Konami is set to celebrate the 25th anniversary of the Yu-Gi-Oh! Trading Card Game with the release of the “Yu-Gi-Oh! EARLY DAYS COLLECTION” on February 27, 2025. This compilation brings together 14 classic titles from the franchise’s early years, originally launched on platforms like the Game Boy and Game Boy Advance. Notably, several of these games are being localized into English for the first time, offering fans a unique opportunity to experience the series’ origins.

The collection includes fan-favorite titles such as “Yu-Gi-Oh! Duel Monsters,” “Yu-Gi-Oh! Dark Duel Stories,” and “Yu-Gi-Oh! The Sacred Cards.” Players can look forward to modern enhancements like save states, gameplay rewind, and fast-forward features, making for a more accessible and enjoyable experience. Additionally, online multiplayer support is available for “Duel Monsters 4: Battle of Great Duelists,” with plans to extend this feature to other titles post-launch.

For collectors, the physical edition for Nintendo Switch is particularly enticing, as it comes bundled with an exclusive “Harpie’s Feather Duster” trading card, presented in a special rarity.

Whether you’re a long-time duelist or new to the series, the “Yu-Gi-Oh! EARLY DAYS COLLECTION” offers a comprehensive and nostalgic journey through the franchise’s formative titles.

Check out the official trailer below:

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Every creative hopes to leave a legacy with their work. Some get to witness the full impact of their work in real time; others are so far ahead of their time that their impact outlives them. J Dilla falls into the latter category.

He was a musical genius so ahead of his time that even a new generation of Hip-hop fans and music producers reference his work today.

Today also happens to be his birthday, and so today is about paying homage, especially knowing that a few folks reading this newsletter don’t know who he is.

On February 7th 1974…

J Dilla, aka James Dewitt Yancey, was born in Detroit, Michigan, to Maureen and Dewitt Yancey (Ms. Maureen is affectionately known as Ma Dukes these days).

James developed an interest in music at a very young age. Like most geniuses, he became adept at understanding records and even breaking apart (and putting together) recording equipment by high school.

As he got into his production bag, James eventually adopted the moniker Jay Dee (a play on his initials) while building his credibility as a producer in Detroit’s local music scene.

After high school, he formed the group Slum Village with his two childhood friends, Baatin and T3. Together, they released projects like The Fantastic Vol. 1, which put them and Detroit on the map in a new way.

As Slum’s reputation grew, so did Dilla’s, and his influence didn’t stop on the East Coast.

A chance meeting in 1995 with Q-Tip, which was organized by Dilla’s mentor Amp Fiddler (who introduced him to the MPC drum machine), culminated in Tip recruiting Dilla to the “The Ummah” — a production team consisting of Q-Tip, Dilla, and Ali Shaheed of A Tribe Called Quest.

That ultimately led to Dilla working with West Coast group The Pharcyde on their sophomore album Labcabincalifornia where he ultimately produced 5 songs.

IRONICALLY…

Dilla’s work on The Pharcyde album in 1995 proved to the setting stage for what would become his legend and many of the records that stamped his career.

According to Questlove in an interview with Red Bull, Q-Tip was supposed to produced The Pharcyde’s second album, however Dilla, ended up handling the production duties.

And, As it happens, The Pharcyde was touring with Questlove of The Roots when he inquired about the drumming on the album.

The group told him that “Q-Tip’s dude” Jay Dee was the producer behind it, and afterward the two connected.

THEN THERE WAS 1996…

In many way, ‘96 would prove to be Dilla’s breakthrough year as a producer.

With The Ummah, Dilla went on produce records for Tribe’s album “Beats, Rhymes, and Life,” and for other artists on the rise in Hip-hop, which again spread Dilla’s sound to new places.

That same year…

Dilla also produced the title record on De La Soul’s fourth album “Stakes Is High,” another record that helped establish his reputation as a producer and eventually led to him being noticed by other budding hip-hop groups.

After his run in 96, Dilla was an established name in Hip-hop, but some of his biggest contributions were right on the cusp of happening.

THE SOULQUARIANS

You know that famous neo-soul sound of the early 2000s — the sound we come to know D’Angelo and Erykah by? Yeah, a lot that sound was J Dilla.

As the story goes, Quest eventually invited The Ummah to the studio while working on D’Angelo’s album voodoo. Those sessions drew together a bunch of musicians including The Roots, Badu, Common, Raphael Saadiq and more.

Together this collective recorded out of Electric Lady Studios in New York, and eventually coined the name The Soulquarians.

As a part of The Soulquarians, Dilla went on to help influence the sound of several pivotal albums that dropped at the tail end of the 90s and into the early 2000s.

D’Angelo

Although Dilla isn’t officially credited on this album, he was there for much of its creation and his stamp is all over the album.

When you think about favorites from the album and especially the rhythm of the drums, and the overall vibe of the record, A LOT of it is Dilla, though you don’t see his name.

Common

A large part of Common’s sound in the 90s is due to the years spent at Electric Lady with J Dilla.

Dilla produced the bulk of his album Like Water For Chocolate, almost all of Electric Circus, and a parts of “Be” — all three of which are Common’s most instantly recognizable/critically acclaimed projects.

The record they did together “The Light” also stands the test of time as one of Hip-hop’s greatest records.

Erykah Badu

Mama’s Gun, Erykah Badu’s sophomore album, was created while working at Electric Lady with The Soulquarians, and a few of the standout tracks like Didn’t Cha Know (which would go on to be sampled by rappers like J. Cole) was produced by Dilla.

