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Elements CITR-FM (Radio station : Vancouver, B.C.) May 1, 1995

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  FUCK THE BULLSHIT!
Comin' at ya real from the North West.
Look for the singles from the forthcoming albums.
Nitwits . . . "Then There's Nada" from the album RPM.
Manifest One . . . "Never Ender" from the album Bastard Funk.
Unity.    Respect.    Culture.
Distribution in Canada through FLACK.
Office: (604) 436-4474 Fax: (604) 436-6025 OiTR  101.9fM
We know Mobb Deep
is misspelled on the cover, but the art is
too ill to give a fuck. Cover art work by Dedos & Virus;
AAGraphics! 95. All-Wrights reserved. Elements 95.
MOBB DEEP
JURASSICK 5
RASCA12
MASTAACEINC
Moonlightin
It's On You
MixTape
the Vinyl Konflikt
the Seen
Masterpieces
re: Views
Overheard
Mitchell Garrison
Editor
Rolando Espinoza
Assistant Editors
J Swing
Flipout
Layout/Production
fern&ryan
Art Direction
AACrew
Contributers
Eclipse
Checkmate
I Ebony
FreeStyle Crazee
Tomika Laque
Publisher
Linda Scholte
Elements Hip Hop Journal has arrived ! Elements is a bi-monthly magazine published by the Student Radio Society of UBC.
Content - Elements will focus on all elements of Hip Hop culture, including: MC's. DJ's. Breaking and Graffiti -on both a local,
national, and international level. The magazine features interviews, music reviews, and lifestyle issues pertaining to the Hip Hop
community.
Editorial Policy - Elements jointly shares CiTR programming policy (ask Linda Scholten or Miko Hoffman <<■ CiTR radio (604)
822-3017 for details) and encourages submissions from all members of CiTR and the general public. Please ensure consistency
with the magazine's underground theme to ensure publishing consideration.
Submissions - Please forward all submissions (illustrations, photos, essays, reviews, opinions, etc) to: Elements, c/o CiTR,
#233-6138 SUB Blvd. Vancouver, B.C.. V6T IZI orfaxusat: (604) 822 9364.
Crazy Who >
The other night, I was at the CiTR 101.9 fm radio studios
meticulously tickling the keyboard's keys, inputting whatever. A young under-a-buck shorty sauntered up to see
what I was writing. His oversize pants supplied the swish
sound that I heard in the halls moments before.
Touwritin' shit for that magazine?"
"Yeah, man", I answered thinking that he had just made a
long-ass bus ride just to ask such a generic question. He
paused, lost like a nighttime deer stuck in a driver's headlights. Perhaps he was too nervous to continue his questions - more than likely, he just didn't know what to say
next. He shifted his weight from one $95 dollar Nike to
the other. $ 190 dollars, plus tax in total. Jamming his
hands into his front pant pockets, he established his neo-
pseudo B-boy stance, mimicking the rap advertisement
photos he had studied earlier in the day. His pantiegs
pooled around his ankles.
"This is the office, right?" he blurted with his new found
confidence.  I thought to myself I might play with him a
while. I needed a break from the work.
"The office?... Yeah,...Yeah you made it, man," I replied.
"What's your name ?"
"Its CrossEye", he proudly answered.
"CrossEye, you've come to the right place. Can you write?"
"Yeah, I even wrote for my school newspaper before...
I had to cut him off i n m id sentence.
"Here, look at these." I passed him two finished articles,
which I thought were well written. At least one was for
sure, as it was an excerpt from Paul Beatty- a professional.
He drawled, "Oh yeah, I've read his stuff in VIBE, but I like
Buckwild's style more." Only half of his mouth bothering
to exercise its articulating muscle. I let him look at an article about Eazy E.   (I had just finished the proof-read
moments before his arrival).
"Have you heard the joke about Eazy?" he asked with a
young devilish grin?
"No-
He continued hislongjoke, bringing it to a dull finish   His
delivery was flat and out of pace - plus I tend not to laugh
at drawn out homophobia.
I was somewhat impressed that he bothered to remember the names thatwere credited in other large scale magazines. Perhaps he actually could write a sentence or two.
I mean, how many kids even make it past the third paragraph? (You know those hyperbolic color pix are pretty
fresh)
I casually mentioned a future article that he might be interested in.
"We're working on a future story about Crazy Legs. Perhaps you'd like to have some input into it. "
"Crazy, who?! Whose that?"
Uh.oh - one of those, I thought to myself. I continued my
conversation with him, tryingto throw in as much Hip Hop
history as I could, (especially history about Rock Steady).
He listened cautiously, weight-shifting all the while. Our
conversation continued, until I stopped because of the lecture-like environment. It was late and I was starting to
get tired. The young-buck thanked me for taking down
his phone digits and offered his fist for a pound. He then
rolled out the same way hesnuckin. I thought to myself,
CrossEye was "aw'ight"- for surely he passed the first and
most importantobstaclecalled enthusiasm. I mean, UBC
really is a long-ass bus ride away.
