Sir James Elliott aka Final Outlaw: When The Streets Are Paved Into Skin

Final Outlaw is a captivating figure, you can't really label him as an MC. He thinks beyond labels and descriptions. In fact, he converses with beats and his growing fandom in ways that rebel against them. He comes off as one that is very attuned to who he is in the present; he also seems to know about who he is about to transform into. If this holds true, I think we are going to see someone evolve into something special. If not, we have another artist in the underground who will always keep things interesting as a poet and artist.

WHOOOO! His newest effort put out for the Funk Volume Freestyle...

It isn't very often that we've seen someone this powerful punch out of beats like a mob of charging activists. His resume is quiet extensive for someone so young in the game (and his collection of expressions has only just begun). Hip Hop is a stage that he campaigns on...his ferocious attempts to show his relevance as an artist, can be described as inspiring. He joins in with his New York community when it falls, to help hold it back up. He's on facebook speaking his mind on a day to day basis, seeming to want to stay in touch with his admiring ears. Some can call it aggressive, some can call it uplifting; either way you can't deny his work ethic and his courage to show you his own self realized code of ethics and morals. 

Final Outlaw's "Theory" video

He is also first to tell you that he doesn't always do and say the right thing, but regardless, his light that he shines upon the persona that surrounds him is filled with sincere honesty (so it appears). As long as he stays on this transparent path, I think he'll give the world a brand that is worth paying attention to. Most people like artists that give us a piece of a persona that is entertaining, Final Outlaw definitely has this trait to his music and during his off the mic interactions. His rhymes are sprinkled with his observations, his reality (past, present, and future), and his own take on our current socio-conditioning. 

Final Outlaw's "Theory II" video

The Interview

TMSB: What drew you into Hip Hop? Why did you devote so much time into perfecting your craft?

FO: It was an outlet to express myself. It was an avenue to potentially arrive at success. It was fun to freestyle and battle. There was simply too many appealing aspects to Hip Hop to remain idle. It was happening around me so I wouldn't say I was drawn into it; it was just there. For many of us, it was like a scholarship program or something of that sort toward higher society. More than a gamble, a calculated risk that could bare fruit.

TMSB: What drives your lyrical content? You speak on a wide range of topics; like on your newest release for the Funk Volume Freestley, you said "My socioeconomic condition turn me to a villain". What are you trying to shine a light on from spittin' this lyric?

FO: Nina Simone once attempted explaining something like this. She described love and how it was relative to freedom. She described how love is a feeling and upon explaining it to someone they may understand what you mean, but they won't truly know unless they feel it or have felt it themselves. I guess I was born with this desire for more out of life, and I've tried describing whatever that "more" is. Sometimes I've called it freedom, and lately I've been calling it sovereignty, but the truth is that there is this deeply existential force pushing me, and you won't fully understand it unless you feel it yourself. In the lyric you mentioned, I'm describing a common phenomenon of being transformed by your environment - in this case the conditions were such that transformation is less ethical and perhaps more survivalist based.

TMSB: You have been a big advocate towards the Black Lives Matter movement, what does that mean to you and why do you think it is such a significant issue?

FO: I grew up under horrendous circumstances as an American. Poverty, violence, racism, you name it. It wasn't until I was well beyond puberty that I began realizing that my circumstancs were very urgent. Before I had come to that realization, I saw myself as just a kid, and all fucked up shit happening to me and around me was just normal childhood as far as I was concerned. When I began understanding things as they were as opposed to how they were told to me, I couldn't believe that such horrible things were so isolated away from other sectors of society and media attention. At its most basic level, Black Lives Matter has pulled these horros out of the darkness and into a mainstream discussion. This is like an unbelievable plot twist to many of us, something we never thought we'd see: everyone talking about us and our issues. In many ways I'm still finding it hard to adjust to that fact - people are talking about us, Black Lives Matter has obviously been involved in a lot more than simply discussing issues, but if you took everything else away, and it operated at that basic function -  it would still be something remarkable, an anomaly in many ways. We need this, and we need it to continue developing and evolving as our emergency stems far deeper than police brutality alone. 

TMSB: You talk about many social conditions, where do get your information, where do you get your knowledge spread?

FO: It has to be a combination of my life experiences (which have been plentiful) and studying. Could I have become so inquisitive had I not been so very deprived as a child? Who knows, but that definitely stands as an important variable to the cocktail that makes me. I consider myself a fair-minded, critical thinker with some accelerated life experiences. I suppose that those experiences have lead to a strong capacity for empathy. Whatever I set my eyes upon, or whatever I set my foot upon, I'd like to believe that I filter all my experiences and information through that process. Basically study, a lot, then contrast your findings with your own reality, and always consider the realities of others. The Universe doesn't scare me because of studying.

TMSB: With all these epidemics popping up on our earth, it is safe to say that Hip Hop needs you. There isn't many people out there in the game today talking with such depth and clarity. There is so much power and confidence behind what you say, what makes you play in the realm of consious Hip Hop versus trap or any other style?

FO: Sometimes people be saying that Hip Hop needs me. I don't see how. In what sense? If I were gone now, Hip Hop wouldn't be affected. I do think that I have an ability to dive deeper into writing than many others. I don't do conscious Hip Hop, I think that would suggest that I've chosen a moral side of something to that effect. I haven't. I'm not really binary, I appear to be sometimes, but isn't that the nature of artists? Sometimes we're introverts, other times extraverts. My music is existential, spiritual in relation to my quest to understand myself and my surroundings. I don't think that gives me authority as a judge of morality, especially since I'm fucked up in my own ways. I care though, I care a lot, about things, and that matters. Trap beats are mad dope.

