Rebel Diaz Arts Collective Launch Fundraising Campaign As They Rebound From Eviction

Peace World….Good Morning and Good Day….
Many of you have asked us how you can help The RDACBX after our collective and space was violently evicted..well we have finally launched our IndieGoGo Campaign in which we are seeking to raise $50,000 to recover from our losses and trying to get into a new space…….check out the campaign here and please donate what you can and please spread the word!!!!!…

http://www.indiegogo.com/projects/i-am-rdac-bx?show_todos=true

RDACBX

Below RDAC BX is speaking about the violent eviction they endured

http://www.youtube.com/watch?v=LuQeAJCCDYA

This is one of my favorite songs and oldie but goodie from Rebel Diaz shot in Chile..

http://www.youtube.com/watch?v=CSNbzyivba4

FEDS & NYPD Fearing their Politics Violently Raid & Evict Rebel Diaz Artistic Collective

https://www.youtube.com/watch?v=CTPEImOYGws

Rebel Diaz top viewUpon hearing about the Feds and NYPD coming down and violently evicting Rebel Diaz and the Artist Collective from an abandoned space in the South Bronx, that they painfully transformed into a first class community center is beyond angering. It’s beyond frustrating..These folks did everything we say we want the ‘youth’ in our community to do.. They did everything we say Hip Hop is supposed to represent.. They didn’t wait around for a savior, Rebel Diaz saved themselves.. They brought the community in who also saved themselves.

The RDACBX is a space in which damn near everyone in that South Bronx neighborhood where it’s located can lay claim that they had hand in helping build it.. I recall Rodstarz explaining how folks who were homeless, but had various trade skillz, were inspired to clean themselves up and proudly put in work. Local youth who were being attracted to the lure of the streets, flipped their lives around and partook in the various workshops and programs put on by Rebel Diaz.. many of those youth eventually became part of the collective and put on workshops themselves..

Rebel Diaz Troy DavisInstead of waiting around to be invited to yet another showcase or music convention that left them dissatisfied, RDACBX put on their own landmark convention South By South Bronx and invited the pioneers of Hip Hop to speak. The RDACBX is where they had former members of the Young Lords, Black Liberation Army and political prisoners speak to standing room only audiences about Black Brown unity… This space was home to countless book readings, movie screenings and epic showcases.

But as you build community in a city and space where they are trying to keep you marginalized,  you can bet that outside forces will try their best to shut it down..You can count on those who find politicized Black and Brown youth doing for self to be something not celebrated but crushed..Now that the South Bronx has been lovingly transformed, developers, the city and others wanna come on in evict, co-opt shut down and take over.. This is a pattern we see happening from Coast to Coast From the Art Murmur in Oakland to whats going in the South Bronx. It’s the same predictable playbook..

Rebel Diaz bannerHowever this time is different..a building is not the movement.. A building is not community.. It never was.. It’s the people and the love and respect they have for one another that makes this space so special.. Rebel Diaz will not go out or be shut down.. you best believe that.. We should all be aware of whats going on, support them in the best ways we can.. and continue to build and re-strengthen our respective local communities.

-Davey-D

RDACBX Shut Down by Federal Marshals and NYPD. Rally Today  3/1 at 6pm

FOR IMMEDIATE RELEASE

Rebel Diaz collectiveSouth Bronx community center Rebel Diaz Arts Collective (RDACBX) shut down by Federal marshals and NYPD. Rally to be held denouncing lockout and forced eviction.

March 1, 2013- After a violent daytime raid yesterday, Thursday, February 28, 2013, on the warehouse turned arts space at 478 Austin Place in the Bronx, members of Hip-Hop community center RDACBX are denouncing their forced eviction at a rally to be held at 6pm today in front of their locked out building.

The building landowner, local commercial developer Marc Pogostin of Austin Property Corp., had for months stalled negotiations on a new agreement with the RDACBX after the group’s original lease expired this past November. Despite diverse support for RDACBX from local politicians, churches, and community organizations in the area, Austin Property Corp. eventually refused to renew the lease, citing concerns about the group’s political murals, and prompting the surprise eviction yesterday.

“The violent actions taken yesterday are an attack on young people, artists, and Hip Hop culture,” says RDACBX co-founder RodStarz. “In a time where budget cuts, stop and frisk, and gentrification are affecting our communities, it’s a shame we are being treated like criminals. There is no justification for this eviction.”

Rebel Diaz pieceKaren Louviere, 19, a past participant in RDACBX youth programs, expressed her disappointment at the violent shutdown of the space. “They came in with armed officers into what is supposed to be a safe space for the community. A space that has served as an alternative for young people in the area, helping develop their talents in a positive way.”