Over the years, Badu would maintain her working relationship with Dilla and even release a track or two produced by him, but it all started with this album in 2000.

DILLA’s SOUND

Perhaps Dilla’s most important, or noted, contribution to music is the unique timing of his drums, often a signature of his music; Dilla Time, a term coined by Dan Charnas, can best be described as a push pull that gives the song a certain… swing.

Think about it like this…

Hip-hop producers use “drum machines” to “program” the drum tracks on their records.

Typically, Drum sounds sit neatly on a “grid” so that everything hits squarely on beat.

The timing of Dilla’s drums was different.

For context, this is how Dilla’s programing is described visually in Dan Charnas’ book on J Dilla, Dilla Time:

Crazy, right?

And if I may nerd out for a second, he was doing this in the 90s on a machine with limited functions; The equivalent of a Ford model T by today’s standards.

In 2025, swinging your drums like Dilla only takes few clicks of a button. In Dilla’s day the level of forethought and skill needed was far higher.

As for duplicating his samples? That’s another story.

For even more context, check out this clip from Questlove on Dilla’s production:

DONUTS

At the height of his career, Dilla was diagnosed with a rare blood disorder that tremendously slowed down his career.

He spent a great deal of time in the hospital for his sickness, but despite that he still managed to make beats from the hospital.

His final project, which many say is a love letter to his friends and family was released just a few days before he transitioned, and it remains one of the most critically acclaimed, and widely respected beat tapes in Hip-hop history.

After his transition, Donuts became the most heralded album of J Dilla’s career and it sparked an entirely new movement with a new generation of Hip-hop fans called…

LOFI

We talked about the history of Lofi early last year, and mentioned that there are two individuals known as Godfathers of the genre. One is Japanese produce Nujabes, and the other is J Dilla.

Dilla’s sound, swing, and even the machines he used have become the focus of producers across the globe who wanted to stay true to the boom-bap sound of 90s hip-hop while also incorporating a texture that showed a faithfulness to that era.

LEGACY

While writing this, I saw a post from Okayplayer saying that the City of Detroit is officially declaring February 7th Dilla Day. A street in the D was also named after him.

After what he’s done for Detroit’s music scene via his own albums, working with groups like Frank n Dank, etc. it’s only right that he gets the distinction.

If you didn’t know, Dilla’s MPC 3000 (beat machine) is even on display in the National Museum of African American History & Culture in DC; Who else would get that kind of distinction?

Legend also has it that Detroit rapper Boldy James (of Griselda) has the very last batch of Dilla beats, and he has album finished that will (hopefully) be released one day. (*Correction: His family says they just discovered a new batch recently!)

In the meantime, do yourself a favor and throw on some old Dilla today. While you’re at it, get yourself some Donuts. I know I will.

One.

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When you talk about the most important families in Hollywood, a few familiar names generally get mentioned: The Kardashians, the Baldwins, the Goldwins, etc, but another family that deserves to be at the top of the list is

The Wayans.

When we talk about culture—the Culture, Black Culture, Pop Culture, whatever kind of culture you want to discuss—many roads lead back to the work of this family.

Two of their most iconic shows are experiencing milestones this year: In Living Color turns 35, and The Wayan Bros. sitcom turns 30. Both shows helped accelerate the careers of multiple actors/actresses, and each show influenced pop culture in a major way.

The most incredible thing about the Wayans family is that their impact doesn’t stop with Gen X.

It’s Multi-Generational.

We’re gonna dig into it a bit. Let’s talk about it.

A Lil Background On The Wayans…

The Wayans brothers we see on TV are just a few of the ten children Howell Wayans, and Elvira Wayan raised in New York City.

The first brother to break through to Hollywood, Keenen Ivory Wayans, left an indelible mark that changed the trajectory of comedy and Black History forever.

As it happens, they are the perfect case study for what a House of brands can be.

The “parent” brand is Keenen. His brand gave way to Kim Shawn, Damon, and Marlon — each crafting their own respective products/projects that may not bear the Wayan name by title but are institutions in and of themselves connected by that name & their brother.

This also includes the next generation of Wayans, who are continuing the family brand’s lineage (more on them later).

As a family, they’ve made many contributions, but here are just a few:

In Living Color

In Living Color was the first show created by Keenen Ivory, a Wayans brother. It’s widely credited with changing the comedy format and being a true competitor to SNL.

In Living Color, aired in the early 1990s, was known for its edgy comedy and diverse cast, and it was instrumental in launching the careers of multiple comics, including Jamie Foxx, Tommie Davidson, David Alan Grier, and Jim Carey.

It transformed sketch comedy, but the impact doesn’t stop there.

It transformed sketch comedy, but the impact doesn’t stop there.

I. Expanding Comedy Through Parody

True enough, movie parodies existed before The Wayans, but many modern parodies that we consider classics undoubtedly have their stamp on them.

And if we’re being honest, when you look at some of the lists of the best parodies, there aren’t many, if any, Black films on them. As such, I’d venture to say that The Wayans opened up the genre to a new audience that Hollywood had underserved.

A. I’m Gonna Git You Sucka

I’m Gonna Git You is Keenen Ivory Wayans’ directorial debut (he also wrote it and stars him). Interestingly enough, it was one of the projects that got him noticed by TV networks, ultimately leading to a deal that got him In Living Color.

