#FRIENDSHIP
New York City, 1993
In 1993, New York was still the strong era of Public Enemy and LL Cool J, even as newer artists like WuTang Clan were starting to emerge and A Tribe Called Quest released their second album, Midnight Marauders.
This is the time period when Rapper turned Law & Order actor Ice T performed with his rock band Body Count and their controversial song, “Copkiller” landed him on the cover of Rolling Stone Magazine.
This was pre-internet, pre-smartphones —just magazines, CDs, and cassette tapes. At this point I had been involved in photographing New York’s music scene for less than a year, but the groups I knew were the bigger named entertainers.
My main media outlet for publishing my photographs was Thrasher Magazine. Their music section featured all kind of music: hardcore/punk, hiphop, rock. I was able to package my work by submitting articles along with the photographs I shot to make it simple for the editors to publish.
The night of the Biggie/Tupac photo.
In Fall 1993, I arranged to get photo credentials for a Public Enemy and Onyx concert at a former NYC venue — The Academy. The venue was located one block south from another former music venue — Roseland Ballroom —both located in midtown Manhattan.
I set up this opportunity by pitching the idea to Thrasher Magazine to let me do an article on the group Onyx. Their song SLAM and their aesthetic was a perfect match for Thrasher’s readers. I then contacted Def Jam’s publicist that handled both Public Enemy and Onyx to get me into the concert on Thrasher’s behalf.
I arrived at the venue that evening, checked in at the will-call window, and got my photo pass for the show. I walked into the venue and I looked around. It had the capacity to hold 1500 people — about the size of your average House of Blues concert venue. I wanted to see where the stage was and, more importantly, where the dressing rooms and backstage area were.
I wanted to meet the guys from Onyx, to take some group shots backstage before the show. I made my way backstage and found their dressing room. The door was open as I walked up, there was a crew of 12 bad-ass dudes that looked like they would stomp someone out if provoked.
I tapped on the edge of their dressing room and introduced myself as Eric from Thrasher Magazine. Their manager stood up to greet me with a big warm smile. “Yo,” he joyfully exclaimed,” we heard you were coming- so nice to meet you!” These dudes were cool as hell.
I asked them if we could get some group shots of the guys near the backstage area where there was more room and no one was on stage. They agreed and we headed to the stage to shoot behind the curtain.
I shot maybe six frames of Onyx as a group, just the four main guys. After the last frame, I knew I got the shot I needed. I let them know we were good and they could go back to the dressing room.
The group left the stage area, I packed up my camera bag and as I left the stage and started heading back towards the dressing rooms, I heard someone yell at me, “Yo, why don’t you take our picture?”
I turned around and looked, it was a group of seven guys. I didn’t know who they were but I also had enough respect to not blow them off because I didn’t know who they were.
I walked towards them, set my camera bag down, grabbed my camera and flash, mounted my flash onto the camera. I walked over to the guys, looked at them and motioned with my hand for them to get closer together, so I could frame the shot.
Once I saw they were ready, I told them to look at me, took one picture. The flash went off, I said thanks, grabbed my camera bag and walked back to Onyx’s dressing room.
For years, I didn’t think about that one frame I’d shot of those guys who yelled to have the picture taken, I would casually look at and only noticed a guy giving me the finger and a strong shadow cast on half of his face. That type of shot is not commercially usable in a magazine’s for their ‘who’s who’ celebrity picture page.
It wasn’t until 2011 when I was sorting through slide photographs and beginning to catalog my images that I seriously took a look at that one slide of a dude giving me the finger with a strong shadow on his face…”No f’n way!” I was shocked I didn’t know the guy with the shadow in his face was Tupac.
As I pan around the image, I looked deeper and yelled to myself, “You’re f’n kidding me!” Biggie, Lil Ceaser are in this shot?!
I took out a small light box and a magnifying viewing loop and stared into this 35mm slide in disbelief. Then, I start laughing at myself because as I stared deeper into the picture, I noticed all the guys were wearing,”I’m a Bad Boy” t-shirts. Bad Boy was the name of Biggie’s record label. All the guys, including Tupac were wearing this shirt in support of their friend Biggie Smalls.
]]>#The LayUp
1994
I first met The Roots (Questlove) with Butterfly and Doodlebug of Digable Planets.
One random Friday afternoon, I was with Digable while they were working on their album, “Blowout Comb.” Butterfly asked me if I wanted to join them at a party later that evening in Philly. He and Doodlebug had planned on taking the train from NYC.
I didn’t answer at first. Being asked to go somewhere with an artist was not normal. As a photographer, I think artists expected me to already know what’s going on and assumed I would always have access to get into the event.
After Digable wrapped up recording for the week, Butterfly asked again if I wanted to go to the party in Philly. I said, “Sure, I’ll drive, I just need to drop off some of my bags back in New Brunswick (New Jersey) on the way.”
The drive into New Brunswick was on our route, so it worked out for everyone.
When we got into New Brunswick, we made a quick stop at my then favorite local bar, “The Bowl-O-Drome.” I caught up with a few friends over a beer, and Butterfly liked the vibe of the place. People at the bar were shocked to see Butterfly of the Digable Planets, at the height of their career, hanging out at a local bar in New Brunswick).
