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Logos That Stick

Iconic logos for artists such as AC/DC, the Beatles, Heart, the Rolling Stones, and Run-D.M.C. add magic to the music

GRAMMYs/Dec 3, 2014 - 05:06 am

Logos have been a part of popular music dating back to the early days of jazz when floor-mounted bass drums provided a convenient canvas on which a group could be identified. In 1963 London drum shop owner Ivor Arbiter literally made a name for the Beatles when he created the capital "B"/dropped "T" design that graced Ringo Starr's bass drums and is still in use today on Beatles merchandise.

Artist logos have made up some of the most powerfully and universally recognizable graphic images in art history, from the Rolling Stones' protruding tongue and AC/DC's lightning bolt to Outkast's royal crown and Run–D.M.C.'s double red bars. But even as music has moved into the less visually oriented digital age, a successful logo is still a tremendous tool in attaining the prized asset of brand identity. And creating logos involves equal parts art, commerce, psychology, and luck.

"Logos, and artwork in general, give you a way to connect to music even when you're not actually listening to it," says Bob Defrin, a former art department head at Atlantic Records who oversaw the look of albums by Chic, Foreigner and Mötley Crüe. "The key to matching artwork and music is … you have to remember that you're packaging someone else's talent. It's not about you creating your own masterpiece. It's always been very important to me to talk to the musicians and listen to what they have to say."

One of Defrin's most satisfied clients is AC/DC, for whom he designed the enduring lightning bolt logo.

"When [AC/DC] came to Atlantic, they knew who they were and had their image down, but they didn't really have a strong logo," Defrin recalls. "I worked with the great lettering designer Gerry Huerta to get something that felt strong and had more of the metallic edge to it, and we got just the right stylized lightning bolt to create that sense of power. We liked it, they liked it and the fans embraced it."

Even when a logo concept is straightforward, the design work can be extensive. In 1976 graphic designer Deborah Shackleton had her work cut out for her when she was commissioned to design Heart's debut album, Dreamboat Annie.

"In terms of a logo, we were looking for repetition of a simple motif — a design metaphor that would connect with the idea of [a] heart," says Shackleton, who is now a professor at the Emily Carr University School of Art + Design. "But it wasn't easy to get it right. I worked with typography expert Jim Rimmer and we went through some awful neon-looking things and probably did 50 different takeoffs on the logo until we got the one that worked."

British artist Roger Dean began his long association with GRAMMY-winning rock band Yes working on the cover for 1972's Fragile.

"I thought of the band's music as coming not from a specific time, but some specific place, some other world you stepped into, and I thought the artwork should reflect that," says Dean. "I began thinking that it would be nice to design a logo that could carry beyond one album. I saw it as a kind of Chinese puzzle to be worked out, creating a unified whole out of these three distinct letters."

Dean subsequently created artwork for Yes' follow-up album, Close To The Edge. "They were very enthusiastic and things have worked out quite nicely for us since then," he says.

The Rolling Stones' iconic logo, which features lavish lips and a protruding tongue, was first used in 1971 when the band was establishing its own label imprint, but seems to have a dual origin history. The lips seen most often throughout the band's career were designed by British artist John Pasche, who was a student at London's Royal College of Art when a call from the Stones' management led to a sit-down meeting with Mick Jagger.

"He said he really wanted something that would represent the band without using the band name, which was quite unusual at the time," recalls Pasche. "He had a picture of the [Hindu] goddess Kali, who has a very distinctive pointed tongue coming through her lips. It was more of a challenge than you might think to come up with a disembodied mouth, but I finally came up with a [three-fourth] profile in a style that Mick quite liked. He took it back to the band and not too long after that it turned up on Sticky Fingers. It was really a visualization of what the band was trying to put across in its music, and I think it's survived so long because the Rolling Stones have stayed true to who they are as a band."

Before the release of Sticky Fingers, fans in the United States may have seen a different set of lips, designed by artist Ernie Cefalu at the behest of the Stones' manager Marshall Chess. Cefalu's design, distinct from Pasche's in its heavier use of black outline, was used on a wide variety of U.S. merchandise.

"I actually like John's logo better," Cefalu admits. "Mine was stiff and stylized, [but John] added life to it."

Adding an element of contemporary style, for the Rolling Stones' 50th anniversary, the logo has been refreshed by artist Shepard Fairey, who also created the official artwork for the 52nd Annual GRAMMY Awards.

"Logos can be difficult work," adds Cefalu, who has also designed logos for artists such as Aerosmith, the Bee Gees, Black Sabbath, Alice Cooper, and Earth, Wind & Fire, as well as the logo for the rock opera Jesus Chris Superstar. "But they feel simple when you get them right. A logo [has] to resonate with what a band stands for, but, more importantly, it has to create an emotional connection with a fan. If you have those two things together, you've got something that can last a long time. You bring a band and a fan together in one simple piece of design, and you've got magic."

(Chuck Crisafulli is an L.A.-based journalist and author whose most recent works include Go To Hell: A Heated History Of The Underworld, Me And A Guy Named Elvis and Elvis: My Best Man.)

 

10 Love Songs That Have Nothing to Do With Love: From "Every Breath You Take" To "Baby It's Cold Outside"
Rihanna attends Marvel Studios' "Black Panther 2: Wakanda Forever" Premiere on October 26, 2022 in Hollywood, California.

Photo: Axelle/Bauer-Griffin / FilmMagic / Getty Images

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10 Love Songs That Have Nothing to Do With Love: From "Every Breath You Take" To "Baby It's Cold Outside"

Don't let the song titles fool you. From misogynist attitudes to tales of coercion and even a secret pregnancy, many popular love songs aren't about love at all.

GRAMMYs/Feb 14, 2024 - 03:46 pm

Many studies on love have proven that it seems to be a trait present throughout species. Although it's undeniable that the capacity for love is universal, evidence suggests love manifests differently across individuals. That is why, for many people, love is undefinable, with the word meaning something for one and something else for another. 