- Rolando Espinoza, m
fcrOZ.ittfsawKSi ueew
A
inquiries 6045^4808
Kxispy Biskut
• Mix Show
:_>_.
with DJ Kilo-Oee
and hosts Mr. Bill &
Incredible Ease
Tuesday nights: Midnight
on CPRO 102.7fmf Vancouver Moonlighting m eclipse
Cmony'all, let's all get down, EL-EM-ENTSisinyourtown. Yeah,
yeah,just sitting here listening to the Extra-Premix of Common's
new single "Resurrection". As if the original wasn't enough they
also hit you with two Large Pro remixes. Speaking of Large, I know
your you're all waiting patiently for his LP The LP" to drop... but
you've got to wait longer. Meanwhile check for some shit he did
for Madskills on the b-side of Skills' new single "Nod Factor"
(which was produced by the Beatnuts) and the album track "Extra Abstract Skills" featuring Large and Q-Tip rhyming with
Madskills. Oryou might
have been one of those
lucky people to get a
cassette copy of Urge's
"Gitoffda Bullshit" taken
from the "Wild Pitch
Blends" tape distributed
at Gavin. And oh yeah,
buy the album when he
drops it... The Rock
Steady Crew will be
having their 18th anni-
versaryjamjuly2l,22&
23. For more information call (718) 823-
3777... Be on the look
out this summer for
"Return Of The DJ", an
all scratching album by some of the nastiest DJ's around (ie. Q-
Bert, Disk, Shortkut, Mix Master Mike, Honda, Rob Swift,
and many many more). This compilation is being put out by The
Bomb Hip Hop magazine. Some other shit coming out of the
Bay Area is "Table Manners", a mostly breakbeat record with a
few vocals put out by The Pirate DJ's and co. The Mighty
HardrockerCash Money is working on a new mix tape which is
supposed to be the shit. Other DJ's taking it to another level on
mix tapes is Mix Master Mike and Q-Bert. The Bulletproof
Scratch Hampsters, who broughtyou the Hampster Breaks, are
getting ready to work on their next joint... If you've been out in
LA. over the last couple of weeks, you probably bumped into
The Coup, who's making a lot of noise with their new single and
video for "Fat Cats, Bigga Fish", while on their promo tour. They're
about to blow up the spot on the west coast... S.U.R.E. record
pool (one of NY's best, if not the best) celebrated their 17th
year in business at the Empire Roller Rink in Brooklyn. Some of
the performers there were Big L, D&D Project Artists, Cella
Dwellas, as well as others. Nine also held his album release party
that same night at Sylvia's in NY. The Impact convention came
around again this yearin Atlantic City. There was some heads out
there, but not as many as the year before. Performances were
limited to mostly R&B
groups like Brownstone
and Joya. The gambling
was the highlight of the
year for some (Jay-Bird,
MarcGenova) andforoth-
ers such as myself, Jellow,
Marcus Morton and Rich
(Big Daddy) the low
point... Certain record industry people are making
moves for 95. Fuzzy
leaves Pay Day to go to
Warner Brothers, Chris
Thomas goes from Nervous to Select and then
back to Nervous, Dante
Ross (gets the gasface)
leaves Elektratogo to RAL, maybe?, CasualTand Tim Reid pack
their bags and leave Hollywood Basics for Priority (where does
that leave Organized?), and we also saw the closing of Tough
Break Records. There's a lot of new music getting ready to hit
the streets for summer. Among them are "Sugar Hill" byAZ,
"Crooklyn Dodgers II" by Chubb Rock-O.C.-Jeru, "I Like It" by
Grand Puba, Something Big by Pudgee-B.I.G-LordTariq, "Dynamite Soul/Who Am I" by the Artifacts as well as other artists
you should be hearing now like Dark Skinned Assassin, Down
N' Dirty Tribe, Sons Of Man, and Raekwon... That be itfor this
first edition. But before I go I have to say peace to some people
involved in Hip Hop that passed away recently; Prince Messiah
(KISS FM), Mercury (Force MCs) and Eazy E. Out.
5 May 95 Its On You
"Eazy got AIDS. What's up ?"
I think it was back at but, urn... 88/89,
when he came out with all his shit "Straight
Outta Compton." He was my favorite
rhymer on that shit, knowhatl'm sayn'.
AIDS is kinda serious. I advise you stay
strapped with the jimmy cap and all that.
One love to Eazy, knowhatl'm sayin'. He
gave a contribution to Hip Hop. All the
rough shit. People can't dis him, cause he
brought NWAup an' all...
- R-Love
Respect to Eazy cause he did a lot for the
westcoast. Puttin' westcoast rappers on
the map. Anything really can truly happen
to anyone. Just cause you a star like Magic
or Eazy E doesn't mean your invincible. It
makes me even that bit more extra careful
doin' what I'm doin'- for real. I wish him
all the best. Itstoo late for anything now. I
wish him the best.
