Meanwhile, the well-off uptown crowd looked (and dressed) a world away from the leather-clad set that resided beneath 14 th street. Love them or hate them, one thing is certain-the 80s definitely had a love affair with “ugly sweaters.” Uptown chic The popularity of hip hop and breakdancing transformed New Yorkers’ closets-track pants, bomber jackets, and Nike sneakers were everywhere. Silhouettes ran the gamut from baggy “mom and dad jeans” to tighter, hip-hugging styles. Subcultures like punk brought a whole new design aesthetic to New York City’s streets-acid wash, faded denim was so cool. High-waist pants, whether in leather or denim, were all the rage in the 80s. Needless to say, leather quickly became part of every cool kid’s uniform at the time. All leather everythingĪfter Studio 54 closed its doors in 1980, New York City’s fashionable crowd migrated to clubs like CBGB and the Mudd Club, bastions of the punk rock culture. If the 70s were all about bell bottoms, mini skirts, and psychedelic patterns, the 80s brought a more structured look to people’s closets and power dressing became a thing where shoulder pads played a major role. Here we take a look at the most prominent trends that defined New York City in the 80s. Boomboxes, bomber jackets, and Nike shoes became the norm. Leather was in everyone’s closet, and so were bold patterns and shoulder pads.Īnd of course there was hip hop which originated in Harlem and the Bronx but its popularity quickly spread through all boroughs and influenced enormously not only the music scene in the city but its fashion, too. The iconic Studio 54 was no more but clubs like CBGB on Bowery street, Palladium, Danceteria, and the Mudd Club became the playground for the Big Apple’s coolest kids who were into punk, rock, and disco. Nevertheless, the city was still like a magnet for the creative crowd-artists, musicians, and designers called it home and its streets were their catwalk. Crime rates had spiked and drugs were literally at every corner. New York City in the 80s was far from the glamorous metropolis it is today. Hyde, and Spoonie Gee, from 1979 to 1984.Métier’s Closer is the day-to-night briefcase of your dreams. Born Errol Eduardo Bedward, Pumpkin was right there at the beginning of hip-hop, working with OG artists such as Treacherous Three, Grandmaster Caz, Dr. Pumpkin was a legendary music producer, of Afro-Costa Rican/Afro-Panamanian descent, and known as the King of the Beat. Now that we have covered several Latinxs who were among the first to spray paint walls and create an entire culture, let get back to the music. He was renowned for being the one behind many break beats and hip hop tracks from 79' to 84' such as Spoonie Gee, Treacherous 3, Grandmaster Caz, Fearless Four, Funky 4, Dr Jeckyll & Mr Hyde /psHaSLejfk PumpkinĮrrol Eduardo Bedward, known as Pumpkin was a musician, percussionist and band leader. She held her own with the guys in the graffiti movement, and was christened “the first lady of graffiti.” In 1982, she starred in Wild Style, with other pioneers of the culture. Raised in New York, the iconic Lady Pink, born Sandra Fabara, started writing graffiti in 1979, and painted subway trains from then, until 1985. One of the legendary and iconic graffiti artists that we had to include on this list is the Ecuatoriana Lady Pink. If Latinxs have not seen enough recognition as being part of the roots of hip-hop, the Latinas have seen less. In addition to wanting to showcase Latinx achievements and accomplishments in Hip-hop, we also want to especially highlight the Latinx women in the genre. Did you know that a lot of the b-boys, or breakers (calling these talented dancers “breakdancers” or referring to the style as “breakdancing” is considered to be both inaccurate and passe), were Latinx (more often than not Puerto Rican)? Pioneering breaking crews such as the Rock Steady Crew and the New York City Breakers had Latinx members and founders. But we were there! Hip-hop is made up of four elements: MCs/rappers, B-boys/B-girls, graffiti, and DJing. Latinos have virtually been erased, or at least consistently left out, of stories regarding the origins of hip-hop. But it wouldn’t really be hip-hop without also giving credit to the other two POC groups who helped create the genre and seasoned it with their influence - Caribbeans and Latinos. They used their stories, life experiences, and their natural talent to create music which has since resonated with people all around the world. If you look up the history of Hip-hop music, there is always credit given to the African-American youth of the Boogie Down Bronx, who created the most popular genre in the world, out of nothing.
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