On this day in 2000, the first posthumous L.P. to be released by the first “Latin to go platinum” entitled Yeeeah Baby was released on the Loud/Terror Squad imprint.
Christopher “Big Pun” Rios passed away just shy of two months before his sophomore L.P.’s release and anticipated success, which came on the heels of his debut album, Capital Punishment. With appearances from the entire Terror Squad and executive production by the T.S. general Fat Joe, the 16-track album showed Pun’s acute diversity in his lyricism and approach to song-making, which yielded some of the most memorable songs of his career. The album took longer to record because of Pun’s extreme obesity since his breathing problems couldn’t permit him to spit his custom, rapid-fire flow freely.
Some of the L.P.’s favorites are the Puerto Rican anthem “100%” with Terror Squad crooner Tony Sunshine on the hook, “New York Giants” featuring M.O.P., “Ms. Martin,” an ode to his protege Remy Ma and the touching single “It’s So Hard” featuring Donnell Jones.
Salute to Big Pun, Pun Jr., and the entire Terror Squad for this remarkable piece of Hip Hop History!
On this day in Hip Hop history, Atlanta based tag-team Kriss Kross released their ridiculously successful debut album, Totally Krossed Out.
The album was the follow up to the mega-hit single Jump released in February of the same year. Largely written and produced by Jermaine Dupri, it took two years to produce the album after the musical concept for the group was conceptualized.
Totally KrossedOut was as successful as anyone could ask their debut album to be. The album claimed the #1 spot on both the Billboard 200 chart and the Top R&B/Hip-Hop chart and sold over four million copies in the year of its release. Two of the four singles released from the album, “Jump” and “Warm It Up” were both #1 Hot Rap Singles.
“Jump” is one of the biggest singles of its era. It claimed the #1 spot on the Eurochart Hot 100 as well as the top music charts in Australia, Finland, Ireland, New Zealand, and Switzerland. It was a Top 10 hit all over Europe. The single went double platinum in the United States and Silver in France (125,000 copies sold) all in 1992.
At the time of this release, Kris Kross members Mac Daddy and Daddy Mac were only 12 and 13 years old. Jump was the fasting selling single in fifteen years and the two rose instantly to be among the ranks of child stars in the entertainment industry.
The critical reception for the album was much better than one would expect for a rap album by two children. Publications praisedJermaine Dupri for his creation and Kriss Kross for their iconic swagger and style. They received high ratings from a plethora of magazines and media outlets with little negative feedback. The success of this album landed the duo a spot opening on Michael Jackson’s 1992 European Dangerous World Tour and a cameo in Michael Jackson’s “Jam” music video.
On March 30, 1993, cousins Fredro Starr and Sticky Fingaz and their partners Sonny Seeza and Big DS put out their debut album, Bacdafucup, on the newly created Rush Associated Labels.
Primarily produced by the group’s founder Jam Master Jay, other production credits include The Afros’ Kool Tee, Chryskillz, and a then young producer named Jeff Harris; Bacdafucup was by far Onyx’s best studio LP, becoming certified platinum by the RIAA in just a little over seven months after its debut.
The album’s sure shot singles include the riot-causing “Throw Ya Gunz,” the horn propelled “Shiftee,” and of course, the mainstream favorite of all, “Slam.”
Onyx made their claim to fame with their trademark “mad face,” bald heads, and all black everything. Many copycats came after these guys, but their mark on the game is definitely unparalleled. Salute to Fredro, Sticky, Seez, and a big RIP to DS.
On this day in Hip Hop history, the rapper turned actor Will Smith along with DJ Jazzy Jeff released their second LP, He’s the DJ, I’m the Rapper. This was the first double album in Hip Hop in its original vinyl state and is certified platinum by the RIAA.
It can be said that without this album, Will Smith would not be where he is today. The success this album provided for Smith gave him the exposure to take his talents from music to the screen. This was also a breakthrough album for the career of DJ Jazzy Jeff. Critics and consumers alike cited Jeff as the more musically inclined of the duo, although Smith was the obvious crowd favorite and frontman. Jeff’s ability on the turntables and the boards allowed him to be the unsung hero of the album and gain a lot of respect in the Hip Hop community.