TMSB: Is there anything you feel Hip Hop is missing that you try to help empower?

FO: Yes, educated people. Most of the educated people I meet in Hop Hop are behind the scenes. That's disgusting. I'm not talking about a piece of paper saying that you're educated, I mean people who take any deliberate effort to educate themselves. Conjecture Rules Everything Around Me.

TMSB: You are on Teambackpack, that is a big internet boost to eyes landing upon your brand, how did you get that opportunity?

FO: If you visit Teambackpack.net and search my name, I believe they once told the tale about how we met. It was pretty random. I first met Armani, Dev, and a few others. I was pretty hyper that day, but they were on deck with a camera to capture it. It turned out that we even had some mutual friends in certain places and we just clicked. They're all mad cool. They really care about talent and make their love for Hip Hop pretty obvious through their posts and ideals. A lot can be learned from Team Backpack, even from an entrepreneurial aspect. I'm really curious about how they will evolve in coming years, I'm certain they will, and I'm grateful to be part of it.

TMSB: Where do you see your music going and how would you like to be seen?

FO: I've been spending more time in the studio lately and experimenting a lot. My friends Rich, Jim, and Devon have been really helping me a lot with this. I've also been sharing ideas with other musicians a lot, just talking about life and music theory, I guess. My friend Parker and I do this from time to time... It's helping to make the music sound so much bigger. The focus has shifted a whole lot from my world views toward the nature of my upbringing. After my next project it's highly likely that Final Outlaw will never sound the same again. I've always wanted to make music about life, not bars. I've always wanted to speak about things that people can relate to as opposed to creating stuff that can easily be seen as moralistic or political. My music is starting to sound a whole lot more like music. But having said that, I care, I wanted to empower little james. I'd like to be seen as someone who met the listener at some juncture in life and triggered their minds to think, and to take their futures directly into their own hands and to depend on no one.

TMSB: When can we expect "Theory III"? This being a major movement behind your music, how did you come up with the original concept?

FO: I just came up with the idea as a way to help promote my previous album, Unstoppable Love. It was simple, just spit; give people a reason to go beyond first base with you. It worked. Theory III is done, and will probably be packaged as part of the campaign for my next project which is also almost done. The next project is called "It Bares Black Fruit." It's produced by one guy, but for a super important reason I can't mention him until after the project is released. He'll likely reveal himself eventually.

TMSB: Do you have any shows coming up? And who are you trying to be associated with as far as doing shows, which artists are you trying to work with?

FO: Right now I'm just focusing on writing and recording. I'm working on two projects: It Bares Black Fruit, and the mixtape after that. It Bares Black Fruit sort of marks a milestone for me, the end of Final Outlaw in many ways. But the beginning of Sir James Elliott, and the tale of what made me.

TMSB: Is there going to be any features on your newest album or are you perhaps jumping on anything as a feature in the future? 

FO: No features on my next project. I'll likely be featured on some other folks projects though - too early to talk about.

TMSB: Who are your favorite artists in the game now and what makes you appreciate their music?

FO: I dislike the whole "favorite" thing...but I'm feeling some of Saba and Mick Jenkins' stuff. "Oh my goodness" I'm feelin Boogie too, I saw him live in NY recently also. John Givenz is starting to look crazy promising. I'd say Raz Simone is someone who commands respect from me as a listener. He puts himself in a vulnerable place by speaking on things us artists are often told to stay away from - and I respect that shit. Too many more people to mention honestly.

TMSB: What do you think about beefs of today, like Drake vs. Meek Mill and how would you compare them with the ones that came before it?

FO: lol Drake vs. Meek Mill was really entertaining to watch, I had a lot of fun, and obviously Drake won, but he did so in such an entertaining way. I'm not mad at none of these people, I think it was good for the so called culture. I'm pretty done with everyone who complains about Drake to me. Nobody studies, everyone is so visceral and reactionary. Drake is talented, intelligent, and tactful. People sound primitive to me when they go on about "real Hip Hop" and whatever romanticism they've pent up over time. Son! "Trigger finger turn to twitter fingers" What?! This dude got meeked! Heads needed to relax and learn how to have some fun. The battles of the past are legendary, no one will ever threaten those legacies. Drake wants a bigger threat, he knows Meek lost this one, and he wants something legendary - this wasn't it. 

WHOOOO! That was a fun one, Sir James Elliott. Thanks for taking the time out to do this interview. The Majic Show and The Majic Show Blog hope the best towards you and your movement. As for now, I can't wait to hear his newest efforts. I'll leave you with this video...

LINKS:

http://finaloutlaw.com/ (cop that fire, "Unstoppable Love")

https://twitter.com/finaloutlaw

https://www.facebook.com/finaloutlaw?_rdr=p

http://www.102thebeatfm.com/ - Home of The Majic Show

Seven Spherez, A UK Prophecy

                                                 ____________________________________

SPHEREZ

                                                 ____________________________________ 

When one first listens to the pair, Ghost One and Coopz, spittin' to those Dr. G instrumentals; you can just feel something special is about to ensue. For some, it is nostalgic going back in time to the Golden Era when boom bap was at the forefront of Hip Hop. For others, it is something brand new, aggressive lyricism shot out the gun of harsh reality with numerology and symbolism crafted into the ammunition that is used in a battle against the mainstream (spiritual vs. robotic).

