In addition to this cast D.J. Mark The 45 King would act as Breakout`s record boy,locating and passing records up to the decks as his D.J. requested them. They made their debut for Sugarhill with "Thats The Joint",a song arranged by jazz-funk organist Clifton Jiggs Chase.
Their performances at Bronx house parties included full blown dance routines.After a clash album with the Cash Crew,their career petered out somewhat,through Jazzy Jeff would go on to a brief solo career with Jive Records. Lil` Rodney Cee and KK Rockwell would go on to be partners in follow under achievers,Double Trouble.At which time Rodney Cee would marry Angela(Angie B)Brown of Sequence fame.
Herc's methods also pre-dated,and partially introduced,sampling. By adapting pieces of Funk,Soul,Jazz and other musics into the melting pot,he would be able to keep a party buzzing. With his sound system the Herculords,he would tailor his sets to the participants,most of whom he knew by name. He would call these out over improvised sets; "As I scan the place,I see the very familiar face..of my mellow:Wallace Dee in the house! Wallace Dee! Freak for me! As one of Hip Hop's founding Fathers,Kool Herc's reputation and influence has outlasted the vaguaries of musical fashion. A status no doubt boosted by the fact that he has not attempted to launch a spurious recording career on the back of it. Kool Herc was the subject of celebration at the Rapmania Festival in 1990. Here are some words from the Father of Hip Hop: The first place I played was 1520 Sedgewick Avenue-that's a recreation room-matter of fact in my apartment,yunno. Like the pied piper,the rats came out of the bricks to dance. My parties back then was twenty-five cent, Then it went to the recreation room,then we gave a block party,one time,anual block party. When you come down the block that cleaned up,you know Herc gonna play some music,and um,I couldn't come back to the old ranch no more,I had to go to a place called the Twilight Zone.
And then I used to give flyers out over by the Hevalo,and my mans would tell me to step off. I said, "One day I"m be in here." So I gavemy first party at the Twilight Zone,it was raining,the gods was raining down on me. Everybody came down from the Hevalo,wondering what was happening. They said,"Hercis playing down the block." "Who's Herc?' "That's the guy you chased away with the flyers from outside." And from the Twilight Zone I went on up to the Hevalo...
(From there he moved to a spot called the Executive Playhouse,on 173 street in the Bronx,as well as playing numerous high schools,community centers,and parks.) Assuming his native Jamaican patois,he continues: My muddah roots come from St. Mary{a parish in Jamaica},yunno. A man named George inspirate I from Jamaica,yunno,and he lived pon Victoria Street,yunno and used to come with the big sound system. It was devastating,cause it was open air,when it rained that's the dance.... I did a lot of things from Jamaica,and I brought it here and turned it into my own little style...Herc came to prominence in the West Bronx between 1974 and 1975.
Afrika
Bambaataa
Biz Markie
Cold Crush Brothers
Crash Crew
DJ Red Alert
Doug E Fresh
THE UNIVERSAL FEDERATION FOR THE PRESERVATION OF HIP HOP CULTURE
199 LINCOLN AVE ROOM 303
BRONX, NEW YORK 10454
PHONE: (718) FAX: (718) E-MAIL Federation200@aol.com
HIP HOP HISTORY MONTH
The Universal Zulu Nation calls on the World to recognize the whole month of November as HIP HOP HISTORY MONTH!
The official birthday of the Universal Zulu Nation is November 12, 1973.
The official birthday of Hip Hop is November 12th, 1974.
With consideration to the above mentioned dates, nothing makes more sense than to celebrate Hip Hop culture and it's history during November, which is exactly what the Universal Zulu Nation has been doing for over 27 + years. November is also significant in the fact that it kicks off the "indoor jam season". The Hip Hop community jams, enjoyed outdoors in the parks, throughout the Summer, had to move indoors for about 7 months to community centers, gymnasiums, schools etc. for the Fall and Winter seasons. The Hip Hop World should recognize this month and pay tribute to those who laid the foundation and paved the way as well as to those who continue to preserve the rich tradition of the culture.
Of course, The Zulu Nation appreciates all efforts to preserve the whole of Hip Hop culture, including any days or weeks set aside to conscientiously appreciate Hip Hop, but would rather that all of these days and weeks combine to celebrate in unity every November as the tradition has been since the beginning of this culture. Founded by the godfather of Hip Hop himself, Afrika Bambaataa, The Universal Zulu Nation is the world's oldest, largest and most respected grass roots Hip Hop organization. It's members and supporters are Hip Hop's most famous and legendary artists. True school enthusiasts travel from all around the world to be in New York City, in November, for the annual Zulu Hip Hop Anniversary, the only true Hip Hop Anniversary since the beginning. The Anniversary hosts a positive Hip Hop community coming together from all walks of life to celebrate the true essence and excitement of what Hip Hop was meant to be. Many artists who have donated their performances to help raise funds at Zulu Hip Hop Anniversaries have gone on to become legends and many of these legends continue to return to NYC, in November, to give back to the core community who supported them since their careers began.
A Little Background Information: In the early years of the culture, the movement went untitled until Afrika Bambaataa, started calling it "Hip Hop", a term originated by Lovebug Starski. In the 70's, ten years prior to it's gaining global recognition, Hip Hop was a celebration of life gradually developing each of it's elements to form a cultural movement. Due to it's energy, dynamics, and momentum, Hip Hop culture has become, ultimately, a key to upliftment and reformation, as well as a billion-dollar industry.
From the 80's on, the Rap industry and media have helped to make the terms "Hip Hop" and "Rap" synonymous, leaving out the other elements included in the culture. In light of this enormous oversight, the Zulu Nation promotes the "5th element" of Hip Hop, which is KNOWLEDGE, and actively tries to educate the masses about the history and foundational elements of true Hip Hop culture. Bambaataa declared: "When we made Hip Hop, we made it hoping it would be about peace, love, unity and having fun so that people could get away from the negativity that was plaguing our streets (gang violence, drug abuse, self hate, violence among those of African and Latino descent). Even though this negativity still happens here and there, as the culture progresses, we play a big role in conflict resolution and enforcing positivity."
