Sunday night, the legendary Afrika Bambaataa came with an all-star lineup to salute the anniversary of Zulu Nation and Hip Hop Culture. The guest list read like a hip hop history book. We’ve got the wrap up below.

Treach from Naughty By Nature

Craig G

Grand Master Melle Mel

Vin Rock (Naughty By Nature)

Treach

Naughty By Nature

Definitely one of the funniest MCs of the night

Have more photos? Let us know in the comments!

Check this nice remix by K J Freak for Afrika Bambaataa’s Get Up And Dance !

It’s a dance music mix for one of the inventors and architects of HipHop a.k.a. The Father of The Electro Funk Sound.

I dont need to tell nuthing ’bout Afrika – just check it !

Afrika Bambaataa – Get Up And Dance (K J Freak Remix)

the National Museum of Hip-Hop (NMoH) will host an exclusive celebrity fundraiser to benefit the development of the “first ever” true Hip-Hop Museum. This Red Carpet affair will take place on Feb 9, 2010 at the M2 Ultra Lounge, 530 West 28th Street, NYC. This exclusive star-studded gala will raise funds and awareness for the construction and community initiatives of the museum. Guests will have a preview of some of the museum’s building plans and programs. 

This “invitation only” affair will welcome entertainment executives, celebrity rappers, dj’s, b-boys, legendary graffiti artists, Hollywood entertainers, celebrity media personalities, and community leaders. Guests include: Ice T, Akon, Redman, Dana Dane, MC Lyte, Kurtis Blow, Nice -n- Smooth, DJ Red Alert, Kid Capri, Ralph Mcdaniels, Ja Rule, Rakim, Big Daddy Kane, Black Sheep, Cold Crush Brothers, Rock Steady Crew, Furious Five, Brand Nubian, Chubb Rock, Bones Thugs -N-Harmony, The Roots, Pete Rock, D Nice, Marley Marl, N.O.R.E., Kid –n- Play, Roxanne Shante, Melly Mel, and an extensive list of others.

The Event Co-Chairs include Bill Adler, Dr. Ben Chavis, Andre Harrell, KRS One, Chuck D, Afrika Bambaataa, Terry Stewart, and Jim Fricke.

“The timing is perfect for the development of a museum that will preserve the great culture of hip-hop; a museum that will serve as not only a beacon for hip-hop’s achievements but also as a hub for community upliftment,” stated Craig Wilson, MBA, President of the Museum.

Once fully developed, the museum will conduct job training programs for the local homeless, substance-abusers, and unemployed borough residents. NMoH will also provide free classes that teach the political process and sponsor students with political career interests, by providing a space/platform for practice debates, campaigns and the development of programs and policy.

The Museum’s Hall of Fame, catering & restaurant operations and profits from visitors will generate millions in economic activity and create great job opportunities throughout NYC.

About  NMoH

The National Museum of Hip-Hop is a NYC based non-profit 501 (c) (3) founded in 2005 and created to commemorate the historical and cultural achievements of hip-hop and artists, throughout the World, while educating area residents and global visitors about every aspect of the culture’s elements.

The plans for this project are to house the museum within a 100,000+ sq., foot facility in NYC.  The program will feature initiatives and policies which require a strict adherence to community issues and interactivity. NMoH will exist as a hub for community advancement, economic development and political education.  The Advisory Board consists of Executives who have long histories of large museum development, as well as inner-city community involvement.  Board Members include: Russell Simmons, Dr. Ben Chavis, Andre Harrell, Leyla Turkkan, Bill Adler, Bob Santelli and Terry Stewart.

Afrika Bambaataa 35th Anniversary of Hip Hop Culture @ SOBs in New York, NY on Sunday, November 15, 2009 at 8 p.m.

Afrika Bambaataa To Celebrate the 35th Anniversary of Hip Hop Culture @ SOBs in New York on November 15, 2009

35th Anniversary Anniversary of Hip-Hop Culture
36th Anniversary of the Universal Zulu Nation

Sunday, November 15, 2009 / 11-15-2009

Tickets* – Advance: $25/ Day of Show: $30
*$10 discount with Zulu Nation or Moorish Nationality Card
Buy Tickets

Doors To Open @ 7 p.m.
Show To Start @ 8 p.m.

Performances By:

Naughty by Nature
Positive K
Grandmaster Melle Mel
Chill Rob G
Large Professor
Craig G
Shaheim
Dana Dane

DJ DP One
DJ Chuck Chillout

SOB’s – Home of Universal Music
204 Varick St., Basement
New York, NY 10014
1.212.243.4940
SOBs
@SOBs via Twitter

For More Information About the Afrika Bambaataa 35th Anniversary Show at SOBs – November 15, 2009

Event Presented Nubian Productions

We were lucky enough to chop it up with famed hip-hop scholar and visual artist James “Koe” Rodriguez. 

Please introduce yourself and tell us a little bit about what you do.

My name is James “Koe” Rodriguez, bka Koe Rodriguez.  I’m a visual artist who’s had the pleasure of wearing quite a few unique hats in this industry of ours. I manage the business affairs of pioneering New York photographers: Jamel Shabazz, Ernie Paniccioli and Joe Conzo.  I’m also currently working with the Heritage Brand of Hip-Hop Culture, Sedgwick & Cedar, to help reposition the company as a global lifestyle brand.  I like to stay busy.

Most of us recognize you from being in the sneaker documentary Just For Kicks.  How did you get involved with CAID Productions for that?

 In truth, most people recognize me as Koe the Graff writer from JC, (Jersey City).  That’s actually where the name Koe comes from, initially spelled with a C and later with a K.  Just For Kicks was something that came about via my man Jamel Shabazz.  Caid Productions wanted to interview Jamel and he thought I should ride shotgun, which is how we occasionally roll for interviews.  I’ve been a “style child” since the 80’s and definitely no stranger to a fly pair of kicks, with matching laces of course.  I had a bag full of old fat laces from the 80’s that I took to the shoot and when I showed the crew at Caid, they lost their minds! They were like, you need to drop some jewels, and that’s exactly what I did. 

The Director, Thibaut De Longeville from Paris told me that Jamel & I were two of his favorite interviews in the whole film.  I guess he wasn’t bullshitting, ‘cause in conjunction with PUMA, they flew us out to Paris (along with my man Bobbito Garcia and DJ Cash Money) for some very dope promotional events.  We were out there like rock stars, smashin’ up the town.  Thibaut has become a good friend ever since and we were hanging out in Paris just a few months ago.  I also got kool with Thierry Daher over at Caid Productions in New York and Joe Conzo and myself were one of the stars of his 2008 film, Way of the B-Boy.

What’s a typical day in your life / job like?

It used to be a ton of running around, man: meetings, premieres, release parties, launches, blah, blah, blah; the usual industry shit.  Nowadays, I work from the comfortable confines of my home in Central New Jersey.  I still travel when I have to and minimize my trips into New York for priority business n’ such only.  I’ve paid quite a few dues and don’t have to move around as much as I used to, although working from home sometimes sucks.  I’m inherently an extrovert and love being in the mix. 

How did this type of work interest you and how did you get started?