Most artists live life and talk about all their experiences through their music. A true Hip Hop artist takes that aspect and puts it on their shoulders to explain their observations in a poetic manner. Often times, they are standing outside the world and looking into it (through a magnified glass, so to speak).

In the UK, storytellin'-wise, it is no different. The only thing in the UK that is visibly different, Hip Hop has remained in the underground. Untainted by the clutches of the mainstream music industry, it is able to stay more pure to it's roots.

It is apparent and transparent that they are going to give you a taste of what going back to Hip Hop's roots has to offer; where they are planted in a more earthy east coast style of Hip Hop. This is no surprise since Dr. G (a UK producer, who I call the Rescusitator) is involved in this project. A producer who has been very rooted in the east, releasing his projects under Hell Razah Music Inc, of Sunz of Man.

You can see why these guys all came together as one under this group, Seven Spherez, they are like minded and properly feed off each other. Look at their video for "Number 7";

"Number 7"

In this video, there is a feeling of prophecy, that Hip Hop needs to go back to when it was a lyrical dynasty. Truth was an objective that was met within the wing bearers of Hip Hop. What Hip Hop has exposed is what the mainstream has created, closemindedness. This conscious Hip Hop group is bringing back this very essence while giving thanks to where Hip Hop has come from in the track "7 Heavenz", a classic-esque boom bap banger. Check it out;

"7 Heavenz"

I can't wait to write about the album "Seven Spherez", lyrically, they have a great understanding of bringing references from all throughout history. They show that philosophically, the world hasn't changed much and I think this is one of the truths they touch on. An important one to know about if this world is to ever change and in their song, "Candlewax", the beat's narration puts us on a path that sends us straight toward that type of thinking. Their small catalog of sneak peeks into their music has compiled to being quite a body of work. It makes the mystery of their forthcoming album that much harder to take (suspense, nahmean?). Triumphant beats meet triumphant MCs, we should expect no less...

Ghost One's Interview

TMSB: How did you all meet one another and what made you guys say man we got something here?

GO: I met Dr. G around 7 years back through a mutual friend who was working in one of the local recording studios. At the time Doc was doing a lot to put Manchester based emcees on the map so quite often when I would go to the lab to lay shit down, his beats would grab my attention! We hooked up on one or two early joints and I guess you could say the rest is history... Me and Doc both met Coopz at a rap battle, I suppose Hip Hop was the force that brought us all together. As far as saying, "man we got something here" I guess you could say "7 Heavenz" is the track we have gained the most feedback from to date. We received a lot of messages from kats all over the world bigging that shit up- saying things like "I ain't heard anything as raw as this since the 90s", so I would say it was that track that made us shift up a gear as far as taking the group forward.

TMSB: What is the philosophy behind your group's name and what does it mean to you guys, you know, what's its significance to your musical direction?

GO: Well, this entire project is 7 oriented, being probably the most sacred number known to man. You can see the 7 riddled everywhere within nature and through all life and forms in the universe. From the more obvious examples such as the 7 colours in the visible light spectrum and the 7 notes in the perfect musical scale right through to more esoteric examples such as the 7 great hermetic principles of the Kybalion or natural law with their many subdivisions of 7. Most people will be familiar with exoteric concepts  such as the creation of earth in 7 days, 7 sins etc... I personally am not religious or a subscriber to the biblical mode of thought but you can certainly say our music is divine influenced. The spherez element can be seen as aligned with 5 classical planets of our solar system along with the 2 luminaries- the sun and moon analogous to the beats and lyrics of microcosmically to the atomic world of spheres according to the law of correspondence...As above so below! 7 Spherez represent the divine immutable truth omnipresent in the universe and beyond. 

TMSB: As a group, what are you guys setting out to do? What is the mission behind your mission?

GO: We are bringing something different to the game, a style of music that stimulates mind and soul aeons beyond the wack shit out there that has the audacity to label itself Hip Hop... I guess you could say we are bringing back the essence of real Hip Hop and our mission is to reach and uplift as many people as we can through our sound.

TMSB: How is the Hip Hop scene in the UK and where do you guys fit in?

I feel like the UK scene has become somewhat stagnant in recent years, especially when compared to the European scene in places like Poland for example. Of course I see a handful of really solid artists scattered across the UK who are keeping the music aspect of the culture breathing- some up and coming kats and of course the old school veterans too, who are engrained in the culture, but I personally see a lot of what's commonly considered to be part of the "UK Hip Hop Scene" to be tainted and by that I mean lacking the true essence of the Hip Hop culture and ultimately void of substance. That said, there are pockets of people across the UK that are actively making moves to keep the vibe strong, so I wholeheartedly salute those contributors- you know who you are. If I could sum it up in a few words, I'd say we need more unity, more real Hip Hop promoters, and more action! Especially here in Manchester, our home city. As far as where we fit into the scene- we're certainly one of the handful I just mentioned above striving for recognition.

TMSB: Who are your main influences as an artist? Who were the influences that really spoke to you and set you on this path to be apart of  the Hip Hop culture?

