Uproxx’s Fresh Pair is back with a new season, a new studio, and the same unique insight into the world of hip-hop and sneakers provided by hosts Just Blaze and Katty Customs. This week, they present New Orleans legend Juvenile with a pair of custom Reeboks he prices at $70,000 while reminiscing on the dominance of Cash Money Records in the ’99 and the 2000 — including how big of a hit “Back That Azz Up” has become on the wedding DJ circuit.
After revealing the kicks, Juvie details his experiences with Cash Money building New Orleans’ rap scene almost from scratch, recalls the importance of Soulja Slim to both that scene and Juvie’s own career (he did write “Slow Motion,” after all), and reveals his favorite Cash Money records. Just, Katty, and Juvenile also highlight the creative mayhem and impact of the label’s album cover art, which was notoriously meticulously (and sometimes ridiculously) crafted by in-house designers Pen And Pixel.
Juvenile ranks his albums toward the end of the discussion, after sharing his thoughts on the viral popularity of his NPR Music Tiny Desk Concert. Finally, he shares his advice to creatives, which you don’t want to miss, even if you don’t think that includes you.
There has long been a lot of crossover between the basketball and hip-hop world. We regularly see artists putting in work in the gym with top hoops trainers and even trying their hand at pro ball, while there is a long history of NBA players hopping in the studio to put out a rap album. As 2 Chainz — who played basketball at Alabama State — once eloquently explained to Dime, a lot of rappers and basketball players come from the same places.
“I know for a lot of Blacks, we thought that our only way to get out of the hood was either rappin’ or playing basketball,” 2 Chainz said. “So it has a common denominator for me and people who have a low socioeconomic status for a background. It kind of feels like you have to have a sport or some kind of other skill set, you dig, to get your mama a house. So that’s why we all want to play basketball, and that’s why all basketball players want to rap.”
However, there are levels to success in that crossover realm, and plenty of debate as to who has done the best when dipping a toe into that other world. On the most recent episode of Uproxx’s “Fresh Pair,” Dave East joined Just Blaze and Katty Customs and the conversation turned to hoops (5:00 mark of the above video). East played college ball at Richmond and Towson before becoming a hip-hop artist, and as such, he’s well-equipped to offer his list of the best ballers who rap and rappers who ball — noting there aren’t many that can really hoop.
“Ballers to rap? I would say, gotta throw Shaq in there. Shaq had a feature with Biggie, so you always gotta throw Shaq in. Shaq was hard, he was probably one of the first ones,” East said. “A.I. I feel like a lot of people don’t put Iverson in there, but I remember the “40 Bars” and all that. I remember Iverson, you feel me. Dame Lillard, to me now, in this generation right now, I think Dame got it as far as a baller that rap.
“Rappers to ball? Me. Yeah, I’m gonna put myself on the top of that list. I gotta get in shape. I feel like a lot of them rapper basketball dudes, they do it now. They got famous, they got a name, and that’s like their hobby in their free time. Like, I really used to play basketball. Before I ever wrote a rhyme or ever really thought about this, I was in the park or in the gym. I was really playing ball. When I see them lists, I laugh. I really used to do that. I need 30 days to get in shape. I got real footage on a real Division 1 program. Go find another rapper, I think 2 Chainz played D1. But it wasn’t too many of them that was. There’s a few of ‘em that nice. Salute the ones that are.”
It’s safe to say East isn’t very impressed by the videos of artists in the lab with Chris Brickley and other hoops trainers, but he does recognize he would need a month to train to get back in actual hoops shape.
Fresh Pair — starring legendary sonic architect Just Blaze and sneaker-customizer-to-the-GOATs, Katty Customs –is back in the studio, mixing up their sneaker magic for hip-hop’s finest. In the chair this time is Harlem rapper and actor Dave East, who took to his custom sneaker like a kid on Christmas.