-Red I, Rascalz
Eazy got it... big deal. Big deal. It's not
gonna teach the kids anything. He didn't
teach anybody anything anyway. Ifyournot
smart enough to realize what's goin' on in
your immediate circle of people, then your
in big trouble...
- Mr. Bill, Krispy Biscuit
You gotta deal on all levels of respect, cause
Al DS doesn t really pickand choose. It just
hits anywhere it feels like it. He reached
his heights, now he's fallen backdown. Its
gotta say something 'bout how he conducted his life. You gotta have respect and
understanding to what your doin' and realize that anyone can reach their heights
and then fall.
-Skin
If he gotit then mad other people got it too
and they don't even knowyet. I'm sure his
crew be runnin' trains, like Amtrakand all
that. Much love for everyone who don't
know they even got it yet. That whole
groupie scene- you d be stupid not to wear
a double hat "cause that's how it runs. I
give him mad love cause my first joint from
when I was livin' back east was "Radio". I
used to pump that shit all the time..
- G-Square, Cipher
My first thought was that this might be the
demise of Death Row. You gotta think that
from back in the day- he doesn't know
when he got. He could ofh ad itforsixyears
orsomething'. You never know when you
contract the HIV virus. You gotta wonder
about Dre and Ice Cube and all that. Kids
gotta realize and I think it's gonna smacka
whole lotta people in the face. This ain't a
disease that just other people get. If you
don't wanna die you gotta wear that shit.
Weartwo of them maybe. It's bad for Eazy
E. Really bad- but its something that's
gonna wake up a whole lot of people...
- Sol G, Figure IV Records
Personally, I don't care how Eazy got AIDS
cause I know I don't have the shit, man.
Knock on wood, knowhatl'm sayin...
(Unknown)
EazyEgotAIDS? I don't lopkat him no different. It's like that...
(Unknown)
* Editor's note:
This loose survey of comments was recorded
on March 19, l995;before Eazy E's untimely
death. HiscontributionstoHipHop will always
be remembered. R.I.P.
Mix Tape
1171    WW^fMS
11*1    Hum m'«* ~t.t*   %m   <<>
Pynamite Soul (remix) - Artifacts
* Lock Shit Down - Park Skined Assassin
featuring Madskills
* Your Beef Is Mine - Mobb Peep feat.
Glaciers Of Ice - Raekwon feat. Ghost
Nas £> Raekwon
Face Killer £MastaKilla
* Peeps (remix) - Cipher
Funky Piano -1. Bros
* Oitoffda Bullshit - Large Professor
No Airplay -LI. Cool J
* Invasion - Jeru The Pamaja
Soul Obligation - Rascalz
- Pope Sounds - Piamond
Freestyle ? - Masta Ace Inc.
• Unified Resolution - The Jurassick 5
Check The Method - lord Finesse
• Supa Nigga - King Tee
WUX - Tha Alkaholiks feat. Loot Pack- Resurrection (Large Professor remix) -
Fat Cats, Bigga Fish - The Coup
Common Sense
F.W.U.H.
The North Shore's Best
Kept Secret.
We have everything you need
in stock for spring, including:
X-Large and X-Girl     Pervert
Fresh Jive     %<utey    BOOTY
mm Mm THIEVES
We Also Have The newest Hip-
HopVinyl, and Graffitti Supplies.
Located at:
1979 Lonsdale N.Van
Phone: 986-7474 ^ info
6 Elements the Vinyl Konflifrt oy shortcut
It was bound to happen. After the west
coast's three year domination of the
DMCUSAand World DJ Championships,
NY's DJ Roc Raider sucessfully ended his
second place streak and made a historic
footnote in DJ battle history. For those
who aren't too familiar with Roc Raider,
he is currently Showbiz & AG's DJ; also cut-
tingon some O.C. and
Artifacts tracks (as
well as production on
E-Bros's Funky Piano).
His battling history
dates back to the I st
annual Supermen Inc.
World Supremacy DJ
Battle, which many
still say he should have
won.
1995s DMC World
battle included over
seventeen countries
competingforthe world title in London,
England, marking the return ofthe World
DMC DJ Convention and the gold
Techinics I 200's ( as well as the gold
DMC PMX-2 mixer) for 1st place.
Sources told Elements that this years
competition wasn'tall that, and that Roc
Raider had a clear victory. Can't wait to
see that shit! When asked later about the
victory, Raider said "Yo, I didn't even hear
who placed 3rd or 2nd. All I know was I
hoped my name wasn't being announced
durin'that shit!"
This years runner up was the 1994 Superman Inc. World DJ Champion, DJ
Noize from Denmark. Displaying the
country's tradition of "Phrasing", which
consists of marking a record with a
sticker at a specific groove and dropping
the needle against the mark, automati
cally playing the desired phrase or beat.
He is scheduled to defend his Supermen
Inc. title in the middle of the year (if
there is a battle).
