Eazy E & Venice Locals 2/24/1989 (A Historic Day in the Brotherhood of Hip Hop & Skateboarding)

_____________________

video:

Eazy E & Venice Locals February 24th 1989 

(A Historic Day in both Hip Hop & Skateboarding).

All photographs under federal copyright 

by © Ithaka Darin Pappas 

@_ithaka_

______________________________________________________

Это был исторический день в отношениях хип-хопа и скейтбординга. Это был первый раз, когда известный рэпер публично одобрил скейтбординг (и даже признался и продемонстрировал, что он был скейтбордистом mesmo). До этого дня скейтбординг был в основном для панков ... хип-хоп не был чем-то увлеченным сообществом скейтбордов. Каким-то образом этот день подал зеленый свет между двумя мирами, что было нормально принимать друг друга. Это было начало пожизненного братства, поскольку все мы знаем, что эти две вселенные теперь движутся рука об руку, абсолютно неразделимы.

este foi um dia histórico nas relações do hip hop e do skate. Foi a primeira vez que um conhecido rapper endossou publicamente o skate (e até admitiu e demonstrou que era um skatista mesmo). Antes deste dia, o skate era principalmente para punks ... O hip hop não era algo abraçado pela comunidade de skate. De alguma forma, este dia serviu uma luz verde entre os dois mundos que era aceitável aceitar um ao outro. Foi o início de uma irmandade ao longo da vida, como todos nós sabemos que esses dois universos agora andam de mãos dadas, totalmente inseparáveis. 

これはヒップホップとスケートボードの関係において歴史的な日でした。 有名なラッパーがスケートボーディングを公に承認したのは初めてのことでした（そして彼がスケートボーダーのメスモであることを認め、証明することすらありました）。 この日より前は、スケートボードは主にパンクのためでした…ヒップホップはスケートコミュニティによって受け入れられるものではありませんでした。 どういうわけかこの日は2つの世界の間でお互いを受け入れても大丈夫であるという緑色の光を出しました。 私達全員が今これらの2つの宇宙が手をつないで、絶対に不可分に乗って乗っているのを知っているので、それは生涯の兄弟愛の始まりでした。

Eric "Eazy-E" Wright was a hip-hop visionary who never got the credit he deserved for turning rap into an international phenomenon (though 2015's Straight Outta Compton biopic went a long way toward rehabilitating his legacy). Well, he was a visionary in other ways, too. Decades before it became commonplace for every rapper to have a skateboard or two in his closet, Eazy was practicing kickflips with his young son on the streets of Compton.

At a time when skateboarding was dominated by white kids listening to punk - and the hip hop community disregarded anything related to skate or surf, Eazy E paved the way.

https://www.latimes.com/entertainment/arts/miranda/la-et-cam-datebook-contact-high-annenberg-story.html

Extremely Rare Photo of Eazy E Skateboarding by Ithaka Darin Pappas now on Exhibit at "Contact High" hosted by The Annenberg Space For Photography

“Contact High: A Visual History of Hip-Hop,” at the Annenberg Space for Photography. A new group show organized by author Vikki Tobak looks at the work of photographers who chronicled the rise of hip-hop, with famous prints (like the iconic portrait of Biggie Smalls in a crown by Barron Claiborne) as well as unedited contact sheets and other images of key musical figures from the genre, including Eazy-E, Jay-Z and Salt-N-Pepa. Tobak is the author of the bestselling book on which the exhibit is based. Opens Friday and runs through Aug. 18. 2000 Avenue of the Stars, Century City, AnnenbergPhotoSpace.org.

#eazye #hiphop #skateboarding #ithakadarinpappas #NWA

General Admission Magazine: 

Tell us about the cover photo and how you got to that point with N.W.A?

