ego trip magazine back issues

118. ego trip

A complete run of ego trip magazine

The Art and Influence of Hip Hop

Property from the Collection of ego trip/Ethnic Inc.

March 30, 05:57 PM GMT

1,000 - 1,500 USD

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A complete run of ego trip magazine , with all printed issues from Vol. 1 No. 1 (1994) through Vol. 4 No. 1 (1998).

13 issues, issue 1 printed in black ink on yellow paper, Vol. 1 No. 1-Vol. 2 No. 5 staple bound at spine, the rest bound at spine in glossy photographic wrappers.

Complete listing of issues with cover stars:

Vol. 1, Issue 1 (1994): Nas

Vol. 1, Issue 2: Method Man

Vol. 1, Issue 3: Smif-N-Wessun

Vol. 2, Issue 1 (1995): Eazy-E

Vol. 2, Issue 2: Cypress Hill

Vol. 2, Issue 3: KRS-One

Vol. 2, Issue 4: A Tribe Called Quest, De La Soul, Large Professor

Vol. 2, Issue 5: Wu-Tang/Ghostface Killah

Vol. 2, Issue 6: Redman

Vol. 3, Issue 1 (1997): Biggie Smalls

Vol. 3, Issue 2: Rakim

Vol. 3, Issue 3: Gang Starr

Vol. 4, Issue 1 (1998): Def Squad

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Catalogue note

A COMPLETE RUN OF THE CELEBRATED HIP HOP MAGAZINE FROM THE 1990S

Renowned as “The Arrogant Voice of Musical Truth,” ego trip magazine was formed and founded in New York City in 1994 by Sacha Jenkins and Elliott Wilson, with Jeff “Chairman” Mao as principal conspirator. Publishing early career profiles on the likes of Nas, Method Man, The Notorious B.I.G., Raekwon, Ghostface Killah, MF DOOM and others, ego trip was firmly ensconced at the nexus of Hip Hop’s ’90s creative explosion, cementing its reputation for obsessively knowledgeable and sardonically dispensed rap coverage while also reporting on the underground sub-cultures of and adjacent to NYC’s graffiti, skateboarding, and indie rock and hardcore punk scenes. By 1996, catalyzed by the additions of managing editor Gabriel Alvarez and art director Brent Rollins (both of whom defected from Los Angeles’s revered Rap Pages magazine to enlist in the ego trip guerilla unit) this central committee of furious five scribes had established itself as the most original collective editorial voice in Hip Hop publishing. Like Scarface and Willie D pushing a bloody-eyed but unbowed Bushwick Bill through a Houston hospital ward, they could not be stopped.

ego trip ’s authoritative, impassioned and often ruthlessly critical perspective would result in a plethora of memorable features and recurring “front-of-the-book” segments. Amongst these: “Why Most Live Hip-Hop Shows Suck,” “Ignorant Rhyme of the Month,” “ego trip Ebonics,” the colorization confrontation “Light Skinded vs. Dark-Skinded: A (Sk)In-Depth Debate on Blacks in Hip Hop,” an imagined children’s board game entitled “The Rap Game” (tagline: “You Can’t Win”), legendary graffiti writer and artist Lee Quinoñes’s restaurant reviews, the advice column “Ask Mister Softee,” dearly departed NYC street photographer Ricky Powell’s regular photo journal “The Rickford Files,” and the ever popular “Count Chocula vs….” – a recurring snaps-filled Q&A between rap luminaries like Busta Rhymes, Stretch Armstrong and Fat Joe and everyone’s favorite Transylvanian cereal vampire. Meanwhile the magazine’s beloved in-house “ ego trip ads” foretold the meme before memes.

Through bombastic editorials written in the voice of the magazine’s fictitious white publisher “Ted Bawno” (and occasional stories penned by his entitled but delusively “down” son, “Gaelen Bawno”), ego trip ’s editorial staff surreptitiously lampooned the power structure and racial dynamics at the top of the mastheads of many mainstream “urban” publications. Yet ego trip was also fully capable of thoughtfully memorializing lost icons like Eazy-E and The Notorious B.I.G., celebrating the vibrancy of artists like Mobb Deep, Redman, Rakim and Gang Starr in the midst of career-defining moments, and conducting deep dive Q&As with the vital producers responsible for Hip Hop’s sonic landscape. ego trip ’s roll call of contributors encompassed the most revered writers and editors of the era. The publication’s integrity, brutal honesty, humor, and obsession with Hip Hop minutiae would culminate in Jenkins, Wilson, Mao, Alvarez and Rollins co-authoring ego trip’s Book of Rap Lists in 1999, and the collective’s fixation with race and identity would yield ego trip’s Big Book of Racism! published in 2002.

The current lot comprises a complete run of this essential publication. Lasting only four years and thirteen issues, ego trip nevertheless established itself as one of the most crucial and critical voices of the 1990s, at once both popular and political – a delicate balance achieved by few and respected by many. Any issue of ego trip , much less the entire run featured here, is highly coveted by collectors of Hip Hop's explosive output and a magazine whose effects on the culture reverberate to this day.

Provenance:

Jeff "Chairman" Mao, Partner, ego trip

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Ego trip (magazine)

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ego trip was the name of a hip hop magazine started in New York City in 1994. It lasted four years and 13 issues and distinguished itself based on its irreverence and defiant attitude, eventually adopting the tagline, "the arrogant voice of musical truth."

1 Description
3 Post-ego trip

Description [ ]

The roots of the publication began with a hip hop newspaper called Beat-Down Newspaper, founded by Haji Akhigbade and Sacha Jenkins in 1992. Sacha and Haji met and brought aboard both Elliott Wilson and later Jefferson "Chairman" Mao. All three (Jenkins, Wilson, and Mao) also had extensive freelance backgrounds writing for other publications such as Rap Pages, Vibe and URB . Technically, Jenkins and Wilson founded ego trip (with photographer/documentarian [[Henry Chalfant] given honorary status as co-founder as well), though Mao was a part of the staff from the first issue and eventually became editor-in-chief after Jenkins left to become music editor at Vibe. Likewise, the fourth core member, Gabriel Alvarez, was formerly an editor at the Los Angeles -based Rap Pages until ego trip recruited him, eventually making him managing editor. The last core member was designer Brent Rollins who joined the magazine in their third year and took over as art director.

ego trip covered a range of so-called "underground" scenes, including skateboarders and punk/indie rockers before it became as commonplace as it is today. However, it was most identified as a hip hop magazine.

The 13 issues featured the following rap artists on the cover:

Vol. 1, Issue 1 (1994): Nas
Vol. 1, Issue 2: Method Man
Vol. 1, Issue 3: Smif-N-Wessun
Vol. 2, Issue 1 (1995): Eazy-E
Vol. 2, Issue 2: Cypress Hill
Vol. 2, Issue 3: KRS-One
Vol. 2, Issue 4: A Tribe Called Quest, De La Soul, Large Professor
Vol. 2, Issue 5: Wu-Tang/Ghostface Killah
Vol. 2, Issue 6: Redman
Vol. 3, Issue 1 (1997): Biggie Smalls
Vol. 3, Issue 2: Rakim
Vol. 3, Issue 3: Gang Starr
Vol. 4, Issue 1 (1998): Def Squad

Post-ego trip [ ]

After closing the magazine, the ego trip team (Jenkins, Wilson, Mao, Alvarez and Rollins) continued on to a series of multimedia projects, such as the old-school rap music compilation The Big Playback (Rawkus Records, 2000), inspired by their first book, ego trip's Book of Rap Lists (St. Martin's Press, 1999). Their second book ego trip's Big Book of Racism! (Regan Books, 2002) spawned a relationship with the VH1 cable network. The staff have written and produced three television shows for the cable network, including "TV's Illest Minority Moments presented by ego trip," the three-part "ego trip's Race-O-Rama!", ego trip's The (White) Rapper Show, and ego trip's Miss Rap Supreme. 'ego trip' is currently authoring a book on the history of white rappers.

ego trip's Big Book of Racism! by Sacha Jenkins, Elliott Wilson, Chairman Jefferson Mao, Gabriel Alvarez and Brent Rollins
ego trip's Book of Rap Lists by Sacha Jenkins, Elliott Wilson, Chairman Jefferson Mao, Gabriel Alvarez and Brent Rollins
http://www.egotripland.com/

Program on Central Asia

Taiwan studies program.

