jake paul clothing store
jake paul clothing store

It’s only been a few days, but 2018 has already been a rough year for the Paul brothers. First, Youtube sensation Logan Paul found himself under fire for posting an insensitive video, in which he stumbled upon a dead body during a foray into Japan’s notorious “suicide forest.” In case you missed it, you can read all about that below. Suffice it to say, Logan Paul is still feeling the fallout from the video, as the moral outrage avalanche was so intense he ultimately opted to take a step back. However, as anyone remotely familiar with the Paul family knows, they’re never too far from controversy. Jake Paul website has seen a rise in website visits.

While big brother Logan was off exploring the Japanese wilderness, Jake Paul was busy stirring up some controversy of his own. The younger Paul brother may have collaborated with the likes of Gucci Mane and Rae Sremmurd, and it seems as if he now feels entitled to bust out the n-word. TMZ caught footage of Jake Paul spitting some freestyle raps with a few friends in Palm Springs, during last year’s Coachella weekend. In the footage, Paul raps over Rae Sremmurd’s “Throw Sum Mo” instrumental, and casually drops the n-bomb with the line “”I whip it like my n***a Richie Vetter, he make the pu**y so wet it gets wetter.” He also makes reference to his “little ass n***as” early in the clip. logan paul merch

While “sources” close to Paul claim the vlogger isn’t racist, the clip does show a clear lack of social boundaries. Perhaps he needs Ice Cube to give him a stern talking to, a la Bill Maher.

How has hip-hop influenced moreno valley fashion?

Moreno Valley Cheap men clothes
Moreno Valley Cheap men clothes

Since the 1980s, hip hop music has increased in popularity, making its mark on every aspect of pop culture. One of the areas where hip hop has had a heavy influence is the world of fashion. Fashion was once ruled by an untouchable elite, where designers and high end brands were seen as larger than life. While some designers still hold that mystique, they are now approachable and are influenced by those outside of their primary demographic, including hip hop artists and fans.

In the 1980s, the Adidas shell shoe became synonymous with hip hop thanks to the group Run DMC. This was one of the first ways the hip hop community embraced a clothing piece not intended for them and re-created it as the “It” item for fans. This led to the first hip hop endorsement for a major corporation. Adidas reportedly paid Run DMC $1 million for the deal.

From there, hip hop’s influence in fashion continued to grow with corporations, and later with hip hop artists creating their own fashion labels. Thick gold jewelry was adopted, as were Kangol bucket hats and large eyeglasses.

In 1984, Michael Jordan and Nike collaborated to create the Air Jordan basketball shoe. These shoes would become the most sought-after accessory since the Hermes Birkin. While the price point was high ($100 at the time), it did not stop young men from lining up for days before their release to land a pair of the coveted shoes. Nike still sells the Air Jordan in droves, and releases retro versions of the sneaker that sell out in hours across the globe.

Pioneering hip hop producer Russell Simmons realized the hip hop community was embracing clothing from classic American designers like Ralph Lauren and Tommy Hilfiger. Men would buy clothes a few sizes too big, to mimic the baggy silhouette rappers were known for both on and offstage. Simmons capitalized on this trend by creating Phat Farm clothing, the first hip hop clothing label. This revolutionized the fashion world, and many would follow in his footsteps, including Sean “Diddy” Combs and rappers Nelly and 50 Cent.

By the mid 1990s, hip hop became a facet of pop culture just like rock or pop music. The hip hop vibe was known worldwide, and the look was emulated by kids in the inner cities of America, as well as on the streets of Paris and Tokyo. Like all trends, fashion starts in the streets. Designers took note of this and began adding a dose of hip hop to high end collections, such as the 1991 Chanel collection, where Karl Lagerfeld showed piles of gold jewelry on models.

While hip hop grew larger, so did the artists’ bank accounts. Hip hop artists moved on from Ralph Lauren and Tommy Hilfiger to high end designers such as Chanel and Burberry. This look became known as “ghetto fabulous,” and is often used to describe over-the-top glamor. While the brands used to create this look may not be attainable by all, the style certainly is. The term “bling-bling” became synonymous with glittering diamonds or fine metal jewelry that makes a bold statement.