Butterfly was cool with people approaching and saying hello. Back in 1994, there was no online culture or pre-defining social gatherings. People actually talked to people they didn’t know, and it wasn’t just for taking a selfie to share online.
After we left New Brunswick, our next stop was the party at Silk City. DJ King Brit, one of the Digable Planets touring Djs, was DJing. When Butterfly and I arrived, DoodleBug immediately spotted us and said hello.
We walked around the party together. They introduced me to a lot of people. For Doodlebug, this was his hometown, and he knew everyone. They made a point of introducing me to QuestLove. We got to know each other. Soon enough Quest, myself, and two others walked to the dinner connected with the club so I could hear more about his group. After we left the dinner, I ended up giving Quest a ride home, and when we arrived at his house he gave me two demo tapes to check out.
On my drive back to Jersey I remember listening to the demo (some songs from Do You Want More). I was amazed at the sound quality and its layering. It was like nothing I had heard in a long time. There were elements of sonic that had been lost in quality hiphop of the day.
A few months later, The Roots began playing a regular gig for Giant Step at the Supper Club in Midtown Manhattan. Their sound and showmanship quickly made casual listeners into fans, and they built a following in New York City.
During that time (1994), The Roots had been signed to Geffen Records' newly formed Black Music department with their label mate, Genius (GZA) of the WuTang Clan. As their album release date came near, the public relations team for Geffen Records reached out to me and asked if I wanted to shoot their official publicity shot that would be used in promoting the band and their first album.
Of course I said yes. I loved their music and knew there was something special about them. The band wanted their publicity image shot in front of their favorite store, The LayUp, in Center City Philadelphia.
We agreed on a day and time and I drove from New Brunswick to Philadelphia. I arrived early and waited for the band to arrive. QuestLove and Black Thought were the first band members to show, followed by Hub (bass player) and Malik B. (co-MC).
Once all the guys arrived at the store, it only took a few minutes to capture the shot.
]]>I did not have a light meter to tell me the proper f-stop to set my aperture, nor did I have polaroid back to see what things actually looked like. My camera was a Canon AE-1 Program, manual everything.
I would make the flashes pop every so often so I could see where and how the light fell, I did a few calculation to determine possible f-stops based on feet of the flash away from the subject, how much light I would lose because of the gel on the flash, it was the best I could do.
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“Eye Am Eye Be”
Providence, RI 1993
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De La Soul, Fall 1993
This was shot during my first real year of shooting musicians and submitting work to Thrasher Magazine’s music section.This was also when De La’s album Buhloone Mindstate had just been released. I got the promotional copy of the albums a few months prior and played it nonstop. It was a genius album and it took a while to really understand what all they were talking about on the album. Most critics did not like the album because it was not easily digestible.
I found out that De La was performing in Providence, RI, not too far from a friend of mine going to school at the time in Providence. I proposed, “If I could get us into the De La show, could I crash overnight at your house with a few friends that would drive me up there from Jersey?” It was okay with my friend so I reached out to the publicist at Tommy Boy Records to arrange an opportunity for me to shoot De La for in Providence for a possible piece in Thrasher.
Arrangements were made, and within a week my friends and I would drive three and a half hours from Jersey to Providence, RI to Rhode Island College.
We arrived at the college sometime around sound check and set up my equipment backstage in an unoccupied room. The other rooms were being used as dressing room for the performers.
This was my first real experience being backstage, and interacting with life behind the curtain. I had been to a few show where I had made my way backstage, but this was the first time I was intentionally backstage.
There is a certain amount of trust and professionalism expected behind the curtain, it’s direct access to performers, their personal stuff and personal space. If you can exist within it, without standing then, you belong in that space.
After getting set up and testing my lights: my lighting system consisted of two Sunpak flashes with colored gel filters taped over them mounted on tripods. I had peanut slaves connected to the flashes to make them fire in sync when the flash connected to my camera went off.
I did not have a light meter to tell me the proper f-stop to set my aperture, nor did I have polaroid back to see what things actually looked like. My camera was a Canon AE-1 Program, manual everything.
I would make the flashes pop every so often so I could see where and how the light fell, I did a few calculation to determine possible f-stops based on feet of the flash away from the subject, how much light I would lose because of the gel on the flash, it was the best I could do.
The other factor that made things interesting was shooting on slide film. With slide film you get what you shoot. There was no room for error to be corrected or enhanced in the darkroom.
Not sure why I used slide film looking back, especially given so many unknown factors. Once ready, one of my friends went to De La’s dressing room to let them know we were ready to shoot.
De La came into the room with their own energy and antics, this was their third album so by now they’ve had countless photo shoots by this point in their career. This was my first time photographing a group I really was into and liked. I didn’t direct them too much, they just played off each other as if they knew each other’s space within the frame of the camera, even to the point in a few frames where Dave (Dove) stayed within a shadow behind Maseo and only used hand gestures like peace to represent himself while Pos and Maseo were in the foreground.
The whole shoot may have lasted a half hour, one roll of film.
After shooting De La, Tribe and allowed us to photograph a few frames of them. We switched around the lighting colors to get a different feel from Tribe, they too were favorites of mine but I didn’t get the same playful nature of them but at least they gave me the opportunity to photograph them.