Global Chinese Philanthropy Initiative
Visiting Scholars

Chatting With the Chairman: An Interview with ego trip's Jeff Mao

Before he became the Chairman, Jeff Mao played the sousaphone, listened to the Jackson 5, and dabbled in film. Then came ego trip and the rest is history.

By Oliver Wang

It's a quirky coincidence that two of the most renown scribes and chroniclers of hip-hop have been 40-something Chinese American guys named "Jeff." APA has already interviewed one . The other is the focus of this profile: New York's Jeff Mao, aka Chairman Mao -- erstwhile filmmaker turned DJ, writer, and TV producer. In 1996, the Los Angeles-based magazine Rap Pages commissioned a special "DJ Issue" co-edited by both Jeffs. I had likely seen Mao's byline earlier than that but this was the first time I really took notice. Almost all the Asian American rap writers I knew were on the West Coast and Mao was the first prominent East Coaster I'd encountered (though, as I would quickly learn, hardly the only). It was around that same time that I discovered ego trip , the short-lived but highly influential magazine that Mao helped edit alongside Sacha Jenkins, Elliot Wilson, Brent Rollins, and Gabriel Alvarez. As "the arrogant voice of musical truth," ego trip took a strident, sardonic tone that cut sharply against the conventional style of major magazines such as The Source or Vibe . It made ego trip the favorite publication amongst a small but intensely loyal group of fans, especially other rap writers for whom a byline in the mag was a mark of privilege. Even 10 years after its end, ego trip is still widely considered by many to be the best hip-hop publication ever. After the magazine's folding in 1998, the ego trip staff began to embark on assembling a budding multimedia empire which has included two ego trip books: 1999's brilliant, dense Book of Rap Lists and 2002's tongue-in-cheek Big Book of Racism! ; an album compilation, 2000's The Big Playback ; and more recently, two reality TV series on VH1 -- last year's The (White) Rapper Show and this year's Miss Rap Supreme which debuted on April 14th. On his own, Mao has led an immensely successful other life as one of New York's leading soul/funk DJs and collectors. He currently hosts the monthly Bump Shop party along with DJs Mr. Fine Wine, David Griffiths, and Jared Boxx. Records have been a passion since his teen years and his reputation as a music chronicler is only matched as a record expert. (He also continues to write the independent hip-hop column "Chairman's Choice" in XXL Magazine ). APA recently spoke with Mao about his route into hip-hop, records, plus the secret lives of sousaphone players.

Interview with Jeff Mao Interviewed by Oliver Wang Transcribed by Christine Chiao

APA : You grew up outside of Boston right? Jeff Mao : I grew up in a suburb called Newton. My parents were both immigrants from the Mainland [China] originally, and they moved to Taiwan to go to school when the Communists took over. They wound up coming to the States to go to school as well and work in the late 50s. APA : Did you grow up in a musical household? JM : No, not particularly. I mean, my dad was a music fan. He didn't play any instruments, but he would sing with a choral group in the greater Boston area. He used to listen to opera and classical music and really cheesy American pop music as well. Like I remember listening to Harry Belafonte in the car and David Cassidy and things like that when we went on road trips. APA : My dad liked Simon and Garfunkel. JM : Oh, okay. Well, your dad was pretty hip then. [laughs] APA : I never thought so at the time. [laughs] JM : You know it's funny 'cause my friend's family was really into The Beatles. And I remember thinking, "alright the Beatles are cool... kinda corny though." But thinking back, it's like, whoa these guys were really pretty hip for some Chinese immigrants raising their kids on The Beatles. APA : Did you have requisite piano or violin lessons? JM : I went to UMass for a year and a half. I was in the marching band, playing the sousaphone . It's funny 'cause that was known as the wild party section of the band...sousaphone players were always the ones who had booze in their uniforms and did all the weird routines. The band would march in formation and then the sousaphone section would basically just do its own thing. Just run wild. APA : How did your taste in popular music evolve? JM : I started reading about music at a certain point. I don't know how. Maybe it was through my sister. She used to have a subscription to Rolling Stone . When I started playing [in school], I tried to listen to jazz. Miles Davis was a jazz trumpet player... so let's find out something about him [in] a jazz record guide or something at the bookstore. Just read about it and find out something. I remember going to people's houses and hearing things. Like my friend who was into The Beatles. APA : When did you start buying records? JM : The first record I think I bought was the Jackson 5's Goin' Back to Indiana television soundtrack. I must have seen the TV show, the cartoon, and everything. It was really big. And I would just catch things. I remember Stevie Wonder on Sesame Street demonstrating dynamics with Grover. My sister was an influence...she'd listen to rock music. Elton John, Boston were really big. I remember she had "More than a Feeling" by Boston on a cassette -- she recorded the song on an entire cassette so she didn't have to take the needle off the record. 40 minutes! APA : Boston excepted, between the Jackson 5 and Stevie, it sounds like you had a decent exposure to soul growing up. JM : I always liked Motown and always heard it on the oldies station. Motown was the sound of young America, right? I think there's a universal pop appeal to their material -- or at least, their classic material. Plus, you're a kid, you see, hear a name like Stevie Wonder. "Wow, that sounds like a big superstar name," and he's got big sunglasses. Even when you're a kid, you start to sense, "oh this is kind of cool." APA : Were you collecting already? JM : I was still into collecting baseball cards and sports memorabilia and things like that. [Records] weren't on my radar yet. If you're a kid, you've only got room for one hobby you really immerse yourself in at the time. When I got to high school, my sister -- she went to Barnard [College] -- and her boyfriend at the time collected records. When he'd come to visit with her, he would just hit all the used record stores. It was a foreign concept to me. When I figured out there were used record stores, it opened up a whole new thing. It's like a caveman seeing fire for the first time. APA : Do you remember when you first heard any hip-hop? JM : I first heard "Rapper's Delight" in the lunch room. It was like, "Oh, this is something else. [The beat is] Chic's 'Good Times'... but what is this?" It was crazy, you know? Couldn't get my head around it. So then you start tuning in to try to find out what the songs are on the radio. In Boston, the only black station was WILD, which was an AM station that only had a broadcast license [for] daylight hours. So at 4:30pm in the winter, when the sun went down, boom, over, the station was off the air. But the college stations like ZBC and WERS would play hip-hop. That's how I got educated, basically. APA : Listening to the radio? JM : Yeah...I remember hearing certain things on WILD like LL Cool J, Run DMC, "Planet Rock", things like that. Hearing "Planet Rock" on the radio? On the AM radio? It just kind of freaks you out 'cause it just sounds so otherworldly. APA : Given how we now live in a world so suffused in hip-hop, it's hard to imagine what it must have been like when hip-hop was actually something new and novel. JM : Every single thing is like, "Oh my god, this is the greatest shit I've ever fucking heard or seen." I don't know what it is specifically about hip-hop, but there was something that was magnetic about it. Maybe it was just the familiarity of hearing Chic [used as a loop] and hearing people talking over it in rhythm, but something about it was just cool. They're saying funny shit. It's clever. It's a story. You can follow it. But they're also using words that you've never heard before.

Jeff "Chairman" Mao grew up in Boston but in the mid-1980s, transferred to NYU to attend film school. Immersed in the city's hip-hop environment, Mao learned the ins and outs of the DJ scene, where the best records were, and, oh yeah, made an Asian American short film too.

