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

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By: Thomas Howard

Texas rapper Thomas Howard, has officially released his new single “The Backstory Pt. 1”. Since gaining the industry’s attention in 2015, after being discovered by Bizarre from D12, Howard has only taken his career to new heights. This single dives into a deeper layer of this emcee’s honest tongue, and raw lyricism.

On this song, you will hear the Texas native rapping about his trials and tribulations, as he pushes through pain in order to garner success. As this single is geared to appear on his upcoming EP The M.I.M.O.E, it sets the tone for what we can expect from Howard all year. His storytelling abilities are out of this world, and thrive like never before on his latest material. The most notable element of this release is the consistent, heavy hitting bars that go on from the beginning to the end of the record.

Being heavily influenced by a long list of greats, such as Big Pun, Nas, The Notorious B.I.G., Tupac, Bizarre of D12 and Eminem Howard is figuring out ways to joins the ranks of some of the greats.

With a thriving sound, stead fast fan base, and musical bliss, he is ready to take over the mainstream circuit. Press play below to stream “The Backstory Pt. 1” and tap in with some new vibes.

The post Texas Rapper Thomas Howard Releases An Honest New Single Titled “The Backstory Pt. 1“ appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Jay-Z and the Notorious B.I.G. Photo Credit: REHAB Online Magazine

DJ Clark Kent drops by Scoop B Radio and discusses producing, the latest and greatest AND producing Jay-Z and Biggie Smalls’ Brooklyn’s Finest. Press Play Below To Listen! 

Jay-Z’s “Reasonable Doubt” had hits! Hov’s first album, released on June 25, 1996 and had hits like “D’Evils,” “Can I Live,” “Can’t Knock the Hustle,” “Ain’t No N***a” and “Feelin’ It.”

While the album had appearances by Mary J. Blige, Foxy Brown and Memphis Bleek, it was also graced by the presence of one of the greatest of all time, the Notorious B.I.G., on the track, “Brooklyn’s Finest.”

Get this though: Biggie wasn’t supposed to be on the track at all. Appearing on today’s episode of the Scoop B Radio podcast, legendary dj, Clark Kent said that the Brooklyn’s Finest track, which he produced was for Jay-Z. “I got to the studio to lay it for Jay, Big heard the track and he wanted it for himself,” DJ Clark Kent told me.

“But I couldn’t give it to him because it was already for Jay. But I said [to Biggie]: ‘If you come to the studio and wait downstairs, I’ll tell him that you should be on the record and we’ll see what happens.'”

Jay-Z agreed to it and so the track was created. “I brought Big upstairs and Jay thought I was a funny guy for not telling him that Big was downstairs,” DJ Clark Kent recalled. 

DJ Clark Kent. Photo Credit: Complex

According to DJ Clark Kent, Jay-Z re-did his verses on the track to accommodate Biggie.  “Everything you hear from Jay on that record was changed 20 minutes after he laid what he laid,” he said.

“So he basically set up every one of Big’s verses with a rhyme and then asked Big was he ready. Big was so blown away by it. He was like: ‘he wasn’t ready’ and said he needed some time. So he took it home and two months later, we went back to the studio and Big laid his part.”

With all of the lyrical firepower on that track, guess what? Neither one of the rappers had a hook. “I had to figure out a hook because they left me in the studio with no hook,” recalled DJ Clark Kent.

“So I was there trying to become a hook guy!” So I went in the booth and did the hook and luckily everybody was happy because otherwise the record would have never happened.”

The story is legendary. But, DJ Clark Kent is legendary too! He’s produced for any and everyone: 50 Cent, Slick Rick, Lik Kim, Rakim and Canibus.

He’s also produced for Mariah Carey. Remember Mariah’s Loverboy song?! Yup, he produced that!

Man, he sampled Cameo’s “Candy” song!? 

DJ Clark Kent talked about that, the state of the New York Knicks, Drake, 50 Cent and more in our interview. Check out our interview via Scoop B Radio by clicking here. 

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The post DJ Clark Kent details how he got Notorious B.I.G. on Jay-Z’s Reasonable Doubt album appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Corey Smith, Major League Baseball’s Senior Director of Supplier Diversity and Strategic Sourcing chatted with RESPECT Magazine’s Brandon ‘Scoop B’ Robinson about diversity. Photo Credit: The Shadow League

Major League Baseball is working everyday to become more diversified on and off the baseball diamond. MLB created their Diverse Business Partners Program in 1998 under the suggestion of former MLB Commissioner Bud Selig. DBP keyed in on five critical factors: Proactive Leadership, Commitment to Sound Business Practices, Priority on Partnerships, Structure and Process that Yield Long-Term Success and Accountability.