The internationally renowned RDACBX, host to weekly cultural performances and educational workshops, had recently announced plans for the creation of the Richie Perez Radical Library, as well as the continuation of their widely recognized Boogie Mics open mic series, and the SxSBX Hip-Hop Festival.

“Despite the violent removal of RDACBX from its space, RDACBX will continue to work on its development, as it strives to be a resource for the community. There is a need for this organization to exist in The South Bronx,” says Claudia De La Cruz, a member of the collective.

What: Press Conference/ Rally to Defend RDACBX
When: Friday, March 1st, 2013 at 6:00 p.m.
Where: 478 Austin Place, Bronx NY 10455

Contacts:
Gonzalo “G1” Venegas
(646) 431 – 7037
Rodrigo “RodStarz” Venegas
(646) 250 – 4405

http://www.youtube.com/watch?v=byL3o3VMUKk

The Connection Between Hip Hop, New Wave and Punk

Davey DThis past Monday, Spinderella of Salt-N-Pepa, Mike Shinoda of Linkin Park and myself among others, participated in a panel discussion at UCLA that focused on the business workings and current state of Hip Hop. Before we launched into Q&A from the audience all of us were asked ‘What CD we were listening to in our ride?’ The audience seemed a bit surprised when I mentioned that in my CD deck was the 1981 album ‘JuJu’ by new wave/punk act Siouxsie & the Banshees. Songs like ‘Spellbound, ‘Monitor’ and ‘Into the Light’ brought back fond memories. More importantly the whole early new wave/punk scene was a very much apart of my early Hip Hop experience.

For those who wish to walk down memory lane, how could we forget when New Wave/Punk acts like Thomas Dolby, Tom Tom Club, The Clash, Blondie, The Thompson Twins, The Police, Depeche Mode, Human League, Tears for Fears and David Bowie to name a few were regularly heard within Hip Hop circles especially in many of our ‘hoods’.

No offense to Run DMC, who are often sighted as the first Hip Hop group to merge Rock and Rap, when we really go back and look at what was happening in the late 70s early 80s, we’ll find that there was an often under reported important conversation and cultural exchange that was taking place with hardcore b-boys from the South Bronx and the disenfranchised rebellious New Wave/Punk kids in downtown Manhattan on the Lower Eastside and in the Village.

It really began when acts like Afrika Bambaataa and Grandmaster Flash who were just starting to record records were starting to be invited to perform at some key downtown spots like the Mudclub or the Roxy which was frequented by punk/new wave kids. The parallels between the hardcore Hip Hoppers from the Bronx and the Rebellious Punk Kids soon became obvious. Both groups had reacted organically to a stale, formulaic music industry that was serving the public watered down disco and arena rock. The Blacks and Puerto Ricans in the Bronx embraced the classic James Brown Soul and Funk music of Sly and the Family Stone and developed Hip Hop, while their Lower Eastside white counterparts got into the British import punk and new wave.

Debbie Harry

Debbie Harry

People like Bambaataa, Fab 5 Freddy, Debbie Harry of Blondie and British New Wave icon Malcolm McClaren would wind up being key figures in Hip Hop’s first cross cultural exchange. The B-Boys from the Bronx would get nice gigs at the Punk/New Wave spots while the punk crowd would literally be granted safe passage to Bronx River or the PAL up in the Bronx. It’s important to note that this was not a natural occurrence which has often been erroneously stated, especially with the white kids coming up to the Bronx. It was a deliberate attempt on the parts of folks who had mutual respect and vision to build with one another.

When you look back into time you’ll find that both the early Hip Hop and Punk/New Wave groups equally influenced each other. This admiration was reflected in Blondie’s pivotal song ‘Rapture’ where lead singer Debby Harry after being escorted up to a B-Boy party at the PAL club where Grandmaster Flash was playing gave props to Fab 5 Freddy as well as Flash who blew her away.

http://www.youtube.com/watch?v=pHCdS7O248g

Soon after you had people like Malcolm McClaren teaming up with 5 Percent cats like the World Famous Supreme Team who hosted a radio show to do songs like Buffalo Gals (which was named after a London clothing store-not the size of woman’s butts), ‘Hey DJ’ and ‘Hobo Scratch’.

http://www.youtube.com/watch?v=-DeTR8n7eTU

History will show that others like the punk rock group known as the Beastie Boys would start to embrace rap and put out songs like Cookiepuss and go on to become Hip Hop’s first meaningful white act.