]]>The publicist gathered the guys in the group, Tek and Steel, and we all exchanged hellos. I suggested we go up to the roof. We had been up to the roof so many times in the past just to hangout, so going up there now with a camera was no different.
]]>“Sky High”
New York, 1997
I photographed Smif-N-Wessun on the roof of their label’s building. The office was shared with Priority and Duck Down Records.
Priority Records didn’t have any New York acts, so this was one of their satellite offices, with only a few employees. For me, Priority’s office was a location I could stop at during the day to kill time in between shooting or meetings and regroup.
Not having an office or studio in the city, I needed locations where I could relax, store equipment, or host a meeting. Being a freelance photographer, survival was in being resourceful.
For more than a year Priority and Duck Down’s office gave me space and time when I needed it.
Being there so often, I became good friends with the guys on Duck Down Records because they were always at the office. I rarely took pictures while hanging out there, but one afternoon, the publicist from Priority Records asked me if I could take photos of the guys in Smif-N-Wessun, since their new album Dah Shinin’ was coming out and she wanted to see if I could push Thrasher Magazine into doing a story on them.
I said sure, but told her there were no guarantees.
.
The publicist gathered the guys in the group, Tek and Steel, and we all exchanged hellos. I suggested we go up to the roof. We had been up to the roof so many times in the past just to hangout, so going up there now with a camera was no different.
We shot on the incline edge of the roof, which gave an angular perspective that played along with their personalities.
Another interesting thing about the roof was how it was painted with a metallic silver that provided a unique up lighting.
When together, Tek and Steel vibe and bounce off each other’s energy. That’s why they work together well as a group. In front of a camera, they are the same way.
I used slide film to photograph them and had the film processed as color negative, which would cause a color shift and affect the grain of the film.
We only shot one roll, 36 frames, and I don't think we even used the whole roll. Midway through shooting, I knew I had the shot I needed.
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Seeing Will in this outfit, I knew I had to take a picture of him. We shot at the edge of the set while the technicians were testing the lighting. After about 10 frames, I thanked Will and we sat back down until he had to get back on camera.
]]>“Tip of the hat”
New York, 1997
Columbia Records hired me to photograph Will Smith. They had secured the Holiday cover of music industry magazine Hits and set up the arrangements for me photograph Will Smith wearing a Santa hat in between takes on his music video set.
I arrived to the set. The scenes they were shooting were a bit smaller than I was used to seeing. These scenes were just Will and a few dancers.
I walked in and saw an old co-worker, stylist June Ambrose sitting with Jada Pinkett, so I walked over to them and sat down. June introduced me to Jada, and a few minutes later Will walked over and sat down as well. June introduced me to him.
I said to Will that I was there to take his picture for Hits Magazine, and he acknowledged that he knew I’d be there and recommended we take the shots after the next scene.
When I had first arrived Will and his dancers were wearing a white bubble jackets and jeans. For the second scene, Will was dressed in a leopard print fuzzy suit with matching hat.
Seeing Will in this outfit, I knew I had to take a picture of him. We shot at the edge of the set while the technicians were testing the lighting. After about 10 frames, I thanked Will and we sat back down until he had to get back on camera.
After that scene, Will was done for the day. He changed back into his clothes: jeans and a sweatshirt. His publicist handed him a Santa hat, and we walked back towards the set. He put the hat on, I took out my camera, and we shot 3 frames. Boom, we were done.
I thanked him for his time and left the set.
]]>Background
Mos Def & Talib Kweli were performing at the Rocksteady Anniversary in The Bronx in 1998.
The Photographed Moment
Every summer, the Rocksteady Crew would host an anniversary in New York. In 1998, it was in the Bronx. This was a three day celebration filled with music, breakdancing, panel discussions and more.
The first day, Rocksteady held panel discussion and breakdance battle at The Point Community Center in the Bronx. Day Two was a concert, DJ and Freestyle battle in Manhattan featuring Supernatural (amazing freestyle MC). Day Three was an outdoor concert at a park in the Bronx.
The day of the outdoor concert, there was such a beautiful mixture of people from around the world that flocked to the Bronx in support of Rocksteady (worldwide members). During the afternoon, DJ Evil Dee, Tony Touch, and Grandmaster Cas held down the sounds. The afternoon’s performance included: Black Moon, Smiff n Wesson, Mos Def & Talib Kweli, and others.
During most of the day, I walked the grounds taking pictures of various moments: little kids practicing handstands, families picnicking, senior members of Rocksteady greeting people (Afrika Bambatta, Pee Wee, Crazy Leg). It felt like a Hiphop family reunion of sorts.
The moment when I shot Mos Def & Talib Kweli, I was walking behind the stage to get a better vantage point to shoot. While walking, I saw Mos Def, whom I hadn’t seen in two years. Two years prior, I would see him every so often while De La was working on Stakes is High.
When we saw each other, we greeted. Mos Def gestured that they were about to go on stage.
I motioned my hand asking to take one photo of him and Talib. They looked at each other and agreed. I stepped back, focused my Yashica Mat (124 G) camera, took one shot and thanked them as they headed for the stage.