This point has never been proven more true than in love songs. Numerous musicians and bands have sung about love, but their definition or meaning of the word and yours might be wholly different. You would be surprised to learn how many love songs have absolutely nothing to do with emotional or physical love.

When you delve beneath the surface, "love" songs are sometimes twisted, uncomfortable, sadistic, and unsavory. So, let's look at 10 love songs with nothing to do with love and everything to do with what they shouldn’t. 

"Every Breath You Take" - the Police 

When the Police released "Every Breath You Take" in 1983, it immediately became a huge hit, reaching No.1 on U.S., UK, Canadian, Irish, and South African charts. On the surface, this song seems romantic, which is why it made its way into numerous movie scenes and weddings, but the lyrics are uncomfortable and prove the song is not actually about love. 

Frontman Sting sings, "I'll be watching you," and, "Oh, can't you see, you belong to me?" about the song's object of affection. Rather than lyrics about a lover, it's believed that the song is about a stalker. At the time Sting was suffering a mental breakdown, making the verses infinitely more evil.

In fact, Sting himself said: "I think it's a nasty little song, really rather evil. It's about jealousy and surveillance and ownership."

"Rollercoaster of Love" - Ohio Players 

On the surface, the lyrics "It's a rollercoaster ride/we're on top for the moment/ and then we'll take that dive" seem to describe a relationship's exhilarating ups and downs. However, there has been much debate over the years about the true meaning behind the Ohio Players' staple. 

The most popular theory is that the song is about life's ups and downs, not love, but we'll never know. According to late frontman Leroy Bronner who wrote the tune, "To this day, I don't know what I wrote." He continued, "The words didn't make sense to me. But it was a hit."

The song also has a much darker recording humor, which further alienates it from the genre of love songs. According to the rumor to which the band responded "No comment," the scream on the track was the sound of a woman being murdered in the recording studio. 

The woman's death is an urban legend, but the band decided to leave it in as a joke and as a way to create buzz for the song, with the actual scream belonging to keyboard player Billy Beck. 

"Can't Feel My Face" - the Weeknd  

The Weeknd is well known for penning lyrics that have multiple meanings, so it's not surprising that his hit track "Can't Feel My Face" isn't really about love. 

With the lyrics: "I can't feel my face when I'm with you/But I love it" and "And I know she'll be the death of me, at least we'll both be numb/And she'll always get the best of me; the worst is yet to come." It sounds like a dark love song about a man who is so in love that he loses all control, which is plausible, but it's more likely the song is about cocaine. 

According to Billboard, the song is about drug dependency, and the Weeknd is crooning about cocaine and likening it to a bad relationship. The Weeknd had hinted at the song being about drugs when he commented: "I just won a new award for a kids' show, Talking 'bout a face numbing off a bag of blow." Unfortunately, it's not very romantic. 

"Umbrella" - Rihanna

Most believe that one of Rihanna's most famous songs is about a woman comforting her partner and explaining that she will be there for him through the good and bad times. "Baby 'cause in the dark you can't see shiny cars/And that's when you need me there. With you, I'll always share," she sings.

However, a few people believe "Umbrella" is about the corruption of a person's soul – Rhianna's in this case. Some believe that the 2007 hit is about Rhianna welcoming the devil into her heart, body, and soul. While this is more of a conspiracy theory than anything else,  a pastor recently posted on TikTok that he came back from hell, and "Umbrella" was one of the songs being used to torture individuals. 

"All I Wanna Do is Make Love To You" -  Heart

If you listen carefully to the lyrics in "All I Wanna Do Is Make Love To You," it's clear that the 1990 song actually about deceit. 

Nancy and Ann Wilson are singing about being in love with another man who cannot provide her with children because he is impotent — so she finds a willing one-night stand. She sings, "I didn't ask him his name, this lonely boy in the rain." When morning comes, the protagonist says "All I left him was a note/ I told him I am the flower; you are the seed. We walked in the garden; we planted a tree."

After some time has passed, she's unnerved to come across his path, presumably pregnant: "You can imagine his surprise when he saw his own eyes/I said please, please understand/I'm in love with another man/And what he couldn't give me was the one little thing that you can."

"Bad Romance" - Lady Gaga

"Bad Romance" was developed as an experimental pop record featuring elements of German techno and house. With more than 184 million YouTube streams, the 2008 track quickly became one of Lady Gaga's best songs. 

On the surface, "Bad Romance" centers on the pull of a love that's bad for you: "I want your ugly, I want your disease/I want your everything as long as it's free/I want your love." However, it's not so straightforward. 

Gaga said she drew inspiration from the paranoia she experienced while on tour. She also stated the song is about her attraction to unhealthy romantic romances that are not always about love. 

"Young Girl" - Gary Puckett and the Union Gap

Not all love is appropriate, as the song "Young Girl" by Gary Puckett and the Union Gap proves. This 1968 single is wholly inappropriate and creepy (and illegal), but it still managed to become one of the band's best-known songs. In fact, despite the lyrics being more about unsavory infatuation than love, it still reached No. 2 on the Billboard Hot 100 (just behind "(Sittin' On) The Dock of the Bay"). 

Initially, this song doesn't appear inappropriate with lyrics  "Young girl, get out of my mind" possibly referencing the romance of a slight age gap. But the group doubles down: "My love for you is way out of line/ Better run, girl/You're much too young, girl."

If these words aren't enough to prove the song is about being infatuated with an underage girl, you might be convinced by lead singer Gary Puckett singing, "Beneath your perfume and make-up you're just a baby in disguise" and "Get out of here before I have the time to change my mind." 

"Under My Thumb" - by the Rolling Stones

The Rolling Stones have had their share of controversy over the years, and it's not hard to see why when you consider the meaning behind many of their big hits. "Under My Thumb" might have been marketed as a love song, but it's about a relationship rooted in hate and control. 

