GEEBEATS

Music:

Member Since: 1/21/2006
Band Website: soundclick.com/bands/pagemusic.cfm?bandID=383991
Influences: Aspects,Big Daddy Kane,MC Shan,NUMBSKULLZ,3PM,WILD BUNCH,Pete Rock,Marly Marl,Dj Premier ,Skinny Man,MC MELLOW,Timberland,Demon boyz,MC KELZ,THUG POET,KOOL KEITH,KRS 1,SKITZ,1 XTRA,AND STEALTH RECORDS.BRISTOL HIP HOP BUDAPEST, ASPECTS, KELZ, SMITH AND MIGHTY, FAT CLUB, Stealth MC, DJ MADDS,Bunji, NUMBSKULLZ, DADDY G, DJ BEANZ, 3PM, WILDBUNCH FROM BACK IN THE DAYS- now Massive ATTACK AND DJ DIE.LONDON HIP HOP SKINNY MAN, TASK FORCE, SKITZ, RODNEY P, WILDFLOWER,REBAL MC, BLAK TWANG, BRAINTAX, TY, LOW KEY, BLADE, BABY J AND FROM BACK mc mello, demon boyz, london possie, cash crew, ruthless rap assains,Outlaw, Gunshot, The Brotherhood,Caveman,Dj fingers and mc Crazy noddy aka The Sindecut,Hardnoise, Krispy 3, and Hijack.USA HIP HOP Krs 1 the Hip Hop teacher if you dont know him or if you not heard of him peps you should check him out and hear what he has to say.Public enemy,Africa bambatta,Run dmc,Pete rock,the 45 king,Timberland,Big daddy kane,biz markie,Mc Shan,Mater ace,Roxanne shante, ,Kool g rap and polo,Wu tang clan, DJ Jazzy jeff,Marly Marl,RZA,WU TANG CLAN,DJ FUNKMASTER FLEX,DJ EVIL E,COLD CRASH BROTHERS,GRANDMASTER CAZ,FUNKMASTER WIZZERD WIZ,TUFF CITY,THE ELECTRO ALBUMS,STREETSOUNDS LABEL, FROM BACK IN THE DAYS,DJ DST,DJ CASH MONEY,DJ GRANDMASTER,DJ FLASH,DJ CHEESE AND WORD OF MOUTH,WILD STYLE,DJ KOOL HERC THE GUY WHO STARTIED HIP HOP AND ARFRICA BAMBATTA WHO ALL US HIP HOP HEADS OW MUCH LOVE,PROPS AND RESPECT TO,BLACK MOON,ULTRAMEGNATIC MC'S,KOOL KEITH,GURA,GANGSTAR,CRAIG G,NWA mr magic, ,Doug e fresh,The roots,Ugly duckling,A tribe called quest,OutkastHERES MY RESPECT TO THE DEAD IN HIP HOP,FROM BDP-Dj scott la rock R.I.P Big punisher R.I.P ,Jam Master jay R.I.P,Eazy E R.I.P,2 PAC R.I.P,BIGGIE SMALLS R.I.P,WAS KILLED IN LONDON-STeven larance R.I.P,FROM WU TANG CLAN- Russell Tyrone Jones,ROCK STEADY CREW-RASEAN,R.I.P,BUCKY 4 R.I.P.,LIL EDGAR R.I.P.ROOK R.I.P.,AND KURIAKI,FAT JOES FRIEND-RASEANTREVOR MANTEL CAMPBELL 2/6/67-12/85 Steady b and Tap money, ,EPMD,BEASTIE BOYS,EMINEM,3RD BASS,FAT JOE,NAUGTHY BY NATURE,KOOL MOE DEE,LL COOL J,GANGSTAR,RAKIM,GRAND PUBA,JUST ICE,ERIC B,MOBB DEEP,NAS,SHOW BIZ AND AG,THE ARTIFACTS,QUEEN LATIFAH,MC LYTE,MISS ELLIOTT,QUEEN BEE,SCHOOLY DEE,SPOONIE GEE,ICE CUBE,ROCK STEADY CREW,THE ZULU NATION,DR DRE,SNOOP DOGGY DOG DJ JAZZY JAY,TLA ROCK,SLICK RICK,PARIS,KID FROST,BUSTA RHYMES, ,GRAND PUBA,POOR RIGHTEOUS TEACHERS,SCHOLLY D,FUTRE PROFITS,LAKIM SHABAZZ,LATTIE,QUEEN LATIFAH,BRAND NUBIAN,THE LENCH MOB,ICE T,ICE CUBE,DOMINO,DOUG E FRESH,FREDDIE FOXXX,HEAVY D,KID CAPRI,DJ RED ALERT,MAIN SOURCE,LARGE PROFESSOR,NAUGHTY BY NATURE,ARTIFACTS,XZIBIT,KING TEE,DONALD D,SLICK RICK,3RD BASS,TONE LOC, YOUNG MC,,MOSS DEF,DMX,NATE DOGG,PHAROAHE MONCH,KING BEE,CYPRESS HILL,DEL THE FUNKY HOMOSAPIEN,LORDS OF THE UNDERGROUND,TIM DOG,3-6 PHILLY,JVC FORCE,JIMMY SPICER,RAMPAGE,NAS,SPOONIE G,DJ EVILD,MS MELOIDE,MC LYTE,50 CENT,THE FAT BOYS ,THE SKINNY BOYS,TUFF CREW D NICE,JUST ICE,BRIM,DONDIA,ZORO,THREE TIMES DOPE,AND WHODINI,FRENCH SOONE MC,AND MC SOLAAR,GERMANY DJ Badds, SPRAY CAN ARTISTS LEE,DONDI,BLADE,ZEPHYR,SEEN,UA,DUSTER,PINK,CHROME ANGELZ,BIO,BRIM,B-GEE,HECTOR,NICER,NAZARIO,FYRZE,SHY 147 R.I.P,RAZE R.I.P The history of Spray can art TAKI 183 In the late 1960s and early 1970s writing began to distinguish itself from other forms of graffiti. New york City Youth began writing their names in public areas methodically. In 1971 The New York Times published an article on one of these writers. TAKI 183 was the alias of a kid from Washington Heights. TAKI was the nick name for his given name Demetrius and 183 was the number of the street where he lived. He was employed as a foot messenger, so he was on the subway frequently and took advantage of it. He tagged streets subway stations and subway cars. In addition to the subway his name appeared in business districts of Manhattan. The appearance of this unusual name and numeral in these areas sparked a great deal of public curiosity prompting the Times article.TAKI was by no means the first writer or even the first king. He was however, the first to be recognized by the news media. Being the first writer recognized outside the sub-culture ensured TAKI a prominent place in graffiti history. Most widely credited as being one of the first writers of significance is JULIO 204. FRANK 207 and JOE 136 were also early writers. The history of KOOL HERC