 

San Diego Hip Hop Clothing Store Star Fights

Most of the hip-hop world thinks it was San Diego rapper Rob Stone behind XXXTentacion getting laid out onstage the other night — but he’s not owning up to it. On an interview with LA radio station Real 92.3, today, Stone spoke on the background of their conflict and claims he was somewhere watching the NBA Finals with the rest of us when XXXTentacion got snuffed.

Despite XXX claiming that he was set up by the rapper in Stone’s hometown, and that someone in Stone’s camp was stabbed behind the incident, he denied knowing the person who dealt the one hitter quitter or anyone else involved.

“It’s a city thing,” Stone said while shrugging off knowledge of the altercation. He alleges that people were walking up to him on June 7th telling him that XXX wouldn’t be able to have his performance that night because of a “no fly zone” against XXX. Who knew that the upcoming MC was big enough to have random people risking jail-time and an ass-whooping on his behalf. Despite Stone’s claims of innocence, XXX’s next show in Santa Ana was cancelled after the promoter feared violence between the two camps.

What’s genesis of their conflict? Turns out it started out over something pretty dumb. Stone says that XXX’s friend, rapper Ski Mask The Slump God and him started out their 2016 tour as “Henny boys,” but fell out after Stone admonished Ski for coming onto his set too early one night. Ski then showed up late to a tour stop in San Diego –- purportedly to slight Stone and make him the opener in his own city. It was on from there.

The combustible XXX jumped in the conflict on behalf of his friend, and Stone says that even after he tried to squash it twice via DM the “Look At Me” rapper kept it going… which led to Ski Mask getting jumped, then Wednesday night’s events. Hopefully this can all be squashed before any more grainy concert fight footage pops up. No one pays for a music show to see fights or dodge blades.

