RAP Wrapping

The word from malls, record stores and video arcades as well as the United Nations, a Hollywood dance club, is that the heavy gold-chain Mr. T look is out. Lately, street versions of rap style are instead inspired by the Afro-centric accessories of Boo Ya Tribe, the camouflage gear preferred by Public Enemy and the soul-rap style, with dreadlocks and African-print fabrics, of Soul II Soul.

Rap fans, especially black teen-agers, picked up on these styles early and made them a uniform. Now there are spinoffs, adapted by Latinos, Anglos and Asians, that tend to eliminate a few layers of accessories for a more streamlined effect.

A prideful, Third World fashion statement, the look relies on American classics, especially T-shirts, jeans and high tops, as key ingredients.

Paul Freez Luv Farmer, dancing at United Nations, wears a custom-made toque of African-print fabrics to which he has added a baseball cap bill. “Our hats are modeled after Zulu crowns as a sign of pride,” Farmer explains, adding, “We created a style that’s not just African, it’s Afro-American.”

T-shirts feature images of such ‘60s icons as human rights activist Malcolm X, as well as such ‘90s stars as movie maker Spike Lee.

Accessories range from Zulu pendants, African masks and gold nose rings to big-faced clocks worn as necklaces.

The fade, with its tall, squared-off top and sheared sides, is the haircut of choice. Actor and rap singer Kid, of Kid ‘n’ Play, set the trend in this spring’s comic movie “House Party.”

Young people creating this global-eclectic style say they hope the resurgence of positive images rooted in black heritage will stir people’s social awareness and help them “wake up,” as Spike Lee would say.