Karl Kani’s contribution to hip-hop culture is undeniable. Since its inception in 1989, the iconic brand has become synonymous with the bold, head-turning streetwear worn by some of hip-hop’s biggest names. We’re talking legends like 2Pac, Heavy D, Big Daddy Kane, and the Notorious B.I.G., as well as more contemporary artists, such as GloRilla, Quavo, YG, G-Herbo, and the late Pop Smoke.
In celebration of his work, Kani was presented with the lifetime achievement award at this year’s MAGIC Las Vegas, an annual trade show that took place this week in Sin City’s Convention Center. The three-day event, presented by Informa Markets Fashion, included a performance by Busta Rhymes; guest speakers Billy Porter and Lauren Bosstick; top retailers, like Primitive, Honor the Gift, Vero Moda, and Barefoot Dreams; as well as a celebration of hip-hop’s 50th anniversary. The latter featured a conversation with Kani, who reflected on his career alongside Vibe magazine’s Datwon Thomas.
“Fashion, music, and culture have always been on parallel paths,” Edwina Kulego—vice president of PROJECT, MAGIC Men’s, and International Business—told Complex. “With 2023 being the 50th Anniversary of hip-hop, we couldn’t imagine a more quintessential pillar of the fashion community to compliment this moment than Karl Kani … When we decided to focus on celebrating the 50th anniversary of hip-hop we started thinking of designers that made a prominent impact in that space. The very first name that was mentioned was Karl Kani. To make the connection even more meaningful Karl had a footprint on the MAGIC show floor during that time.”
Kani, born Carl Williams, was presented with the award during the hip-hop 50th anniversary celebration.
“Being a part of the celebration and reflecting on the growth of hip-hop through these years feels like a movie that’s still being written. Back then, no one knew if hip-hop would last. We did,” the designer told Complex. “… The relationship between hip-hop and fashion has grown tremendously throughout the years. Kani was the first clothing brand to embrace hip-hop because our brand is the embodiment of hip-hop culture.”
He continued: “Back in the early ’90s, most fashion designers were afraid of having artists endorse their products. My, my how things have changed. Today every fashion house wants to be a part of hip-hop and to be associated with hip-hop. We knew what we had from day one. Just like hip-hop being the real deal from the streets, the Kani clothing brand had that same DNA. That’s why the Kani brand’s connection with hip hop is so iconic.”
Quavo took to Instagram on Saturday to share an emotional tribute to his nephew and fellow Migos rapper Takeoff, who was shot and killed earlier this month at a bowling alley in Houston, TX.
“It’s so hard to tell you I’ma miss you because you always with me and we did everything together,” Quavo’s message begins. “Since we were kids you been by my side, lookin up at me, them eyes waiting on me to make the next move.. then you followed up right behind me.”
“This whole time I’ve been trying to figure out what you really are to me because nephew wasn’t it,” he added. “We hated that word ‘nephew’ or when they said “Unc and Phew” cuz we always knew we were way closer than that and it made me feel old too.”
Quavo continued, “But I knew you weren’t my brother cuz you are my sister’s son, so I couldn’t say brother. Now I finally get it…You are OUR angel.”
Takeoff, real name Kirsnick Khari Ball, was remembered on Friday by family, friends, and fans, as thousands packed inside Atlanta’s State Farm Arena for the “Celebration of Life for Takeoff.”
“After I made the first move, you always followed up right behind me,” Quavo reportedly said during the service. “You always waited for me to do it first so you could do it right with me. You never competed with me, we was always on the same team because you hated plotting against me because I always played too hard or too rough.”
“[Takeoff] changed the culture of music forever,” Offset shared. “You changed that flow. That flow came from Take, the originator. The originator of that flow. He changed the music.”
New details regarding the death of Takeoff have been revealed as the artist continues to be mourned.
Takeoff, who came to fame as one-third of the platinum-selling rap group Migos, was shot and killed early Tuesday at a private party in Houston, Texas.
He was 28.