Pioneering groups like the Cold Crush Brothers would release songs like ‘Punk Rock Rap’ while Flash and his crew did songs like new wave influenced songs like ‘Scorpio’. Bambaataa himself would go onto to form a group called Time Zone and would record a huge song called ‘World Destruction’ with punk icon Johnny Rotten.

http://www.youtube.com/watch?v=pPHDQLuZaGo

Thomas Dolby

Thomas Dolby

The whole time this was happening between the years 1979-1984, you saw the musical walls of segregation come down as artists from both genres would become familiar to both audiences. In other words during the early 80s you would hear Thomas Dolby’s ‘Blinded Me With Science’, David Bowie’s ‘Let’s Dance’, Devo’s ‘Let It Whip’ or Tom Tom Club’s ‘Genius of Love’ not only being played on urban radio, but also at popular Hip Hop night spots where playing them would help set off the party.

It was amazing to hear the types of early reactions to last year’s Mobb Deep hit song ‘Got It Twisted’. First, many younger folks had no idea that they had sampled the main riff that gave the song its entire flavor from Dolby’s ‘Blinded Me with Science’. When it was revealed, the reaction ranged from ‘Who in the heck is Thomas Dolby’? to ‘Wow, Mobb Deep is so adventurous, groundbreaking and experimental for going there and sampling a rock act’. For some the Thomas Dolby connection was strange for others who fondly remember those early days, what Mobb Deep did was a natural fit.

More importantly we need to remember that it was Thomas Dolby who actually stepped up and produced Whodini‘s first record ‘Magic Wand‘.In fact we need to also shout out folks like Trevor Horn and Rick Rubin who stepped over from the world of New Wave and Punk and got down on the production tip within Hip Hop.

http://www.youtube.com/watch?v=-9fjN5lUgYo

We also need to keep in mind that these few examples I mentioned are just around the early Hip Hop scene in New York. If you go back and look at what was happening 300 miles away in California you will find similar exchanges between the early emerging Hip Hop community and the new wave punk sects. In places like Los Angeles where racial segregation is more pronounced and ethnic groups are really removed from one another, to see the early Ska and punk scenes make their way to early Hip Hop clubs and eventually see it reflected in the music with folks coming from places like South Central is significant.

Uncle Jamm's Army

Uncle Jamm’s Army

If anyone remembers back in the days when KDAY was jumping off in LA, then you know it was not usual to hear a Thompson Twins song or a Clash song being mixed and cut up by the famed Mixmasters at that time. It was not out of place to go to an Uncle Jamm’s Army set at the old Coliseum and here some of those aforementioned new wave groups. And of course Hip Hop was not out of place in those New Wave Punk clubs.

Today in the age of music industry consolidation and corporate radio owning multiple stations in a market has resulted in what is best described as music segregation. Industry proponents would argue and say its niche marketing, but really it isn’t. You have a group of ‘experts’ who sit around a table and devise elaborate marketing plans which run along the lines of station X owned by company A will go after Latino women 18-34 and will play a particular style of music with very little room for deviation. Station Y, also owned by that same company will go after older white men 25-54 and will also embrace a particular music genre.

This process goes all the way down the line until there are no more stations for the company to play with. The end results are a series of unintended consequences, some of which I touched upon in a previous column where I asked ‘When is Old School Too Old to Play’ as well as what I would call increased music segregation. Sure we can look at recent examples like Fred Durst and Limp Bizkit doing songs with Method Man or the upcoming Coachella Music Festival or a Warp Tour where there will be a healthy dose of rock and rap acts. However, the cultural exchange seems to be very one sided at best and contrived and forced at worse.

hip_hop_is_punk-rock-finalIt’s one sided in the sense that you have rock oriented outlets with a predominantly white audience embracing Hip Hop. Yes, you can tune into a radio station like KROQ and hear rap alongside the usual rock offerings and lastly we have all the mash up projects, with the most noticeable being Collision Course with Linkin Park and Jay-Z. However, you will not see similar attempts in many urban outlets that target African American audiences. Yes believe it or not groups like Linkin Park as popular as they are are still relatively unknown in many Black circles where BET and commercial radio are the main conduits to things outside the community. I’m not sure what needs to be done to change that or if it even needs to be changed.

