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WWE Bringing Back Hulk Hogan Is An Insult To Black Wrestling Fans

It was early 1985. I was 5 years old sitting on the floor of my living room in Detroit.

My dad had gotten a tape – Betamax to be exact – of this pro wrestling show from the then-World Wrestling Federation (now known as WWE). The event was held in Madison Square Garden and it was called “The War to Settle the Score.”

I had no damn clue what I was watching. It wasn’t boxing but it was weird and fun and exciting. It was taped from MTV – we didn’t have cable at the time – and it had all these stars there, including Mr. T from my favorite TV show, The A-Team.

But the star of this show didn’t have a mohawk and wasn’t dripping gold chains. The star was a 6-foot-7, 300-lb tanned and blonde dude who, when he entered the World’s Most Famous Arena, made the crowd go crazier than they would for Bernard King, Patrick Ewing, or Michael Ray Richardson.

That man was Hulk Hogan.

That night, he was facing the evil loudmouth Rowdy Roddy Piper for the WWF World Heavyweight Championship. Hogan hit the ring to thunderous cheers as “Eye of the Tiger” blasted in the speakers.

Before entering the ring, he dapped up Mr. T at ringside. He had on a yellow shirt with “Hulkamania” emblazoned in red across the front before ripping it off and immediately throwing hands with Piper. 

I was hooked on wrestling from that day forward and Hogan, who told kids to “take their vitamins” and “say their prayers,” was the God M.C. in the 80s. For years, he could do no wrong in my eyes.

Thirty years later, Hulk Hogan, the hero was dead to me. All that was left was just another racist white man named Terry Bollea.

“I Am A Racist, To A Point…”

The two words cut like a knife.“F**king n***ers.”

I was at work in Philadelphia on July 24, 2015. I was a Friday morning and I had decided that I was going to finally do it. I was going to buy a Hulkamania t-shirt.

Of all the offbeat graphic tees that I have, including pro wrestling shirts, I had never been able to find a genuine 1980s Hulkamania shirt. I had been looking for one of those motherfuckers everywhere and WWE had finally released them.

I hit the buy button and for a hot second, my 35-year-old ass was a kid again. Then, 20 minutes later, I wander onto Twitter and saw Hogan’s name trending…and there it was. 

“F**king n***ers.”

Not that we haven’t gotten used to our childhood heroes – especially pro wrestlers – being revealed to be damaged frauds in real life. But this one hit me and so many other 80s babies particularly hard.

It was another stiff, brutal reminder of when Ice Cube famously said, “Here’s what they think about you.”

Thirty years after his coming out party at MSG, here was Terry Bollea, a hapless, pitiful, shameful middle-aged shell of a man caught on tape grousing about his daughter Brooke dating a black man named Yannique Baker, better known as Miami-born rapper Stacks.

Baker’s dad, Cecile, was helping Brooke attempt to get her failed music career off the ground when she hooked up with Stacks.

But to Terry Bollea? He was just a “black billionaire” whose “nigger” son was having sex with his daughter.

“I mean, I’d rather if she was going to fuck some nigger,” he says almost matter-of-factly, “I’d rather have her marry an 8-foot-tall nigger worth $100 million. Like a basketball player.”

Here’s professional wrestling’s icon, essentially Bill Russell in yellow tights, who spent years embracing men like Mr. T, Shaquille O’Neal, Dennis Rodman, and The Rock, openly admitting that he’s a racist.

“I mean, I am a racist, to a point,” he says, before capping it off with two words for you: “F***ing n***ers.”

WWE, a publicly traded company which had in recent years been working to distance itself from its racist past, fired Hogan immediately and took the extraordinary step of booting him from their Hall of Fame and wiping as many references to him as they could from their TV and video libraries.

It was a stunning and necessary move by the company. But, knowing WWE founder and chairman Vince McMahon’s history of bringing wrestlers back into the fold who have either wronged him, disgraced the company, or committed heinous acts, that wouldn’t last forever.

