Try to answer to the master or the MC rap God is no joke

On the lyric, its hard to be modest I knew I was the man with the master plan

To make you wiggle and jiggle, like gelatin Just think while I sink, into the brain structure (don't sleep on the e) you see, something might rupture I don't take time for me to blow your mind Take a second to wreck it because you're dumb and blind

So just lounge, cause you're a MC clown Go join the circus, EPMD in town Total chaos, no mass confusion Rhymes so hypnotizing known to cause an illusion Like a magician, who pulls a rabbit out a hat, son I pull them all like a .44 magnum MC freeze stop look and listen, and try to imagine Its traveling the speed of light, but everything's motion Is frightening, plus the thought you alone You now enter dimension, called the twilight zone You're terrified, plus you cant bear the thought You and I one-on-one, in the land of the lost You start to shiver, but then you scream, my friend Yo wake up muttley, because you're dreaming again But next time I'm on the scene, do not try to diss us Keep your mouth shut sucker duck, because I'm strictly business This is the rap season, where the e starts pleasing Girls around the world no need to be skeezing When I roll I stroll, cool always pack a tool Just in case, a brother acts a fool Ive got the energy, to put the girls in the frenzy Put it in shock when I rock, give it up I'm not stingy Make sure I don't bore when I'm on the dance floor (get busy, boy) like you never saw before Rhyme flow, good to go, after the show, Ill pull your hoe, boy

Design info

Giving Cassandre another shot at stardom

Designed by Cassandre (born Adolphe-Jean Mouron, 1901-1968) in 1930, Acier was the second design by the legendary artist to be published by the Deberny & Peignot foundry. As a dual-color display typeface, designed in two series (Noir and Gris), Acier is, according to Jérôme Peignot, a “distant relative of Bifur”. Like its predecessor, it is a caps-only alphabet, maybe less spectacular and more pragmatic.

Was Acier Cassandre’s initiative or a market-wise commission from Charles Peignot, who surely wanted to make the most of the Futura trend? The type was mainly aimed at publishing and newspaper use, to be used in conjunction with photographic illustrations. The specimen's commercial pitch clearly stated the intention: “[…] designed in two directions to align with the tones of photosetting. Acier Noir, with its strong contrast, echoes the black and white effects of illustrations. While Acier Gris echoes the soft greys of mono- or dualtones prints. This balanced addition is a typographic premiere.” We do not know if sales met expectations, but the typeface was rarely seen in action during the 1930s. It stayed in the shadow of Europe (Peignot’s version of Futura), whose sales long topped the foundry rankings.

Acier, as an “Antique”, is a self-assumed modernist typeface and mixes several influences: above all, functionalist decorative arts, design, and architecture, along with urban epigraphy. It is also emblematic of the various aspects of 19th-century display typography, exploring the fantastical and three-dimenional aspects that were fashionable at that time. Acier bears this link into the metal from which it took its name (NB: “Acier” means “Steel” in French), just as Jérôme Peignot notices: “Few typographic works have been so effective in connecting the physical and graphical worlds”.

— Sébastien Morlighem

Jean-Baptiste Levée’s revival for BAT is the first to bring Acier into digital form. After careful study of original specimens, Levée redrew the two styles (Noir & Gris) from scratch, maintaining two optical sizes, and added Solid, Outline, and Strokes fonts for the application of color effects.

Design: Cassandre. Revival by Jean-Baptiste Levée.

Acier specimen

Character set