Letter from RESPECT. Founder

I’m honored to curate along with longtime collaborator, Datwon Thomas, “Brooklyn’s Finest: Legends in Focus” — a civic installation opening February 4 at Brooklyn Borough Hall, presented as part of Black History Month.

This installation brings together a selection of photographs that honor Brooklyn’s sizable impact on hip-hop culture and the photographers who helped document it. Hip-hop is one of New York City’s great cultural gifts to the world, and photography has been essential to how that story has been seen, remembered, and carried forward across generations.

With a limited number of images, it’s impossible to represent every Brooklyn rap artist, era, or neighborhood that helped build the legacy. Instead, this installation focuses on a tightly curated group of works reflecting the spirit, pride, and influence of Brookly —celebrating Hip-Hop icons whose lives and cultural contributions are deeply rooted in the borough.

At the heart of this display is the work of Jamel Shabazz, the legendary Brooklyn-born street photographer whose images have come to define generations of NY life, culture, and self-expression. His photographs are inseparable from Brooklyn’s visual history and from the lived experience of street culture itself.

The installation also features contributions from Matthew Salacuse, Mike Schreiber, Sarah A. Freeman, Justin Jay, and Lisa Leone—documentarians whose work captured BK icons in their respective emerging moments. The display is anchored by one of the most iconic portraits in music history: Baron Claiborne’s timeless image of The Notorious B.I.G., a photograph forever linked to BK’s imprint on the world.

At the center of the installation is a sequence honoring The Greatest Day in Hip-Hop History—a historic moment I helped organize in 1998 that brought together one of the most extraordinary assemblies of artists ever captured in a single image. While Harlem is the Mecca, Brooklyn showed up—and this moment belongs here because the culture has always moved between boroughs. The image featured here was captured by Gordon Parks’ trusted protégé, Johanna Fiore, whose lens preserves that day from a rare and personal vantage point. There also two images by yours truly capturing Busta Rhymes and Rakim on that day in 1998. Being in the right place at the right time is often what makes photography magical.

Additionally, a proclamation will be given to Hip-Hop pioneer, Fab5Freddy.

As a proud Brooklyn native, and as a co-founder of XXL Magazine/xxlmag.com and founder of RESPECT., the photo journal of hip-hop culture, it’s an honor for my firm iD8 Entertainment to underwrite and curate this installation in a civic space where New Yorkers can experience these images together.

Thank you to the Brooklyn Borough Hall President’s Office (Donavan Swanson and Roslyn Campbell) and the Borough Hall team for making space for public cultural storytelling.

— Jonathan A. Rheingold
Curator / Producer / RESPECT. Founder

The post BROOKLYN’S FINEST: LEGENDS IN FOCUS! Feb. 4th – Brooklyn, NY appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Please join XXL veteran journalists and contributors on May 9, 2023 — Sheena Lester, Datwon Thomas, Bonsu Thompson, Larry H

Almost 25 years ago, on September 29, 1998, I placed my Rolleiflex camera in my shoulder bag and took the train up to 126th Street to meet Gordon Parks on the block where he would capture history for XXL — a magazine I helped launch in ’97. I spent the day with Mr. Parks for what would become one of my greatest life moments.  

I was always drawn to journalists and photographers. In my era, they were the documentarians of the golden age of hip-hop journalism: The Source, Vibe, Rap Pages, Ego Trip, On the Go, Stress, 4080 and, of course, XXL … those were the days, man. Although one of the greatest photographers to ever live, Parks had never documented hip-hop culture, and he was about to make some noise.

17 East 126th Street had already made history in 1958 with Art Kane’s original shoot for Esquire, coined “A Great Day in Harlem,” in which he captured 57 legendary jazz musicians. It was a powerful and cerebral moment watching the sun attempt to shut down the shoot of close to 200 rap legends as Parks was waiting to press the shutter-release button. He got the shot and history was made. As the dozens of rap artists dispersed, I took out my camera going through 10 rolls of film. I made it a mission to identify other folks who were snapping photos that day and developed the largest archive of behind-the-scenes photos of that “great day.”  

I am honored to receive the invitation from Fotografiska to moderate a discussion about the legendary photoshoots from ’58 and ’98. iD8 Entertainment has published a special-edition journal for the evening, in which I edited, entitled “Hip-Hop’s Greatest Day” — giving a glimpse of some of the day’s images that were captured by Parks’ protégé Johanna Fiore, former SLAM editor Ben Osborne and myself. (Shout out to Paul Scirecalabrisotto for the masterful design work).  

Tickets on sale here

It is incredible witnessing Kane’s photo continuing to reunite people 25 years later.  I’ve learned firsthand: Most great work is that which stands the test of time — which can only be realized later in one’s life when least expected.  

With the soon-to-be-released, five-episode podcast series on Audible (in which I am Executive Producer) entitled “The Greatest Day”, about Sheena Lester’s story of making the impossible happen, it is truly an honor to continue to strive to make sure this day is never forgotten and recognized as the greatest day in hip-hop history.