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Using the ambient light in the hallway I began shooting them from different angles. After the first 8 frames, the group relaxed and stopped doing the typical 'rap, yo!' poses, vibing with each other. Each of their actions was fluid, in sync with the movements of the others. If there was a low angle shift, someone else moved high; if someone gave a look, someone else would motion or adjust their look to stay complementary to the person adjacent.
]]>6th Ave & 20th street
New York, NY 1995
I first met The Pharcyde when they performed at Rutgers University in New Brunswick, NJ in ‘93. I walked up to them as they were hanging out, introduced myself to them, told them I worked with Thrasher Magazine and we hit it off because we were on the same vibe.
After their show we hung out for a while. One thing I’ll always remember is that when they would talk amongst themselves, they would speak only in Pig Latin. We just kicked it for a bit.
From then on, whenever they were in the city, I would make it a point to go check them out.
In 1995, the night they performed at Tramps, a music venue in NYC. While the scenario of hanging out with them was no different, this time I wanted to photograph them when they weren't performing.
Having become somewhat customary for me, I arrived at the venue during sound check, found Swave, Pharcyde’s manager and exchanged greetings. He mentioned the guys were downstairs in the dressing room. I headed downstairs to the dressing room and the guys greeted me with a loud “YO!”
We sat around for a few, then I announced I wanted to get some group shots. We went into the hallway outside the room.
Using the ambient light in the hallway I began shooting them from different angles. After the first 8 frames, the group relaxed and stopped doing the typical 'rap, yo!' poses, vibing with each other. Each of their actions was fluid, in sync with the movements of the others. If there was a low angle shift, someone else moved high; if someone gave a look, someone else would motion or adjust their look to stay complementary to the person adjacent.
Whether serious or silly, Pharcyde moved and acted as one.
]]>About a hour before the doors were open to the public, I talked my way into the venue. One of The Source Magazine staffers likely waived me in to the show, still without a photo pass. The awards show started off ok but, soon enough, things started to turn…
]]>Background
Snoop Dogg & Dr. Dre at the infamous 1995 Source Awards.
The Photographed Moment
On August 3, 1995, The Source held its second annual awards ceremony at the Theater at Madison Square Garden in New York City. At the time, I was a freelance photographer shooting mainly Hip Hop. By then I had worked my way into many events and shows, sometimes by securing proper credentials, other times I would give myself the time and space to find a way into events.
The time of The Source Awards, I didn’t have the proper credentials to get into the show, so I went to the venue early during sound check hoping someone at the venue or production staff would offer me a pass to shoot the awards show.
Arriving at Madison Square Garden, I walked around to see who was there for soundcheck. A few minutes later, Death Row’s entourage walked in for sound check, led in by Suge Knight and Dr. Dre.
Suge was a menacing figure and his bodyguards were even bigger. As Death Row began their sound check, I just looked around and watched. DJ Quik, Lady of Rage, Dazz, Kurupt and others were practicing their performances - typical jailhouse scene.
After Death Row’s rehearsal, I was watching Dre & Suge talk. While there wasn’t quite yelling, it was not a conversation I wanted to interrupt. Snoop was walking around the seating area, Dazz and Nate were just hanging out.
With not too much more to photograph, I left the venue. I still had no photo pass, but I knew I would get into the show somehow.
About a hour before the doors were open to the public, I talked my way into the venue. One of The Source Magazine staffers likely waived me in to the show, still without a photo pass.
The awards show started off ok but, soon enough, things started to turn…
Suge, after receiving an award for SoundTrack of the Year, Came out on stage and said, “Any artist out there that wanna be an artist, stay a star, and won’t have to worry about the executive producer trying to be all in the videos, all on the records, dancing—come to Death Row!”
I remember watching Suge say that and immediately knew something wasn’t going right. Next, Outkast was dissed and booed as New Artist of the Year. Andre 3000 famously said “the South got somethin' to say,” grabbed the award and walked offstage.
I was shocked, because I thought people really loved Outkast (minus this New York hating crowd present that night). It was so bizarre; what was going on?
Then Dre, winning Producer of the Year, came on stage to a mediocre reception. After Dre was announced as the winner, Snoop did not like the reception Dre received and joined Dr. Dre on stage, saying, “The east coast ain’t got no love for Dr. Dre and Snoop Dogg? The East Coast ain’t got no love for Dr. Dre and Snoop Dogg and Death Row? Y’all don’t love us? Y’all don’t love us? Well, let it be known then! We know y’all East Coast! We know where the fuck we at! East Coast in the muthafucking house!”
I didn’t remember too much from the performances, other than Biggie/Bad Boy’s performance.
At some point I also remember Puffy (Diddy) coming out on stage where he gave his speech, “I’m the executive producer a comment was made about a little bit earlier. But, check this out — Contrary to what other people may feel, I would like to say that I’m very proud of Dr. Dre, of Death Row, and Suge Knight for their accomplishments. And all this east and west? That needs to stop.”
After that speech I knew thing were not going to end well, and left the venue.
A few months later I went to Philadelphia to shoot the performance portion of The Show (the movie).
I walked around the backstage area to see who was doing what. Moments later, Snoop, Da Dogg Pound, and their entourage arrived (and there were a lot of them), red solo cups in hand.
Snoop was stopped by TV entertainment news channel Extra for a short interview. From where I was standing I could not hear the interview, but Snoop seemed cordial in his responses.