Ithaka Darin Pappas: At the time I was working for Priority Records. I was their main freelance photographer during this period and I had photographed N.W.A. probably more than any other photographer. This particular day was a shoot for MTV and they were doing a little culture clash unite between this pop group Kris Kross and N.W.A. Kris Kross came down and we all met in Venice. Fab 5 Freddy did the interview, an old-school artist and hip-hopper from New York. After the Kris Kross bailed we all walked down to the skate area down there on the beach at Venice. Eazy grabbed some kid's skateboard and took off. I'd already been working with this crew for probably almost two years and I'd never even heard the word skate board came out of anybody's mouth, or surfing, or anything like that. It was a shock to me, and he'd obviously spent some time on a skateboard because he knew what he was doing. 

General Admission Magazine: He could skate? 

Ithaka Darin Pappas: Yes. He was confident on it. One thing we've learned from this photo is Eazy is a goofyfooter. (Ed’s note: Goofyfoot is the type of stance a surfer or skater is defined by) 

https://itunes.apple.com/us/artist/ithaka/69363540

https://store.cdbaby.com/artist/Ithaka2

https://www.instagram.com/_ithaka_/?hl=en

https://www.imdb.com/name/nm5225987/

https://thehundreds.com/blogs/content/ithaka-interview

https://pt.wikipedia.org/wiki/Ithaka

http://upmagazine-tap.com/en/pt_artigos/ithaka-2/

EAZY E - Five Pictures That Transformed The Demographic Of Both Of Both Hip Hip and Skateboarding - Photos: Ithaka Darin Pappas

Eazy E - SKATE OUTTA COMPTON - Hip Hop's First Skateboarder, Venice Beach 1989 / photographed by Ithaka Darin Pappas @_ithaka_  [][] Book: Contact High A Visual History Of Hip Hop.EXTREMELY RARE These are the only photos in existence of Eazy E skate boarding https://www.amazon.com/Contact-High-Visual-History-Hip-Hop/dp/0525573887
https://www.complex.com/sports/2013/08/history-rappers-skateboard/murs
https://studio.youtube.com/video/6BA4MOlA2BU/edit

Eric "Eazy-E" Wright was a hip-hop visionary who never got the credit he deserved for turning rap into an international phenomenon (though 2015's Straight Outta Compton biopic went a long way toward rehabilitating his legacy). Well, he was a visionary in other ways, too. Decades before it became commonplace for every rapper to have a skateboard or two in his closet, Eazy was practicing kickflips with his young son on the streets of Compton.

At a time when skateboarding was dominated by white kids listening to punk - and the hip hop community disregarded anything related to skate or surf, Eazy E paved the way.

https://www.latimes.com/entertainment/arts/miranda/la-et-cam-datebook-contact-high-annenberg-story.html

Extremely Rare Photo of Eazy E Skateboarding by Ithaka Darin Pappas now on Exhibit at "Contact High" hosted by The Annenberg Space For Photography
“Contact High: A Visual History of Hip-Hop,” at the Annenberg Space for Photography. A new group show organized by author Vikki Tobak looks at the work of photographers who chronicled the rise of hip-hop, with famous prints (like the iconic portrait of Biggie Smalls in a crown by Barron Claiborne) as well as unedited contact sheets and other images of key musical figures from the genre, including Eazy-E, Jay-Z and Salt-N-Pepa. Tobak is the author of the bestselling book on which the exhibit is based. Opens Friday and runs through Aug. 18. 2000 Avenue of the Stars, Century City, AnnenbergPhotoSpace.org.

#eazye #hiphop #skateboarding #ithakadarinpappas #NWA

General Admission Magazine:
Tell us about the cover photo and how you got to that point with N.W.A?
Ithaka Darin Pappas: At the time I was working for Priority Records. I was their main freelance photographer during this period and I had photographed N.W.A. probably more than any other photographer. This particular day was a shoot for MTV and they were doing a little culture clash unite between this pop group Kris Kross and N.W.A. Kris Kross came down and we all met in Venice. Fab 5 Freddy did the interview, an old-school artist and hip-hopper from New York. After the Kris Kross bailed we all walked down to the skate area down there on the beach at Venice. Eazy grabbed some kid's skateboard and took off. I'd already been working with this crew for probably almost two years and I'd never even heard the word skate board came out of anybody's mouth, or surfing, or anything like that. It was a shock to me, and he'd obviously spent some time on a skateboard because he knew what he was doing.