GO: I would personally say my main influences as an artist come from life itself, from the exploration of the mental plane, esoteric research and my own personal lessons and experiences. Musically I have definitely been influenced by kats like Big Pun, Nas, Rugged Man to name a few. As far as group influences, I would definitely say Wu Tang, Sunz of Man, JMT, AOTP etc. 

TMSB: How does the songwriting process work itself out with you guys, give the readers an example of how a song all came together, like "7 Heavenz" (for instance)?

GO: Our format for laying shit down is pretty straight forward, really. Dr. G generally hits us up with a batch of beats he's put together while meditating on the 7, Me and Coopz pick out the ones that resonate with us, briefly conceptualise and then get to work individually on writing the rhymes. Currently we write and record separately in our own personal quarters with no knowledge of each others lyrics until we hear the final mix- the organic format for a lot of collaborations, I imagine. 

TMSB: Where do you hope to go with this new found group?

GO: Ultimately we would like to travel the globe performing live shows to different international audiences, that'd be dope as fuck!

TMSB: When can we cop a copy of "7 Spherez" the self titled debut?

GO: We aim to drop the album before Xmas.

TMSB: We look forward to hearing what you guys are going to bring to the table, is there any future plans for a tour and if so, where will you guys be touring?

GO: Currently there is talk of a UK tour taking place in the coming months and of course we would love to hit Europe, places like Germany, Poland, Czech (Hip Hop Kemp) etc. but of course that relies heavily upon promoters feeling our shit and putting us on- you know how it goes.

TMSB: Who is the MC out there now that you would like to do a song with?

GO: That's a hard fucking question...I'd like to do a whole bunch of joints with kats from Onyx to Deck, Vinnie Paz, Immortal Technique, etc... my list of desired collaborations could go on and on!

Well there we have it y'all, namsayin'? Seven Spherez coming out to fill that void in your ears that is never filled by the mainstream. Hopefully the UK can rally around these guys right here, their voice is loud and artistically nice, something that I am sure that some of you have been waiting for. Wait no longer, Hip Hop is back! We aim to find it and bring it to you! Now peep the links... 

Seven Spherez:

Website- http://sevenspherez.com/

Facebook- https://www.facebook.com/sevenspherez?fref=ts

Soundcloud- https://soundcloud.com/seven-spherez

Youtube- https://www.youtube.com/channel/UC9IVhxJkxfuJd78Bv32C1Hw

                                                                          

The Origins of Hip Hop: DJin' (or Turntablism)-Part One

Sources:
DJ Kool Herc's Wikipedia
Turntablism Wikipedia article
"Hip Hop Culture" written by Emmett George Price

The Intro

Djing or turntablism is rooted within the Hip Hop culture like a redwood tree is rooted into the earth. It is recognized as a modern art form that has played the most important role in the emergence of Hip Hop instrumentalism. You could also say that it was the first pillar that dared to hold up this new art form called Hip Hop like Atlas holds up the earth. It's remarkable how one spinning wheel aka record that's a direct descendant of the American invention called the phonograph (a Thomas Edison invention of 1877), can spark such a significant culture and genre of music.

The trio of DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash are credited as the founding fathers of this very important element among the "four core". Break-beat DJing is noticed as the foundation of this element, established by DJ Kool Herc. Once this was established, it gave rise to one of the greatest urban music genres in American history. There are many people that have tried to discredit it, many artists have openly voiced their opinion about Hip Hop not being music. That hasn't stopped it though, the consumers have turned Hip Hop into a cash crop and because it has been so successful; it being disputed as being music has virtually been silenced.

The Beginning of the DJ

On August 11th, 1973, a party was thrown in the recreational room at 1520 Sedgwick Avenue in the Bronx by DJ Kool Herc's sister. She got her brother to DJ and emcee it, where he showcased his skills on the turntables. He extended the break beats so that people could dance longer to their favorite songs. A "break" is the part of the song where all the instruments drop out except for the drums, hence being defined as break beats. DJ Kool Herc noticed these parts as being potent and innovated it in a way in which he called it "The Merry-Go-Round", he'd use two turntables and cued in the break beat on one record, then have the same record waiting on the other turntable to start after the other break beat ended. This technique was expanded upon, most notably by a DJ who called himself, Grandmaster Flash.

The Other Two Pioneers

In 1973, Afrika Bambaataa heard Kool Herc for the first time, which isn't surprising due to the fact that he was from the Bronx as well. I guess he heard all about it and wanted to go see what the fuss was all about. Whatever the reason was, it inspired Afrika Bambaataa to get his own sound system (in 1975) and to DJ in Kool Herc's style. When he became a DJ, he handed in his stars as the general of a well known gang in the Bronx, Black Spades and used his influence to convert his members into a non-violent group called Zulu Nation. His biggest impact came by forming the rules and gathering the most influential artists to his newly formed group. This got him the title of the Godfather of Hip Hop (Zulu Nation still continues to grow in membership).

1975 was also a year another pioneer of the turntables got started, Grandmaster Flash. He took DJ Kool Herc's style and expanded upon it, making the turntables Hip Hop's first executable instrument. DJ Kool Herc calls Grandmaster Flash "a hero", because of his well documented contributions. He became one of the first commercial faces of Hip Hop, selling out shows with the Furious Five. His career continued to flourish, working with Enjoy Records by the end of 1979 (helping to lead Hip Hop into the 80s where it kept climbing in popularity). It was Flash's protégé that discovered the technique, scratching by accident, Grand Wizzard Theodore. DJ Grand Mixer DXT furthered the scratching technique by using one or two turntables to make rhythmic scratches and set each turntable at different velocities to change the pitch of the scratch or the sound of the record.