APA : What was the record scene like in New York at the time? JM : At NYU, record-buying became this other preoccupation, the thing you really enjoyed doing all the time. You're downtown in the Village, you gonna make the circuit. You're gonna head to the West Side, you're gonna hit all those shops -- Subterranean, Venus, St. Mark's Place. You're gonna go up and down Sixth Avenue. If you're really feeling adventurous, go a little bit further. And then go back to circle to the East Side and then you'll hit all the stores over here. For a while, I lived a block away from St. Mark's Sounds. My senior year in school, every single day -- hit up St. Mark's Sounds. On your way to class or on your way back from class, you gotta go to St. Mark's Sounds. And sure enough, you'd go there the day [De La Soul's] Three Feet High and Rising came out and there's three copies in the bin, all $3.99. "Bam, let me grab these." Buying records became this huge focus. APA : Were you just collecting only, or also DJing? JM : Once I got out of school, I got turntables as a graduation gift and eventually started DJing. I'd bring my set-up to people's houses for parties and stuff. Some time in the early 90s, every single bar figured out, "Hey, if we stick turntables in here, we can have DJs every night." So then you had this explosion in the early '90s. Every single little bar in the East Village, in the Lower East Side had a set of turntables. There was this place called Sapphire, I remember, which was one of the first places. This tiny hole in the wall as big as your living room. I remember trying to get a gig there or sitting in. So I started DJing in all these little places. APA : Were you spinning mostly hip-hop? Older soul and funk? JM : In college, when I figured out Ultimate Breaks and Beats -- that was a whole 'nother thing. That was like, "Okay, hip hop and all the [soul, rock and funk] I was into before, there's this connection." Your mind is completely blown. Technology has made it possible. It's literally connected now in this way and they're just creating this entirely new level of something that you already liked. It's like the ultimate Reese's peanut butter cup . APA : Ha: "two great tastes that taste great together." JM : It's like what Steinski says in Scratch : "this is the music I've been waiting my entire life to hear." That's why to me, the Golden Era of hip-hop in the late 80s -- nothing will match that in terms of excitement for me, personally. APA : Yeah, I mean the potential seemed limitless. JM : You're listening to the Bomb Squad and things like AmeriKKKa's Most Wanted . NWA's second album. From a production standpoint, this is just the craziest shit I've ever heard. At that point, I gave up on listening to rock. I think the Pixies' Surfer Rosa was the last rock album I bought at that point. That shit just became less exciting. All the bands that were on SST and Homestead signed to major labels and they started putting out inferior records and start breaking up. But hip hop: this is it. This is what it's all about now. For me. APA : And breaks as well, it sounds like. JM : And breaks. And yeah, finding old shit that people sampled. Or shit that's cool sounding. I started doing a party with friends of mine [Jeff Brown, Geo] and that's when I got really turned on to Brazilian and Latin stuff. Like, "Oh shit, you can play this? You mean, all these Latin records I see all the time? You mean, they're actually really good?" We play it at the party and, wow, people lost their minds and danced. There was this party in New York called Soul Kitchen, which was hugely influential for me. It was supposed to be a changed location every week so you didn't know [where it'd be]. You just had to figure out. We figure out, we get in there. I remember walking in and they're playing the first track from Chastisement by the Last Poets . And I just remember thinking, "Wow, this is the illest shit. I know this record. I have this record. They're playing it. And people are here, enjoying this shit. This is so cool." It made a huge impact on me -- another piece of the puzzle. APA : You said you went to NYU for film school - did you make any films? JM : I had done a short film at NYU that got picked up by this organization Third World Newsreel. It was a film about Asian American identity. It was a black comedy. APA : What was it called? JM : It was called Rest in Peace and it was about this Chinese American whose wife's uncle, the family patriarch, passes away. On his deathbed, he calls this younger guy and gives him his last wishes, but he says it in Chinese and the guy doesn't understand. He had to figure out what the last word, what the last request was. But he's too embarrassed to tell his wife. That's the premise. So I did this film and it got picked up by Third World Newsreel. And I'm up there once in a while and they're like, "You gotta meet Sacha. He does this magazine called Beat Down . He's our intern." Eventually, I'm leaving the building and one day, he gets in the elevator. He always describes it, "I see this guy, he's Asian and he's wearing a Carhartt [sweater] and I'm like, 'You must be Jeff'." [laughs] And, I'm like, "You must be Sacha."

In the early 1990s, Jeff "Chairman" Mao met Sacha Jenkins, then running a hip-hop magazine, Beat Down . When Beat Down closed, Jenkins went on to found ego trip and invited Mao to join him and Elliot Wilson. Eventually Gabriel Alvarez and designer Brent Rollins would complete the five-man core team at the 'zine.

APA : When you started at ego trip , were you still in school? JM : I was a PA at the time, working on commercials and music videos. You know, wasting my film degree. I was doing deliveries in the city and I'd take my cue from other PAs. We'd just disappear. You're driving a truck in the city that's got commercial plates so during the day, you can park anywhere. So I would drive to Rock'N'Soul and buy records and put the receipt in with my petty cash. It was just so many hustles, as a PA. You're working a 12 to 15 hour days and you're getting ordered around and you're like "I hate this. I hate ad agency people. I hate film people. I can't stand this process. It's just so stupid. I can't believe this is a commercial for diapers that I'm working on." I wasn't really into film anyways. I thought I was but I did my little short film and I realized this is not what I'm really into. I'd rather be buying records and doing something with music. APA : ego trip came along at the right time then. JM : I was ready to do almost anything. I started spending more time working on ego trip with these guys, and eventually they were just hustling, getting more work writing. I remember thinking when I first met Sacha he's like, "Yeah I gotta go interview Schooly D ." I was like, "Wow, that sounds much more interesting than what the hell I'm doing." I started writing for The Source . I started writing for URB . And then eventually Vibe started. Sacha got down with Vibe , Elliot [Wilson] got down with Vibe , then they pulled me in. This was still the era where the music industry was really healthy. You get paid a decent rate, actually making money, and you'd get flown somewhere to interview somebody. The music was still pretty exciting. APA : This is something I'm curious about. My memories of reading things like The Source , Rap Pages , URB , early Vibe is that the writing as a whole, was...raw at times. A little painful even. JM : Yeah. APA : But you could also say at the same time that's just the intensity of the enthusiasm and of the passion. And it's what you're talking about in terms of listening to hip-hop, in terms of limitless potential. Is that what the hip-hop journalism game felt like too? JM : Well, I would certainly agree. It's funny because recently I started going through some of those back issues of ego trip . It definitely struck me that the intensity and passion was really, really genuine. But at the same time, it's just so funny because even then we're saying, "Wow, we're losing faith in hip hop." Back then, we were already complaining. APA : Ha, hip-hop was already dead in 1995. JM : You'd already gone through the Golden Era. And you'd gone through it as a fan. Once you cross the line and become a critic...yeah hip hop's an underdog, you're championing it. Then at a certain point, it doesn't need that necessarily. It needs alternate perspectives. The Source can't be the only game in town. It's not healthy. So you need a Beat Down . You need a Rap Pages or URB or somebody else you know to exist. But also you need some voices of dissent. You also need some critical tough love to exist. APA : Hip-hop doesn't take to "tough love" so well. JM : That's what made it interesting to do the 'zines in the 90s. Because you dared to say what other people weren't necessarily saying. But you had the insight and the credibility to be able to say it. I think that's the thing that was hard for the industry to understand. At first it was like, "Oh yeah, we're championing hip-hop at The Source . We're all on the same team. Hooray for hip-hop." Then all of a sudden, " Vibe , well, it's cool. We're getting respect. We're getting all these cool-looking magazines with great photography and bigger budgets." But then they don't understand [tough love]. "What do you mean you're going to diss our album?" It's always hard for the artist to take criticism but I think the thing with hip-hop -- I don't know if I'm articulating this thing well or not -- but I don't feel like the industry has ever respected the craft of writing about rap music. And now we've reached a point where it's meaningless anyway. The shit's in the toilet anyways.