East is known for his widely varied career — including a legendary run of mixtapes that is longer than most rapper’s whole careers, all released before his debut album — and impeccable sense of style, so Katty and Just had quite a challenge for themselves going into this one. Luckily, the team knocked it out of the park, gifting East a sneaker inspired by Nike’s game-changing multi-layered “What The Dunk?”
Like the What The Dunk, this custom sneaker features a wild-teetering-toward-chaotic mix of panels and colors. But unlike the original, this one tells the deeply personal story of Dave East. From panel to panel, East’s story unfolds like a comic book, touching on his b-ball origins, fallen friends, and entrepreneurial pursuits. We’ll hold off on divulging too many details here, but if you’re looking for a teaser here it is: East talks briefly about his project with Snoop, his relationship with the late Nipsey Hussle, his decision to portray Method Man in Wu-Tang: An American Saga, and which of his albums is the most personal to him.
Fresh Pair season two continues with another fire episode featuring a legendary hip-hop guest that not only helped define the genre but solidified himself as a cultural icon, transcending from rapper to household name status and earning a place on many people’s Mount Rushmore of West Coast hip-hop (also a spot he declared for himself by starting Mt. Westmore).
If you know anything about Ice Cube — we’re going to assume you do — you’re well aware that his rap moniker isn’t just a random grouping of words. Cube is supremely cool, but even a pair of sunglasses and his famously chill demeanor wasn’t enough to mask his excitement over what Katty and Just cooked up for him. After the big sneaker reveal, Cube looked at his custom AF-1s like a kid in a candy store, eyes wide with wonder.
Have you ever heard Ice Cube say “wow” and mean it? That alone makes this episode a must-watch.
The fresh pair led Cube to share stories about how he first linked up with Hank Shocklee in the wake of NWA’s breakup, the making of his legendary album Death Certificate, and explain how “It Was a Good Day” was essentially the song version of his movie Friday. But that’s not all, Cube also talked a bit about the beef between The Big 3 and the NBA, and revealed his top five favorite storytelling rap tracks. It’s a deep interview with a dope pair of shoes and one of the most entertaining personalities in all of hip-hop — you already know what to do!
A couple of years back, Ice Cube shared some of his storytelling inspirations with Uproxx for People’s Party With Talib Kweli. He popped back into Uproxx Studios in LA recently, this time, to sit down with Just Blaze and Katty Customs for Fresh Pair, and once again talked storytelling in hip-hop. This time around, he shared his five favorite narrative rap songs, which he called “the best hip-hop ever.”
Of course, Ice Cube himself wrote what has long been considered to be one of hip-hop’s top storytelling raps in his 1992 hit single “It Was A Good Day.” The second single from his third solo album, The Predator, “It Was A Good Day” peaked at No. 7 on the Billboard Hot R&B/Hip-Hop Songs chart and has been the subject of a running joke in internet culture of people trying to determine just which day Cube describes in the song (he maintains he had no particular day in mind, but that hasn’t stopped online sleuths from trying). It was also recently reproduced by Logic, drawing mixed reactions from fans — although the original artist liked it.
Somehow, Cube’s list of the best five storytelling songs does not include his own rap staple, but does have some old-school classics. Among them: Timeless, foundational hip-hop hits from Slick Rick, Dana Dane, Boogie Down Productions, and at least one left field take (it’s not really much of a story, after all).
You can find out which songs Ice Cube picked in the preview clip above; the full episode drops Wednesday, 7/26 at 3pmET / 12pmPT.
In the return of Uproxx’s Fresh Pair, Port Arthur, Texas rapper (and secret Swiftie) Bun B breaks down his career for hosts Just Blaze and Katty Customs as they break down the custom sneakers they made for him based on that career. One funny anecdote involves the filming of the video for “Big Pimpin’” and Bun’s reaction to receiving a personal phone call from Jay-Z.
Near the 11:30 mark in the episode, Just recalls his reaction to listening to “Big Pimpin’” for the first time, Bun recounts how he and his UGK partner-in-rhyme Pimp C were tapped to appear on the record.
