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The Fashion Outlaw Dapper Dan
JUNE 3, 2017 | The New York Times | By BARRY MICHAEL COOPER.

Twenty-five years after luxury labels sued his Harlem
boutique out of existence, Gucci looks to him for inspiration......Things have come full circle. Litigation by luxury brands ran Dapper Dan’s Boutique out of business in the ’90s, and now here comes a major fashion house trying to grab the attention of a generation steeped in hip-hop by finding inspiration in a onetime fashion outlaw...... last week after Gucci unveiled a jacket that looked very much like one he designed nearly three decades ago for the Olympic sprinter Diane Dixon.

The fur-lined piece with balloon sleeves created by Mr. Day in the 1980s made use of the Louis Vuitton logo without the brand’s permission. The new Gucci jacket, designed by Gucci’s creative director, Alessandro Michele, remakes the Dapper Dan jacket, but with the interlocking double-G Gucci logo in place of the Louis Vuitton markings......Gucci [now] acknowledges its debt to the designer......In addition to Gucci’s recent salutation, the Museum of Modern Art plans to include Mr. Day’s work in its fall show “Items.” In an email, MoMA’s senior curator of architecture and design, Paola Antonelli, called Mr. Day a “trailblazer” who “showed even the guardians of the original brands the power of creative appropriation, the new life that an authentically ‘illicit’ use could inject into a stale logo, as well as the commercial potential of a stodgy monogram’s walk on the hip-hop side.”.....“What Dap did was take what those major fashion labels were doing and made them better,” said the rapper Darold Ferguson, Jr., who goes by the stage name ASAP Ferg and whose father, Darold Sr., worked at the boutique in the ’80s. “He taught them how to use their designs in a much more effective way. Dap curated hip-hop culture.”

Steve Stoute, the chief executive of the marketing firm Translation, said: “I think what Dap did, he actually taught an entire generation how to engage with luxury brands. Luxury brands, at that point, were not for us. They didn’t even have sizing for black people. So every time I walk into Louis Vuitton to buy a pair of sneakers, or buy a pair of pants in my size, I know they’re only doing it because of Dapper Dan.”....experiences with poverty growing up [crummy shoes] gave him an understanding of how clothes reflect social status.... the need to dress to impress is part of a generational mind-set for many black men who grew up in Harlem......Clothes designing sounds fascinating, but it’s hard work. Folks don’t realize that there are limitations in the body form. We’re humans: We have arms, legs, chest. The exciting part of designing clothes is that you can be really creative within the context of those limitations.”.......Samira Nasr, the fashion director for Elle magazine, likened Mr. Day’s work to that of the innovative hip-hop D.J.s of the era, such as Jason Mizell, a client of Mr. Day’s. Mr. Mizell, who died in 2002, created beats for Run-DMC under the name Jam Master Jay. “Sampling was taking existing music and slicing it to recreate new sounds for original lyrics,” Ms. Nasr wrote in an email. “Dap was sampling in a way. He was taking existing fabrications and breathing new life and beauty into them.”
litigation  luxury  brands  clothing_labels  Gucci  Harlem  stylish  mens'_clothing  African-Americans  New_York_City  sampling  streetwise  '80s  '90s  inspiration  hip_hop  fashion  outlaws  design  retailers  knockoffs  copycats  creative_appropriation  underground_economy  crack_cocaine 
june 2017 by jerryking
Junie Morrison, a Funk Mastermind, Dies at 62 - The New York Times
By JON PARELESFEB. 19, 2017
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music  soul  funk  psychedelic  African-Americans  '70s  obituaries  old_school  hip_hop  rappers 
february 2017 by jerryking
The Legacy of A Tribe Called Quest - The New York Times
MARCH 24, 2016 | NYT | By TOURÉ.

arrived on the scene.

The legendary hip-hop group, A Tribe Called Quest , lost a core member this week when the rapper Phife Dawg (born Malik Taylor) passed away from complications of diabetes. He was 45. The remaining members include the group’s leader, rapper Q-Tip, their DJ/producer, Ali Shaheed Muhammad and Jarobi White, an occasional bandmate.