The movie is heralded as a cult classic and appreciated for its parody of 1970s blaxploitation films. It even features some of the stars of that era, such as Yaphet Kotto, Jim Brown, and Isaac Hayes.

B. Scary Movie

If you didn’t know, The Scary Movie franchise is also a product of the Wayans family — specifically, a product of Keenen Ivory, Shawn, and Marlon.

The budget for the film was only $19 million, but when all was said and done, it made almost $300 million at the box office. According to Wikipedia, it was the most successful film ever directed by a Black Person until the release of Fantastic Four in 2005.

In keeping with the tradition of putting on young Black talent, Scary Movie was one of the first films for stars like Regina Hall (she had previously appeared in The Best Man, her first film, followed by Love & Basketball).

C. Don’t Be a Menace to South Central While Drinking Your Juice In the Hood

Don’t Be a Menace is another cult classic parody film that Black Millennials grew up knowing and loving especially for how it poked fun at the tropes of living in the hood that could be seen around that time in films like Boyz N Da Hood, and Menace II Society.

D. White Chicks

White Chicks is another parody that is still beloved by Millennials everywhere and another box office hit in the Wayans catalog.

It was also a pivotal movie for actors like Terry Crews, who were working to reach the next level. It happened in the midst of a ton of other Wayans shows and films dominating the Hollywood scene, like the aforementioned Scary Movie.

II. Expanding Comedy Through Sitcoms

The influence of The Wayans is very much in the world of TV, particularly with sitcoms. As the ’90s progressed into the 2000s, it wasn’t just Keenen on the TV front; it was also Marlon, Shawn, and Damon who had their own shows, too.

A. The Wayans Bros.

The Wayans Bros was on one of the shows that helped make The WB relevant before it merged with The CW. It was a hub for multiple facets of Black culture, from fashion to music.

They also wore clothing from iconic Black designers in the 90s, such as FUBU and Karl Kani, and they routinely featured supporting actors who were fellow comedians on the come-up.

The show also infused Hip-hop culture into their show, The theme song being the instrumental from A Tribe Called Quest’s “Electric Relaxation” — the first time that a Hip-hop song was used as a theme music in a Sitcom, according to Revolt. The show also had multiple cameos from Busta Rhymes, Missy Elliott, Roy Jones Jr., and many more.

Moreover, The Wayans Brothers came at a time when many Black actors were finally getting their shot at a weekly sitcom, and it further solidified the comedic legacy of The Wayans Family, which ran for five seasons in total. Stars featured included John Witherspoon, Lela Rochon (from Waiting To Exhale), and Deidre Baxter.

B. My Wife & Kids

My Wife and Kids kept the 10+ year run of Wayans family comedy going for another 5 seasons with this show co-starring role for Tisha Campbell, and it also featured appearances from rising comedians like Katt Williams.

At the time, there weren’t many shows of Black families on TV, although there had been some here and there in the past. But a new show, with the comedic stylings of the Wayans backing it, made My Wife and Kids a classic Black TV show.

C. Poppa’s House

All roads lead to 2025, where a new generation Wayans star is collabing with the prior generation on a CBS show named Poppas House.

This time, Damon is back as a father-son duo who live under the same roof and go through all of life’s motions simultaneously.

EPILOGUE

Without The Wayans, you won’t get any of the work you see above, and the world would be less for it.

Scary Movie 7 is on the way, and the next generation of Wayans family members is making their way, including Damon Jr. with his CBS show and Chaunte Wayans, a budding comedian out in Los Angeles.

For those who aren’t counting, their run as a family is going on 30+ years of stellar comedic films, sitcoms, standups, and much more. Marlon had to pop out and remind people earlier this year, but in case you missed that, hopefully, this serves as a reminder.

If you want to laugh this weekend, check out one of the shows or movies above—I guarantee you won’t regret it.

One.

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The streaming wars will always be considered an interesting period in history. Shows come and go, and some are never heard from again.

For those who have HBO Max, you might have noticed that one show, which has been on the platform for some time, disappeared last year. That show was…

A Different World.

For those who don’t know, A Different World is probably my favorite show of all time — or at the very least, it’s in the top 3, promoted to the level of “background noise,” i.e., if I can’t find anything to watch, I’ll just throw on ‘A Different World’ for some entertainment or inspo if I’m working.

Almost 40 years after its premiere, it’s still a highly sought-after show, and that’s because its impact can be felt across so many different parts of culture. And with Netflix (finally) bringing it back to streaming, it only felt right to remind people of how important it is.

Let’s talk about it.

IT CHANGED ACADEMIA

A Different World premiered in the late 80s, and in terms of representation, there wasn’t much in the way of young Black people making their mark on the world.

It also showed a side of Black culture that many of us, especially those who grew up with family members who graduated from HBCUs, had seen up close and personal.

Conversely, for those who’d never been exposed to HBCU culture, A Different World was a catalyst that sparked their interest in that world.

In fact, A Different World led to an increase in HBCU enrollment.

According to CNN, there was a nearly 26% jump in HBCU enrollment between 1976 and 1994.

But the interesting part of that?

Most enrollment increases occurred from ’87 to ‘94, which coincidentally is the same time that A Different World was on TV.

IT TACKLED GLOBAL ISSUES

ADW was ahead of its time in many ways, especially in terms of the subject matter it covered. Ironically, this led to network heads becoming fearful and eventually canceling the show (at its height, no less), but many fans appreciated their careful and tactful conversations about classism, racism, the AIDS epidemic, HBCUs vs. PWIs, and more.