The Harris County Medical Examiner’s Office listed the manner of death as homicide with “penetrating gunshot wounds of head and torso into the arm” stated as the cause of his death.
A 23-year-old man and a 24-year-old woman were also injured. Sgt. Michael Arrington of the homicide division told reporters Tuesday that they both were doing ok.
The shooting death of Takeoff, who was known as the quiet, low-key member of his group, which included his uncle Quavo, is the latest high-profile death of a hip-hop artist.
His former group mate and longtime friend Offset has not spoken publicly about Takeoff’s death, but on Wednesday he changed the avatar on his verified Instagram account to a photo of Takeoff with a white heart.
A number of celebrities have paid tribute to the slain artist, including, Drake, Gucci Mane, Machine Gun Kelly and Beyoncé, who changed the landing page of her site to a photo of him.
Takeoff seemed aware of the potential danger that rappers sometimes face,
During a conversation on the “Drink Champs” podcast that recently streamed, he and Quavo talked to hosts N.O.R.E. and DJ EFN about their new album, “Only Built for Infinity Links.”
Talk turned security and the murders of fellow artists Pop Smoke and PnB Rock. Takeoff said, “You’ve got to be careful with social media now.”
“You gotta watch what you post because even though you’re just trying to show off and show your fans stuff, it’s people that follow you and watch you that [have] bad intentions and don’t want the best for you. They’re looking at your page and see you every day,” he said. “That’s why I don’t even really post like that, or if I do, I post after I left the spot. I post tomorrow or the next day and you think I’m at a location. But nah, I’m at the crib.”
Authorities are asking for the witnesses to come forward and provide information in hopes of arresting the person or people responsible.
50 Cent reminds Quavo that some of the best music derives from pain.
The hip-hop mogul sent the message via Instagram on Wednesday, just a day after the death of Quavo’s nephew and music partner Takeoff. Fif posted a clip from the latest episode of Rich Kleiman’s Out of Office, where music executive Steven Victor discussed 50’s involvement in Pop Smoke’s posthumous debut album. The project—titled Shoot for the Stars, Aim for the Moon—was released in early July 2020, less than five months after Pop Smoke was killed during a home robbery.
Victor, founder & CEO of Victor Victor Worldwide and SVP of A&R at Universal Music, said the album might’ve never seen the light of day if it wasn’t for 50. He recalled the time he and Pop Smoke had visited Fif just three weeks before the tragedy, and how they laid out their plans for Pop Smoke’s album release.
“I gotta say that I don’t think … if I never had this conversation 50, I don’t know if this album would’ve came out,” Victor said around the 35:10 mark.
“So when [Pop Smoke] passed, 50 kept trying to get in touch with me. So I finally went to go see him. I couldn’t listen to [Pop Smoke’s] music, and 50 was like, ‘Yo. You’re being selfish. You can’t let your emotions or you being in this depressed state stop you from executing the plans you guys had. Three weeks ago, you guys were in my office talkin’ about taking over the world. He passed away, but who’s going to keep his legacy goin’? Who’s gonna make sure his music comes out so he can take care of his family?’ He’s like, ‘That’s on you. I get you’re sad and all that shit, but this ain’t the time for that.’”
50’s encouragement clearly worked, as Shoot for the Stars, Aim for the Moon was released as planned. The G-Unit rapper used Victor’s comments in his message to Quavo, who recently released Only Built for Infinity Links alongside Takeoff. Fif told the Migos rapper to revisit the album and make a few changes in wake of Takeoff’s death.
“This is really how it goes @quavohuncho,” 50 wrote in the caption. “You have to position this album correctly for Takeoff’s legacy, go make a couple changes and address everything all artist make the best music out of painful moments. R.I.P to pop smoke 🕊R.I.P to TakeOff.”
Takeoff was killed shot and killed around 2:30 a.m. Monday following a private party at a Houston bowling alley.
“After [the event] ended, there was a large group of people who gathered at the front door area just outside of the building and it led to an argument where the shooting took place from the disagreement,” Sgt. Michael Arrington of the Houston Police Department told reporters Tuesday.