The rappers from Tribe were far from urban jungle warriors: They loved to read and wanted to smoke weed, not sell it. They wore their intellectualism lightly, but proudly, and they made hip-hop for people who were as interested in ideas as in rhymes. ...the Tribe was vital in helping to spread the Afrocentrism movement to a new, more mainstream generation of listeners.
Afrocentric  African-Americans  inspiration  '90s  music  obituaries  legacies  hip_hop 
march 2016 by jerryking
Dr. Dre and Jimmy Iovine’s School for Innovation - WSJ
By JOSH EELLS
Nov. 5, 2014

“There are a lot of other programs around the country that marry business and technology,” says Erica Muhl, the dean of USC’s Roski School of Art and Design and the Iovine and Young Academy’s first executive director. “But they’re all missing that arts and cultural component. The difference with us is we start with the arts part.” Says Iovine: “We want kids who can work at Beats or at Apple.”
hip_hop  Apple  moguls  innovation  music  art  entrepreneurship  streaming  Beats  education 
december 2014 by jerryking
Pioneer of hip-hop Henry Lee Jackson brought genre into pop charts - The Globe and Mail
JON CARAMANICA
The New York Times News Service
Published Friday, Nov. 14 2014
obituaries  hip_hop 
november 2014 by jerryking
Guns, gangs and Boston's miracle & Race is the elephant in the room
November 24, 2005 | G& M | Margaret Wente.

Mr. Rivers argues the black middle class has failed its poor by refusing to confront the cultural catastrophes that sweep boys into thug life. First, there's father absence, which leaves them unmoored and out of control. "The failure of black men to discipline their sons has created a generation of de facto orphans." Next, there are the toxic messages of gangsta rap that glorify outlaw life.

Gangsta rap and hip-hop -- which have spread to the slums of Paris,
Brixton and Rio -- moved into the void left by the decline of the
civil-rights movement. "The globalization of thug life," he says, "is
the direct result of the failure of the black middle class to engage
the crisis of the underclass." Tough words....Boston's anti-crime initiative has three legs: prevention, intervention
and enforcement. There are a lot of strategies to intervene with
high-risk kids before they turn into thugs. When it doesn't work, the
reverend is unequivocal about the consequences. "The thugs must be
locked up for a long time. They must be made an example of." One of his
challenges was to bring on board the people he calls the "hug-a-thug
liberals" -- those who see only victims, never criminals.

But he also challenged the law-and-order crowd -- the ones who see a
thug in every kid. All sides had to get past the rhetoric and focus on
what works. By now, there are strong networks among Boston's community
leaders, police and politicians; they regularly work together on crime
issues.
Margaret_Wente  pastors  Toronto  Eugene_Rivers  guns  gangs  Boston  fatherhood  African_Canadians  leadership  hip_hop  churches  voids  middle_class  African-Americans  thug_code  crisis  underclass  race  outlaws  toxic_behaviors 
august 2012 by jerryking
carnage and culture: Jason Whitlock: Taylor's death a grim reminder for us all
November 30, 2007 | FOXSports.com | Jason Whitlock.
HBO did a fascinating documentary on Little Rock Central High School, the Arkansas school that required the National Guard so that nine black kids could attend in the 1950s. Fifty years later, the school is one of the nation's best in terms of funding and educational opportunities. It's 60 percent black and located in a poor black community.

Watch the documentary and ask yourself why nine poor kids in the '50s risked their lives to get a good education and a thousand poor black kids today ignore the opportunity that is served to them on a platter.

Blame drugs, blame Ronald Reagan, blame George Bush, blame it on the rain or whatever. There's only one group of people who can change the rotten, anti-education, pro-violence culture our kids have adopted. We have to do it.

The "keepin' it real" mantra of hip hop is in direct defiance to evolution. There's always someone ready to tell you you're selling out if you move away from the immature and dangerous activities you used to do, you're selling out if you speak proper English, embrace education, dress like a grown man, do anything mainstream.