APA : One of the things that stood out about ego trip was that, on the one hand, it's clear as editors and writers, you guys took what you did very seriously. But on the other hand, there was a lot of humor, both subtle and obvious, throughout the magazine. How did you guys learn to balance that out? JM : It was checking out what other [magazines] were doing and seeing how seriously they took themselves. We were always ready to clown the competition. We had a chip on our shoulder, trying to outsmart and outwit and outwork everybody else. Very aware of what other people were doing. We'd read stuff in The Source and Vibe and say, "Oh, this is terrible." And, ironically enough, we started writing for those magazines as well. APA : I always found that interesting: that you all were running one magazine but still working at others. JM : I was working at Vibe . Eventually Elliot and Sacha took music editor positions -- Elliot was at Source , Sacha was at Vibe . We would get our freelance work, working for the magazines, and at night, come by the office, and we'd be working on [ ego trip ] issues. Seeing the corporate structure of how it works... it's great 'cause you get a full-time job and you have benefits. You're making some money, you have access to things, you're moving up in the industry. But at the same time, you see all the layers of nonsense that are involved in the whole thing. We used a lot of fake names because we didn't want to get in trouble with rappers and labels. APA : Really? JM : When you go back and look at the old issues of Rap Pages especially. There was a certain time before Gabe moved to New York (he was in charge of the review section), we'd be broke. We'd come in and divide the advance cassettes and get on the phone with Gabe and be like, "Gabe, we're going to do the reviews for you." And he'd be like, "Okay just do whatever you need to do. Just send it to me by Tuesday. I don't care who writes what." If you looked at the section, you'd see all these fake names. If we needed an extra 60 bucks, it was like, "Okay, let's do a Rap Pages review." APA : At ego trip , you had fake staff members too. JM : That's how we developed Ted Bawno, the phony publisher. He was a Robert Evans-type, old-school era guy. And Ted had a son Galen who was a self-styled revolutionary, super bleeding heart. We created this alternative world. I think it was probably just to vent. And I guess people eventually found it amusing. I don't know if I've ever told you this before, but when the magazine got more attention, people who didn't know who we were naturally assumed we were white. APA : That's really funny considering that none of you were white. Why do you think they made that assumption? JM: I think it was the style of humor. I don't think there was a lot of it at the time. I think people got used to reading hip-hop being covered a certain way. APA : Speaking of race, your byline, "Chairman Mao" -- did that develop as a DJ name or writer's name first? JM : Oh, it was just a nickname. I guess it was a DJ name. I used to have a business card that said "DJ Jeff Mao, Chairman of Funky Beats." I've always felt justified using it, since Mao is actually my government name. APA : It stood out as a really memorable name, especially because, as you point out, it is a part of your "government name." Though, at the same time, as a historical figure, he's not exactly universally beloved, shall we say. JM : I'm sure there are people who think it's weird. But it's funny. Sometimes I go by Chairman Jefferson Mao. But Jefferson is not my government name. But that was the nickname Sacha gave me. APA : Jefferson is not your real name? JM : It's not my government name, no. APA : That's funny. On the West Coast at least, "Jefferson" is very Chinese American. JM : [laughs] There's a skateboarder named Jefferson or something like that. And I think that's where he got it from originally.

Read part 2 of APA's interview with Jeff Mao here .

Published: Friday, April 18, 2008

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Etalon Hip Hop

Ego Trip’s Greatest Hip-Hop Singles

Ego Trip was a hip hop magazine started in New York City in 1994. It lasted four years and 13 issues and distinguished itself based on its irreverence and defiant attitude, eventually adopting the tagline, “the arrogant voice of musical truth”…

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The Sound of Young America: Apr 22 2008: Ego Trip

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Gaberiel Alvarez and Brent Rollins are members of the hip-hop media collective Ego Trip. The group produced the acclaimed magazine Ego Trip in the 1990s, and has since written two books and created several series and specials for VH1, the most recent of which is Ego Trip's Miss Rap Supreme.

TAKE AN EGO TRIP ON THE EAST COAST. NEW YORK IN NINETY FOUR. A RAP ATTACK. NOTORIOUS B.I.G, WU-TANG CLAN, MOBB DEEP... NAS ON THE COVER OF THE FIRST EVER ISSUE. ENTER THE ILLMATIC AND GET READY FOR LIFE AFTER DEATH.

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Ego Trip - Vol.3 Issue #2

Volume 3 Issue 02 - Rakim / The Beatnuts... Second-hand item in very good condition.

Ego trip is a hip-hop magazine, founded in 1994 in New York, which also featured underground cultures such as skateboarding and punk in its pages, before these became more common today. For four years, and thirteen issues, ego trip distinguished itself by its irreverence and provocative attitudes, eventually earning the nickname "the arrogant voice of musical truth".

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Condition Second Hand
Editor Ego Trip
Dimensions (mm) 210 x 295 x 8 mm
Langage English
More Softcover paperback
ISBN 0725274898701

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Papa Roach Ego Trip

If you go into listening to Ego Trip with the expectation of hearing another Infest or Getting Away With Murder , then you are doing yourself a dis-service. Papa Roach are no longer concerned with recreating this earlier sound, and neither should you be.

MORE: FANGZ: Our Top 5 Bands Playing Halloween Hysteria // FROM CRISIS TO COLLAPSE: Talk Us through Their Essential Deserted Island Albums REVIEWS: KORN: Requiem // GHOST: Impera // DREAM WIDOW: Dream Widow // NERDLINGER: Hollywood Ritz // PUP: The Unraveling Of PUPTheBand // CANCER BATS: Psychic Jailbreak

What initially began as a summer getaway to escape a pandemic stricken world, evolved into one of the most experimental and productive periods in the band’s career to date. The group emerged from their shared mansion in Temecula, California with an album that manages to remain in touchpoint to the music that made them the global powerhouse they are today, whilst also welcoming into the fold a new generation of fans.

It may be true that Papa Roach relinquished some of that hardcore ‘edge’ on recent albums, but worry not, because opening track Kill The Noise is very much a return to form. Consisting of Papa Roach’s trademark anthemic melodies and their indomitable spirit, the track is a purposeful statement to introduce the record. Up next, the band deliver a certified moshpit igniter with Stand Up , followed by the infectious attitude of Swerve, which is brimming with boastful confidence. The manic energy of Bloodline is a spontaneous change of pace, before the group gets experimental with Bollywood-style instrumentation on Liar . A driving bass line throttles forward the emblematic title track, prior to a transition into the rap-infused Unglued , which could easily have found its way onto one of Papa Roach’s early records.

Whether it be through a pair of headphones, loaded into your car stereo, or blasting out of the living room speakers, Papa Roach’s music has that special quality of making you feel like you are right there with them in the front row; their 11th studio album Ego Trip achieves no less.

Shaddix shines on the emotionally weighted and painfully revealing Dying To Believe , which showcases the band exploring bold new production techniques; Killing Time further elaborates on these contemporary studio effects. In a moment of fearless sincerity, Leave A Light On leverages serene melodies on the back of symphonic strings to create a lush and beautiful soundscape. The band lean into their pop-punk sensibilities to perform Always Wondering and No Apologies , before driving up the momentum on Cut The Line . On closer I Surrender, the album’s themes find resolution, with the song perfectly encapsulating and linking together the band’s past, present and future in one brilliant passage – “I can’t just let the broken record spin on, and on, and on again. I can’t run from who I’ve been, I surrender.” Whether it be through a pair of headphones, loaded into your car stereo, or blasting out of the living room speakers, Papa Roach’s music has that special quality of making you feel like you are right there with them in the front row; their 11th studio album Ego Trip achieves no less.