I honestly thought he would’ve been back much sooner than this and this month, it finally happened. Hogan was “reinstated” into the Hall of Fame and showed up in Pittsburgh prior to WWE’s Extreme Rules pay-per-view to address the locker room.

Mark Henry, who was inducted into the WWE Hall of Fame in April, told SiriusXM on Monday that he had spoken to Hogan and said that he felt Hogan was trying to make amends with everyone.

“The first thing I thought was I'm hoping he is able to address everybody and voice some concerns,” Henry told Busted Open Radio. “He made an announcement. He apologized. He's done a lot of stuff with the Boys and Girls Club. But I didn't want to lose track of the fact that there's more work to be done and I think that's going to happen."

When asked if all the other black wrestlers in the company were on board, he very quickly said no.

“It's 50/50. I've talked to guys that are like, 'To hell with him.' And I've had guys that were like, "You know what? If you're willing to make the change and try to help out, and go and speak up, be a part of the answer rather than a part of the problem, then it's all good.’”

Except, it ain’t all good. Count me as being apart of the group that says the hell with him. Am I surprised that WWE brought him back? No. Should they have done so? Hell no. If you want to keep him in your Hall of Fame, go for it.

I wonder what wrestlers like Sasha Banks or Cedric Alexander truly think of this? Will someone ask my frat brother Apollo Crews, the son of Nigerian immigrants who is married to a white woman, what he thinks if Hogan comes his way and says, “that’s not the real me, brother.”

But black wrestlers like Kofi Kingston and Titus O'Neil have already spoken up. "We find it difficult to simply forget, regardless of how long ago it was, or the situation in which those comments were made," Kofi Kingston said in a statement. O'Neil echoed, saying that Hogan's apology had a "lack of true contrition, remorse and a desire for change."

To make the public announcement that he’s “back in the family” rings as a slap in the face to not only them but to the legions of black fans who have made pro wrestling the cultural phenomenon that it is.

The Rap N’ Wrestling Connection

Wrestling has always had what would be considered a “complicated” relationship with race, particularly with African-Americans.

While there have been legendary black stars such as Bobo Brazil, Ernie Ladd, The Junkyard Dog, The Rock, and others, the “sport” itself has routinely pandered to racist stereotypes. It also is shown in who they showcased as champion.

In the company’s history, only three African-Americans have held either the WWF/E or World Heavyweight Championships: The Rock, Booker T, and Mark Henry.

My frat brother, David Dennis, often notes that no black male wrestler has had a one-on-one match for any of WWE’s main roster world championships since Henry lost to John Cena in 2014. Of note: two black women, Naomi and Sasha Banks, have won Women’s Championships since then.

Despite all of this, pro wrestling has been as much a part of black culture and hip-hop culture for decades. 

Whether it was Run-D.M.C. performing at WrestleMania V, LL Cool J name-checking The Undertaker in EPMD’s 1990 classic Rampage, the multitude of pro wrestling references made by the Wu-Tang Clan – “Rap vandals/Stomp ya ass like Wahoo McDaniel,” to Method Man’s 1999 “Know Your Role” that he performed with The Rock, to Snoop Dogg’s multiple WWE appearances, or even WCW’s ill-fated 1999 partnership with No Limit Records.

The most popular pro wrestler in hip-hop is the legendary “Nature Boy” Ric Flair, the innovator of pro wrestling swag. His influence on rap has been mimicked for decades.

From Ghostface sporting Flair’s “Big Gold Belt,” to Pusha T using Ric’s legendary 1986 “Spilled Liquor” promo in the open to 2011’s “What Dreams are Made of” to Offset and Metro Boomin bringing that “Ric Flair Drip” to the streets, pro wrestling is as much a part of the culture as anything.

So, for WWE--which, like so many others in this country, has profiteered from and off of black culture--to welcome back a man who openly admitted on camera that he “is a racist” and is spitting out n-words like Migos bars, is insulting and another gut punch to so many black wrestling fans.

With the political and social climate what it is, WWE needs to think long and hard before they go parading Terry Bollea’s ass back on their TV talking about “all is forgiven” because it damn sure isn’t.

