messages in every line. I like where things are in 2013 (salutes to this guy for getting all crushed out heavenly, always entertaining me with his outlandish garms, infuriating people and giving his brand the name Luxury Excellence), but after that unofficial 1995 cutoff for purist-friendly major label work, rappers really got wild with the garms to create a goldrush of hip-hop clothing labels. Can I still buy a Mecca U.S.A. suit? Probably. Germany still fucks with some Johnny Blaze gear and I wouldn’t be surprised if there was a 4-floor Sir Benni Miles store owned under license out there. This seemed to be a starting point for rappers to make an effort again after years of brown hoods, boots and army surplus. On the hip-hop wear subject, with their impending Rain Heat & Snow clothing line, is the U.S. Postal Service going to retro Danny Boy’s cap from 1992? It’s cold right now and I’m thinking about rap-wear, so that seems like a sign to post a classic magazine fashion shoot. In late 1995, Vibe magazine gathered an eclectic group of rappers for their Cold Chillin’ fashion piece where Junior M.A.F.I.A. Das EFX, Q-Tip and bizarrely, Kool Keith, all modeled the latest cold weather creations. The photographer, Daniel Hastings, shot pretty much every key hip-hop album/single cover shot between 1994 and 1996 and that summer, his work was present on the cover of Only Built For Cuban Linx.
As a bonus (I should really have chucked all this up on Tumblr rather than on here), nothing screams 1995-1998 quite like the Nike Air Max 95. Ghostface (Killer rather than Killah here) basically dressed like people do now 18 years ago in The Source and three years later Big Pun rocked that shoe and coordinated some food packaging with it rather than his actual outfit. Lil’ Kim wore it for press shots for Conspiracy too. Flamboyant but still a defiantly street shoe, it crops up time and time and again during the era described above.
In the midst of this late 1990s nostalgia, Cieron of ISYS has put together his own little video ode to a time dominated by Puffy and StarTAC phones for the launch of the third issue of LAW next month. It’s a good match. ISYS is keen on celebrating the unsung style that surrounds us, while LAW has a similar agenda in archiving something similar and capturing the kind of thing that’s near-impossible to explain to your American friends. yet so close to home that we barely document it.
Has it really been 20 years since Koon, Powell, Wind, Briseño and Solano were acquitted, LA burned, Perry Farrell masturbated multiple times and then everybody declared war on rap and announced that everything with an f-word was “gangsta”? It led to ‘Get the Fist’ — not a pro-fisting anthem, but a charity record that’s better than Live Aid II and III’s reminder that 1989 and 2004 were dark musical times, but not as good as Springsteen and Run-DMC condemning Sun City. I remember footage of Positive K, Biz and MC Serch’s albums being sent beneath the steamroller during the storm over that crappy ‘Cop Killer’ song too.
Still, it was nice to feel like you weren’t meant to be listening to the music — authorities, parents and even the artists goading me and calling me a cracker made the experience fun. Now it wants to be your friend — it retweets you and collaborates with Katy Perry, then saunters off and reworks an Aston Martin. Hip-hop practically strokes your balls and asks how your day at work was. Things done changed. I still can’t resist the lure of the rap autobiography – DMX, Ice-T, 50 Cent, Jay-Z (a decent read beyond the lyrical deconstructions), Common and J-Zone’s efforts were decent in their own ways, but Prodigy set the standard with ‘My Infamous Life’ by talking smack as if he was never going to be released and not letting too much truth get in the way of a good yarn. That seems to have instigated some impending tomes — Lil’ Kim’s ‘The Price of Loyalty’ drops in June, ‘Bizzy By Choice, Bone By Blood’ by Bizzy Bone, ‘The Dynasty: Sex, Drugs, Murder and Hip Hop’ by Ray Benzino arrive in July, Boots Riley has one set for December and Q-Tip’s ‘Industry Rules: the World According to Q-Tip, From Linden Blvd. to El Sugundo and Beyond’ is a long way off (25th March 2014 according to Amazon). Somewhere among all those releases, RA the Rugged Man’s book might appear too.