Q-Bert and Mixmaster Mike, DMC
World Champions
Since 1992, were told
notto defend theirti-
tle this year. The
DMC'S president,
Tony Prince, told
them that they would
intimidate the other
finalists. Instead, they
were made judges and
gave a special performance at the competition. From what I
heard, their shit was
straight freestyle and
no routine was
planned. Dope!
The road to the 1996 DMC World DJ
Championships is already in process: The
USA finals are to be held in San Francisco
in mid-September (of thisyear). I'll keep
y'all informed on the inside word with
the DMC in upcoming issues. Late...
1995 DMC World Championship Finalists
Austria: Dr. Sample & DJ S
Croatia: DJ Fresh Jay
Czechoslovakia: RobertToth
Denmark: DJ Noise (2nd Place)
Finland: JS 16
France: LF Pee
Germany: DJ Splinta
Greece: DJ Smartie
Hong Kong: JanvaTam
Hungary: Wizard
Italy: Daniele Mondello
Philippines: DJ Kid
Poland: Davel Szymczyk
Sweden: 1210 Jazz
UK.: DJKofi
USA: Roc Raider (I st Place)
Defending title: France's Alliance Etnick
(3rd Place)
7 May 95 by E B 0 N Y
Mobb Deep is back. The Infamous has returned with a new album
that will inevitably be labeled as a classic. With one of the illest or
more importantly, refreshingly ORIGINAL songs that have been
released in awhile (production AND lyrics), "ShookOnes" Parts I
& II is leavin' the weak scared to death and scared to look'.
8 Elements ELEMENTS: First of all how did you two hook up?
Prodigy: We met backin high school (in Manhattan). Everybody
used to be battling in the lunch room. We were battling other
crews and soon people were like To, you two lookgood together'
or 'Y'all sound good togetheryou should form a little group'. So
we got together to make a demo, started doing talent shows at
the school and it was getting off. So we took it from there. Everybody was liking us so we were like, Yeah! We should take it
further'. So we started shoppin' our demo around to record labels, walkin' around, cuttin' school, beggin' people to sign our
shit.
E: Aside from school what inspired you to become MCs?
P: At night I'd be sittin' in my bed when I was little, cause my
mom wouldn t let me go outside when it got dark. So I 'd just be
E: Does this shit happen every day?
P: It doesn't happen every day but often enough shit pops off.
But there's good times, it's up and down, neither one lasts forever.
E: Why do you or don't you think positive messages are rare
in rap music these days?
P: It's not rare, there's allot of positive brothers out there rhyming' like KRS. I consider ourselves to be somewhat positive. We
don't only talk about violence and shit, we're tellin' people they
need to chill cause brothers be gettin' killed, or locked up and
they need to slow down on that shit and just live . The thing is
allot of people don't really listen to brothers rhymes, they just
think it's all about killing and guns and shit. But if they really sit
Mobb Deep: Prodigy, Havoc
layin' in my bed listening to people outside rhymin' and blasting
the radio and shit, I heard Rakim, Kool G Rap and all them. I was
like, 'DAMN! I wanna do that shit too, I want brothers to be blasting my shit!' knowhati'msayin'. That's what made me wanna'
write.
E: What happened with ISLAND RECORDS?
P: We were young back then, we didn't really know what we were
doin'. We were just anxious to come out with an album, so we
rushed things. We didn'teven do any production on it. So it just
fell through cause we rushed it. But this time we're takin' our
time so the shit comes out right.
E: What is life like in Queens Bridge?
P: There's always ups and downs, Brothers have there little laughs
and all, but there's always shit going on: people starving to death
, 'ain't no money. So they start slinging drugs, that's where you
get conflict and people start shootin' each otherandfightin'....
down and listen .they'd know the MCs just tryin'to tell peoples
to chill.
E: What do you want people to feel when they listen to your
shit?
P: I just want them to relate. The good times and the bad times,
shit that'sgoing on outside, or problems with your shorty oryour
lady, I just want people to relate. I'm sure most can cause that
shit goes on everywhere.
E: What does it take to be a Rap artist in the growing music
industry?
P: Hard work is what it takes. It's a struggle like every thing in
life.ifyouwanttobeadoctororalawyeryougottogotoschool.
If you want to be an MC you got to do this shit for years, you got
to keep reaching foryour goal if this is what you want to do.
E: How do you do your live shows, do you have a D.J. ?
P: It differs cause we don't plan shit. I get up out my bed throw
9 May 95 in my everyday clothes (I don't try to get
up in no costume or nothin' like that) and
just get up on stage and do my shit. If it so
happens that our crew is there then our
crew will come on with us. We don't really have a set D.J. My man LE.S. be doin'
shitforus.butwhenheain'ttherewepop
in the DAT and rock the crowd with
straight up lyrics. Nothin' spectacular.
E: How do you view women in your music and in life in general?
P: Well all women are different, I can't just
label all women period. It depends some
women are sneaky, some are nice, some
are not...
E: You might want to write more about
the nice ones...
P: True, but I can't write about the nice
ones though when there are bad ones
too...
E: Yeah but you cant just focus on the
bad ones and ignore all the good ones...