I guess I just yearn for the days when the Hip Hop and Punk and New Wave communities were known to each other and me, a Black kid from the Boogie Down Bronx, mentioning I like Siouxsie & the Banshees or the Split Endz is not met with shock and surprise because I defy a stereotype but with approvals or moans because everyone in the room has strong opinions about my choice of groups.

written by Davey D May 2005

A Day in the Bronx: Remembering the Black Spades & Their Connection to Hip Hop

Karate Charlie & Bam Bam

Karate Charlie & Bam Bam

The notorious Black Spades was once the largest and most feared gang in New York City. Hailing from the Bronx, the Spades had as their warlord, Hip Hop pioneer Afrika Bambaataa. They were the precursors to Hip Hop.. We caught up with many of the members including original leader Bam Bam who gave Bambaataa his name. We spoke with Hip Hop legend Popmaster Fabel who is finishing up a documentary on early gang culture called ‘The Apache line’. We also hear from Karate Charlie who was the President of the Ghetto Brothers which was another large street organization highlighted in Jeff Chang’s book ‘Cant Stop Wont Stop’..

https://www.youtube.com/watch?v=2nwsdYU4yKM

We talk with Hip Hop legend Popmaster Fabel who talks to us about the important role early gang culture played in bringing Hip Hop to life. We also talk about how pop culture is exploiting gang life and leading people astray. Fabel explained that early Hip Hop got people out of the gangs.. Today’s rap music gets people into them..

We hear an impassioned Bam Bam, original leader of the Black Spades speaking to young gang bangers in New York, Crips, Bloods, Latin Kings etc and explaining the direction they should really be taking.. powerful words..

https://www.youtube.com/watch?v=UGYTeRUWK5k

Popmaster Fabel

Popmaster Fabel

At the 40th Anniversary of the Black Spades we see Bam Bam, original leader of the Black Spades re-uniting and talking with Karate Charlie of the Ghetto brothers. They talk about how the two gangs merged together to stop the Hells Angels from coming into the Bronx.

We chop it up with Popmaster Fabel about his new documentary The Apache Line from gangs to Hip Hop.. We also talk to him about the current move to try and pit Black against Brown.. Fabel gives a history of why that happens and talks about how the gangs came together.

We also speak with Karate Charlie who is featured in Fabel’s documentary about the legacy of the Ghetto Brothers. He talks about how the Black Spades the Ghetto Brothers united and became a family. He also talked about how they protected the community against the police… Charlie also explains how he taught martial arts throughout the community and had Ghetto Brothers patrol the subway years before the Guardian Angels under Curtis Sliwa came into being..

https://www.youtube.com/watch?v=0ufPt8g617I

Charlie Rock Original Zulu King

Charlie Rock Original Zulu King

We caught up with original B-Boy and Zulu Charlie Rock who hails from the 22cd division of the Black Spades up on Gun Hill road in the Bronx.. He talks about how the Black Spades evolved and became the Zulu Nation..He talks about Disco King Mario and the founding Spade chapters at Bronxdale Housing project which was known as Chuck City…

He also talks about how the early gangs were organized and became targets to corrupt police.. He talks about how three members, Wildman, Soulski and Meathead Ron were murdered by police. He noted that because the Black Spades were organized many of them were targeted by the police who tried to break them up and shrink their numbers…

Charlie Rock also talks about how New York was segregated and runs down all the racial unrest and white gangs the Black Spades and later Zulu Nation had to fight.. He talks about the Golden Guineas and the Ministers up in Parkchester.. He talks about the White Assassins and the White Angels..

Rock also explained how the police used to work in concert with some of these white gangs to try and defeat the Black Spades which was the largest gang in NY.. He talks about how the police hung him over a rooftop and threatened to kill him..

https://www.youtube.com/watch?v=ycREFrL6-RA

Separating the Darkness So That We May See the Light: Guidance for the Hip Hop Community in 2013…

tonymuhammedchitown-225The marked end of The Mayan Calendar on December 21st, 2012 as noted in the KRS-One song Aztechnical does not mean that life on planet Earth itself is going to end any time soon due to cataclysmic events. But rather, just as many Biblical Prophecies, Qur’anic Prophecies, the pyramid prophecies of Ancient Egypt (Kemet), the end of The Age of Pisces/beginning of the Age of Aquarius and other prophetic histories that are “written in advanced,” the end of The Mayan Calendar points to, above all else, the end of an old state of being and the steady movement towards a new age of spiritual and intellectual Awakening; into the very nature and reality of Self.

This is the consciousness and manifestation of God in the person of human being, which is also known as “The Hereafter.” This is not talking about a state of consciousness that we experience after we physically die, but an actual physical condition experienced here on Earth while we are still living.  Furthermore, “The Hereafter” is a state of being in which we are actively working to manifest The Divine in any way imaginable, while continuously removing obstructions that impede our progress from achieving this Ultimate Goal.  As Edgar Cayce, a legend within the New Thought Movement, said “For you grow to heaven, you don’t go to heaven. It is within thine own conscience that ye grow there …”

http://www.youtube.com/watch?feature=player_embedded&v=5M7MZh_bvjg

Hip Hop, as a culture and as a community, must move in this direction of Divine Order if it stands a chance to survive. Movement towards The Divine, in this sense, is not a partial occurrence, as it has been experienced in the Movement in the past (particularly in the late 1980s and throughout the 1990s). Rather, The Time we are living in warrants a holistic change, incorporating all aspects of living – from the way that we think, perform, eat and even rest.