At a time when network TV and sitcoms were reticent to discuss issues like the Rodney King riots, ADW offered a perspective from an audience that otherwise wouldn’t have been seen on TV.

https://youtu.be/XBIvXtS5RDg

Moreover, A Different World was the first network tv show to address the AIDS epidemic.

In fact, according to Debbie Allen (showrunner), the AIDS episode was so controversial that advertisers requested to see the script beforehand and even pulled their commercials before the episode aired.

They were afraid, and it cost them because that episode, which featured Whoopi Goldberg and Tisha Campbell, became the highest-rated episode of A Different World that year.

https://youtu.be/4jPioNDU7V4

IT INTRO’D NEW PORTRAYALS OF BLACK PEOPLE IN MEDIA

It goes without saying that Black people are not a monolith, but the media would have you believe that to be the case. Black characters (to this very day) generally have to fit in neat stereotypical boxes for primetime TV. You know the boxes.

The sassy Black woman. The angry Black woman. The menacing-yet gentle giant of a Black man. Granny (or Madea) who’s the pillar of the whole family. The young guy who’s gifted but won’t get out the streets. etc.

What made A Different World so impactful was that it broke the norms of representation for Black characters in media.

Dwayne Wayne, played by Kadeem Hardison, was the epitome of cool; a subversion of the stereotype of what a successful Black man could look like on TV, and as a result, his character became canonized in Black Culture. Legendary Jordan appearances across a few seasons, just saying.

Whitley Gilbert, played by Jasmine Guy, was class & style personified. She showed a side of young Black wealth that had yet to be seen on screen. As Andscape says, she was the original Bad & Boujee, and by the end of the series she transformed from sheltered and elitist, to down-to-earth.

Freddie Brooks, played by Cree Summers (who you may know as the voice actor behind Susie Carmichael on Rugrats)was carefree, whimsical, and another archetype of a Black woman that the media traditionally didn’t represent. To this day, Cree still gets shouted out on social media for her work as Freddie Brooks (and rightfully so).

Characters like Jaleesa (Dawnn Jewel Lewis) showed what it was like to be a single mom starting college later in life, while Kim (Karen Charnele Brown) showed the pressures that come trying to achieve at the highest level.

Denise (Lisa Bonet) was floating through life, without a direction or care; Ron (Darryl M. Bell) partied until the very last year and paid the consequences — the Black characters on the show were far from monolithic.

GEN Z NOSTALGIA

With its syndication on cable and streaming, A Different World has taken on a new life with an entirely new generation of college students. A generation who is already knee-deep in the nostalgia of 90s/2000s culture aesthetically, and discovering the cultural artifacts that go with the vibes they’re emulating.

As a result, A Different World’s cast has gone on college tours to the AUC, Howard, etc., to talk to the next generation. They’ve even visited the White House to discuss the importance of HBCUs.

Moreover, Hillman College apparel has taken off — with several licensed (and unlicensed) sellers giving a taste of nostalgia to 20-somethings (and 30/40/50 somethings) everywhere.

The hype is definitely real and warranted.

Below are still shots of the ADW cast visiting Howard University & Spelman College, where they were met with with much adoration (if only they had dropped by the AUC 10 years ago; but I digress).

HIP-HOP MUSIC

A Different World’s impact also extended into Hip-hop in a multitude of ways.

Heavy D, and teen duo Kris Kross were featured on episodes, and Pac gave an iconic performance before passing.

As the years progressed everyone from Jadakiss to Pete Rock has had a Dwayne Wayne or A Different World bar in their music. And the list goes on. These are just a few standout in culture:

“Dude lock yo’ self in a room doing five beats a day for 3 summers/ That’s a different world like Cree Summers” – Ye

“A different world so I wear glasses like Dwayne Wayne” – Gucci Mane

“I was on the plane with Dwayne / You can call me Whitley, I go to Hillman” – Nicke Minaj

EPILOGUE

A Different World’s impact has spanned more than 3 decades, and with its recent resurgence, it doesn’t show any signs of slowing down.

There are also whispers of a sequel happening on Netflix (and I seriously hope they don’t botch it).

If anyone who worked on it reads this newsletter, Ima need y’all to make a box set, so I don’t have to rely on streaming services; Licensing deals be damned, that’s what the culture’s feeling *Kendrick Lamar voice*

One.

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As usual, brands are releasing reports and end-of-the-year lists that give their POV on culture’s most impactful moments and releases.

On the fashion side, a few shoes are topping the list for sneaker of the year.

Generally speaking, you’ll see some of the usual suspects on the list from Nike, Jordan, etc. But, one shoe caught my eye, and it’s only been out for a month, or so.

It’s an Adidas Samba.

But when I took a closer look at the material on the shoe I was intrigued. The material wasn’t just leather, it was CROCODILE.

There have been a lot of takes on the Samba over the course of its life, but this one felt new. It was a unique blend of high fashion and streetwear in a way that feels unexpected.

Ironically, a notification from the Adidas Confirmed app prompted me to shop the collection where the shoe was featured. Upon further inspection, it showed me that the creator was Grace Wales Bonner.

As for her design principles?

Well, if you listen to Grace talk about her work, or visit her website she brings up the term “Cultural Luxury” — something that I wanna unpack a little bit today.

Before we get to that though, let’s set the stage a little bit.

Some of you may not know Grace (yet), so let’s break it down.

