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1988 was a benchmark year for Public Enemy. The same calendar year
that Chuck D, Terminator X, Professor Griff, and Flavor Flav released It Takes A Nation Of Millions To Hold Us Back, the crew appeared on WNYU radio, 89.1 on the FM dial.
This week, the New York University station recently
uploaded the appearance to Soundcloud. The 10-plus-minute spot features
lots of hard rapping, razor sharp scratching, Gil Scott Heron and David
Bowie beat-drops. The sum of its parts is a moment of sound in a P.E.
medley that needs to be accessible in the digital era. Although the bass
hits didn’t preserve the best, this is an amazing glimpse at what a
Public Enemy set felt like in ’88—with an ill album out, and the energy
of a Hip-Hop nation behind them.
The
new photo book “Rap Tees: A Collection of Hip-Hop T-Shirts 1980-1999”
by DJ Ross One documents 500 shirts, from hip-hop’s dawn — the first
item is a Sugar Hill Gang shirt from 1980, a year after that group
released “Rapper’s Delight,”
widely considered the first commercial hip-hop single — to its
turn-of-the-millennium ubiquity. All the shirts are advertisements, but
they go about their job in vastly different ways: Some emphasize logos,
others favor slogans or let photos do the talking; a rare few let
artists have their way.
Commercialism
has long been one of hip-hop’s prime ambitions. Yet “Rap Tees”
(powerHouse) suggests that for many years hip-hop had in fact been
under-merchandised. It’s striking how many of the best shirts weren’t
official or for sale. Several were promotional items, given out to
tastemakers and fans. And many weren’t by the musicians at all, but
bootlegs made on the cheap and distributed broadly.
That
means that this book begins as a document of the hip-hop industry’s
efforts to branch out beyond music, and by the end shifts to the flea
markets, swap meets, sidewalk stalls and parking lots where street-level
entrepreneurs, recognizing that rabid fans were also underserved
customers, collected money that the rappers and their record labels were
leaving on the table.
DJ Ross One,
a tenacious and sharp-eyed collector, owns about half of the shirts in
the book, and he tracked down and photographed the rest. His list is
organized by artist and by region, in more or less chronological order.
Over
the two decades covered here, the nature of the hip-hop T-shirt
evolves. In hip-hop’s first true corporate era, from the mid-1980s
through the early 1990s, the artist logos were essential. About 20
shirts in the book depict the classic Run-DMC logo — bold white capital
letters, “Run” stacked atop “DMC,” sandwiched between two red lines.
Some are on elaborately designed sweatshirts made in partnership with
Adidas, the first example of the fashion world aggressively embracing
hip-hop.
The
book devotes extensive sections to the logos of the Beastie Boys, based
on the Harley-Davidson mark, and Public Enemy, perhaps hip-hop’s most
iconographically adept act. In addition to around two dozen Public Enemy
shirts, “Rap Tees” reproduces pages from Rapp Style, the group’s
mail-order catalog, which offered items like jackets, T-shirts, hats and
mugs. Rap music’s loudest and most radical polemicists were also its
most effective salesmen and branding experts.
Holly Holm shocked the world on Saturday night as she landed a vicious second-round head kick knockout over Ronda Rousey to cap off UFC 193 in Melbourne, Australia.
Holm was touted as the toughest challenger to Rousey's title ever
since she signed to the UFC, but she walked into the fight as much as a
20-to-1 underdog.
That all changed as soon as the fight started as Holm showed
poise and a picture-perfect strategy used to dismantle Rousey in less
than six minutes.
Holm set the pace throughout the first round with a stiff jab and a series of oblique kicks with shades of her teammate Jon Jones, who uses the exact same maneuver in many of his fights, as she punished Rousey's lead leg.
Every time Rousey engaged or tried to push forward, Holm circled
away and refused to allow the former Olympian to bully her across the
cage as she's done with so many opponents before her.
Holm's best weapon was her straight punch. She popped Rousey
continuously, and as the former champ’s nose and mouth started to bleed,
it was clear this was a much different fight than she had ever been in
before.
Rousey eventually scored a takedown with a headlock but Holm
stayed patient and even slipped out of an armbar attempt from the
submission specialist. Holm actually ended up taking Rousey down later
in the round, but immediately backed out of her guard to get the fight
back to the feet.
From there, Holm kept her composure as she popped the champion a
few more times and as she went to the corner, the challenger looked
confident after getting the fight to the second round for only the
second time in Rousey's career.