The Black KKK is enforcing the same crippling standards as its parent organization. It wants to keep black men in their place — uneducated, outside the mainstream and six feet deep.
NFL  self-help  hip_hop  killings  violence  African-Americans  thug_code  dysfunction  documentaries  HBO  immaturity  integration  students  '50s  education  civil_rights  high_schools 
august 2012 by jerryking
Reviewed: New albums from the summer’s hottest concert headliners - The Globe and Mail
HIP HOP

Hope in Dirt City
Cadence Weapon (Upper Class)
3 stars

If he would just stop being himself, Rollie Pemberton's dazzling rhymes and chameleonic flow would be lighting up the charts. But Cadence Weapon likes skronky saxophone solos, nerdy references (e.g. Louis Theroux on the subtly devastating Cheval) and skewering rappers' follies (Hype Man, where he dramatizes both sides of hip-hop’s favourite master-slave scenario) too much to consider dumbing down. For fans of more than one kind of hip-hop, Cadence’s third album makes for excellent one-stop shopping. Dave Morris

Cadence Weapon plays Lee’s Palace in Toronto June 23, 2012
hip_hop  concerts  live_music  fallacies_follies 
june 2012 by jerryking
Investor Uses Rap to Teach Pithy Business Lessons - NYTimes.com
By CLAIRE CAIN MILLER
Published: February 19, 2012

Ben Horowitz, a prominent venture capital investor here, says rap holds a trove of lessons for tech entrepreneurs. Throw business classes and books out the window, Mr. Horowitz says, and listen to rap lyrics instead.

He applies his theory on his blog, where he has attracted a following of tech readers and other executives by offering business lessons, almost all of them preceded by a rap lyric that summarizes a moral, and with recordings from Grooveshark, the music site.

In the process, he has linked two cultures in Silicon Valley, which is not exactly known for its racial or cultural diversity.
hip_hop  Silicon_Valley  Ben_Horowitz  Claire_Cain_Miller  Andreessen_Horowitz 
february 2012 by jerryking
'The Artificial White Man': Battling Gangstas and Hussies
January 16, 2005 | NYT | By EMILY EAKIN who reviews a book by Stanley Crouch. THE ARTIFICIAL WHITE MAN
Essays on Authenticity.
By Stanley Crouch.
244 pp. Basic Civitas Books. $24.

Couch bemoans the mindless elevation by whites and blacks alike of urban street mores -- what he calls ''the bottom'' -- to the epitome of cool and worries about the implications for a struggling black population: ''This redefinition of black authenticity all the way downward . . . is a new kind of American decadence excused by many Negroes because of the money it makes for a handful of black polluters, onstage and offstage,'' he complains. ''The crudest, most irresponsible vision of materialism is fused to a naive sense of how far one can go in the world even if illiterate and unskilled.''...In a similar vein, he laments the idolization of badly behaving N.B.A. superstars and the spread of anti-intellectualism (''the greatest crisis that has ever faced the black community is the present disengagement from the world of education'').
cultural_criticism  criticism  book_reviews  thug_code  African-Americans  authenticity  hip_hop  MTV  BET  anti-intellectualism  superstars 
january 2012 by jerryking
Rap: harm and alarm
Dec 2, 2005| The Globe and Mail pg. A.22 | Steven Taylor.

Once again, Margaret Wente has aired some important realities about the issue of insidious hip hop (Get Mad, We're Bein' Had, Gangsta Rap's Really Bad -- Dec. 1).

I'm a teacher, and I have so often seen young black boys -- who seemed perfectly contented coming out of elementary school -- turn into swaggering gangsta mimics who brood under their huge hoodies, suck their teeth at teachers and slap their girlfriends.