IN 1990…

Grace Wales Bonner was born in South London to an English mother and Jamaican father. Growing up, she would split time between parents which allowed her to learn about life from her Jamaican relatives as well as her British ones. It’s heritage that inspires the stories that she would go on to tell in her work.

After grade school, Grace attended Central Saint Martins Art School where she discovered her interest in fashion, and while there, her final project “Afrique” won her the L’Oréal Professionnel Talent Award.

Shortly after, she launched her own self-named brand, Wales Bonner, in 2014.

Just a year later…

Grace’s breakthrough in the fashion world would begin.

In 2015, she debuted her first collection under Wales Bonner named “Ebonics,” and subsequently won the British Fashion Award where she was recognized as an Emerging Menswear Designer.

In 2016, she won the coveted LVMH Prize — a prize worth $300,000 and a mentorship opportunity at LVMH. Between that award and the connections she was already making in the world of fashion, this year proved to be an accelerant to her ascent.

As for Wales Bonner the brand, it initially focused on menswear, with her designs quickly gaining attention for their fusion of Afro-diasporic themes, exploring identity, spirituality, and Black masculinity in ways that pushed past conventional narratives on Blackness.

In the years to come, specifically with the release of her Spring 2019 collection, Wales Bonner would go on to release women’s wear that also explored many of the same themes as the men’s line.

To date, her work can be seen on celebs like Kendrick Lamar, Mos Def, and Solange, and Sampha.

GRACE’S THESIS OF CULTURAL LUXURY

On the Wales Bonner website first line of the about section states:

“Wales Bonner proposes a distinct notion of cultural luxury that infuses European heritage with an Afro Atlantic spirit.”

It’s a guiding principle that you see clearly when you look at Grace’s work and her perspective on the luxury space. It’s challenging the idea of luxury and what it means.

Grace has stated in interviews that she believes apparel to be one of the most direct forms of communications.

Moreover, one of the goals of her company is to create what she calls “essential luxury” via collections telling stories that draw on different eras and influences of the African diaspora.

At times, she’ll draw on her own lived experiences as a British-Jamaican woman, and at other times she’ll find other muses. The common threads in each instance are the unmistakable qualities that are uniquely her (the print choices, detail to capturing the aesthetics of a specific era, etc.). All of this can be seen when watching the supporting vignettes of each collection as well.

Grace also notes that the approach to her work is heavily grounded in research — a process she notes is instinctual, and even spiritual in the way that things happen to find her while searching archives.

ADIDAS & CULTURAL LUXURY

Grace has noted that for Wales Bonner to achieve its goals in luxury she’s open to collabs as long as it’s the right partner.

With that in mind, in 2020 she unveiled her first collection in partnership with Adidas.

Below are some of the collections from her Adidas partnership to give you a feel for how her work has come to life in culture.

A. Lovers Rock (Fall/Winter 2020)

Fun fact for those who didn’t know: Lovers Rock is actually a style of Reggae — not just the title of Sade’s album.

The pieces from the collection drew together all of the influences from artists in the 80s who performed that style of music.

More specifically, Bonner noted that she drew inspiration from Bob Marley — she wanted to create suits that were reminiscent to what he’d wear in his era.

The debut collection also featured clothing inspired by Grace’s personal influences including her Caribbean heritage, and upbringing in London that I alluded to earlier.

Naturally, the collection is sold out.

To date, the pieces can only be found on sites like Grailed and StockX where they’re on resell for $100s of dollars.

B. The Spring 2024 Collection

In one of her most recent collections with Adidas, Wales Bonners included a throwback SKU from over a decade ago: The Neftenga.

This silhouette was made famous by Ethiopian track star Haile Gebrselassie who broke the Berlin Marathon record in 2008.

Ironically, East Africa was the muse of one of her first shows in 2017, Ezekial, which drew inspiration from figures like Haile Selassie.

C. Discovering a World Within a World (Fall/Winter 2024)

Wales Bonners most recent release (which the Croc skin Sambas/Superstars are a part of) sees her focusing on Black life in New York at a time that looks like the 80s.

You’ll find Black youth wearing Gold chains, jumpsuits, an of course, the grail of all Hip-hop shoes (depending on who you ask), The Adidas Superstar.

EPILOGUE

Grace’s work with Adidas is some of the best I’ve seen this year.

I’m not gone hold you, I can’t really fade the price on the Samba’s (YET!) — But that’s the point. These are luxury sneakers and the details from the Crocodile skin to the woven 3 stripes on some of the silhouettes.

Everything shows an intense appreciation for storytelling that not many share.

If you don’t check out any other collabs this year, I’d take a look at her work.

You won’t be disappointed. Trust.

One.

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We’ve all heard the sound before. We look for it in beat drops, in the club, in our cars etc. And that sound is known as the…

808.

For those unfamiliar with the term, an 808 is a drum sound often used interchangeably with “Kick.” However, the 808 is more often than not responsible for the low frequency that you hear in sound systems.

808s are the foundation of many subgenres of Hip-hop, including Trap music (what kids call “Drill” these days), and its legacy in culture runs deep.

To really know Hip-hop, you gotta know the origin of the sound. More to the point, to partner with The Culture, you must understand the subtle cues that make the music important.

So, in true SNOBHOP fashion, today is a deep dive into the history of the 808 drum.

Let’s talk about it.

IT ALL STARTED IN THE LATE 60s…

Engineer Ikutaro Kakehashi set out on a mission to create an affordable machine for drum synthesis.