STANDOUT TRACKS: Kill The Noise, Stand Up, I Surrender STICK THIS NEXT TO: Breaking Benjamin, Linkin Park, Atreyu

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Papa Roach’s Ego Trip: Class of 2000 survivors continue to banish the ghost of nu metal

Album review: nu metal what nu metal papa roach build on their late-career remodelling on new album ego trip.

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In 2022, Papa Roach really don’t need to prove anything to anyone. The Californian rockers have cemented their legacy within the alternative world over the last two decades and could quite easily rest on their laurels, but their insatiable desire to evolve with each passing release is admirable if nothing else. Eleventh album Ego Trip is no less in line with this outlook, continuing to build on the more pop- orientated sound the band showcased on 2019’s Who Do You Trust?

Once more – and perhaps aided this time by the band’s activity on TikTok – no song clocks in at more than three and a half minutes long. This is a presentation of 14 tracks that don’t outstay their welcome and pack in as much as they can for maximum impact. Some of the traits that have sustained Papa Roach over the years remain very much intact, such as the nu metal bounce in the guitars on opener Kill The Noise and the arena-sized choruses that propel the title track and Cut The Line to greater heights. But these are balanced by the likes of Swerve (featuring Jason Aalon Butler from Fever 333 and rapper Sueco) and Dying To Believe , which are a mix of electronics, synths and rapping that feel a million miles away from the band who gave the world Last Resort .

It’s an odd mix of styles and sounds, but it retains enough identity to be recognisably Papa Roach. That said, if you weren’t enamoured by the last album or wish they would return to something more in line with 2000’s Infest , you’re going to be disappointed once again. For everyone else, this is another brave release by a band who simply refuse to turn on autopilot. It doesn’t always stick, but what does is highly enjoyable.

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Eric’s Ego Trip Jack Halberstam Winter 2017

Jack Halberstam

Over a decade ago, when searching for a classic design for my next tattoo, I came across an image that startled me. A well-known 1950s British tattoo artist sat with his shirt off, a tattoo of a bullfight on his chest, and other tattoo artists were arrayed behind him.

It is a conventional tattoo parlor photograph—layering messages of masculinity, muscularity, symbol, art, and body all in celebration of the moment when art meets flesh at the end of the tattoo gun.

But there are other signifying systems in the photograph that most viewers would see but ignore. On the seated man’s chest, below his crude but classic tattoo of a bull being struck by a matador, are faint scars. They sit below the pectoral muscles and outline the lower chest. The man stares confidently into the camera, and the other tattoo artists embrace him into their fraternity of ink.

I looked long and hard at this photograph and became convinced that this was the image of a transgender man. Nothing recorded in the annals of British tattooing gives any hint as to a trans history, and it would be wrong to definitively state that he is transgender, yet the ambiguity of the photograph remains, and stands as a marker of the secret histories of transgender identities. Given how rarely images of trans men appear in the historical archive, and given that when trans male images do appear, they are frequently read as depicting unmarked male bodies, what are the challenges and the opportunities embedded in staging a visual history of the trans male body?

The ONE National Gay & Lesbian Archives, in Los Angeles, now part of the University of Southern California libraries, is widely recognized as the oldest and largest repository of LGBT materials in the world. While the tattoo artist only accidentally left behind photographs of his trans presence in a tattoo book that isn’t part of any official collection, the ONE Archives includes a fantastic personal photo-album donated by a trans man, Reed Erickson, with the title “Eric Ego Trip 20th Century.” It is a rarity in the ONE Archives and, I am willing to bet, one of the few such complete records of transmasculinity from the twentieth century to be found anywhere. Erickson left a rich photographic record of his life as a man, offering his “ego trip” to a transmasculine history that contains few such visual resources.

The subject of the photo-album, Reed Erickson, who died in 1992, was born Rita Alma Erickson in 1917. As a patient of Dr. Harry Benjamin, a specialist in what was then called transsexualism, he underwent a series of sex reassignment surgeries in the 1960s. Erickson funded many projects associated with transsexual research, and he gave money and resources to the ONE Archives, which explains why we find his papers and photographs there.

The ONE Archives’ holdings skew heavily toward materials related to gay male life and the transfemininities that emerge within that context. The naming of the ONE Archives frames its mission in terms of a fraternal union of gay men, taking its name from a quote by Thomas Carlyle: “A mystic bond of brotherhood makes all men one.” Carlyle was a believer in the great man theory of history, and this patriarchal genealogy exerts its influence over the archive and its holdings. The ONE Archives is oriented to gay men, their histories and their papers, their photographs and their community-building activities. Accordingly, when searching for trans materials in the archive, there is a rich seam of magazines, papers, zines, and photographs of the various forms of gender transitivity that have emerged from within that community, yet very little of it pertains to trans men.

The “ego trip” is a boldly celebratory survey of one trans man’s unabashed self-made masculinity.

The ONE Archives holds transfeminine magazines from the 1970s and 1980s, with titles like Tapestry and Drag; these are filled with fabulous and glamorous images of trans women, drag queens, and transvestites dressed as vamps, supermodels, housewives, and, in one hilarious instance, lesbians! Lee Brewster, one of the founders of a transvestite rights advocacy organization in New York City called the Queens Liberation Front and the publisher of Drag, appears several times in its pages as a lesbian, probably to poke fun at the Lesbian Feminist Liberation group, which made it their mission to oppose what they saw as the misogyny of drag queen culture. But apart from this singular and possibly satirical appearance of a drag queen performing lesbianism, most transfeminine images in these early glossy magazines celebrate a high femme style and engage in a romance with the camera.

If trans women seek out the camera’s gaze and trans men run from it, what is the overall effect on how trans histories are narrated? What becomes rote, and what never even enters the frame? These questions were addressed in a 2004 essay on the history of the ONE Archives in Los Angeles by Aaron H. Devor and Nicholas Matte in GLQ:A Journal of Lesbian and Gay Studies. Noting the forgotten history of the financial and other contributions of Erickson to the ONE Archives, Devor and Matte propose:

“Reed Erickson was only one of the untold numbers of unsung transgendered and transsexual people who have given generously to a movement that has not always appreciated their gifts.” And while Devor and Matte imply that lesbian feminist historians are to blame for this lack of appreciation, in the case of Erickson and his contributions, a struggle with the gay male leadership of the institute led to the muting of his influence. His masculinity, apparently, remained outside the “mystic bond of brotherhood” that “makes all men one”! Erickson, a trans man of considerable wealth, gave generously to the ONE Archives over several years, before a public fight with the organizers. But his papers and photographs remain in the USC libraries as the only complete record of a trans man in its collection. With the exception of the remarkable papers and photographs of an intersex person, there is little else of interest in the ONE Archives to the researcher seeking images and narratives of transmasculine lives from the early to late twentieth century.

The photo-album that Erickson donated to the ONE Archives is extraordinary. Erickson wore his wealth openly. He dressed to the nines, escorted beautiful women on his arm, and owned a pet leopard! His “ego trip,” which was probably carefully edited to present a coherently masculine history, includes pictures of him at the age of ten dressed in a sailor outfit; images of him in a suit and tie from his teens; and casual photographs of him with fancy cars, fancy women, and large cats. Erickson sits with his arm protectively around his companion, Daisy, in a photograph from 1963, gazing confidently at the camera and looking for all the world like a twentyyear-old rake. By then, he must have been in his midforties! If he was shorter than most men, some of the photographs he chose for his “ego trip” offer no clue—he often stands on steps to make himself appear taller than his partners, and he was often photographed while seated. The black-and-white images give little hint of facial hair, and very often his extremely beautiful and glamorous partners are in the foreground of the image: In a photograph from 1960-61, Erickson sits with a blonde woman who is clearly channeling a style of femininity perfected by Marilyn Monroe. He looks at her while she looks at the camera. This composition deflects the viewer’s gaze away from him personally and toward the two as a beautiful couple.