Holm wasted no time setting the pace in the second round as she
stunned Rousey right away during a scramble. Rousey started to get up
off the mat and just as she lifted her hands and turned, Holm absolutely
blasted her with a left high kick that sent the California native
crashing back to the mat.
Holm followed up with a couple more strikes on the ground as
referee Herb Dean swooped in to stop the fight before Rousey could take
any more damage.
A stunned Melbourne crowd erupted as Rousey laid prone on the
canvas and Holm celebrated her win with a blistering knockout just 59
seconds into the second round.
Holm prepared for the fight with coaches Greg Jackson and Mike
Winkeljohn, who are well known as being two of the best strategists in
the entire sport, and it seems like they picked apart every one of
Rousey's tendencies and it paid off in the Octagon.
"I have to say that everything that we worked on presented itself
in the fight. Every kind of grab that she tried to get and clinch on
the cage. I have not spent this much time in the gym before any fight in
my life," Holm said after the historic win.
"Everything we worked on happened tonight and that actually
happened to be something we worked on to try and angle the clinch. I
didn't want to kick her to the body because we didn't want her to grab
onto us and it just was there."
Holm may have been the underdog going into the fight, but she
fought like the 18-time boxing champion who ruled her sport for most of
her career before moving to MMA full time. Holm paid homage to her team
for helping to get her ready and it paid off huge as she put Rousey down
in impressive fashion to win the UFC women's bantamweight title.
"I just felt like how could I not do this?" Holm said. "I have
the best coaching from stand up to grappling to wrestling, look at this
time right here, this right here is priceless."
This marks the first loss in Rousey's mixed martial arts career
and after she was helped up to a stool following the knockout, she made
her way out of the Octagon before speaking to UFC commentator Joe Rogan.
Rousey was undoubtedly stunned not only from the knockout but watching
Holm put together the most flawless performance of any opponent she's
ever faced. According to a report from TMZ Sports, the former champ was
transported to the hospital immediately after exiting the Octagon.
HIP HOP LANDMARK HARLEM WORLD DISCO! Photo by Chuck Foster! 1st I like
to thank the late Jack Taylor the owner of Harlem and O C the manager
The Harlem World Crew Son of Sam, Charlie Rock and special shout out to
the Late DJ Randy who grew up with me at John Adams Projects as a child
along with Dj Darryl. Harlem World was special it went from an adult
disco to one of the hottest Hip Hop Clubs. As a flyer guy for the late
Kool Dj Aj back in late 1977 Aj is always stated in
all my interviews about who put me on and got me started as a
promoter. Mandiplite was also someone along with Mike and Dave I have
done shows with. But Harlem Wotld was the place to be & you had all
the rappers coming from the from everywhere Johnny Wa and Rayvon, dj
Spivey, Captain Riock, dj Red alert who is from Harlem walking distance
really Dr Jeckyll and Mr Hyde, dj Kayslay aka Graf writer then known as
Dez. There was a little kid who wanted to get in Harlem World name Doug
E Fresh with his boy Loose Bruce. There were many who came to every
show and then there are some telling stories about events that happened
at Harlem World or certain shows and wasnt even at that event. In the
end now it really doesn't matter because it was a phenomenal thing
happening. I gave many shows there and help promote many shows there
with KOOL DJ AJ. Actually we were the only 2 who did alot of shows there
with the exception of the Harlem World Crew. Since they were the house
they got to pick the good dates of the calendar. But lets remember while
Harlem World was poppin, we still had competition on certain nights
depending who you booked. Summertime was rough because Djs would come
outside and who want to be in a club and paying when you could get to
hear the music and whomever was on the mic for free. Business was good
after Sumner was over. but the competition from other promoters at spots
like the Celebrity Club, Randys Place could hurt any promoter if
everyone did show the same night and it depend on who you had. But the
Bronx was no different with the Savoy Manor, Stardust Ballroom, Club
371, T Connection, Ecstacy Garage and others spots could hurt your
party. Part 1
LUVBUG STARSKI FORREST PROJECTS HIP HOP LANDMARK! Also the home of
Graffiti writer Phase 2, rappers Trickey Vic and Tipski. So early in the
era moving around the Bronx as a teenager. Even though my claim is John
Adams Projects, but my birth was Paterson Projects where 18 Park is a
Hip Hop Landmark and I went to P S 18. But finally going to 163st to get
some Johnson's BBQ Ribs there was some music coming from the park, the
guy who had that section on lock was a guy named Trump
(R.I.P) and this was before AJ was out in the parks. There was this
young guy outside with music at the basketball court those half moon
backboards.lol. And his name was Starski now there were others there as
well and to be honest I can't remember their names. But his system was
loud it did echo back to almost my block at night we knew someone was
out having a park jam. Luvbug timeline was around 1974 when he was
outside. Eventually I got to become cool with him and he found out later
that after AJ started giving parties I was down with him. Lovbug was
one of thr Bronx hottest dj because his rapping on the mic Dj Hollywood
style was thr basic for rapping Dj's back then who could do it . Luvbug
did a few songs and was one of the house dj's for Disco Fever once Sal
decided Disco wasn't working no more at the club. Luvbug Starski moved
around the Bronx, Manhattan, Queens playing with the likes Kool Herc,
Afrika Bambaataa, Reggie Wells,Eddie Cheba, the late Pete Dj Jones, Dj
Sesame Disco Twins and others .His story is one to be told. Another Hip
Hip Pioneer, Still doing his thing in 2015. FOR MORE TRUE SCHOOL HIP HOP
Visit www.rapamania.com
HIP HOP LANDMARK HOME OF THE CRASHCREW AND PROMOTERS MIKE AND DAVE.