San Diego Hip Hop Clothing Store
San Diego Hip Hop Clothing Store

How Hip-Hop Improved Men’s Urban Clothing

Mens urban clothes
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Since its emergence in the 1970s, the evolution of hip-hop has been a truly multifaceted phenomenon. As an art form, hip-hop’s journey has taken it from an expression of the embattled South Bronx to being the defining symbol of popular culture worldwide, and in that time it has undergone some huge changes.
Though many factors have contributed to the growth in popularity (and inevitable commodification) of hip-hop, few are more noticeable than its evolving relationship with the world of fashion. What was once  an innate expression of the culture surrounding the music has since grown into something else entirely — a place where hip-hop artists are some of the biggest commercial influencers on the planet.
But how exactly did this happen? Like so many things, it was only a matter of time. Here’s a little look at how that change came about.
The Beginning
Prior to the 1990s and the arrival of “hip-hop fashion brands” (many of which were founded by some of the genre’s earliest entrepreneurs), rappers laid the groundwork for what would become the current fetishization of branded fashion.
In the early days, the prevalence of b-boy culture (one of the four original “elements” of hip-hop) boosted the popularity of sportswear brands such as FILA, PUMA, Reebok, Nike, Avia and adidas. Throughout the ’80s, the emergence of hip-hop-specific record labels allowed for a far wider distribution of hip-hop records both in America and abroad, while seminal films like Wild Style also helped spread the gospel far and wide. And, with all these things, came the fashion.
As hip-hop became more visible, so too did the sartorial choices of its earliest influencers, most of whom maintained some visible link to the life they lived in the communities of the inner-city. Even today, the myriad of stylistic preferences that have come to define hip-hop culture have their origins in the disenfranchised communities that first birthed the genre.
Yet, as rappers, DJs and other evangelists of the movement went on to attain spectacular wealth, their clothing took on an additional symbolic status. This created even more diversity in the scene, and — for the early-adopting retailers, at least — huge profit.
In a New York Times article published in August of 1988, writer Glenn Collins observed the influence of rap music on fashion and advertising, stating,
“Hip-hop’s influence on advertising is unmistakable. A print ad in Reebok’s new $35 million campaign shows 20-, 30- and 40-year-old whites dancing on a graffiti-bedaubed, hip-hoppy city street. A New Way of Writing It and other Reebok ads, adopting the orthography of rap hits like M. C. Lyte’s ”I Cram 2 Understand U (Sam),” proclaim: ”Reeboks Let U.B.U.” Another Reebok ad quotes Theodore Roosevelt as having said: ”Do What U Can, With What U Have, Where U R.”Collins also detailed how savvy mainstream labels like adidas went about forming relationships with rappers to exploit their commercial potential. As artists cashed in on the world’s growing fascination with hip-hop music, they also began to adopt a taste for brands with a clear “aspirational” standing.In fact, far before it became the current look of the moment, the hip-hop community was a pioneer of the high-low attitude to fashion. This medley of influences and references is partly why it’s so difficult to define hip-hop style; it is a reflection of personal narratives, regional preferences, disparate conditions, and, in some ways, upward mobility.Boston-based designer, producer and creative director, Frank the Butcher says that this melding of inspirations is rooted in the fact that hip-hop was the collective invention of a marginalized class.
“Hip-hop was one of the first music genres that was born of the common people. With any other genre of music there was potentially a costume or some sort of uniform that separated the entertainer from the average person. Hip-hop was the genre of music where it was accepted, promoted, and preferred that the artist looked like the fan.”Perhaps the earliest embodiment of hip-hop’s embracing a more “aspirational” aesthetic was the adoption of “preppy” labels such as Tommy Hilfiger, Nautica, and the infamous Polo Ralph Lauren. This was matched with an interest in luxury labels like Louis Vuitton and Gucci.While their high price point was an obvious indicator of material wealth, a big part of the allure of these labels lay in the fact that they did not traditionally market to minorities. One look at Polo’s advertisements, even today, reflects an identity steeped in nouveau-riche aristocratic culture. Such positioning creates a deliberate air of exclusivity, making them a clear indicator of financial success.Embracing aspirational fashion also provided a sense of escape – much the same way making music did. In this way both hip-hop and fashion became a balm to the harsh realities of life; even if you couldn’t afford a mansion, private jet or Bugatti, you could still have a piece of that luxury, either through having the freshest clothing or living vicariously through your favorite rapper’s music. Having this kind of outlet was important. Often, the quality of life in the communities where hip-hop originated was grim – particularly in the ’70s and ’80s when urban decay reached its peak in the South Bronx. At that time, many residents were living in conditions that can only be described as inhumane – they lacked basic necessities like running water, heat, and electricity. There were also so many abandoned buildings, brought on by the mass exodus of former middle class occupants, that it brought an influx of squatters, addicts, transients, etc. In fact, the crisis was so extensive that over 40% of the area was either abandoned or set ablaze between 1970 and 1980.At the same time certain parts of the industry were reaching upwards, other corners of hip-hop began to embrace American workwear and outdoor gear. Brands like Timberland, Carhartt and The North Face suddenly found themselves coveted by a market they had never even acknowledged before.Yet, in many cases, the influx of the “hip-hop consumer” was met with hostility and resistance. In 1994, The New York Times published an article titled “Out of the Woods,” in which writer Michel Marriott chronicled the begrudging recognition of the “urban” consumer, and Jason Russell, former director of marketing at Carhartt, was quoted saying, “The youth market came after us. Fine, they like to wear what we make. But we will never go after that market aggressively.”Yet, while the hip-hop market remained resolutely outside their visible advertising campaigns, its influence was no doubt acknowledged. Former Source magazine Fashion Editor Julia Chance weighed in on the debate, stating, “they think that if their clothes are celebrated in the black, urban community, with all its ills, that it will cheapen their brand names…I see the stuff on the runways, and I know they are inspired by black folk, and now some of these companies are saying our dollars don’t count.”It was around this time that entrepreneurial minds like Russell Simmons, Sean Combs and Jay Z began venturing outside the boundaries of music and into the world of fashion.Whether the rise of hip-hop-specific brands was directly a result of the thinly veiled rejection handed out by more established labels on the market, or because these budding business moguls simply wanted to establish alternate streams of revenue, isn’t entirely certain. Whatever the case, the birth of labels like Rocawear, FUBU, Phat Farm and Wu-Wear paved the way for rappers to be viewed not simply as recording artists, but as tastemakers, influencers, and successful businessmen.
“Hip-hop had become one of the biggest forms of transcultural expression. It became the biggest vehicle to sell things. So while these rappers were getting more and more acclaim they were essentially discussing the brands they liked in their music, and those brands saw a spike in revenue. The combination of these brands not understanding the culture or the clothes, and these artists being aware that they did understand the culture, opened up unique business opportunities. People like Jay-Z or Russell Simmons were asking, ok what happens if I say Rocawear, Akademiks, Fubu or Phat Farm in my music, will these kids still gravitate?”