1 luv,

JONATHAN RHEINGOLD, RESPECT. Founder

Gordon Parks prior to capturing Hip-Hop’s Geratest Day. Photo: © Johanna Fiore

What also turn out to be … Hip-Hop’s “greatest” block party! Photo: © Johanna Fiore

The post A Great Night In Hip-Hop. Paying Tribute to Hip-Hop’s Most Iconic Photo at Fotografiska NY appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Assassination Day!

Shady Records’ Slaughterhouse Counts down to The

Release of Welcome to Our House.

[Straight From The Crate…Originally Captured for RESPECT. #12 in June 2012].

Video: Trevor Sage-El

Photos: Matthew Salacuse

With Slaughterhouse’s full-length Shady debut, it was only right that RESPECT. hooked up with these killers to discover the secrets of staying sharp in the cut. Call it a master skills class. With Slaughterhouse sharpshooters Joell Ortiz, Crooked I, Royce Da 5’9” and Joe Budden breaking down the basics of crafting a classic and always staying on point, it only makes sense, right? Yeah, we thought so too. So sit back, relax and take notes. The time spent just might change your life. 

“We’re really tryin’ to keep it moving and keep hip-hop moving strong.” – Royce Da 5’9″

From his early days cutting records with Eminem as Bad Meets Evil through to his recent resurgence as part of Slaughterhouse and last year’s chart-topping Bad Meets Evil LP, Hell: The Sequel, Royce Da 5’9” has been carving his name into the books for years as one of hip-hop’s most vicious MCs. 

What time do you usually start your day?

If I’m on tour, usually about nine in the morning. Now that I’m home, I wake up pretty early as long as I’m not in the studio real late. [But] once I start getting on the late-night studio schedule, I’m getting home six or seven in the morning, and I usually sleep ’til about one or two, you know, so it just depends.

“The beauty of this group is that there are just so many different dynamics, it just works out.” -Joe Budden

The architect of Slaughterhouse, New Jersey native Joe Budden has built his name and his brand on the back of his hustle, his heart and a catalog of independent releases that have made him a legend in his own right. Now he’s brought together a collective that, bar for bar, will repeatedly bury the competition. And then do it again just for fun. 

How did Slaughterhouse come about?

I was working on my mixtape] Halfway House in 2008, I want to say. I called everybody and the track got done, and the reception was amazing. The energy was so good, it was unlike anything I had ever seen, and I guess I could say the same for those brothers. It was only logical to continue that, and we never stopped, and then it was a group, and it was shows, and then it was records, and record deals, then it was Eminem…. It was a continuous flow of positive energy and great things happening.

What’s the last thing you think about as your day is coming to a close?

What I need to say to God. I [might] think about what I have to do the next day, but then I have to remember that there might not be a next day, so I talk to God and say whatever I have to say.

“Back in the day, I used to want to make songs in five minutes. Like, ‘Yo, if I could make a five-minute song, everybody’d know I’m the best!’ I’m past that. I just want some good music to come out when I’m done.”        – Crooked I

Slaughterhouse’s West Coast rep has weathered several deals, cooked up his own independent hustle and served the streets with mixtape after mixtape. Now he’s caked up and hooked up with Shady, and he’s still on his grind. To hear him tell it, it’s just in his blood. Enter Crooked I…

What do you think about when you wake up in the morning?

Man, I think about the hustle. Every single day, as soon as I open my eyes, I’m up. I grab my phone. I check my e-mails, see if any business is poppin’, see if I got anything on my itinerary—like, as soon as I wake up. People tell me, “It’s okay to be a human being, you know.” They call me a robot, but that’s just what I do. Even when I’m asleep, I dream about different bars and songs and all kinds of stuff. I live this 100 percent. It’s embedded in me. It’s not goin’ nowhere.

“I don’t force music. If I recognize that an idea needs time to reach its maximum potential, then there’s no rush to make good music.” – Joell Ortiz

Joell Ortiz had beefed with Jermaine Dupri and parted ways with Dr. Dre, but with Slaughterhouse and Shady Records, the Brooklyn slick spitter looks like he’s found the right home.

How long does it take you to write a track?

I’ve done a whole song in a couple hours. When I do a random track over someone else’s beat, that’s nothing—maybe an hour of writing. But really, it just depends on how long I want the track to be, what I want the structure of the song to be, whether the subject matter is super complex or on some raw shit. Sometimes the less I think about it, the more my own mind gets out of the way, and I can lay down bars almost automatically.

How important is time when you’re performing?