“I thought the call was a prank,” he admits. “It was a blocked number. I was like, ‘Who’s this?’ He was like, ‘It’s Jay-Z,’ and I was like, ‘Yo, stop playing on my phone,’ and I hung up.”
However, Bun picked up when Jay called back and thanks to Jay’s distinctive voice, recognized that it really was the superstar rapper. It’s a great story about how the early rap business still had a personal touch.
Bun also recalls Pimp C’s initial skepticism about the song, the surprise of its success after a prior single flopped, and Pimp’s hilarious reaction to being told to take off his mink coat during the video shoot in Trinidad & Tobago.
UPROXX, the popular youth culture and music platform, has announced the highly anticipated launch of season two of its original series, Fresh Pair. The first episode is now available for streaming on YouTube.com/UPROXX Video and Uproxx.com, with future availability on WMX Hip-Hop on The Roku Channel (Ch. 1137). Hosted by Grammy Award-winning hip-hop producer Just Blaze and renowned sneaker customizer Katty Customs, Fresh Pair season two offers captivating interviews with some of the biggest names in culture, including hip-hop icons Bun B, Ice Cube, Rick Ross, and more.
Continuing the format that fans adore, each episode revolves around a unique “script” provided by a one-of-a-kind pair of sneakers. Katty and Just collaborate to design custom shoes inspired by the featured guest. The reveal of the customized sneakers sparks engaging discussions about the guests’ careers, personal journeys, and their deep connection to sneaker culture and streetwear style.
“One of the most compelling things about hip-hop as a genre is the sense of walking in an artist’s shoes through their storytelling and art,” says Just Blaze. “Fresh Pair goes the extra mile in its second season to deliver what fans look for across culture in that regard – emphasizing the music, the style and the stories of some of the biggest names in the game.”
Katty Customs added, “Fresh Pair challenges us in the very best way. We take every element of the design very seriously and dive deep into the culture to conceptualize, design and create personal classics for our guests. It’s the best feeling when they resonate and you get to hear their reaction. Then to get to hear the fan response – that takes it to the next level for me, as a creative.”
Fresh Pair is back, baby! Sneaker artist extraordinaire Katty Customs and legendary hip-hop producer Just Blaze have teamed up once again — taking their sneaker customization operation to the city of Austin, Texas for a special live episode starring UGK alum, Bun B.
A renowned sneakerhead in his own right, Bun is no stranger to a fire pair of kicks, considering that and the fact that the Fresh Pair team was visiting Bun’s home state, Katty and Just Blaze had their work cut out for them and nailing the right design was of paramount importance. We won’t spoil the reveals for you here (it’s a lot more fun to watch) but we will say that Bun was beyond impressed with what Katty and Blaze cooked up, inspiring the legend to share never-before-heard stories from his come-up and lengthy career.
Throughout this 30-minute episode, Bun takes us behind the scenes of the recording of “Diamonds and Wood,’ as well as the production process of UGK’s classic, Ridin’ Dirty. Later, Just Blaze and Bun reminisce about their early run-ins with Rockafella Records and Jay-Z and address that iconic moment in the “Big Pimpin’” video when Pimp C rocked a mink coat in 100-degree weather.
With the many references and nods to Bun’s career that Katty and Bun crammed into this single pair of sneakers, the hip-hop legend was bursting with stories to tell. Catch the full episode above and try to guess Bun’s out of 10 rating before we hit the post-interview during the credits.
With 2023’s SXSW events officially behind us, it’s time to look back on all the madness, chaos, and (above all) fun that went down in Austin, Texas last week. And no shortage of those memorable moments came via Fresh Pair co-host and all-around icon, Just Blaze. Backed by Twelve Rivers Realty and the video game company he cofounded, Brass Lion, Just went all-in this year with a four-day, three-night takeover of Native Hostel, including a live taping of UPROXX’s Fresh Pair with co-host Katty Customs and Texas hip-hop legend Bun B, sponsored by our partners Los Siete Misterios mezcal, STEPN, and WAGMI Beach.