Everything that I’m doing now is a direct result of my involvement in Hip-Hop, particularly the 1980’s Graffiti scene.  Graffiti was my ticket into the industry.  Through Graff, I’ve met so many people, explored so many places and have been afforded so many opportunities over the years.  I was able to parlay my creative abilities (and some decent business sense) over the years into what I presently do.  Trust me, there wasn’t a plan.  I just stuck to my guns and exploited every opportunity that came my way.  I really don’t believe in luck.  We all have the power to be where we want to be in life.  Luck is winning the lottery or cheating death.

How did you get your job?  What jobs and experiences have led you to your present position?

One of the things I’m most proud of is creating my own job.  No one gave it to me.  I’ve learned much as an artist and hustler in Hip-Hop over the years.  If Hip-Hop was an institution of higher learning, I would definitely have a Masters Degree.  I’ve just spent that much time involved in it.  I’m going on 40 next year and I’ve been down with Hip-Hop since the Carter administration; do the math.  I consider myself cross platform (so to speak) because I not only have the unique ability to be creative, but to also act as a businessman as well. 

I’ve been a partner in at least 4 business ventures in the past and I’ve learned a lot about business.  In truth, I miss being more creative; again, I’m an artist at heart, but I’m just at a different place in my life right now.  I’ve always loved Hip-Hop, (every nook and cranny of it) and it was one of my goals to be self employed in it, which I currently am. I’ve seen some of Hip-Hop’s best years and being a part of that all set the stage for where I’m at today. 

Can you suggest some ways a student could obtain this necessary experience?

Sure, go out and be a part of something; as they say, “get some!” Wasted talent is a sin, man! If you’re even remotely good at something, not just an element of Hip-Hop, pursue it with unwavered heart and passion.  Don’t let anyone crush your dreams and/or knock you off course.  It’s kool to be a cheerleader on the sidelines, but nothing’s better than being in the game.  I’ve always been a devout student of the culture, way before cats labeled me a connoisseur or scholar.  Me being a part of several films, books, shows and other special projects is because I know my shit; I took the time to learn about this culture in addition to being a part of it.  Being educated (in any respect) is important and that’s when respect and opportunity come your way.  Know that which you love inside-out and always respect the OG’s and your fellow artists.  You need humility and knowledge, not just talent to survive in Hip-Hop, and life in general.

What are the most important personal satisfactions and dissatisfactions connected with your occupation? What part of this job do you personally find most satisfying? Most challenging? What do you like and not like about working in this industry?

Personal satisfactions would be getting ahead in my career and continuing to make money and have fun doing it.  Dissatisfactions would have to be the complete opposite.  Most satisfying would be brokering nice deals with big corporations such as Nike, Adidas, and Viacom.  In addition, travelling the world, being a part of special multi-media projects and just having a grand ol’ time with Hip-Hop.  Most challenging will always be bigger and better paychecks, maintaining my creativity (and sanity) and dealing with politics, egos and bullshit.  What I like most about working in this industry is the progressiveness and unpredictability of it; it’s never a dull moment.  Most of the elements never cease to amaze me and always remind me of why I got into this thing in the first place.  As for my dislikes regarding the industry, I pretty much touched on it above.  I sometimes hate that Hip-Hop has been so compromised and that not enough real heads are at its corporate reigns.  Lastly, I dislike that our culture is so accessible and neatly packaged up at times.  There was a time when Hip-Hop was this secret society.  Not everybody could get in, get down and move so freely through the realm.  There were rules & regulations; beat downs for biters and violators; and no short cuts to being down by law. Once Hip-Hop went mainstream and we officially had an industry with an infrastructure (of sorts) an economy, politics, bureaucracy and nonsense, it lost something.  I’m all for moving forward, but…

What are some of the other jobs available in this field or organization?

There’s a bunch of jobs in this industry, some very lucrative.  Whether or not one is qualified to perform any is really the question.  An occupation in Hip-Hop doesn’t work like filling out a job app on Monster.com. You have to really get in where you fit in – period.  It’s what I had to do and so many others as well.  It really helps to know people and possess some form of talent.  Hip-Hop is a multi-billion dollar industry and much like any other profitable industry it will take care of those who are the most qualified, talented and hungriest. 

What particular skills or talents are most essential to be effective in your job? How did you learn these skills?

Creativity, balls, thick skin, patience, knowledge, tenacity and good communicational and interpersonal skills.  I hate a lot of these smart dumb people out here.  You have to have some degree of smarts to do anything on this planet, let alone work in an industry that eats its young.  Everything I know was self taught or absorbed from other positive and very talented people.  They say God doesn’t give you what you want, he gives you what you need and the rest is up to you; well, that couldn’t be truer.  I’m not against school and certainly not a drop-out, but degrees aren’t always a ticket to success – passion and desire are.

How is the economy affecting this industry?

First n’ foremost, I don’t believe in this so called recession of ours.  When people stop buying flat screen TV’s, anything Apple, shopping in malls, driving luxury automobiles, sporting labels, and buying 5 dollar coffees to hold in one hand while they yap on a $500 phone in the other, I’ll believe cats are hurting out here.  I think new technology has affected this industry more than the economy has.  The web is like the gift and the curse; it has people downloading free music, videos and other forms of media that they would’ve paid for in the past.  It has companies spending less on traditional forms of advertising, (i.e. print, TV and radio) because the internet offers more bang for their buck.  Depending on your industry, technology is either your friend or your sworn enemy.  I knew a guy who had to recently close down a once profitable photo lab because companies online offered cheaper prints/services, and spots like CVS and Walgreens offered the same quality prints he offered, but for far less.  They basically cut his throat.  He’s a miserable car salesman now and understandably so.

How has your job affected your lifestyle?

My job is my lifestyle and vice versa; and I really can’t complain.  Working in this industry has its ups and downs, but that’s life in general.  There’s definitely more ups then there are downs nowadays.  I love what I do and whenever I start complaining about something, I drive to a train station in the morning to see people scrambling to get to work, looking all miserable and frustrated and remind myself that I can always go back to the rat race if I’m not happy being my own boss.

What abilities or personal qualities do you believe contribute most to success in this field/job?

Having balls, thick skin, an innate ability to hustle and undying patience and persistence! Having brains and a talent or two doesn’t hurt either.  God blessing me with creativity (in so many respects), being educated both in-and-out of the classroom and having immense resilience and persistence has helped me greatly in life.  I’m kool by nature and I’ve been hustling since I was a kid; which has only helped, not hurt me.

How did your relationship with Sedgwick & Cedar come about?  What are your thoughts on their current collection with (your artist) Jamel Shabazz?

I’ve known the Riccio brothers, Ray & Ed (R.I.P.) the owners of the brand since 2005 and have always admired their desire to marry the essence of our great culture to urban fashion.  They came in the game with a plan, crazy respect and a ton of humility.  In other words, they came correct. They supported a big show I curated in Brooklyn with my guys back in ’05 called 3 The Hard Way and we’ve been kool ever since.  S&C represents a very unique standard and special place in Hip-Hop apparel today.  Regarding the Shabazz collection, what can I say; it’s everything we thought it would be.  Jamel & I have been a part of the collection from A-Z.  I’ve had a lot of say regarding the creative process and how the product is marketed and promoted.  The collection has gotten a very strong international buzz and we expect the same (if not better) for Joe Conzo and Ernie Panicciolil’s forthcoming collections as well. 

