Juvenile 400 degreez album cover
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Had it been captured digitally, I'm sure this off-screen viewing would have trumped the on-screen dying in the gruelling tragedy stakes. It was a powerful scene and I was moved to the point of wishing I could cry more easily at films. The spiralling climax to this opera is definitely famous, and was used to excellent effect at the end of the film when Ivan died horribly alone in a hospital bed. Lawrence claiming to have reinvented Contemporary Fiction when he switched from a pencil to a biro). At the time of its release, the director announced he'd changed film-making forever. (One of the first feature films made with a digital camera. I've lingered over this purchase for years after hearing a good chunk of it on the better-than-ok film Ivan's XTC. This afternoon I made my fortnightly trip out to Borders and bought a CD of Wagner's opera 'Tristan und Isolde'. In the wake of society's decision to finally retire The Music Review from its Pantheon of Unusually Weak Ideas We're Going to Stick With For Just A Little While Longer, I thought I'd post up Exhibit A. The sad conflict of this work is that it stands as both a death toll to 1998's Hip-Hop Photoshop creative outburst, and a final classic example of the artform in it's own right. Whereas pre-'98 Snoop album covers featured cartoon drawings of dogs and pimps, the PS-era Snoop album (for which he briefly signed to No Limit) carbon copied this style directly to the Photoshop format, paradoxically resulting in an image even more reminiscent of a comic book.ĭr Dooom/Kool Keith - First Come, First Served (1999)Īlthough this album dropped a year outside of '98, Keith expertly apes the genre with all the giant hand/font/posture techniques pitched alongside a couple of different species of simian, a cockroach, and a burger with a mouse in it. Snoop Dogg - Da Game Is To Be Sold, Not To Be Told (1998) For me, this is classic in it's close resemblance to the SNES game Probotechtor - Alien Rebels. The east coast gets involved here, as the ever-present sinister undertones conveyed by fire, smoke, and in this case waves of heat continue. More vintage 'large hand/foreground' creativity from No Limit. Silkk Tha Shocker - Charge It 2 Da Game (1998) Particularly noteworthy here is the strong work on the 'large hand/foreground' effect. Master P's No Limit label, often referred to as No Talent, is considered by scholars to be THE major player in the Photoshop album cover game, with memorable efforts for Soulja Slim, The Hot Boys, C-Murder, and som e of the albums pictured below. The layout, the literal representation of the album's title, the font effects, theīizarre posturing, s ome fire.
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People were beginning to have regular access to the internet, and with a few right clicks, drags and drops an album cover, nay, an entire album concept could be created.Įverything you need to know about the artform is here. In today's digital age, it's hard to appreciate album art, but back in the day, rappers would constantly try and one-up each other's artwork, leading to more explosions, more honeys, and, last but not least, more "bling bling." Oftentimes, the best Dirty South records came equipped with iconic P&P design.This may not be in the classical style of early-Photoshop era rap albums, but i feel that taken as a whole it presents a distillation of what was going on during this new, exciting movement. Pen & Pixel went on to commission artwork for Three 6 Mafia's Hypnotize Minds, Rap-A-Lot, Suave House Records, and more. Soon, Pen & Pixel's signature diamond-encrusted block letters were inseparable from the South.
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Then, Master P came to Houston and made P&P the house design team for No Limit. Pen & Pixel also allowed rappers to resize themselves into the mis-en-scène, allowing them to become the larger-than-life personalities they rapped about in their music.Ĭash Money was the first label to put Pen & Pixel on the map. The early versions of Photoshop allowed P&P to grab all sorts of images that wouldn't normally-or possibly-be able to fit into the same shot. In the late 90s, a design firm in Houston, TX called Pen & Pixel defined the aesthetic of Dirty South hip-hop as the genre catapulted its way into the mainstream. The greatest (most ridiculous) album covers created by Houston design house Pen & Pixel.