AND HIP HOP A Profile Kool DJ Herc, the godfather of hip-hop, was born in Jamaica in 1955. He moved to the Bronx in 1967, at the age of twelve. With his unique playlist of R&B, soul, funk, and obscure disco, Herc quickly became the catalyst of the hip-hop way of life. The kids from the Bronx and Harlem loved his ghetto style, which gave birth to the concept of the B-Boy. The B-Boy -- or beat boy, break boy, Bronx boy -- loved the breaks of Kool Herc, and as a result soon created break dancing. These were the people of the hip-hop culture. While Pete DJ Jones was ..1 for the black disco crowd in NYC, Herc and the B-Boys were the essence of the hip-hop movement, because of they lived the lifestyle. The way they danced, dressed, walked, and talked was unique, as opposed to most of the disco artists and fans of the time, who were not as in touch with the urban streets of America. Brian Chin for http://rhino.com/Features/liners/72851lin.htmlKool DJ Herc (born Clive Campbell on April 16, 1955) is a Jamaican American musician and producer, generally credited as a pioneer of hip hop during the 1970s. He was the originator of break-beat deejaying, wherein the breaks of funk songs--being the most danceable part, often featuring percussion--were isolated and repeated for the purpose of all-night dance parties (AMG). Later DJs such as Grandmaster Flash refined and developed the use of breakbeats, including cutting. --http://en.wikipedia.org/wiki/DJ_Kool_Herc [Jan 2005]Sound systems As Steve Barrow (author of The Rough Guide to Reggae/Blood and Fire Records) writes in the sleevenotes, Jamaican deejay music is the source for all Rap music: From Count Machuki talking over records on Sir Coxsone's legendary Downbeat Sound System this style would eventually travel to America when the Jamaican-born Kool Herc began playing at Block parties (a version of the Kingston Soundsystem parties) in the Bronx. Cutting up rare-groove classics for the first B-Boys to rap over, Hip-Hop was born and the DJ music that had started on the early Soundsystems of Kingston would go on to conquer the world! [...]Extend the break By most accounts Herc was the first DJ to buy two copies of the same record for just a 15-second break (rhythmic instrumental segment) in the middle. By mixing back and forth between the two copies he was able to double, triple, or indefinitely extend the break. In so doing, Herc effectively deconstructed and reconstructed so-called found sound, using the turntable as a musical instrument, making music with music.Breakdance When he performed to Breaks at crowded venues, such as the Hervalo in the Bronx, he would shout loudly 'B-Boys go down!' and this was the cue for dancers to cut and jump their gymnastics. Even today nobody is quite clear what Kool Herc meant by his phrase. Some suggest B-Boys stands for 'Boogie Boy' while others insist it means 'Break Boy'. The later has become the favored choice. But who were the original B-Boys and where had they learned their skillz? Again the answer is fairly straight-forward. They had simply adapted what they had been doing on the ghetto streets. [...]Jamaica ... the whole chemistry of that came from Jamaica ... I was born in Jamaica and I was listening to American music in Jamaica ... My favorite artist was James Brown. That's who inspired me ... When I came over here I just put it in the American style and a perspective for them to dance to it. In Jamaica all you needed was a drum and bass. So what I did here was go right to the 'yoke'. I cut off all anticipation and played the beats. I'd find out where the break in the record was at and prolong it and people would love it. So I was giving them their own taste and beat percussion-wise ... cause my music is all about heavy bass ... --Kool Herc-------------------------------------------------------- ------------------------Rap Music Modern day rap music finds its immediate roots in the toasting and dub talk over elements of reggae music. In the 1967, a Jamaican dj known as Kool Herc moved from Kingston to NY's West Bronx. Here, he attempted to incorporate his Jamaican style of dj which involved reciting improvised rhymes over the dub versions of his reggae records. Unfortunately, New Yorkers weren't into reggae at the time. Thus Kool Herc adapted his style by chanting over the instrumental or percussion sections of the day's popular songs. Because these breaks were relatively short, he learned to extend them indefinitely by using an audio mixer