Night one of the takeover opened with Just Blaze throwing a party in the Native Hostel ballroom which quickly turned into one of those nights that feels like it only happens in the movies. Over the course of more than seven hours (!!!), the superproducer was joined on stage by DJ Jazzy Jeff, Talib Kweli, Bun B, Redman, Jadakiss, Freeway, Beanie Seigel, and eventually even Dave Chappelle.
I mean… just look at this scene:
Who in their right mind wouldn’t want to be there that night? Who wouldn’t have been geeked when Dave Chappelle pushed away his (incredibly tough-looking bodyguards) and waded into the crowd for photos? Or when Redman came out spitting absolute fire with the same intensity and speed he had on his fastball in ’99?
Steve Bramucci
The next day, Native Hostel, Brass Lion, and Twelve Rivers hosted Fresh Pair for their first on-the-road live taping, sponsored by Los Siete Misterios mezcal and STEPN. Katty Customs brought some killer fits to present to Bun B while he opened up about everything from his early hits to working with Jay-Z. That taping was followed by a cocktail party hosted by Los Siete Misterios who also set up a tasting table to sample their full line of mezcals while DJ Buck Rodgers spun and scratched, the crowd danced, and tacos circulated.
August 11, 2023, will mark the 50th anniversary of the house party largely credited with the creation of hip-hop. Although the various elements of what we’ve come to know as the world’s most popular and influential cultures were already taking root in the streets of New York City, the birthday party that Cindy and Clive Campbell (aka DJ Kool Herc) threw in the rec room of their apartment building became the widely accepted inception point of hip-hop in the history books.
Now, 50 years later, the musical innovations that grew out of that soiree and the block parties that followed it have become the foundation of a global phenomenon with branches on nearly every continent. Hip-hop, once thought to be a trend that would go the way of disco, has instead flourished, changing the way the world acts, dresses, and talks through multiple generations of musical evolution.
But it all started with the DJ, the one who played the breaks back-to-back to form the beats that all rap music, from early electro to G-Funk to trap and cloud rap, is built upon. So, who better to talk about the history of rap than one of its most prolific DJs (and producers), Just Blaze, whose experiences span nearly the breadth of hip-hop’s history? His memory for all things hip-hop is darn near photographic – or should I say “phonographic” (sorry) – and he’s got an ear for details that makes picking his brain a treasure hunt that always bears fruit.
“This is an art form that is truly organic, truly natural,” he says via Zoom. “It came from a place of struggle, as do many things in our community. And for something that we created from a place of struggle and not having, for it to be as lucrative… The money aspect is great, but to be as lucrative, but also just as influential, as it has become worldwide, it’s truly an astonishing thing to see.”
Just’s earliest memories of hip-hop stem all the way back to the early ‘80s when the first rap records were first finding their way to radio stations throughout the Tri-State area. The New Jersey-bred producer fell in love at first listen. “I remember my younger days when I was a literal kid, like six, seven years old, and discovering this music, only to be told by my elders, ‘Well, when we were kids, we thought Motown was going to last forever. And trust me, in 10 years it’ll be something else.” And that was 40 years ago, and we’re still here and stronger than ever and more powerful than ever.
But obviously, hip-hop has changed a lot in the decades since. Where once, all you needed was a four-track drum machine and a microphone, there’s a lot more technology involved in crafting a hit. While Sylvia Robinson brought in a session band to replay the riff from Chic’s “Good Times” on “Rapper’s Delight,” today’s producers have a wide array of samples to choose from, pulling liberally from any genre that strikes their fancy. Whether breakbeats or 808s, jazz samples, or pre-produced loops, there is any number of permutations the music can take.