Thank you for taking the time to speak with us Koe.  Do you have any last words or shout-outs?

Hip-Hop is still as beautiful and as progressive as ever.  If you’re not doing right by this gift the great Afrika Bambaataa and DJ Kool Herc blessed us with, you should bounce! There’s still cats like myself who love Hip-Hop and want only the best for it.  It’s done right by me and so many others across the globe, so let’s continue to say thank you by supporting our pioneers and uplifting our culture in general.  Peace, Love, Unity, Fun, Knowledge, Wisdom, Equality and infinite Positivity, people! Respect to Peter & The Goodie Bag, my 1 LOVE crew: Jamel Shabazz, Ernie Paniccioli, Joe Conzo and Latee.  My Boricua brothers: DJ Disco Wiz, Bobbito Garcia, Ivan “Doc” Rodriguez, Mare 139, TATS CRU, Ken Swift and Kenny Dope.  My S&C fam: Double R aka Ray Riccio, Dan “The Man” Sears, Ryan “Undying” Krauchick and Pash & Crew over at Digital Soup.  My better half Christy Milanes, my daughter & son, Serg the Barber, Lo-Lifes, Zulus, true Hip-Hoppers and my international familia, you know who you are.  Roc on…

One of the founding members of Hip Hop and Electro Funk.
Founder of the Mighty Zulu Nation!
Dj Afrika Bambaataa and the Soul Sonic Force!!

From: Activision

ACTIVISION UNVEILS HIGHLY ANTICIPATED DJ HERO MUSIC SET LIST

Featuring 93 Exclusive Mixes Spanning Hip Hop, Rock, Pop, R&B, Dance and More, Set List Delivers Original Music Only Available in DJ Hero

Tuesday 6th October/… Hailed in the press as one of the most fun, innovative and highly-anticipated games of the year, Activision Publishing Inc. (Nasdaq: ATVI) today dropped the needle on DJ Hero’s™ full set list featuring 93 exclusive mixes from the biggest stars in hip hop, R&B, rock, pop and dance and created by some of the greatest DJs of all time. On October 30th, living room legends and budding superstar DJs alike will start the party off right with an unprecedented array of talent DJs including DJ AM, Cut Chemist, Grandmaster Flash, DJ Jazzy Jeff, J. Period, DJ Shadow and DJ Z-Trip spinning tracks from JAY-Z to Eminem; Daft Punk to Black Eyed Peas; Rihanna to The Killers; Kid Cudi to Gwen Stefani; and Marvin Gaye to Beastie Boys.

Tapping a massive cultural phenomenon and bringing the most popular music of almost every genre to the masses in an all-new, interactive way, media are already taking notice:

“House parties will never be the same” – Best Social/Casual/Puzzle Game – Game Critics Awards: Best of E3 2009

“DJ Hero is going to do what Guitar Hero did for guitars.” – San Jose Mercury News

“A reminder of why the music genre became so popular in the first place” – IGN.

The complete DJ Hero 93 mix, on-disc set list will include:

• 2Pac – “All Eyez On Me” vs. The Aranbee Pop Orchestra – “Bittersweet Symphony (Instrumental)”
• 50 Cent – “Disco Inferno” vs. David Bowie – “Let’s Dance”
• 50 Cent – “Disco Inferno” vs. InDeep – “Last Night A DJ Saved My Life”
• Afrika Bambaataa – “Zulu Nation Throwdown” vs. Freedom Express – “Get Down”
• Beastie Boys – “Here’s A Little Somethin’ For Ya” vs. DJ Shadow – “The Number Song (2009 Version)” (Produced and mixed by DJ Shadow)
• Beastie Boys – “Intergalactic” vs. Blondie – “Rapture”
• Beastie Boys – “Lee Majors Come Again” vs. Daft Punk – “Da Funk” (Produced and mixed by Cut Chemist)
• Beck – “Where It’s At” vs. DJ Shadow – “Six Days (Remix ft. Mos Def)”
• Bell Biv DeVoe – “Poison” Beat Juggle
• Bell Biv DeVoe – “Poison” vs. Beastie Boys – “Intergalactic” (Produced and mixed by DJ AM)
• Bell Biv DeVoe – “Poison” vs. Cameo – “Word Up!”
• Benny Benassi – “Satisfaction” vs. Tiësto – “Elements Of Life”
• Billy Squier – “The Big Beat” vs. N.E.R.D. – “Lapdance” (DJ-Guitar mix)
• Black Eyed Peas – “Boom Boom Pow” vs. Benny Benassi – “Satisfaction”
• Bobby “Blue” Bland – “Ain’t No Love In The Heart Of The City” vs. 2Pac – “How Do You Want It”
• Bobby “Blue” Bland – “Ain’t No Love In The Heart Of The City” vs. Connie Price & The Keystones – “Fuzz And Them”
• Boogie Down Productions – “Jack Of Spades” vs. David Bowie – “Let’s Dance” (Produced and mixed by DJ Shadow)
• Chuck Brown & The Soul Searchers – “Bustin’ Loose” vs. The Zombies – “Time Of The Season” (Produced and mixed by DJ Shadow)
• Chuck Brown & The Soul Searchers – “Bustin’ Loose” vs. Young MC – “Bust A Move”
• Common – “Universal Mind Control (U.M.C.)” vs. Masta Ace – “Jeep A** Gutter (Aaron LaCrate & Debonair Samir RMX)” (Produced and mixed by The Scratch Perverts)
• Cypress Hill – “Insane In The Brain” vs. Classics IV – “Spooky”
• Cypress Hill – “Insane In The Brain” vs. David Axelrod – “The Edge”
• Daft Punk – “Around The World” vs. Young MC – “Bust A Move”
• Daft Punk – “Da Funk” vs. N.A.S.A. – “Strange Enough ft. Karen O, ODB & Fatlip”
• Daft Punk – “Megamix 1”
• Daft Punk – “Megamix 2”
• Daft Punk – “Robot Rock” vs. Hashim – “Al Naafyish (The Soul)” (Produced and mixed by The Scratch Perverts)
• Daft Punk – “Robot Rock” vs. Queen – “We Will Rock You”
• Daft Punk – “Short Circuit” vs. Boogie Down Productions – “Jack Of Spades”
• Daft Punk – “Technologic” vs. Gary Numan – “Cars”
• Daft Punk – “Television Rules the Nation” vs. No Doubt – “Hella Good”
• David Axelrod – “The Edge” vs. Eric B. & Rakim – “Eric B. Is President”
• Dizzee Rascal – “Fix Up, Look Sharp” vs. DJ Shadow – “Organ Donor (Extended Overhaul)”
• Dizzee Rascal – “Fix Up, Look Sharp” vs. Justice – “Genesis”
• DJ Shadow – “Six Days (Remix ft. Mos Def)” vs. D-Code – “Annie’s Horn”
• Eminem – “My Name Is” vs. Beck – “Loser”
• Fedde Le Grand – “Put Your Hands Up For Detroit” vs. Sandy Rivera and David Penn – “I Can’t Stop (David Penn Remix)”
• Foo Fighters – “Monkey Wrench” vs. Beastie Boys – “Sabotage” (DJ-Guitar mix)
• Foreigner – “Juke Box Hero” vs. DJ Z-Trip ft. Murs – “DJ Hero” (Produced and mixed by DJ Z-Trip)
• Foreigner – “Juke Box Hero” vs. DJ Z-Trip ft. Murs – “DJ Hero” (DJ-Guitar mix, produced and mixed by DJ Z-Trip)
• Gang Starr – “Just To Get A Rep” vs. Mobb Deep – “Shook Ones, Pt 2” (Produced and mixed by J. Period)
• Gorillaz – “Feel Good Inc.” vs. Blondie – “Atomic”
• Grandmaster Flash’s – “Boom” vs. “Tap” (Produced and mixed by Grandmaster Flash)
• Grandmaster Flash, DJ Kool, DJ Demo – “Here Comes My DJ” vs. Gary Numan – “Cars” (Produced and mixed by Grandmaster Flash)
• Gwen Stefani – “Hollaback Girl” vs. Gorillaz – “Feel Good Inc.”
• Gwen Stefani – “Hollaback Girl” vs. InDeep “Last Night A DJ Saved My Life” (Produced and mixed by DJ AM)
• Gwen Stefani – “Hollaback Girl” vs. Rick James – “Give It To Me”
• Herbie Hancock – “Rockit” Beat Juggle
• Herbie Hancock – “Rockit” vs. N.E.R.D. – “Lapdance” (Produced and mixed by Grandmaster Flash)
• InDeep – “Last Night A DJ Saved My Life” vs. Cameo – “Word Up!”
• Jackson 5 – “I Want You Back” vs. Gang Starr – “Just To Get A Rep” (Produced and mixed by DJ Yoda)
• Jackson 5 – “I Want You Back” vs. Third Eye Blind – “Semi-Charmed Life” (DJ-Guitar mix)
• Jackson 5 – “I Want You Back” vs. Third Eye Blind – “Semi-Charmed Life”
• JAY-Z feat. Pharrell – “Change Clothes” vs. 2Pac – “All Eyez on Me”
• JAY-Z – “Izzo (H.O.V.A.)” vs. Eminem – “My Name Is”
• JAY-Z – “Izzo (H.O.V.A.)” vs. Jackson 5 – “I Want You Back”
• JAY-Z – “Excuse Me Miss” vs. Rick James – “Give It To Me”
• Jean Knight – “Mr. Big Stuff” vs. Masta Ace – “Born To Roll”
• Jurassic 5 – “Jayou” vs. Billy Squier – “The Big Beat”
• Jurassic 5 – “Jayou” vs. Herbie Hancock – “Rockit”
• Kid Cudi – “Day ‘N’ Nite” vs. Black Eyed Peas – “Boom Boom Pow”
• Kool Moe Dee – “How Ya Like Me Now” vs. Reel 2 Real featuring The Mad Stuntman – “I Like To Move It”
• Little Richard – “Tutti Frutti” vs. Shlomo – “Beats” (Produced and mixed by DJ Yoda)
• M.I.A. – “Paper Planes” vs. Eric B. & Rakim – “Eric B. Is President” (Produced and mixed by The Scratch Perverts)
• M.I.A. – “Paper Planes” vs. Wale – “Lookin’ At Me”
• Marvin Gaye – “I Heard It Through The Grapevine” vs. David Bowie – “Let’s Dance”
• Marvin Gaye – “I Heard It Through The Grapevine” vs. Gorillaz – “Feel Good Inc.”
• Motörhead – “Ace Of Spades” vs. Noisia – “Groundhog” (DJ-Guitar mix)
• N.A.S.A. – “Strange Enough ft. Karen O, ODB & Fatlip” vs. Isaac Hayes – “Theme From Shaft”
• Noisia – “Groundhog” Beat Juggle (Produced and mixed by The Scratch Perverts)
• Paul van Dyk – “Nothing But You” vs. Sandy Rivera and David Penn – “I Can’t Stop (David Penn Remix)”
• Public Enemy – “Shut ‘Em Down” vs. Beck – “Where It’s At”
• Public Enemy ft. Zakk Wylde – “Bring The Noise 20XX” vs. Justice – “Genesis” (Produced and mixed by DJ Z-Trip)
• Public Enemy featuring Zakk Wylde – “Bring The Noise 20XX” (DJ-Guitar mix)
• Q-Tip – “Good Thang” vs. Billy Squier – “The Big Beat” (Produced and mixed by J. Period)
• Queen – “Another One Bites The Dust” vs. Beastie Boys – “Brass Monkey” (Produced and mixed by DJ Z-Trip)
• Queen – “Another One Bites The Dust” vs. Daft Punk – “Da Funk”
• Rihanna – “Disturbia” vs. Kid Sister – “Control”
• Rihanna – “Disturbia” vs. The Killers – “Somebody Told Me” (DJ-Guitar mix)
• Rihanna – “Disturbia” vs. The Trammps – “Disco Inferno”
• Shlomo – “Beats” vs. Billy Squier – “The Big Beat”
• Street Sweeper Social Club – “Fight! Smash! Win!” vs. Beastie Boys – “Intergalactic” (DJ-Guitar mix)
• Tears For Fears – “Shout” vs. DJ Shadow – “Six Days (Remix ft. Mos Def)”
• Tears For Fears – “Shout” vs. Eric B. & Rakim – “Eric B. Is President” (Produced and mixed by DJ Jazzy Jeff)
• Tears For Fears – “Shout” vs. Eric Prydz – “Pjanoo”
• The Aranbee Pop Orchestra – “Bittersweet Symphony (Instrumental)” vs. LL Cool J – “Rock The Bells” (Produced and mixed by DJ Jazzy Jeff)
• The Scratch Perverts Beats and Pieces (Produced and mixed by The Scratch Perverts)
• The Killers – “Somebody Told Me” vs. Eric Prydz – “Pjanoo”
• Vanilla Ice – “Ice Ice Baby” vs. MC Hammer – “U Can’t Touch This”
• Vanilla Ice – “Ice Ice Baby” vs. Paula Abdul – “Straight Up”
• Wale – “Lookin’ At Me” vs. Black Eyed Peas ft. Tippa Irie – “Hey Mama”
• Weezer – “Beverly Hills” vs. Evidence, The Alchemist, Aceyalone, Rakaa & 88 Keys – “Fresh Rhymes And Videotape” (DJ-Guitar mix)
• Wild Cherry – “Play That Funky Music” vs. Gang Starr – “Just To Get A Rep” (DJ-Guitar mix)

Expanding upon the revolutionary easy to pick up/challenging to master gameplay mechanics developed and refined in Guitar Hero®, DJ Hero delivers an all-new interactive music experience that allows players to start the party and not only experience, but to hear music in an all-new way. With over 100 individual songs, highlighted in 93 unique never-before-released mixes that blend genres of music, including hip-hop, pop, rock and dance, DJ Hero delivers the most diverse and international collection of music ever assembled in a music game by incorporating anthems from legendary artists. Created exclusively for DJ Hero, the turntable controller immerses fans into the DJ culture and a sea of music as they utilize and master various DJ techniques including scratching, crossfading and sampling, while leaving room for creative expression with a variety of effects and player chosen samples and scratches, transforming a face in the crowd into the life of the party.