With lyrics such as "Under my thumb/It's a squirmin' dog who's just had her day/Under my thumb/

A girl who has just changed her ways," it's apparent that Mick Jagger is singing less about heartbreak and more about power. The misogyny is so clear in this song that it made it into the book Under My Thumb: Songs That Hate Women and the Women That Love Them.

"Baby It's Cold Outside" - Dean Martin 

One of the most popular holiday season love songs, "Baby, It's Cold Outside" was written by Frank Loessser and performed by Dean Martin and Ella Fitzgerald. It's difficult to say if these musicians knew the song's sinister and controversial underbelly. 

"Baby It's Cold Outside" is about a man who pressures a woman to stay at his home by any means necessary. The woman in the song tries to give reasons why she cannot stay with lyrics like "My mother will start to worry" and "My father will be pacing the floor." Yet, her concerns are shot down at every turn, with the man using the bad weather outside to keep her captive. Fortunately, the song has been remade with consensual lyrics, thanks to Kelly Clarkson and John Legend

"You're Gorgeous" - Babybird

This song may have a happy rhythm, but if you pay attention to the lyrics, there is much more to this song than meets the eye. Although the song appears to be about a man who would do anything for his lady love, it is about exploitation. 

This song — the British group's biggest hit, from 1996 — is about a sleazy photographer who takes advantage of a young and naive model and photographs her for men's magazines. The lyrics "You got me to hitch my knees up/And pulled my legs apart" details the true nature of this song.

"People should never be told how to interpret a song," Babybird told the blog Essentially Pop. "So, if they thought it was romantic, then fine." He continued, "Sadly, very few people got the true meaning, which is about male predatory behavior, but in popular music, most critics are a little blind to correct interpretation."

Lovesick Or Sick Of Love: Listen To GRAMMY.com’s Valentine’s Day Playlist Featuring Taylor Swift, Doja Cat, Playboi Carti, Olivia Rodrigo, FKA Twigs & More

How 1994 Changed The Game For Hip-Hop
Notorious B.I.G. in Brooklyn, 1994

Photo: Clarence Davis/NY Daily News Archive via Getty Images

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How 1994 Changed The Game For Hip-Hop

With debuts from major artists including Biggie and Outkast, to the apex of boom bap, the dominance of multi-producer albums, and the arrival of the South as an epicenter of hip-hop, 1994 was one of the most important years in the culture's history.

GRAMMYs/Feb 13, 2024 - 05:22 pm

While significant attention was devoted to the celebration of hip-hop in 2023 — an acknowledgement of what is widely acknowledged as its 50th anniversary — another important anniversary in hip-hop is happening this year as well. Specifically, it’s been 30 years since 1994, when a new generation entered the music industry and set the genre on a course that in many ways continues until today.

There are many ways to look at 1994: lists of great albums (here’s a top 50 to get you started); a look back at what fans and tastemakers were actually listening to at the time; the best overlooked obscurities. But the best way to really understand why a single 365 three decades ago had such an impact is to narrow our focus to look at the important debut albums released that year. 

An artist’s or group’s debut is their entry into the wider musical conversation, their first full statement about who they are and where in the landscape they see themselves. The debuts released in 1994 — which include the Notorious B.I.G.'s Ready to Die, Nas' Illmatic and Southernplayalisticadillacmuzik from Outkast — were notable not only in their own right, but because of the insight they give us into wider trends in rap.

Read on for some of the ways that 1994's debut records demonstrated what was happening in rap at the time, and showed us the way forward. 

Hip-Hop Became More Than Just An East & West Coast Thing

The debut albums that moved rap music in 1994 were geographically varied, which was important for a music scene that was still, from a national perspective, largely tied to the media centers at the coasts. Yes, there were New York artists (Biggie and Nas most notably, as well as O.C., Jeru the Damaja, the Beatnuts, and Keith Murray). The West Coast G-funk domination, which began in late 1992 with Dr. Dre’s The Chronic, continued with Dre’s step brother Warren G

But the huge number of important debuts from other places around the country in 1994 showed that rap music had developed mature scenes in multiple cities — scenes that fans from around the country were starting to pay significant attention to.

To begin with, there was Houston. The Geto Boys were arguably the first artists from the city to gain national attention (and controversy) several years prior. By 1994, the city’s scene had expanded enough to allow a variety of notable debuts, of wildly different styles, to make their way into the marketplace.

Read more: A Guide To Texas Hip-Hop: Definitive Releases, Artists & Events

The Rap-A-Lot label that first brought the Geto Boys to the world’s attention branched out with Big Mike’s Somethin’ Serious and the Odd Squad’s Fadanuf Fa Erybody!! Both had bluesy, soulful sounds that were quickly becoming the label’s trademark — in no small part due to their main producers, N.O. Joe and Mike Dean. In addition, an entirely separate style centered around the slowed-down mixes of DJ Screw began to expand outside of the South Side with the debut release by Screwed Up Click member E.S.G.

There were also notable debut albums by artists and groups from Cleveland (Bone Thugs-N-Harmony, Creepin on ah Come Up), Oakland (Saafir and Casual), and of course Atlanta — more about that last one later.

1994 Saw The Pinnacle Of Boom-Bap

Popularized by KRS-One’s 1993 album Return of the Boom Bap, the term "boom bap" started as an onomatopoeic way of referring to the sound of a standard rap drum pattern — the "boom" of a kick drum on the downbeat, followed by the "bap" of a snare on the backbeat. 

The style that would grow to be associated with that name (though it was not much-used at the time) was at its apex in 1994. A handful of primarily East Coast producers and groups were beginning a new sonic conversation, using innovations like filtered bass lines while competing to see who could flip the now standard sample sources in ever-more creative ways. 

Most of the producers at the height of this style — DJ Premier, Buckwild, RZA, Large Professor, Pete Rock and the Beatnuts, to name a few — worked on notable debuts that year. Premier produced all of Jeru the Damaja’s The Sun Rises in the East. Buckwild helmed nearly the entirety of O.C.’s debut Word…Life. RZA was responsible for Method Man’s Tical. The Beatnuts took care of their own full-length Street Level. Easy Mo Bee and Premier both played a part in Biggie’s Ready to Die. And then there was Illmatic, which featured a veritable who’s who of production elites: Premier, L.E.S., Large Professor, Pete Rock, and Q-Tip.