Likewise, rappers themselves look vastly different from their forebears. Adidas tracksuits are a thing of the past; now, you might see a rapper from Atlanta decked out like a rock star, or one from Compton dressed like a vision of the far future. “Everything that’s old will be new again, everything that’s new will eventually get old,” Just says of the rapid evolution. “The first round of records were kind of emulations or recreations of what was happening in the parks. But then you enter that second generation of it being put on record, starting with ‘The Message’ or whatever. And then you fast-forward only three years later, two, three years later, and it’s Run DMC. All black. It looked like dudes from the streets as opposed to the previous generation that looked like dudes dressing like P-Funk.”
When he looks at where hip-hop is now, he very much recognizes tinges of records that he had a hand in himself. “Over the past two years, I’ve cleared so many samples of my records from the early 2000s,” he beams. “There’s kids rhyming over flips of Fabolous’ ‘Can’t Let You Go.’ There’s kids rhyming off of [Cam’ron’s] “Oh Boy.” I shouldn’t call them kids respectfully, but younger people rhyming off of records that I created in the early 2000s. You got R&B records that are flipping all the R&B records from the late ‘90s and early 2000s as well. So it’s all a cycle, right?”
And despite the new technologies that bring the music to the audience, he still sees a place for the original purveyors of the sound, the DJs. While Spotify rolls out algorithmic playlists and TikTok presages the breakaway hits of the future, Just Blaze knows that there’s just no replacing the living, breathing, person behind the turntables. Sometimes, someone just has to be able to feel the vibe.
“It started out where the DJ was at the forefront,” he recalls. “The emcees were kind of just the backup. They kept the party going. And those routines evolved to eventually provide the early building blocks for songs. Over time, that focus changed in certain genres. So obviously in hip hop, the focus remained on or started to shift towards the emcee for various reasons that are too long to get into here.”
“I look at other genres that have spawned out of similar traditions that hip-hop did, like house music today, which kind of traveled a similar parallel to hip-hop in terms of where it came from. It came from a place of struggle and not having much. A lot of times in that world, the DJ’s still the star of the show. You can have a number one record in the world, nobody knows who the singer is. They know who the producer/DJ was.”
But, he says, “You can never completely take the DJ out of the equation because hip-hop is still very much a street-level culture in many ways. Even though radio plays a different role than it did before the advent of streaming, many records were broken on the radio by DJs. A lot of records still break in the club. Who was running the club? DJs. Remove the DJ from the equation, a lot of these records don’t get the legs that they end up with to allow them to enjoy success…. You could never fully remove the DJ from the equation because like I said, it starts with the DJ.”
So, where does hip-hop go in the next 50 years? It’s proven its staying power. It’s driven ad campaigns, and fashion trends, and even formed the innovative backbone of many industries like tech – just look at AI, NFTs, streaming, and virtual rappers. Just, despite being a fountain of insight, doesn’t want to hazard a guess and end up looking like the elders who told him that hip-hop was just a fad.
“I’m not going to purport to know where hip hop goes in 50 years,” he demurs. “What I will say is, what I hope to see is a return to a bit more of balance. I have nothing against the music that the younger generation is making because I’m cognizant that I’m not the target audience. And one thing that I strongly dislike is when folks from previous generations, whether they be consumers or creators, try to downplay the music that the younger generations are making. It’s like, this music isn’t for you.”
Like a health-conscious person eating more nutritious food, getting more rest, and still occasionally indulging in a sweet treat, the folks who make up this culture are going to need to be more intentional about their choices. “I would like to see a return to balance when you could hear in one day, or in a two-hour span whether it was on TV or on the radio, you might catch Public Enemy, X-Clan, MC Hammer, De La Soul, Pharcyde, some local groups that were making noise,” Just advocates. “You would catch all that and then still hear the super popular… You might still catch Vanilla Ice on the radio too, for better or worse.”
This, he posits, is the key to ensuring that hip-hop sees its 100 birthday, which isn’t as far away as it might seem. After all, 1979 turned out to not be all that long ago. Time flies when you’re having fun – and at its core, that’s what hip-hop is all about. Happy birthday to the culture – and many more.