P: Yeah... got to talk about every body...
E: What do you see as the future of Hip
Hop and rap music in particular?
P: I don't know, so much shit is happening, it's hard to tell. I'ma just try to keep
doin' myshit. Where ever it takes, that's
where it goes. Hip Hop, thisjhit is bugged
out. You got some phony people in the
game, a lot of crazy ass music, everybody
got different ears for shit,
knowhatl'msayin'. I don't really know
where it's goin', it'sgonna be here though
cause we ain'tgoin' nowhere.
E: What is the basis or elements of Hip
Hop to you?
P: The lyrics, strictly lyrics...
H: Realism knowhatl'msayin'. Keep it real
for your self and rhyme about what you
know. Fat beats of coarse. As for Graffiti
and Breakin' that's part of the culture,
that started it all off. I was little when it all
started but I was there breakin. I also used
to write; id be up in the Bronx takin pictures of the trains and the lay ups and shit.
All that's part of it no doubt.
E: Whatdoeslivin Hip Hop as a culture
mean to you?
H: It's important in my life. That's what I
wake up thinking about everyday. I see Hip
Hop. Some people don't, but I can see it.
I don't know what I'd do without it.
E: What's your biggest beef with com-
10 Elements
"The thing is a lot
of people don't
really listen to
brothers'
rhymes, they just
think it's all
about killing and
guns and shit."
-Mobb Deep
mercializes rappers?
H: They takin' money out of the real artists pockets. When you thinkaboutitthat
commercialized shit comesand goes. They
get one rapper', put him together, spend
mad dough on him .make him blow up and
next year he's nobody. People need to pay
attention to the brothers out there doin'
thisshitfor real butdon'tgeta chance. But
the big investors want shit that sells quick.
They just takin' food from the brother
that's really livin' and diein'for this shit. I
could die forthisshityou know, I could go
out on the road and God forbid get killed
cause I'm goin to the real hoods. I'm not
nocommercializedrapperthatbelike.'Yo
let me perform in the Ritz' or 'the
Bentleys' or where ever.
E. Do you get influenced by other
groups ?
H: I don't get any influence from any recent acts. I like some of them, but they
don't influence me. People that influence
me is from backintheday, like my moms,
my peers who keep me goin', groups from
backin the day like G. Rap, the J.B's,Tribe,
Kane etc.
E: So what is it about groups these days
that doesn't influence you?
H: We are competing, I'm cool with them
and all, I might like them, some shit might
make me write an iller rhyme but its not
about influence.
E: Concerning your message on side
one, The infamous prelude', whatwere
you sayin'?
H: Oh yeah, that's my man rightthere. He
wrote that to let em know we mad aggravated and frustrated knowhatl'msayin'we
gonna let em know...
P: That's what I'm call it, frustration.
ARTIST:
LiOBB  DiiP
LABEL
LOUD RECORDS
ALBUMS:
TH3  IKFAUOUS
PRODUCTION:
LiOBB D22P
Q-TIP
MEMBERS:
HAVOC
PRODIGY
HOMETOWN:
QU^KSBRIDGi),
NStf  YORK the Seen
Nelson Cortez - Van Dynamic Breakers (Vancouver)
by Carmen Morrow
Misfit - Rascalz (Vancouver)
by Rolando Espinoza
Kid Finesse - DVS Floor Rockers (Seattle)
by Eugene Bahamonde
Blase- Source of Labour (Seattle)
by Eugene Bahamonde
DJ Kilo-Cee - Krispy Biskut Mix Show (Vancouver)
by Rolando Espinoza
* Send your photos to Elements c/o CiTR #233-6138 SUB
Blvd. Vancouver, B.C. V6T IZI or call (604) 822-3017
11 May 95 Ji ip jptecir*Kr
THE JURASSICK 5 MAY NOT   /.
THEY ARE RAPIDLY GAINING
ON THE STRENGTH OP THEIR
BE A HOUSEHOLD NAME, BUT
AN UNDERGROUND FOLLOWING
INDEPENDENTLY RELEASED
UNIFIED REBOLUTION" 12" AND THEIR ENERGETIC LIVE PERFORMANCES, IF YOU'VE HAD THE
OPPORTUNITY TO CHECK THEIR DEBUT SINGLE THEN YOU KNOW THAT THE JURASSICK 5 ARE ON
SOME OLD SCHOOL, ROUTINES AND HARMONIZING SHIT. COMPARISONS TO THE CRASH CREW AND
COLD CRUSH BROTHERS ARE INEVITABLE, HOWEVER THIS GROUP OF SEASONED VETERANS ARE
BRINGING THEIR OWN VIBE TO THIS WORLD OF REPETITIVE HIP HOP. WITH 10 YEARS OF MC'N
EXPERIENCE, AND A FIRM GRASP AND RESPECT FOR THE PIONEERS WHO PAVED THE WAY, THE
JURASSICK 5 ARE TAKING HIP HOP BACK TO THE ROOTS THAT THEY GREW UP ON.