The DJ Hero Renegade Edition featuring JAY-Z and Eminem includes a copy of the game, a premium Renegade turntable controller, hardshell turntable carrying case that converts to a performance-ready DJ stand, and an exclusive JAY-Z and EMINEM 2-CD pack featuring “best of” and new, unreleased material.

DJ Hero is being developed by FreeStyleGames for the Xbox 360® video game and entertainment system from Microsoft, the PLAYSTATION®3 and PlayStation®2 computer entertainment systems and the Wii™ system from Nintendo. The game is rated 12+ by PEGI. For more information about DJ Hero, please visit djhero.com, facebook.com/djhero and twitter.com/djhero. To pre-order DJ Hero, check out djhero.com/preorder.

About Activision Publishing, Inc.
Headquartered in Santa Monica, California, Activision Publishing, Inc. is a leading worldwide developer, publisher and distributor of interactive entertainment and leisure products.

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I asked Hütter if a synthesizer could tell what kind of person you are and he replied: “Yes. lt’s like an acoustic mirror.”

I remarked that the next logical step would be for the machines to play you.

He nodded: “Yes. We do this. lt’s like a robot thing, when it gets up to a certain stage. lt starts playing… it’s no longer you and I, it’s it. Not all machines have this consciousness, however. Some machines are just limited to one piece of work, but complex machines…”

“The whole complex we use,” continues Florian, referring to the equipment and headquarters in Düsseldorf, “can be regarded as one machine, even though it is divided into different pieces.” Including, of course, the human beings within…

-from Kraftwerkfeature by Lester Bangs

Kraftwerk’s quest for union between man and machine may appear corny at first.  When I heard Trans-Europe Express, I wasn’t sure how to take it.  Are these guys serious?  Is it tongue-in-cheek?  The more you watch and listen, the more you’ll come to realize that they are completely serious.  And completely awesome.

This performance of “The Robots” is from Italy but apparently was broadcast on Soviet TV.  Note the clones of the band members watching from the front row.  Did they pay for those seats?  In later performances, actual robotic versions of the band members would “perform” this song, and their human counterparts were nowhere to be seen.  It didn’t stop the crowd from cheering.

If this isn’t bizarre enough yet, consider the impact this band of white German nerds made on the urban dance music of Detroit.  Afrika Bambaataa and Derrick May, for example, pushed Kraftwerk hard.  (May has stated in interview that he first heard Kraftwerk and Funkadelic on the same day!)    You’ll hear samples pop up all over the place once you can recognize them.  How can something so square be so funky?

“The Model” is easily one of my favorite Kraftwerk tracks.  These are some of their finest lyrics.  “It only takes a camera to change her mind”…

A rare recording from Bremen radio, 1971.  This is the fleeting lineup that included Michael Rother & Klaus Dinger (who would soon depart to form NEU!), but not Ralf Hütter, who was on hiatus to complete his studies.  It offers a glimpse into the early history of the band.  This is the tail-end of their krautrock days and fits in more closely with their first 3 records (which the band has essentially disowned).  I think you’ll agree that this rocks surprisingly hard:

Kraftwerk are notoriously private and reserved.  There’s not a lot of information from the inside, and they famously turned down offers to work with Elton John, David Bowie and Michael Jackson.  Today, they’re still performing and, although they aren’t releasing much in the way of new music, they can put on one hell of a show.  This performance of “Radioactivity” is from 2009, Manchester.  In the beginning, the song was about radio transmission.  Over the years, it’s morphed into a darker statement about the dangers of radioactivity.  Put on your 3D glasses… now.

Afrika Bambaataa & the Soul Sonic Force – Renegades of Funk

vs.

Rage against the Machine – Renegades of Funk

Here’s the latest batch of Music Musings and Miscellany’s unapologetically subjective selection of the twentieth century’s best 1000 singles. More Ps? Yes please.

PIXIES – Planet of Sound / Build High (4AD 1008 1991)
They’re touring this autumn. £30+ a pop for tickets to see them run through all the old hits yet again. Thanks, but no thanks, especially since Kim Deal has pretty much nixed any hopes of an album of new material. Trompe Le Monde got a fairly lukewarm reception when it came out, but I thought it was much more consistent than Bossanova. It was trailed as the Pixies metal album when it came out, which may have put a lot of people off since metal was about as fashionable as Daniel O’Donnell at the time. There is definitely a metal aspect to the glorious surf-thrash of “Planet of Sound”. It certainly proved that they’d lost none of their ferocity.

AFRIKA BAMBAATAA – Planet Rock / instrumental (Tommy Boy 823 1982)
It’s probably patronising and inaccurate to say that this was the record that introduced black America to Kraftwerk, but it was definitely instrumental in kick-starting the whole electro scene where rap and hip hop cross-fed with European electronic music. The tune sounds a little dated now, but that’s due more to the rapping (which, in fairness, was an art form in its infancy) than the beats or the tune.

BJÖRK & DAVID ARNOLD – Play Dead / instrumental (Island 573 1993)
David Arnold’s kind of accepted now as the natural successor to John Barry, but I must admit I didn’t have a clue who he was when this came out. Who’s this bloke who’s uppity enough to demand a co-credit on a Björk tune? I thought. It was part of the soundtrack of a fairly ropey Brit-flick called The Young Americans, and sounds like a Bond theme.

LONNIE JOHNSON – Playing with the Strings / Stompin’ ‘em Along Slow (Okeh 8558 1928)
A lot of Lonnie Johnson’s vocal blues records of the twenties and thirties were pretty generic and unimaginative. I’ve always got the impression that he just wasn’t that interested in country blues. He was much better when he duetted with Victoria Spivey. Best of all, though, were the instrumental guitar records he made solo and with Eddie Lang. “Playing with the Strings” is one of my favourites of his – the dexterity and speed of the finger-work is astonishing.

THE MONKEES – Pleasant Valley Sunday / Words (Colgems 1007 1967)
How does a self-confessed Beatle-phobe square that up with a love of what was essentially a manufactured band put together for a TV show in a blatant attempt at recreating Beatlemania? I dunno – maybe they just had better tunes. Maybe it was Nesmith’s woolly hat. You can’t deny that “Pleasant Valley Sunday” is a top pop tune, and it’s got a satirical edge to it that the Beatles could never match. Their idea of satire was whining about how much tax they had to pay.

MARVELETTES – Please Mr Postman / So Long Baby (Tamla 54046 1961)
Quiz question. What film (90s or early 2000s) had a scene where the hero (I think) is going into a building, and a trio of neighbourhood girls break into this song? There’s no prizes, it’s just something that has been bugging me. A classic Motown pure pop song. I love the bit where Gladys Horton breaks into just about the worst Jamaican accent you’ve ever heard!

JAMES BROWN – Please Please Please / Why Do You Do Me? (Federal 12258 1956)
What a way to begin a five decade recording career. Even as a callow 23 year old making his recording debut, the melodrama and the showmanship were already there, fully formed. A soul masterpiece.