This "cocky, confrontational cadence" that Ms. Wente identified is exactly the chief problem they face. It even seeps into and erodes their literacy skills. They won't listen, they barely speak and they can't write.
letters_to_the_editor  Margaret_Wente  hip_hop  thug_code  African_Canadians  literacy 
november 2011 by jerryking
Faculty of Fine Arts | Faculty: Profs: R. Bowman
Professor Bowman pioneered popular music studies at York University. He lectures, publishes and broadcasts in many areas of popular music, from country, R & B and gospel to reggae, rap and funk. He has written liner notes for dozens of recordings and regularly authors, produces and advises on major documentary and CD reissue projects for record companies in Europe and North America....Professor Bowman's book, Soulsville, U.S.A. - The Story of Stax Records (1997), a definitive history of the legendary Memphis-based record label, has garnered numerous honours, including the Sweet Soul Music Award at the Poretta Soul Festival, Italy, and the ASCAP-Deems Taylor Award.
Stax  Colleges_&_Universities  professors  York_University  R&B  gospel  reggae  hip_hop  music_festivals  funk 
november 2011 by jerryking
Get mad, we're bein' had, gangsta rap's really bad
Margaret Wente. The Globe and Mail. Toronto, Ont.: Dec 1, 2005. pg. A.31Among the fiercest critics of hip-hop culture is John McWhorter, a black American academic. Two years ago, he wrote a blistering essay called "How hip hop holds blacks back," in which he traced the decline of rap from happy party music to the ugly glorification of thug life, bling, easy money, fast cars and woman-bashing. "Of course, not all hip hop is belligerent or profane," he wrote. "But it's the nastiest rap that sells best, and the nastiest cuts that make a career." Today, hip hop is a billion-dollar industry, and stars such as 50 Cent and Cam'ron Giles are extremely rich.

Mr. McWhorter argues that the attitude and style expressed in the hip-hop "identity" keep blacks down. "Almost all hip hop, gangsta or not, is delivered with a cocky, confrontational cadence that is fast becoming a common speech style among young black males. . . . The problem with such speech and mannerisms is that they make potential employers wary of young black men and can impede a young black's ability to interact comfortably with co-workers and customers. The black community has gone through too much to sacrifice upward mobility to the passing kick of an adversarial hip-hop 'identity.' "
Margaret_Wente  ProQuest  music  hip_hop  decline  John_McWhorter  thug_code  misogyny  sexism  youth 
november 2011 by jerryking
THE HIP HOP GENERATION
Rev. Al Sharpton Friday, December 27, 2002

These rappers and "hip-hop impresarios" weren't worried about unemployment or the financial conditions of those who support their records and made them stars. They weren't worried about the education system that keeps too many of their fans and families in poverty. They weren't worried about voting rights. They didn't have any conferences on any of that. There wasn't one seminar entitled "Economic Empowerment" or "Jobs for the 21st Century."...Unfortunately, much of what they're selling is a fraud. They spew hedonism, misogyny, and self-hate. They glorify the prison culture, the pimp culture, and drug culture. They tell the young that they're not worthy unless they're "rocking" Chanel, Gucci, or wearing platinum and diamonds. Not only is this message immoral, but it is also flawed. It's a lie.

The most ludicrous thing in the world is to see a former rapper walking around Broadway with gold teeth and a tarnished ring, his career is gone and he has nothing else. That's how most of these stories end, but nobody is rapping or singing about that.

These artists get huge advances from the record labels, and the first thing they do is run out and buy a big, fancy car. They buy, buy, buy what they wanty, and beg for what they need, and end up with nothing. I think that projecting these images to young people - the bling-bling and the showpieces - and not talking about real estate and land and the fundamental things in life, is almost criminal. These so-called artists are leading our youth down a road that will ultimately lead to their destruction.
Al_Sharpton  hip_hop  rappers  African-Americans  profanity  misogyny  conspicuous_consumption  hedonism  thug_code  personal_finance  young_people 
november 2011 by jerryking
NOW Magazine // News // Rap schoolin’
February 17-24, 2005 | NOW VOL 24 NO 25 | By Tim Perlich
music  Toronto  hip_hop  dating  interracial  stereotypes  rappers 
november 2011 by jerryking
Hit List: Ludacris - WSJ.com
FEBRUARY 10, 2007 | WSJ | By JOHN JURGENSEN.

