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ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² Digital Underground built most of their ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß music from P-Funk samples and developed ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ a similarly weird sense of style and ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² humor, highlighted by Shock-G's ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý outrageous costumes and the whole Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß band's parade of alter egos. Of all ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß these alter egos, Shock-G's Humpty Hump a ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ ridiculous comical figure with a Groucho ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² Marx nose and glasses and a goofy, ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ stuttering voice was the most famous, ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² especially since he was immortalized on ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß their breakthrough single, "The Humpty ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ Dance." Over the course of their career, ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² Digital Underground have featured a ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý numerous members, but throughout it Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß all, Shock-G has remained at their core, ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß developing the band's sound and style, ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ which they had from the outset, as their ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² 1990 debut, Sex Packets, proved. Sex ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Packets was an instant hit, thanks the ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² loopy single "The Humpty Dance," and ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß while they never scaled such commercial ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ heights ever again, their role in ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² popularizing George Clinton's elastic ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý funk made them one of the most Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß important hip-hop groups of their era. ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß Shock-G (born Gregory E. Jacobs, August ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ 25, 1963) spent most of his childhood ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² moving around the East Coast with his ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ family, eventually settling in the Bay ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² Area of California. He dropped out of ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß high school in the late '70s and spent ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ several years pursuing a life of crime ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² before eventually finishing his degree ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý and going to college to study music. Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß Along with Chopmaster J, Shock-G formed ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß Digital Underground in 1987, and the duo ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ released a single, "Underwater Rimes," ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² that year, which went to number one in ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ the Netherlands. In 1989, the group ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² signed with Tommy Boy, and that summer ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß "Doowutchyalike" became an underground ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ hit. By that time, Digital Underground ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² had expanded significantly, featuring DJ ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý Fuze, Money-B (born Ron Brooks), and Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß Schmoovy-Schmoov (born Earl Cook). Sex ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß Packets, the group's debut album, was ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ released in the spring of 1990, and "The ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² Humpty Dance," which was rapped by ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Shock-G's alter ego Humpty Hump, ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² climbed all the way to number 11 on the ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß pop charts, peaking at number seven on ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ the R&B charts. With its P-Funk samples, ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² jazzy interludes, and innovative amalgam ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý of samples and live instrumentation, Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß Sex Packets received positive reviews ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß and went platinum by the end of the year. ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² Digital Underground followed Sex ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Packets in early 1991 with This Is an ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² EP Release, their first recording to ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß feature rapper Tupac Shakur. The EP went ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ gold and set the stage for their second ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² album, Sons of the P, which was released ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý that fall. On the strength of the gold Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß single "Kiss You Back," Sons of the P ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß also went gold, but it received criticism ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ for its similarity to Sex Packets. By ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² the time Digital Underground delivered ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ their third album, The Body-Hat ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² Syndrome in late 1993, hip-hop had ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß become dominated by gangsta rap, ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ particularly the drawling G-funk of Dr. ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² Dre, which ironically was heavily ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý indebted to Clinton. Consequently, Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß their fan base diminished significantly, ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß and The Body-Hat Syndrome disappeared ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ shortly after its release. Nearly three ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² years later, Digital Underground ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ returned with Future Rhythm, which ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² spent a mere three weeks on the charts. ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß Who Got the Gravy? followed in 1998. ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