HARLEM My story about this crew which started out as the Force of Five
Mc,s in the late 70's Reggie Reg, Gee Man, La Shu Bee, Barry Bistro, EK
Mike C and DJ Darryl C (R.I.P) along with Disco Dave who with his
brother Mike were the promoters. This was a self contained unit in which
Mike and Dave owned their own sound system as well and use to bring the
music out in their park as well. Mike and Dave,were very
smart to the game & really kept to themselves whereas they were
making a dent in the game with their parties. Mike and Dave had the
Crashcrew do alot of shows which they gave in places like the Karate
Club, I.S 201, Savoy Manor any place Mike and Dave could rent. But the
Savoy Manor in 149 st was as far they would go into the Bronx . So
eventually it happened Kool Dj Aj join forces and Mike and Dave with
Kool Dj Aj started promoting parties together. By them linking with AJ
gave them a Bronx pass to do parties further up in the Bronx because
they were linked with Aj and Busybee. Which in turn gave AJ now to do
parties with the Crashcrew, and then there was a young Biz Markie, a
young Rob Base who wanted to get on and yes they carried record crate
and as all that. But that Mike and Dave and Aj partnership didn't last
long after AJ I started doing parties with Mike and Dave and we started
going out to Queens where they put on a Queens rapper named Sweety G
& they we were promoting MasterDon & the Death Committee, a
young Dougie Fresh, the Boogie Boys, along with the Crashcrew. So doing
the Queens parties was hectic coming from Harlem and making sure certain
Queens rappers were cool. So I made sure that Divine and them were cool
knowing they were tight as Hell. The Olympia Palace, Martin Van Buren
High School were the spot we did the jams at . But we respected the
crews out iof 40 projects, Baisley, and those who we knew could just
set iit off back then but it never happened. Mike and Dave was also the
1st Rap promoters to release record under their label The Crashcew
"Highpowered Rap and The Boogie Boys. Much Props to the crew from
Lincoln Projects.
CEDAR PARK BRONX NEW YORK KOOL HERC HIP HOP LANDMARK! 1520 Sedgwick Ave,
Echo Park and Arthur Park Hip Hop Landmarks. The careers of many Hip
Hop Pioneers and lets clear the facts a Hip Hop Pioneer would be 1st
generation up until 1983 if you were on prominent flyers or did a
recording and on a flyer. Then the Pioneers who were part of the scene
from the inside or promoters who gave these jams. But getting back to
Cedar Park where many jams where held as I traveled around playing
basketball at Cedar Park and the other basketball court along side
further up Sedgwick Ave because my friends lived in River Park Towers.
This was Kool Herc park, 23 Park was that of Grandmaster Flash and the
Furious 5 or 63 Park to Mean Gene, Theodore, and Flash was there before
the Furious 5 became a group. My point is that the Pioneering Dj's had
their section of the Bronx where they basically came from. Personally I
never got to see Kool Herc at Cedar Park because he moved on to other
Parks such as Echo and Arthur Park. I know some pioneers add some hot
sauce to their stories but we must maintain our Hip Hop History in a
correct manner. The Culture of Hip Hop have many Landmarks and
Historical location which must be brought out as part of the Culture for
the future ahead of us. For more True Hip Hop visit www.rapamania.com Honoring the Pioneers and Legends of the Culture
