Angie Martinez aka “The Voice of New York” will be hosting a new
show titled Untold Stories Of Hip Hop will premiere this fall on the WE tv
network. According to reports, Martinez is set to sit down with Cardi B, Snoop
Dogg, Queen Latifah, Ice Cube, Nelly, A$AP Rocky, DJ Khaled, Wyclef Jean, Ja
Rule, Fat Joe, and many more for a new the show.
“Hip Hop music and culture is at the foundation of the WE tv
brand, and as the genre’s influence only continues to grow and impact the world
around us, it’s incredibly important to preserve these untold stories for the
culture,” says Marc Juris, President of WE tv.
Juris continues, “From our series that spotlight Hip Hop royalty
to documentaries that share the true stories of artists throughout the
industry, Hip Hop has formed who we are and we’re excited to take a closer look
at the artists who’ve left their mark and at those who continue the legacy.”
Untold Stories of Hip Hop will feature
hour-long episodes. Martinez’s new show joins a WE tv line-up that now
includes Growing Up Hip Hop, Growing Up Hip Hop: Atlanta, Growing Up
Hip Hop: New York, and Marriage Boot Camp: Hip Hop Edition.
Entertainment One and Creature Films are the production companies
behind the upcoming series. In addition to her hosting duties, Martinez is also
serving as one of the show’s executive producers.
UK based Nigerian Hip-Hop legend Modenine teams up with producer beat maker Extraordinaire/Sound Engineer/APC DJ, Member of Str8 Buttah Crew, London , Lagos/D Teck-Zilla for a new 14 track collaborative project “Esoteric Mellow”. The project came out of unreleased sessions Modenine had some years ago and had been sitting idle until he linked up with Teck in London and they started putting things in place. The body of work also includes remixes of previously released songs such as “Mystery Girl” and the Canibus assisted “Super Human”.
Monday, April 14th 2019—Most people don’t realize they are in history until it is too late, said KRS-One in an interview after performing Saturday night for a packed Cervantes night-club in Denver Colorado. Hip Hop is a global culture, and we are its cultural architects. What we do and say today is going to be the actual history of those studying us in the future! What we believe of ourselves today is what our children are going to believe of themselves tomorrow. Our actions today are going to inform our children as to what they are capable of and what they can become in their present! It’s time to approach Hip Hop as the global culture that it really is.
Many people confess to be life-long fans of KRS-One’s music, but more and more people these days, are becoming students and apprentices of KRS-One’s teachings and his vision for Hip Hop. KRS-One has played Cervantes many times in the last 10 years, but last night he and is audience seemed extra thirsty for what KRS-One repeatedly referred to as “Hiphoppia”—Hip Hop’s new city. Those that study with the Temple of Hip Hop have heard the Teacha speak on this subject before, but after an amazing high-energy performance, some of us got a chance to sit down with the Teacha to discuss his upcoming music projects, his six new books, his new “Free Style” tutorial DVD for emcees, the Temple of Hip Hop and his ideas for Hip Hop’s new city—“Hiphoppia”.
Students—Thanks for taking this time to speak with us.
Teacha—The honor is mine; thanks for listening all these years.
Students—On stage you talked about people not realizing that they are in history until it is too late. Can you elaborate on this?
Teacha—The statement speaks for itself. Most people don’t realize that their own actions and words are the actual ingredients of the history they, and their children, shall live out in the future. The idea is to live a life that you can be proud of. Give yourself good memories by living a good life in your present. Feelings of jealousy, anger, sadness and worry, and then the actions that follow, nurtures a guilty life in one’s future. But, feelings of peace, love, unity and joy, and the actions that follow these, nurture an empowering life in one’s future. It’s really that simple. This is why it is important to live a righteous life. It is because the righteous life gives you beautiful memories. It gives you confidence in who you are and what you are capable of.
Students—You’ve been posting photos of yourself in the studio with Dr. Dre, is he producing your next album?