As for the t-shirt, I ordered that day: It arrived five days later. To this day, I have never worn it or even taken it out of the plastic. It’s just a collector’s item now sitting in my closet and relegated to history like my respect for Hulk Hogan.

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Music Sermon: The One Minute Hit - When TV Theme Songs Were Lit

The idea of sitting around the TV for appointment television is an archaic concept. Multiple devices with screens for everyone in your home plus the control of streaming has changed how we consume nearly everything except sports, award shows, and Game of Thrones (until tonight). But the children of the 80s very much remember when TV watching was still an event, cable was basic, and the networks reigned supreme. Back in that era of genuine primetime programming, our favorite TV shows came paired with 30-second to one-minute themes. But not just a random little ditty to open the show; these were genuine mini-songs. Verses, chorus, hook, and maybe even a reprise for the end credits.

Now, a drive for more advertising inventory coupled with shorter attention spans has rendered the true theme song a rarity; but in the cases where they do still exist, the songs continue to be a key part of experiencing the show (again, like Thrones). The theme song draws you into the world of the show, it sets the tone, and it stays with you after. And the theme song game wasn’t a space like the commercial jingle game where only folks in the game know who the players are. The theme show business has its own OGs, but there are also names we know well - acclaimed producers, artists and musicians who helped create TV music magic. As such, there’s also a lot of hidden music history and connections behind some of these joints. I have watched an inordinate amount of television consistently throughout my life - you will pry my cable cord out of my cold, dead hands - and I consider myself an expert on the TV theme song. I offer you my list of some of the most soulful, slappin’ and impactful examples of the majesty of TV theme songs from yesteryear.

Sanford & Son

There is literally no music space Quincy Jones hasn’t conquered, including television. Q was in movie scoring land when Norman Lear’s partner Bud Yorkin came to him about composing a theme for their new show, Sanford and Son. “He said, 'I'd like you to write the theme for it.' I said, 'Who's in it?' And he said Redd Foxx,” Quincy told Billboard. “I said, 'Man, you can't put Redd Foxx on national TV!” I had worked with Redd Foxx 30 years before that at the Apollo. We used to do the Chitlin Circuit. I used to write this music for him to come out with.”

Q composed “The Street Beater” without even watching the Sanford and Son pilot. “I wrote that in about 20 minutes,” he said in an interview about his work in television. “I just wrote what he looked like. It sounds just like him, doesn’t it?” The funky, rag tag, backwoods bluesy song was the perfect musical accompaniment for Fred’s surveying his junkyard as Lamont’s truck rolled up, “It was raggedy, just like Foxx.”

Good Times

Norman Lear was the goat of working-class American storytelling on screen, but his shows also had some of the most iconic theme songs – “Those Were the Days” for Archie Bunker, “One Day at a Time” has great lyrics if you pay attention, he even had Donny Hathaway singing about pre-Golden Girls Bea Arthor for Maude. TV producers often used the same writing and production teams for their shows' themes, and Lear often tapped the husband and wife team of Alan and Marylin Bergman, who got their break co-writing with Quincy on “In the Heat of the Night.”

But as I said before, don’t let the TV theme song credits fool you, the Bergmans are two-time Academy Awards winners and in the Songwriters Hall of Fame. That’s the kind of talent behind Good Times.

The Good Times theme is a negro spiritual (there’s a Hammond B3 organ in it; issa spiritual), and singers Jim Gilstrap, from Stevie Wonder’s backing group, Wonderlove; and Somara “Blinky” Williams, a former original member of the Church of God in Christ (COGIC) Singers along with Andrae Crouch and famed session player Billy Preston, put some extra oil on it.

You don’t believe me when I say this is worship music? Watch this.

I really wanna know what the Bergmans knew about hanging in a chow line, though. I’m not even sure I knew that was the lyric before Dave Chappelle told us.

