For two years before anyone had heard of the 3 Honkees, Binadopta Recordings was in excellent financial shape. When some strict new affirmative action laws went on the books in 1991, however, the Binadopta executives found themselves in trouble.

For one reason or another, it seemed that Binadopta, who at the time employed nearly 500 worldwide, was "one of the whitest companies in America" (Wall Street Journal, Feb 1991). In fact one black janitor was the only minority member employed at the Denver headquarters between 1986 and 1990. With the threat of government action imminent, the Binadopta board gave several fine employees the boot, and ordered the immediate hiring of 30 blacks, 14 asians, 10 hispanics, and 2 jews. Although this met the new government quotas, the bad publicity generated by the ordeal sparked open criticism and even threat of a boycott. The sudden hiring of minority members had done nothing to calm the public, who saw it as "a petty attempt to allay fears" and "a show of blatant tokenism" (NAACP newsletter, Apr 1991).

The Binadopta board held many meetings late into the night to come up with a plan of how to escape the heat. The plan went something like this:

If they signed a black band to the label, they feared it would once again be viewed as a token gesture. They had made that mistake the first time, and were in no mood to be burned again. So, as an act of inspired racial unity, they would sign a white group that performed rap music. This, they were convinced, would lay oil over the troubled waters, or as Phillip Englehorn, manager of the Binadopta department of disinformation put it, "go a long way towards getting those damn politically correct loudmouths off our ass".

Talent scouts were sent out across the nation, and two weeks later the unknown "3 Honkees" found themselves with a recording contract. To show their supposed unity with the newly signed act, the Binadopta board invited them to record a "rap cover" of the country song "The Ballad of William William Bob" for the soon to be released "A Tribute to Bo Gritz" album, which featured many of Binadopta's premier artists. Although the board had no plans to actually release any of the 3 Honkees' other work, they were allowed to begin the recording of a low budget debut album.

Much to everyone's surprise however, when the tribute album was released in November of 1991, the included "Slam the Honky Remix" by the 3 Honkees was the most popular song on the entire album. This convinced the Binadopta executives to move the 3 Honkees debut album into the infamous "urgent bin".

DJ Dutchboy, although inexperienced, was allowed to produce the album. The Reverend and Ice Milk supplied most of the actual rapping, and a group of the Honkees' friends known only to themselves as "The Honked-Up Posse" were allowed in to handle the backing vocals. Things were wrapped up and ready for release by May 1992.

The album did have a definite (if odd) message of racial kinship, but when it was reviewed by the Binadopta board, they found the rather aggressive nature of some of the Honkees' lyrics to be a little more controversial (and perhaps disturbing) then they felt comfortable promoting. On June 7, 1992, without fanfare, the 3 Honkees' self titled debut album was released. Much to everyone's surprise, it began to sell.

Within a few weeks of release, several college radio stations began to play choice tracks from the album, and a few rap magazines wrote startlingly positive reviews. Binadopta Recordings was weary of the potential criticism that some of the nastier tracks on the album might generate, in particular the overtly offensive "Kill Da Bitch". Their fears were put to rest, however, when Yo!Mtv Raps called and requested a video for the song "Who's a Honk?"

With the support of a minority focused program, Binadopta was confident that they were on the gravy train with the 3 Honkees, so a fairly expensive video was quickly shot for "Who's a Honk?". It did quite well, so Binadopta released three more singles over the remainder of 1992, financing videos for each: the kickin' dance track "Putcha Hanzup!", the incendiary "White Noize", and a "politically correct dub" of "Can't We All Just Get It On?". All three performed admirably on the charts. Meanwhile, the group delivered high energy performances to sold out clubs across the country.