 Frank the Butcher

The early success of these labels proved that kids did, in fact, still gravitate, and that hip-hop was one of the most fresh and powerful marketing tools of the time. This, coupled with mainstream brands’ eventual capitulation to (and, in some cases, active courting of) the “hip-hop consumer,” opened up even more opportunities for business and profit especially for Womens clothing.
“I really started to see a change when labels like Tommy Hilfiger and Polo accepted hip-hop. Hilfiger actually publicly stood next to, supported, and styled rappers. Before that no one would ever have imagined a leader in fashion, in that realm of menswear, would to reach down and put hip-hop on the same platform […] When Tommy Hilfiger was like, ‘come stand on this platform with me,’ it was a confirmation of how powerful the culture was. This was during an era where kids were still signing up to hip-hop. It wasn’t like today, where it was just there. I think at that point companies realized it was a force to be reckoned with.”While it’s clear that rappers have been unofficial tastemakers since the birth of hip-hop in the ’70s, it has really only been in the last decade that they have emerged as such in mainstream cultural consciousness. The blueprint set by entrepreneurs like Jay Z, Sean Combs and former graffiti artist Marc Ecko has been emulated and perfected by the likes of Kanye West, Pharrell, Tyler, The Creator and many others. During that time the styles, of course, have changed. The past 10 years have seen the increasing abandonment of purely street-specific fashion (such as Mens urban clothes and workwear) in favor of more high-end tastes. Although rappers have been mixing luxury labels with Cheap mens clothing since the very earliest of days (when people like Dapper Dan were bootlegging Louis Vuitton sweatsuits and Notorious B.I.G. was famed for his love of Versace), back then it was often done as a statement of pure material wealth. These days there’s a far more pointed meaning.For someone like Kanye West there is a clear desire to convey more than just the size of his bank account — for him it’s about showing off his broad cultural awareness and level of taste. As someone who considers himself more of an influencer than a mere musician, you get the impression that getting dressed each day holds the same gravitas as it would a senior fashion editor at Vogue (perhaps more so, given how scrutinized his every move is). That is to say, style is as much a part of his life as music, and he wants to let the world know that.On the other side of the divide, high-end fashion brands have responded in kind, actively courting the interest of rappers and leveraging their participation to boost profits. At the onset of the new millennium many brands finally recognized that rappers were more than performers, they were conduits of an increasingly relevant culture they knew nothing about. As a result, a kind of symbiotic relationship developed in which artists became powerful marketing tools that enabled luxury labels to authentically speak to the very same consumer they had formerly excluded.In 2008, when Pharrell designed a jewelry line for Louis Vuitton, it was a signifier of a change in the perception of hip-hop. The following year Kanye West also collaborated with Louis Vuitton on a collection of sneakers — a product the brand wasn’t traditionally known for. Since then the effect has snowballed; you only need to look to the current offerings of brands like Givenchy or Balmain to see how completely hip-hop culture has permeated.Still, many argue that the commercialization of hip-hop has affected its authenticity. In 2004, Bakari Kitwana, author of The Hip-Hop Generation, wrote an article for Black Book Magazine titled, “Jay-Z: Hip-Hop and High Society” in which he charts the evolution of the “bourgeois rapper,” and details how Jay Z’s monetary success led to questions about his authenticity, and inevitable conversations about “selling out.”
“We didn’t sell out. We brought the hood to the suburbs, Jay-Z tells me, explaining that he hasn’t acquiesced to the status quo. “Out of nothing we made something,” he says repeating a phrase he’s incorporated into his lyrics on several occasions. Then, references his King of New York predecessor, the Notorious B.I.G., he adds, “We went from ashy to classy.” It’s a fine line and raises two important questions. First, has hip-hop betrayed it’s ghetto origins as a voice for the voiceless? Second, has hip-hop’s arrival in mainstream culture changed what it means to be bourgeois?