In essence, the root of making all things new in our way of life derives from what The Honorable Minister Louis Farrakhan has referred to as The Most Powerful Creative Force which is Love, The Building Blocks that gave shape and form to the very Universe itself.  We along with everything in Creation itself exist because of Unconditional Love, which is Biblically synonymous with The Creator of The Heavens and The Earth Himself.

“The one who does not love does not know God, for God is love.” (1 John 4:8).

Tony Muhammad and Africa BambaataaIt is because of Unconditional Love for the people, that one of the most influential Founding Fathers of Hip Hop culture, Afrika Bambaataa, was able to end gang violence in The South Bronx in the early 1970s.  It was gang violence that was leading to heightened levels of death among the youth.  In a gradual process, after entering into Divine Knowledge that he had learned from different communities at the time, including The Nation of Islam, The Nation of Gods and Earth and The Moorish Science Temple.  He utilized that knowledge to separate the darkness (or condition of gross ignorance) that lurked in his own mind and discovered the Divine Light that was buried within him the whole time of his own existence.  From there, he summoned the Divine Forces within himself and all of the Forces outside of himself.  They manifested themselves in the form of the gang members in the community, which he considered to be his family.  He called for peace, and established it under the banner of the first Hip Hop activist organization called Universal Zulu Nation.

But just in the very nature of Love being a creative force he also summoned all of the Divine Expressions or Elements in the environment that also lurked in the dark (DJing, Emceeing, Breaking, Graffiti) and gave them aim, purpose, shape and form into the Universal Cultural Expression known as Hip Hop.  Afrika Bambaataa himself says in an interview with East-3.com, which was featured on Daveyd.com:

afrika-Bambaataa-Gang“It is Afrika Bambaataa to whom named and called each entity of BBoys/BGirls/DJaying/MCs/Aerosol Writing and adding The Most important Knowledge as the main Element of Hip Hop Culture and Brother KRS One helped to add more, with a few other as Plus Elements to the main Key elements of Hip Hop Culture. No one else never used or thought of naming each entity of the Culture an Element or to say that this Movement that we all are doing is called Hip Hop Culture or to recognize it as a World Movement. The Birth of this movement is The Bronx, New York City, New York Republic, but Rap is as Ancient as The creation of Humans itself.”

As noted by Afrika Bambaataa himself, this Divine Process falls in line with the great tradition of Motion of The Ancients themselves.  It goes as far back as The Great River Valley Civilizations of Kemet, Arabia, Sumeria and China in which the richness of the environment was extracted from (cultivated), given form, given aim and given purpose.   And even long before that, it is in line with the actual Self-Creation of The Creator Himself, separating Triple Darkness from Light, and giving Himself and the Universe form using the very rich aquatic material found in the Triple Darkness itself.  This Divine process mentioned in a coded way in both Bible and Holy Qur’an:

“He has inscribed a circle on the surface of the waters At the boundary of light and darkness.” (Job 26:10)

“Praise be to Allah, Who created the heavens and the earth, and made darkness and light. Yet those who disbelieve set up equals to their Lord.  He it is Who created you from clay, then He decreed a term. And there is a term named with Him; still you doubt.” (Holy Qur’an 6:1 – 2)

Just as it was in these Noble Divine Beginnings, so it can be with Hip Hop once again.  The culture overall has fallen in a state of spiritual darkness and has stayed there for well over a decade.  It’s most illuminating voices have been kept buried, hence “Underground.” But now, it just takes one with unconditional love within an organization, a town or a city to have the courage to unbury these luminaries, bring them together and put their gifts and talents to use for what they are Divinely intended to fulfill – UPLIFT HUMAN BEINGS, FAMILIES AND COMMUNITIES TO THEIR GREATEST POTENTIAL!  ARE YOU THE ONE THAT CAN FULFILL THIS?

Tony Muhammad has been teaching Social Studies in Miami-Dade County Public Schools for over 10 years and is currently involved in The MIA (Music Is Alive) Campaign for the development of the National Hip Hop Day of Service.  Tony is most noted for his work as publisher of Urban America Newspaper (2003 – 2007) and co-organizer of the Organic Hip Hop Conference.  He currently serves as a student assistant minister to Student Minister Rasul Hakim Muhammad at Muhammad Mosque #29 in Miami, Florida.

original article: http://tonymuhammad.wordpress.com/2013/01/01/separating-the-darkness-so-that-we-may-see-the-light-guidance-for-the-hip-hop-community-in-2013-and-beyond/

http://www.youtube.com/watch?v=A4Yv1ay0CmM

Rebel Diaz Gives us the True Meaning of Thanksgiving… It’s Called ThanksTaking

Last year during this time Rebel Diaz member G1 was hospitalized in NYC and couldn’t make The Thankstaking Concert in Milwaukee at the legendary bar -The Uptowner.