J SWING: FIRST OFF, WHO All MAKES
UP THE JURASSICK 5?
OUT OKBKLIST: ALRIGHT, BREAKDOWN.
IT'S TWO DIFFERENT GROUPS. IT'S
A COMBINATION OF UNITY COMMITTEE (MC'S CHARLIE TUNA & MARK 7
AND DJ CUT CHEMIST) AND ,REBELS
OF RHYTHM (MC'S SOUP & AKIL).
PUT REBELS OF RHYTHM FIRST CAUSE
THEY'RE ON MOST OF THE SONG. TOGETHER WE'RE CALLED THE JURASSICK
5-
J: WHERE DID THE NAME JURASSICK
5 COME FROM? WHAT'S THE MEANING
OF IT?
SOUP: ACTUALLY, ONE OF THE GROUP
MEMBERS FRIEND CAME UP WITH THAT,
THIS GIRL CAME UP WITH IT ACTUALLY. IT WAS JUST THE WHOLE BASIS OF JURASSICK, HOW WE KNOW IT
AS BEING PREHISTORIC BUT THEY
JUST REVIVING IT BY SHOOTING THE
DNA. SO BASICALLY BECAUSE THERE
WAS AN OLD SCHOOL VIBE TO US,
SHE JUST CAME UP WITH THE NAME
JURASSICK 5- SHE WAS LIKE WHY
don't y'all CALL YOURSELVES THE
JURASSICK 5, THERE IS 5 OF Y' ALL
- IT'S OLD SCHOOL. IT TOOK A
WOMAN TO COME UP WITH THE FAT
NAME.
J: WHAT MADE YOU DECIDE TO COME
WITH THE OLD SCHOOL FLAVOR?
SOUP: I ALWAYS WANTED TO DO IT
LIKE THAT TO BE HONEST. I ALWAYS
WANTED TO DO IT BUT I DIDN'T
KNOW HOW PEOPLE WOULD TAKE TO IT
CAUSE YOU KNOW HOW HIP HOP JUST
BE CHANGIN' SO MUCH. I GUESS FROM
US JUST LIKING IT, WE STARTED
MAKING SONGS THAT JUST HAD AN
OLD SCHOOL VIBE IN IT EVEN THOUGH
WE WASN'T REALLY TRYING TO DO
IT. PEOPLE WAS COMING TO US SAYING Y'ALL ARE SOUNDING LIKE SOME
OLD TREACHEROUS 3 TYPE SHIT OR
SOME COLD CRUSH AND I WASN'T REALLY PEEPIN' IT LIKE THAT AT
FIRST. I JUST WANTED TO MAKE
SONGS THAT WERE FLY. THAT WAS
THE WHOLE BOTTOM LINE. THEN THEM
PEOPLE STARTED SAYING WELL Y ALL
sound a lot old school. that's
when we decided okay, if that's
where everybody's puttin' it at,
then let's see if we can handle
it. it just grew from there, we
was doin' old school when we
wasn't really tryin' too.
j: you mentioned cold crush and
TREACHEROUS 3, HOW DID THEY INFLUENCED YOUR SOUND?
SOUP: I THINK THE REASON WHY THEY
INFLUENCED US WAS JUST ON THE
STRENGTH THAT WE DIDN'T HAVE A
LOT OF ACCESS TO THAT. WE WAS
FROM L.A. BACK WHEN COLD CRUSH
HAD THEM TAPES. MAN, IF SOMEBODY
OUT HERE HAD A TAPS OF COLD CRUSH
HE WAS THE MAN. CAUSE WE DIDN'T
HAVE A LOT OF ACCESS TO THAT
MAN. ANY TIME I HEARD SOMETHING
BY COLD CRUSH THAT LEAKED OUT
HERE I WAS JUST ON IT, JUST ON
THE STRENGTH THAT IT WAS RARE.
AND I WANTED TO BE ONE OF THE
KIDS TO BE CONSIDERED TO KNOW
BY J SWING
12 Elements WHAT TIME IT WAS WITH HIP HOP.
IT WAS LIKE OKAY, KURTIS BLOW IS
POPPIN' WITH "CHRISTMAS RAP", BUT
I'M LIKE DUDE, HAVE YOU HEARD
THE FUNKY 4+1 AND PEOPLE WERE
LIKE NAW - SEE l'M THE MAN NOW
CAUSE       YOU        DON'T        KNOW,
yaknowhati'msayin'. that's WHY
I THINK WE WERE INFLUENCED BY
THEM.
OUT: SEE OUT HERE THERE WAS SO
MUCH STUFF THAT DIDN'T COME OUT,
THAT ONLY CERTAIN PEOPLE HAL -
ESPECIALLY THE BATTLE TAPES. LIKE
I'D CATCH A HOLD OF force mc's
VS. COLD CRUSH OR FANTASTIC 5
VS. WHOEVER. NOBODY ■^■■■■■■■i
KNOWS ABOUT THAT
SHIT SO WE WERE ALWAYS PEEPIN' IT.