Hip Hop is the Vehicle to Deliver Innumerable Lessons! Afrika Bambaataa doesn't believe that Hip Hop heads should just have knowledge of Hip Hop. He promotes and proves that Hip Hop can be used as a vehicle for teaching awareness, knowledge, wisdom, understanding, freedom, justice, equality, peace, unity, love, respect, responsibility and recreation, overcoming challenges, economics, mathematics. science, life, truth, facts and faith.
The Elements: Hip Hop culture is defined as a movement which is expressed through various artistic mediums which we call "elements". The main elements are known as MC'ing (Rapping), DJ'ing, WRITING (Aerosol Art), SEVERAL DANCE FORMS (which include Breaking, Up-Rocking, Popping, and Locking) and the element which holds the rest together: KNOWLEDGE. There are also other elements such as Vocal Percussion/Beat Boxing, Fashion, etc. Within the past 20 years, Hip-Hop culture has greatly influenced the entertainment world with its creative contributions in music, dance, art, poetry, and fashion.
Due to their lack of knowledge about the whole of Hip Hop culture, many of our world's youth are mistaken in thinking that activities such as: smoking blunts, drinking 40's, wearing a designer label plastered across their chest, carrying a gun, or going to strip clubs, are "Hip Hop". Hip Hop is being portrayed negatively by many artists who work in the element of Rap (emceeing), and this negativity is usually instigated and promoted by the record industry and various other corporations who exploit the culture at the expense of the youth's state of mind and morality. The Universal Zulu Nation believes there is a difference in speaking out about negativity (activism) and promoting it as a desirable lifestyle. Gangsters, pimps, playas, hustlers, niggers, spics, and many other derogatory words once used against us are now self employed in our everyday vocabulary. Our ancestors who have fought and died trying to free us from these sicknesses and slave mentality are probably turning over in their graves! Bambaataa asks you to just think about this, "How in the hell did we turn from GODS to dogs?"
Afrika Bambaataa encourages you to do more research about our story, his/her-story, and what you think is your mystery is actually your history. Where are our Hip Hop thinkers, lawyers, holistic doctors, scientists, agriculturalists/herbalists, revolutionaries, politicians, judges, researchers, teachers, police, army, accountants, anthropologists, etc. Where is our own Hip Hop Museum? Many talk the talk but don't walk the walk. Many straight out sell-out to the liberation of our people as well as to all humans on the planet so called Earth! He also encourages you to do research on any Hip Hop organization that deals with consciousness and the upliftment of all people. To all those who purposely make up your own history and lie about the culture- DO YOUR RESEARCH!
You can contact the Universal Zulu Nation at their main website www.ZuluNation.com and to explore links to other Zulu chapters and websites.
Thank you in advance for forwarding this announcement to everyone you know!
Peace and Blessings Afrika Bambaataa & the entire Universal Zulu Nation.
As we say in Zulu - respect the many UNIVERSES and especially MOTHER EARTH
PS: If you are planning any events in honor of Hip Hop History Month in November please feel free to write to the webmaster at ZuluNation.com to keep us up-to-date!
NEW YORK STATE SENATE RECOGNIZES NOVEMBER AS
HIP HOP HISTORY MONTH
STATUS:
J6602 ESPADA
Resolutions, Legislative
TITLE....Honoring the rich traditions of Hip Hop Culture
| /www.senate.state.ny.us/ | ||
|---|---|---|
| 12/11/02 | REFERRED TO FINANCE | |
| 12/17/02 | REPORTED TO CALENDAR FOR CONSIDERATION | |
| 12/17/02 | ADOPTED
BILL
TEXT:
LEGISLATIVE RESOLUTION honoring the rich traditions of Hip Hop Culture
WHEREAS, It is the sense of this Legislative Body to pay tribute to
those individuals of historic and artistic significance whose creative
talents have contributed to the cultural enrichment of our communities
and our Nation; and
WHEREAS, The month of November is now recognized by the State of New
York as Hip Hop Culture History month; and
WHEREAS, Afrika Bambaattaa, was the first Hip Hop activist, who once
said, "Hip Hop Culture was created to be about peace, love, unity and
having fun, in order to help people to get away from the negativity that
was plaguing our streets"; and
WHEREAS, Even though this negativity still exists, as the culture
progresses, Hip Hop Culture plays a big role in the conflict and resol-
ution by encouraging positivity; and
WHEREAS, Hip Hop is made up of Rap, DJ'ing, Break dancing, Up-Rocking,
Popping, Locking, Vocal Percussion, and Beat Boxing; and
WHEREAS, The godfather of Hip Hop culture is Afrika Bambaattaa; and
the world's oldest, largest and most respected grass roots Hip Hop
organization is the Universal Zulu Nation; and
WHEREAS, Hip Hop culture is a positive tool for social change; and
WHEREAS, The inception of Hip Hop culture in the Bronx was during the
early 1970's; it has been a vehicle for breaking down racial barriers on
a world wide level; and
WHEREAS, Hip Hop is a means for overcoming challenges, and a means for
teaching awareness and knowledge, inspiration and wisdom; and
WHEREAS, During the 70's, Hip Hop was a celebration of life, gradually
developing to form a cultural movement as a result of its dynamic energy
and momentum; and
WHEREAS, Hip Hop culture has become, ultimately, a key to uplift the
spirit of many; and
WHEREAS, Hip Hop culture has greatly influenced the entertainment
world with its creative contributions in music, dance, art, poetry, and
fashion; and
WHEREAS, Hip Hop is the vehicle to deliver innumerable lessons and
continues to provide for unity, love, respect, and responsibility; and
WHEREAS, D.J. Afrika Bambaattaa and the Universal Zulu Nation, Cool
Herc, Grandmaster Flash, the Cold Crush Brothers, Cool Clyde and Light-
nen Lance, Nolie Dee, Maria Davis and Mytika Davis are true inspira-
tions; and
WHEREAS, It is the sense of this Legislative Body, in keeping with its
time-honored traditions, to recognize and pay tribute to those organiza-
tions which foster ethnic pride and enhance the profile of cultural
diversity that strengthens the fabric of the communities of New York
State; and
WHEREAS, It is the sense of this Legislative Body that those who
enhance the well-being and vitality of their community and have shown a
long and sustained commitment to excellence certainly have earned our
recognition and applause; now, therefore, be it
RESOLVED, That this Legislative Body pause in its deliberations to
honor the rich traditions of Hip Hop Culture; and be it further
RESOLVED, That copies of this Resolution, suitably engrossed, be tran-
smitted to Afrika Bambaataa and all of the participants of the Hip Hop
Culture Celebration.