Given his notorious inability to hold his tongue, Benzino’s book appeals to me – I want more information on the whole ‘The Source’ deal, the early Boston rap days, label issues as a result of the aforementioned ‘Cop Killer’ fallout, the CGI magic carpets and that strange documentary that was on WSHH recently, which featured an inexplicable Jay Electronica appearance banging on about Satan and the illuminati, years before he took to blasting the shit out of pheasants with Zac Goldsmith of an evening. I imagine it will probably indicate that Made Men made classic albums too, but I’m willing to overlook all that. Every rapper used to have a book, film and beverage in the offing, but many failed to materialise. I never believed ‘Zino’s book would appear, but now there’s even a cover shot as proof of life. On a biographical note, HarperCollins are reported to have obtained UK rights to Mike Tyson’s memoir and it’s apparently set for an October 2013 release — very good news indeed. Getting overeager about these things can prove humiliating though – a lot of us have been waiting for ‘Bowie: Object’ (which sounds like an even fancier version of ‘My Rugged 211’ or that Hiroshi Fujiwara ‘Personal Effects’ book, but this time, it’s a tome showcasing some of Bowie’s favourite archive artefacts), but Bowie Myths showcased a “leak” that looked questionable. It was evidently written by somebody that understands Bowie, yet predictably, it turned out to be fake and even the man himself took to Facebook (“Blinkin’ garden gnomes! Really”) to dismiss it. Between that and a hastily doctored pair of Jordan Is with the Nike SB logo on the tongue (as I understand it, that Jordan I SB for the Bones Brigade film isn’t happening), fast news travel and a hunger for information are optimum conditions for pranks.
Every meeting I’ve gone to lately seems to have talk of “a print project” thrown around in the same way they were banging on about an “online magazine” a year or so ago. Unless you’ve got an oligarch backer the high gloss approach will crash and burn and just trying to be ‘Monocle’s fashion section distilled down like weak Ribena – a sickly pink when it should be a purple, isn’t enough. I can’t say I’ve been awed by a magazine lately (though there’s been some strong content) on visuals alone in the same way that ‘Relax’ used to blow my mind frequently. Sure, it got to a point where on grabbing it from Magma, it was all plants, pastels and Mike Mills again and again (the visual angle was important, because I couldn’t understand a bloody word of that Japanese text) and then it was cancelled in 2006, but before that, it was a perfect, progressive example of magazine design — inserts, posters, stickers and those covers…inspirational in a way that ‘The Face’ once was and very little has been since…at least nothing that would leave you with change from a tenner. The adidas and Dogtown issues were tremendous and there’s still room in my life for something just as powerful. The Being Hunted crew always seemed to worship this magazine too (I’m looking forward to seeing Being Hunted 7.0), because Jorg and co know their stuff. Salutes to the LMCA archive for maintaining the covers and the YouWorkForThem squad for keeping their magazine and book visuals stored, even after they stopped selling them. Why isn’t there a ‘Relax’ retrospective book? I still believe print can change lives, but `also I believe that it’s a format that only a select few can truly succeed in.
Page images taken from YouWorkForThem
If it’s quirky, it’s cult now. I’ve been trying to work out when cult ceased to be an appealing tag – perhaps it was the post Quentin slew of chatty, smart-Alec mob flicks that jarred each and every time. Maybe it was Rob Zombie and co’s attempts to reproduce a moment in time that was originally simply a victim of no means and a lack of professional crew. Either way, the best stuff from back in the day had an earnestness about it and a sense of strange that wasn’t synthesised. All the talk of ninjas last week had me thinking of David Carradine’s work and I still maintain that 1989’s ‘Sonny Boy’ is underrated. Alongside ‘Santa Sangre’ it offers something uncomfortable but intoxicating in a totally unrestrained approach to bloodletting and Carradine’s commitment to the film, from his cross-dressing performance to the work on the soundtrack is admirable. Cheap and memorable is a fair summary (like 1990’s unnerving ‘Luther the Geek’), but that doesn’t necessarily make it a film for all tastes — come to think of it, many will just find ‘Sonny Boy’ deeply offensive, but I guarantee you’ve not seen much like this one before. Brad Dourif has spent much of his career stumbling into curiosities like this and I’m assuming distribution issues mean it won’t ever get a proper DVD release again.