An interesting side to all the fame was the reaction of the more politically aware reviewers and critics. It was believed that the 3 Honkees represented a hitherto misunderstood section of society, and were actually expressing "the angst of white suburban teens" (Social Thinking, Nov 1992). Some went so far as to commend Binadopta for helping to give this neglected portion of society a voice. When interviewed on these topics, the 3 Honkees confirmed that they indeed spoke to and for their "bruthas in the 'burbs"

By early 1993, sales of the 3 Honkees debut were winding down, and Binadopta Recordings began feverishly working to ensure a successful follow up. Respected Hip-Hop producer Michael Sans-Michael was contracted to oversee the production, and the Honkees were rushed into the studios where they began work on a new album. In addition to the new record, the 3 Honkees were to star in their own feature film. For this purpose, a team of screenwriters were asked to sit in on the recording sessions to capture the "raw suburban feel" of the 3 young men as they worked.

As the songs began taking shape however, Sans-Michael grew concerned, and wanted to call in lyric doctors to fix things up, claiming that he found the material "patently perverse". The Honkees would have none of it, though, stating that they had to "keep it real". The Binadopta board of executives backed the Honkees up, not wanting to suppress the artists' proven pop instincts. So Sans-Michael reluctantly completed his work.

Over the remainder of 1993, "SLAM: the motion picture" was filmed sparing no expense. Starring the 3 Honkees, and loosely based on some odd interpretation of their rise to fame, Binadopta believed the film was guaranteed to propel the group to super stardom. A truly astonishing amount of money was budgeted for the premier video single "Honk On", and as the album's release date approached, Binadopta found itself on a do or die venture.

Early in 1994, Binadopta Recordings began a no-holds-barred promotional campaign for the new album and film. Purchasing magazine ads and TV spots, including a 15 second slot in the coveted Superbowl half-time run, they heralded the coming of:

Billboards, busses, and taxis nationwide bore the words:

The 3 Honkees second album "Honk On" was released in March of 1994, along with the single and video of the title track. After a brief turn in MTV's heavy rotation bin, however, the glossy and highly stylized video was dropped from the play list. The Binadopta Promotion Department was caught off guard by this unexpected turn of events. Afraid that the album sales would plummet, as well as the movie hype, they quickly released the next single and video. "Rememba d' Old Dayz" was available in stores just two weeks after "Honk On", and it also fell off the charts almost instantly.

Panic set in at Binadopta Recordings, and the executives desperately tried to capture any audience they could by releasing two more singles in the next two weeks. The low budget video for "Putcha Finger In There!" was hardly noticed, and the single "Whadduzit Reek Like?" was openly criticized by the very DJ's who were forced to play the song.

Two weeks before the release of "SLAM: the motion picture", Binadopta realized that the album was unsalvageable. Hoping to at least cover their costs with the film's success, the decision was made to drop the 3 Honkees name from the advertisements. The billboards were changed to read:

...and the countdown began. The film promotion was intensified in the hopes of clearing the association between the film and the waning 3 Honkees. No pre-screenings were allowed for critics, as they would surely mention the connection. Binadopta believed that the intriguing title alone would bring in an audience, and that the crowd-pleasing narrative would generate it's own success from there.

Unfortunately, on opening day the theaters were all but empty, and those that did attend returned highly unfavorable reviews. Binadopta found itself in arguably the worst financial crisis of it's history, and the 3 Honkees were dropped from contract immediately.

In addition to the canceling of the 3 Honkees contract, several in-progress albums by members of the Honked-Up Posse, such as Curious George's "I Ain't No Monkey" and Sloppy Meat's "Booze & Buns", were canceled as well. Ice Milk was arrested late in 1994 for possession of drugged milk. DJ Dutchboy signed on with a small time independent label to produce the album "Dickfor". He later returned to Binadopta to produce for "The Boob Factory" on some of their later work. The Reverend was not heard from again.

Perhaps a reviewer of their second album summed it up best when she wrote:

"It was suggested after their first work that these three young men represented the neglected troubles of suburban white teens. After their latest work, however, it is apparent that these sick and disgusting boys speak for no one but their perverted selves, and thank heavens for that."