PINK FLOYD – Point Me at the Sky / Careful With That Axe Eugene (Columbia 8511 1968)
Lost in the cracks of history between the Barrett era and the cosmic space-rock Floydian era were a couple of singles that are largely forgotten. “It Would Be So Nice” perhaps deservedly so, but “Point Me at the Sky” is an awesome song. It was written by Gilmour and Waters, but is very much in the Barrett vein. Perhaps that’s why it’s been effectively disowned by both authors. As far as I know, it’s not (officially) available on any CD. It’s a psych-pop nugget with a gushing trip of a chorus that concerns (in the first part) the adventures of an aviator called Henry McLean and (in the second part) the nightmare of over-population. The lyrics may be a little self-consciously Barrett-like with a touch of trademark Waters misanthropy, but they’re quite witty “And if you survive till two thousand and five / I hope you’re exceedingly thin / For if you are stout you will have to breathe out / While the people around you breathe in“.

JUNIOR MURVIN – Police and Thieves / version (Island 6316 1976)
There were loads of tunes that used the same rhythm track as “Police and Thieves”. Jah Lion’s “Soldier and Police War” is a personal favourite, but the original is still the best. I’ve always found it curious that so many great reggae singers sang falsetto. As well as Murvin, there was also the fantastic Cedric Myton of the Congos. It’s weird how it works with reggae, but sounds ridiculous with rock.

T POWER – Police State / Prospect For Democracy / Radio Start Point (Fade at Will) / Synthesis (Sound of the Underground TPOW001 1995)
Breaking my own rules of inclusion, “Police State” was virtually an album with the four tracks running to nearly 40 minutes. The lead track (all 14 minutes of it) used samples of George Lucas’s first ever film THX 1138 to create a lush but dystopian epic of drum and bass as widescreen art. One of the things that felt so liberating about jungle in the mid nineties is that it could incorporate everything from ragga to minimalism to Kosmische Musik.

ORANGE JUICE – Poor Old Soul / part 2 (Postcard 813 1981)
Before Polydor polished them up and sucked much of the charm out of them, Orange Juice represented everything that was good about indie pop. This was music that was catchy, witty and exciting. It wasn’t loaded with angst or pretension, it was simply joyous and danceable.

SLAM – Positive Education / Intensities In-Ten-Cities (Soma 8 1993)
Orde Meikle and Stuart McMillan’s signature tune is one of those rare dance tracks that sounds as contemporary in 2009 as it did in 1993. Straddling the house / techno divide, it has an irresistible drive to it that sounds as fresh today as when it was minted.

BOB DYLAN – Positively Fourth Street / From a Buick Six (Columbia 43389 1965)
I don’t think anyone has ever been able to do spite in quite the same class as Dylan. From “Ballad of a Thin Man” to “Idiot Wind”, when he gets the hump with someone the onslaught is relentless. The pay-off verse is priceless: “I wish that for just one time you could stand inside my shoes / Then you’d know what a drag it is to see you“

JAMES CARR – Pouring Water On a Drowning Man / Forgetting You (Goldwax 311 1966)
James Carr, in my mind the greatest southern soul singer of them all, was plagued by mental health issues throughout his life. Perhaps that’s why the hurt came through in his ballads so strongly. It seemed totally real. “Pouring Water on a Drowning Man” – never has a title so aptly summed up the mood of a song.

BERTHA ‘CHIPPIE’ HILL – Pratt City Blues / Pleadin’ for the Blues (Okeh 8420 1926)
I’m a huge fan of Dashiell Hammett – in particular his early Continental Op stories set in the dark days of prohibition era America. When I first heard “Pratt City Blues” on Paul Oliver’s groundbreaking The Story of the Blues double album, it immediately evoked the shady world of speakeasies, moonshine and corruption. Chippie Hill isn’t one of the better known blues singers of the twenties, but in my mind she was one of the best at portraying the down at heel and out of luck.

More soon

Eu acho o funk carioca uma potência tanto musicalmente como no quesito estilo. Não foi à toa que para o “Moda & Música” fui firme na presença do funk como manifestação fundamental do comportamento jovem, pop e principalmente fashion – o que gerou um episódio dedicado só para o pancadão.
Na moda e no comportamente não digo apenas sobre o alcance da calça da Gang que por si já comprova o que o funk carioca tem a oferecer. Hoje as funkeiras adotaram o visual shortinho curto e o baby look, já os meninos pegaram emprestados o estilo vindo do hip hop com calças e camisas folgadas e bonés. Já o cabelo pode ser descolorido, ideia que veio do grupo Funk N’Lata.
A carga altamente erótica é outra chave assim como os diversos papéis da mulher no funk carioca. Temos desde as que se objetificaram como as frutas da vida até as Mcs como Tati Quebra-Barraco e Deise Tigrona que foram responsáveis e porta-voz da difusão internacional do movimento musical.
Abaixo está um pequeno trecho de uma matéria que escrevi para a falecida revista Beatz ainda sobre o impacto do meu encontro com o funk, em 2003, depois do Tim Festival, no Rio de janeiro:

NA TERRA DE MARLBORO:
Afrika Bambaata encontra a verdadeira música eletrônica brasileira

Marlboro atende. É Regina Casé. Eles conversam com bastante familiaridade. O DJ diz a ela que está inconformado, pois desde o TIM soube do boato que o funk não estaria no especial da Globo sobre o festival. Regina diz que não foi a Globo mas a organização do festival que decidiu só pelas atrações estrangeiras.
Seja quem for o responsável, realmente foi bem vacilão (começo a me familiarizar com o vocabulário funk) quem não colocou no ar a apresentação mais quente e intensa de um festival, em geral, frio e apático.
Logo mudam de conversa e Marlboro convida Regina para ir na tour com Afrika. Ele diz que vai no complexo do Alemão e ela, do outro lado da linha, parece ficar com receio e ele a tranqüiliza: ”Regina, você está com Marlboro”.
Terminado o telefonema e a conversa quase no elevador, Marlboro fala orgulhoso que Afrika disse para ele que o funk é seu filho mais promissor… seu filho mais importante.

The last week or so we’ve had this slight obsession with Public Image Limited.  Commonly referred to on t-shirts as PiL.  Not necessarily that they were groundbreaking – they were, of course – but just because John Lydon was such a character.  It’s kind of disappointing that his career arc has him now doing reality television or hawking butter for the consumerist masses he once ridiculed, but for a few years, he was the voice and face of what was then true iconoclasm.  His sharpened stare – the result of childhood meningitis – was withering to anyone who was subjected to it.  John Lennon also had a stare that could stop people cold, but Lydon’s was like acid. 

There’s a great line from his unrepentant ‘punk memoir’ Rotten: No Irish, No Blacks, No Dogs:

“‘Nice’ is the worst insult you could ever pay anybody. It means you are utterly without threat, without values. Nice is a cup of tea.”

That’s part of what makes the guy interesting to me.  Yeah, he’s this shape shifter with bad teeth and bad skin, he’s a nutcase, a showman, a shaman, a wit, a cynic, a revolutionary, a court jester, and the joke (on all of us) is that we may never truly know which one we’re dealing with.  The safety pinned halo still packs a little bit of awe in this world of Pete Wentz’s and Lady Gaga’s whose calculated Hot Topic  ‘subversiveness’ is about as rebellious as eating at Taco Bell.

This was the first thing I heard from them and I thought, “Oh wow, he’s got a real band now.”  I still get a rush from it and I still consider it one of the greatest singles I ever heard.  And goddamn!  Can Jah Wobble be any cooler? 

Don’t we know it. 