|
Peep Interview Here:
Gangs, Politics & House Music: The History of
Hip Hop in Chicago
By Davey D
Nowadays it’s hard to turn on the radio and not hear music
from one of Chicago’s many music superstars. Common, Twista, Da
Brat, Shawnna, R Kelly, Doe or Die, Crucial Conflict, Lupe
Fiasco, and of course Kanye West seem to have firmly positioned
themselves on the nation’s airwaves.
If you dig a little deeper and check out Hip Hop’s
underground, you’ll discover that very few people are willing to
roll up and do battle with esteemed Chi-town lyricists like
M’Rald, Rhymefest and of course Juice. Others like DJ Third Rail
and the late DJ Pinkhouse to name a few have not only made names
for themselves as deejays not to be toyed with but also provided
important platform for local artists.
Yes, the Chi seems to have established itself in the world of
Hip Hop, but it wasn’t always like that. In fact much of the
Chi-Town’s success is a direct result of organized effort by
it’s pioneering Hip Hop community that grew frustrated from
being locked out by the industry that saw Chicago, more as a
consumer market as a opposed to a place where stars are born.
Many within the music industry were only willing to embrace
the nation’s third largest city as the Mecca for House Music and
somehow managed to disconnect that music form from Hip Hop when
in many ways the two are intertwined, especially along the lines
of deejay culture.
The battle to establish ‘Tha Chi’ within Hip Hop was about as
brutal as its political landscape. Unsung heroes like Dr Groove,
Lord Cashus D, DA Smart, Black Allies, Sugar Ray Dinky, George
Daniels, World wide Posse, God Squad, The Chi Rock Nation, Ill
State Assassins, and the late DJ Pink House all played crucial
roles in organizing, pushing the envelop and seeing to it that
the Windy City get its respect. They used to roll up on
nightclubs, radio stations and even label executives demanding
to be recognized. Many will forget that back in the late 80s
there was a movement called the New World Order which brought
many of Chicago’s Hip Hop community together as they fought for
change and respect.
Sadly despite those heroic efforts of the past, today, many
local artists who are not signed to a major record label or
coming out of Kanye or Common’s camp find that many outlets like
radio and even nightclubs are closed to them. This is now
spurning up a new generation of Chi-Town Hip Hoppers to start
organizing to bring about change.
During the recently held National Hip Hop Political
Convention we sat down with one of Chicago’s premier pioneering
emcees, Jitu the Juggernaut of the group Ten Tray. For those who
are unfamiliar ten Tray was the first group to be signed to
major label. Back in 91, Jitu the lead rapper was and to this
day remains an activist who saw the power of Hip Hop and decided
to use his talents to spark political thought and hopefully
change.
In our interview he gave a serious rundown of the city’s
history. He also cleared up a lot of perceptions. For example,
he talked about Hip Hop first emerging in the Chi around the
late 70s. He talked about how Afrika Bambaataa’s Universal Zulu
Nation set up a chapter under pioneer Lord Cashus D in ‘78.
Jitu broke down the important connection between Hip Hop and
House. He reminds us that House is a Black music genre that at
least in the Chi was enjoyed by cats that lived in the hood. He
talked about the Hip House movement that came about in the late
80s with key players like Fast Eddie, Tyree, JMD and the late
Kool Rock Steady being not only household names in the Chicago,
but in many ways ambassadors for the city around the world. Jitu
goes into depth about the important role Kool Rock Jay played.
He also talked about how the House music deejays forced
everyone to step up their deejay skillz and that it was not
unusual to have b-boys and b-girls at House music parties and
events. He also drew parallels to how the lack of public school
after school programs and music classes forced many to turn to
deejaying as a way to express themselves musically. A good part
of House music was born out of that void.
Jitu also talked about The Chi’s early graf scene with
pioneers like Warp One.
What really stood out in our conversation was Jitu talking
about the early club and open mic scene. He talked about how the
now defunct El Rukin street gang (formerly the Blackstone
Rangers) had a building on the Southside complete with an
auditorium where they would hold weekly emcee battles.
Jitu details the influence Chicago’s highly organized,
legendary street gangs have had the scene. He also talks about
how other groups like the Nation of Islam and the legacy of the
Black Panthers which had its largest and most organized chapter
in the Chi have also had influence on folks as they were coming
up and into Hip Hop.
Lastly Jitu goes into detail about the politics and the
layout of the city. He talks about the differing cultures that
exist on the historic Southside, the Westside and the Northside
of the city. He also runs down a report card of sorts about some
of Chicago’s famous people and organizations and the role they
played or ‘have not’ played in terms of elevating Hip Hop.
Jitu finds himself back on the scene after coming out of
retirement and ready to drop a new album called ‘Necessary
Ingredients’ which is being backed by the Universal Zulu Nation.
Below is a brief timeline of Jitu and his career courtesy of
decentexposure.com
http://www.decentx.com/artist.asp?id=472
Jitu is an African name, given to him in 1995 meaning “A
giant among men.” Jitu is a youth program coordinator and
community organizer on the south side of Chicago. He swarmed the
game in 2002, entering battles and open mics. Leaving crowds in
a state of disbelief, Jitu has humbled emcees all over the
country, blending a once in a lifetime voice with an expansive
vocabulary and ferocious delivery. On the underground, many call
him the best they have ever heard! A short look at his
accomplishments: • 1986-Winner of “Battle of Chicago Rappers” at
El Rukn Fort
• 1989-2nd Place-“Battle of Chicago Rappers”
• 1989-Formed “New World Order” along with Cashus D of the
Universal Zulu Nation, to organize rappers, dancers, singers and
dj’s in Chicago. Was the largest such organization in the
country with over 200 members.
