Whose idea was the Cash Money ass tattoo on the cover? At that point in my career, I’m just listening to my clients and I’m putting it all together and shooting in the dark. I went and got one of my copyright release models and I pulled her head off and put the one Baby wanted on instead. He said, “Well, do something about it.” When Baby tells you to do something, you do it. I was like, “Well, we’ve got this one body of this one girl, but I don’t think we have a copyright release on her face.” Got it? It’s like ‘Monkey On My Dick,’ but you can’t put dick on there.” When Baby calls me up and said, “Yo, man, this one’s going big. When someone comes to you and they’re like, “My album’s going to be called Monkey On Tha D$Ck,” what’s your first thought? Magnolia Shorty – Monkey On Tha D$Ck (1996) in the studio, went out and got a stock picture of the 5th Ward over in the Magnolia Projects, and put the whole thing together. I went out to a surplus store and I bought a 50-caliber round, and I drove a hole through it and went into the studio and hung it up on a coat hanger and started photographing it at different angles. You never know when one of these massive bullets can come down and rip you apart. He explained the idea a little further, to the point that I came up with an idea, about these bullets flying around and there’s no escape from the hood. “Well, when you shoot this weapon at people,” he said, trying to be as diplomatic as possible, “it has the tendency to remove limbs and it’s really a bad, bad gun.” I was like, “Okay, what is this Chopper City thing? First of all, what’s a chopper?” That shows the level I was working at back then.īG was like, “Oh boy. came in and he sat down with us and we started talking with him and Baby.
This cover was really interesting because B.G. Behind every Pen & Pixel cover is a fascinating story, and below, we had Shawn walk us through many of our favorites.įor more Cash Money, check out the Urban Legends store. There’s the burning hellscape of Juvenile’s 400 Degreez, the maximal excess of Big Tymers’ How You Luv That, and the early Lil Wayne projects that foreshadowed Weezy’s remarkable impact on the game. This accident would have had ramifications on the entire history of hip-hop, as Master P’s No Limit/Cash Money Records and Pen & Pixel created some of the most iconic album covers in rap. Shawn agreed, but if he hadn’t worked with Tre, there’s a chance he never would have linked up with P in the first place. The Parsons School graduate was greeted in his office by P and his crew, and received a message: Don’t do it again. Of course, I had no idea what was going on because I’m completely engrossed in my work, but it ended up being a Master P diss because Master P’s the ice cream man.” Suffice it to say, Master P and his “very big” group of bodyguards weren’t thrilled with Shawn’s work. “Tre-8 wanted this ice cream truck blown up on a cover and wanted the ice cream man inside the truck to be blown into a million pieces. “Master P came to us not because he wanted to work with us, but because we worked with an artist named Tre-8,” Shawn explains. That’s not to say that Pen & Pixel’s ascent occurred hitch-free. With nothing more than $1,000 and a kitchen table when they started their company, Pen & Pixel almost single-handedly introduced the visual aspects of the bling-bling era to the commercial public. As the Pen & Pixel designer behind iconic album covers for Cash Money (in addition to art for Rap-A-Lot and other labels), Shawn, alongside his brother, Aaron, quickly emerged as key players in the explosion of rap music emerging out of the South. Shawn Brauch found himself at the center of the hip-hop universe in the 1990s and early 2000s.
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