and two identical records in which he continuously replaced the desired segment. ------------------------------------------------------------ --------------------Rhymes In those early days, young party goers initially recited popular phrases and used the slang of the day. For example, it was fashionable for dj to acknowledge people who were in attendance at a party. These early raps featured someone such as Herc shouting over the instrumental break; 'Yo this is Kool Herc in the joint-ski saying my mellow-ski Marky D is in the house'. This would usually evoke a response from the crowd, who began to call out their own names and slogans. As this phenomenon evolved, the party shouts became more elaborate as dj in an effort to be different, began to incorporate little rhymes-'Davey D is in the house/An he'll turn it out without a doubt.' It wasn't long before people began drawing upon outdated dozens and school yard rhymes. Many would add a little twist and customize these rhymes to make them suitable for the party environment. At that time rap was not yet known as 'rap' but called 'emceeing'. With regards to Kool Herc, as he progressed, he eventually turned his attention to the complexities of dj-ing and let two friends Coke La Rock and Clark Kent (not Dana Dane's dj) handle the microphone duties. This was rap music first emcee team. They became known as Kool Herc and the Herculoids. Unsurprisingly, many have laid claims to roles as kings or kingmakers of the hip hop tradition. Most students, however, find one name cropping up time and again. To all intents and purposes, hip hop started the day Jamaican-born Clive Campbell, aka Kool Herc, first set foot in New York in 1967. 'At the age of thirteen I migrated to the States, early '67, to the Bronx. It was winter, it was cold.'By 1969, Herc was partying regularly at local clubs, but noticed that the crowds he joined frequently object to the city's distant, cocksure DJs. 'I used to hear the gripes from the audience on the dancefloor. Even myself, 'cause I used to be a breaker (breakdancer). Why didn't the guy let the record play out? Or why cut it off there? So with that, me gathering all this information around me, I say: "I think I could do that". So I started playing from a dancefloor perspective. I always kept up the attitude that I'm not playing it for myself, I'm playing for the people out there.'DJs needed to establish an identity or niche in this highly competitive market. Herc was determined to find records that no one else owned, to distinguish himself from the pack. As an example, he pressed his father into buying James Brown's Sex Machine LP in 1969. 'A lot of people wanted that record and couldn't really find it. So a lot of people used to come to the party to hear that.' Herc did his research, checking out what was being played on local jukeboxes to test a song's popularity and picking up rarities at Downstairs Records on 42nd Street and the Rhythm Den. 'This is where your recognition, your rep comes from. You have a record nobody else got, or you're the first one to have it. You've got to be the first, can't be the second.'While violence has become rap's defining characteristic in the 90s, hip hop actually started out as a means of ending black-on-black fighting two decades earlier. the Bronx citizen of the early 70s had much to live in fear of. 'The gangs came and terrorised the whole neighbourhood, the boroughs. Everybody just ran back into their house. There was no more clubs. If you did do a house party, it had to be: "I have to know you. Don't bring nobody who I don't know to my house."It lasted for a while until the parents started to come in early, and find a house full of kids, tearing up the new furniture that she just put some money down on. The kids were still seeking for a place to release this energy.' Herc's sister asked him to help out by playing music in the recreation room of his family's housing block, 1520 Sedgewick Towers. 