The work the producers did on these records was some of the best of their respective careers. Even now, putting on tracks like O.C.’s "Time’s Up" (Buckwild), Jeru’s "Come Clean" (Premier), Meth’s "Bring the Pain" (RZA), Biggie’s "The What" (Easy Mo Bee), or Nas’ "The World Is Yours" (Pete Rock) will get heads nodding.

Major Releases Balanced Street Sounds & Commercial Appeal

"Rap is not pop/If you call it that, then stop," spit Q-Tip on 1991’s "Check the Rhime." Two years later, De La Soul were adamant that "It might blow up, but it won’t go pop." In 1994, the division between rap and pop — under attack at least since Biz Markie made something for the radio back in the ‘80s — began to collapse entirely thanks to the team of the Notorious B.I.G. and his label head and producer Sean "Puffy" Combs. 

Biggie was the hardcore rhymer who wanted to impress his peers while spitting about "Party & Bulls—." Puff was the businessman who wanted his artist to sell millions and be on the radio. The result of their yin-and-yang was Ready to Die, an album that perfectly balanced these ambitions. 

This template — hardcore songs like "Machine Gun Funk" for the die-hards, sing-a-longs like "Juicy" for the newly curious — is one that Big’s good friend Jay-Z would employ while climbing to his current iconic status. 

Solo Stars Broke Out Of Crews

One major thing that happened in 1994 is that new artists were created not out of whole cloth, but out of existing rap crews. Warren G exploded into stardom with his debut Regulate… G Funk Era. He came out of the Death Row Records axis — he was Dre’s stepbrother, and had been in a group with a pre-fame Snoop Dogg. Across the country, Method Man sprang out of the Wu-Tang collective and within a year had his own hit single with "I’ll Be There For You/You’re All I Need To Get By." 

Anyone who listened to the Odd Squad’s album could tell that there was a group member bound for solo success: Devin the Dude. Keith Murray popped out of the Def Squad. Casual came out of the Bay Area’s Hieroglyphics. 

Read more: A Guide To Bay Area Hip-Hop: Definitive Releases, Artists & Subgenres From Northern California

This would be the model for years to come: Create a group of artists and attempt, one by one, to break them out as stars. You could see it in Roc-a-fella, Ruff Ryders, and countless other crews towards the end of the ‘90s and the beginning of the new millennium.

Multi-Producer Albums Began To Dominate

Illmatic was not the first rap album to feature multiple prominent producers. However, it quickly became the most influential. The album’s near-universal critical acclaim — it earned a perfect five-mic score in The Source — meant that its strategy of gathering all of the top production talent together for one album would quickly become the standard. 

Within less than a decade, the production credits on major rap albums would begin to look nearly identical: names like the Neptunes, Timbaland, Premier, Kanye West, and the Trackmasters would pop up on album after album. By the time Jay-Z said he’d get you "bling like the Neptunes sound," it became de rigueur to have a Neptunes beat on your album, and to fill out the rest of the tracklist with other big names (and perhaps a few lesser-known ones to save money).

The South Got Something To Say

If there’s one city that can safely be said to be the center of rap music for the past decade or so, it’s Atlanta. While the ATL has had rappers of note since Shy-D and Raheem the Dream, it was a group that debuted in 1994 that really set the stage for the city’s takeover.

Outkast’s Southernplayalisticadillacmuzik was the work of two young, ambitious teenagers, along with the production collective Organized Noize. The group’s first video was directed by none other than Puffy. Biggie fell so in love with the city that he toyed with moving there

Outkast's debut album won Best New Artist and Best New Rap of the Year at the 1995 Source Awards, though the duo of André 3000 and Big Boi walked on stage to accept their award to a chorus of boos. The disrespect only pushed André to affirm the South's place on the rap map, famously telling the audience, "The South got something to say." 

Read more: A Guide To Southern Hip-Hop: Definitive Releases, Artists & Subgenres From The Dirty South

Outkast’s success meant that they kept on making innovative albums for several more years, as did other members of their Dungeon Family crew. This brought energy and attention to the city, as did the success of Jermain Dupri’s So So Def label. Then came the "snap" movement of the 2000s, and of course trap music, which had its roots in aughts-era Atlanta artists like T.I. and producers like Shawty Redd and DJ Toomp. 

But in the 2010s a new artist would make Atlanta explode, and he traced his lineage straight back to the Dungeon. Future is the first cousin of Organized Noize member Rico Wade, and was part of the so-called "second generation" of the Dungeon Family back when he went by "Meathead." His world-beating success over the past decade-plus has been a cornerstone in Atlanta’s rise to the top of the rap world. Young Thug, who has cited Future as an influence, has sparked a veritable ecosystem of sound-alikes and proteges, some of whom have themselves gone on to be major artists. 

Atlanta’s reign at the top of the rap world, some theorize, may finally be coming to an end, at least in part because of police pressure. But the city has had a decade-plus run as the de facto capital of rap, and that’s thanks in no small part to Outkast. 

Why 1998 Was Hip-Hop's Most Mature Year: From The Rise Of The Underground To Artist Masterworks

20 Iconic Hip-Hop Style Moments: From Run-D.M.C. To Runways
LL Cool J

Credit: Paul Natkin/Getty Images

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20 Iconic Hip-Hop Style Moments: From Run-D.M.C. To Runways

From Dapper Dan's iconic '80s creations to Kendrick Lamar's 2023 runway performance, hip-hop's influence and impact on style and fashion is undeniable. In honor of hip-hop's 50th anniversary, look back at the culture's enduring effect on fashion.

GRAMMYs/Nov 29, 2023 - 03:01 pm

In the world of hip-hop, fashion is more than just clothing. It's a powerful means of self-expression, a cultural statement, and a reflection of the ever-evolving nature of the culture.