 Bakari Kitwana

Despite arguments about hip-hop’s loss of authenticity, it’s hard to deny that music and fashion have always moved hand-in-hand, and rappers have simply replaced bands and popstars as the new tastemakers. What’s more, their position makes a lot of sense. The ethos surrounding much of contemporary hip-hop celebrates lavish living and material wealth, which is an inherent part of any luxury lifestyle especially for Womens urban clothing.It’s also hard to deny that hip-hop is no longer a genre that speaks explicitly to a niche community; it’s a cultural hallmark that can be heard in the furthest corners of the world. What’s more is that the “hip-hop generation,” as Kitwana describes the first generation of African-Americans to grow up in post-segregation America, no longer drives the conversation around the genre. Now, people on every end of the socioeconomic and cultural spectrum have infused their own narratives by participating in the culture.The success of artists like Jay Z, Andre 3000 (whose Benjamin Bixby line re-appropriated “prep” brands specifically for the “urban” consumer), and Pharrell (who melded hip-hop and skate culture in a way no one had before), in breaking through the glass ceiling brought two ends of the spectrum together.In fact, an artist like Jay Z is a perfect reflection of the duality of hip-hop. Sometimes he raps about private planes and owning real estate most of us could only dream about, but we also know he wasn’t born into those conditions. So for those who cannot identify with that part of his life, he can still resonate as an example of the potential to make a better future.This kind of duality allows hip-hop to thrive in the most affluent environments and the least. And artists, as ambassadors of the genre, carry this duality. Many times it allows them to transcend traditional labels and bring together demographics who would otherwise never come into contact.And that is a valuable marketing tool if ever there was one. It just so happens the fashion industry has finally recognized this truth.

Mens Online Clothing Star Dies

Online clothes shopping for men
Online clothes shopping for men

The cause of death for rapper Gustav Ahr, also known as Lil Peep, was the toxic effects of the synthetic opioid fentanyl and alprazolam, commonly sold as Xanax.

The 21-year-old rapper’s death on his tour bus prior to a Nov. 15 concert in Tucson was certified as accidental, according to a news release from the Pima County Office of the Medical Examiner.

Tucson police said Ahr was found dead on his tour bus ahead of a scheduled concert at The Rock, 136 N. Park Ave.

Tucson police closed the investigation of Ahr’s death as a possible homicide, said  Sgt. Pete Dugan, a spokesman with the Tucson Police Department. Police are still investigating where the drugs came from.

Sarah Stennett, who runs First Access Entertainment, a company that previously worked with Ahr, said in a statement at the time that she was “shocked and heartbroken” about the death.

“He was highly intelligent, hugely creative, massively charismatic, gentle and charming,” she said. “He had huge ambition and his career was flourishing.”

Millions of online listens led to the August release of his first full-length album, “Come Over When You’re Sober, Part 1.”

 With tattoos covering his body and parts of his face and a shock of blond hair, Ahr’s striking appearance caught the fashion world’s attention. He made runway appearances for several labels in Europe and his ambitions in that realm rivaled his dreams for his rap career.

In her statement, Stennett passed along comments by Ahr’s mother.

“She asked me to convey that she is very, very proud of him and everything he was able to achieve in his short life,” Stennett wrote.

Coard: Jay-Z right about Meek Mill’s judge | Commentary | phillytrib.com

the green island reggae music scene
 

In reaction to Judge Genece Brinkley’s November 6 draconian sentencing of Robert Rihmeek Williams, better known as Meek Mill, Jay-Z, the greatest rapper of all time, recently wrote, “The sentence handed down by the Judge — against the recommendation of the Assistant District Attorney and Probation Officer — is unjust and heavy-handed …”

And way back in 2004 in “99 Problems” on “The Black Album,” Jay rapped in a fictional debate with a racist white cop on the highway:

“I heard ‘Son, do you know why I’m stopping you for?’