'OK, I throw my hand at it, and she rented the recreation room, I think for twenty-five dollars at the time. We could charge it at twenty-five cents for girls, fifty cents for fellas. It was like, "Kool Herc, man. He's giving a party, westside man. Just be cool, that's what I'm saying, come and have a good time. Just don't ditch the programme."Dodge High School, before it became co-educational, was an all girls establishment. Not least for that reason, it became, by reputation, the top venue for aspiring DJs, as Melle Mel recalls. ' If you got to do Dodge High School, you was the fuckin' man. And Herc used to do it every year...' Searching for further innovations for his sets, Herc patented the breakbeat, the climatic instrumental section of a record, partly trough his existing knowledge of the dub plates or 'versions' prevalent in Jamaican reggae. ' I was using some of the breakdown parts.Every Jamaican record has a dub side to it. So I just tried to apply that. As the years went along I'm watchin people, waiting for this particular break in it, the rhythm section. One night, I was waiting for the record to play out. Maybe there are dancers waiting for this particular break. I could have a couple more records got the same break in it - I wonder, how it be if I put them all together and I told them: "I'm going to try something new tonight. I'm going to call it a merry-go-round." The B-Boys, as I call it, the energetic person, they're waiting just to release this energy when this break comes in.' Herc saw a ready-made audience for his 'breakdowns'.The merry-go-round involved him mixing sections of James Brown's 'Give It Up Or Turn It Loose' into Michael Viner's &..39;Bongo Rock' and back out into Babe Ruth's 'The Mexican'. His audiences loved it. The merry-go-round became the blueprint for hip hop... The first to react to the , naturally enough, were Herc's party-goers. Breakdancers, or B-Boys, began to interpret Herc's idiosyncratic style with routines of their own. Some historians trace the development of Breakdancing to the African martial arts form, capoeta, brought to America by slaves a century before.No one is entirely sure of the identity of the first New York breakdancer, but it was certainly popularised by members of the Zulu Nation. The discipline of Breakdancing / B-Boying was one of four seperate styles that eventually converged through the late 70s. Up-rocking was a kind of non-contact mock martial art first seen in Brooklyn. Plus there were two imported West Coast styles - Pop-locking (a mixture of strutting, robotics and moonwalking) and Body-popping (developed on the West Coast by Boogaloo Sam). Over the years I've gotten to interview Africa Bambaatta on several occassions.. Its always insightful and a priviledge.. He, after all is one of the key people responsible for this 9 billion dollar a year industry.. Sadly he doesn't make a dime... But way back in the days.. 76-79...Bam was the man.. He was respected and feared.. Respected.. cause he was the Master Of Records.. He had beats for days.. He was innovative.. He preached pro-Blackness.. He was the first person I heard.. run a Malcolm X speech over a hip hop beat.. He was the first to provide a forum for break dancers.. He brought to the world... hip hop culture.. Back in the days Bam was also feared.. His Zulu Nation... weren't the peace loving organization they are now.. Back then... they were a gang.. Zulus did not mess around.. And no one messed around at a Bambaataa party...The history of Zulu Nation shows that they were originally members of the notorious Black Spades...which was one of NYC's largest and most feared gangs. Nowadays.. Zulu Nation is world wide.. and all about peace... although they still don't mess around..Currently Bam spins on Hot 97 in NY.. and is getting ready to drop a cut with 95 South.. a Miami bass group... Its supposed to be a remake of his classic Planet Rock. As for this interview which was conducted in Dec of '91.. Please pay close attention to Bam's definition of hip hop.. He's best qualified.. A lot of people like to spread misinformation.. Bam doesn't.. But then again how could the inventor of hip hop... be off the mark?Davey D..c 1995Excerpts of this interview were taken from Davey D's Hip Hop Archives. This interview first appeared in the KMEL Beat Report of December 1991 A few weeks ago I had the pleasure of speaking to a living legend, Afrika Bambaataa, whose innovativeness and love for hip hop has permanently impacted pop culture. During our indepth 2 hour conversation, Bam gave some serious insight into rap music. He went into detail about the formation of his organization The Zulu Nation. He told how they were former gang members who reformed and channeled their energies into breakdancing. He told how the emergence of hip hop culture helped curtail gang violence in NY because it offered young people a viable activityBam also spoke about the inherent politicalness in hip hop. He told how the Nation Of Islam had influenced him