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Why Love & Hip Hop Is A Revolution In Representation

It’s safe to say that I’ve watched every single episode, of every single season, of every single franchise of Love & Hip Hop.

I was watching Love & Hip Hop before the HD contour and nightclub-chic dress code, when Chrissy Lampkin (the partner of Dipset rapper, Jim Jones) appeared in her interview tape in a simple black tank top. That was also before they started blacking out the camera when things got physical and you would see every scratch, kick and displaced weave track in action, and back when Mona Scott-Young – the franchise’s executive producer – used to host the reunion shows herself.

I’ve been watching long enough to hear the arguments against the show and all the accusations levelled at the producers, and because of that conversation the show remained my dirty little secret for quite some time. But I’ve also been watching long enough to realise how truly revolutionary it has been as a piece of programming that not only documents but defines a culture, so I’m going to need for you all to put a little bit of respect on the brand, and I’m going to tell you why.