Since its origin in 1973, hip-hop has been synonymous with style —  but the epochal music category known for breakbeats and lyrical flex also elevated, impacted, and revolutionized global fashion in a way no other genre ever has.   

Real hip-hop heads know this. Before Cardi B was gracing the Met Gala in Mugler and award show red carpets in custom Schiaparelli, Dapper Dan was disassembling garment bags in his Harlem studio in the 1980s, tailoring legendary looks for rappers that would appear on famous album cover art. Crescendo moments like Kendrick Lamar’s performance at the Louis Vuitton Men’s Spring-Summer 2023 runway show in Paris in June 2022 didn’t happen without a storied trajectory toward the runway.

Big fashion moments in hip-hop have always captured the camera flash, but finding space to tell the bigger story of hip-hop’s connection and influence on fashion has not been without struggle. Journalist and author Sowmya Krishnamurphy said plenty of publishers passed on her anthology on the subject, Fashion Killa: How Hip-Hop Revolutionized High Fashion, and "the idea of hip hop fashion warranting 80,000 words." 

"They didn't think it was big enough or culturally important," Krishnamurphy tells GRAMMY.com, "and of course, when I tell people that usually, the reaction is they're shocked."

Yet, at the 50 year anniversary, sands continue to shift swiftly. Last year exhibitions like the Fashion Institute of Technology’s Fresh, Fly, and Fabulous: Fifty Years of Hip-Hop Style popped up alongside notable publishing releases including journalist Vikki Tobak’s, Ice Cold. A Hip-Hop Jewelry Story. Tabak’s second published release covering hip-hop’s influence on style, following her 2018 title, Contact High: A Visual History of Hip-Hop.

"I wanted to go deeper into the history," Krishnamurphy continues. "The psychology, the sociology, all of these important factors that played a role in the rise of hip-hop and the rise of hip-hop fashion"

What do the next 50 years look like? "I would love to see a hip-hop brand, whether it be from an artist, a designer, creative director, somebody from the hip-hop space, become that next great American heritage brand," said Krishnamurphy.

In order to look forward we have to look back. In celebration of hip-hop’s 50 year legacy, GRAMMY.com examines iconic moments that have defined and inspired generations. From Tupac walking the runways at Versace to Gucci's inception-esque knockoff of Dapper Dan, these moments in hip-hop fashion showcase how artists have used clothing, jewelry, accessories, and personal style to shape the culture and leave an indelible mark on the world.

*The cover art to Eric B and Rakim’s* Paid in Full

Dapper Dan And Logomania: Luxury + High Fashion Streetwear

Dapper Dan, the legendary designer known as "the king of knock-offs," played a pivotal role in transforming luxury fashion into a symbol of empowerment and resistance for hip-hop stars, hustlers, and athletes starting in the 1980s. His Harlem boutique, famously open 24 hours a day, became a hub where high fashion collided with the grit of the streets.

Dapper Dan's customized, tailored outfits, crafted from deconstructed and transformed luxury items, often came with significantly higher price tags compared to ready-to-wear luxury fashion. A friend and favorite of artists like LL Cool J and Notorious B.I.G., Dapper Dan created iconic one-of-a-kind looks seen on artists like Eric B and Rakim’s on the cover of their Paid in Full album.

This fusion, marked by custom pieces emblazoned with designer logos, continues to influence hip-hop high fashion streetwear. His story — which began with endless raids by luxury houses like Fendi, who claimed copyright infringement — would come full circle with brands like Gucci later paying homage to his legacy.

Athleisure Takes Over

Hip-hop's intersection with sportswear gave rise to the "athleisure" trend in the 1980s and '90s, making tracksuits, sweatshirts, and sneakers everyday attire. This transformation was propelled by iconic figures such as Run-D.M.C. and their association with Adidas, as seen in photoshoots and music videos for tracks like "My Adidas."

*LL Cool J. Photo: Paul Natkin/Getty Images*

LL Cool J’s Kangol Hat

The Kangol hat holds a prominent place in hip-hop fashion, often associated with the genre's early days in the '80s and '90s. This popular headwear became a symbol of casual coolness, popularized by hip-hop pioneers like LL Cool J and Run-D.M.C. The simple, round shape and the Kangaroo logo on the front became instantly recognizable, making the Kangol an essential accessory that was synonymous with a laid-back, streetwise style.

*Dr. Dre, comedian T.K. Kirkland, Eazy-E, and Too Short in 1989. Photo: Raymond Boyd/Getty Images*

N.W.A & Sports Team Representation

Hip-hop, and notably N.W.A., played a significant role in popularizing sports team representation in fashion. The Los Angeles Raiders' gear became synonymous with West Coast hip-hop thanks to its association with the group's members Dr. Dre, Eazy-E, and Ice Cube, as well as MC Ren.

 *Slick Rick in 1991. Photo: Al Pereira/Getty Images/Michael Ochs Archives*

Slick Rick’s Rings & Gold Chains

Slick Rick "The Ruler" has made a lasting impact on hip-hop jewelry and fashion with his kingly display of jewelry and wealth. His trendsetting signature look — a fistful of gold rings and a neck heavily layered with an array of opulent chains — exuded a sense of grandeur and self-confidence. Slick Rick's bold and flamboyant approach to jewelry and fashion remains a defining element of hip-hop's sartorial history, well documented in Tobak's Ice Cold.

Tupac Walks The Versace Runway Show

Tupac Shakur's runway appearance at the 1996 Versace runway show was a remarkable and unexpected moment in fashion history. The show was part of Milan Fashion Week, and Versace was known for pushing boundaries and embracing popular culture in their designs. In Fashion Killa, Krishnamurpy documents Shakur's introduction to Gianni Versace and his participation in the 1996 Milan runway show, where he walked arm-in-arm with Kadida Jones.