and others during the 'old school' [1975-1980]. He also spoke about his activism. Bam had been one of the leaders in the Free James Brown movement. He was also the first hip hopper to do a song with Brown, "Peace Love & Unity' , hence acknowledging the Godfather of Soul's major influence. Bam was also heavily involved in the anti-apartheid struggle. In fact he did a number of songs and concerts over the years to help raise money and show support. Nowadays Bam travels all over the world spreading the good word of hip hop and trying to school young people the proper way to view and interpret this music and culture. Here are some highlights from our recent conversation.What has Bambaataa been doing as of late?We just released an album, "The Decade Of Darkness 1990-2000". We released a track from the album called 'Get Up And Dance' which is a hip house -hi energy type of record... I've been traveling around the world for many years. Last year I had the Hip Hop Artists Against Apartheid record to help the ANC [African National Congress] raise some money. We gave a big concert in England and I brought Willie Mandella and a lot of the ANC members on stage to a large hip hop audience in London. I also did "Return To Planet Rock" which was a quick type record to raise money for the Ansar [Muslim sect] community...I've been traveling and opening up new ground for hip hop and funk in other countries...With the release of the hip house style jam 'Get Up And Dance', a lot of folks would argue that what you did isn't really 'hip hop'. As a pioneer and Godfather of this genre of music how do you define hip hop?Bam: Well hip hop is basically the whole culture of the movement. There's the rap which is a form of hip hop culture. It could be breakdancing, freestyle dancing or whatever type of dancing that's happening now in the Black, Hispanic and White community. It's also the djs and rappers and their dress codes. That is hip hop, meaning the whole culture. Now if you're talking rap music..in rap the music itself is colorless. You can take music from any type of field like soul, funk, heavy metal, jazz, calypso and reggae. As long as it's funky and has that heavy beat and groove. You can take any part of it to make hip hop. Hip hop can deal with the past, the present and it can deal with the future. Now it's what a rapper puts on top of it that will make it a black thing or a white thing or a human thing or a universal thing...The music itself comes from all types of sound. When people are digging for that beat or groove they take from all fields of music. People will say hip hop just comes from soul or rock. It comes from all type of music, but it's based mainly around the toasting element of reggae. That's how rap came about.What would not make a hip hop record? Do acts like Vanilla Ice, New Kids On The Block or Bell Biv Devoe qualify as hip hop?Bam: They can be hip hop oriented. Vanilla Ice is still hip hop. He's a white rapper doing a form of rap music. His grooves and beats that he's using is still hip hop music. It's a hard bass or funky drum beat or a groove that he's playing. Like he did 'Ice Ice Baby' which was taken from Queen. The bassline and the beats are still a form of hip hop. Bell Biv Devoe is a form of singing style hip hop. They use hip hop grooves and beats to get their R&B stuff over. It's not a straight hip hop type of group. You have different brands of hip hop. You have hardcore, commercial type of hip hop, you have the electro sound like the 'Planet Rock' sound... A lot of the fans get mixed up because they think of hip hop as being just hardcore or certain beats per minute which it's not. You have high tempo in hip hop and you have low tempo hip hop. You have soft, mellow,and love type hip hop...Hip hop has gone through different stages as it's progressed throughout the years. Some people get across messages. Other people talk about love. Some people talk about what's happening in the Black or Hispanic community. or world problems. Rap is incorporated into songs. For example Gladys Knight might have a little rap section. As would groups like Starpoint or Midnight Star.As an ambassador of hip hop, you've traveled all over the world. How is hip hop being received in other places?There's hip hop all over..in France, England, Germany, and the south and western part of Africa. There's also hip hop in little parts of Northern Africa. I was recently in Morocco where I heard hip hop. I feel there's a plot to destroy