At the time, Ikutaro was doing this under his own company, Ace Tone, which was known for producing early rhythm machines like the R-1 Rhythm Ace, which offered preset patterns and sounds and was widely used in home organs.

By all accounts, Ikutaro was doing pretty well, but little did he know that he was about to cross paths with someone who would change his life forever…

While Ace Tone continued to create its products, he crossed paths with a man named Don Lewis, who found a way to “hack” the Ace Tone drum machine.

Don was an electrical engineer himself, and he was able to get the Ace Tone drum machines to produce sounds that even its creator Ikutaro Kakehashi didn’t believe it was capable of.

Kakehashi was so impressed by Don’s work that the two struck up a working relationship, and, in many respects, Don’s input in future products were the reason why drum machines became programmable.

After a few more years working under the Ace Tone moniker, Ikutaro eventually started The Roland Corporation where he made Don the principal designer.

In the early years of Roland, Ikutaro released the first drum machine the CR-78, but truly stumbled upon the company’s magnum opus in 1980.

That was the year Roland released:

THE TR 808.

The 808 was the first of its kind — a fully decked-out machine that came with realistic drum sounds and effects. It was also leaps and bounds ahead of the competition because it was programmable (something Don learned hacking the Ace Tone years earlier), which meant that you could make a drum beat fully inside of the machine AND save it for later.

Ironically, for as forward-thinking as the 808 was, the machine initially flopped.

Musicians (and critics) disliked the sounds, and production of the 808 ceased only 3 years later after Roland couldn’t get the part that was responsible for making it as unique as it was. Only 12,000 units were sold during this time.

But, all things work out for the greater good, and life would show that was just the beginning for the TR 808.

1982 CHANGED EVERYTHING…

After an initial underwhelming release, the 808 machine began to slowly get adopted by different musicians across the world.

Experimental groups like Yellow Magic Orchestra in Japan (widely credited with being the first group to use the TR 808 on a recording) and Kraftwerk inspired many musicians in America to experiment with drum synthesis.

A handful of records in the U.S. are usually given the credit for being the first to incorporate the 808 sound in the production, but in 1982, two records were released which changed the course of the 808 drum machine’s future forever.

1. Marvin Gaye: Sexual Healing

Marvin Gaye had just experienced a tumultuous split from Motown, and as a result he wasn’t using their producers anymore. He moved to Belgium to recalibrate, and after locating a studio in Ostend, and an engineer in Mike Butcher, he was ready to work.

You’ll never guess what he brought with him to Belgium…

That’s right. Marvin was using an Roland 808.

His split from Motown gave way to a belief in being as independent as possible, and with the 808, Marvin didn’t have to rely on live musicians to create for him.

The result of experimentation on the 808 gave us one his most successful records: Sexual Healing.

Marvin Gaye’s use of the 808 validated it on a mainstream level and electrified the underground producers who were also gravitating toward the machine. Between this record and the one below, the 808 was gaining a foothold in the circles that mattered culturally.

2. Afrika Bambaataa: Planet Rock

Hip-hop was still in its infancy, but Afrika Bambaataa’s Planet Rock became the record that brought the 808 drum machine into pop culture.

The futuristic drum beat provided the backbone of the record, and has been sampled on a bunch of records since then.

Many artists on the East Coast, and across the world noted Planet Rock as the reason they began to search for the TR 808 in pawn shops — it was all to replicate the futuristic sound Afrika Bambaataa and The Soul Sonic Force.

Moreover, Bambaataa’s use of the 808 on Planet Rock led to the creation of sub-genres like Drum and Bass, House music, Electro and much more.

AS FOR HOW THE 808 BECOME A SOUND…

Hip-hop began to grow as a genre, and adoption of the 808 machine continued to spread amongst the underground. However, one producer is widely credited with using a technique that changed the use of the 808 machine forever. Of course, it was none other than:

Rick Rubin.

While tinkering with the machine, Rick made an amazing discovery:

If he adjusted the decay of the 808 kick drum, it morphed the clean drum into a wide bassy kick, which became a feature in a lot of his work in the 80s with artists like The Beastie Boys.

Just like that, Hip-hop producers starting putting that sound in their records to get that same “punch.”

As time progressed, more mainstream musicians incorporated the use of the 808 machine in their work, and it was clear that the star of the machine was the kick drum that was capable of rattling trunks and blowing out speakers.

By the late 80s it was official.

The lore of the 808 was born.

MIAMI BASS TOOK THE SOUND FURTHER

Going into the 90s, Hip-hop dominated the airwaves. Run D.M.C., and LL Cool J were global successes, so it was clear that Hip-hop was here to stay, and the 808 drum machine popularized by Planet Rock, LL, Public Enemy, and the Beastie Boys records were the driving force of the sound.

That rumbling bass tone from the 808 kick sound became so popular that it eventually made its way down to Miami where Miami Bass pioneers like DJ Pretty Tony created records like “Fix It In the Mix” — widely credited with being the first Miami song to feature the 808.

The bass sound was catching waves across Miami because of the DJ scene, and soon gave rise to groups like the 2 Live Crew who helped make Miami a mecca for Hip-hop in the South.

Building on the success of the 808 sound in Miami, one producer duo took the things even further:

Dynamix II.

Dynamix paired the 808 with different machines in their studio and created a method that allowed for “tuning” it.

All of sudden, the kick had new characteristics — it could go high, low, and even distort itself.1

It would prove to be game changer that transcended music across the East Coast. Peep below for reference:

As the 90s went on…

The versatility of the 808 was on full display.