In 1967, we see a rare photograph of Erickson seminude. Assuming the pose of a bodybuilder, the small breasts presented as muscled pecs and the jockey shorts holding a small package, Erickson revels in his masculinity and, like the unnamed tattoo artist, passes precisely by refusing to hide even bodily traits that might cast suspicion upon his gender. While the tattoo artist revealed his scars, Erickson confidently reorients his body by situating the nearly nude photograph within a series of other images that has cast him as resolutely and irrefutably male. The “ego trip” is a marvelously constructed, boldly celebratory, and sexy visual survey of one trans man’s unabashed self-made masculinity.

In a wedding photograph (from one of his three marriages), Erickson, smiling, looks at his bride as he guides her down a small step that he himself stands on. He seems to step into history in this image as a symbol of the many trans men who have not bothered to ask permission to marry, to inhabit dominant forms of masculinity, to play, to love, and to leverage masculine power to fund social justice projects. Like the tattoo artist, Erickson wrote himself into masculinity and changed its definition completely in the process. While the histories of other, less privileged trans men may lie hidden in police records and medical accounts, this trans man used his wealth, social status, and own sense of possibility to interrupt the mystical unity of men among men. With his leopard by his side as a marker of a kind of wildness, Erickson reminds us that when looking for trans male histories, we have to attune our gaze to often magical masculinities—now you see them, now you don’t.

Jack Halberstam is Professor of Gender Studies and English at Columbia University and the author, most recently, of Trans⅜ (2017).

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Ego Trip: Rediscovering Grace in a Culture of Self-Esteem Paperback – January 28, 2014

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Is loving yourself really the solution to all your problems?

In the world of popular psychology, there are few things more protected or indulged than that fragile little trait known as self-esteem. Today, it’s not the sin of pride we worry about, but the sin of not liking ourselves enough.

In Ego Trip , psychiatrist Glynn Harrison takes aim at what has become one of Western society’s most entrenched ideologies. He charts the rise of this ubiquitous value, arguing that the “science” underlying it is flawed, that there is little evidence efforts to promote self-esteem work, and that, in its popular form of “boosterism,” self-esteem promotion comes with hazardous and unwanted side effects.

Is there a more biblically and psychologically secure approach to big questions of significance and worth? Dr. Harrison asks.

You will be intrigued, challenged, and quite possibly freed by his conclusion: compared with the failed ideology of self-esteem, the gospel offers the foundation for personal significance and meaning.

Print length 208 pages
Language English
Publisher Zondervan
Publication date January 28, 2014
Dimensions 5.5 x 0.5 x 8.38 inches
ISBN-10 0310516544
ISBN-13 978-0310516545
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About the author.

Glynn Harrison, MD, is Emeritus Professor of Psychiatry at the University of Bristol, UK, where he was a practicing consultant psychiatrist and Chair of the Department of Psychiatry. He speaks widely on issues of faith and psychology, neuroscience and psychiatry. He is married to Louise.

Rediscovering grace in a culture of self-esteem.

BIRTH OF AN IDEOLOGY

On Saturday, November 22, 2003, just twenty-six secondsbefore the end of the game, England bagged the Rugby WorldCup with a last-gasp drop goal by Jonny Wilkinson. The crowderupted, sworn enemies hugged in jubilation, and grown menwept. A hero was born. Since first walking on to a rugby pitch asa youngster, here was everything the young Jonny Wilkinson hadbeen working toward. It should have been the greatest moment ofhis life. And yet within hours he was "tumbling out of control."

What happened? In his book, Tackling Life , Wilkinson tellshow for years he was haunted by anxiety. Stalked by insecurityand self-doubt, life was like a game that he couldn't win. Insteadhe found himself chained to a treadmill of achievement in whichyou are only as good as your last kick. The better things were, themore he had to lose.

Many of us have experienced similar feelings. Like JonnyWilkinson, we try to feel better by being better. And then, stuckon a treadmill of achievement and addicted to other people'sapproval, we just keep on running. So could this be a problem with"self-esteem"? And could we learn to feel better about ourselvesmore generally by thinking differently about our goals, our achievements,and our efforts?

THE ACHIEVEMENT GAME

The first person to coin the term "self-esteem" was WilliamJames, an American widely credited as the "father of modernpsychology." And, like Jonny Wilkinson, James linked the waywe feel about ourselves to the way we think about our goals andachievements in life.

Born in 1842 to a well-to-do New York family, young Williamwas something of a polymath. His interests straddled thefields of philosophy, medicine, and the emerging discipline ofpsychology. The family were all high achievers: William's father,Henry, was an exponent of the Swedish Christian mystic EmanuelSwedenborg; Henry Jr, William's brother, was a budding novelist.The family travelled widely and enjoyed a refined and cosmopolitanlifestyle.

But William battled with mental health problems and, despitegraduating in medicine from Harvard, he never practiced as a doctor.Instead he decided to take up psychology. A prolific writer andachiever, his works are a potent reminder that psychology was thenonly slowly emerging as a separate discipline from philosophy. Infact, James also founded the philosophical school of pragmatism and he is widely credited with inventing the term.

James was interested in the feelings generated when we evaluateor assess our achievements. In his view, the human mind prizesachievement above all else, and the more successful we are, thebetter we feel about ourselves generally. He taught that, if you taketime to observe your thoughts and reflect on your attitudes, yousoon realize that, like Wilkinson, you are an evaluator . We constantlyscore or "rate" our achievements as a means of scoring andrating ourselves as whole people ("I'm a hopeless communicator,so I feel like a hopeless person"; "I'm a great hockey player, one ofthe best, so that makes me a pretty awesome person").

As the scoring game gradually settles down into an overallpattern, James taught that this produces a more general "self-feeling"or "emotional tone of feeling." In other words, although onany given day your feelings can go up and down, depending onhow well the scores are going, over time they will merge to createan "average tone of self-feeling" in an "I-just-feel-hopeless-about-myself"sort of way or an "I'm-a-living-legend" sort of way.

This doesn't apply to any old achievements, however. We haveto be competent in areas that matter to us. If you've always wantedto be a football player, it's no use discovering that you are a greatballet dancer. Hence, James said, self-esteem depends on the ratioof our actual achievements compared to our expectations: ourhopes, dreams, and ambitions. The more our achievements lineup with our dreams, the better we feel about ourselves.

This doesn't mean that self-esteem is set in concrete andcan't be changed. James believed that, if you really want to, youcan change your feelings by changing the way you think aboutyour achievements. It's no use trying to feel good about yourselfby looking in the mirror and telling yourself you are a wonderful,marvelous, loveable you. James didn't believe in boosterism.To change your feelings about yourself, he said, you either haveto bring your achievements into closer line with your dreams ormodify those dreams: what you're aiming for in life.

Take the example of our football-aspiring ballet dancer: youcan either stick with your goal and work harder to achieve it ("I'mgoing to work at kicking this ball until my feet drop off"), or youcan change your goal and the way you think about it ("Hey, balletdancing is pretty cool after all and I don't care what other peoplethink").

Either way, James opened the door to the possibility that self-esteemis something that we can change by focusing on the way wethink about our goals and aspirations. So he would probably haveadvised somebody like Jonny Wilkinson to stop aiming for a perfectscore, modify his ambitions, and go for something more realistic.He would never have suggested that he should try to boostself-esteem by rehearsing statements such as "You are special." Andhe would have been shocked by the manner in which feeling goodabout yourself, regardless of your achievements, became the big"must-have" of the later part of the twentieth century.