General Admission Magazine: He could skate?
Ithaka Darin Pappas: Yes. He was confident on it. One thing we've learned from this photo is Eazy is a goofyfooter. (Ed’s note: Goofyfoot is the type of stance a surfer or skater is defined by)

https://itunes.apple.com/us/artist/ithaka/69363540
https://store.cdbaby.com/artist/Ithaka2
https://www.instagram.com/_ithaka_/?hl=en
https://www.imdb.com/name/nm5225987/
https://thehundreds.com/blogs/content/ithaka-interview
https://pt.wikipedia.org/wiki/Ithaka
http://upmagazine-tap.com/en/pt_artigos/ithaka-2/

Eazy E "Skate Outta Compton" (The only Photos of Eazy E Actually Skateboarding In Existence!) Photos: Ithaka Darin Pappas

Eazy E "Skate Out Of Compton" 

(The only photographs of Eazy E skateboarding in existence!) Photos by: Ithaka Darin Pappas 

As they appear in the book: 

Contact High: A Visual History Of Hip Hop by Vikki Tobak

N.W.A., Cheap Trick, Steve Miller, Deep Purple And Chicago To Be Inducted Into The Rock n’ Roll Hall Of Fame! - See more at: http://pcmworldnews.com/news/2015/12/n-w-a-cheap-trick-steve-miller-deep-purple-and-chicago-to-be-inducted-into-the-rock-n-roll-hall-of-fame/#sthash.rCGDYHFE.dpuf Read more at http://pcmworldnews.com/news/2015/12/n-w-a-cheap-trick-steve-miller-deep-purple-and-chicago-to-be-inducted-into-the-rock-n-roll-hall-of-fame/#5Rqc4TwBkvxHIpFV.99

Photo Credit: Ithaka Darin Pappas

The 31st Annual Rock and Roll Hall of Fame Induction Ceremony, presented by Klipsch Audio, will take place on Friday, April 8, 2016 at Barclays Center in Brooklyn, New York for the second time. HBO will broadcast the ceremony in spring 2016.

Artists are eligible for inclusion in the Rock and Roll Hall of Fame 25 years after the release of their first recording. The 2016 Rock and Roll Hall of Fame Performer Inductees were chosen by more than 800 voters of the Rock and Roll Hall of Fame Foundation, as well as the aggregate results of the Rock and Roll Hall of Fame’s online fan vote. The top five artists, as selected by the public, comprised a “fans’ ballot” that was tallied along with the other ballots to determine the 2016 Inductees. Three of the top five artists from the fans ballot will be inducted in 2016.

The Rock and Roll Hall of Fame in Cleveland, Ohio, will also open a special exhibit on the 2016 Inductees in conjunction with the 2016 Induction Ceremony.

Klipsch Audio, a leading global speaker and headphone manufacturer, is a strategic partner and presenting sponsor of the Rock and Roll Hall of Fame and its Induction Ceremony events. Klipsch’s renowned products deliver the power, detail and emotion of the live music experience throughout the iconic museum.

Tickets will go on sale to the public in February. A limited number of pre-sale tickets will be available for Rock and Roll Hall of Fame members in advance of the public sale date. To be eligible for the member pre-sale, you must be an active Rock and Roll Hall of Fame member by December 31, 2015. Exact sale dates and ticket information will be announced in late January. Details available at www.rockhall.com. To receive Induction Ceremony updates, announcements and ticket information, sign up for the Rock Hall’s e-newsletter at www.rockhall.com/e-newsletter, follow the Rock Hall on Facebook, Twitter (@rock_hall) and Instagram (@rockhall) or join the conversation at #RockHall2016.

This post came fromN.W.A., Cheap Trick, Steve Miller, Deep Purple And Chicago To Be Inducted Into The Rock n’ Roll Hall Of Fame! - unSkinny Pop

image: http://feeds.feedburner.com/~r/UnskinnyPop/~4/RoBPlZtzvjk

This entry was posted in Celebrity, Music, News and tagged Cheap Trick, Chicago, Deep Purple, HBO, N.W.A., Rock n' Roll Hall Of Fame, Steve Miller, Television by Kristyn Clarke.