I continues to walk around. I bumped into Fat Joe, though I think he was just hanging out (not sure if he performed).
A few minutes later, Biggie, Diddy and the Bad Boy Family arrived backstage. I did not personally know Biggie so I kept my distance, other than asking to take a picture or two. There was no issue with the Bad Boy and Death Row camps.
During this time, Run DMC was performing.
After Run DMC came off stage they were in a section of the hallway by the stage stairs. Snoop and Warren G. walked up to Run DMC to greet them. Warren stepped away, and I approached Run DMC and Snoop and asked if I could get a shot of them together.
Run, DMC, Jam Master Jay and Snoop all posed.
Snoop turned and looked at me while posing and paused then asked,”Yo, who you shooting for?” I knew exactly why he asked me the question.
Months prior at The Source Award, Snoop had asked the infamous question,”Y’all ain’t got love for Snoop Dogg and Dr. Dre?”
Hesitant to reply, knowing I couldn’t lie, I told him I was shooting for The Source (Magazine). And before I could finish my words, Snoop yelled at me,”Fuck The Source!”
I stayed quiet, looked at him and Run DMC as Snoop extended his middle finger at me in disgust. I took two shots of them and walked away.
When I arrived on set, the taping of the video was in full swing, and Lauryn and crew were handling all that needed to be accomplished, moving from scene to scene.
]]>Background
Lauryn Hill on set of of the music video, for Common’s “Retrospect for Life.” This duet with Lauryn Hill was produced by NO ID & James Poyser, from the album, “One day it will all make sense.”
The Photographed Moment
In addition to collaborating on the song, Common picked Lauryn to direct the video. This video would be Lauryn’s directorial debut. The video featured cameos by Pete Rock, Black Thought, Mase (De La Soul), Questlove, and more, all in support of Lauryn and Common.
When I arrived on set, the taping of the video was in full swing, and Lauryn and crew were handling all that needed to be accomplished, moving from scene to scene.
I had been watching Lauryn’s progress since 1993, from the Fugees, to her own solo album, to producing records for others, and now directing. It made sense to me that she could and would do this as well.
The shot of Lauryn in the hallway was captured in between takes of the video. It was a moment of stillness; Lauryn just needed a moment to herself from within the chaos, but she still allowed me to remain in her space and photograph a few moments.
A limited release archival print of this image is available in Signature Series 2.0
]]>Holmdel, NJ 1997
Background
The essence of power and strength, Erykah Badu, captured live in concert in 1997 at PNC Bank Art Center in Holmdel, NJ. She was headlining The Smoking Grooves Tour that also featured A Tribe Called Quest and The Pharcyde.
The Photographed Moment
The image of Erykah was shot during a live performance in 1997. I photographed most of the show from the vantage point of “The Pit,” the area right in front of the stage.
I shot a few moments of A Tribe Called Quest & Pharcyde’s shows from the Pit, but, when Erykah came on stage, I had to return to my seat to watch her amazing performance.
Casually, I still snapped a photo here and there of Erykah’s set, but there wasn’t with the same sense of urgency as if I had been shooting the show from the Pit, in front of the stage. I was able to actually watch and enjoy the performance. Sitting a decent way back still allowed me to capture a few moments, but at a natural pace. I used my Tamron telephoto lens, no flash, one roll of color film and one roll of black and white film.
This Erykah Badu photo is iconic, as it was back in 1997. Even at the time, I could immediately appreciate the image’s captured strength, raw essence, and timeless beauty. After the show, I got the film developed, and tried selling my images from the show to magazines, but somehow no one was interested.
Why no publication bought it at the time was part of the business; you sold some images, couldn’t sell others. Magazines also at that time had specific editorial plans per issue, and sometimes your work didn’t match their editorial plan.
Now, I look back at the timelessness of the images from Erykah’s performance and wonder if it was better off that way, preserving the moment in the archives all these years. People really resonate with this visual, and I appreciate how each person finds a way to connect to her vibe and the moment. It is a good reaction, and a beautiful moment.
]]>After meeting The Roots at the park, we started out with some shots near a playground area. Then, we moved and sat on large cement step or bleachers. Questlove, Black Thought, and Malik B. flowed in their space. I didn’t direct them. I just want to capture them in their essence.
]]>New York, 1994
This was my second time photographing The Roots for an assignment; I was shooting on spec for Urb Magazine.
Prior to this moment, I had photographed The Roots live in concert at Giant Step and shot their publicity picture for Geffen Records, for the album “Do You Want More.”
The day I shot this photo, we chose a park near Midtown Manhattan. I did not have a set image I wanted to capture in mind.
After meeting The Roots at the park, we started out with some shots near a playground area. Then, we moved and sat on large cement step or bleachers. Questlove, Black Thought, and Malik B. flowed in their space. I didn’t direct them. I just want to capture them in their essence.
Before wrapping up, we also took more posed shot using wide angle lens and filters for effects.
Urb Magazine used one image from that shoot to accompany an article on The Roots debut album, and the rest were archived until now.
The archival print of this image is available for purchase in Signature Series 2.0
]]>A few minutes later, RZA walked up the sidewalk. I remember seeing the rings on his hand from a distance. As RZA approached the MTV studio doors, I stood in the sidewalk, greeted RZA with “Peace,” and asked him if I could take a picture of his rings.