• 1989-Organized, with Dr. Groove (Source Magazine) and DA
Smart, a massive hip-hop community protest of the opening of
“Sarafina” at the Regal Theatre for refusing to recognize DA
after he won a national talent competition with his rap, “Black
People ain’t Prejudiced, They Just Mad.” They recognized DA as
the winner of the contest.
• 1991-With group Ten Tray, signed to Smash Polygram records
to become the first rap act in Chicago on a major label.
• 1992-Appeared on Rap City, The Box and Yo! MTV Raps.
• 1992-Album, “Realm of Darkness” recognized as album of the
month in Rapmasters magazine.
• 1992-Song, “Ain’t Nothin’ Like a Sister” was number one
song in Las Vegas region and other west coast markets for 4-9
weeks.
• 2003-Winner-“Battle of the Iron Mic”
• 2003-4 Time Champion-Emcee Battle @ Wild Hare
• 2003-Winner-1st Annual Kool Mix Emcee Battle
• 2003-3 Time Champion-Microphone War @ Subterranean
• 2004-Represented Chicago in national BRAINSTORM rap battle
in Seattle (semi-finalist)
• 2004-2nd Place-Rhyme Spitters emcee battle and documentary
(see enclosed DVD…we got shafted!)
• Joined and helped develop veteran hip-hop alliance, “FIGHT
CLUB”
• 2005-Begin work on album, “NECESSARY INGREDIENTS.”
On this album, entitled NECESSARY INGREDIENTS, Jitu brings
pure, unbridled passion and energy with ridiculous beats
provided by the likes of Harvy Allbangers, Tony Baines, Joe
Blaque, Ty Hill and Issues. Jitu blends real street cuts and
bruises, consciousness, passion and skillz to deliver the
gz-noods on this project. This album is a holy book for emcees,
as Jitu blends subject matter, lyrics, delivery, flow, energy,
breath control to give you what we believe, is ONE OF THE BEST
ALBUMS IN THE HISTORY OF HIP-HOP.
Contact Information: Jitu tha Jugganott 4356 S. Lake Park,
Suite 1N (yeah, right!) Chicago, IL 60653 (773) 317-6343
jitubrown@yahoo.com
(Respect the Art of Emceeing!)
For More Info: http://www.myspace.com/jituthajugganot
CRASH CREW BIOGRAPHY
The Crash Crew was formed in 1977 as a 15-man crew that consisted of D.Js and M.Cs, a promotional crew, and security. They performed at community centers, out in the parks and in local clubs in New York City. By 1979 The Crash Crew had a reputation for giving parties with the best production, which featured the 10,000-watt Mace Monster sound system. In 1980 The Crash Crew released “High Powered Rap” which was on there own label Mike & Dave Records. The group recorded. Produced, promoted, and sold the record themselves. They sold it to all the mom and pop stores as well as to the general public at all their shows. The group’s popularity grew and grew. Then in 1981 after being approached by many new record companies The Crash Crew signed with Sugarhill Records. The group released the single We Wanna Rock followed up with Breaking Bells. The group started to tour nationally with other groups like Grand Master Flash and The Furious Five, Sequence, The Funky Four Plus 1 More, and The Sugarhill Gang. Now the group had national popularity. Then in 1982 they released We Are Known As M.Cs and On The Radio which was certified gold. This record was followed up with Here We Are.
Among many of The Crash Crew accomplishments are that they play in the very first Entertainers Tournament game in MT Morris Park in Manhattan against the Disco 4. The Crash brought their system to the park played music while the game was going on and people came out to see the two groups do battle on the court. The game was so successful that all the other groups in N.Y wanted to get involved and every Sunday afternoon there would be a game between all the most popular Rap groups of the time.
Also D.J Darryl C. (R.I.P) produced a song for Mike & Dave on a new up and coming group named The Boogie Boys the song was called Rappin’ Ain’t A Thing. The Boogie Boys then grew to international fame.
E.K Mike C and D.J Darryl C (R.I.P) were on one of the first tours to go overseas with members of The Rocksteady Crew/Magnificent Force Crew.
The Crash Crew/ Poison Clan has always been trailblazers and continues to work together on new material as well as do shows now. E,K Mike C has a studio and is producing tracks for The Crash Crew as well as The Boogie Boys. Yoda is also the DJ for Kid Delight of The Boogie Boys. He and Reggie Reg are working with a couple of up and coming artist. LaShuBee is writing rhymes and still recording with the group. Gee Man makes some cameos and still sometimes performs with the group. Yoda is road managing Rob Base and DJ EZ Rock and still handles things for The Crash.
|
||||||
WHERE DID THE NAME HIP HOP COME FROM?
BY DYNAMITE J
Where did the name Hip Hop come from, and who is
responsible for saying The name Hip Hop came from
Afrika Bambaata? When Bam throws a party, he feels
like a theme name for his party would be better and
more exciting. If you were given two flyers and one
said "Party" at 123 four st., or Flava Jam 2002 at 123
four St. One of the names for his early parties was
THE HIP HOP BEENY BOP. Some could equate this as a
teen Jam because of the phrase Beeny Bop. Bop is
also short for Boppers.
So when Bambaata had his parties, and Starski
would Mc the jam, He would say thing s like WELCOME TO
THE HIP HOP BEENY BOP! THAT'S RIGHT YA'LL, HIP HOP
TILL YOU DON'T STOP. So true respect is giving to Mc
Starski with being credited for popularizing the
Phrase Hip Hop, but it's also respect and credit due
to Afrika Bambatta for starting the word HIP HOP.