*TLC. Photo: Tim Roney/Getty Images*

Women Embrace Oversized Styles

Oversized styles during the 1990s were not limited to menswear; many women in hip-hop during this time adopted a "tomboy" aesthetic. This trend was exemplified by artists like Aaliyah’s predilection for crop tops paired with oversized pants and outerwear (and iconic outfits like her well-remembered Tommy Hilfiger look.)

Many other female artists donned oversized, menswear-inspired looks, including TLC and their known love for matching outfits featuring baggy overalls, denim, and peeking boxer shorts and Missy Elliott's famous "trash bag" suit worn in her 1997 music video for "The Rain." Speaking to Elle Magazine two decades after the original video release Elliot told the magazine that it was a powerful symbol that helped mask her shyness, "I loved the idea of feeling like a hip hop Michelin woman."

Diddy Launches Sean John

Sean "Diddy" Combs’ launch of Sean John in 1998 was about more than just clothing. Following the success of other successful sportswear brands by music industry legends like Russell Simmons’ Phat Farm, Sean John further represented a lifestyle and a cultural movement. Inspired by his own fashion sensibilities, Diddy wanted to create elevated clothing that reflected the style and swagger of hip-hop. From tailored suits to sportswear, the brand was known for its bold designs and signature logo, and shared space with other successful brands like Jay-Z’s Rocawear and model Kimora Lee Simmons' brand Baby Phat.

 *Lil' Kim. Photo: Ron Galella/Ron Galella Collection via Getty Images*

Lil’ Kim Steals The Show

Lil' Kim’s daring and iconic styles found a kindred home at Versace with

In 1999, Lil' Kim made waves at the MTV Video Music Awards with her unforgettable appearance in a lavender jumpsuit designed by Donatella Versace. This iconic moment solidified her close relationship with the fashion designer, and their collaboration played a pivotal role in reshaping the landscape of hip-hop fashion, pushing boundaries and embracing bold, daring styles predating other newsworthy moments like J.Lo’s 2000 appearance in "The Dress" at the GRAMMY Awards.

Lil Wayne Popularizes "Bling Bling"

Juvenile & Lil Wayne's "Bling Bling" marked a culturally significant moment. Coined in the late 1990s by Cash Money Records, the term "bling bling" became synonymous with the excessive and flashy display of luxury jewelry. Lil Wayne and the wider Cash Money roster celebrated this opulent aesthetic, solidifying the link between hip-hop music and lavish jewelry. As a result, "bling" became a cornerstone of hip-hop's visual identity.

Jay-Z x Nike Air Force 1

In 2004, Jay-Z's partnership with Nike produced the iconic "Roc-A-Fella" Air Force 1 sneakers, a significant collaboration that helped bridge the worlds of hip-hop and sneaker culture. These limited-edition kicks in white and blue colorways featured the Roc-A-Fella Records logo on the heel and were highly coveted by fans. The collaboration exemplified how hip-hop artists could have a profound impact on sneaker culture and streetwear by putting a unique spin on classic designs. Hova's design lives on in limitless references to fresh white Nike kicks.

Daft Punk and Pharrell Williams. Photo: Mark Davis/WireImage

Pharrell Williams' Hat At The 2014 GRAMMYs

Pharrell Williams made a memorable red carpet appearance at the 2014 GRAMMY Awards in a distinctive and oversized brown hat. Designed by Vivienne Westwood, the hat quickly became the talk of the event and social media. A perfect blend of sartorial daring, Pharrell's hat complemented his red Adidas track jacket while accentuating his unique sense of style. An instant fashion moment, the look sparked innumerable memes and, likely, a renewed interest in headwear.

Kanye’s Rise & Fall At Adidas (2013-2022)

Much more than a "moment," the rise and eventual fall of Kanye’s relationship with Adidas, was as documented in a recent investigation by the New York Times. The story begins in 2013 when West and the German sportswear brand agreed to enter a partnership. The collaboration would sell billions of dollars worth of shoes, known as "Yeezys," until West’s anti-semitic, misogynistic, fat-phobic, and other problematic public comments forced the Adidas brand to break from the partnership amid public outrage.

Supreme Drops x Hip-Hop Greats

Supreme, with its limited drops, bold designs, and collaborations with artists like Nas and Wu-Tang Clan, stands as a modern embodiment of hip-hop's influence on streetwear. The brand's ability to create hype, long lines outside its stores, and exclusive artist partnerships underscores the enduring synergy between hip-hop and street fashion.

*A model walks the runway at the Gucci Cruise 2018 show. Photo: Pietro D'Aprano/Getty Images*

Gucci Pays "homage" to Dapper Dan

When Gucci released a collection in 2017 that seemingly copied Dapper Dan's distinctive style, (particularly one look that seemed to be a direct re-make of a jacket he had created for Olympian Dionne Dixon in the '80s), it triggered outrage and accusations of cultural theft. This incident sparked a conversation about the fashion industry's tendency to co-opt urban and streetwear styles without proper recognition, while also displaying flagrant symbols of racism through designs.

Eventually, spurred by public outrage, the controversy led to a collaboration between Gucci and Dapper Dan, a significant moment in luxury fashion's acknowledgement and celebration of the contributions of Black culture, including streetwear and hip-hop to high fashion. "Had Twitter not spotted the, "Diane Dixon" [jacket] walking down the Gucci runway and then amplified that conversation on social media... I don't think we would have had this incredible comeback," Sowmya Krishnamurphy says.

A$AP Rocky x DIOR

Self-proclaimed "Fashion Killa" A$AP Rocky is a true fashion aficionado. In 2016, the sartorially obsessed musician and rapper became one of the faces of Dior Homme’s fall/winter campaign shot by photographer Willy Vanderperre — an early example of Rocky's many high fashion collaborations with the luxury European brand.