The Jeffersons

Before we move on from Lear sitcoms we have to pay respect to the best black TV theme song of all time. And before you argue with me, let’s please look at the stats: a 35-person choir, stomping and clapping - even double clapping! - mention of fish fry, and a reprise over the end credits with hummin’ like your big mama used to do while she was cookin’ on Sundays. Winner.

Even though it’s one of the best-known sitcom theme songs ever, what’s lesser known is that another Lear alum was behind it – Ja’net Dubois, aka Good Times’ Wilona Woods, co-wrote and sang the theme. Also, the male voice that joins her in the bridge isn’t Sherman Hemsley (although it really sounds like it could be him) but career backup singer Oren Waters.

Ja’net, who was a singer as well as actress, ran into Lear on the CBS lot one day and shared that she wanted to display her talent beyond acting. Lear partnered her with Jeff Barry to work on the aspirational Jefferson’s theme. Jeff had pop hits under his belt as part of producer Phil Spector’s stable; he wrote “River Deep - Mountain High.” He also wrote “One Day at a Time,” and later “Without Us,” Deniece Williams and Johnny Mathis’ yacht-rocky theme for Family Ties.

Dubois later told Jet magazine she pulled from her own experience once she’d “made it” with Good Times. “I moved my whole family. I bought (my mother) a house, bought her a mink coat. I did everything, retired her. I did everything I ever promised her.” And you can feel Ja’net’s testimony coming through as that moving van makes its way across the Queensboro bridge and up the East Side.

Amen

Sherman Hemsley had the good fortune of being associated with two entries in the Praise Songs of TV (I just made that up) category. Amen’s “Shine on Me” is not only a rousing bop, it’s a forreal and actual gospel song. The theme was written, produced and played by the father of modern gospel, Andraé Crouch, and sung by gospel legend Vanessa Bell Armstrong. Sister Vanessa was backed in the TV version by the choir from Crouch’s First Memorial COGIC church. She later did her own version, but it didn’t have quite the same oomph when slowed down a little and without the full voices of a choir behind her.

Sigh… Imagine a time when a sitcom about a deacon in the black church with a whole gospel theme song was a primetime network hit. Also shout out to “There’s No Place Like Home” from 227, which preceded Amen on Saturday nights.

The Cosby Show

We’re going to set everything about Bill Cosby the man aside for a minute to talk about the show and its music. Agreed? Amen.

The Cosby Show has to be in this conversation, because over the course of the show’s history, the theme song and opening sequence became a hallmark of the series’ greatness, and it’s a prime example of theme songs being deeper than just something to play over opening credits. Every season, a new adaptation of “Kiss Me,” the theme written by Cosby and Stu Gardner (who also co-wrote the themes for A Different World and Living Single), opened the show. The opening sequence featured a Huxtable family dance showcase, changing as the kids grew and the cast core cast added, and sometimes subtracted. We were as anxious for the Cosby season premiere to see the new intro as we were to see the show itself.

Season 3 is when it started getting crunk, with a little Latin action. Auntie Phylicia was gettin’ it.

In Season 4 (my least favorite), “Don’t Worry, Be Happy” mania had made its way to the Huxtable family with Bobby McPheren’s rendition and a bit of a roaring ‘20s (and for the sake of the show location, we’ll say Harlem Renaissance) feel. Elvin’s first year in the sequence, Denise’s first year out.

Season 5 was a production. Literally, it was staged like a Broadway production. By now, the show was known for exposing diasporic art and culture and the people behind it to the world whenever possible, and that was the intention here as well, on the low.

The set design was a little South Pacific-esque, and costumes had a Caribbean flair reminiscent of some Alvin Ailey American Dance Theater pieces - appropriate since the movement was choreographed by Ailey great (and Boomerang’s off the chain creative director) Geoffrey Holder. Cosby’s high school classmate James DePriest, one of the first internationally recognized African American orchestral conductors, arranged the music, played by the Oregon Symphony orchestra. It was sweeping and gorgeous and I remember it being kind of a big deal. Second season with no Denise in the credits. I think she had left Hillman and gone Africa by this point. Or something.