Bookmark the permalink.

- See more at: http://pcmworldnews.com/news/2015/12/n-w-a-cheap-trick-steve-miller-deep-purple-and-chicago-to-be-inducted-into-the-rock-n-roll-hall-of-fame/#sthash.rCGDYHFE.dpuf

Read more at http://pcmworldnews.com/news/2015/12/n-w-a-cheap-trick-steve-miller-deep-purple-and-chicago-to-be-inducted-into-the-rock-n-roll-hall-of-fame/#5Rqc4TwBkvxHIpFV.99

NWA - Japan 1989 - Photograph by: Ithaka Darin Pappas

NWA featured in Japanese lifestyle magazine - 1989

Originally from a publicity photograph I took of them 

at my apartment in Los Angeles in 1998

on a Hasselblad ELX with 105mm lens.

This was the first of many shoots 

that I did for Priority Records between 1988 and 1991.

We also shot Big Lady K during that same session. 

For more information about this image 

please contact: ithaka.art@gmail.com - Also see: @_ithaka_

Agent: Tack Artist Group (LA)

http://www.lamag.com/culturefiles/this-is-fresh-two-90s-era-hip-hop-films-revive-l-a-s-rap-glory-days/

Niggaz Wit Attitudes Integration: Photo: Ithaka Darin Pappas (Consequence Of Sound)

photo: Ithaka Darin Pappas ©1988

This was one of many shoots 

that I did of NWA members for

Priority Records between 1988 and 1991.

For more information about this image 

please contact: ithaka.art@gmail.com - Also see: @_ithaka_

Note: This image is not Public Domain, it is necessary to acquire authorization

thru my representatives at the Tack Artist Group Agency in Los Angeles 

before reproducing in print, online or merchandising...thank you.