THE EGO GAME

With the dawn of the twentieth century, however, James' popularitybegan to wane under the growing influence of the Austrianneurologist and psychoanalyst Sigmund Freud. Although Freuddidn't actually use the term "self-esteem," he had a great deal to sayabout how we come to adopt negative and positive attitudes andfeelings toward ourselves. But instead of linking these self-feelingswith our achievements in the "here and now," Freud focused ontheir origins in early-infant development: the "there and then." Inother words, if you want to help people who struggle like JonnyWilkinson, you have to get them on the couch and back to theirchildhood roots. Freud taught that positive and negative feelingsabout ourselves depend crucially on what happens to us in earlychildhood. In particular, they pivot on the outcome of momentousstruggles between different "bits" of the personality that takeplace at that time. What did he mean?

Freud's model of the human mind is best pictured as threecompartments: the id, the ego, and the super-ego, connected bytubes, with psychic forces flowing between them. Freud knew thatthese structures don't actually exist in the brain, but insisted thathis model helps us to understand how the different operations ofthe mind relate to one another.

The id is the most primitive compartment and develops first.To understand the id, just take a look at how babies and infantsoperate: "I want, I need, I must have, not tomorrow, not even infive minutes' time, but NOW." The id is all about me. It has onesimple operating principle, or rule, summed up in Freud's conceptof the "pleasure principle": to get its own satisfaction. Described asa "dark inaccessible part of the personality," the id is driven by rawaggression and irresistible surges of desire for sexual gratification.

The id wants to rule the world, and, if it could get its way, wewould feel very good indeed about ourselves. But of course a worldpopulated by unfettered ids would be a nightmare wasteland ofrape, pillage, and destruction. So the instincts and demands ofthe id need to be toned down, which is where our parents comein. When little Harry screams, "I want, I need, I must have, nottomorrow, not even in five minutes' time, but NOW," his id hitsthe buffers of his parents' discipline. He discovers that the promisedice cream stays in the fridge and he is invited to spend fiveminutes on the naughty step.

So here we have the beginnings of feeling bad about ourselves.It is this experience of parental discipline that develops andbuilds Freud's second compartment of the mind, which he calledthe "over-ego" or "super-ego." This is the place where little Harryabsorbs the standards, ideals, expectations, and rules of his parents.Over time, as he absorbs his parents' rules and strictures, heeven comes to adopt them, as if they were his own idea in the firstplace. In other words, his super-ego takes over from where mumand dad left off and operates as its own "moral policeman." And,as we shall see, the super-ego is very good at making us feel badabout ourselves.

But surely the id, possessing the sheer brute force of its aggressionand the intoxicating seduction of sex, wins out every time?Not so, because the super-ego has a secret weapon up its sleeve: thepowerful, crushing emotion that we call guilt . If we dare to yieldto the id, the super-ego tips a bucketful of self-condemnation rightover our heads. The super-ego can make you feel terrible aboutyourself. And here, according to Freud, is the root of "feeling badabout yourself." Too much guilt, too much super-ego, and we growup nursing an aching sense of negative self-feeling. Or, as we wouldsay today, we grow up with low self-esteem.

Most of what I have described so far takes place at an unconsciouslevel. The third compartment of the mind, however — theego — is the conscious part. The ego sits between the id and thesuper-ego and acts as a kind of referee. As the ego tries to relate tothe outside world, its task is to balance the "inner beast" of the idagainst the moral sensitivities of the super-ego and come up witha working compromise. That's not easy of course, which is why,according to Freud, we often feel like a walking civil war.

The poor old ego. Why doesn't it simply get crushed underthe weight of the guilt that the super-ego doles out? Well, theego has a secret weapon of its own: the infant's natural tendencytoward "grandiosity" or, as Freud put it, his "narcissism." Infantsare naturally grandiose, Freud said, tending to view other peoplepurely as supply-lines for the needs of their id. So when the superegodoles out a bucketful of guilt, the infant's natural grandiosityacts as a sort of buffer to lessen its impact and smooth things out.And then, with the passage of time, the ego moderates its narcissisminto something more rounded, what Freud called "positiveself-regard."

Good self-regard is a kind of protective mechanism. As theysteer a steady course between the outrageous demands of the idand the punishing expectations of the super-ego, people with ahealthy dose of positive self-regard hold their heads up high. Infact, over time, they even take the demands and expectations ofthe super-ego and reshape them into their own "ego-ideals" ormoral standards. And that makes them feel even better aboutthemselves. And here we have the basis for what some later called"good" self-esteem.

Let me give an example. Dad may look very angry indeed andtell us that, if we ever tell a lie like that again, we will miss our puddingand be grounded from using our computer for a whole week!Ouch. The super-ego takes the point, doles out a helping of guiltand condemnation, and we slink away with our tail between ourlegs. The message is clear: Don't tell lies because bad things happenwhen you do. Over time, however, the ego shapes the guilt-ladenstricture: "Don't tell lies or else ...," and turns it into somethingmore positive, such as, "Be a person of integrity and self-respect,and that's how you will win friends and influence people." Andthat makes us feel much better about ourselves.

So Freud's contribution to the idea of self-esteem was to suggestthat, despite all the disgusting effluent spewing forth fromthe id, we develop a more positive moral view of ourselves bynurturing positive "self-regard." Decades later, when psychologistsbecame interested in the concept of self-esteem, many drewon Freud's positive self-regard as their basic model. Here was theinspiration for the modern idea that "thinking positively" or "feelinggood" about oneself is the key to defeating guilt and self-blame,overcoming low confidence, and finding significance and worth.Forgetting William James' emphasis on the way we think aboutour achievements in the here and now, the focus shifted to Freud'semphasis upon the past, and to the warfare that takes place withinthe personality. To this way of thinking, unless something is done,those exposed to overly harsh parental discipline, or who harborunrealistic "ego-ideals," seem doomed to low self-esteem forever.

THE INFERIORITY GAME

Freud had many disciples and his ground-breaking ideas spawnedseveral different schools of psychoanalysis that took differentdirections. Alfred Adler (a fellow Austrian), for example, becameincreasingly interested in the way in which those power dynamicsthat Freud said operate within the personality (between the idand super-ego) also operate between people (not least betweenhim and Freud!). In fact, Adler's interest in politics, and especiallythe power struggles in contemporary movements such as socialismand feminism, provoked him to develop much further Freud'sinterest in themes of power and control.

It was Adler who coined the popular notion of the "inferioritycomplex." In the infant, he said, the adult's all-controlling powerprovokes a deep sense of inferiority. Simply put, adults are big andbabies are small, and that makes us feel bad about ourselves. Thoseinferiority feelings have a positive function, however, because theygoad the infant forward toward mastery and success. It is a determinationto "join the adult club" and defeat inferiority that spursthe infant on in his thirst for knowledge, competence, and wisdom.For Adler, the genius of early feelings of inferiority is thatthey motivate us to do and be our best.

But of course it doesn't work that way for everybody. Somechildren, landed with parents who undermine rather than nurturetheir fledgling confidence, get saddled with an "inferioritycomplex." And there's another twist to this sorry tale too. Somechildren over-reach themselves in the fight back and put on a false"front" of superiority. The result is Adler's "superiority complex,"the bloated personality that shares many of the features of Freud'snarcissist.

So Adler was another key foundational thinker for the self-esteemmovement. His narratives of early-infant power struggles,and the resulting inferiority complex, fed directly into our modernassumption that negative self-feelings are rooted in early-infantexperiences of harsh and humiliating parents. And his superioritycomplex paved the way for the idea of "fragile self-esteem":a prideful, over-assertive, and overbearing façade ("chip on theshoulder") that is supposed to mask a turmoil of inferiority lurkingunderneath.