Dynamite J
please respond back with your opinions, or re-buttals
to what I said.
an official
Tools Of War
press release
from publicist:
Christie Z-Pabon at
ToolsOfWar@aol.com
(founders:
Jorge "Fabel" Pabon and Christie Z-Pabon)
__________________
HIPORHOP.COM OFFERS RARE
& HARD-TO-FIND
BATTLES and PERFORMANCES from 1979-1983!!
Bronx NY: All Mighty Kay Gee of the Cold Crush Brothers is launching
his website,
www.HipOrHop.com,
a work in progress, offering direct digital recordings and delivery of
classic Hip Hop battles and performances from the best time period of Hip
Hop culture…The Beginning! For the first time online, you can purchase and
download the classic and historic performances which are the foundational
blue prints for today's Hip Hop MCs. In the past, only old generation
cassette tape copies existed of these ground breaking shows. Straight from
the archives of Cold Crush photographer, Joey Kane,
HipOrHop.com
features close to 100 never-seen-before flicks from 1979 - 1985 of the Cold
Crush Brothers, Kool Moe Dee, Afrika Bambaataa, Kool DJ Red Alert, Kurtis
Blow, Mr. Magic, and behind the scenes shots during the filming of Wild
Style. A discussion board is present on the site to host your discussions
and views regarding New School vs. Old School, the Differences in Hip Hop
Culture in the US and other Countries, Hip Hop Role Models, The Ladies of
Hip Hop, Writing, Hip Hop Dance Forms and more.
DOWNLOAD LIVE
JAMS AND BATTLES FROM BACK IN THE DAY
that you might never ever have gotten to hear, much less own!
(short audio clips available to give you each selections flavor)
1979: Cold
Crush Brothers at the Hoe Avenue Boys Club
1980: Cold Crush Brothers in the Bronx
1980: Christmas Rappers Convention: Busy Bee vs. Kool Moe Dee + Johnny Wah,
Force MC's, Cold Crush
Early 80's: Cold Crush Brothers at Harlem World Anniversary
Early 80's: Cold Crush
Brothers vs. Fantastic 5ive at Harlem World
Early 80's: Cold Crush Brothers and Fantastic 5ive at Savoy Manor
1981: Cold Crush Brothers w/ Doug E. Fresh
1982: Cold Crush
Brothers at Ecstasy Garage
1982: Cold Crush Brothers at MC Convention
1983: Master Don at Harlem World
1993: Cold Crush Brothers at S.O.B.s
2000: Cold Crush Brothers at the Experience Music Project (Seattle)
also available:
LIVE VIDEO OF
THE COLD CRUSH BROTHERS
at the Experience Music Project (2000)
THE REPLYS OF WHAT GOING ON IN
THE HIP HOP WORLD
Greetings
Kings/Queens/Ahki's/Malikas/Brothers/Sisters & the Whole World
Wide HipHop Nation...
I&I Sincerely Hope & Pray that Our Almighty Creator (The Force &
Source Of
Life..!!) has kept Each & Everyone one of you Safe, free from harm &
Blessed...
I&I just generated this e-mail in reply to the Mighty Universal Zulu
Nation's Cry for conscious brethren to voice their concerns/hopes &
visions
about this EXTREMELY VOLATILE, MIND ALTERING, LIFE CHANGING, EXTREME TO
DA
MAX Kulture of ours. I&I got much love for the HipHop Kulture because
this
Kulture changed I&I's mindset & life for the better and I&I
is forever
grateful for our forefathers that brought this Kulture into existence. MUCH
LOVE & RESPECT to all our FOREFATHERS & to those HIPHOP SOLDIERS
that
contributed & is still contributing to keep this Kulture Vibrant &
Fresh,
all these collective efforts are really appreciated by the masses that
really & truly supports TRUE-SKOOL HipHop Kulture and all the elements
that
this Kulture consists of.
Now, a little background history of I&I's journey within the HipHop
Kulture
& why it means such alot to I-Man. I&I first came into contact with
this
Kulture in 1985 (even though I'm still a youngster - in body, mind &
soul) &
here in my country I'm already considered to be OLD-SKOOL eventhough I&I
can
still take out some of these youths in a 1 on 1 BBoy battle. Firstly, the
HipHop Kulture was introduced to my country, BEAUTIFUL SOUTH AFRIKA, in
1982
through the Best HipHop Movie EVER, The Movie WILDSTYLE, and it only grew
from strength to strength as the years progressed. When the Kulture started
taking off on the Cape Flats, everybody just wanted to be dancers, I mean,
everywhere you went you just met new BBoy/BGirl groups changing from
freestyle dancing to Locking & Popping & later on Busting the more
difficult
moves like windmills etc.. In the little community where I-Man lived, the
StreetFreakCrew (They actually based themselves on the RSCrew) were the
crew
to beat and everybody that danced in our neighbourhood just wanted to belong
to SFCrew. During that period, I-Man was about 10/11 years old and one of
the best Micheal Jackson impersonators in my 'hood, but this new dance that
we saw evolving in our 'hoods really blew us way & we really wanted
to learn
how to dance like these youngsters that were spinning on their backs &
heads. Me & my boys practised & practised every day until we were
ready to
Battle some of the members of the SFCrew that lived a couple of streets
away
from us. On the day of the battle, the whole SFCrew rocked up to support
their crew members. The Boombox was set up, Soul sonic Force was blasting
at
full volume and the oilycloth was taped down in the play park. Adrenalin
was
pumping, Rappers were rapping, Lockers were locking, Poppers were popping
&
the Breakers was breaking. The atmosphere was ELECTRIC, the day was
beautiful & sunny & the crowd went ballistic as we stepped up the
pace of
the battle. Eventhough BBoy Bully, BBoy Mole, BBoy Ready D, BBoy Ahmed &
BBoy Sitaa wiped us out in the Skill department, we really enjoyed ourselves
that day and we wanted more & more of this Kulture. We eventually became
good enough & was inducted as members of the StreetFreakCrew and this
is
actually where we started to learn more about the HipHop Kulture.