http://thehundreds.com/ithaka-interview/

~~~~~~~~~~~~~~~~~~~~~

http://consequenceofsound.net/2015/07/will-the-real-n-w-a-please-stand-up/

Will the Real N.W.A Please Stand Up?

Can you really integrate a rap group called Niggaz Wit Attitudes?

BY MATT MELIS

ON JULY 26, 2015, 11:30PM

3 COMMENTS

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Photo by Ithaka Darin Pappas / Tack Artist Group

Music, Movies & Moods is a regular free-form column in which Matt Melis (@MistaMelis) explores the cracks between where art and daily life meet.

<img class="alignleft wp-image-598092 size-medium" src="https://consequenceofsound.files.wordpress.com/2013/11/cos_music_movies_moods-2.jpg?w=300&#038;h=300" alt="COS_Music_Movies_Moods (2)" width="300" height="300" title="Will the Real N.W.A Please Stand Up?" />

One afternoon during sophomore year of high school, our guidance counselor passed out a questionnaire asking about our futures: college plans, career interests, etc. Before submitting the forms, my friend Ed shared one of his responses with me. Dream job: N.W.A crew member. Fallback: Mechanical engineer. Ed, who spent most evenings recording raps on his computer and wore a No Limit Records jersey each day to school, tried to maintain a steely expression, but his pale, freckled face soon surrendered a grin. As much as he worshipped hip-hop culture, Ed understood that he lacked a basic requirement for landing his dream gig. N.W.A, defunct or not, wasn’t hiring any white rappers. Nearly 20 years later, things aren’t so simple.

Last week, Universal Pictures chairperson Donna Langley stated that a full-blown N.W.A reunion tour was being organized to coincide with the release of filmmaker F. Gary Gray’s upcoming biopic, Straight Outta Compton. More surprising, though, was the suggestion that Dr. Dre protégé Eminem might fill in for the late Eric “Eazy-E” Wright as an honorary member. Initially, the news read like an Onion story, a joke akin to Dave Chapelle’s sketch about a blind black man rising through the ranks of the Ku Klux Klan. How can you integrate a hip-hop group called Niggaz Wit Attitudes? Dre and Eminem’s camps quickly quashed the rumor, but an idea can’t be smothered so neatly. What exactly would it mean for a seminal gangsta rap outfit to tour with a white member in 2015? Would it say something positive about music’s power to transcend differences, or would it only deepen the racial confusion that America currently finds itself mired in?

<div class="player-unavailable"><h1 class="message">An error occurred.</h1><div class="submessage"><a href="http://www.youtube.com/watch?v=OrlLcb7zYmw" target="_blank">Try watching this video on www.youtube.com</a>, or enable JavaScript if it is disabled in your browser.</div></div>

When Obama defeated McCain in a landslide in 2008, people of all colors could be overheard talking optimistically about the possibility of a post-racial America in the near future. The last 12 months have made that dream seem sadly naïve and depressingly distant. Since the shooting of Michael Brown last August, the US has been bombarded by cases of police violence towards blacks, alit with racially charged riots, and draped in debate over issues like flying the Northern Virginia battle flag at the South Carolina State House. Issues of race feel inescapable in 2015, and never in my adult life have questions about what it means to be black or white in America felt any less black-and-white.

Rachel Dolezal will likely end up as a strange footnote in America’s ongoing discussions on race. For over a year, Dolezal, a white woman, passed as black and acted as president of the Spokane chapter of the NAACP before being racially outed by her parents last month. Public reaction ran the gamut from accusations of blackface and minstrelsy to discussions on whether racial identity can be self-determined, with most accepting that Dolezal’s race-change, regardless of intention, only proved the extent of her privilege as a white woman in America. Dolezal may be an extreme case, but her story does illuminate legitimate questions about the boundaries existing between white and black experience: Where do the lines between human solidarity and encroachment, between appropriation and exploitation fall; are they permanent demarcations; and who determines them?

<div class="player-unavailable"><h1 class="message">An error occurred.</h1><div class="submessage"><a href="http://www.youtube.com/watch?v=9GP5XRcN6T8" target="_blank">Try watching this video on www.youtube.com</a>, or enable JavaScript if it is disabled in your browser.</div></div>

Since its commercialization, hip-hop has acted as a cultural gatekeeper, largely defining which aspects of urban black experience whites – white youth in particular – are permitted to be privy to and participate in. In Signifying Rappers, David Foster Wallace and Mark Costello liken whites listening to rap music to a ride in a fortified, fast-moving train through the dangerous neighborhoods portrayed throughout the genre – a type of cultural voyeurism with many of the thrills but none of the peril of the actual experience. Subsequently, white youth in search of modes of expression that seemed more authentic than what their suburban worlds offered began allophiliacally adopting hip-hop mannerisms, language, and fashion, and eventually the art form opened up to artists from all backgrounds. However, certain black hip-hop groups, like Public Enemy and N.W.A, made one thing patently clear: whites could be with them (buying records and in the audience), but not one of them.

That’s part of what made the alleged tap on Eminem’s shoulder so mystifying. The very name N.W.A signifies an identity inextricably connected to a particular race, time, and place. “We needed a name,” Ice Cube explains in his short film Straight Outta L.A., “something that would leave no doubt about what we was about and where we was from.” Eminem, for all his skills on the mic and respect within the industry, has no connection to that foundational identity – to the specific environment and circumstances that made N.W.A a dire outlet for its members. Like the rest of us, Em was relegated to the sidelines, learning about Compton via Straight Outta Compton.

<div class="player-unavailable"><h1 class="message">An error occurred.</h1><div class="submessage"><a href="http://www.youtube.com/watch?v=J0y00AiXHfU" target="_blank">Try watching this video on www.youtube.com</a>, or enable JavaScript if it is disabled in your browser.</div></div>

In the same film, rapper Ice-T notes, “One of the lyrics in ‘Straight Outta Compton’ says, ‘From the gang called Niggaz Wit Attitudes.’ They didn’t call themselves a rap group. They said, ‘We’re a gang.’” It’s a critical distinction. A rap group can relocate, but a gang is chained to its turf. The fundamental purpose of N.W.A was to report life as its members experienced or witnessed it in their hometown, and never has a hip-hop group been so tightly bound to a city. More than two decades later, the name N.W.A still conjures images of southern LA, the black and silver Raiders gear, and the ’92 riots that, in hindsight, seemed to be foreshadowed by the pent-up anger and frustration found in the group’s two studio albums. To bring in someone from outside that experience to redeliver those reports from the frontlines seems unconscionable, a mission statement- and group-negating act. If N.W.A doesn’t represent that singular experience, then what exactly does it mean?

One of the reasons this discussion is worth having owes to the fact that N.W.A are more relevant today than they were even just a year ago. With controversial cuts like “Fuck Tha Police”, they became one of the earliest hip-hop groups to explicitly voice anger about the treatment of African-Americans by the authorities. “It’s crazy how we were getting criticized for this years ago,” Dre recently told Rolling Stone. “And now, it’s just like, ‘Ok, we understand.’ This is a problem that keeps happening still today.” It pierces our deepest integrity as a society that a song like “Fuck Tha Police” even exists, but not a month has gone by over the past year that we haven’t been reminded why the song needs to exist.

<div class="player-unavailable"><h1 class="message">An error occurred.</h1><div class="submessage"><a href="http://www.youtube.com/watch?v=mqUtJn_wxIQ" target="_blank">Try watching this video on www.youtube.com</a>, or enable JavaScript if it is disabled in your browser.</div></div>

Eazy-E drops a line in “Fuck Tha Police” that could just as easily have been written in 2015: “They [the police] put out my picture with silence/ ‘Cause my identity by itself causes violence.” He doesn’t deliver the line with any braggadocio, but rather as a simple statement of fact. When I hear that line, a river of names from the past year rushes through my mind – names of people who look nothing like Ed, Eminem, or myself. Eazy-E’s words call attention to the work still left to be done nearly 30 years later, but they also remind me that sometimes our role is to simply pass the mic and listen.

N.W.A.’S INFLUENCE (The Source) Photo: Ithaka Darin Pappas ©1988

photo: Ithaka Darin Pappas ©1988

This was one of many shoots 

that I did of NWA members for

Priority Records between 1988 and 1991.

For more information about this image 

please contact: ithaka.art@gmail.com - Also see: @_ithaka_

Note: This image is not Public Domain, it is necessary to acquire authorization

thru my representatives at the Tack Artist Group Agency in Los Angeles 

before reproducing in print, online or merchandising...thank you.

http://thehundreds.com/ithaka-interview/