Season 6 is my favorite. It was a party. The entire family was getting it in to a jam session take on the theme remixed with Junior Walker and the All Stars’ “Shotgun.” Even though the opening was set in front of the Apollo marquee, this was the Motown sequence. “Shotgun,” was a massive crossover hit, produced by Berry Gordy, and featured Motown’s famed session players, the Funk Brothers on instrumentals.

Welcome back, Denise. And hi, Martin and Olivia. Theo and Vanessa were hitting. that. heaux.

Ok, actually, Season 8 is my least favorite. Least favorite season, theme song, opening sequence, all of it. Here, I think, it’s clear that the show was past its prime. This jazzmatazz intro didn’t feel super fresh or creative, and Theo was trying to hit b-boy moves, and cousin Pam clearly wasn’t comfortable, and Vanessa looked like she just got engaged to a 40-year old ninja named Dabnis, and Clair still had her coat on because she couldn’t be bothered.

But on the cultural side, it was still in theme. The mural was created by kids at Harlem’s Creative Arts Workshop, although a legal dispute over art clearances kept this visual from being used as originally intended in Season 7. On the horn is Lester Bowie, a trumpeter known for his free jazz style.

A Different World

Obviously, we were paying a visit to Hillman next. “A Different World” is one of the best theme songs of all time – for Seasons 2 through 5 (also one of the best shows of all time – for Seasons 2 through 5).

Dawn Lewis, aka Jaleesa, co-wrote the song with Stu Gardner. She was originally supposed to sing it, as well, until whoever hired her to write the song realized she was also in the cast, and whoever cast her as Jaleesa realized she also wrote the song. The collective powers that be thought Dawn singing the theme would center her too much when the show was about Lisa Bonet, so they went to Al Green. Yes, the Reverend Al Green. A version of the “Different World” theme song sung by Al Green exists out there in the world somewhere, and I now have a life mission to hear it. Producers didn’t like it, though. They decided to go with a female voice, and pegged folk and blues singer Phoebe Snow.

As the show went into its second season, producers decided to take a similar approach as The Cosby Show and flip the theme every season with different artists and styles. Then Aretha Franklin recorded her version, and that idea was dead, because why would you ever ask someone else to sing behind Aretha. Debbie Allen, who had just stepped in as the show’s executive producer (Aunt Debbie brought A Different World out of the middling fare of its first season to the strong, black and relevant show we remember it as, but that’s a different Sermon) called Auntie Re personally, and then brought her whole team from Detroit to LA on a bus (because Auntie Re wasn’t gonna fly, chile). Then, TV history was made.

“I just know that she came in and hit it,” Allen told Vulture. “It wasn’t like she had to do ten takes, that’s what I know. She just hit it. That’s what I remember and then we all kind of hung out and had food together, you know — she loved our show which is why she did it.”

I’m low key surprised Aretha agreed to do the song since her ex-husband, Glynn Turman, joined the cast in Season 2 and she’s petty like that, but she also watched a lot of television and was a fan. When most think of A Different World, they’re thinking of seasons two and beyond. That iconic montage we’ve see recreated in tribute again and again, from SportsCenter to Grown’ish Season 2 promos. Nobody references car washes and hanging out outside of….a barn, I think? Where they at a farm for the Season 1 opening sequence? (You can tell some white people put that together – no shots).

Finally, the last season of A Different World was sort of “Different World: The Next Generation,” so they went in a new direction for the theme with a very non-Boyz II Men sounding Boyz II Men (I thought it was Take 6 for the longest), but Seasons 2 through 5 still reign supreme.

Different Strokes

On to a different show about different worlds. Remember I mentioned OGs in the theme song game? One of them was Alan Thicke. Yes, Robin Thicke’s daddy was not only lovable TV dad Jason Seaver, but also a professional theme writer. Thicke penned the tracks for a couple of sitcoms, including Facts of Life (with Robin’s mama Gloria Loring on vocals), but his thing was game shows. Your grandma has Alan to thank for the “Wheel of Fortune” theme. He not only wrote but sang “Diff’rent Strokes” (sounding a little like his son), and I mean, the song is perfect. The opening, the harmony build in the second verse, the bridge, the breakdown “…and together we’ll be fine, ‘cause it takes…,” the hum at the end of the closing credits version. You can tell from this one-minute jamalam that Robin got his blue-eyed soul honestly.