The Conclusion

Well this part of DJing is done, still more to come on the subject. We have to talk about producing, and pioneers like DJ Premier, Pete Rock, and Rick Rubin will definitely make an appearance on this one. But when you look at it, without DJing, Hip Hop would not exist, namsayin'? So that is why this article was written, to shine a light on it's singular importance. Turntables is how Hip Hop was born, it was turntables that allowed for the creation of Hip Hop songs and it's genre and culture to arise out of the streets. Hopefully you all can take something away from the experience of reading this article, a better understanding of Hip Hop and it's culture and where it all came from. Fruity Loops had nothing to do with Hip Hop in the beginning, those programs made it easier and erased the use of turntables in Hip Hop, which to many is sad, because there the essence of Hip Hop was born.



The Majic Show

 

   http://tunein.com/radio/102thebeatfm-s220926/

     https://www.mixcloud.com/majicmike5/the-majic-show-feb-28-2015-live-recording/ 



The Origins of Hip Hop: Rappin'-Part One

The Sources:

-Krs-0ne.com
-Rapping (on Wikipedia)
-"Hip Hop Culture" written by Emmett George Price



The Origins of Hip Hop: Rappin'-Part One

 

 

 

 

The Intro

 

As previously talked about, these are the "four core" pillars; DJin', B-Boyin', Rappin', and Graffitin'. It is important to know that, because those are the first things that shaped the streets of NY and it's most heralded and fought after culture, Hip Hop. It is like the Holy land of the music world because everything is filtered through it. There isn't any genre that is out there that hasn't been given it's proper respect by being used within one of her arrangements. She has given artists past their prime a way to still make money, in a way, the mainstream should be bowing down to her. Artists that get forgotten can often be found by this sort of marketing that Hip Hop has stumbled upon.

 

You could even have an opinion that these artists owe Hip Hop and not the other way around (samplers have to give royalties to bits of songs often times, to the artist of the song's origin). Why else would Paul McCartney be one of the executive producers of Kanye's next album? He can see the money to be made, but somewhere in his core, he's got to see the genius that Hip Hop brings to the table. Maybe there are "some" that fear her and throw her into the unfed lion pit known as the mainstream, to make her a leftover scrap thrown away in the trash; we can smell her but can't taste her, hear her, or feel her anymore. Well Hip Hop is still around, and here at The Majic Show Blog, we're gonna tell it to you straight up, namsayin'?

 

That is why it is important to start with the elements, the "four core" elements to be more specific. I am going to start with rappin', why? Because everyone has dabbled in it, in some form or another (it is where my own personal journey can be credited to have first started) and it is the most important part, it is where the spirit of the streets is being told like a sermon. A good MC is like church, school, and a feel good party all in one. *Takes out his magnifying glass and looks over a map and chronological timeline that is rappin'* Alright, let's peep this element, this realm; known as rappin'.



 

Rappin'

Rappin' can be traced back to a time that predates the Hip Hop culture (according to the data, by centuries). It has also been used in other types of music, such as electronica and alternative rock. Rappin' can also be found in Kwaito music, Johannesburg, South Africa being the birthplace of this similar style of music. You can hear people rapping over a beat or a cappela, namsayin'?
 

Rappin' is basically words filtered through a chanted or spoken, with rhymes injected into them like a needle to the brain section (see what I did there?). That's just an example of some rappin' wordplay. Some people can't tell the difference between that and spoken word (poetry), it is simple, rappin' is a main ingredient of Hip Hop music. It also is a language within a language, one like no other. Spoken word is more like Maya Angelou over a beat, but this is about rappin', namsayin'?

 

If researched, you will find that this musical vocal type began in Africa, where it's roots are deeply spread throughout her soil. It is said that it started centuries before Hip Hop even existed. Rappin' started out much like Hip Hop, stories rhythmically spoken over drums and other instrumentation. They were referred to as "griots" and were from the West Africa region. Modern "griots" are said to be spoken word artists, as defined by "academia".

 

One must look at the blues and jazz music when looking over the "DNA strand" that became the child known as Hip Hop. Blues music was bred out of cotton field working songs and was also influenced by West African traditions with music (peep Robert Johnson). In the 1920s, a grammy-winning blues artist/historian, Elijah Wald claims that the blues started rappin' before Hip Hop. He called Hip Hop "the living blues".

Jazz, said to be developed out of influences from African-American and European musical traditions and the blues; is regarded as a big piece in influencing Hip Hop. Many of the break beats  that were sampled to make Hip Hop beats, came from jazz music (especially the aggressive snares). Jazz instruments are also often used in representing instrumentation in Hip Hop music. Jazz vocals and poetry are also a prime example of jazz's contribution as an influence.

James Brown had a huge impact on the personality of Hip Hop artists and credited as the inventor of funk (also a huge influence on Hip Hop and highly sampled). It could be said that the essence of the funk beat is the main influence to the Hip Hop beat. Besides jazz, blues, and funk (and other African heritage originated music), musical theatre can be said to have a bit of an influence due to their lyrical delivery in some of their songs (mainly because many can't sing, in theatre).