Okay, it’s not Public Image Ltd., but it does have Afrika Bambaataa doing his Sun Ra shtick at the end and the shtick is quite frankly amazing.  I don’t know if anyone today would really get this, but if you were a young person in the early 1980’s, then you had to deal with this doddering Reagan shit (“We begin bombing in 5 minutes” etcetera… ) and it was pervasive enough to make you think that life was not going to go beyond 1988.  Enjoy! 

It’s back and bigger than ever – Smokeout Festival! Hitting Southern California for not just one but TWO days of “smokeout” tunage at the San Manuel Amphitheater in San Bernardino, this festival is sure to bring out the inner smoker in you! Check out the siiiiiiick lineup:

This is all the info for now. Keep checking back – we will be bringing you the most updated news when it becomes available. But for now, make sure your calendar is open and free the weekend of October 23 and 24th!

I anledning min nye bok, Hiphop, en reprise på mitt intervju med breakelegendene Rock Steady Crew fra 2003, et intervju som også dukker opp i boka. Popmaster Fabel og Crazy Legs var på besøk i Trondheim, i anledning Bylarm.

Hiphop har rukket å bli over 30 år gammel, men nå er platebransjen i ferd med ødelegge hele kulturen, mener medlemmene i Rock Steady Crew, tidenes mest kjent breakegruppe.

– Hiphop var en måte å feire livet på, men nå ødelegges kulturen av ensidig satsing på gangstarap, sier Popmaster Fabel.

– Hiphopkulturen oppsto som en reaksjon mot vold og gategjenger, men nå har platebransjen dyrket frem artister som får samfunnet til å sette likhetstrekk mellom hip hop og kriminalitet. Og enkelte unge hiphopere tror de konstant må tøffe seg. I går holdt jeg på å havne i slåsskamp tre ganger! I Trondheim, sukker Richard Colón.

Navnet sier deg neppe noe, men under aliaset Crazy Legs har 36-åringen vært en av hiphops viktigste ambassadører siden han begynte å danse seg til blods i parker og forlatte bygninger i Bronx i 1977. Som medlem i breakegruppen Rock Steady Crew var han med på å ta hiphop over i musikk- og filmbransjen gjennom kvelder på Manhattan-klubben The Roxy i 1982, med Andy Warhol, Talking Heads, The Clash og Blondie som måpende tilskuere. Så sto verden for tur gjennom roller i skoledannende filmer som Flashdance, Beat Street og Wild Style.

Nå beskylder han og Rock Steady-makker Jorge Pabon (37), alias Popmaster Fabel, platebransjen for å fornekte hiphops antivoldelige røtter til fordel for ensidig dyrking av voldelig og nihilistisk gangstarap. Holdninger som sår bitre frø verden over, fra New York til Trondheim.

Fra kultur til industri
– Når jeg ser på hiphop i dag… nei, jeg vil ikke en gang kalle det hiphop, men rapindustrien. Rapping er bare et av fire elementer i hiphopkulturen, men på grunn av mengden med gangstarappere setter folk i dag likhetstrekk mellom hiphop og kriminalitet. Vi kommer fra nabolag der gjenger styrte gatene og var inspirert av westernfilmer, gangsterfilmer, mafiaen og motorsykkelgjenger som Hells Angels. Hiphop har vært 30 års arbeid for å unnslippe disse forbildene og gjøre noe annet, men nå ødelegger platebransjen det harde arbeidet vi har gjort, mener Fabel.

“I put a hole in nigga for fucking with me”, sier rapperen 50 Cent på albumet Get Rich Or Die Tryin’, som denne uken gikk rett inn på førsteplass på Billboard-listen i USA. New York-rapperen debuterer på femteplass på VG-listen, noe som signaliserer gangstaraps definitive gjennombrudd her hjemme. En sjanger verken Crazy Legs eller Fabel er spesielt begeistret for.

– De fleste gangstarapperne er verken kriminelle eller gjengmedlemmer, de bare later som. Rappere som skryter er ikke noe nytt. Tidligere rappet du om cadillacer fordi du ønsket deg en, og på samme måte fantaserer dagens rappere om å være gangstere. De ekte kriminelle jeg vokste opp med rimte ikke om sine lovbrudd, det ville vært selvanklagende, sier Fabel, som nå bruker mye tid på undervisning på alt fra universiteter til offentlige barneskoler.

– Jeg har en utfordring til alle rappere som tror ordene deres ikke har noen effekt: Undervis i skolen og se hvordan tekstene dine påvirker elevene. Når dagens barn blir eldre er dette de samme som vil rane deg, dine barn og foreldre og gjøre alt det andre du rapper om.

I skyggen av kruttrøyken
For platebransjen er regnestykket enkelt. Gangstarap selger og det skaper store overskrifter. N.W.A. satte subgenren på dagsorden med albumet Straight Outta Compton i 1988, og N.W.A.-produsent Dr. Dre befestet det kommersielle grepet med The Chronic fire år senere. I 1998 passerte hiphop country som USAs mest solgte musikkform, og det er fortsatt gangsterne som selger mest.

– Det finnes mange samfunnsbevisste hiphopartister, men de har det vanskelig når markedsavdelingene og de artistansvarlige i de store plateselskapene nesten utelukkende er opptatt av å skrive kontrakt med dårlige forbilder. Platebransjen skriver kontrakt med rappere med tekster som appellerer til publikums lavere drifter, mener Crazy Legs.

Mens kruttrøyken siver over hitlistene er det ikke rart det i farten er lett å glemme hiphops antivoldelige røtter. Men eventyret startet i en bydel som kunne minne om en krigssone: Bronx, New York.

I 1980 sammenlignet presidentkandidat Ronald Reagan Bronx med Dresden etter andre verdenskrig. Beboerne døpte New York-bydelen for ”Little Vietnam” etter en 92 dager lang gjengkrig mellom The Black Spades og The Seven Crowns tidlig på 1970-tallet. Men det var i askene etter gjengkrigene at en generasjon ungdom med minimale tilbud skulle skape en kulturform som i dag har like store relevans i Tokyo og Dakar som Trondheim og Lillehammer.

– Bronx på 1970-tallet var et utbrent sted. Paul Newman-filmen Fort Apache, The Bronx presenterte ikke stereotypier, men et troverdig bilde av hvordan det var: Utbrente bygninger som følge av huseiernes forsikringssvindler og mye fattigdom. Hverdagen handlet om ”ghetto games”, hva du gjorde for å ha det moro uten organiserte tilbud fra ungdomsklubber, sportsklubber eller musikkskoler. Som hinderløp gjennom forlatte bygninger, graffitimaling eller b-boying, kommersielt kjent som ”breakdancing”. Hiphop oppsto som en følge av disse lekene, men var aldri en planlagt bevegelse. Det var bare en samling av elementer som hadde utviklet seg hver for seg tidligere; dansere, graffitimalere, DJ-er og rappere, forteller Crazy Legs.

Gjengliv
Men selv om hiphop til en viss var en reaksjon mot de voldelige gjengene, var kulturens fødsel og fremvekst også avhengig av gjengene.