Speaking of the Chappelle Show again (there’s a Chappelle reference for everything in life), Dave closes out his famous White People Can’t Dance episode (Season 2, Episode 3) with a spirited performance of “Diff’rent Strokes,” going into a “Facts of Life” vamp, backed by Questlove and John Mayer.

The Fresh Prince of Bel-Air and Living Single

I’m putting these two together because they’re two of the last examples of the explanatory theme song for black prime time television.

The Quincy Jones-produced Fresh Prince theme tells us Will’s entire back story and the premise of the show – a ‘90s hip-hop answer to the Gilligan’s Island theme.

Living Single’s theme conveyed the high energy city life the four upwardly mobile friends were navigating, with emphasis from Queen Latifah’s sing-rapping about her homegirls standing on her left and her right, and the legendary dancing silhouette that is Big Lez.

Both shows, songs, and visuals have become representative of the hip hop generation’s takeover of ‘90s black television and ‘90s black culture, and both continue to hold up amazing well 25 years later.

We haven’t even touched on the soulful ‘70s themes that became hit singles, like “Welcome Back Kotter” (my joint) or “Angela” from Taxi, or sketch show theme songs like Heavy D for In Living Color (or TLC for “All That,” for y’all younger folks), or the cartoon smashes. There are gems galore to be mined, all containing shining bits of nostalgia and callbacks to a simpler time. These songs often resonate with us even more strongly than our favorite singles from the era because they were a constant for years instead of months. And thanks to networks later devoting blocks of time to classic TV reruns like Nick at Night and TV Land, many of these shows – and theme songs – have been introduced to a new generation.

We’ve focused mostly on black TV shows, but there are a few theme songs that cross cultural, generational and international boundaries. When the Golden Girls premiered in 1985, the series featured a remake of the 1978 song “Thank You for Being a Friend,” and it has lived in all our hearts ever since. So much so, that a member of the black church delegation gave the song a proper remix a couple of years ago. Let this be a reminder that great TV theme songs were not only catchy songs that stuck in our heads for decades, but also impetrated universal lessons about life, love, and friendship.

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#MusicSermon is a weekly series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

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8 Best Samples From Megan Thee Stallion, Tyler The Creator And DJ Khaled's Projects

Megan Thee Stallion, DJ Khaled and Tyler, The Creator have more in common than just a release date. The artists also know a thing or two about thoughtful sampling.

Their projects, which all happen to be some of their best efforts, find inspiration from 70s soul and deep 90s underground jams. Jackson 5, Jay-Z and Sizzla were sampled on DJ Khaled's previous release Grateful, but with Father of Asahd, the producer and proud dad jumps back into the crates. This time around, modern hits are used like Ms. Lauryn Hill's "To Zion" and Outkast's "Ms. Jackson."

Megan Thee Stallion's samples also prove her rhymes aren't the only thing fans should pay close attention to.

Check out some of our favorite samples from this week's releases below.

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Megan Thee Stallion- Fever 

1. "Hood Rat S**t"

Sample: Latarian Milton's Viral Video (2013)

Plucked from the wonderful world of viral videos, Megan uses the then 7-year-old's mischevious joy ride to accurately describe how she rolls with her crew.