]]>RZA photographed outside of MTV Studios in 1996.
The afternoon I shot RZA Rings, De La Soul & Wutang Clan were scheduled to tape a live performance at one of MTV’s studio near 43rd St/9th Ave in Manhattan. The two groups were performing their songs that were on the soundtrack of Red Hot + Cool: America is Dying Slowly.
The Photographed Moment
At the time, 1996, WuTang Clan was big, but they weren’t yet iconic. Meanwhile, De La Soul was by then a legendary group, having been been out since 1988, still putting out good music.
By that time WuTang Clan dropped their album, “Enter the 36 Chambers,” various members of the group had released solo projects: Method Man, Ol’ Dirty, Raekwon & Ghostface, and RZA, the mastermind behind WuTang, was in the group Grave Diggers (with Prince Paul), and soon after would be releasing his solo record as Bobby Digital.
The afternoon of the taping at MTV studios I remember hanging out on the sidewalk by the entrance with Pos (De La Soul) and his daughter while he waited for the other members of the group to arrive. Shortly after, all the members of De La Soul arrived and went inside.
A few minutes later, RZA walked up the sidewalk. I remember seeing the rings on his hand from a distance. As RZA approached the MTV studio doors, I stood in the sidewalk, greeted RZA with “Peace,” and asked him if I could take a picture of his rings.
He raised his fist to show the pointed rings, held a pose. I manually focused my camera, took two pictures and thanked him for the opportunity.
Archival Print for this image is available for purchase in Signature Series 2.0
]]>I was able to capture a personal vibe among Tupac and his friends — guys from the groups Thug Life and the Outlawz. After the main taping was done, the news cameras started to leave. The bulk of the news press got the shots they needed to portray Tupac as the “Dangerous Thug,” which they would print in the next day’s papers. It felt like Tupac knew how to play with the media to keep his name in the press. He knew how to press their buttons, challenge them mentally; their only recourse was to portray him as a troublemaker. The pattern was reactive and visible.
]]>Harlem, 1994
Background
I received a call from Tupac's publicist (Interscope Records), asking if I wanted to photograph Tupac in Harlem. He was having a press day and being filmed for music video channel, The Box. The format of the segment, Box Talk, was that camera crews would follow the artist around their childhood neighborhood. They would then shoot a particular segment in front of a location meaningful to the artist.
For Tupac, it was to be his elementary school in Harlem.
The Photographed Moment
When I arrived at the location (155th Street & St. Nicholas Avenue), not far from Yankee Stadium, it was chaos. Strictly 4 My N.I.G.G.A.Z. had just dropped the prior year and 'Pac was already a household name. Everyone wanted a piece of him as he had recently released the album Thug Life: Volume 1. Magazine and newspaper photographers, The Box camera crew, and local news teams were yelling at Tupac to look at their cameras.
I watched it for a while, then slowly got out my camera and moved toward some of the action. I was relatively close to Tupac and I kept to certain angles so I would not be intrusive in ‘Pac’s space. The connection became more endearing. At times, both of us looked at each other and quietly laughed at the media circus around us.
I was able to capture a personal vibe among Tupac and his friends — guys from the groups Thug Life and the Outlawz. After the main taping was done, the news cameras started to leave. The bulk of the news press got the shots they needed to portray Tupac as the “Dangerous Thug,” which they would print in the next day’s papers. It felt like Tupac knew how to play with the media to keep his name in the press. He knew how to press their buttons, challenge them mentally; their only recourse was to portray him as a troublemaker. The pattern was reactive and visible.
As more people left, Tupac and his friends stayed to themselves, lingering by one of the walls within the city park where filming had just concluded. They created a space and moment to relax together. Within that time, Tupac would peer beyond the edge of his red bandana, which dangled in front of his eyelash as he prepared a blunt. As he finished, he kindly glanced at me. I got the shots I needed. I heard the lighter spark as I stepped away, giving them their personal space.
]]>Back Story
The opportunity to photograph Raekwon and Ghostface of the Wu Tang Clan came to me because the publicist at the Black Music Department of RCA called to see if I wanted to shoot "on-spec." Shooting on-spec means there is no official assignment. The record label and publicity department know you are a working press photographer, not on staff. They rely on your motivation to market the photo and consider it a win-win situation if you get their artist into the press.
Raekwon and Ghostface had just released their first duo album, Only Built for Cuban Links. Press and publicity was needed.
The Photographed Moment
I met Raekwon and Ghostface at the RCA Records offices, on West 47th & Broadway. I was introduced to the guys by their publicist. We decided to go down to the street and get a few shots.
We walked out of the building and crossed the street. We were at a side entrance of Broadway's Palace Theater. The side of the building had a thick, cool layer of blackish-green paint with no lines, marks, or graffiti which was slightly covered by stairs traversing up the wall.
I’m not sure how we started shooting. It was just me and my Canon T-90 film camera. Manual focus. No filters. No lighting. No assistants. No make-up or wardrobe.