The album received positive reviews from critics of countless publications. The Source even selected this album as one of the 100 Best Rap Albums list in 1998. The album peaked at #4 on the Billboard 200 chart and #5 on the Top R&B/Hip Hop chart. Overseas it peaked at #68 on the UK Album chart. The album’s most popular single, “Parents Just Don’t Understand” won the first-ever Grammy Award for Best Rap Performance in 1989.
Teyana Taylor is a jack of all trades and excels in every field she enters. In the new film, A THOUSAND AND ONE, the “Gonna Love Me” artist proudly steps into the lead role, playing a character named Inez, who is a Harlem, New York native just like herself.
And while most may view survival as a task in itself, having to take care of yourself and another human seems damn near impossible… especially in the inner city. A THOUSAND AND ONE sees Teyana (Inez) kidnapping her son (Terry) from his foster home, as they both attempt to navigate the hurdles of life, simultaneously having to adapt to the aftermath of gentrification.
The Source was invited to an exclusive, invite-only advanced screening of the film at WACO Theater Center in Los Angeles. Many emotions were felt during the two-hour film, from tears to laughter to everything in between.
Not only were Teyana’s acting skills impressively remarkable, but it was the storyline and messaging that viewers can resonate with most. Insert A.V. Rockwell, the indie filmmaker whose roots in New York directly inspired the film. Rockwell says seeing first-hand the impact of gentrification on the black neighborhoods in New York was the driving force, even stating she “felt like we were being erased as a city altogether.”
The end goal is to fight across generations for stability, creating a safe space, a safe home so you can work towards the American dream.” Serving as Rockwell’s major feature debut, the movie won the Grand Jury Prize at the 2023 Sundance Film Festival in Park City, Utah.
The evening concluded with a super intimate Q&A between Rockwell and Beyonce’s mother, Ms. Knowles-Lawson. Read below as they discuss
Ms. Knowles: You did a great job on the film. How does it feel to share your film with the world?
It’s a really beautiful feeling of accomplishment. To create any movie is really such a feat. People have no idea what goes into it, people that don’t work in production or work on movies. Getting my first film made and getting to tell the story that I really wanted to tell, a story I really cared about and felt passionate about, is really a blessing. I feel so grateful and the way it’s been resonating with people means the most. It’s why I got up out of my bed every day for the years that I did spend on this in the first place, so this is a real triumph for me personally.
Ms. Knowles: This is your feature directorial debut. You’re also the writer, that’s amazing. Who did you draw inspiration on for the characters? Especially Inez and Lucky.
A.V. Rockwell: I pulled from all of my life experiences. With Inez, she was a composite of so many women that have been in my life. This was a very personal film for me. I also wrote her from a position of what do I want to see? I really want to see a woman like this empowered, I really want to see her strength celebrated. I wanted to see her fully in control of her own destiny, for better or worse. She really does, right until that last moment in the film when she’s making the decision of what’s going to happen next.
It was the same thing for Lucky, I was drawing on experiences on both sides. Experiences of men who I felt were great figures, great father figures. But through Lucky, you see somebody who’s a very great father, but not so much a great husband or great romantic partner. So much of this movie through Inez’ and Lucky’s relationship, you see dynamics between black men and women.
Again, really going back to the idea of we are not here to protest for you, we’re not here to fight for you or be a supporting character in your journey. We really are looking for people that are standing by us, holy completely. Loving us holy completely, and not just loving the parts of it that’s most convenient for me. Loving my skin color, my hair texture, love every part of what my experience is. Devote yourself to me the way I do for you, you see that very beautifully in their dynamic. I pulled so much of that for this real life.
Ms. Knowles: During the casting process, how did you know that you found your Inez in Teyana Taylor? She was amazing!