2. "Pimpin"

Sample: DJ Zirk & Tha 2 Thick Family featuring 8Ball & MJG and Kilo-g  "Azz Out" (1996) 

There's something to be said about Megan's very clever samples. The chorus to the late 90s underground gem stems from southern legends like Tennesee's 8Ball and MJG along with NOLA's own Kilo-g. Megan grabs a few bars from the track and puts her own twist on them for the chorus: "Stick 'em up, stick 'em up, raise 'em up, raise 'em up Drop it off in his fucking face just to saw it off/Gotta get my a** ate, gotta make that a** shake/Gotta swipe this ni**a card so much they had to call the bank"

3. "Simon Says" featuring Juicy J 

Samples: Billy Paul, "Me And Mrs. Jones" (1972), "Looking For Tha Chewin,'" DJ Paul (Ft. 8Ball, DJ Zirk, Kilo-G, Kingpin Skinny Pimp & MJG) (1992)

Another variation of the aforementioned track is also heard on her collaboration with southern legend Juicy J. The soft intro by way of Bill Paul's "Me and Mrs. Jones" also offers a soulful touch to the track.

DJ Khaled- Father of Asahd

4. "Holy Mountian" featuring Buju Banton, Sizzla, Mavado and 070 Shake) 

Sample: "One Spliff a Day," Billy Boyo (1981) 

Boyo's legendary riddim has been used by a bevy of artists including SiR and Wiz Khalifa but Khaled's curation of the track with some of the biggest names in reggae takes it to another level. It also doesn't hurt that his longtime friend and icon Banton opens the album.

5. "Just Us" featuring SZA 

Sample: "Ms. Jackson," Outkast (2001) 

This sample definitely raises the eyebrows, but the careful loop paired with SZA's sing-rap flow makes it worth a listen.

6. "Holy Ground" featuring Buju Banton 

Samples: "To Zion," Ms. Lauryn Hill and Carlos Santana (1999) 

Grand opening, grand closing. Banton closes out the album with soul-baring lyrics and a thoughtful sample to match. Carlos Santana's chords from the original track give the song a sentimental feel along with Banton's lyrics about mass incarceration, cultural warfare and spiritual freedom.

Tyler, The Creator- IGOR

7. "A BOY IS A GUN" 

Samples: "Bound," Ponderosa Twins Plus One (1971) 

Tyler might have gotten inspiration to sample this song from Kanye West (Bound 2), but his take is smooth and subtle as he navigates through love and heartbreak.

8. "ARE WE STILL FRIENDS" featuring Pharell Williams 

Samples: "Dream," Al Green (1977) 

Underneath IGOR's tough exterior lies a gentle soul. The placement of Al Green's "Dream," on the latter end of the album takes the listener on a starry love high. Pharrell and Tyler allow the sample to act as a skeleton for the song as they point out how to keep love alive.

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Megan Thee Stallion Helps DTLR Celebrate Fashion's Past, Present and Future

Fashion retailer DTLR has always curated the best of streetwear, with their latest fashion show proving the evolution is real and influential.

The fourth annual show took place in Atlanta this spring under a theme titled, "Genesis."  The event took place in Atlanta, GA, with hosts Yung Joc and DTLR's Radio's Tiara LaNiece. DTLR's Apprelle Norton, David Storey and KeJuan McGee curated the event to take their guests "on a journey through the past, present and future of fashion, featuring the latest from top leading brands such as Nike, Puma, Adidas, Levis, Champion, Reebok, Fila, Black Pyramid, New Balance, Tommy Hilfiger, Staple, Hustle Gang, Akoo, Ethika, Odd Sox, and many more."

In addition to presenting some of the hottest looks out, the event also welcomed performances from VIBE NEXT Alumna Megan Thee Stallion. Appearances from the the "Big Ol Freak" rapper was an added effort on DTLR's Vice President of Marketing, Shawn Caesar's part to make the fashion show more of an "experience."

"We wanted to add more of an 'experience' feel to the show this year," Caesar said in a press release. "[We wanted]  to encourage more engagement and interaction from our attendees, and to aid in creating more memories and reasons to stay connected to the DTLR brand long-term."

DTLR is quickly becoming a part of a class of successful upcoming brands. The brand has more than 240 stores in 19 states and Washington D.C. and it manages to combine fashion, sports, entertainment, sports, and community empowerment into one; all while providing their customers with elite footwear, apparel and accessories to match.

See photos from the event below.

 

 

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