Teacha—Not yet. And I say that cautiously because Dre is looking to further mix some of what I did in his studio, and he may add to my production or change the music altogether. I’m open for whatever! Right now though, Dre’s involvement in this new project is more of an executive producer, than that of a music producer. He’s just helping a brother out. But we’ll see. Dre, and his team, big-up to Ty and to Victor the engineer, they came to my aid when Simone reached-out to them. She made one phone call, and the next thing I knew I was in Dre’s studio recording. I really appreciate Dre, Ty and Victor for this, and Simone. My new project is called “Street Light” and there’s a variety of producers on this project. DJ Static who plays for Immortal Technique, Sun-One of the Temple of Hip Hop, Kid Capri, Mlody from Poland, my son DJ K-Prime, and myself are the actual music producers of this project so far.
Students—Any collaborations with other artists?
Teacha—Only G Simone, Freddy Foxxx and Sun One so far, but earlier in the project, sometime last year 2018, I did reach-out to Red Man, EPMD, Papoose, Rah Digga, M.O.P., and others, but I gotta follow-up. I’ve been touring and lecturing since then, now may be the time to reach-out to them again. Yo, Red Man what’s up! Yo, Papoose what up!
Students—When do you see this project coming out?
Teacha—Some time in August, possibly on my birthday (August 20th 2019). But a film company named Pure Brilliance, the ones that directed and edited my “Free Style” DVD, happened to also be with me at the time when I was recording at a variety of studios in L.A. including Dre’s studio, and they made a kind of visual journal of me working in the studio. You can go to krs-one.com to see some of this. Some of it is also on my Instagram.
Students—Why did you name this project “Street Light?”
Teacha—Well, I am always trying to find references to either philosophy and metaphysics, or original Hip Hop from its cultural perspective when titling my albums. The street light, the light post that we see shining light at night onto the street, is symbolic of Hip Hop. Hip Hop is like a tall light post shining light onto the darkness of the streets. In fact, it was at the base of the city light posts that the very first Hip Hop DJs would go into and rearrange the wiring at the base of the light post to get their electricity to power their sound-systems, even their apartments. I am calling this music project “Street Light” because in addition to bringing attention to Hip Hop’s original emcee styles, I am also bringing certain necessary messages to younger people regarding the uses of their minds and the reality of the spiritual life. This project is a balance between hardcore “street” lyrics and philosophical “light” lyrics. Thus, Street Light.
Students—On your song South Bronx, you stated I am a teacher and others are kings. If that’s the title they’ve earned, well it’s well deserved, but without a crown see I still burn. From the time you emerged on to the rap scene in 1986 you’ve been known as “The Teacha”, Hip Hop’s first and official teacher. What then is your basic teaching, and what is it that you want Hiphoppas to know?
Teacha—Well, as you all know, my basic teachings can be found in the Gospel of Hip Hop. However, the main point is to relieve human suffering through awareness, through knowledge, through a concept I call “edutainment”, education through entertainment. Most people suffer not just because of injustice or corruption, but more because of ignorance. Their own ignorance. Not knowing what you are capable of, or who you really are outside of your name, your age and your employment is the number one cause of self-doubt, worry and depression, thus failure. You know, driving a car is a dangerous. But you don’t get in your car worried about driving it because you KNOW how to drive. You have a knowledge, an awareness, of driving, and that awareness, that knowledge, is what wipes away all fears and overrides all potential dangers. Someone else, without a knowledge of how to drive a car, is expected to feel some anxiety if they had to drive a car. The same can be applied to life itself. Most times people become stressed, depressed, anxious, angry and all the rest simply because they don’t really KNOW life. Life is not something they study. It is something to possess or take away, it is not an event to be studied unto itself.
This is how most people live their lives. But as far as life itself is concerned, knowledge is what is on top, and it is knowledge that puts one on top! On top of life. Not money, not fame, not even resources. Knowledge reigns supreme, and for our people to truly reign supreme, we need knowledge. All of us! This is why I exist. When it comes to our people, Hip Hop’s people, Hip Hop’s actual culture, there are certain things that we need to know for the sake of our own survival and growth, and this is what I teach. But what we Hiphoppas really need to know is that we are a Holy Integrated People Having Omnipresent Power! We are not simply a music genre, we are a new civilization upon the earth, and we need to start acting like one.
Students—For a short time, about a month last year (2018), you made excerpts of seven of your new books available. First of all, where do you find the time to write seven books, and tour, and lecture, and record a new album among everything else that you are doing? And when are these books coming out?