Slowly, producers were moving onto drum machines that were more advanced than the Roland 808, and its original drum sounds survived on Floppy Disks, and eventually CDs years later.

Because of the way tech evolved, and how Hip-hop music traveled through the world, the 808 sound traveled eventually permeated the South which made way for Atlanta to get into Bass Music, New Orleans to get into Bounce, etc.

In New Orleans that led to the rise of record labels like Cash Money, and its main producer Mannie Fresh, who brought his own flare to the 808.

Moreover, in Atlanta we saw the rise of acts like the So So Def Bass All Stars, which eventually gave way to the rise of Crunk music.

Lil Jon, the de facto architect of Crunk music, heavily used the 808 drum in his work with Usher, The Youngbloodz, and many more. It gave the city a sonic identity that influenced the genre for decade to become because from Crunk music, we eventually got…

2000s TRAP MUSIC

Producers like DJ Toomp, Zaytoven, Shawty Redd, etc. ushered in a new sound in Hip-hop characterized by key elements found in the original TR 808 like the kick drum, hi-hat, and snare drum.

With the advancement in tech allowing producers to become more mobile they were able to take the 808 to new heights.

Through working with Gucci, T.I., and Jeezy who are often touted as the fathers of the Trap music, their sound effectively solidified the importance of the 808 for a new generation of Hip-hop fans.

Listen to the drums on this T.I. record below. The Hi-hat and Kick should sound familiar.

As the years went on we eventually saw the rise of producers Lex Luger, 808 Mafia, Metro Boomin’ and more who became the go-to producers of the 2010s.

With their ascent, the 808 took on even more characteristics that helped it keep relevance with a younger generation.

FAST FORWARD TO TODAY…

And all roads lead to the present day with Drill music.

The 808 is the focal point of the production of Drill in all of its distorted glory, and the foundation of this subgenre is rooted in the sound of Atlanta Trap in the 2010s.

EPILOGUE

The 808 is responsible for so many records that it’d be impossible to list them all here. Its influence spans genres, continents, and generations, which is why I think it’s important to give it a spotlight.

There’s no telling when the next big innovation of the 808 will happen but if the recent wave of rap shows us anything, it’s that each generation will find a way to flip it and make it their own.

It’s crazy how a random sine wave out of a 40+ year old machine can change the world, huh?

If you ever see an original Roland 808 going for the low, holla at me.

One.

The post How One Machine Defined The Sound of Hip-hop Music appeared first on SNOBHOP.

E.G.O.T. winner.

100s of records produced.

The list goes on.

As a society, we tend to use the word “legend” loosely, but if you ever need an example of a bonafide legend, it’s Quincy Jones.

More than a musical genius, Quincy Jones is a cultural institution responsible for a lot of the work we love and cherish today. There will likely never be another figure that influential in pop culture again, so he deserves all of the props.

His impact reaches across generations, and people tend to forget exactly how much he gave to the world. But don’t worry, we’ll change that in a second.

For this edition of SNOBHOP, let’s talk about Quincy Jones’s influence across generations — from music to TV, and everything in between.

Let’s get it.

On March 14, 1933…

Quincy Delight Jones Jr. was born in Chicago’s South Side. In the 1930s, Chicago was a vibrant but tough place, and young Quincy grew up surrounded by the stark realities of the Great Depression and segregation.

Raised by his father, Quincy’s family eventually moved from Chicago to Seattle, seeking better opportunities and a fresh start after his mother’s struggles with mental health caused turmoil inside the family.

Seattle became the launching pad for Q’s music journey. While there, he attended Garfield High School, where he first discovered his passion for music, specifically the trumpet.

It was here that he met Ray Charles, a fellow teenager and soon-to-be legend, who inspired Quincy to dive deeper into Jazz. Quincy spent countless hours practicing, even sneaking into Seattle clubs to watch musicians perform, soaking up every bit of knowledge.

These formative years exposed him to a plethora of musical styles, and shaped his versatility as a musician, setting him on the path to becoming one of the most influential figures in music history.

If you look at his impact by the decade…

THE 50’s & 60’s

By 1961, Quincy’s career was on a uptick because of the work he’d done in the Jazz world. This momentum eventually led to him becoming the VP of Mercury Records, where he helped break several Black artists into the mainstream.

Moreover, as the decade progressed, Quincy caught the ear of Frank Sinatra. The two collaborated on the album “It Might As Well Be Swing,” and his time with Sinatra became the springboard that led him into film scoring — effectively opening the film scoring biz to Black people.

THE 70’s

At the start of the decade, Quincy was around 37 years old, but he had already accomplished so much by then. The 70s would mark the beginning of what’s arguably his most important work, and it spans across music and film.

A. Film Scores

He created the score for movies like In Cold Blood and The Italian Job, marking one of the first times a Black composer took on Hollywood film scores, blending jazz and orchestral music that became genre-defining.

He even did the score for the iconic Sanford & Son starring Red Foxx in 1972.

B. The Wiz

This Wiz marked the first time that Quincy worked with Michael Jackson in any capacity, and it was a groundbreaking moment in Black cinema for featuring the biggest stars of that era like Diana Ross.

Although Jones noted that it was hard to get the film into White theatres, he also believed it to be a turning point in getting Black films to have more expansive distribution. 1

C. Michael Jackson’s “Off The Wall”

Yes, this also hit the streets in the ’70s (try to keep up).