The Conclusion

All of these things are said to be game changers in our society that added to the arts and eventually helped create what is known as Old School Hip Hop. Old School Hip Hop brought the essence of having a good time until Melle Mel brought in the socio-political into his lyrics. From then on, Hip Hop was a social movement on top of being a form of feel good music. The Golden Era was born (from Melle Mel), which changed the world as we know it. It gave those that struggled in society, a voice.

A voice that many can say that was absent since the civil rights movement ended in the 1960s. You can also look at how media paints Hip Hop and see the fear in their eyes that is born out of the unknown of what would happen if Hip Hop came back in it's purest form, a socio-political and socio-economic commentary on life. With all the hate and racism that is being spread around, can you blame some of them? That is why it is our responsibility as representatives of the Hip Hop culture to show them there is nothing to fear. We bring peace and knowledge in this new revised movement of the voice of Hip Hop; she shall be heard again!

 



The Majic Show

 

   http://tunein.com/radio/102thebeatfm-s220926/

     https://www.mixcloud.com/majicmike5/the-majic-show-feb-28-2015-live-recording/ 





 

 

 

 

 

 

 

 

 

 

 

 

 





Interview of Dr. G: A Clinic of Resuscitation

The Introduction:

Dr. G, aka Gareth Hunt, was born in Manchester in 1981; where he started out at a pirate radio station named, Love NRG 99.7.  He coupled this with another music related job, he worked at the Eastern Block record store in Manchester (they had a chain of stores linked up all throughout the UK, namsayin'?). This is also when he started to build up his craft as a DJ, he did so for the next 5 to 6 years allowing him to make more contacts within the music industry in his local. He got into promotions, being a part of the Sony Street Team.

 

His nights became filled up with live DJ sets in front of crowds at the clubs with aggressive lighting that danced around the walls of the club about as many times as the snare hit the eardrums. This really began to cement his image as a growing force in Hip Hop community in the Manchester area. It only strengthened his resume as having love for music, working at a record store, being a part of the Sony Street Team, and being a DJ by night (that is 2 elements of Hip Hop right there).

 

During these years, he dusted off the ole' sneakers and moved his gear around five times a week; where he bombarded Manchester with his forming brand of Hip Hop, ya nahmean? These clubs that he frequently performed at, were usually scheduled performances with clubs that he built up a reputation with through the consistency of his performed craft. I'd imagine clubbing and being around the cubs all the time in the end kind of got a bit boring for him, namsayin'? All that work he did, all at once; he definitely put in his work. Which got him recognized (further), cause dude was no joke, ya know what I mean? Dr. G was unlocking doors in the music industry.

 

Working for the Sony Street Team, his job was to show up to various venues to hand out; flyers, stickers, and promo cds and such, namsayin'? It put him in direct contact with people and clubs in his area. Most of these places he already knew, this showed people his work ethic and willingness to start at the bottom to learn about the comings and goings of the Hip Hop game, ya know what I mean (this allowed his circle to take another jump into a higher level of significance)? His brand continued to grow as well as his knowledge into the elements of Hip Hop.

 

In hindsight, you could see that this drive that Dr. G possessed was like Man. City's will to win and it lead him places. He started meeting some big names artist-wise, Lauryn Hill, Eminem, and Destiny's Child, due to his involvement in event planning. He got backstage access too, namsayin'? He was going places that other people could only dream of (as they stared down into their pint glass filled with some lager at some pub); there wasn't much that he hasn't seen to this point. He loved music, sure, but Hip Hop was his true love, so why not take a dabble into the lyrical and start rappin' too, ya know what I mean? Da Vinci this ish, namsayin'?

That is exactly what he did, this got him into the studio too, he formed a group and they started to spit together. They were spittin' flows over beats that they put together, but this didn't really take the group anywhere- in the end. There were members in his group that got into trouble with the law, derailing many chances for them to work together (but this didn't stop Dr. G from further pursuing Hip Hop). One of the members had the studio they used in his bedroom, but that became difficult for them to use so it caused Dr. G to get his own equipment (which led him to going solo).

He bought a computer,  some software, and a microphone (now it was complete). He started making beats and associated with people that were rappin' and threw them on his tracks, this is how it all got started, nahmean? There were many kats that began to come to him for their work, kats like; Captain, Brazenface, Shotty Horroh (one of Manchester's best battle rappers), (the group) Lyrican, and Wrigley and Liquid E. He kept to the production side of things, because after having a group and seeing all the negatives to it, he felt it was better to be a lone star producer. Think about it, it's drama free, namsayin'?

Which brings us to his style of music that was built off of many different genres and sources like; soul music, progressive rock, 80s funk, and dance music. In his documentary, he states, "Anything that inspires me musically" (different music that catches his ear). He then speaks on a few of the names that stood out; Michael Jackson, Bob Marley, 2Pac, Biggie, Jay-Z, Mobb Deep, Kool G Rap, Gravediggaz, Wu Tang Clan, Dr. Dre, Snoop, and Kurupt. In the 90s, he confessed, was the time he got into Hip Hop, so the West Coast had a big influence on him. He also liked groups like, Onyx, Tribe Called Quest, and Lords of the Underground. His mom, on Christmas, bought him the "Bacdafucup" Onyx album of 1993 (a classic).

This is not just a summary of his life and where he's been and how he got here, it also leads into his interview on The Majic Show Blog. Once I heard him on the show, I knew that this was going to happen (only a matter of time). I mean, he's worked with legends like, Prodigy, Insptectah Deck, Killah Priest, Big Daddy Kane, Tragedy Khadafi, Hell Razah, and Bizzy Bone (to state a few). I mean, I hoped this would happen, so here it is, namsayin'? The interview with Dr. G...