Teacha—Wow, that does sound like a lot. But it’s not as difficult for me as it would appear. As you know, I don’t fly, I don’t use airplanes. I use cars, vans, busses, RVs and ships to get around the world and the United States. This gives me all the time I need to study, to write, to think, to record and to be a husband and a father all at the same time. The difference is that I don’t plan tours; I plan life. Rap is something I do, but Hip Hop is something I live, and it is the living of Hip Hop that shapes my life is such ways. If I focused upon one thing like doing a rap tour, it might interfere with my family life, or the time needing to read and study. But at the very beginning of my family existence with my children, wifey and myself, I groomed my family to be in harmony with me and I with them. Wifey, heads our business affairs. My youngest son and only daughter handle the albums, the DVDs, the T-shirts and the books, while my oldest son handles our tech, and is also my DJ. And all of us are artistic in some way. With this set-up, I have all the time I need to do whatever I want. You know, it’s funny, the slower you move in life the longer you live, and the more time you have to live, the better you live! You would think that such would be the opposite, that you have to move fast in order to achieve goals or get something done. But my life experience has taught me something different. It seems that the fastest speed in the universe is stillness. It’s not about chasing opportunity, it’s all about learning how to be still enough to receive directly from life itself, this is what I am experiencing even right now!
Students—Does any of your books go into concepts like these?
Teacha—Some of them, the Gospel of Hip Hop touches on these themes, but this is more about living than reading.
Students—Can you give us a little on what your upcoming books are about? Teacha—Well, I am only responsible for six of these seven books. Simone wrote one of the books entitled Identifying Your Faith which an excellent look at the principles of faith and how to correctly apply them to life. Among other things, Simone is an acronologists, she makes powerful affirmations out of everyday words by transforming such words into powerfully affirming acronyms. The other six titles are Real Niggaz—A Look At Institutional Racism Through An Intellectual Analysis Of The N-Words. An Introduction To Hip Hop which is a teacher’s guide to the proper teaching of Hip Hop. There’s God’s Son, a study on the deeper levels of the Christ, or the concept of the Christ. There’s Kush, a short study on the ancient civilization of Kush, or Nubia, and its relation to African Americans historically. There’s also a study I did on Queen Nefertiti and Pharaoh Akhenaten which produced a book called The Images Of Nefertiti. And finally, there’s Black Oustory—A Philosophical Look At “Black” and “History”.
Students—Is that part of the same course that you were teaching at U.C.L.A. this past February?
Teacha—Yes. But of course, in the book, Black Oustory as a concept is a lot more flushed-out. What I did at U.C.L.A. was more of a live professor version of Black Oustory with a power-point presentation.
Students—What was the overall theme to the professor version of Black Oustory? Was it completely different from the book or just shorter?
Teacha—Just shorter, and with more direct etymological evidence regarding Black history in the world and in the United States. With my power-point presentation, I was able to actually show students the images that backed-up what I was teaching. One of which is the fact that history is not a good source for history.
Students—Elaborate?
Teacha—Well, history is more of a cultural agreement than an accurate record of the past, and all history is ultimately the opinion of the historian. In addition to the fact that the English language of the past reflects a past English culture which in and of itself was the colonial enemy of our indigenous ancestors, we must ask, as we did at U.C.L.A., is “history” even possible in a colonial society when an accurate depiction of the past only reveals colonial crimes against our ancestors? Crimes that such criminals would rather keep covered-up? The answer is no. It is impossible to have an accurate depiction of the past in a colonial society. Just like it is impossible to have real justice in a colonial society, such is the same with history in a colonial society. So, what exactly is what we are calling “history” and how does this thing called “history” affect us as a people? This is mainly what we got into.
Students—When are these book coming out?
Teacha—Soon, I hope. I’m finishing them all now. These books are really for those that are serious about life and living. Hopefully this is what we are going teach in the schools in Hiphoppia.
Students—I heard you speak this term tonight, for those that don’t know what is Hiphoppia?
Teacha—Well, the real question is where is Hiphoppia?
Students—Where is Hiphoppia? Teacha—We are in it right now. Whenever two or more real Hiphoppas are together in peace, love, unity and joy, they have arrived at Hiphoppia. Hiphoppia is both a state of mind as well as an actual place. It’s the name of our city, our future city. But such a city must be brought into manifestation not through bricks and paint, but through a higher understanding as to what it means to be Hip Hop. This, I believe, is our next step. Not only does America need a new city, but we Hiphoppas need our own space in this country. Our children need this. In addition, the construction and establishment of an authentic Hip Hop city brings real employment, security and education to our People—Hip Hop’s People. I think this can be done.
