The decision to branch out on his own with a business partner known for violence and gang ties was potential career suicide, a possibility both Dre and The Source milked with its startling November 1992 cover. Dre was already seen as a musical savant, a producer who helped make N.W.A a name America had come to love, loathe and fear. With Knight, a former bodyguard, Dre launched Death Row Records. Dre had split from Eazy E personally, N.W.A as a group and Ruthless Records in 1992. These magazines satisfied a pre-Wi-Fi audience’s yearning for news and images about rap’s greatest, most dissected and, at its lowest, most heartbreaking era.Īmid financial disputes, Dr. The transcendent XXL didn’t launch until the summer of 1997. By the outset of 1996, two publications were responsible for driving the conversation around hip-hop and R&B, its biggest stars and its most provocative news: VIBE (created by Quincy Jones in 1992) and The Source (launched in 1988). Let’s take it back to an era before the internet, blogs and social media reigned, to when hip-hop magazines were the unrivaled scripture for America’s most beloved, bemoaned culture.
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