Corey Smith, Major League Baseball’s Senior Director of Supplier Diversity and Strategic Sourcing recently chatted with me about diversity in Major League Baseball and even discussed his own journey as a minority in the work world. Six years in with MLB, he’s got a lot to say.

Here’s THE SCOOP:

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The post Scoop B: Talking Diversity With Major League Baseball Exec Corey Smith appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

An album is the greatest gift an artist can give the world. Singles come and go, and mixtapes – no matter how dope – just don’t capture the same essence. They say that an artist spends his/her whole life creating their first album. Unknowingly gathering information as they travel through life’s journeys, stashing it away for future use. Because of this, I often am a proponent that most artist release their best albums the first go around. Get Rich or Die Tryin’, Reasonable Doubt and illmatic all showcase young – minus Jigga – men coming out the struggle trying to GET IT. You could hear the struggle in 50’s voice when he says, “God gotta let me in Heaven, for goin’ through Hell,” or Jay’s future *legal* business savvy when he flows, “If every ni**a in your clique is rich, your clique is rugged/ no one will fall because we will all be each other’s crutches.” While all three artists went on to make classics after their debuts, in my opinion, none felt more authentic. That is not the case for Christopher “Notorious B.I.G.” Wallace. Although Ready To Die is a bonafide classic and showcased a hungry young Brooklyn emcee on the verge of super-stardom, Life After Death is by far Biggie’s most creative and thought provoking project. On the 20^th Anniversary – if you want to call it that – of Biggie’s tragic passing, we review the immortal legend’s best album.

*If you’re reading this review, I assume that you already know the story behind Biggie and his rise to the top from the trenches of Flatbush, Brooklyn. I assume that you are also familiar with his death, so I will spare you the details – and sorrow — of a recap.*

By the time Biggie released his final album, he had passed away 16 days prior, though leaving us with a masterpiece. From the jump, the album picks up where Ready To Die left off, showing our narrator, Biggie, getting ready to blast himself in the head. Now, this wasn’t a surprise. Anybody who’s listened to a Biggie album knows that he’s been foreshadowing his death since the beginning of his career. Still, it’s chilling to think that 20 years ago, Biggie knew his path. He knew that eventually, his past karma would catch up. Pitchfork points out in their review of the album, “The blast comes courtesy of a large-bore cartridge from a high-powered revolver, while his best friend and confidante—played by label boss and possible Svengali—Sean “Puffy Combs”—listens in disbelief, possibly willing him back to life, possibly imagining an alternate reality where Christopher Wallace remains alive.” Wow… Really think about that for a second. Before any of the successes that this album brought, before Bad Boy established itself as a consistent power, signing acts like Mase & The Lox; Puffy was already mourning the loss of his friend and business partner. It as if he was already preparing for the inevitable, setting the table for the rest of the prophetic album.

Following the intro, the album turns to “Somebody’s Gotta Die” an ode to revenge, before providing the first single on the album, “Hypnotize”. Personally, “Hypnotize” is toward the bottom of my favorite BIG songs – though that may be a compliment considering his discography – so the album starts off a bit shallow to me. But one thing the first two songs highlight, that was a calling card for Puffy and BIG, was the contrast between pouring out his feelings, and pumping out hit records. Throughout this album, and others, it seems as if every time BIG gives you an insightful piece of his heart, soul and mind, he follows it up with a bangin’ hit. If you really consider the formula and ponder on it, it’s genius. Make them think, then make them dance. It’s a simple idea on the surface, but simplicity was always BIG’s strong point – other than entendres. Then the album cuts into, “Kick in the Door”, a scathing track where even 20 years later, we still ponder over just exactly who he was talking about. The King responded to reported jabs from Nas, Raekwon, and even the track’s producer DJ Premier. “Son, I’m surprised you run with them/I think they got cum in them, ’cause they nothin’ but dicks,” rhymes BIG on the second verse, referring to Premier’s business relationship with Jeru The Damaja, somebody who repeatedly took jabs at Puff and BIG. The influence from this track is heavy and can still be felt even today. Plenty of rappers have not only bit this cadence, but also the “Wavin’ the 44” line, which is almost as iconic as this album.