Picks
Hit List: Ludacris
The rapper traces hip-hop's early roots in his favorite funk and soul albums
Sly & the Family Stone, 'Stand!' (1969)
['Stand']

Like the music of James Brown and Kool and the Gang, Sly Stone's funk-rock fusion was often raided for samples, especially in the 1980s and early '90s, when the practice was at a peak. Drum breaks and guitar riffs from this album were built into the songs of rap acts from Public Enemy to Tupac Shakur. But Mr. Bridges says the band's image was as influential as its music: "They had their own look and their own swagger."
* * *

Earth, Wind & Fire, 'Earth, Wind and Fire' (1970)
['Earth, Wind and Fire' ]

With hits like "Shining Star," this still-active band was one of the biggest of the 1970s and had an impact on many future rappers and producers, says Mr. Bridges, adding that his father's music taste helped form his own: "I'd wake up in the morning to all these records."
* * *

Marvin Gaye, 'What's Going On' (1971)
['What's Going On']

"We're going two generations deep here," says Mr. Bridges, describing himself as an heir of pioneering rappers like Big Daddy Kane, who was among the artists who lifted beats and musical hooks from this album, one of Mr. Gaye's masterpieces.
* * *

Curtis Mayfield, 'Superfly' (1972)
['Superfly']

Although the movie "Superfly" was directed by renowned photographer Gordon Parks, the 1972 "blaxploitation" film is best remembered now for its soundtrack. With his streetwise songs about pimps and drug pushers, Mr. Mayfield "had the sound from that time that really stuck," says Mr. Bridges.
* * *

Parliament, 'Funkentelechy vs. the Placebo Syndrome' (1977)
soul  hip_hop  rappers  Ludacris  Marvin_Gaye  blaxploitation  music  music_reviews  funk  soundtracks 
november 2011 by jerryking
In Hip-Hop, Women Trash Their Self-Respect - WSJ.com
In response to "In the Fray: Attacks on Rap Now Come From Within" by Martha Bayles, Leisure & Arts, April 28:

What is most shocking about our "booty-shaking" culture (and I'm including all of it -- rap videos, young white starlets posing half-naked on the cover of Maxim, college students baring it in "Girls Gone Wild") is that these women willingly strip down, turn around and bend over for the camera.

In this country, no one is putting a gun to their heads. In America, thanks to battles fought just a few short decades ago, women can -- more than ever before in history, and more than in most places in the world -- choose their lives and live in relative freedom. And what do we choose? To degrade ourselves. Good going, sisters.

What does this say about American women? Are we really so naïve as to think that the only way to build a lucrative career in entertainment, or to get the college boys to like us, or to support our families (certainly an argument of at least some of these women), is to consent to ever-more vulgar representations of our womanhood?

The women who are participating in this alarming proliferation of soft porn -- as well as the many more of us who are watching from the sidelines -- are willingly throwing hard-won freedoms out the window . . . and forgetting that these freedoms come with responsibility. Only self-respect begets respect.
letters_to_the_editor  hip_hop  women  self-respect  Martha_Bayles  respect  vulgarity 
november 2011 by jerryking
Attacks on Rap Now Come From Within - WSJ.com
APRIL 28, 2005 | WSJ | MARTHA BAYLES

