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    Who Shot Ya?: Three Decades of HipHop Photography
    Who Shot Ya?: Three Decades of HipHop Photography
    Who Shot Ya?: Three Decades of HipHop Photography
    Ebook307 pages52 minutes

    Who Shot Ya?: Three Decades of HipHop Photography

    By Ernie Paniccioli and Kevin Powell

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    About this ebook

    Nearly thirty years ago, Ernie Paniccioli, considered by many to be the James Van Der Zee of the hiphop generation, began photographing graffiti art throughout New York City as well as the young people creating it. Armed with a 35-millimeter camera, Paniccioli literally recorded the beginning salvos of hiphop, today the most dominant youth culture on the planet. Be it Grandmaster Flash at the Roxy, a summer block party in the Bronx, the fresh faces of Jay-Z and Will Smith, the cocksure personas of Tupac Shakur, The Notorious B.I.G., and Eminem, or the regal grace of Lauryn Hill, Ernie Paniccioli has been there to showcase hiphop’s emerging talent.

    With more than 200 photographs that have been culled from a vast archive, Who Shot Ya? is the first major pictorial history of hiphop culture.

    LanguageEnglish
    PublisherHarperCollins
    Release dateJun 25, 2013
    ISBN9780062306913
    Who Shot Ya?: Three Decades of HipHop Photography
    Author

    Ernie Paniccioli

    Ernie Paniccioli has been the chief photographer for Word Up! magazine since 1989. His work has appeared in a variety of books and periodicals, most notably Life, Vibe, Time, Rolling Stone, Newsweek, and The New York Times, as well as on MTV and VH1. Beyond the hip hop world, Paniccioli has captured a number of popular figures on film, among them Frank Sinatra, Liza Minelli, John F. Kennedy Jr., Britney Spears, and Ricky Martin. This is Ernie Paniccioli’s first book. He lives in New Jersey.

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      Book preview

      Who Shot Ya? - Ernie Paniccioli

      Dedication

      This book is dedicated to my mother, Julia, who taught me strength, knowledge, wisdom, and understanding, a love for revolution, and to fight against ignorance, oppression, and hatred in all forms; my wife and daughter, who taught me patience; and my son, who gave me a grandson to pass on these lessons.

      —E.P.

      For Harry Allen and Charlie Braxton: my big brothers and guides through the world of hiphop writing and thinking.

      —K.P.

      And to the memories of Tupac Shakur, The Notorious B.I.G., Big Pun, Aaliyah, and Lisa Left Eye Lopes.

      —E.P. and K.P.

      Acknowledgments

      Thanks to all the women who nurtured me, loved me, taught me, and tolerated me. Thanks also to Richie Havens, Chuck D, Jamel Shabazz, Charlotte Sutton (the Apollo Theater), KRS-One, Doug E. Fresh (peacemaker), Afrika Bambaataa and Zulu, AIM (Free Leonard Peltier), NOI, Crazy Legs, Aaliyah, Big Pun (my good friend), LL Cool J, Flavor Flav, Jane Canonizado (who helped me raise my son clean and strong), Bro. William Dabney (a warrior), Grace Heck, Angela Thomas, Mary Moore, Duane Pyous, Manny Martinez, Chi Cheng, Miguel Baguer, Gwen Quinn, Scott Figman (publisher of Word Up! magazine, who made sure my family always had food on the table), Nancy E.Wolff, Kate, Gerrie and Maryanne (editors of Word Up!), Naughty by Nature, Tim Dog, Public Enemy, Salt-N-Pepa (the hardest working women in rap, ever), Kid ’ N Play, Roxanne Shante, Lauryn Hill (respect), and YoYo. Also to Ralph Mc Daniels, who was pumping hiphop videos long before BET or MTV or anyone else. And all of the publicists, magazines, and record labels that gave me work. My six brothers and my sister and my brothers and sisters in the struggle. Special thanks to Charles Harris, Dawn Davis, Carie Freimuth, and Kevin Powell for making my dream of doing a book a reality.