THE SHRINKING GAME

Just as contemporary power plays and rivalries helped to moldAdler's thought, personal struggles with power and dominationsculpted the thinking of the psychoanalyst Karen Horney too. Inher case, it was authoritarian men such as her father (and not leastFreud himself) who provided the catalyst to her creative thought.And like William James, her frequent bouts of depression fuelledcuriosity into the origins of her own feelings of inferiority.

Horney was a Freudian at heart, so once again she takes usinto the distant past of early childhood. Like Adler, she focusedon the infant's sense of isolation and helplessness in a potentiallyhostile world. Horney was particularly interested in the way inwhich some parents' behavior can lead a child to doubt her basicapproval and acceptance. When this happens, Horney said, thechild comes to perceive love and encouragement as "contingent"or dependent. In other words, we only feel okay about ourselveswhen other people seem okay toward us. As a result, we grow upfeeling insecure and react to the world with fearfulness or "basicanxiety."

But, like Adler, Horney believed that the self fights back. Themost common fight-back mechanism is what Horney called the shrinking self . In this case, the infant surrenders before war canbe declared, and waves the white flag of capitulation in the faceof the slightest threat. Such children grow up to become adultswith weak and insecure boundaries, living to satisfy other people'sexpectations. This is the sort of person who invites you to a gourmetfeast for Sunday lunch by offering an apology for her cooking.The shrinking self is deeply insecure and dominated by worthlessness:a classic case of what we now call "low self-esteem."

The expansive self , on the other hand, says that you have tostrike first. In other words, before war can be declared, the infantlaunches a pre-emptive strike. These children, said Horney, growup to be dominating, know-it-all, "conquest" personality typeswho need to control those around them. Here we have a pictureof the tetchy and defensive shop-floor manager, bald and 5 feet5 inches tall, aggressively relishing the power he holds over otherpeople's lives, or the kind of person for whom the smallest criticismlaunches an armada of self-justification. These are classic cases ofwhat would later be called "fragile self-esteem" or, in popular language,having a "chip on your shoulder."

Horney's unique insight was to spot the importance of consistentand non-contingent parental love that offers "unconditionalacceptance." Where this is missing, we have another root of whatwould later be called low self-esteem.

Product details

Publisher ‏ : ‎ Zondervan (January 28, 2014)
Language ‏ : ‎ English
Paperback ‏ : ‎ 208 pages
ISBN-10 ‏ : ‎ 0310516544
ISBN-13 ‏ : ‎ 978-0310516545
Item Weight ‏ : ‎ 6.7 ounces
Dimensions ‏ : ‎ 5.5 x 0.5 x 8.38 inches
#1,692 in Christian Salvation Theory (Books)
#4,470 in Christian Social Issues (Books)
#9,424 in Christian Devotionals (Books)

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A complete run of ego trip magazine
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A complete run of ego trip magazine
A complete run of ego trip magazine

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Ego Trip (magazine)
Ego Trip. (magazine) Ego Trip was a hip hop magazine started in New York City in 1994. It lasted four years and 13 issues and distinguished itself based on its irreverence and defiant attitude, eventually adopting the tagline, "the arrogant voice of musical truth."
A complete run of ego trip magazine
Description. A complete run of ego trip magazine , with all printed issues from Vol. 1 No. 1 (1994) through Vol. 4 No. 1 (1998). 13 issues, issue 1 printed in black ink on yellow paper, Vol. 1 No. 1-Vol. 2 No. 5 staple bound at spine, the rest bound at spine in glossy photographic wrappers. Complete listing of issues with cover stars:
Ego trip (magazine)
ego trip was the name of a hip hop magazine started in New York City in 1994. It lasted four years and 13 issues and distinguished itself based on its irreverence and defiant attitude, eventually adopting the tagline, "the arrogant voice of musical truth." The roots of the publication began with a hip hop newspaper called Beat-Down Newspaper, founded by Haji Akhigbade and Sacha Jenkins in 1992 ...
Does anyone know where to find an archive of Ego Trip Magazine ...
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Chatting With the Chairman: An Interview with ego trip's Jeff Mao
After the magazine's folding in 1998, the ego trip staff began to embark on assembling a budding multimedia empire which has included two ego ... Well, I would certainly agree. It's funny because recently I started going through some of those back issues of ego trip. It definitely struck me that the intensity and passion was really, really ...
Ego Trip's Greatest Hip-Hop Singles
Ego Trip was a hip hop magazine started in New York City in 1994. It lasted four years and 13 issues and distinguished itself based on its irreverence and defiant attitude, eventually adopting the tagline, "the arrogant voice of musical …
Ego Trip (magazine)
Post-Ego Trip. After closing the magazine, the Ego Trip team (Jenkins, Wilson, Mao, Alvarez and Rollins) continued on to a series of multimedia projects, such as the old-school rap music compilation The Big Playback (Rawkus Records, 2000), inspired by their first book, Ego Trip's Book of Rap Lists (St. Martin's Press, 1999).
Ego Trip Magazine
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Ego Trip : Bullseye with Jesse Thorn : NPR
The group produced the acclaimed magazine Ego Trip in the 1990s, and has since written two books and created several series and specials for VH1, the most recent of which is Ego Trip's Miss Rap ...
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ego trip's Big Book of Racism! by Sacha Jenkins
Sacha Jenkins, Elliott Wilson. 4.34. 314 ratings14 reviews. Ferociously intelligent one moment, willfully smart-ass the next, ego trip's Big Book of Racism is a glorious, hilarious conflation of the racial undercurrents that affect contemporary culture at every turn. This one-of-a-kind encounter with the absurdities, complexities, and nuances ...
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PAPA ROACH // Ego Trip
8th April, 2022. Apr 18, 2022 / WORDS Alexander Burgess / PHOTOS DARREN CRAIG / Hard Noise! 8. Repeat Listens! If you go into listening to Ego Trip with the expectation of hearing another Infest or Getting Away With Murder, then you are doing yourself a dis-service. Papa Roach are no longer concerned with recreating this earlier sound, and ...
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Ego Trip Reflections on celluloid and parchment. Lissa Weinstein, Ph.D. is an associate professor in the doctoral program in clinical psychology at City College and The Graduate School of The City ...
Ego Trip
Ego Trip: Reflections on celluloid and parchment., by Lissa Weinstein, Ph.D.
Ego Trip
Ego Trip: Reflections on celluloid and parchment., by Lissa Weinstein, Ph.D.
Papa Roach: Ego Trip album review
It's an odd mix of styles and sounds, but it retains enough identity to be recognisably Papa Roach. That said, if you weren't enamoured by the last album or wish they would return to something more in line with 2000's Infest, you're going to be disappointed once again. For everyone else, this is another brave release by a band who ...
Eric's Ego Trip
Eric's Ego Trip A tycoon and philanthropist, Reed Erickson funded pioneering research in transgender visibility—and his personal photo-album has become a rare history of trans manhood. ... More From This Issue. Pictures Transformations: Mariette Pathy Allen Winter 2017 By Philip Gefter. Pictures Nelson Morales Winter 2017 By Lawrence La ...
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Alter Ego, the greatest 'zine of the '60s, is all-new, focusing on Golden and Silver Age comics and creators with articles, interviews and unseen art. Each issue includes an FCA (Fawcett Collectors of America) section, Mr. Monster & more! Edited by Roy Thomas. Alter Ego Subscription (6 issues Economy US) $73.00. Alter Ego Ultimate Bundle. $267. ...
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Ego Trip: Reflections on celluloid and parchment., by Lissa Weinstein, Ph.D.
Ego Trip: Rediscovering Grace in a Culture of Self-Esteem
In Ego Trip, psychiatrist Glynn Harrison takes aim at what has become one of Western society's most entrenched ideologies. He charts the rise of this ubiquitous value, arguing that the "science" underlying it is flawed, that there is little evidence efforts to promote self-esteem work, and that, in its popular form of "boosterism ...