This was the first time that i watched movies about the HipHop Kulture &
where i first saw the RockSteadyCrew perform and ever since then I became
a
hardcore HipHop fan, Loving the BBoy element to the max.
Later, round about 86', a youngster by the name of Kevin Jamo (he had "Pen
pals" from the states that was also into the HipHop Kulture) introduced
us
to the Universal Zulu Nation and we all came together and started our very
own Universal Zulu Nation chapter in Cape Town. Now, we never really
officially joined the Original Universal Zulu Nation from the Bronx but
we
conducted meetings and were structured like the true UZN. Some of our
friends' parents also became involved with our UZN chapter and started to
run the chapter for us which helped to improve our organisation. They
started getting us shows and setting up fundraising efforts so that we could
have t-shirts printed and tracksuits made to our liking. We even started
to
receive more reading material from Jamo's penpals from the States which
sent
us articles on what was happening on the HipHop scene in the states. Those
years, HipHop was ALL about having fun and enjoying yourself with your
friends, Battling your rivals and remaining conscientious about your
political situations and your heritage. We learned about The Great Bam,
DJ
Kool Herc,Grandmaster Flash, The Sugar Hill gang (someone from the States
actually once wrote us a letter which states that the Sugar Hill's first
album "Rappers Delight" actually paved the way for other rap artists
- but
later through contact with Zulu Natives from the states we learned about
the
Cold Crush & the Crash crew - and about other pioneering emcee groups)
Grandwizzard Theodore & the Fantastic Romantic Five, Kurtis Blow, Big
Daddy
Kane etc.. the List can just go on & on. I can still remember how I
liked to
be admired by my peers because of all the tags that i owned. Everybody that
was into HipHop would not be seen without their tags and the more tags you
wore, the Hipper you were. Remembering all this stuff actually puts one
on a
nostalgic journey back into the days of our youth but nevertheless, those
are "never-to-be-repeated" times and we are here to try and make
a
difference in the Kulture for the now & here.
I-Man actually feels very proud, looking back & looking at how far the
Kulture has come & to the extent that it has grown today, to have been
part
of the growing phase (I know the Kulture is still in it's growth stages)
of
this kulture. Lots of things has changed within the kulture, but change
is
actually the only surety in life so change, be it good or bad, is actually
part of our lives. Looking at South Afrika, the HipHop Kulture has really
grown vastly since the time that I-Man was still stage performing, but yet
it seems as if the unity we felt back in the days are not present today
amongst the youth that partake in this Kulture today. In my opinion, the
rolemodels of the Kulture today, are a far cry from the rolemodels of
yesteryear because today it's all about Blinging and getting paid but back
then, it was all about Peace, Love & Unity and about being yourself
& you
LOVING yourself enough to be YOU..!!! Nowadays, the youth just want to be
another Nelly, supporting the gold chains & ice earring studs or another
jigga man, macking the honeys or pimping them hoes. I can remember how we
went crazy about another P.E. LP dropping or when we heard Run DMC ripping
over the airwaves, it reinforced us positively because the state that our
country was in during that time was really depressing and the HipHop Kulture
was our escape from our daily realities. It was really uplifting expressing
your political views through rhyming and that was exactly what we were
doing, mobilising our peers through rap music. Even if our parents thought
that we crazy at the time, spinning on our heads, making sounds with your
mouth while your partners was spitting some venomous rhymes, they were too
glad that we weren't caught up in the web of gangsterism and violence
because our local communities was ravaged by gangsterism during those years.
Amazingly, even the gangster elements respected you if they knew that you
were into the HipHop Kulture but in today's times if people hear that you
listen to rap music, they class you as a gangster element because of all
the
gangster rap that they hear out in the commercial field. Whenever you see
a
Rap music video on the T.V. it's all about money and women, to the point
that people actually believes that HipHop is about money & women. Why
don't
a person ever see some BBoyz busting a couple of moves on these music
videos, or a graff artist doing a mural..?? You hear the rhymers shout
"HipHop Hooray..!!" but you don't see any other HipHop element
being
portrayed in the music video, instead you see Lovely, Beautiful young
ladies, almost completely naked shaking their thang... No disrespect meant
to the ladies but i'd rather prefer to see the BBoys or BGirls doing their
thang because BBoying is (to me) the most impressive element in the HipHop
Kulture. Just the other day, while watching T.V with my wife, i saw a music
video of Nelly Furtado & i really impressed because she actually features
a
couple of BGirl crews in her music video and i commented to my wife that
this was what i would prefer to see in these music videos.
Nevertheless, the Kulture has actually brought many positive changes in
our
local communities. I tell my youngsters (the groups that I-Man works with)
everyday, how lucky they are to be experiencing the HipHop Kulture today.
From a dancing point of view, the young have a lot of events to participate
in like the BOTY competition, Our Local ABC (African Battle Cry) event,
BBoy
Of the Year event etc. they actually get recognition & money to dance
whereas we use to dance for the love of dancing. We also have a HipHop week
where all the elements of the Kulture gets exposed to the youth and they
get
the opportunity to participate in workshops in all of the Elements. This
week is known is the AfriKan HipHop Indaba week and it has become an annual
institution to which everybody always looks forward to attending.
Unfortunately, I-Man is too old to participate in these competitions but
I-Man is still young enough to help any crew that comes to I-Man for
support. This is actually I-Man's work within the Kulture, I-Man assists
the
young BBoy crews in establishing themselves as groups, puts them in contact
with the necessary people to help them get shows, helps them out with
BBoying material like movies & music and then I-Man moves on to the
next
group in line. The problem in our country is that the HipHop Kulture don't
get the same exposure like the Kwaito Kulture (another local artistic
Kulture - not as exciting or positive like the HipHop Kulture) and with
the
negative image that is being portrayed by the commercial HipHop artists
(negative gangsta rap) it makes it really difficult to get sponsorships
for
all our endeavours to help expand the Kulture. There's still alot of work
to
be done on the Kulture in my country, but collectively we've achieved much
more than we ever thought we could and I-Man really feels positive about
the
future of the HipHop Kulture within South Afrika. Currently, of all the
regions that we have in our country, Cape Town is still the HipHop Capitol
of South Afrika and we see it as our duty to spread the HipHop Kulture virus
to each every region in South Afrika & Afrika for that matter. It's
still a
long way to go, but seeing all the youngsters today that is interested in
this Kulture makes one feel confident that this Kulture WILL grow to spread
the whole of Afrika because it already caused a global infection.