Kick in the door, wavin the four-four/ All you heard was Poppa don’t hit me no more

– Biggie

One of the more underrated tracks on the album has to be the next track, “Fucking You Tonight” a bouncy, sexually driven track that en-captures the essence of the 90s in one song. Meshing skewed up synths with wild wordplay and crazy harmonization from R. Kelly, this is the track that I still play the most to this day. I remember hearing this track for the first time at 5-years-old – 3 years after its original release — and falling in love at first listen. I had no idea what they were talking about when BIG said, “Some say the ex makes the sex spectacular” and I probably shouldn’t have been listening to it, but I was and it shaped me. I’m not sure why you played this track around your 5-year-old son, but dad, thank you. 17 years later, you, Biggie, Kellz and this track created a monster.

The album then transitions into “Last Day” with The Lox, “What’s Beef” an step-by-step manual on how to come at somebody’s neck, and “I Love The Dough” a flashy, catchy joint, turning an Angela Winbush sample into a prognostic song. “And the watches be all types and shapes of stones/ Being broke is childish and I’m quite grown” showcases Jay’s inevitable transition from Mafeso rap to boasting his riches. But it’s the line in Jay’s first verse that honestly sticks out to me more than any other lyric on the album. “You cats is home, screaming the fight’s on/ I’m in the fifteen hundred seats, watching Ty-son/Same night, same fight/But one of us cats ain’t playing right, I let you tell it,” now I’m not mind reader and I damn sure wasn’t old enough to be in the know when this song came out, but that’s a jab to the recently deceased Tupac Shakur, a man who came at Jigga continuously. Considering this interview from Dame Dash where he says Jay recorded a diss track post-death, which of course never saw the light of day, thanks to Dame. It seems as if the West Coast General got under Hov’s skin more than previously advertised.

The first disk of the album then closes with an interlude, and the lyrically dense, “I’ve Got a Story to Tell”, otherwise known as – thanks Fat Joe – “The Anthony Mason Song”, where BIG details having to check “One of them six-five ni**as” after deflowering his chick. BIG was a cold piece, man.

Then I heard her moan, honey I’m home
Yep, tote chrome for situations like this
I’m up in his broad I know he won’t like this
Now I’m like b**ch you better talk to him
Before this fist put a spark to him
F**k around shit get dark to him, put a part through him
Lose a major part to him, arm, leg.

– Biggie

The second disk, which is more down-tempo production wise, is buoyed by fan favorites such as “Ten Crack Commandments”, a how-to handbook on the do’s and don’ts of the drug game; “Sky is The Limit”, a freakishly underrated 112-assisted track that often gets lost in the shuffle of the more self-reflecting, depressive tracks from BIG; and “Nasty Boy” which eventually received a star-studded remix in 2005. But, it’s the trio of “Player Hater”, “The World is Filled…” and “Going Back to Cali” that to me, embody the spirit and soul of The Notorious. On “Player Hater” we see BIG and Puff let their guard down a bit and instead, highlight their humor with this hilariously dedication to the art of robbing somebody. “Playa hater, turn your head round/ lay on the ground, you’ve been roooooobbed/ wake up, take off them jewels, you fu**in fool, you’ve been roooooobbed,” croons Big on the chorus, highlighting a humorous side of him that many close to him say, the world unfortunately never got to know.

On, “The World is Filled…” we get another life lesson from BIG, Too Short, Puffy and future Bad Boy stud Carl Thomas. If nothing else, this song should be remembered for Puffy’s best verse of his life – yes, better than the “Hate Me Now” verse. I’m not sure what kind of weed BIG was smoking the night he wrote Puff’s verse but man, that dude dropped some gems. I’m just going to spew off some of my favorites: “Now first come the cash, then comes the ass/ then comes big blunts with big chunks of hash”, “Won’t you admit it, I ain’t gotta talk it cause I live it/ any chick fu**in’ with me, believe me that’s a privilege” and my absolute favorite, “And we only give our number to selective few, so it’s best that you never knew/ what good head will do turn a freak to a bisexual, and if she’s flexible f**k the n*gga next to you”. Again, I found this song at 5 through my father and again, thanks dad. Though lyrics like, “Street life, pimp sh*t/ make the hoe respect the game, you bought her diamonds and cars, trick that’s a shame” probably aren’t traditionally appropriate for a 5-year-old, I haven’t bought a female diamonds to this day. I think it’s safe to say, the monster is alive and well.