A.V. Rockwell: Teyana really did some outstanding work. I’m so proud of her and proud of our collaborative relationship, what we accomplished creatively. For me, it was important when I needed to make sure that I not only found an actress who had talent and depth to give to this performance and get to this character, but also had a truthfulness. Teyana could speak to this human being because she knows this woman, she’s been this woman at some point in her life. Those connected points were really important to me.
Obviously, she’s a homegirl herself and that’s a bonus. She’s a New York woman herself, but I felt like she was empathizing with Inez fully. Not looking down at her, because she’s so connected to this woman. That was really important to me. Because she’s not only
a woman who can relate to this character, but a mom. She put a lot of that even seeing what her dynamic was with the boys was really beautiful on set.
After seeing hundreds of women, actresses — some were established, some people unknown. By the time we got to Teyana’s tape, I really felt the difference. Our casting director, the same thing. “I looked at Teyana’s tape, and I was smitten by it.” We immediately knew that something was there.
Teyana had her own story to tell, her own pain that she could get out through this character. I always told her to embrace that, to embrace the parts of herself that people told her not to love. Because this character is on a self-love journey. I told Tiana to pull from the places that she has been told about herself to reject. No, you embrace all of that.
Ms. Knowles: What do you hope that audiences take away, more than anything after seeing A THOUSAND AND ONE?
A.V. Rockwell: There’s so much in this film. I wrote it from a very nuanced place, so there is so much to take away in terms of the themes. In some ways, I feel like the movie doesn’t belong to me anymore, it belongs to people. They’re gonna interpret it in so many ways, beyond what I even had in mind as I was writing it.
For me at minimum, if it is healing for mothers and sons, that’s a win for me. Because people have the opportunity to see their moms and how complicated they are, in a better way and hopefully it nurtures our relationship. Ro me, this story was about unrequited love in so many ways. Not only within people within communities. How people relate to the cities and neighborhoods that they live in. Harlem in particular, it’s the mecca for Black history and culture, and to see it potentially being erased by gentrification and all the policies that set the stage for gentrification is really devastating.
On this day in Hip-Hop history, Wu-Tang Clan’s Ol’ Dirty Bastard released his debut solo LP, Return of the 36 Chambers: The Dirty Version. Released by Elektra Records, Return of the 36 Chambers was only the second solo LP by any Wu-Tang member. Largely produced by fellow Wu-Tang emcee RZA, the album had a mostly positive commercial reception.
Peaking at number seven on the Billboard 200 and number two on the Top R&B/Hip Hop chart, Return of the 36 Chambers sold 81,000 albums in its first week and was certified gold later that year. The album was also nominated for “Best Rap Album” at the 1996 Grammy Awards.
Coming off such a successful group debut, there were little critics could say to discount the record. The Source, Rolling Stone and Allmusic have all given the project four out of five stars. In 1998, The Source selected the album to be a part of its 100 Best Rap Albums list.
Following Return of the 36 chambers: The Dirty Version, ODB went on to release one more solo album, Nigga Please, before his untimely demise in 2004. Ol’ Dirty will forever be remembered as one of the most talented and unique emcees to ever grace the mic.
The Source has announced a new docuseries exploring 50 years of Hip-Hop through two iconic luminaries of Hip-Hop culture. Titled How It Started/How It’s Going, the new series will pair a member of the new generation with one of the classic era.
Together, the two titans will share their thoughts, experiences, and insights with Hip-Hop in conversation.
Throughout the series, The Source will examine the culture of Hip-Hop by their cultural hubs across the nation, the impact of poetry on the culture, the role and history of DJs, the lore of hit records, the evolution of fashion and art, and the incredible touch of women that has developed the culture to what it is today.
In addition, The Source will host a series, The Law & Hip-Hop, which will be hosted by L. Londell McMillan, the owner and publisher of The Source Magazine and The Northstar Group.
The North Star Group’s Owner and Publisher, L. Londell McMillan
Stay tuned to The Source’s website and social channels as its celebration of the 50th year of Hip-Hop will kick off on Hip-Hop’s true birthday of August 11.
On this date in 1984, the Kings from Queens released their first self-titled album on Def Jam Recordings under Rush Management.