GREW UP IN ONE OF THE WORST PARTS
IN L.A., AND STILL THERE, AND I
KNOW BROTHERS DO SMILE IN THE
GHETTO, YOU CAN HAVE A GOOD TIME
IN THE PROJECTS. I DON'T WANT TO
HEAR ALL THAT SHIT ABOUT THERE
AIN'T NUTHIN NICE ABOUT IT. DUDE,
I DONE PARTIED IN THE GHETTO, I
DON'T WANT TO HEAR THAT SHIT.
J: TO ME IT SOUNDS LIKE THE NEW
WAVE OF WEST COAST ARTISTS STEPPING TO THE FOREFRONT, LIKE RAS
KASS AND E-RULE, ARE NOT YOUR
STEREOTYPICAL GANGSTA RAPPERS,
BUT ARE MORE EAST COAST SOUNDING. DO YOU SEE THIS BRAND OF
J: ARE YOU GONNA
KEEP JURASSICK 5
STRICTLY PARTY MUSIC, OR ARE YOU
GOING TO SPEAK ON
OTHER ISSUES AS
WELL?
SOUP: MAN, DON'T
THINK CAUSE WERE
CELEBRATING WE
CAN'T SIT OVER HERE
AND SEE WHAT'S GOING ON IN THE WORLD ■■■■■■■■
AND THEN WE CAN'T SPEAK ON IT.
CAUSE WE LIVE IT EVERYDAY, AND
it's NOT THAT WE MAKE PARTY SONGS
TO GET PEOPLES MIND OFF IT, CAUSE
YOU CAN DO WHAT YOU WANT. A PARTY
SONG, THAT CELEBRATION IS ONLY
GOING TO LAST FOR 3 MINUTES.
OUT: IT'S LIKE THIS, WITH
JURASSICK 5 WE RESPECT EVERY PURPOSE. THERE IS A TIME TO BE CONSCIOUS, THERE IS A TIME TO CELEBRATE, there's A TIME TO BE ANGRY, there's a time for everything.
soup: yaknowhati'msayin'. i done
"THERE IS CERTAIN SONGS
OUT IN L.A. BACK THEN
THAT YOU COULDN'T PLAY
BECAUSE YOU DIDN'T WANT
SHIT TO JUMP OFF. "IT'S
LIKE THAT" WAS ONE OF
THEM TYPE SONGS.11
START TRIPPIN. THERE IS CERTAIN
SONGS OUT IN L.A. BACK THEN THAT
YOU COULDN'T PLAY BECAUSE YOU
DIDN'T WANT SHIT TO JUMP OFF.
"IT'S LIKE THAT" WAS ONE OF THEM
TYPE SONGS. "30 LAYS" BY RUN DMC
WAS ONE OF THOSE TYPE SONGS. SO
i don't really consider it as
GANGSTA MUSIC. GANGSTA NIGGAS
LIKE HIP HOP SHIT. IT HAS NOTHIN'
TO DO... CAUSE BACK WHEN PEOPLE
WAS DIGGIN' RUN DMC, DIDN'T NOBODY KNOW NOTHIN' ABOUT EAZY E,
BUT GANGSTAS WAS BUMPIN' THAT
DMC SHIT IN THEY COUPES OR IN
THEIR BOX. SO I DON'T THINK IT'S
REALLY GANGSTA, I THINK IT' S JUST
■■■■■■■■■ MUSIC. KNUCKLE-
HEADS GONNA VIBE
WITH IT, NON-
KNUCKLEHEADS GONNA
VIBE WITH IT.
OUT: AS FOR RAS
KASS AND EVERYBODY, ARE THEY
PUSHIN' GANGSTA
RAP OUT OF THE WAY
-  MAYBE.
WEST COAST HIP HOP SLOWLY TAKING
OVER?
SOUP: TO BE HONEST MAN l'M GOIN'
TO TELL YOU LIKE THIS, AND CUT,
YOU CAN INTERRUPT ANY TIME YOU
WANT. TO BE HONEST THE WHOLE
GANGSTA THING, l'M GOING TO TELL
YOU, BACK IN THE LAY AS FAR AS
FOR ME, MAN IF "HARD TIMES" OR
"it's LIKE THAT" CAME ON YOU HAD
PROBLEMS WITH THE GANGSTAS. THAT
WAS GANGSTA MUSIC TO US. CAUSE I
KNOW YOU COULD PARTY, YOU COULD
PLAY WHODINI, BUT IF YOU PLAY
"IT'S LIKE THAT" THE GANGSTAS
WOULD START TRIPPIN. THEY WOULD
SOUP: YO, I M
GONNA SAY IT LIKE
THIS J. KIDS LIKE
RAS KASS, KIDS
LIKE US, GANJA K,
■■■■■■■■■■ THE NONCE, AND
PHARCYDE - WE ALWAYS BEEN HERE.
WE ALWAYS BEEN HERE. THIS IS
NOTHIN NEW AS FAR AS US TRYIN TO
COME OUT WITH THE HIP HOP, NAW,
WE ALWAYS BEEN HERE.