– De mest populære gjengene i Bronx på 1970-tallet var Black Spades, Savage Skulls, Savage Nomads, Chingaling Nomads og The Bachelors. Gjengene oppsto som en kombinasjon av kampen for å overleve og jakten på egen identitet. Mange visste ikke hvem de var, så gjengfarger og samhold var alt det handlet om. Dette er hiphops røtter, det gikk fra gategjenger til ”crews” med dansere og rappere. På dette viset fant vi en måte å feire livet på igjen, og dersom dagens gangstarappere vokste opp under lignende forhold ville nok de fleste som beveget seg så langt unna den voldelige kulturen som mulig, tror Fabel, som vokste opp med gjenglivet tett på hverdagen i Spanish Harlem.

Både Fabel og Crazy Legs ser på hiphop som en videreføring av borgerrettighetsbevegelsen på 1960-tallet.

– På 1960-tallet kjempet The Black Panthers og den puertorikanske parallellorganisasjonen The Young Lords for retten til sin egen kultur. Hiphop handlet om at vi ønsket vår egen stemme, og feire og skape kulturen vår slik The Last Poets, Gil Scott-Heron og James Brown gjorde før oss på 1960-tallet.

Den beste festen
Den voldelige kampen om herredømmet over gatene gikk følgelig gradvis over til en kamp om å arrangere den beste festen i nabolaget. Men du var avhengig av gjengenes støtte for å kunne ta over bydelens offentlige rom og arrangere fest.

– Det handlet om å være den beste DJ-en, rapperen, danseren og graffitimaleren, og denne konkurransefikseringen var grunnen til at hiphop vokste til slike kvalitetsmessige høyder på så kort tid, mener Fabel og fortsetter:

– Musikkulturen i New York var særs vital lenge før DJ-ene tok over. Mitt nabolag boblet over av musikk fra Puerto Rico og Cuba, guagancó, salsa, rumba og merengue, mens mambodanserne – ”los humbreros” – minnet om breakere. Før DJ Kool Herc, kalt hiphopens far, kom med høyttalerne sine sovnet jeg til tonen av trommer utenfor vinduet, og all jammingen i nabolaget førte til en felles identitet, en følelse av at vi var i samme båt, sier Fabel.

Denne felleskapsfølelsen var i høyeste grad også en del av hiphopkulturen, men det var den legendariske DJ-en Afrika Bambaataa som gjorde ”hiphop” til noe mer en frase brukt av tidlige rappere som Lovebug Starski. I 1982 døpte han den spirende Bronx-kulturen til hiphop, samtidig som kulturen var klar til å bryte ut av Bronx for alvor.

– Bambaataa var Black Spades-medlem, men etter gjengkrigenes blodbad på 1970-tallet presenterte han en ny visjon. Han hadde sett hvordan afrikanerne på 1800-tallet kjempet mot engelskmennene i filmen Zulu, og innså at han burde jobbe for å få det svarte lokalsamfunnet til å stå sammen isteden for å kjempe mot hverandre. Inspirert av Elijah Muhammed, Marcus Garvey og andre svarte ledere startet han The Organisation, som ble til Zulu Nation og spredte seg verden rundt under mottoet ”peace, unity, love and having fun”, forklarer Fabel, selv Zulu-medlem.

– Dessverre plasserer både media og politi ofte Zulu Nation i samme bås som kriminelle gjenger som Bloods, Crips og Latin Kings. Det er nok fordi vi har makt, og så lenge vi assosieres med gjenger og vold tror de at det kan forhindre folk fra å høre på hva vi har å si.

Gråt etter Beat Street
Før Bambaataa døpte hiphop utviklet kulturen seg i fred å ro fra den spede begynnelsen tidlig på 1970-tallet og frem til 1979. Året DJ-en Jazzy Jay kalte ”tørken” var opprinnelig preget av lav grasrotinteresse og flere trodde den nye musikkens dager var omme. Men så kom Sugarhill Gang og deres Rapper’s Delight, og den første platesuksessen var et faktum. Herfra var ikke veien lang til at resten av verden falt; og den virkelig store isbryteren var 1984-filmen Beat Street der Rock Steady Crew, Jazzy Jay, Kool Herc, Melle Mel, Kool Moe Dee, Afrika Bambaataa, Doug E. Fresh og flere av datidens store stjerner hadde små roller.

– Møtet med film- og platebransjen ga hiphop muligheten til å vokse økonomisk og kreativt. Det ble en annen måte å presentere kunstformen på, slik at den kunne verdsettes av et større publikum. Det er ikke noe i veien med å tjene penger på hiphop, problemet er hvis du inngår kunstneriske kompromisser for å gjøre det. Det er alt for mange selvhøytidelige undergrunnsrappere som mener hiphop er noe du ikke skal tjene penger på, men allerede på 1970-tallet hadde vi pengepremier til de beste danserne, selv om det bare var snakk om to-tre dollar, mimrer Crazy Legs.

– Men graffitien i filmen var utrolig dårlig, for fagforeningene i Hollywood hadde trumfet gjennom at den skulle lages av profesjonelle rekvisitører og filmmalere, og ikke ekte graffitimalere.

Fabel på sin side var svært lite begeistret for Beat Street og lignende filmer.

– Jeg fikk bli med til Cannes for å se premieren på Beat Street; men etterpå var jeg så rasende at jeg gråt. Filmen gir ikke noe riktig bilde av oss og vår kultur; det er en scene der en gutt spraymaler en ovn på veggen i en forlatt bygning for å kunne kalle det et hjem. Vi var kanskje fattige, men vi var ikke dumme. Skulle vi spraymalt mat på veggen også? Breakin’ og Krush Groove var også dårlige vitser av noen filmer, billige forsøk på å portrettere en kultur. Om en ekte hiphopfilm noen gang skal lages må vi nok gjøre det selv. Og det er det samme feilaktige bildet av hiphopkulturen platebransjen presenterer i dag. Nå som vi kan brenne cd-plater selv er det lettere å gjøre ting på egen hånd og hip hop bør gå tilbake til grasrota. Jeg bryr meg ikke om musikkindustrien, men jeg er bekymret over skaden den volder.

– Men på den annen side hjalp filmer som Beat Street oss, for ellers ville vi neppe ha vært her i Norge i dag, og hiphop ville bare ha vært et lokalt minne i New York. Nå drar jeg til obskure småbyer verden rundt og ser spor av det som ble født da vi var 11-12 år i New York – da vi lagde fester fordi vi kjedet oss, avslutter Fabel.

Rock Steady Crew
* Breakerne Jimmy D og Jojo stiftet Rock Steady Crew i Bronx, New York i 1977. For å bli medlem i gruppen måtte du utfordre og slå en av medlemmene i “battle”.
* I 1981 fikk gruppen nasjonal medieoppmerksomhet da billedkunstneren Henry Chalfant inviterte dem til å opptre på Lincoln Center Outdoors Program i Manhattan.
* Var en del av scenen på den innflytelsesrike Manhattan-klubben The Roxy fra 1982 og dro på europaturné like etter.
* Dansere fra gruppen deltok i filmer som Flashdance og Beat Street, som bidro sterkt til en globalisering av hiphopkulturen.
* Skrev platekontrakt med Charisma Records og solgte over en million av singelen Hey You, The Rock Steady Crew, men problemer med plateselskapet førte til en bråstopp for karrieren.

Opprinnelig publisert i Morgenbladet.