A$AP Rocky's tailored style and impeccable taste for high fashion labels was eloquently enumerated in the track "Fashion Killa" from his 2013 debut album Long. Live. ASAP, which namedrops some 36 luxury fashion brands. The music video for "Fashion Killa" was co-directed by Virgil Abloh featuring a Supreme jersey-clad Fenty founder, Rihanna long before the two became one of music’s most powerful couples. The track became an anthem for hip-hop’s appreciation for high fashion (and serves as the title for Krishnamurphy’s recently published anthology). 

*Cardi B. Photo: Steve Granitz/WireImage*

Cardi B Wears Vintage Mugler At The 2019 GRAMMYs

Cardi B has solidified her "it girl" fashion status in 2018 and 2019 with bold and captivating style choices and designer collaborations that consistently turn heads. Her 2019 GRAMMYs red carpet appearance in exaggerated vintage Mugler gown, and many custom couture Met Gala looks by designers including Jeremy Scott and Thom Browne that showcased her penchant for drama and extravagance.

But Cardi B's fashion influence extends beyond her penchant for custom high-end designer pieces (like her 2021 gold-masked Schiaparelli look, one of nine looks in an evening.) Her unique ability to blend couture glamour with urban chic (she's known for championing emerging designers and streetwear brands) fosters a sense of inclusivity and diversity, and makes her a true trendsetter.

Beyoncé & Jay-Z in Tiffany & Co.’s "About Love" campaign

The power duo graced Tiffany & Co.'s "About Love'' campaign in 2021, showcasing the iconic "Tiffany Yellow Diamond," a 128.54-carat yellow worn by Beyoncé alongside a tuxedo-clad Jay-Z. The campaign sparked controversy in several ways, with some viewers unable to reconcile the use of such a prominent and historically significant diamond, sourced at the hands of slavery, in a campaign that could be seen as commercializing and diluting the diamond's cultural and historical importance. Despite mixed reaction to the campaign, their stunning appearance celebrated love, adorned with Tiffany jewels and reinforced their status as a power couple in both music and fashion.

Kendrick Lamar Performs At Louis Vuitton

When Kendrick Lamar performed live at the Louis Vuitton Men’s spring-summer 2023 runway show in Paris in June 2022 following the passing of Louis Vuitton’s beloved creative director Virgil Abloh, he underscored the inextricable connection between music, fashion and Black American culture.


Lamar sat front row next to Naomi Campbell, adorned with a jeweled crown of thorns made from diamonds and white gold worth over $2 million, while he performed tracks including "Savior," "N95," and "Rich Spirit'' from his last album, Mr. Morale and the Big Steppers before ending with a repeated mantra, "Long live Virgil." A giant children’s toy racetrack erected in the Cour Carrée of the Louvre became a yellow brick road where models marched, clad in designer looks with bold, streetwear-inspired design details, some strapped with oversized wearable stereo systems.

Pharrell Succeeds Virgil Abloh At Louis Vuitton

Pharrell Williams' appointment as the creative director at Louis Vuitton for their men's wear division in 2023 emphasized hip-hop's enduring influence on global fashion. Pharrell succeeded Virgil Abloh, who was the first Black American to hold the position.

Pharrell's path to this prestigious role, marked by his 2004 and 2008 collaborations with Louis Vuitton, as well as the founding of his streetwear label Billionaire Boy’s Club in 2006 alongside Nigo, the founder of BAPE and Kenzo's current artistic director, highlights the growing diversity and acknowledgment of Black talent within high fashion.

Listen To GRAMMY.com's 50th Anniversary Of Hip-Hop Playlist: 50 Songs That Show The Genre's Evolution

7 Musical Sibling Rivalries: CCR, Oasis, The Kinks & More
Oasis lead singer Liam Gallagher and brother Noal Gallagher in 1995

Photo: Dave Hogan/Getty Images

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7 Musical Sibling Rivalries: CCR, Oasis, The Kinks & More

Sometimes arguments between siblings are brief and forgiving. Other times, the damage is irreparable. Read on for seven historic sibling rivalries, break-ups and reunions in rock and pop history.

GRAMMYs/Nov 27, 2023 - 04:04 pm

It stands to reason that, in music, the family that plays together stays together, although that’s not always the case.

For every Kings of Leon, Haim, Jonas BrothersJackson 5, Osmonds, Isley Brothers, Bee Gees or Hanson that stand the test of time, there are other family-based groups where the grueling and interdependent nature of rock stardom has led to dissension in the ranks.

 Sometimes those arguments between siblings are brief and forgiving. On other occasions, wedges are forged and sides are taken, resulting in either a permanent breakup of an act; a launch into new creative horizons; or hopefully a reconciliation.

 Here are seven well-known acts whose internal bickering between has led to either unexpected ends or surprising detours

The Everly Brothers: Don & Phil Everly

The Everlys' close-knit country pop and rock 'n' roll harmonies — which netted immortal chart-toppers "Bye Bye Love," "Wake Up, Little Susie" and "All I Have To Do Is Dream" — inspired everyone from the Beatles and Simon & Garfunkel to Gram Parsons and Emmylou Harris. As such, it's difficult to fathom that the Don and Phil Everly were so at odds for the better part of a decade that they'd spend entire evenings together on stage without exchanging a word.

A 2014 Los Angeles Times article reported that "vastly different views on politics and life," drove a wedge between  Don and Phil.  The brothers broke up at least twice; their first estrangement followed a 1973 show at the California theme park Knott's Berry Farm, when Phil smashed his guitar and walked offstage.

That split resulted in separate careers up until a 1983 reunion at London's Royal Albert Hall and the recording of several albums, including EB'84 with producer Dave Edmunds.

Phil Everly died of pneumonia in 2014 at the age of 74, while Don succumbed to undisclosed causes at the age of 84 in 2021.

 It is unknown if the GRAMMY Lifetime Achievement Award recipients ever reconciled.

 The Louvin Brothers: Ira & Charlie Louvin

Grand Ole Opry legends and brothers Charlie and Ira Louvin are known for such songs as "I Don't Believe You've Met My Baby" and "Hope That You're Hoping."