 
 

Cause I’m young and I’m Black and my hat’s real low

Or do I look like a mind reader, sir? I don’t know

Am I under arrest or should I guess some mo’…

Aren’t you sharp as a tack?

You some type of lawyer or something?

Child, I ain’t passed the bar but I know a lil bit

Enough that you won’t illegally search my sht”

Despite not having passed or even taken the bar exam, Jay is also sharp enough to know that Judge Brinkley’s sentence is outrageously unwarranted. The idea of sending a nonviolent probation violator to state prison for two-to-four years with murderers, rapists, armed robbers, and kidnappers is arbitrary and capricious and it shocks the conscience.

Among many lawyers, one in particular, i.e., the prominent and well-respected Joe Tacopina who represents Meek in New York, strongly agrees with Jay’s assessment about Judge Brinkley. He stated, “It was an enormously grave miscarriage of justice. A really despicable version of what the justice system is supposed to be …”

Tacopina added that Judge Brinkley is “enamored with … (Meek). She showed up at his community service (site) for the homeless people (at Philly’s Broad Street Ministry) … You can pull any judge in America and ask them how many times they’ve shown up at a community service (site) for a probation and the answer is zero.”

He continued by alleging that Judge Brinkley on February 5, 2016 asked Meek to record a Boyz II Men song with a part that gives her a shout-out but Meek (and his girlfriend Nicki Minaj) simply laughed and refused, to which, as Tacopina claims, the judge supposedly replied, “OK, suit yourself.”

But Tacopina wasn’t finished. He also contends Judge Brinkley suggested that Meek leave his Jay-Z owned Roc Nation label and sign with a Philly area-based agent “who … (the judge) had a relationship with.” If all that — or any of that — is true, the only thing I can say is “Wow!” And as they say in the hood, “Where dey do dat at?”

Let’s get back to Meek. As a trial lawyer for more than 20 years and as a Black person during my entire life, I’m not gonna make excuses for him. He messed up. Bad. Following his 2007 arrest, he was convicted in 2009 of seven drug and weapon-related charges, although five were mere misdemeanors. He received an 11 ½ – 23 month county jail sentence followed by three years probation. But he violated probation in 2011, 2013, 2014, and 2015. However, they weren’t for killing, robbing, shooting, or otherwise hurting anyone. They were for technical violations involving drug use and performances at concerts without Judge Brinkley’s permission. Although what he did was wrong, did it warrant state prison with murderers, rapists, armed robbers, kidnappers, and the like?

Judge Brinkley’s irrational state prison sentence not only excessively punishes Meek; it also leaves his five-year-old son Rihmeek (who just started kindergarten last year) and his six-year-old son Murad (who already aspires to be a rapper) without a father during their formative years. Being fatherless is a potential recipe for disaster for Black boys.

Also, that crazily counterproductive state prison sentence punishes society at a cost of $42,000 yearly. Instead of locking Meek up, the judge could have saved Pennsylvania taxpayers a whole lotta money by foregoing prison (as the D.A.’s Office, the Probation Department, and the defense attorney all requested) and ordering extensive community service of about 500 hours involving numerous obligations including several educational rap concerts with all the proceeds going to the Philadelphia School District and a hefty agreed upon fine of about $50,000-$100,000 dollars payable to the Pennsylvania Crime Victims Compensation Assistance Program from his three million dollar bank account.

 
 

As opposed to making things better for anyone, Judge Brinkley made them worse for everyone. Now, 30-year-old Robert Rihmeek Williams is Inmate No. ND8400 awaiting processing at the State Correctional Institution at Camp Hill near Harrisburg before being transferred to another state prison to carry out his sentence.

So what should Meek’s fans do? Should they sign the #FreeMeekMill petition at change.org? Yes, they should.

But first, they should help those who are victimized by racist mass incarceration much worse than Meek is. Therefore, before doing anything else, make a donation to the Pennsylvania Prison Society (PPS), which is in the process of trying to raise $23,000 based on $100 for each of its 230 years of essential services for inmates and their families.

The PPS’s motto is “Bringing light to the inside and bringing the darkness on the inside to light.” And the PPS does just that by fighting for humane prisons, providing much-needed transportation for poor families to visit their loved ones at Pennsylvania’s long distance prisons, and by offering counseling services to inmates as well as their families.

