Suzanne's Mom's Blog

I don’t know much about hip-hop, or rap, but I thought it was fascinating that it’s been a part of our culture long enough for a Sotheby’s auction of “historic” memorabilia this month.

As Laird Borrelli-Persson wrote at Vogue, “Until now hip-hop, a global lingua franca, has been in use seemingly everywhere but in auction rooms. That’s set to change next week when, on September 15, Sotheby’s presents its first sale dedicated to the subject.

“The broad spectrum of items on offer — everything from teenage love letters written by Tupac Shakur to graffiti writer Buddy Esquire’s sketchbook — demonstrate that hip-hop has always been a multimedia genre. …

“Though hip-hop is an existing collectible category, it didn’t have an auction ‘home.’ Traditionally, explains [Sotheby’s Cassandra] Hatton, this world has been very focused on specific collecting categories, like cars, jewelry, books, and contemporary art. Hip-hop, she says, ‘is the sum of all of its parts, and if you take a part of it out, it’s not itself anymore.’ …

“ ‘What I think is really important here,’ says [Monica Lynch, former president of Tommy Boy Records], ‘is that the overwhelming majority of the people who are consigning to this auction are the artists and creators themselves, and that they are going to be recognized. … If this expands or brings them a new audience, … that’s a great thing.’ …

“Hip-hop’s influence on fashion is enduring. Lynch recalls being seated at a dinner across from [fashion designer] Karl Lagerfeld in the early 1990s and ‘the only thing he wanted to talk about was TLC.’

“The sale includes items designed and worn by MC Sha-Rock and, spectacularly, Salt-N-Pepa’s ‘Push It’ jackets, [also] a number of jackets that were made only for crews or for staff, as in the case of a Carharrt topper with a Shawn Stussy–designed logo made for Tommy Boy employees. …

“Lynch calls attention to the ‘DIY customization’ of many of the pieces, and also to luxury’s ‘strange history with hip-hop.’ (Note Dapper Dan’s Louis Vuitton jacket, circa 1988.)

“ ‘The hip-hop community always adapted,’ she continues. ‘They adopted and adapted. I think Carhartt was pretty shocked when it realized that a huge amount of its customer base was up in Harlem and in the Bronx. Slick Rick was always wearing Clarks Wallabees shoes. I don’t think they were marketing to a Slick Rick, but you know, the hip-hop community took brands that were known with different audiences and flipped them, turned them inside out, and they made them their own.’ …

“The sale will be an introductory experience for some, a nostalgic one for others. Hatton hopes it will be cheering for all. ‘I think something important about hip-hop is that it’s uplifting,’ she says. ‘There are some markets where money is made by making you feel like you’re not good enough, you’re not beautiful enough, or smart enough, or rich enough, or whatever, so the motivation for purchasing certain things is because it will make you look better or smarter or more sophisticated. And hip-hop is very different. It’s very much celebrating who you are and creating something great out of nowhere. That is what to me art is.’ ” More at Vogue.

Forbes reported on how the auction actually turned out, here. According to Jacqueline Schneider, “Five consignors (for lots 12, 36, 80, 81 and 118), with sales totaling $170,226, indicated their intention to donate money to various charities. Sotheby’s itself committed an undisclosed portion of its proceeds to benefit hip-hop programs at the Queens Public Library and Building Beats, a non-profit teaching young people in underserved communities tech literacy and entrepreneurial skills through DJ and music programs.”

At my September 1 post, Hannah commented, “In my anti-racism group one of our members, who studies racism as an academic discipline, has suggested listening –- really listening –- to rap.” I have been trying that.