We spent a few minutes by the wall. I set my bag down, got my camera together. I noticed them interacting with each other. As I raised my camera, they began to act and interact with each other for each shot. Yes, we got the “Yo’ Son” picture with hands in the camera lens — along with moments of deep personal reflection, peering deep into Ghostface’s eye, the prowess of his first Jesus Pieces gold medallion. There was an even more personal, quite reflective moment of Raekwon gazing into his own image in a window.
Not the typical “YO! HIP HOP!” moments. These guys let me into their space, their moments of true self, not in their brand character. They allowed me to capture their essence, making them and that moment timeless for us all to see.
Hoodshock was a free outdoor hip-hop festival used as a way to increase voter registration. Conceived and organized by Lauryn Hill, the NYC venue was in front of the Harlem State Office Building at 125th Street and Adam Clayton Powell Jr. Boulevard.
The day of the event, I had no urgency to get there. I was not on assignment to cover the show, just wanted to get a few shots to sell to magazines. This was pre-internet — no social media, no instant sharing, and no cellphone cameras.
]]>Hoodshock was a free outdoor hip-hop festival used as a way to increase voter registration. Conceived and organized by Lauryn Hill, the NYC venue was in front of the Harlem State Office Building at 125th Street and Adam Clayton Powell Jr. Boulevard.
The Photographed Moment
The day of the event, I had no urgency to get there. I was not on assignment to cover the show, just wanted to get a few shots to sell to magazines. This was pre-internet — no social media, no instant sharing, and no cellphone cameras.
I was not invited to the event, nor was I on the press or VIP list. By this time, having photographed so many events and dealt with numerous situations to get in, this was no different to me than going to a record industry party. You knew you would know everyone there and they would know you; there would be no issue getting in.
I arrived at the Adam Clayton Powell Jr. building in Harlem. I went to the media check-in table and received a credential to walk around among the performers. My pass allowed me to get on-stage as well. I walked past security and went to the backstage area.
Biggie and the Bad Boy Family were the next act to perform. In the backstage area, I kept to myself. Because I was not the senior photographer of a magazine or a music industry insider, people knew my face, but never really knew who I was. I was just always around, taking pictures with the intent of getting the images into magazines.
As Biggie and the Bad Boy Family gathered to go on-stage, I ran into a childhood friend who was also performing at Hoodshock. It was as if we were back in the halls of Franklin High School. Keisha Spivey Epps came up to me with a warm smile and an energetic, “Wud-Up!” We laughed together, like we were about to go into math class again.
At this time, Keisha was in the group Total, signed to Bad Boy records. They had a hit song with Biggie, Can’t You See, that was also on the soundtrack of the movie New Jersey Drive. Keisha then said, “I’ll talk to you later,” as she prepared to perform with Biggie, Puffy (Diddy), Lil’ Kim, and the Bad Boy Family.
Biggie’s opening set was amazing. I loved watching him go from sweet lovable cuddly Big Poppa to energetic Big as he rapped along with Lil Kim and on to that Brooklyn gangster, complete with his fingers pointed and curled to resemble a gun. Biggie embodied his personas. His authentic nature and charm is what made Biggie loved, and feared.
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I quietly took out my camera, waited a moment. Mecca looked into Guru. Guru looked into me.
]]>Manhattan, Spring 1994
Background
I initially met the group Digable Planets when they performed at Rutgers University’s Deiner Park Festival (New Brunswick, NJ) during the autumn of 1993. Two days later, they played at City Gardens in Trenton. City Gardens was traditionally a punk music venue but also booked hip hop acts that would not invite problems. I joined the group at City Gardens pre-show and convinced them to let me take some groups shots in the private upstairs area of the venue.
Fast forward. January 1994, The Grammy Awards were being hosted in New York City. Somehow, I received a press pass that allowed me access to a number of after-parties. Back then I was shooting with film. That meant only 36 frames per roll. Every shot mattered (especially as a freelancer with no budget for film and processing). To maximize my resources, I would go into a party, look around, find famous faces that I knew would sell, then pursue shots of two musicians or celebrities together.
By the third party, I was over it. I was ready to head back to Jersey. As I was walking out of whatever party it was, it seemed liked the Hip Hop bus just dropped people off. Among the crowd at the door I saw: RZA and a few people from Wu-Tang Clan, Sen Dog and B-Real of Cypress Hill, and the guys from Digable Planets.
I walked up to Butterfly and Doodlebug of Digable Planets and said hello. When I asked what they were up to, Butterfly said they were about to start working on their next album. Before he could say another word, I blurted out in the calmest fashion that I could come by and take pictures of them as they worked on the album. "Would it be cool?" I asked.” Butterfly said, “Yeah, cool!”
A few months later I began showing up at Manhattan's Bass Hit Studio, where they were working on their album Blowout Comb.
There were no specific things that I had expected to photograph. Some days I would show up and just hang out, listen and watch for anywhere from one to five hours, balancing this opportunity with my life as a freelance photographer in New York City. Most of the time I did not take photographs.
The Photo Moment
I was at the studio, observing Butterfly and their engineer as they worked to fix something on the soundboard. Guru (Gang Starr) opened the studio door and everyone lit up to greet him. Guru hugged Ladybug, gave a pound and hug to Doodlebug, and then to Butterfly. Butterfly then turned and pointed to me over in the corner; he started to introduce me to Guru. Guru, who I had photographed a few times prior, cut-off the introduction, “Yo! That’s my man, what!”
