Nowadays it’s hard to turn on the radio and not hear music from one of Chicago’s many music superstars. Kanye West, Lupe Fiasco, Common, Rhymefest, Twista, Da Brat, Shawnna, Doe or Die and Crucial Conflict seem to have firmly positioned themselves over the years as household names within the mainstream..In recent days many have come to know Chicago rappers via the exploits of Chief Keef.
If you dig a little deeper and check out Hip Hop’s underground, you’ll discover that very few people are willing to roll up and do battle with esteemed Chi-town lyricists like M’Rald and of course Juice. On the political front acts like Rebel Diaz and Lah Tere have proven to be no joke..Others like DJ Third Rail, DJ Illanoize, and the late DJ Pinkhouse to name a few have not only made names for themselves as deejays not to be toyed with but also provided important platform for local artists.
Yes, the Chi seems to have established itself in the world of Hip Hop, but it wasn’t always like that. In fact much of the Chi-Town’s success is a direct result of organized effort by it’s pioneering Hip Hop community that grew frustrated from being locked out by the industry that saw Chicago, more as a consumer market as a opposed to a place where stars are born.
Many within the music industry were only willing to embrace the nation’s third largest city as the Mecca for House Music and somehow managed to disconnect that music form from Hip Hop when in many ways the two are intertwined, especially along the lines of deejay culture.
The battle to establish ‘Tha Chi’ within Hip Hop was about as brutal as its political landscape. Unsung heroes like Dr Groove, Lord Cashus D, DA Smart, Black Allies, Sugar Ray Dinky, George Daniels, World wide Posse, God Squad, The Chi Rock Nation, Ill State Assassins, and the late DJ Pink House all played crucial roles in organizing, pushing the envelop and seeing to it that the Windy City get its respect. They used to roll up on nightclubs, radio stations and even label executives demanding to be recognized. Many will forget that back in the late 80s there was a movement called the New World Order which brought many of Chicago’s Hip Hop community together as they fought for change and respect.
Sadly despite those heroic efforts of the past, today, many local artists who are not signed to a major record label or coming out of Kanye or Common’s camp find that many outlets like radio and even nightclubs are closed to them. This is now spurning up a new generation of Chi-Town Hip Hoppers to start organizing to bring about change.
During the recently held National Hip Hop Political Convention (2006) we sat down with one of Chicago’s premier pioneering emcees, Jitu the Juggernaut of the group Ten Tray. For those who are unfamiliar ten Tray was the first group to be signed to major label. Back in 91, Jitu the lead rapper was and to this day remains an activist who saw the power of Hip Hop and decided to use his talents to spark political thought and hopefully change.
In our interview he gave a serious rundown of the city’s history. He also cleared up a lot of perceptions. For example, he talked about Hip Hop first emerging in the Chi around the late 70s. He talked about how Afrika Bambaataa’s Universal Zulu Nation set up a chapter under pioneer Lord Cashus D in ‘78.
Jitu broke down the important connection between Hip Hop and House. He reminds us that House is a Black music genre that at least in the Chi was enjoyed by cats that lived in the hood. He talked about the Hip House movement that came about in the late 80s with key players like Fast Eddie, Tyree, JMD and the late Kool Rock Steady being not only household names in the Chicago, but in many ways ambassadors for the city around the world. Jitu goes into depth about the important role Kool Rock played.
He also talked about how the House music deejays forced everyone to step up their deejay skillz and that it was not unusual to have b-boys and b-girls at House music parties and events. He also drew parallels to how the lack of public school after school programs and music classes forced many to turn to deejaying as a way to express themselves musically. A good part of House music was born out of that void.
Jitu also talked about The Chi’s early graf scene with pioneers like Warp One.
What really stood out in our conversation was Jitu talking about the early club and open mic scene. He talked about how the now defunct El Rukins street gang (originally the Blackstone Rangers) had a building on the Southside complete with an auditorium where they would hold weekly emcee battles.
Jitu details the influence Chicago’s highly organized, legendary street gangs have had the scene. He also talks about how other groups like the Nation of Islam and the legacy of the Black Panthers which had its largest and most organized chapter in the Chi have also had influence on folks as they were coming up and into Hip Hop.
Lastly Jitu goes into detail about the politics and the layout of the city. He talks about the differing cultures that exist on the historic Southside, the Westside and the Northside of the city. He also runs down a report card of sorts about some of Chicago’s famous people and organizations and the role they played or ‘have not’ played in terms of elevating Hip Hop.
Jitu finds himself back on the scene after coming out of retirement and ready to drop a new album called ‘Necessary Ingredients’ which is being backed by the Universal Zulu Nation.
Here is our 2006 Interview which first aired on Breakdown FM..
We also posted this interview on Youtube..
http://www.youtube.com/watch?v=6WnAZFgCBAY
Below is a brief timeline of Jitu and his career courtesy of decentexposure.com http://www.decentx.com/artist.asp?id=472
Jitu is an African name, given to him in 1995 meaning “A giant among men.” Jitu is a youth program coordinator and community organizer on the south side of Chicago. He swarmed the game in 2002, entering battles and open mics. Leaving crowds in a state of disbelief, Jitu has humbled emcees all over the country, blending a once in a lifetime voice with an expansive vocabulary and ferocious delivery. On the underground, many call him the best they have ever heard! A short look at his accomplishments: • 1986-Winner of “Battle of Chicago Rappers” at El Rukn Fort
• 1989-2nd Place-“Battle of Chicago Rappers”
• 1989-Formed “New World Order” along with Cashus D of the Universal Zulu Nation, to organize rappers, dancers, singers and dj’s in Chicago. Was the largest such organization in the country with over 200 members.