Being G1, he made a beat from his hospital bed for RodStarz and other MCs to freestyle over during Rebel Diaz set. Two of those MCs were Gat Turner and Viva Fidel. When the Nas vocal sample dropped….”They call it Thanksgiving, I call your Holiday Hell Day, Cuz I’m from Poverty, Neglected by The Wealthy” the crowd went wild.

Needless to say it was a memorable cypher. For a whole year, Gat Turner and Viva Fidel kept reminding us about the beat and it just happened to be that they were coming to The Bronx for The Occupy The Hood Concert and to perform at The RDACBX Halloween Party. Then Hurricane Sandy hit.

The result is the song- The Thankstaking.
Recorded at The RDACBX after the storm .
The Thankstaking…
We refuse to celebrate Genocide, yet will always celebrate resistance….
Check it out. Midwest. Chicago. Milwaukee. South Bronx. Building Community.

Click the link below to peep the song

http://rebeldiaz.bandcamp.com/track/the-thankstaking

Just in case you missed it here’s another good song from Rebel Diaz to get you open..It’s called Revolution.. I love the way they sampled a classic chant from the original Black Panther Party..Click the link below to listen..

Here’s the video to this song

http://www.youtube.com/watch?v=byL3o3VMUKk

Happy Bday Afrika Bambaataa & DJ Kool Herc: A Look back w/ the Founding Fathers of Hip Hop

Afrika Bambaataa & Kool Herc

Today April 19th, we celebrate the birthday of one of Hip Hop’s founding fathers, Afrika Bambaataa. On Monday (April 16th) we celebrated the birthday of the Father of Hip Hop Kool Herc.. Sadly not many radio stations and other media outlets that have greatly benefited from Hip Hop music and culture which Herc and Bam tirelessly helped bring to the forefront have stopped or will stop to take time to give either of them a shout out at the very least.

We’re more likely to hear a birthday shout out to Kim Kardashian then to our pioneers but in today’s microwave society where people are commodities and ultimately disposable, one should not be surprised. Celebrating and even acknowledging the histories and pioneering figures of marginalized and oppressed communities aren’t often done especially if it can lead to folks rising up and questioning the direction and narratives being put forth by those in the mainstream who are in power.

This is not limited to Hip Hop. In 2012 all one has to do is look at the current wave of attacks on ethnic studies programs both in college and in high schools all over the country. We see the banning of ethnic studies and accompanying books in states like Arizona. We see attempts to rewrite and white wash history books in states like Texas, where iconic figures from Cesar Chavez to the Black Panthers are stricken from the pages. It’s our charge in Hip Hop to counter that by at the very least holding up the accomplishments and stories of those who came before us so that we can learn and build upon the legacies they laid down..

There’s so much one can say about Herc and Bam, hence when writing about him, its hard to know where to begin. I guess when writing about Herc we should note he was an athlete who was given the nickname Hercules (Herc for short) because of his height and muscular build. He was also down with a graffiti crew called the Ex Vandals. Most importantly Herc was into music and was always seeking ways to play it.

According to Herc he had a nice little rep for himself and thus had garnered a lot of respect..In August of 1973, he and his sister Cindy Campbell decided to throw a back to school party as away to raise a couple of dollars for school clothes.

http://www.youtube.com/watch?v=2_2CHTE975Q

The story goes Herc brought down his fathers speakers to the rec center of their building 1520 Sedgwick Ave, they charged 50 cent for fellas to come in and the rest is history.. The music Herc played that night was funk music, that at that time was popular but slowly getting less and less airplay on the radio. Songs like Sex Machine and Give it Up and Turn It Lose by James Brown or Jimmy Castor‘s It’s Just Begun were among the jams Herc highlighted. The success of that party led to Herc doing others jams and it wasn’t too long before folks in the Bronx were seeking out Kool Herc parties.

It was during this time that Herc developed a system of playing records that he dubbed the Merry Go Round. He basically would take the hottest part of a song, usually the percussion break down and extend indefinitely by going from one record to the next by passing everything but the juicy part of the record.