      —Ernie Paniccioli

      Thanks to Charles Harris, Dawn Davis, Carie Freimuth, Sarah Wharton, Tara Brown, Rockelle Henderson, Kelli Bagley, John Jusino, Betty Lew, and everyone at HarperCollins for helping to make this book— and Ernie’ s dream— a reality. Thanks also to Jeff Posternak and the Wylie Agency, Davey D, Lauren Summers, Jocelyn Womack, Laylah Amatullah Barrayn, April Silver, Nikki Cynical Smith, Michael Jones, Bahia Ramos, and hiphop pioneers and hiphop heads everywhere. Thank-yous, too, to the Rock and Roll Hall of Fame and Museum and the Brooklyn Museum of Art for the very first hiphop exhibits on the planet in 1999 and 2000 respectively. It was through this historic showcase that Ernie and I first connected. And thank you to Ernie Paniccioli.

      —Kevin Powell

      The torch has been passed to a new generation.

      —President John Fitzgerald Kennedy, inaugural address, January 20, 1961

      My beloved let’ s get down to business / Mental self-defensive fitness.

      —Public Enemy, Fight the Power, 1989

      Contents

      Dedication

      Acknowledgments

      Notes of a HIPHOP HEAD

      The Roots: 1970s–1986

      The Golden Era: 1987–1992

      POP . . . Goes the Culture: 1992–Present

      In My Life time: The Story of Ernie Paniccioli

      Selected Bibliography of Ernie Paniccioli Photographs

      Chronology of Ernie Paniccioli’s Life and Work

      About Kevin Powell

      Props for Who Shot Ya?

      Copyright

      About the Publisher

      Notes of a HIPHOP HEAD

      This thing, this energy, ghetto angels christened hiphop in the days of way back is the dominant cultural expression in America, and on the planet, today. You think not, then ask yourself why business interests as diverse as McDonald’s, Ralph Lauren, Sprite, Nike, and the National Basketball Association have all, during the course of the past decade and a half, bear-hugged the language, the fashion, the attitude of hiphop to authenticate and sell their products. Or why, if you are a parent, your child, be you a resident of the Fifth Ward in Houston or an inhabitant of Beverly Hills, routinely strikes a hiphop pose and dons mad baggy clothes when leaving home for school on the daily, or when cruising a mall on the weekends. The rapper Ice-T said it best near the beginning of the 1990s: Hiphop is simply the latest form of a ‘ home invasion’ into the hearts and minds of young people, including a lot of White youth. Ice-T should be crowned a prophet for that proclamation. Sure, hiphop still rocks the boulevards but it is so much a part of American culture—hell, it is American culture, with all the positives and negatives attached to that reality—that even the bourgeois reach for it and stake claims to it nowadays.

      Therefore we can comfortably say that hiphop is bigger than ever. (If bigger is better is another essay altogether.) Just as we have witnessed the globalization of the economy, hiphop is global, making heads nod from Cleveland to Tokyo to Paris to Havana to Capetown, South Africa. Who knew that this thing, this energy, started on the streets, in the parks, of New York City, circa the late 1960s through. the decadence of the 1970s, by working-class African Americans, West Indians, and Latinos, would surpass jazz, rock ’n’ roll, and R&B in popularity and come to be the gritty, in-your-face soundtrack of a generation, of an era? From where did hiphop emerge? Think institutionalized White racism as the midwife for poor neighborhoods, poor school systems, poor health care, poor community resources, and poor life prospects. Think the United States government’s slow but sure abandonment of its war on poverty programs (sending more money, instead, to that war in Vietnam. as the Civil Rights Movement came to a screeching halt. Think the material and spiritual failures of that Civil Rights Movement: the disappearing acts of leaders of color, the fragmentation of communities of color due to integration, lost industrial jobs and new migration patterns, and colored middle-class folk jetting from the ’hood for good. Think the New York City fiscal crisis of the early to mid-1970s, and the effects of that money crunch on impoverished residents of color in the Bronx, Harlem, and other parts of the metropolitan New

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