If you can’t join me in donating $1,000, at least you can volunteer at PPS. For more info, log on to prisonsociety.org or call (215) 564-4775.

Meek’s top-notch Philly lawyer, Brian McMonagle, intends to appeal to the Superior Court where he’ll probably seek an expedited hearing and argue that Judge Brinkley abused her discretion. He might even pursue Meek’s release through an expedited clemency request in the form of a pardon or a commutation via the Board of Pardons.

McMonagle, one of the city’s greatest trial lawyers with about three decades of experience, has a good shot at winning because he’s basically going not against the D.A.’s Office but against Judge Brinkley who, with a mere five or six years of private practice trial experience, is by no means Johnnie Cochran or Thurgood Marshall.

By the way, Judge Brinkley was reelected in a 2013 citywide retention vote. But her term expires in six years when she’s up for retention again. Remember 2023. I’m jus sayin’.

 
 

Michael Coard, Esquire can be followed on Facebook, Twitter, and Instagram. His “Radio Courtroom” show can be heard on WURD96.1-FM. And his “TV Courtroom” show can be seen on PhillyCam/Verizon/Comcast.

 

http://www.phillytrib.com/commentary/coard-jay-z-right-about-meek-mill-s-judge/article_0ba767d0-0bfa-528b-84d1-d28d524996b5.html

On – 11 Nov, 2017 By Michael Coard

George Nooks: From Prince Mohamed to King of Reggae Gospel! – Reggae Vibes

George Nooks: From Prince Mohamed to King of Reggae Gospel!

by | Nov 15, 2017 | News

George Nooks: From Prince Mohamed to King of Reggae Gospel!

With his logevity, golden voice, vast collection of songs, low keyed lifestyle and squeeky clean reputation, George Nooks, formerly Prince Mohamad, has made a smooth transition from Prince to King of Reggae Gospel.

George Nooks: From Prince Mohamed to King of Reggae Gospel!

With his logevity, golden voice, vast collection of songs, low keyed lifestyle and squeeky clean reputation, George Nooks, formerly Prince Mohamed, has made a smooth transition from Prince to King of Reggae Gospel. For over forty years Nooks has been churning out reggae hits after hits. With almost five hundred songs to his credit and over two hundred videos, he is easily regarded as one of reggae music’s most accomplished artist.

Nooks has come a long way since starting out as a Deejay in the 1970s. One of his earliest hits was “Forty Leg Inna Him Dread”. Following a string of successful Deejay songs, he transitioned as a full-fledged singer. Nooks started his career singing in the church choir as a youth, followed by school performances and talent show competitions.

The King of Gospel’s exceptional voice allowed him to successfully cross over from lovers rock to reggae gospel. Some of his biggest gospel hits are: “Perfect World”, “No Power on Earth”, “How Great Thou Art”, “God Is Standing By”, “Bridge Over Troubled Water” and “Ride Out The Storm” (2016) “I Must Tell Jesus”, (May 2017) and “Nuh Bother Worry” (July 2017). “Ride Out Your Storm” reached no. 4 on the Reggae Billboard chart and no. 22 on the gospel chart. This is quite an accomplishment for Nooks who won three Tamika Reggae Music awards in 1997: Crossover artist of the year, outstanding male vocalist and Vocalist Of The Year. He has a huge international fan base and often performs to sell out shows. He said to be to gospel music what Frank Sinatra was to jazz, a powerful voice that got better with maturity. He has collaborated with some of the most famous names in the reggae and gospel music industry: Dennis Brown, Gregory Isaacs, Alton Ellis, Roland Burrell, Singing Melody and Lucky D, to name a few.