Bet you fell in love with her man!
You can’t turn a hoe into a housewife fool
Everytime you turn your back that bi**h is fu**in with dem gangstas
Eastside Westside these are my potnahs

– Too Short

The case of “Going Back to Cali” has been debated back and forth between my friends and I for years. I, for one, am a huge proponent that had he never released that song, or subsequently made the trip, he’d still be here today, or at the very least, had a chance to be. I won’t say much on this as it’s a sensitive subject to many and again, I was two when Biggie died, so my perspective is a bit different. But let me just say this, lyrics like “If I got to choose a coast I got to choose the East/ I live out there, so don’t go there/ But that don’t mean a ni**a can’t rest in the West/ See some nice breasts in the West/ Smoke some nice sess in the West, y’all ni**as is a mess” seemingly cause nothing but trouble when EVERYBODY in the state at the time thinks you had something to do with killing their hero. Though BIG followed up these lyrics with, “Thinkin I’m gon stop, givin L.A. props/ All I got is beef with those that violate me,” it seems as if The Notorious didn’t take into account The Sunshine State’s beef with him.

The album then closes off with “Long Kiss Goodnight” and “You’re Nobody (Till’ Somebody Kills You)”, two tracks that embody BIG’s obvious morbid mentality. Lyrics like, “Here’s a tissue, stop your blood clot crying/The kids the dog, everybody dying — no lying” and Blood rushing, concussions, ain’t nothing/ Catch cases, come out fronting/ Smoking something,” highlight BIG’s clear lack of empathy for death, while just the sheer title of “You’re Nobody (Till’ Somebody Kills You)” indicates how BIG foresaw his career direction. The saddest part about all of this, he was right on the money. Though BIG was more universally celebrated during his time on Earth than Tupac – it’s rumored he died with no more than 200k to his name — the icon had nowhere near reached the martyr status that he claims today. Looking back on this album 20-years-later as a 22-year-old obsessive Hip-Hop head, I geek out over the God-like lyrical ability of Biggie and his collaborators, but I also get extremely sad when thinking about just how right he was. If you want me to be honest, considering the nature of the album and how the tracks are listed, those were the exact emotions the legend was trying to extract.

If you’ve never truly listened to the album, take today to do so and buy the album. I promise your life with be the same.

#LongLiveTheNotoriousBIG

The post Life After Biggie: Reviewing ‘Life After Death’ 20 Years Later appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

While on Revolt TV during Sway Calloway’s Doomsday Cypher, the Armenian Rapper, R-Mean announced he would release a new record for #MeanMonday every Monday for 52 weeks. This is the 10th of 52 releases! R-Mean kicks off the month of March with a brand new freestyle dubbed “Ain’t No Biggie,” paying homage to the late great Biggie Smalls during the week of the 20th anniversary of his death. On March 9th, rap fans across the globe will honor the 20th anniversary of The Notorious B.I.G.‘s death. The rapper hops on the super star’s classic “Kick In the Door” track and does it justice with a millennial twist.

R-Mean showcases his fire pen game with lyrics like:

“I dropped a tribute tape to Esco & Shady and had the net goin crazy, some balls to hop on that Renegade beat, never mediocre on them classic beats, R Dash is a savage beast. Yeah, but this for B.I., been 20 years, nobody greater, wish we could hear you on Drinkchamps with Noreaga, wish we could hear your opinion on rappers like Yachty and not the other way…”

R-Mean criticizes new rappers who don’t know Biggie and wishes Frank White was here to comment on their bars. He says nobody has come close to replicating the late Brooklyn rapper’s genius. And though he killed the track, he humbly acknowledges that he himself is no Biggie. Listen to “Ain’t No Biggie (Kick In The Door Freestyle)” below and tell us what you think.

RIP Biggie.

52 weeks is a long time, we’re interested in what this guy has in the chamber. Stay tuned on RESPECT. for the updates.

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The post R-Mean Pays Homage to Biggie Smalls in New Freestyle “Ain’t No Biggie” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Promethazine Wayne

The Drug culture has influenced many different genres of music in the past. Whether it was rock n roll, Jazz, or R&B, there are many artists who’ve made beautiful music while under the influence of some kind of substance. This phenomenon was very pertinent in the 60’s, during the era of Woodstock where many artists as well as many people in general were experimenting with acid and heroin. Many musicians have also been credited with making their best work while under the influence. While being under the influence can generate different thoughts which in turn changes your perception of reality – which in turn modifies your art, is it necessary? Does being under the influence really help you make better music?