it. world wide.. That's why they're trying to push house music in a lot of clubs or make it look like hip hop is not selling on a mass appeal...The music is directed to a hardcore audience and it is saying something. That's the main thing that makes everyone scared. A lot of rap artists are the most vocal people who'll speak whatever is on their mind, from any angle or culture that they want to speak upon...Other people from other countries hear this and although they might not know English, they take the time to study it. You'll be surprised at how many people have just learned how to speak English from just listening to rap records. They start repeating the words and then they start to get the feeling of what you're talking about. They start putting it to how they're living from country to country and the problems that they're going through. This is music for the young adults and the youth. that's speaking upon the government, the community, whites or blacks. Hip hop can deal with all types of subjects, in addition to peace, unity or 'love you baby-I wanna get down tonight'. It's the fact that the message in rap telling it like it is what's really grabbing hold of young adults throughout the world.As a youth growing up in the Bronx, I first noticed the emergence of hip hop culture in 1975. What was the climate like back then that inspired people to move in that direction?It was motivating. It was something new and people were tired of disco at the time. The hip hop at that time came on strong because at that time they [music industry] were trying to shove disco down our throats. Everybody was into it for the first year or two and then they got tired of it. Also New York itself was losing the funk. Back in the early 70s there existed a heavy funk sound. Parliament would come to town and pack Madison Square Garden. Sly & the Family Stone would come in and pack the Garden as did James Brown. Some of the NY radio stations weren't into Sly and James anymore. You stop hearing those hard beats on those records coming through the radio. You stop hearing the soul music of James Brown. All you heard was disco, disco and disco. Hip hop was a rebellious answer to disco.Also at that time with rock music and heavy metal came the punk rock and new wave which was a rebellious answer to what was supposed to be pop. With both musical styles starting to come up they played a significant role. That's how come so many whites started getting into hip hop. Everybody thinks this is a new thing with Vanilla Ice and the Beastie Boys. It was the punk rockers and new wavers that were the first of all white people to accept this music. They were bringing me down to the punk rock clubs to mix. You used to see punk rockers come up to jam at the hardcore black and Hispanic neighborhoods. http://p076.ezboard.com/fpoliticalpalacefrm69.showMessage?to picID=306.topic Washington, DC- Feb. 27, 2006—Making hip-hop history in the mid to late 1980’s, 2 members of the former hip-hop group, The Juice Crew All-Stars, are now setting out to make another mark in the hip-hop hall of fame with a new generation of The Juice Crew. Former members, MC Shan and Roxanne Shante’, are looking for new talent to continue the Juice Crew legacy.“We can make it any ole’ crew,” says MC Shan. “But we want to make it something people know so it can carry on the legacy of the original crew.” Shan also emphasizes, “The new Juice Crew will be something different; not the ‘I slang drugs, I got jewelry’ rhymes; it’ll be more talented artists.”Emcees, producers, and singers are encouraged to send their one or two song demos in MP3 format to [email protected]. All demos will be reviewed by “seasoned” industry professionals including MC Shan and Roxanne Shante’.The original Juice Crew was formed in the mid 1980’s by producer Marly Marl and his label, Cold Chillin’ Records. Cold Chillin’ Records was most known for the track entitled, The Bridge, which ignited a long time rivalry with Bronx rapper KRS One and Boogie Down Productions. The Juice Crew was most known for their hit entitled, The Symphony, allowing almost every artist in the crew to enjoy notable solo careers after the record, including MC Shan and Roxanne Shante’.In addition to be a key player in the infamous Bridge Wars, MC Shan released his successful debut solo album, Down By Law. After that he produced 2 more solo albums, but had even more notable career highlights, including his production of rapper Snow’s first LP with the