During those early jams, Herc would keep the crowd excited by shouting them out on the mic. He once explained to me that he wanted to make folks feel good and important and one way of doing that was calling out their name on the mic. He also noted that it was a way to keep the peace. So in the beginning one might’ve heard Kool Herc shout out ‘his mellow-ski.. Mark Mark or his boy Kev-ski. Slang terms in the early 70s were phrases like ‘My mellow’ or adding the word ‘ski’ at the end of someone’s name.

At the time it was big deal to get hear your name called out at a party by Kool Herc who was the center of attention and had a huge sound system he dubbed the Herculords. He later turned over the announcing duties to his friend Coke La Rock who became one of Hip Hop’s first emcees. Other members Timmy Tim and Clark Kent got down with the crew and collectively they were known as the Herculoids.

http://www.youtube.com/watch?v=AJkojOSppUE

When it comes to talking about Afrika Bambaataa, it should be noted that he was known in the Bronx long before he touched a turntable. Bam started out as a gang leader.. He was a warlord for one of NYC’s largest gangs in the 1970s known as the Black Spades

According to Bam, in spite of his gang affiliations he was always into music and well aware of culture and the Black liberation struggles. Even as a gang leader, some of the tactics he employed for overpowering his rivals were gleaned from military strategies he read about used by African leaders in particular the Zulu Tribe of South Afrika..

Bam really turned his attention to music and Hip Hop’s then emerging culture after one of his best friends Soulski was got shot and killed by police in the Pelham Bay section of the Bronx… Bam talks about how at that time NYPD had a division that was targeting NY’s large gang problem and the Spades were ready to go up against them as a result of Soulski being killed. He noted that the resulting death underscored the crackdown that was coming on the gangs who were starting to die down..

Bam soon formed a group called the Organization which later evolved into the Mighty Zulu Nation.. Bam explained that he wanted use Zulu as a way to turn lives around and refocus folks energy from banging to music. Early on Zulu was still seen as entity to be feared and not toyed with. Outlaw ways didn’t die down overnight. Bam explained it took a lot of meetings and conversations to get folks to walk a different path..Eventually many did as Zulu Nation blossomed into an organization with thriving chapters a;ll over the world.

Along with forming Zulu now known as the Universal Zulu Nation, Bam got into music and deejaying, and soon developed a reputation for playing unique and hard to find jams (break beats). He eventually became known as the Master of Records..and till this day prides himself on rocking what he describes as ‘break beats’ of the future..

We cover a lot of this as well as what was going on in the early days of Hip Hop in this interview.. Reflect and Enjoy.. Happy Birthday to my good friend Afrika Bambaataa

http://www.youtube.com/watch?v=eL1YntDNRHo

Happy Bday Afrika Bambaataa & DJ Kool Herc…Looking back at the Early Years of Hip Hop

Afrika Bambaataa & Kool Herc

Today April 19th, we celebrate the birthday of one of Hip Hop’s founding fathers, Afrika Bambaataa. On Monday (April 16th) we celebrated the birthday of the Father of Hip Hop Kool Herc.. Sadly not many radio stations and other media outlets that have greatly benefited from Hip Hop music and culture which Herc and Bam tirelessly helped bring to the forefront have stopped or will stop to take time to give either of them a shout out at the very least.

We’re more likely to hear a birthday shout out to Kim Kardashian then to our pioneers but in today’s microwave society where people are commodities and ultimately disposable, one should not be surprised. Celebrating and even acknowledging the histories and pioneering figures of marginalized and oppressed communities aren’t often done especially if it can lead to folks rising up and questioning the direction and narratives being put forth by those in the mainstream who are in power.

This is not limited to Hip Hop. In 2012 all one has to do is look at the current wave of attacks  on ethnic studies programs both in college and in high schools all over the country. We see the banning of ethnic studies and accompanying books in states like Arizona. We see attempts to rewrite and white wash history books in states like Texas, where iconic figures from Cesar Chavez to the Black Panthers are stricken from the pages. It’s our charge in Hip Hop to counter that by at the very least holding up the accomplishments and stories of those who came before us so that we can learn and build upon the legacies they laid down..

There’s so much one can say about Herc and Bam, hence when writing about him, its hard to know where to begin. I guess when writing about Herc we should note he was an athlete who was given the nickname Hercules  (Herc for short) because of his height and muscular build. He was also down with a graffiti crew called the Ex Vandals.  Most importantly Herc was into music  and was always seeking ways to play it.

According to Herc he had a nice little rep for himself and thus had garnered a lot of respect..In August of 1973, he and his sister Cindy Campbell decided to throw a back to school party as away to raise a couple of dollars for school clothes.

http://www.youtube.com/watch?v=2_2CHTE975Q

The story goes Herc brought down his fathers speakers to the rec center of their building 1520 Sedgwick Ave, they charged 50 cent for fellas to come in and the rest is history.. The music Herc played that night was funk music, that at that time was popular but slowly getting less and less airplay on the radio. Songs like Sex Machine and Give it Up and Turn It Lose by James Brown or Jimmy Castor‘s It’s Just Begun were among the jams Herc highlighted.  The success of that party led to Herc doing others jams and it wasn’t too long before folks in the Bronx were seeking out Kool Herc parties.