Takeoff—legal name Kirshnik Khari Ball—reportedly suffered gunshot wounds to the head and torso. The 28-year-old was pronounced dead at the scene. Police have yet to make any arrests in connection to the shooting.
“I just want to say something to our city. It’s Houston and every brother and sister in the neighborhoods, I’m calling you to action, to step up. There were 40 people at least at this event and people left possibly out of fear,” Houston Police Chief Troy Finner told the media. “I ask you one thing and I want this to resonate with everybody. What if it was your brother? What if it is your son? You want somebody to step up? So please step up, get the information to us so we can bring some closure to this family.”
Takeoff, one-third of the Migos, was shot and killed early Tuesday morning, and members of the hip-hop community have taken to social media to mourn the loss of the Atlanta rapper.
According to TMZ’s report, local police in Houston, Texas were notified of a shooting “shortly after 2:30 a.m.” at a local bowling alley where a dice game had taken place. An altercation reportedly broke out at this time, followed by shots fired, though more details weren’t immediately available.
Local news outlet KPRC-TV shared statements from the Houston Police Department that claimed: “an identity of the deceased victim” would not be confirmed at the time. HPD added that two other victims had been taken to nearby hospitals to be treated for injuries, and confirmed the Unc & Phew duo were present at the scene of the shooting.
Takeoff, real name Kirsnick Khari Ball, had just joined forces with his Quavo for their first joint album together Only Built for Infinity Links. Migos wrapped its critically lauded Culture trilogy with Culture III last June, and Take released his lone solo album The Last Rocket four years ago tomorrow.
“On a lot of the Migos records, [Takeoff] would anchor the song,” Quavo told Complex last month. “Now on a lot of these records, he comes in and is popping off. We are setting up alley-oops like Trae Young and John Collins!”
Complex has reached out to HPD for comment, as well as to a rep for Takeoff.
Following news of his death, members of the hip-hop community took to social media to pay tribute to the late rapper.
Tyler, the Creator, Gucci Mane, and Rae Sremmurd were just some of the notable figures to express their shock and sadness over the rapper’s sudden death.
Rap began as a group endeavor. It was born in the melting pot that is New York Cityand was nurtured by friends who formed crews to spit to the tune of their favorite beats. Decades later, that’s no longer (formally) the case.
Hip-hop is still a relatively young genre (about 50 years deep), and is therefore still experiencing metamorphoses and expansion with the passing of each decade. One of the most significant gradual shifts in rap has been the transition away from artists operating primarily as groups or crews to being more solo-focused.
Despite these changes, though, the significance of rap groups in the roots of hip-hop history remain strong. The first proper rap record, “Rappers Delight,” was created by a rap group, The Sugarhill Gang. Generally, groups are the pillars of hip-hop and helped forge the sturdy foundation that the genre stands on today. Groups and collectives dominated the Golden era of hip-hop in the ‘80s and ‘90s. In fact, some of the greatest rappers of all time are the product of a group that was once equally if not more legendary than their solo act—from RZA of Wu-Tang Clan to Jadakiss from The LOX, Cam’ron of Dipset, Lil Wayne of Hot Boys, and many more.
The recent split of hip-hop’s last modern powerhouse rap group, the Migos, marks the end of group supremacy in rap, and Quavo and Takeoff would attest to this. Based on our conversation recently, the newly formed duo believes that they were only able to stay together for so long because they’re family––and when artists don’t share that same bond it’s easier for groups to splinter and seperate.
“With us, it was really family that kept us strong,” Quavo said, discussing the decline of modern rap groups. “Sometimes you don’t have strong artists, and it’s hard for all three artists to be superstars [in a group]. And then with time, some of that shit falls off and there’s only one superstar, and then they’re gone.”
Griselda is another prominent group that has split recently. The group informally parted ways in 2022 after Conway the Machine decided to leave Shady Records and venture out to pursue his own deal.