While working on The Wiz, Michael Jackson was also plotting how to make his foray into the world of pop as a solo artist. He needed the right producer to help mold his sound, and ironically, he asked Quincy for help finding someone to take the job.

After spending some time together working on the movie, Quincy said that he’d like the job and the two began working on what eventually became MJ’s debut album, Off The Wall.

Needless to say… It was a hit.

And, more than that, Off The Wall set the stage for what would arguably become Quincy’s biggest musical contributions in the decade.

THE 80’s

This decade is perhaps where the most monumental work of Quincy’s career takes place (granted, it’s hard to quantify with such an incredible career) and you’ll see why in a secod.

A. THRILLER

Let’s start with the obvious.

Thriller is the highest-selling album in the history of music with over 70 million copies sold worldwide. The number 2 album trails it by 20 million records.

Quincy Jones produced Thriller and effectively changed the sound of pop music while also helping to cement Michael Jackson’s status as a mega star in pop music.

The title track from the album “Thriller” also set a new standard for what music videos could be, and effectively helped cement the importance of MTV after they premiered his behind-the-scenes documentary of the making of the video — something that hadn’t been done before.

Thriller went on to win 8 Grammys in a single year, and effectively cemented Michael Jackson as an international superstar.

B. We Are the World

A lot was going on in the 80s.

The Cold War was still raging on, Reagan had just been re-elected, and worst of all, there was a famine in Ethiopia that lasted two years.

Famous actor & activist Harry Belafonte wanted to do what he could to help end world hunger abroad and the U.S. and wanted to form an organization that could do so. Seeing the success the U.K. experienced in fundraising with a song called “Do They Know It’s Christmas,” Harry reached out to get a coalition of musicians together to do a record.

Naturally, Quincy got the call.

He took time away from producing music for his next film to co-organize and produce “We Are The World,” and in the process, he brought together the biggest names in music to raise funds for Africa.

It was a pioneering example of music as a force for global social change. To date, it’s one of the highest-selling singles of all time.

C. The Color Purple

The Color Purple was the first film that Quincy produced and it was another film where he handled the music scoring responsibilities, as well. Mind you, this movie was made around the same time he was working on We Are The World — it was a busy time.

Despite that, he put together an all-star cast for the movie and it was (and is) hailed as a classic in Black culture.

Fun Fact: Quincy Jones discovered Oprah. Yes, THE Oprah.

A year after The Color Purple entered theatres Oprah started her own talk show The Oprah Show and the rest was history.

THE 90’s

While Gen Z & Boomers felt the impact of We Are The World and Fresh Prince, Hip-hop was coming into its own in the 90s.

Quincy had just struck a deal with Warner to create his own company, Qwest Entertainment, and with that came more innovative work from Quincy — this time it wasn’t just audio, it was also media.

A. Fresh Prince of Bel-Air

The Fresh Prince was the first show produced under Quincy Jones’s imprint, and Will Smith’s presence would not have occurred had it not been for a party at Quincy’s (see the full story below).

Much like the Cosby Show,, it was a groundbreaking moment in TV that showed a version of Black Success that hadn’t been seen in pop culture before.

Will was a superstar in Hip-hop and he was riding high from his first Grammy win a year earlier.

The Fresh Prince marked his transition into acting and gave birth to the box office legend we now know.

B. VIBE Magazine

Through his children, Quincy had developed an understanding and affinity for Hip-hop (having won the first Grammy under his name for his album Back on the Block).

By 1993, he went on to co-found Vibe magazine (yes, THE Vibe magazine) in partnership with Time, and it became a cultural touchstone for Hip-hop journalism, fashion, and Black culture, giving a platform to Black artists and stories that were often overlooked.

Many Black journalists cite Vibe as the turning point in their interests in the field of journalism, and the magazine helped break the careers of several media figures that are present today (the first official cover is below).

2000 & Beyond

In fact, consider the reboot of The Fresh Prince of Bel-Air — it’s definitely a 90s nostalgia play, and it wouldn’t have happened without the OG series.

B. The Boondocks

Quincy Jones also had a memorable role in the first season of The Boondocks where he starred as himself during the Christmas episode.

When it was announced that he transitioned, X users from this generation immediately reposted this scene as a way to pay tribute to one of culture’s last giants.

“Don’t look at Quincy Jones. Quincy Jones can’t save you.”

Last Thoughts…

I gotta reiterate — Quincy Jones wasn’t just a music producer, he was a cultural institution.

Not too many like him left in the world, but hopefully this piece gives you a glimpse into the impact that he’s had on the world.

Do yourself a favor and indulge in some of his work this week, or watch his documentary on Netflix. I know I’ve been doing the same.

One.

The post How Quincy Jones Transformed Culture in Every Generation appeared first on SNOBHOP.

The shoe will debut on September 28, 2024, in select locations such as Otsumo Plaza in Tokyo, the “I Know Nigo 2” pop-up in New York, and globally on October 4 via Nike’s SNKRS app.

This drop is the start of what’s expected to be an ongoing partnership between Nigo and Nike, with more apparel and footwear releases on the horizon. See below for the trailer (released on Instagram today) and PR photos of the shoes.

The post Nigo and Nike’s Bold Air Force 3 Collection Drops This Week appeared first on SNOBHOP.

When asked about his upcoming performance Kendrick said “Rap music is still the most impactful genre to date. And I’ll be there to remind the world why. They got the right one.”

Peep below for a trailer announcing the performance.

The post Kendrick Lamar to Perform at Super Bowl LIX appeared first on SNOBHOP.