It’s the law that no YouTube video — regardless of how dumb it is — can amass more than 100,000 without a race war or heated debate about religion (often both) beneath it. It’s also another law that every time you’re hit by rap nostalgia and have to Google say Hard 2 Obtain’s ‘L.I. Groove’, there’s somebody bad mouthing Drake beneath it in the comments. Lately I’ve been hit by Clipse nostalgia. It’s 10 years since ‘Lord Willin’ dropped. 10 years. It’s terrifying. So that makes it 13 since their debut was shelved — we got previews of Clipse tracks on free East West compilations as late as 1998. And here’s me assuming that the Thorntons are a contemporary rap phenomenon. I’ll put that down to Pusha T’s post 2009 solo work feeling like something new. And Scarface’s ‘The Fix’ is almost a decade old too. 2002 was a good year for drug rap.
The meeting for the ‘Lord Willin’ cover art is one I wish I was in. Pusha and Malice with Christ in the backseat of a Caddy is often lampooned as a Joe Cool ‘Doggystyle’ friends-with-felt-tips effort, but Vicki Berndt’s art has held up as a memorable cover before album art became quaint. We could study the credible pop and rap crossover a little longer, but it was the Neptunes that brought the worlds together a little more deftly than earlier, more self-conscious efforts. Coke rappers trading verses with Justin Timberlake on ‘Like I Love You’ two months after ‘Lord Willin’ dropped broke down a barrier for better or for worse that reverberates in those confusing 2012 Bieber co-signs.
Beyond pivotal pop crossbreeding, using Bendt’s art was an odd move that brought in some other influences. Berndt’s career went from playing in punk bands, fanzines and photography for Sub Pop records to paintings. Her 2Pac portrait based on Danny Clinch’s ‘Rolling Stone’ shoot for 2001’s ‘Until the End of Time’ grave dig may have caught the eye of somebody at Arista or Star Trak, resulting in the painting of a lot of folks’ favourite bloke with a beard taking a trip to Virginia. To talk up the album’s lineage of glorious silliness that goes back to P-Funk (and beyond) would be too ‘Guardian’ so I’ll just shut up and gaze at the glory of that holy excursion to the sounds of ‘Young Boy’s Ajax talk and Pusha talking Vaseline and Novocaine in ‘Comedy Central.’ I still want a Virginia is for Hustlers t-shirt too, even if Bapestas and Evisu is done. I wish Vicky Berndt had created more hip-hop covers.
Source: Nagoya Yom
You might be in urban ninja mode or pretending there’s more to print tees than there actually is, but Japan’s The Original Tenderloin still keeps creating classics. www.nagoyayom.com is a superior source for finding scans of the best from magazines like ‘SENSE’ and they’ve upped the Original Tenderloin Fall/Winter collection from the latest issue. I like the faint aura around this brand (it also reminds me of Bond International’s Newburgh Street era) and after rumors of the brand’s demise (can anyone clarify whether there was a Real McCoy’s style split within the brand at any point?), the Seagal-esque T-Leather Pullover, T-Sherpa jacket design and T-Lounger plaid dressing gowns are excellent.
Nagoya Yom also upped the ‘SENSE’ preview of the Supreme and Chapman Brothers (not to be mistaken with Chapman who make a lot of Supreme boards) decks. Guaranteed to perplex a subsection of a new audience for the brand in the best possible way and they’re some of the best artist series decks since the Christopher Wool designs, Jake and Dinos’ work looks good on wood. Once again, tap up the site for more. Fuckfaced graphics, part of 2002’s ‘Unholy Trinity’ crucifix sculpture scene and a McDonalds hoarding part of the Chapman Family Collection all seem to be present.
Source: Nagoya Yom