Students—I can see it. What a great idea. Where and when does such a city get established?
Teacha—The real question is, can Hip Hop, which includes all people, can Hip Hop actually have a city, a city for the arts that’s not going to be invaded and burnt down, or schemed against or you know this kind of thing. It’s a level of consciousness that we have to rise to. You know, we don’t want a police patrol in our city or on our highways, and on our streets. But that means that the citizens have to rise to a higher level of mind where we know we not robbing each other, we know we not going to harm each other, we reached that level of civilization. so I think, you know, this not only what Hiphoppia is all about, but this is what real knowledge is all about. It’s all about maturing a person, not necessarily knowing facts, or dates, or numbers, or if you can quote another philosopher. It’s really about your maturity, it’s really about maturity, and if you can withstand the truth yourself when it hits you in the face. Can you withstand it, that’s Hiphoppia.
He is
popularly known as the Blast Master, Tha Teacha, The Philosopher, Knowledge
Reign Supreme Over Nearly Every One (KRS ONE).
When two
elephants are fighting it is the grass that suffers the most.
Krs One had
proved himself time without number consistently working like 1,2,3,4. Having
released “HEAR THIS” it seems like he’s going to take a break then Boom the
album “THE WORLD IS MIND” came out last now he is currently working on his outstanding
album with Dre. Dre.
Though it’s
not the first time Tha Teacha and Dr. Dre have worked together. In 1996 on
Aftermath compilation Mix tape Krs One alongside RBX, Group Therapy, B. Real,
Nas, Scarface and Dr. Dre appeared one same track titled “East Coast/West Coast
Killas” Now this year Krs One is set to work with Dr. Dre again on his up
coming album and the titled of the album will soon be announced by the Teacha himself.
Although KRS ONE is also a producer himself, he has made
a career of spitting’ bars over a list of legendary producers like Showbiz, DJ
Premier, Marley Marl etc. and now Dr. Dre. The two living Legends could
have a powerful impact on their careers.
After 30 years BDP “Criminal Minded” is still
standing strong, unmovable, unstoppable now a 15th Track album The
World is Mind” was released on his R.A.M.P Enter10ment. Krs One in recent years
worked with Pee Doe, Mad Lion, DJ Premier, Buck Shot and his collaboration with
his old rival MC Shan.
Illashaz (Born Charles Ekow Brew) but also known as Shocker,
Da Hip Hop Donshon, Da Sixpointedstar, Da Sergeant Slaughter.
He was first a member in the early 90’s rap Unit ‘’IllbredClique”
which comprise of Illashaz, Illative and Rugged Drum. Founder of Hip-Hop Group (ShaolinMonkFunk)
The group’s 2001 debut Monfunk classic was one of the most influential Hip hop
records of the era. Born in Accra (Adabraka) but raised in DC. Illashaz has
been in the catacomb since he was sagging piss-soaked diapers According to him.
Bouncing from school to school in cape coast at the central region of Ghana and
suspending half of his youth in DC. He formulates a style of rap, that encompasses
West Coast grit and horror-core east coast wordplay, as a warrior of the
Mamprussi Imperial, A pestle represents his weapon of tool. So unique with his
masterpiece of creativity in underground Hip hop. He has a strong voice in
Accra and he is labeled as a torchbearer of the art form.
ModeNine is a Nigerian rapper often regarded as one of the best rappers in Africa. He is known to epitomize what he calls Afro Hip Hop (which signifies African hip hop) with his amazing metaphorical lyrics, deep relevant punchlines and creativity. ModeNine was greatly influenced by artists like KRS-One, Roy Ayers, Kurtis Blow and Big Daddy Kane.