At any rate, if rap is praised as an attack on the family, then feminist critics are not going to find many allies in either the white or the black mainstream. Yet interestingly, antifamily sentiment was not the dominant message of the conference. That message was articulated by Rachel Raimist, a Minnesota-based filmmaker, who said: "I've worked in the rap industry. I love hip hop. But when my seven-year-old daughter gets up and says, 'Shake it,' I realize something is wrong."
Martha_Bayles  hip_hop  African-Americans  music 
november 2011 by jerryking
English Historian Blames Black Culture for Riots - NYTimes.com
August 13, 2011, 2:05 pm
English Historian Blames Black Culture for Riots
By ROBERT MACKEY
United_Kingdom  riots  hip_hop  culture  Afro-Caribbeans 
august 2011 by jerryking
A Paler Shade of White
October 22, 2007 | The New Yorker| by Sasha Frere-Jones
indie  music  blues  soul  music_industry  race  culture  racism  business  hip_hop 
august 2011 by jerryking
Decoded, by Jay-Z
Dec. 06, 2010 | The Globe and Mail | by Joshua Ostroff
Jay-Z  book_reviews  hip_hop  music 
april 2011 by jerryking
Hip Hop Summit a showcase for Can-hop talent - The Globe and Mail
Mar. 31, 2011 | Globe & Mail | JOSHUA OSTROFF. *
Classified’s Oh…Canada
* + Maestro for Hard to be Hip-Hop, before the country’s very 1st rap
star big-upped Randy Bachman & Burton Cummings via Stick to Your
Vision.
* Michie Mee. In a red Adidas track suit, with dreads up in pigtails,
she busted moves while dropping classics like her dancehall-inflected
Jamaican Funk
* Kardinal Offishall, juiced the crowd with his hometown-repping singles
BaKardi Slang & The Anthem.
* K’Naan, made a surprise appearance to perform his soft-spoken Take a
Minute,
* Dream Warriors on their iconoclastic jazz-rap classic My Definition Of
A Boombastic Jazz Style.
* K-os took the stage with his full band before bringing Saukrates back
out for I Wish I Knew Natalie Portman,
* Maestro returning in full Symphony in Effect regalia – black tuxedo,
conductor baton & Africa medallion – to perform Can-hop’s
biggest-ever hit Let Your Backbone Slide
* the MCs joined together on the Rascalz’s anthemic Northern Touch,
Canadian  hip_hop  CBC  African_Canadians  music  music_industry  musical_performances  music_reviews  vintage  k-os  K'Naan 
april 2011 by jerryking
The Hip-Hop Generation, Raising Up Its Sons
By Natalie Hopkinson
Washington Post Staff Writer
Wednesday, October 18, 2006
parenting  fatherhood  African-Americans  Washington_D.C.  hip_hop 
january 2011 by jerryking
Decoded, by Jay-Z - The Globe and Mail
Reviewed by Joshua Ostroff,, music editor of Spinner.ca, has
been into hip hop since buying Run-DMC and Beastie Boys cassettes in
elementary school. He has covered the genre for The Globe and Mail since
2002.
Dec. 06, 2010 Decoded, by Jay-Z, Spiegel & Grau, 317 pages, $40
book_reviews  Jay-Z  hip_hop  music_industry 
december 2010 by jerryking
Hip-hop barbers break down race barrier
June 12, 2010 | Globe & Mail via Updated News | Joe
Friesen. The barbershop is, paradoxically, a place to congregate and to
remain separate. It's a spot where men hang out and shoot the breeze,
but they often do it in narrowly defined groups. Hair cutting and race
intersect in complex ways, which has meant that black barbershops in
Toronto have catered almost exclusively to clients with an
Afro-Caribbean background. But for a generation raised with hip hop as
its mainstream culture, those barriers are collapsing.....When co-owners
Kirk Tulloch and Lowell Stephens opened the shop near the Eaton Centre,
their goal was to create a different kind of space. In the polyglot
downtown, they wouldn't be able to rely on an established neighbourhood
clientele, so they had to appeal to the cosmopolitan core.
Toronto  African_Canadians  barbershops  hip_hop  personal_grooming  cosmopolitan  hair 
november 2010 by jerryking
Jay-Z’s ‘Decoded,’ a Guide to his Life and Lyrics - NYTimes.com
Nov. 22, 2010 | NYT| By MICHIKO KAKUTANI. Part autobiography,
part lavishly illustrated commentary on his own work, “Decoded” offers a
harrowing portrait of the rough worlds Jay-Z navigated in his youth,
while simultaneously deconstructing his lyrics. “Decoded” is less a
conventional memoir or artistic manifesto than an elliptical,
puzzle-like collage: amid the reminiscences, there are music history
lessons that place rap in a social & political context; enthusiastic
shout-outs to the Notorious B.I.G. & Lauryn Hill; remedial lessons
in street slang; & personal asides about the exhaustingly
competitive nature of rap & the similarities between rap &
boxing, and boxing & hustling drugs. At the same time, “Decoded”
highlights the richly layered, metaphoric nature of the author’s own
rhymes —underscoring how Jay-Z’s former life honed his gifts as a
writer, including a survivor’s appraising sense of character, an
observer’s eye for detail & a hustler’s penchant for wordplay &
control.
Jay-Z  hip_hop  celebrities  music  autobiographies  memoirs  books  moguls  music_industry 
november 2010 by jerryking
Best Life Magazine Not a Businessman--a Business, Man
By: Anthony DeCurtis; Photographs: Nino Munoz; Clothing by: Tom Ford
Mar 9, 2009 - 4:29:57 AM
business  inspiration  hip_hop 
may 2009 by jerryking

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