The Interview:
(via email)

-1-
TMSB: "You seem to be really stepping your game up, working with Wu Tang and you just came out with a track with Big Daddy Kane, what was that like? That is mad respect when you are working with a legend like that..."

Dr. G: "Well it's an honor of course, I mean I been listening to them dudes ever since I found Hip Hop. They are the father's of the game and it's nice to give the young era a taste of the old school."

-2-
TMSB:  "Man you took a long road to get to where you are right now, from music listener to DJ to MC to producer, tell us a little about your days as a club DJ,  man I bet you have a few entertaining and wild times to speak of..."

Dr. G: "Yes and no, at the time, during the late 90s and 2000s, my city (Manchester) had two major gang wars going on so the club scene could be a scary place. Seeing people shooting guns off and clubs getting closed down, made it hard for us to get Hip Hop events in our city. But on the plus side, I was getting paid for my hobby and making new links and also the women, of course (haha)."

-3-
TMSB: "You also have said that you were a part of the Sony Street Team, what is that like and how did you come upon that opportunity? What made you say yes to it?"

Dr. G: "I was already doin' my own promotions at the time and my friend, DJ Sentex was running Sony Street Team, but Sentex moved to London and made me the key rep for Sony Street Manchester. It was a good paying job, really good fun, and not hard at all to hand out free music promotional items. Things like mixtapes, CDs, posters, stickers, hats, shirts, etc."

-4-
TMSB: "I have heard you speak on your influences as well, who was the one that really got you connected to this Hip Hop Game? I mean you were a DJ, an MC, and now a producer; touch on that for us please..."

Dr. G: "My friend and father figure, Sefton (Madface) Mottley. He gave me a job in a record store when I was only 14. I never finished school so when all my friends were into taking and selling drugs, I had a job and became involved in music. But musically as a fan, amm the good rappers in the 90s were my influence."

-5-
TMSB: "In the UK, many people are on that electronica dance music movement scene and you came up when both electronica and Hip Hop were in their primes, in the 90s...what made you zero into Hip Hop more than say the electronic music scene?"

Dr. G: "What Hip Hop stood for and what the rappers where saying made me feel the music more. I guess it was in my veins."

-6-
TMSB: "Your big project that is out right now is called Dr. G: The Coalition, Vol. 1...what made this project come about? And I believe it is under the Wu Tang affiliate Hell Razah Music Inc., right? And how was it like working with the line up on that one? You got more legends under your belt from this one..."

Dr. G: "Great and the coalition was way over due. I had so many tracks with rappers from the underground to mainstream/ new school to old school. So I had to do something with the songs. Plus Hell Razah is a good friend of mine. He helped me out with a lot of stuff and with my direction. So a way of paying him back was to release the tracks through his label, Hell Razah Music Inc. I try to speak to Razah as much as I can on any projects and ideas. We have an album together coming very soon, late 2015."

-7-
TMSB: " What are you trying to do in 2015 that is different from the other years? What do you have coming out that we can look forward to?"

Dr. G: "Just to keep moving and this year you will see a lot of singles form me and artists that I am working with. But I am really trying to find a new young kid to make a 90s feel EP, with."

-8-

TMSB: "Where do you plan on going in the future, what do you want the end result to be?

Dr. G: "Just to be successful and recognized in Hip Hop. Also would like to be behind the scenes teaching young kats how it's done. I am not in it for the fame, just for the love and if I become famous, then it is a bonus, I guess."

-9-
TMSB: "What can you tell all those aspiring producers and artists in regards to advice, what was the key to your success? You started at the bottom just like most of us have to..."

Dr. G: "A key is learn to listen and take chances and be inspired. And remember to love someone if they love you back. Stay humble."

10-
TMSB: "What does it take to work with Dr. G, let's say my name is MC Limestone and I want to do a track with you, what do I gotta do?"

Dr. G: "First I would tell you to change your name, MC Limestone, joke (haha). No I  mean, not much. Music can speak for itself. So if I hear someone with a  little something, then that's it really."

The Conclusion:

I'd like to thank Dr. G for taking the time out to do this interview, big ups! He's huge in this industry right now and you hear his name being floated around; this is by far the biggest interview I have ever done. On behalf of The Majic Show Blog, I thank you again. To be honest, he is a big name in Hip Hop already, to be any bigger is to be in the mainstream. Dr. G has what it takes to bring back that old school vibe into Hip Hop and I am glad he has picked that route to do so. Next up is an interview with Grand Surgeon *sharpens up his scalpel* he's on the cutting board now hehe, so stay tuned folks, namsayin'? Until next time, here's the links...