It was during this time that Herc developed a system of playing records that he dubbed the Merry Go Round. He basically would take the hottest part of a song, usually the percussion break down and extend indefinitely by going from one record to the next by passing everything but the juicy part of the record.

During those early jams, Herc would keep the crowd excited by shouting them out on the mic. He once explained to me that he wanted to make folks feel good and important and one way of doing that was calling out their name on the mic. He also noted that it was a way to keep the peace. So in the beginning one might’ve heard Kool Herc shout out ‘his mellow-ski.. Mark Mark or his boy Kev-ski. Slang terms in the early 70s were phrases  like ‘My mellow’ or adding the word ‘ski’ at the end of someone’s name.

At the time it was big deal to get hear your name called out at a party by Kool Herc who was the center of attention and had a huge sound system he dubbed the Herculords. He later turned over the announcing duties to his friend Coke La Rock who became one of Hip Hop’s first emcees. Other members Timmy Tim and Clark Kent got down with the crew and collectively they were known as the Herculoids.

http://www.youtube.com/watch?v=AJkojOSppUE

When it comes to talking about Afrika Bambaataa, it should be noted that he was known in the Bronx long before he touched a turntable. Bam started out as a gang leader.. He was a warlord for one of NYC’s largest gangs in the 1970s known as the Black Spades

According to Bam, in spite of his gang affiliations he was always into music and well aware of culture and the Black liberation struggles. Even as a gang leader, some of the tactics he employed for overpowering his rivals were gleaned from military strategies he read about used by African leaders in particular the Zulu Tribe of South Afrika..

Bam really turned his attention to music and Hip Hop’s then emerging culture after one of his best friends Soulski was got shot and killed by police in the Pelham Bay section of the Bronx… Bam talks about how at that time NYPD had a division that was targeting NY’s large gang problem and the Spades were ready to go up against them as a result of Soulski being killed. He noted that the resulting death underscored the crackdown that was coming on the gangs who were starting to die down..

Bam soon formed a group called the Organization which later evolved into the Mighty Zulu Nation.. Bam explained that he wanted use Zulu as a way to turn lives around and re-focuse folks energy from banging to music. Early on Zulu was still seen as entity to be feared and not toyed with. Outlaw ways didn’t die down overnight. Bam explained it took a lot of meetings and conversations to get folks to walk a different path..Eventually many did as Zulu Nation blossomed into an organization with thriving chaapters a;ll over the world.

Along with forming Zulu now known as the Universal Zulu Nation,  Bam  got into music and deejaying, and soon developed a reputation for playing unique and hard to find jams (break beats). He eventually became known as the Master of Records..and till this day prides himself on rocking what he describes as ‘break beats’ of the future..

We cover a lot of this as well as what was going on in the early days of Hip Hop  in this interview.. Reflect and Enjoy.. Happy Birthday to my good friend Afrika Bambaataa

http://www.youtube.com/watch?v=eL1YntDNRHo

Thoughts on the Removal of the N Word from Huckleberry Finn Books

I  attended schools in the Bronx where I grew up that had very few Blacks and whole lot of prejudice white kids who used our required reading of Mark Twain as an excuse to utter those hurtful words. On more than a few occasions I had fights.  But in retrospect those fights would’ve occurred anyway. On those days Huckleberry Finn was the justification..

‘Mark Twain says nigger so why can’t I’, was the asinine line of reasoning.

If we hadn’t read the book it would’ve been and was other incidents that sparked racially charged fights. As I’m writing I’m recalling how the TV series Roots sparked a bunch of fist fights and we were required to watch and discuss that in class.

Personally I think it needs to be conveyed that the use of the word Nigger and injun are bad.. and it should be done so in the very pages students are asked to read.

Replacing the word Nigger with the word Slave is not the best way to go about doing this… I would keep the word and not spell it out.. i.e. Nigger would become N%$#er. That’s done all the time in newspapers and other popular materials that print offensive words..

On a side note what’s gonna happen with the Huckleberry Finn books in Texas? for people who don’t know, the state of Texas is switching up their text books and one of the major changes is they are removing the word ‘slavery’ and replacing it with ‘Atlantic Triangular Trade‘. So will we see that long word used in the Texas books? I’m just saying..

Davey D-

Return to Davey D’s Hip Hop Corner