• 1989-Organized, with Dr. Groove (Source Magazine) and DA Smart, a massive hip-hop community protest of the opening of “Sarafina” at the Regal Theatre for refusing to recognize DA after he won a national talent competition with his rap, “Black People ain’t Prejudiced, They Just Mad.” They recognized DA as the winner of the contest.
• 1991-With group Ten Tray, signed to Smash Polygram records to become the first rap act in Chicago on a major label.
• 1992-Appeared on Rap City, The Box and Yo! MTV Raps.
• 1992-Album, “Realm of Darkness” recognized as album of the month in Rapmasters magazine.
• 1992-Song, “Ain’t Nothin’ Like a Sister” was number one song in Las Vegas region and other west coast markets for 4-9 weeks.
• 2003-Winner-“Battle of the Iron Mic”
• 2003-4 Time Champion-Emcee Battle @ Wild Hare
• 2003-Winner-1st Annual Kool Mix Emcee Battle
• 2003-3 Time Champion-Microphone War @ Subterranean
• 2004-Represented Chicago in national BRAINSTORM rap battle in Seattle (semi-finalist)
• 2004-2nd Place-Rhyme Spitters emcee battle and documentary (see enclosed DVD…we got shafted!)
• Joined and helped develop veteran hip-hop alliance, “FIGHT CLUB”
• 2005-Begin work on album, “NECESSARY INGREDIENTS.”
On this album, entitled NECESSARY INGREDIENTS, Jitu brings pure, unbridled passion and energy with ridiculous beats provided by the likes of Harvy Allbangers, Tony Baines, Joe Blaque, Ty Hill and Issues. Jitu blends real street cuts and bruises, consciousness, passion and skillz to deliver the gz-noods on this project. This album is a holy book for emcees, as Jitu blends subject matter, lyrics, delivery, flow, energy, breath control to give you what we believe, is ONE OF THE BEST ALBUMS IN THE HISTORY OF HIP-HOP.
Contact Information: Jitu tha Jugganott 4356 S. Lake Park, Suite 1N (yeah, right!) Chicago, IL 60653 (773) 317-6343 jitubrown@yahoo.com (Respect the Art of Emceeing!)
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New York, NY—Hip-Hop Culture’s oldest activist group seeks help from elected officials, law enforcement and the media on denouncing and disbanding so-called “Hip-Hop” websites, radio stations and promotion companies which blatantly disrespect Hip-Hop Culture and its true origins and principles.
The coat give away will be Friday January 18th 2013 at John O’Connell High School and will be exclusive to the students of the school.
The 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 
It 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.
“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.”
Kool DJ Herc, originally from Jamaica, is credited with extending these breaks by using two turntables, a mixer and two of the same records. As DJs could re-cue these beats from one turntable to the other, finally, the dancers were able to enjoy more than just a few seconds of a break! Kool Herc also coined the terms “b-boy” and “b-girl” which stood for “break boys” and “break girls.” At one of Kool Herc’s jams, he might have addressed the dancers just before playing the break beats by saying, “B-Boys are you ready?! B-Girls are you ready?!” The tension started to mount and the air was thick with anticipation. The b-boys and b-girls knew this was their time to “go off!”
“Power moves” is a debatable term since it is questionable which movement requires more power: footwork and freezes or spins and gymnastics. One notable point introduced by B-Boy Ken Swift is that spins are fueled by momentum and balance which require less muscular strength than footwork and freezes. The laws of physics prove this to be true: spins require speed and speed creates momentum. The advent of “power moves” brought about a series of spins which became the main focus of the media and the younger generations of dancers. The true essence of the dance was slowly overshadowed by an over abundance of spins and acrobatics which didn’t necessarily follow a beat or rhythm. The pioneers didn’t separate the “power moves” from the rest of the dance form. They were B-Boys who simply accented their performance with incredible moves to the beat of the music.
In Los Angeles, California, Don Campbell, also known as Don Cambellock, originated the dance form “locking.” Trying to imitate a local dance called the “funky chicken,” Don Campbell added an effect of locking of the joints of his arms and body which became known as his signature dance. He then formed a group named “The Lockers,” who all eventually shared in the development of this dance. The steps and moves created by these pioneers were named and cataloged. Some of these include: the lock,points, skeeters, scooby doos, stop n’go,which-away and the fancies. Certain members of The Lockers” incorporated flips, tucks, dives and other aerial moves reminiscent of the legendary Nicholas Brothers. The main structure of the dance combined sharp, linear limb extensions and elastic-like movement.
In 1976, The Electronic Boogaloo Lockerswas formed in Fresno, California by Sam “Boogaloo Sam” Soloman, Nate “Slide” Johnson and Joe “Slim” Thomas. Since the group’s inception, Sam has continued to recruit and help each member master his individual form. Some of Sam’s early inspirations were Chubby Checker‘s “Twist;” a James Brown dance called “the Popcorn;” “the Jerk;” cartoon animation and the idiosyncrasies of everyday people. From these many influences, Sam combined incredible steps and moves conceiving a dance form which he named “Boogaloo.” This form includes isolated sharp angles, hip rotations and the use of every part of the body. Sam’s brother, Timothy “Popin’ Pete” Soloman, described Boogaloo as a dance which was done by moving the body continuously in different directions.