Guru asked what I was doing there. “Just hanging,” I said, watching Digable as they work, taking a few pictures. The afternoon went on. Guru worked in the studio writing his part for the song Borough Check, then worked with Ladybug to perfect her verses.
Watching Guru, Ladybug, Butterfly, and Doodlebug create a song in the moment was an fascinating process to watch. Where do they come up with the main hook or chorus? How do you poetically tell a story and make it make sense, then add three more people to the song? Not to mention the music that makes the bed of the song.
As enchanted as I was, I didn't stay for the recording of the song. I must have had somewhere to be. Before I left the studio, I was in the lounge, preparing to leave. Ladybug Mecca and Guru were seated on the couch across from me — not songwriting — just vibing, having a good moment.
I quietly took out my camera, waited a moment. Mecca looked into Guru. Guru looked into me.
I took one picture, packed up my camera, and left for the afternoon.
]]>Williamsburg Brooklyn, Summer 2001
Photographed by T. Eric Monroe
Background
The Source magazine contacted me to help them with a photo shoot. They wanted to do a fashion spread highlighting skateboard fashion. They needed help getting talented skaters and a skate location for the shoot.
I was hired as a coordinator for this shoot. At this time, I had stopped doing photography as a profession and had moved into the Action Sports world. I ran a successful amateur skateboard league, managed national marketing programs for clients. Photography was a part of my past.
The Photo Moment
Within the month I had secured professional skaters and a location — a vacant lot that skaters had turned into skate park in Williamsburg, Brooklyn. Back them it was just known at the DYI Skate Spot. People contributed materials like concrete and wood to make skate obstacles. The location was on western edge of Williamsburg, right on the water. The backdrop: New York City skyline. To the far left, the Twin Towers; to your right, the Empire State Building.
The hired skaters knew the clothes for the shoot were not street-style skate fashion, but they played along and gave 100% in all they were asked. The photographer did a great job trying to capture skateboard action shots.
Throughout the day I took a few pictures here and there to document the job. By the end of the day I began to the notice the soft majestic nature of the New York City skyline. As evening drew near, the warm tones in the sky reflected beautifully off the water.
A few months later, our favorite skate lot was gone. The city took over the land. Across the water, the New York City skyline forever changed, as well.
Words and photographs © T. Eric Monroe
]]>September, 1994
Background
I was invited to photograph Nas on spec for Thrasher Skateboard Magazine. At that time, Thrasher’s Music Editor was Brian Brannon (of the band Jodie Foster’s Army, aka JFA). Brian and I had worked out a deal. If I could shoot a group or artist, then write the companion article, he would publish it, provided there was space in the magazine.
I knew very little about Nas personally. I liked his new album, Illmatic. THE album of Fall ’94, it received a “five microphone" (best rating) review in The Source Magazine (the leading publication for hip hop at the time).
The Photo Moment
My scheduled time to photograph Nas was late afternoon/early evening. I remember the street lights were on, certain light fixtures that only came on when it is evening were illuminated as well.
I met Nas and Columbia Records' Director of Promotion in the offices at the Sony Music building at 550 Madison Ave (Madison between 55th & 56th Streets). We then went down to the street to find a location to shoot.
My equipment was extremely basic. A Canon AE1 Program (an all manual film camera). A Tamron 28–70mm lens. Two battery-operated flashes. No studio lighting or equipment. No light meters. No polaroid or instant capture to test the lighting.
We walked down two or three blocks, made a right and walked a little more. I found an inset area for people to sit, get away. A gated mini-park with a sign stated a closing time of 10:00pm.
As we walked into this park, there was a large wall slab of concrete with graffiti on it. To me, it seemed set in the park as a display. I didn’t think much of it at the time.
I got my equipment set-up. One flash set on a 4’ concrete pillar within the park. The other flash I connected to my camera using a 6-foot cord; this way I could manually hold the flash with my left hand — out and away from the camera — yet point the flash at him. The flash on the 4’ tall concrete pillar had a connected device that would sync to the flash that I manually controlled.
I did not know Nas directly, nor know enough about him to conjure what he typically looked like in photograph. I didn't have a pre-conceived subject. I wanted to capture him as he was, in the moment. Nas has a strong, quiet presence. Watching and observing from non-traditional angles allowed me to see different perspectives, different ways to allow him to tell a story without saying a word. I never directed his movements or actions. I just watched, observed, and captured.
We shot a few frames in front of the gate, then moved by the concrete graffiti-covered wall. When Nas stood in the center section, I moved my flashes to where I thought I needed light to fill-in without taking away from the space that was there.
Once ready, I just observed him, no words spoken. Took a picture here and there. I was shooting film and I only had two rolls to shoot him: one color slide film and one roll of black and white negative film. It was more than enough (36 shots per roll), but I used the shots judiciously.
We shot for maybe a total of 15 minutes in front of this wall. I knew I had the shots I needed. I looked to him and said, “We’re good.” Meaning we were done; we could head back to Columbia Records.
As I was packing up and ready to exit the gate, I noticed a sign that made mention of the wall. It was a section of the Berlin Wall that had been shipped to New York City and put on display in this nonchalant little park off of Madison Ave.
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