title track, “Informer”. Shan also recorded "Da Bridge 2001" for Nas' 2000 compilation called "QB's Finest".Roxanne Shante is most known for her LP, “Roxanne’s Revenge”, which was a response to the U.T.F.O hit, Roxanne, Roxanne. The record boosted over 250,000 copies in the New York area alone. In 1986, she produced another hit with the late Rick James, entitled, “Loosey’s Rap”. HIP HOP APPRECIATION WEEK 2006 http://www.templeofhiphop.org/MARK YOUR CALENDARS! May 15th-22nd 2006 marks the 9th Annual Hip Hop Appreciation Week (H.H.A.W.). Since 1998 the third week in May has become a time to reflect upon our roles as citizens of the international Hip Hop community and to recommit ourselves to Hip Hop’s core principles of peace, love, unity and safely having fun!In the past we’ve reflected upon such themes as; Faith (2005), Freedom (2004), Forgiveness (2003), Charity (2002) and Peace (2001). This year (2006) our theme is “ACTION”. And with all of our themes “Action” shall be the focus of our lectures, writings and events for 2006. We are urging ALL Hiphoppas to consider their actions as well as their inaction. Consider how your actions and/or inaction may be affecting others. Consider the results of your past actions and seek ways to improve or lessen such “actions” in the future.Be active! Walk more. Exercise more. Speak out more! Think more! But also remember that “inaction” is indeed an action as well. Silence is also an activity. Rest and stillness are also activities. Fasting from food, sex, gossip, war, drugs and the needless spending of money are also “actions”. The point is to be conscious of your “actions” this year.If you are inspired in any way to organize a public and/or private event for Hip Hop Appreciation Week-May 15 th-22 nd 2006 in your city, town or home you can email your request and a brief description of your event to: [email protected]. We would be honored to make your event official and promote it on this and other websites in support of Hip Hop Appreciation Week.Don’t just sit around wondering what you can do to preserve our international culture. Get involved! With proper planning and a little support you may raise your own self-worth and inspire your entire community. Remember, ACTIONS do speak much louder than WORDS! Let’s get to work! —Hip Hop Appreciation Week-May 15 th-22 nd 2006.Peace.HIP HOP APPRECIATION WEEK 2006MARK YOUR CALENDARS! May 15th-22nd 2006 marks the 9th Annual Hip Hop Appreciation Week (H.H.A.W.). Since 1998 the third week in May has become a time to reflect upon our roles as citizens of the international Hip Hop community and to recommit ourselves to Hip Hop’s core principles of peace, love, unity and safely having fun!In the past we’ve reflected upon such themes as; Faith (2005), Freedom (2004), Forgiveness (2003), Charity (2002) and Peace (2001). This year (2006) our theme is “ACTION”. And with all of our themes “Action” shall be the focus of our lectures, writings and events for 2006. We are urging ALL Hiphoppas to consider their actions as well as their inaction. Consider how your actions and/or inaction may be affecting others. Consider the results of your past actions and seek ways to improve or lessen such “actions” in the future.Be active! Walk more. Exercise more. Speak out more! Think more! But also remember that “inaction” is indeed an action as well. Silence is also an activity. Rest and stillness are also activities. Fasting from food, sex, gossip, war, drugs and the needless spending of money are also “actions”. The point is to be conscious of your “actions” this year.If you are inspired in any way to organize a public and/or private event for Hip Hop Appreciation Week-May 15 th-22 nd 2006 in your city, town or home you can email your request and a brief description of your event to: [email protected]. We would be honored to make your event official and promote it on this and other websites in support of Hip Hop Appreciation Week.Don’t just sit around wondering what you can do to preserve our international culture. Get involved! With proper planning and a little support you may raise your own self-worth and inspire your entire community. Remember, ACTIONS do speak much louder than WORDS! Let’s get to work! —Hip Hop Appreciation Week-May 15 th-22 nd 2006. HERE IS LOADS OF INFO PEPS AND HIP HOP HEADS ON THE HISTORY OF HIP HOP AND THE FUTRE PEACE GEEBEATS THE UK CITY OF BRISTOL
Sounds Like: http://www.soundclick.com/bands/pagemusic.cfm?bandID=383991
Type of Label: Indie