Rap groups and collectives falling from prominence in hip-hop’s current landscape can ultimately be attributed to the music’s nature of adapting to the times. Like many other genres, rap artists now build stages predicated on individualism and personal branding.
When hip-hop began in the ‘70s and ‘80s, its survival required a group effort because it was being attacked on all sides by conservative censorship and community violence. Those conditions haven’t changed much, but the power of the individual artist has. The emergence of the internet, streaming services, and social media have made it easier for an artist to create their own fanbase without needing the support of a larger group to help sell out venues or build a platform. Playboi Carti and Travis Scott are key examples of that.
When discussing the state of the modern-day rap group, it’s essential to highlight the distinction between a group, collective, and label. Duos like the City Girls, Run the Jewels, EarthGang, and others that are still thriving in today’s landscape are not considered here because a rap group consists of three or more active members who release music as a unit and operate their business as an ensemble. Wu-Tang, for example, might have changed its members over the years, but they were still releasing music under that shared moniker.
Image via Complex Original
A rap collective, meanwhile, is an assortment of artists who join forces under the same umbrella and sometimes release music together, but normally work as individuals and aren’t under any contractual obligation. ASAP Mob, Odd Future, and Brockhampton are a few examples.
Collectives then differ from historic rap labels like Death Row Records, Bad Boys Records, Murder Inc., and more because they are not collectively signed to any immediate major label partner. However, rap labels like Roc-A-Fella, Aftermath, and newer ones such as Dreamville Records, Top Dawg Entertainment, and G.O.O.D. Music share many similarities to collectives in that they utilize an artist-to-artist business approach that is conducive to more favorable partnerships and allows for closer connections between acts. Dreamville and TDE are good examples of rap labels that move like a collective because they’re able to produce blockbuster projects (such as Revenge of the Dreamers 3 and TDE’s Black Panther soundtrack) as units to support their small rosters and give them visibility by placing them on projects from their larger names.
The gradual shift away from the rap group model began as rap collectives became more prevalent in the late 2000s and early 2010s. This movement was championed by the new internet generation of rappers who could meet people with similar taste in music chat rooms, corner shops, and apartment stoops.
ASAP Mob and Odd Future were two leaders of this new guard of rap collectives that also fostered some of the biggest solo acts in the genre today. ASAP Mob was formed in Harlem in 2006 by ASAP Yams, ASAP Bari, and ASAP Illz. True to rap’s origins, the collective started with three rap lovers who lived in the same neighborhood. ASAP Mob would eventually expand to include household names like ASAP Rocky and ASAP Ferg, and they released several projects as a collective, including Cozy Tapes Vol. 1 and 2.
On the opposite coast, Odd Future was created in Los Angeles in 2007 by Tyler, the Creator, Casey Veggies, Hodgy, Left Brain, and the production trio Super 3. The crew ballooned through the late 2000s and 2010s and included impressive names like Earl Sweatshirt, Frank Ocean, Syd, and more who all continued to carve their own paths in music. The benefit of being part of a collective like this is that it allows creatives to be nurtured on a more human level rather than being churned through the industrial music machine.
“I was at a real dark time in my life when I met them. I was looking for a reprieve… And here was this group of like-minded individuals whose irreverence made me revere. The do-it-yourself mentality of OF really rubbed off on me,” Frank Ocean told GQ in 2012 when talking about meeting Tyler, the Creator and Odd Future.
Geographical familiarity was eventually no longer necessary to form close-knit relationships between artists. In 2007, Birdman and Lil Wayne (a product of the Cash Money Millionaires group) discovered a burgeoning Drake and Nicki Minaj and formed Young Money Cash Money, a hybrid rap label that was born out of a rap collective. It was the beginning of a return to a more label-focused approach. Drake now has a label of his own, OVO, that houses several different artists and duos, too.