In the beginnings of rap, drugs weren’t really a huge topic of discussion. Most early rap songs centered around the party life, and drugs may have been mentioned but you never got the sense that doing drugs was a part of that rapper’s lifestyle. During the 80’s and 90’s there were even anti-drug records that made waves due to the havoc the crack epidemic was wreaking, such as Public Enemy’s  “Night of the living Baseheads” which condemned drug-dealers and compared crackheads to zombies. The late 80’s and early 90’s also brought about a conscious, pro-black era in hip-hop. The main themes of this era were being intelligent and vigilant because the powers that be want to see you fail. Of course drug usage does not intertwine well with that message. Dr. Dre stated in N.W.A’s hit song “Express Yourself” that “I don’t smoke weed or sess cause it’s known to give a brother brain damage, and brain damage on the mic don’t manage, nothing but making a sucker and you equal”. Of course the tide would switch, and when rap made the transition into discussing the harsh realities of inner city life, drugs would play a huge part.

The drugs of choice were Marijuana and Alcohol. For a lot of artists, Marijuana would become an intrinsic part of their creative process. When Dr.Dre left N.W.A , his first album would be called The Chronic , and he was heavily influenced by marijuana during the making of the project. The Chronic is a bona-fide classic in rap, and considered by many to be Dr.Dre’s best work. many other artists have credited Marijuana use for assisting them in creating music. Artists like Snoop Dogg, Notorious B.I.G, Redman and Method Man, Cypress Hill, Tupac and many others were all very huge marijuana advocates. In the present Marijuana usage is still hyper-prevalent amongst rap artists, and it’s become such a very important component that many rappers whole careers are primarily based off speaking about it. Artists like Curren$y, Wiz Khalifa, Smoke Dza and many more have built sustainable careers rapping about marijuana consumption.

As time went on, harder drugs started to hit the scene and were all parts of those artists’ creative process. A prime example is Lean (also known as promethazine ,codeine syrup, or purple drank). Lean is prescription cough syrup mixed with either soda, or alcohol. The southern influence in rap brought about new drugs and Lean was a favorite amongst Houston artists. Legendary group UGK as well as DJ Screw brought about the lean phenomenon and a new sound to go with it. This sound is titled Chopped and Screwed, and the use of this drug played a major role in making that sound internationally popular. Lean is still prevalent in rap till this day. Rap transitioned further into prescription medication when artists started doing more pills. Adderall, Xanax, percocets, Oxycontin.. etc are all currently a part of rap culture.

Drugs rather if they’re  uppers or downers affect how you hear sound and how you take in information. If you’ve ever used marijuana you notice that music sounds completely different under that influence. Certain sounds mesh better with that mind-state then others. Artists then go on to continue making music that mesh well with the mind-state they like to be in. You also have to take into account that drugs do affect your mind to where you’re perhaps more confident, more relaxed, and have an open mind because you are currently in a happy, laid back mood. It makes sense that those effects that drugs have on you can lead you to make better music. Anxiety halts creative thought, that’s a known fact, so when you take a substance that relieves some of that anxiety you’re able to be more comfortable creating and that of course makes for better music.

So Do drugs help you make better music ? No, being in a comfortable and relaxed mind-state helps you make better music. Thinking outside of the box helps you make better music. Constantly pushing yourself until your songs sound the best you think it can sound to you is what makes better music.You don’t necessarily need drugs for that. The drugs themselves don’t matter. Addiction often times manifests itself in a person medicating themselves due to the mental ills that they’re suffering from.  A lot of artists that feel like drugs are helping them are likely suffering from an issue. There are positive methods one can utilize to gain confidence in themselves, to be more relaxed, and to get rid of their anxiety without relying on a harmful substance that will most likely make their mental state worst. Drugs can be seen as an easy fix, with awful consequences. There’s been a rise in drug related deaths in hip-hop; From Pimp C to A$ap Yams, From DJ Screw to DJ AM,  to the constant drug-related seizures that Lil Wayne and Rick Ross keep having and denying. These substances are clearly doing more harm than good.

In sum, drugs don’t affect music quality , you do.

Peace!

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The post Rap talk: Do Drugs Affect Music Quality? appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.