This monumental album put Daryl McDaniels (DMC), Joseph Simmons (DJ Run), and Jason Mizell (Jam Master Jay) on the map, and launched one of the most successful careers Hip-Hop has ever seen.
With songs like “Sucker MCs,” “It’s Like That,” “Hard Times” and “Rock Box,” the record was an accurate reflection of the lives of three ambitious kids from Hollis, Queens in New York City in a time before the crack epidemic.
Simmons and McDaniels used to hang around Two-Fifths Park in Hollis in late 1980, hoping to rap for the local DJs who performed and competed there. The most popular one just happened to be Mizell, then known as “Jazzy Jase” because of his flashy wardrobe and b-boy attitude. Eventually, Simmons and McDaniels rapped in front of Mizell at the park, and the rest is history.
As a group, they soon strapped on a pair of Adidas, threw on a rope chain and topped it off with a Kangol hat. Little did they know, they were crafting a signature style, one that has stood the test of time and is widely recognized around the world.
Run-D.M.C. went on to release six more albums, including 1985’s King of Rock and 1986’s Raising Hell. Tragically, Mizell was gunned down on October 30, 2002, at his recording studio in Queens. Countless fans left Adidas sneakers, albums and flowers for the legendary DJ outside of the studio, where the murder occurred. The homicide has yet to be solved.
Run-D.M.C. was also inducted into the Rock and Roll Hall of Fame in 2009, making them one of only two Hip Hop acts given that honor at the time.
On this day in Hip-Hop history, Notorious B.I.G. released his second album, Life After Death. The double LP was released posthumously by Bad Boy Records. Biggie, who was killed two weeks prior to its release, was nominated for three Grammy’s for this project: Best Rap Album, Best Rap Solo Performance for “Hypnotize” and Best Rap Performance by a Duo or Group for “Mo Money Mo Problems.”
Featuring artists like 112, Jay-Z, Lil’ Kim, Ma$e, Bone Thugs-n-Harmony, Too $hort and R. Kelly, along with tracks like “Kick In The Door,” “What’s Beef,” “Notorious Thugs,” “Ten Crack Commandments” and “Sky’s The Limit,” it can be said that Life After Death is one of the greatest rap albums of all time. The album hit #1 on the Billboard 200 chart and the US Top R&B/Hip Hop chart. It went diamond (that’s 10,000,000 copies sold) in the United States alone, double platinum in Canada, and platinum in the UK. Life After Death has also made appearances on top music charts across the globe. The album has been ranked by countless publications as one of the top rap and Hip-Hop albums of all time (The Source ranked it as #8 in 2005).
Salute to Diddy and the rest of the Bad Bot family for this timeless piece of Hip Hop history!
On this date two decades ago, Cam’ron’s crew from Harlem, The Diplomats, dropped their debut album Diplomatic Immunity on the Roc A Fella Records/Def Jam imprint during the pivotal time when Dame Dash appointed Cam’ron as the President of Roc-A-Fella Records.
Coming on the heels of the release of Cam’s Come Home With Me LP, Diplomatic Immunity introduced the entire Dipset squad, including Juelz Santana, Jim Jones, Freekey Zeekey, Un Kasa, and Hell Rell. With production from the likes of Heatmakerz, DR Period, and a then virtually unknown Kanye West, the trailblazing sound of old soul samples pushed Dipset to the forefront of the creative curve of Hip Hop, which offered the Blood-affiliated crew from Uptown an almost cult-like following. Rell was incarcerated by the time the album was available for purchase.
The album was saturated with longstanding hits such as “I Really Mean It,” the infectious “Dipset Anthem,” the female-friendly “Hey Ma,” and the Master P assisted “Bout It Bout It…Part I “. Commercially, the album was considered average, debuting at #8 on the Billboard 200 and selling 92,000 copies in its first week, but the album was certified Gold by the RIAA in 2005.
Salute to Cam, Juelz on the inside, Jim Jones, Freekey, and Hell Rell for this 20 year old classic piece of Hip Hop history!