In the 2000s and 2010s, collectives and labels succeeded in helping artists create their own platforms thanks to the help of united collaboration and natural chemistry, but they also played a part in their downfalls. Once individual acts like ASAP Rocky, ASAP Ferg, Tyler, the Creator, and Frank Ocean started to become global superstars, it became increasingly more difficult for the collectives to tour as a group, work together on massive posse cuts and group albums, and be as present as they once were at the beginning of their careers. Collectives like Odd Future and Brockhampton broke up in 2015 and 2022 respectively and, while others like ASAP Mob and Young Money still stand today, they rarely release music together under a shared moniker. Even Kendrick Lamar, the face of TDE, left the label after 17 years and branched out to start one of his own with pgLang. None of these splits were dramatic, but they reflected the need for artists to be able to stand alone and develop their careers to build their legacies.
The criminalization of rap has also played a role in the decline of rap collectives because when artists associate themselves with larger groups, they run the risk of being categorized as a criminal organization, as is the unfortunate case with Young Thug’s Young Stoner Life label and connected RICO case. During his first bond hearing, the prosecution alleged that Thug is the “top dog” of the criminal syndicate because he’s viewed as the face of the group. In 2022, being the “leader” of a rap group means an artist can be prosecuted as a gang kingpin and their lyrics used against them in court.
Image via Complex Original
While most of the great rap groups of old are living out their wonder years on Verzuz stages or running nostalgic return tours, there is still some hope for those trying to form new ones today; it’s just more challenging now. Rap has become one of the most lucrative businesses in the world, and thus, artists are busier than ever. Some rappers have teased the formation of groups on EPs and songs—like Noname, Saba, and Smino creating the soulfully eclectic trio of Ghetto Sage—but it’s hard to actualize these plans when everyone has individual touring, albums, and fanbases to cater to now. Despite not technically being groups, rap duos like the City Girls, EarthGang, and now Unc & Phew are holding down the space for non-solo acts.
When The LOX faced Dipset in their now-iconic Verzuz battle in Madison Square Garden last summer, it illustrated how deeply rooted group synergy doesn’t just go away with time. Jadakiss, Styles P, and Sheek Louch bounced off each other effortlessly as they had just gotten off tour in the ‘90s, delivering a masterclass in live performing.
Nothing is meant to last forever, even in music. Rap groups and collectives were never the exception. Still, moments like that are a reminder that there’s always power in a reunion.
Quavo and Takeoff have unleashed Only Built for Infinity Links, their first full-length record under the Unc & Phew moniker.
The ATL rappers/family members began working on the project about two years ago, as they prepared to deliver the Migos’ Culture III album. Quavo and Takeoff spoke about the effort in a new interview with Complex’s Jordan Rose, explaining their overall vision and hopes for the release.
“We just want [listeners] to know that we’re consistent individually, as a duo, and as a group,” Quavo said about OBFIL. “People always ask for the [Migos] altogether. A lot of people love that, but at the same time, even when we would go off and do our own features and other things, it’s always successful. We’re just learning from each of our lives. Like I said, it was always just about the three of us and living fast and going crazy, now it’s just about giving them the origins and legacy and what we have done.. People can get lost sometimes, so we have to let them know that we started this and [that] we’re still here.”
Quavo, 31, and Takeoff, 28, said they drew inspiration from some of hip-hop’s most iconic duos: the OBFIL album art was a nod to OutKast’s Stankonia cover, while the title was a reference to Ghostface Killah and Raekwon’s 1995 project Only Built 4 Cuban Linx.
“One night, we’re out at a little sports bar, and Raekwon walks straight in the building,” Quavo recalled. “So I went up and talked to him and just let him know that we appreciate what he’s done for the culture and what he did for us as a group, and that as we branch off as a duo, we’re still following in his footsteps. We asked for his blessing, and he was with it and said he loved what we did. It’s been genuine ever since.”
OBFIL spans 18 tracks, including the previously released “Hotel Lobby,” “Nothing Changed,” “Big Stunna” with Birdman, and the Gucci Mane-assisted “Us vs. Them.” It boasts additional guest appearances from Young Thug, Gunna, YoungBoy Never Broke Again, Mustard, and Summer Walker.