Contact:

https://soundcloud.com/dr-g-uk
https://www.facebook.com/DrGProductions
https://twitter.com/DrGProductionz

Buy the album:

https://itunes.apple.com/us/album/the-coalition-vol.-1/id931386817
http://www.cdbaby.com/cd/drg36

CDs:

http://thecoalitionalbum.com/

The Majic Show

 

   http://tunein.com/radio/102thebeatfm-s220926/

     https://www.mixcloud.com/majicmike5/the-majic-show-feb-28-2015-live-recording/ 



 

 

 

The Origins of Hip Hop: The Pillars of an Urban Culture

The Pillars of an Urban Culture

(Brought to you by The Majic Show and The Majic Show Blog conglomerates of 102thebeatfm) 

Bibliography (sources)-

1. Wikipedia:
         a. Ghetto Brothers Page
         b. Hip Hop page
2. "Hip Hop Culture" written by Emmett George Price

The Origins of Hip Hop:

Hip Hop originated in the 1970s in New York City, where block parties became popular and at these block parties; DJs used to extend the beats of popular songs so people could dance longer (and B-boys B-girls could show off their art of dance, mainly breakin'). This later transformed into having a master of ceremonies (MC), who backed up the DJ adding rhythmic rhymes to the DJ's set. Consequently, this started a whole universe of culture that became know as Hip Hop. Unlike other genres of music, there is a vibrant culture that go along with it. This culture is defined by what is referred to as the elements; there are nine in total. The first four elements are known as the "Core Four" elements (or four pillars); DJin', Rappin', B-Boyin', and Graffitin'. At the core, these four things strengthened the culture and brought about the identity of Hip Hop.

 

They led us to the Golden Era, where artists such as; Eric B. & Rakim, KRS-One, Public Enemy EPMD, Big Daddy Kane, Tragedy Khadafi, Slick Rick, Beastie Boys, Gang Starr, Ultramagnetic MCs, and Kool G Rap rocked the mic. These artists brought a deep sense of storytelling and production that innovated Hip Hop during it's beginning steps into a more mainstream culture. They turned the craft into a popular form of the music. One that brought forth a social movement that opened the ears to the youth and made them less afraid of speaking their minds when it came to social issues that plagued inner cities around the world.

 

In this sense, it was an international movement and with each song that banged through those notorious "ghetto blasters", new ears and minds were being exposed to thoughts that some didn't even know existed. It gave the American African culture a voice and an identity that most would say was stripped away by the clutches of slavery. Since I grew up during the rise of Hip Hop, I guess you can say I can look back and see the impact it once had in people's lives. Now it seems like it is reverting back to what it once was, what first caused it to explode, partying; because many people just want to party, dance, and have a good time. Maybe this will help bring it back to being the mainstream's civil rights vessel that it once was, because many of us can recognize that it is in need of one (one that is unifying). So let's take a ride into this almost forgotten vessel.

 

Let's hope into Doc's Delorean and got back to the beginning; born in the concrete jungle of the Bronx (NYC, one of the Five Burrows). It became a positive venue for young oppressed youths of the inner city (mostly African and Latino) to participate in, an outlet away from gangs. Forget about who originated it, DJ Kool Herc (Jamaica) to Grandmaster Flash (Barbados), to the Ghetto Brothers (Puerto Rico)...everyone has a piece of Hip Hop history, that makes it such a powerful genre that transcended into a culture, a way of life.

 

In New Yourk during the 70s, there were sizable contributions from; Jamaica, Haiti, Barbados, Puerto Rico, Cuba, the Bahamas, and other Caribbean islands; where many that came from there (first and second generation Americans) had a huge hand in molding the clay sculpture of Hip Hop.  Therefore, one could see that these areas and their music and culture had a big part to play influencing Hip Hop in the beginning-- some even say that these islands south of the US originated the art form.

 

Even if that is true (it depends on who you ask about this subject), the culture is a direct blueprint that was played out in the heart and soul of the united States, NYC (mainly from the mind of the Godfather, Afrika Bambaataa and later KRS-One). The doctrines of Hip Hop were basically drawn up by an artist by the name of Afrika Bambaataa, he was the one that formed the pillars that would be known as the "Core Four" of the Hip Hop culture. He helped lead inner city kids away from the oppressive roles that were handed down to them (by racism) for generations, sprouted from the beginning and end of slavery and the rise of racial inequalities.

 

These block parties were not just a place to dance, they were a place where voices could speak loudly over beats with no filters. They began to speak into the mic while music was going on, hyping everything up which later morphed into poetic rhymes. These rhymes became a direct reflection on social conditions in NYC as well as social commentation, a diary if you will (for the time). People of different racial backgrounds also gathered for these parties, consequently, it became an active ingredient that broke racial barriers (in my opinion, it still does). It became a social movement that moved all walks of life, whether you are from the suburbs, the urban areas, or a small rural town (that includes everywhere globally, especially now). It was very much so a continuation of the civil rights movement in the 1960s, Hip Hop was the new voice and torchbearer of the racial equality movement that is still being fought today.

 

It is amazing how much Hip Hop has grown. Artists of all levels, from the underground to the mainstream, are now speaking up against the social injustices that are perceived by most, to still exist in the inner cities (predominantly, and also more frequently in areas with highly populated black communites; I think you are deaf, dumb, and blind if you don't recognize this). So that is it for now and stay tuned; The Majic Show Blog is going to keep bringing you pieces on Hip Hop to show that we here at The Majic Show (on 102thebeatFM), are all about Urban Music culture and it's way of life. We want to help teach those who may have forgotten or who have never been exposed to it's great history and impact it has had all over the world.

 

Hip Hop is Martin Luther King, Jr.'s dream in motion. Next part to the series is about "Rappin'"...

 

The Majic Show Link (Thursday's show):
https://www.mixcloud.com/majicmike5/the-majic-show-podcast-thursday-feb-19-2015/

102thebeatfm link:
http://tunein.com/radio/102thebeatfm-s220926/