Nooks has had an exemplary career and a very private, personal life. He has enjoyed a stellar reputation in the entertainment business for more than forty years. That changed in May 2017 when he was allegedly caught with illicit substance believed to be cocaine. He was arrested and charged, albeit he maintained he was setup. He, as well as his vast fan base maintained his innocence and firmly believed he will be vindicated. He is regarded by many who know him to be a very kind, considerate and sensitive individual who is loved both in his homeland of Jamaica and internationally. The fans of this reggae gospel king are looking forward to a long reign with a steady flow of beautiful gospel music. Long reign George Nooks, the king of reggae gospel!     [By Cynthia Reid]

https://www.reggae-vibes.com/news/2017/11/george-nooks-from-prince-mohamed-to-king-of-reggae-gospel/

On – 15 Nov, 2017 By

Reggae artist supports youth through music

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Reggae artist supports youth through music

Daniel Pak has been making music for the good part of his 37 years on the planet. While on hiatus from his studies in metallurgical engineering and on a visit with friends, he had an epiphany: music was meant to be the center of his life’s work.

He was feeling “sick and tired of seeing the status quo,” he says, “with oppression and violence being so pervasive; it [was] maddening.”

Music, he figured, would connect him “with like-minded people who really want change to happen.”

So he rejected an attractive offer to work as a high-paid nuclear engineer at Pearl Harbor on the island of Oahu, where Pak was raised. Instead, he chose to pursue a career as an artist, or, as he puts it, “a culture worker.”

“We need to take this world into our own hands,” he says. “We have to show the power of love, the power of culture.”

Pak has dedicated his work life to his passions — music and youth mentorship. Since 2008, he has been producing music with his Seattle-based reggae band, Kore Ionz. In 2010, Pak co-founded a non-profit youth music mentorship organization, Totem Star.

Pak is also about to cross the threshold to a new chapter in his career: the release of his first single as a solo artist. The track, “Fly Away,” explores the theme of moving on after losing someone.

With his long, wavy, nearly waist-length black hair, black faded-with-wear t-shirt and beige skater slip-ons, Pak projects good vibrations. He exudes the energy of a quintessential creative social changemaker.

He was raised on Oahu by his 4th and 5th generation (Korean and Japanese-American) parents. Gary and Merle Pak, both social activists, met in the early 1970s while organizing Hawaiian laborers.

He remembers hearing reggae as a child; its rhythms have resonated with him ever since.

The bright tones of the one-drop beat of reggae, juxtaposed to its roots in the Jamaican and Rastafarian struggle for power in the midst of poverty, reflect Pak’s worldview.

“You have to keep it in the positive no matter what,” he says. “Reggae is a music of healing — it was created to uplift the community.”

He formed his reggae band, Kore Ionz, a decade ago. The band’s upbeat island sounds contrast with lyrics that are politically charged.

The band’s song, “Superhero,” released earlier this year, is a Rastafarian-esque anthem calling listeners to “learn to love each other the right way.”

Pak says, “[W]e have to stop seeing people die on the streets. We have to stop seeing cops kill pregnant mothers, have a memorial service, and just forget about it because we’re too busy with the daily grind.”

“Superhero” is Kore Ionz’s response to what Pak sees as the most pressing social justice problems of the moment. The song’s video includes scenes depicting police brutality, rape culture and domestic violence.

“I’ve had aunties who were questioning if they could finish watching the video,” he says. “But I told them, ‘Hang in there, wait another thirty seconds,’ and, they did, and were really moved.”

The video’s narrative centers on the notion that empowered youth play essential roles as agents of social change.

That’s also the impetus behind the creation of Totem Star, a nonprofit record label for young artists. Participants have access to free after-school recording studio time at the Youngstown Cultural Arts Center in West Seattle. Teens can book in-studio sessions for music production, which may take the form of songwriting, beat making, instrumental lessons, vocal recording, or, even, as Pak notes, “a two-hour-long dialogue about the state of politics in America.”

Gavin Brown, a 15-year-old sophomore from Burien’s Big Picture High School, has been a Totem Star participant since September 2015.  “They’ve taught me Logic, [the recording software program]. They’ve taught me how to make music. They’ve taught me everything I’ve known, and I’ve expanded from there,” he says.

Since 2010, more than 800 youth have benefited from Totem Star’s music programs.

The program and his music, Pak says, are all part of his life’s mission.

“At the end of the day, I feel like my whole purpose in this life is to be an ambassador of aloha — to spread more love around the world,” he says.

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http://crosscut.com/2017/10/reggae-artist-supports-youth-through-music/

On – 27 Oct, 2017 By JaLynn Montes

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