I try to be aware of time when I’m onstage, because you want to make sure you’re putting your heart into the performance while also switching up directions to keep the audience’s attention and involve them in the show. Knowing what the audience is feeling, what they don’t want to hear, what they might be in the mood for—all of that is a part of keeping your finger on the pulse of the crowd. Their reaction determines how successful your performance is, so if you’re not paying attention to what the crowd wants to hear or what might really get them hyped, your stage presence might mean nothing. When I’m really blacking out on a song though, I have no sense of time. I almost lose consciousness when I’m diving into raps like that, because I’m totally absorbed in the story I’m trying to tell and the images I’m trying to convey, so the present sort of melts away.

All Photography and video Copyright Musinart LLC

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RESPECT. sends its condolences to the entire MIGOS family and relatives of Takeoff regarding the tragedy of his murder at 2:30 am in Houston, while a group gathered outside a bowling alley rolling dice. Please take a moment of silence as you view this photo of him from the RESPECT. 2017 Annual captured by photographer Trevor Sage-El.

R.I.P. TAKEOFF

Photographer Trevor Sage-EL. Both TAKEOFF image are Copyright Musinart LLC

The post BREAKING NEWS: MIGOS Legend TAKEOFF Murdered In Houston. appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Death Row Records released the Murder Was The Case soundtrack on October 14, 1994

Today we pay RESPECT. to one of Hip-Hop’s greatest soundtracks — Murder Was the Case — based on a short film starring Snoop Doggy Dogg. Looking back 18 years, the 18-minute film was a collaboration between the one and only, Dr. Dre and Hip-Hop originator, Fab Five Freddy. The film is a fictional depiction of the death of Snoop Dogg and his deal with the Devil. The Calvin Broadus story is one of the most well produced rap records of all time.

Signifying Snoops continual evolution as a artist and businessman, we picked this gem from the RESPECT. archive by esteemed photographer, Piotr Sikora that was several years later in 1998.

The post Murder Was The Case: Looking Back 18 Years at the Legendary Soundtrack starring SNOOP DOGGIE DOGG. appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

“The chicks like Usher, but you don’t see him flaunting chicks. I guess he was married for a long time. I just thought it would be cool to put him in this context that I’ve never seen him in: Women like this dude; let’s put him in between a girl’s legs. I don’t know if Jonnetta, his mom, would be happy, but it made sense to me. The girl was a random model who shot for editorial for GQ, but they never used that shot. I was looking at the print and I was like, ‘This looks like where Usher should be.’”

Usher photo by K. Capello featured in RESPECT #2 published 2010.

About Kenneth Cappello

While working as a “drunk barback,” he “began building sets as a hired carpenter for this guy named David LaChapelle,” he shares. “I had no idea how huge he was when I got hired. I got onto his set and was like, Oh, shit, this is where photos come from—this is a photo studio, this is a stylist, this is where photos are made. That really cracked my head open to take what I had always done just as ‘this thing’ to another level.”

RESPECT.

The post Flash Moment: USHER by Photographic Wiz KENNETH CAPPELLO appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo: Gordon Parks, Drug Search, Chicago, Illinois, 1957.

RESPECT. Magazine Proudly Endorses The Gordon Parks Foundation’s Exhibition: “The Atmosphere of Crime”

What do we mean by “crime” in America? The question should be easy to answer—we have detailed codes and statutes that forbid certain conduct defined as a criminal offense. We have an elaborate system of policing, prosecution, punishment, and incarceration that involves millions of people. But there’s a great deal more to how we think and talk about crime, and certainly to how we see and enforce criminal laws.

From the beginning, the prosecution and punishment of crime in this country have been profoundly shaped by race, poverty, power, and status. For centuries politicians have stoked fear of crime and exploited perceived crime waves, while our public discourse about crime has been compromised by persistent inattention to our history of racial violence. There is a different narrative about “crime in America” that we have for the most part ignored.

In 1957, Life magazine editors engaged staff photographer Gordon Parks and writer Robert Wallace to explore crime in the United States. The published article, by Wallace and staff editors, was a myopic rendering of the dominant narrative about crime and criminality, emblematic of a discourse shaped by politicians, law enforcement officials, and criminologists not interested in reckoning with pervasive racially motivated criminality.

Photo: Gordon Park. Untitled, Chicago, Illinois, 1957

Gordon Parks’s photographs told a different story. As an African American survivor of racial injustice, he was keenly aware of race and class in America, and this palpably informed his photography and his art. He consistently humanized people who were meant to be objects of scorn and derision. It’s this dissonance with a conventional crime narrative that makes his “crime” photos for Life so compelling today.

Excerpt from Bryan Stevenson, “The Lens of Gordon Parks: A Different Picture of Crime in America,” in Gordon Parks: The Atmosphere of Crime, 1957 (co-published by The Gordon Parks Foundation, The Museum of Modern Art, and Steidl, 2020).

A version of this exhibition titled Gordon Parks and The Atmosphere of Crime was originally on view at The Museum of Modern Art, New York, from Spring 2020–Spring 2022.

The Gordon Parks Foundation Gallery

Through November 4, 2022

The post How GORDON PARKS Documented the Prosecution & Punishment of Crime Shaped by Race, Poverty and Power appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.