ModeNine grew up in London, England. He came back to Nigeria in 1979, where he studied Building Technology. He graduated in 1999 and had his National Youth Service Corps program in Calabar. His parents were not pleased with him when he dabbled into music in 2000 since as typical parents, they wanted him to get a job. For him, it was like a dream come true since he had always loved music, especially rap music. He pictured himself doing what Rakim and Eric B did on TV. He hung out with friends in school rapping and he wanted to make a rap album in 1991 for the fun of it. ModeNine worked with Rhythm 84.7fm in Abuja (a sister station to Rhythm 93.7 Lagos). He worked as a small time radio presenter featuring up-coming rap acts like Terry Da Rapman and Six-Foot Plus. He quit a few years later and went to Lagos having secured a deal with Paybacktyme Records. He recorded an album called IX files. Although it never hit the market but singles like 'It's About To Get Ugly' and 'Schooling' emerged from the unreleased album. This brought him in tight competition with other hip hop acts in very hard-to-be-known music industry where rap itself has fully reached a grand lucrative stage compared to the US. However, ModeNine reared his head with a new mixtape called Malcolm IX released under paybacktyme records in 2004. It had tracks like 'Head','Orisuna basement freestlye' and '419 state of mind'. The latter was played on Rick Dees top 40. The mixtape reinvigorated his career. ModeNine met with the CEO of QuestionMark Entertainment known as Luciano Gabriel a number of times, but a show at French cultural centre tagged 'E ka bo'. Kevin was impressed by ModeNine's performance and he invited him to come feature on one of the street Monks tracks.
At Question Mark entertainment he propelled the underground music to mainstream when he dropped the deserving 5 mics album called 'Pentium IX' whic sold out completely. This album contains tracks like 'Rock on', 'Lagos state of mind'. Pentium IX has set a new standard for other African rappers coming out with album.
ModeNine has performed alongside some of the finest emcees like Guru of Gangstarr, Wyclef and in 2005 he opened for Akon in Port Harcourt, Nigeria. His last single CRY featuring label mate Nnenna got massive airplay and on the 15th of October 2006, ModeNine won 3 Channel O awards.
Hip hop spread to Rwanda in the early to mid-1980s. The most prominent figure in the early Rwandan scene was DJ Berry (Nsabimana Abdul Aziz), who was a DJ for Kigali Night and Cosmos and a presenter for Radio Rwanda, in addition to being an early rapper and breakdancer. The Rwandan government of the period did not approve of hip hop, however, and DJ Berry was forced into exile in Goma, Zaire, where he continued performing. He later moved on to Germany and recorded "Hey You", which became a hit on both Rwandan and Ugandan radio. After returning to Africa in 1990, Berry continued to promote hip hop in Rwanda until his death from AIDS in 1996. By the mid-1990s, hip hop was growing increasingly popular in Rwanda, due to the introduction of 101 FM Kigali and TVR in 1995, and American and French rappers like Tupac Shakur and MC Solaar became popular.
The first locally recorded Rwandan hip hop hit was "Peaced Up" by KP Robinson ft Mc Monday Assoumani. This was promoted by DJ Alex of Radio Rwanda from 1997. The song inspired many youths around Kigali to begin recording.[citation needed] The famous rapper MC Monday Assoumani, after his tune with Robisons, started his radio presenting career at local FM known as Radio10, where he promoted Rwandan local artists from 2004 to 2011. From 2012 he is no longer using the name MC Monday; he is now rebranded as SAGA Assou Gashumba. Wanting to help the Rwandan music industry, he started a record label named IYI Production, which also rebranded as C4D Production.
Hip hop is growing up in this country and recently SAGA Assou released a song titled "I want you back", a hit song which is a mixture of English and Kinyarwanda.
Senegal has one of the most active hip hop scenes on the continent, and has produced international stars like MC Solaar. US hip hop became popular in Senegal in the early 1980s, and a few MCs began rapping. During this period, many Senegalese rappers were copying American performers quite closely. One often-cited reason for the prominence of Senegalese hip hop is the ancient musical and oral traditions of that country, which include some practices, like griots and tassou, which are similar to rapping.
It was not until later in the decade that a more distinctive Senegalese sound began evolving, along with the use of Wolof lyrics. The 1990s saw a division in the Senegalese scene, with some artists remaining underground, associated with the American alternative hip hop scene, while others, like Black Mboolo ("Alal"), fused hip hop with Senegalese mbalax style, (this is called "mbalax rap" or "rap ragga soul"), which uses the sabar drums. The most prominent performers from the modern period include Positive Black Soul, Daara J, and Akon. Others include M.C. Solaar, Black Face, and Didier Awadi.
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