Nevertheless my Brethren, I-Man has alerady said alot and I-Man knows that
there's still much to be said but unfortunately I-Man's time has run out
for
today. You can just hit I-Man up any time if there's anything else that
you
might like to know or require from I-Man but until such time, Keep the
HipHop spirit Alive..!!!
Prosper in the 5th element of the Kulture, Knowledge, Kulture &
Overstanding..!!
Until next time, Stay up, Stay strong, Keep the Faith & Increase the
Love..
PEACE & ETERNAL BLESSINGS..
from
BBoy Ricochet Skillz One a.k.a
Ricky Napthali Tafari..
HipHop Kulture FOREVER...
Greetings
Iīm a Hungarian born brother that grew up in Munich / Germany. Iīm into
Hip
Hop for about 7 years now. In the beginning around 96 for me Hip Hop meant
chillin at a Homieīs crib smoking lot of hash and listenin to rap music
.
Although I wrote some Graffity I didnīt really take it serious it wasnīt
really my thang.Actually I didīt take anything serious. It was always the
same shit : Gettin high everyday maybe goin to a party on the weekend and
getting drunk. I rarely went to Hip Hop jams although I was amazed by the
B-boys and loved to see the MC s rock the mic - I simply was too lazy
no
doubt. In other words I didnīt live Hip Hop I was kind of from the outside
looking in. Now what I wanna say is that a lot of kids around my age felt
the same way like me - I wasnīt active I was a consumer only . Iīm
several
years older and wiser now and I wonder whether the situation improved or
changed ... I ainīt in touch with the younger generation now. As far as
Iīm
concerned the whole thing is still similar . Consume ( buying rap magazines
which tell you which records to buy , buying these records, buying the
newest kicks , whatching rap videos .... ) instead of geting involved (
Goin
out to bomb, rapping seriously , dancing ...) - thatīs how I see it. Iīm
23
now and went through some trials and tribulatons - eventually I lost all
my
(so called) friends so I became a soloist serchin for the truth and for
people who are real to me. I also try to build my Knowledge of Self . I
donīt drink or smoke no more. I freestyle and write rhymes for some years
(
mostly for my self but Iīm waiting for the right time to come out) and I
īm
pretty much into that 5th Element Of Hip Hop . I think in this New Millenium
things have to change. The Older Generation should teach the Youth more
,
involve the Youth more , be a role model to the Youth, take the Youth more
serious , make the Youth understand that Knowledge is not something wack,
but one of the most important things - the root of everything . The Young
Generation depends on the Older One and the Older Generation depends on
the
Younger Generation ... We have to realize that all Humans have to unite
in
these last days . To hell with racism . Itīs not a Black and White
thing -
itīs a Human Beeing Thing.
PEACE
Zoltan aka Solid Frame
Peace to the Zulu Nation and all others with open minds,
Bein a representa and supporter of tru hip hop and the Zulu Nation, i'm sad to say that down here in Houston the real meaning of hip hop has been lost by many. This is mainly due to tha barage of commercializm bein jammed down peoples' throats. We now have 4 radio stations playin the same commercial B.S. music that is killin the name hip hop for the almighty dolla dolla bill. You can't listen to the radio wit out hearin slogans like "ALL HIP HOP ALL THE TIME, I JAM THE NEW PARTY 104.9" or "JAMMIN THE MOST HIP HOP AND R&B, 97.9 THE BOX". What they really mean is "SOME HIP HOP A LIL BIT OF THE TIME" or "JAMMIN THE SAME HIP HOP AND R&B AS ERYONE ELSE"
Radio down here is straight destroyin tha tru meanin of hip hop. Not once have i heard any of these so called "hip hop" radio stations mention anythang of b-boys or graf artists. HOW CAN U CLAIM TO BE ALL HIP HOP ALL THE TIME WHEN U ONLY REPRESENTA A FRAGMENT OF THE HIP HOP CULTURE!! I get so fired up erytime i hear one of these slogans or pass by one of tha hundreds of bill boards floodin our streets down here. Radio stations down here are all fraud and i'm callin 'em all out. 97.9 the Box-FRAUD. Party 104.9 FRAUD. Hot 97.1 FRAUD. Power 97.5 FRAUD. These stations are all mis-representin what hip hop is by sendin the message that rap music IS hip hop. When they should be lettin folks know that rap music is a form of MCing which is one branch of hip hop.
I try to educate as many folks that i can but i'm losin the battle dramatically. Send in the reinforcements, the ideas, the knowledge or anything that can be of help to save these brainwashed radio junkies from tha corrupt greedy corporations. HOUSTON NEEDS TO BE SAVED!!
Peace,
Arenstein Jacob
ayo peace to da zulu nation, i wanna say dat hip
hop has gotten meesed up
with all these fakers and fronters! dey needz to keepz it realz and stay
keepin it realz! we don't want to hear about niggaz riches or fame we wanna
hear about wuts really goin on in dis world! all da drama all black ppls
iz
goin thru not only dem but da hispanic community! WE as da hispanic
community also love da hip hop culture!! cormega is one of dem real niggaz
and i give him much prob'z all da old school niggaz dat kept it realz! im
not talkin about gangsta sgyt im talkin about da real thug life! which means
"the hate u give little infants fuck everything" dats something
dats been
confused with niggaz sayin dat stand 4 niggaz robbing and stealin! nah it
ain't about dat eitha it's about wut tupac stood 4 and his step father also
stood 4! well im ghos holla at me! peace to da zulu'z just like rza! one
Antonio Garcia
I believe that hip hop is ready to go back to true school ethics!