Born in Henagar, Alabama, the Louvin's country, bluegrass and gospel sound developed from their strict Baptist upbringing.  Yet the brothers preached one philosophy in song, Ira, who complemented Charlie's guitar on mandolin,  lived another: His inability to resist vices — drinking and womanizing — prompted Charlie to go solo in 1963.

Ira continued to lead a colorful life: his third wife shot him four times in the chest and twice in the hand after he allegedly tried to kill her with a telephone cord- but Louvin survived.

However, it was a 1965 car crash that eventually claimed Ira and his fourth wife, Anne: they were killed by a drunk driver. 

The tragedy cut short any chance of  a duo reunion, although Charlie enjoyed several Top 40 country hits through 1971. 

The Louvin Brothers were  enshrined in the Country Music Hall of Fame in 2001. 

The Kinks: Ray & Dave Davies

English rock rebels the Kinks have sold more than 50 million albums since forming in the '60s, although most of their  hits — "Lola," " You Really Got Me," "Apeman," "(Wish I Could Fly Like) Superman" and "Come Dancing" among others — stemmed from the pen of Ray Davies.

Contrary to popular belief, brother Dave says he is good with that equation — but admits that the relationship between them is naturally tumultuous.

Dave Davies explained the dynamics of his relationship with Ray to The Daily Mail in 2017, describing it as "a married couple who have just reached the end of the road."

"You know when one partner gives and gives and the other takes, and finally you realise (sic) you can’t do it any more?’

"You can’t divorce your brother, though. ‘No, you can’t. So we are stuck with each other, but I think I’ve accepted that this is just the way our relationship is.

In a separate interview with  The Daily Express in 2011, Ray agreed. "When we were together it was aggressive, violent, powerful but we triggered off each other."

Still, the dust-ups between them were legendary, leading to a two-decade rift.

As recently as 2018, there's been talk that Ray and Dave Davies had buried the hatchet and were intent on reuniting the Kinks... but here we are in 2023 and that possibility seems no closer to reality.

Creedence Clearwater Revival: John & Tom Fogerty

After American rockers Creedence Clearwater Revival (CCR) formed in El Cerrito, California in 1959 (they began as the Blue Velvets and rechristened themselves several times before settling on CCR in 1968), it was clear that lead singer, guitarist and songwriter John Fogerty was calling the shots — including acting as the band's manager.

CCR included Fogerty's brother Tom, who played rhythm guitar;  bass player Stu Cook and drummer Doug Clifford.  Following  a particularly lucrative period between 1969 and 1970,  John  decided that Tom would no longer sing lead on or co-write any song while he was in the band, despite previously handling lead vocals and collaborating on some pre-CCR material.

"He cut Tom Fogerty out from singing," Clifford told AZ Central in 2015.  'Without Tom...there wouldn't have been a Creedence Clearwater Revival. When Tom graciously gave up the vocals to his younger brother, he had no idea that he would never be singing another song again. So Stu and I and Tom were always at odds with John about that."

Tom Fogerty left after 1970's Pendulum, and apart from a 1980 reunion during his wedding reception, CCR never performed again.  He died in 1990 after contracting AIDS from HIV-infected blood during a transfusion during back surgery, and was posthumously inducted into the Rock And Roll Hall of Fame in 1993.

Heart: Ann & Nancy Wilson

One of the top female-led rock bands in modern music history thanks to hits like "Magic Man" and "What About Love," Heart has been the role model for thousands of musicians.

But the first public signs of friction between sisters Ann and Nancy Wilson occurred in August 2016, when Ann's husband Dean Wetter was arrested for assaulting Nancy's 16-year-old twin sons after he boys reportedly left open the door to his RV.

Rolling Stone reported that the siblings hadn't spoken  to each other since the 2016 tour ended, but relations have eventually warmed up. The sisters reunited for Heart's  53-date Love Alive tour in 2019 - and more recently, Nancy joined Ann Wilson and her band Tripsitter on stage October 10 in Santa Rosa California to perform "Barracuda."  They received the Recording Academy's Lifetime Achievement Award in 2023.

Ann Wilson has continued to release solo albums and front her band Tripsitter, while guitarist Nancy has formed Nancy Wilson's Heart.

In a 2022 Guitar World interview, Ann said she and Nancy are "okay," but have different ideas for the future of Heart. "We haven't figured out a compromise yet," she admitted.

The Black Crowes: Chris & Rich Robinson

Sometimes, money and control carry more weight than people insinuate.

Guitarist Rich Robinson left the Black Crowes in January 2015 due to an alleged ownership agreement with brother and vocalist Chris. Both men divided and  conquered with solo careers but remained largely incommunicado for almost five years.

But in an interview with the San Diego Union-Tribune, both Rich and Chris credited their children with healing the rift between them. 

"My daughter, Cheyenne (now 11), was like: ‘What’s the deal with you and Uncle Rich, and why don’t I know my cousins?’"Chris told the paper. "Those are the kind of questions that will make you think and reflect."

"Definitely. Kids are honest and curious, and they don’t have issues like Chris and I did," Rich said  in a joint interview with his brother. "So, as Chris said, that opened a door (to reconciliation)."

Together again since 2021, the Black Crowes will be shaking their moneymakers opening the final Aerosmith tour, once Steven Tyler's larynx heals. 

Oasis: Liam & Noel Gallagher

While backstage in 2009 in Paris, the tumultuous in-fighting between Oasis' Liam and Noel Gallagher reached new heights; a violent fistfight that drove a nail into the coffin of the band.

Noel's statement: "It's with some sadness and great relief to tell you that I quit Oasis tonight. 'People will write and say what they like, but I simply could not go on working with Liam a day longer."

This was the last in a number of physical altercations that had taken place over the years during tours. Since the split, Noel has been recording and touring with his band the High Flying Birds while Liam first took to the road and studio with Beady Eye, which split in 2014; he's now performing solo.

However, Liam has reportedly expressed interest in reuniting  with Noel and strike up Oasis, though whether there have been any private conversations towards this end remains to be seen.

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