~~~~~~~~~~~~~~~~~~~~~

http://thesource.com/2015/08/13/tracing-n-w-a-s-influence-from-ruthless-to-kendrick-lamar-infographic/

TRACING N.W.A.’S INFLUENCE, FROM RUTHLESS TO KENDRICK LAMAR (INFOGRAPHIC)

 THE SOURCE

 AUGUST 13, 2015

The Compton Super Group Is Even More Influential Than You May Have Realized

Hip Hop is changing history and thanks to Rukkus.com you can trace the musical history all the way to the 1980s starting with gangsta rap group N.W.A.. Whether it’s through mentorship or record labels, N.W.A’s influence is prevalent in Hip Hop today. For instance, The D.O.C., who was a major creative force behind N.W.A., was a part owner of Death Row Records and from that record label blossomed the late Nate Dogg, Tupac Shakur, and Snoop Dogg.

Check out the infographic of this musical family tree that all started with N.W.A.
For a further explanation of how they decided to connect everyone, and why certain artists were left out (we see you Obie Trice) head over to the original 

DR. DRE - Los Angeles - Photographed by Ithaka Darin Pappas ©1988

Dr. Dre (Andre Young)
photographed in the Miracle Mile area of California in 1989
by Ithaka Darin Pappas.

This was one of many shoots 

that I did of NWA members for
Priority Records between 1988 and 1991.

For more information about this image 
please contact: ithaka.art@gmail.com - Also see: @_ithaka_

Note: This image is not Public Domain, it is necessary to acquire authorization

thru my representatives at the Tack Artist Group Agency in Los Angeles 

before reproducing in print, online or merchandising...thank you.

http://thehundreds.com/ithaka-interview/