The
money that is being generated through hip hop is not enough in my eyes
compared to the influence that hip hop has on the entire world! I
believe that people in hip hop today have taken on the attitudes of
those in the music industry before hip hop's inclusion in the music
industry! They are NOT looking for true talent anymore, just what
can
sell real quick! It's a shame that rap artist who come out today have
to release two(2) albums a year to compete, where if you have a good
album with a good strategy, you could have an album serve the public for
two years! It's disgusting! It appears as though you must know
someone
to get on in this game and that's wack! I'm still a firm believer
in
talent! I understand marketing and promotion and how it plays into
making money in this game, but I don't believe that you have to stress
those areas so hard if you find true talent! I pray that we can rise
above the pettiness that sometimes keeps this game down so we all can
get paid! Remember, rap doesn't even account for 25% of music industry
sales but is gradually becoming the most recognizable art form in the
world! This means to me that we have allowed ourselves to become
suckers for cheap money!
I pray that we get it right some day!
BIG DAVE aka
STAYHIGH
Name
: J.D. < JUNGLE DOCTA >
the Medicine Man on the mic
Location: Columbus,Ohio
USA
This is fUnKy J comin outta C-bus Ohio.I
started writin rhymes when i was like in the 5th grade...Then it was just
love notes and stuff like that....When i got into middle scho0l i was using
James Brown,s beats and rappin bout smokin weed and gettin into trouble....Actually
i still be rappin some of my middle scho0l
rhymes............
.
See when i was growin into being a
man....Always knew.... that skewl...never garunteed me a higher education....So
i made this my profession.....Gotta come all out....by goin all out like
a pro.... Thats adjective for professional...Did u know... that this
is what Mcin really is.... Speakin yo mind...So i was born into this ish.......Raw
talent.....either you are or you ain,t...cause in R.E.A.L <Rhymes Equal
Actual Life>
HIPHOP nobody be frontin.....
So since back in 93 rappin to Cypress
Hill on the monkey bars and taggin objects with markers to now Mcin myself
and still taggin....I have seen alot in my 10 yrs of HIPHOP.... Been all
over the east coast..all over NYC Bx,Bk...to Brick city aka Newark,Nj....to
freestylin over Bob Marley's I shot the sherrif in the ghettos of Rio De
Janeiro...and in all these places i have seen with my own two eyes.. and
in my 3rd.. the love and respect of our KULTURE that the true HIPHOPPAZ
give back to us....
The Mass,s also known as the Ignorant
ass,s always buyin into the bullish... and biting the bullet....They do
not have Overstanding and Knowledge of our KULTURE....They believe HIPHOP
is pimpin....husslin....robbin....being in gangs.....killin.....because
this is what the Hip Slop artists show it to be....
I did my research and found out why
this KULTURE began....Wich was to unite people in a positive manner.....Come
together as ONE for the LOVE of LIFE....and by expressin themselves in a
positive demeanor.....while the SOUND of LIFE< MUSIC> was playin and
Breakers were breakin....Mcin were rappin....Other did,nt have a clue what
was goin on..... But we know it was R.E.A.L HIPHOP !!!!!!!!!!!!!!!!!!!!!
Peace & GOD bless to all my HIPHOPPAZ
J.D.
hip hop is alive and well in san diego california.
The love for the Rap
Expression, Graffitti Art (which is at it's all time height right now, in
my
opinion, in san diego), DJing, and Bboying can be seen in different parts
of
San Diego. There are Hip hop shows monthly (which i believe are not
enough),
mainly focusing on the MC's and Djs, although you will find B-girls and
B-boys rocking cyphers. There are Certain clubs that identify with
hip hop
musically( djs playing breakbeats and hip hop), you can also find breaking
practices weekly here in san diego. In the graffiti aspect of
San Diego,
there are all out graffiti wars, between crews, battling to see whose got
the
most style and whose more up than most. And in San Diego, there are
a lot of
upcoming DJ's and turntablists all wanting to come up for the love and fame
of hip hop.
A problem, I do see facing SD hip hop is the 5th element, and the reluctance
of most heads out here that don't understand the history or knowledge.
A lot
of the so called "hip hop heads" here, are more attached towards
the MC
aspect , and forget about the other elements during these so called "hip
hop
shows". Having been to a variety of shows, the representation and
acknowledgement of the dance and graffiti aspects are under represented.
You'll go to a hip hop show, where Rap is the only thing represented, and
maybe a DJ will just be in the background spinning. The main focus
will be
the MC's. Its very difficult and painful to see, from my perspective,
because in my opinion, and i could be wrong, the elements in order went
:
graffiti, dj's, bboys, and last mcs.
Another problem facing hip hop in my opinion is the seperation and the
groupings of the music. People talking about the realness of "underground
hip hop", and the fakeness of "commercial hip hop."
You'll have people
taking sides. It's gotten to the point to where, hmmm.. hip hop music
was
based on the party, and now, the so called "real hip hop music"
is music
where it's just head nodding music. It's kinda like a civil war in
hip hop,
between the underground, the people that like both, and people that like
commercial rap. Although commercial rap has little to do with the culture
and
more about the money, Rap is the expression of the MCs, so it to does have
to
deal with hip hop.
but hip hop is a live and well in the southern city on the westcoast.
im
proud to be part of this strong hip hop community.
peace.
DJ MANE ONE
UNKNOWN TURNTABLIST KREW
1520 SEDGWICK AVE. DJS. (break beat djs that play tribute to Kool
Herc)
1520sedgwick.com
THIS
HIP HOP DJ THINKS HIP HOP WAS PUT ON THE BACK BURNER FOR RAP!
IT'S UP TO THE ORIGINAL HEADS TO KEEP THE KNOWLEDGE GOING!
MANY SO CALLED HIP HOP DJs TODAY DON'T KNOW OR HAVE THE KNOWLEDGE OF HIP
HOP
THEY