OUT: I THINK THE DIFFERENCE IS
NOW IS THAT WERE TAKIN" A STAND
AND WERE FINDIN' A WAY THROUGH
THE CRACKS.
SOUP: THAT'S RIGHT. CAUSE AT ONE
TIME IF YOU WAS AN L.A. RAPPER
AND YOU WASN'T DOIN NO GANSTA
SHIT YOU COULDN'T GET PUT ON.
THAT WAS THE BOTTOM LINE, WASN'T
NO LABELS CHECKIN'. "THE SHOW"
Mix Show
Every Saturday wight (-
oMCITR101.9fM   £
from 6-S pw...
..with hosts Checkmate S- FHpOUt, and 4 Swing on the turntables. ^0% J: WHAT S A JURASSICK 5 PERFORMANCE LIKE?
OUT: I'M GLAD YOU ASKED ME THAT.
WELL, BASICALLY WE TRY AND KEEP
IT ANTI-DAT. THE DJ IS A BIG
ELEMENT. WE TRY TO FLIP THE
RECORD, OR BRING THE DRUM MACHINE. WHENEVER YOU SEE THE
JURASSICK 5 WE'LL BE PERFORMING
OFF THE SP 1200 OR OFF TURNTABLES. LIKE SOMETIMES WE'LL FLIP
MAD BEATS AND JUST DO ROUTINES.
OLD SCHOOL STYLE MAN, YOU KNOW.
I'LL FLIP "BIG BEAT" INTO "pants
& BLUES", JAMES BROWN INTO "IMPEACH", "impeach" INTO SOME OTHER
BREAK, YA KNOW. ALL IN ONE SONG,
REAL FAST. WE'LL WORK OUT ROUTINES LIKE THAT. ^HBBMHMM
IT'S NOT A STALE
SHOW LIKE OH, HIT
THE DAT PLAYER AND
THE MC'S GO. THE
DJ PLAYS AN INTEGRAL PART. THE
SHOWS JUST A
PARTY, THE ENERGY
COMES ACROSS REAL
WELL WHERE AS A LOT
of times at rap
shows I've been
NOTICING LATELY ■■■■■■■■i
THAT THE ENERGY THEY CAPTURE ON
RECORD DOESN'T CARRY OVER TO THE
PERFORMANCE. WITH THE JURASSICK
5 it's A COMPLETE OPPOSITE. THE
ENERGY YOU HEAR ON THE RECORD
CAN BE MATCHED BY A LIVE PERFORMANCE, AND IN SOME CASES MAY
BE EXCEEDED.
J: HAVE YOU HAD ANY OLD SCHOOL
HEADS CHECK YOU PERFORM?
OUT: YEAH ACTUALLY. CRAZY LEGS
WAS AT A SHOW WE LID IN SAN
FRANSICO AND HE WAS REALLY IMPRESSED. I THINK HE CAME UP TO,
DID HE COME UP TO YOU SOUP OR
DID HE COME UP TO CHARLIE?
SOUP: ME AND CHARLIE ACTUALLY.
OUT: HE LIKED THE SHOW.
SOUP: HE LOVED IT MAN. SEE STUFF
LIKE THAT IS MY MOTIVATION,
THAT'S MY GOLD RECORD RIGHT THERE
MAN.
OUT: HE WAS LIKE HOW DO YOU GUYS
KNOW? YOU GUYS WEREN'T EVEN
THERE, BUT YOU GUYS CAN STILL DO
THIS.
SOUP: CRAZY LEGS! HE WAS THERE
FROM THE BEGINNING. THAT'S LIKE
HAVIN' BAMBAATAA WALKIN' UP TO
YOU AND SAYIN' KID, YOU ONE OF
MY FAVORITE GROUPS. YOU NOT GOING TO SIT OVER THERE AND SAY
OH, OKAY, THANK YOU. YOU GONNA
to do back in the day. so he's
like you guys definitely have a
spot to perform.
out: we need to get out there.
soup: you tell it man. l'm ready
to leave right now.
out: i'll start a slow jog now.
soup: yaknowhatl'msayin'! but
that's what he said, that right
then and there is enough for me
dude. it's very much an ego
booster, but at the same time
you gotta keep it in perspecTIVE.
ff [CRAZY   LEGS]   IiOYED   IT
MM. SEE STUFF LIKE THAT
IS MI MOTIVATION, THAT'S
MY    GOLD   RECORD   RIGHT
it
J: IS THERE ANYTHING YOU TWO WANT
TO ADD?
BE LIKE KID, THIS IS BAMBAATAA!
CRAZY LEGS WAS LIKE YO, CAUSE HE
WAS SO IMPRESSED WITH WHAT WAS
GOIN ON, HE WAS LIKE IF YOU KIDS
WAS GONNA BE IN NEW YORK IN JUNE
OR JULY, ONE OF THEM TIMES, HE
WAS LIKE YOU GUYS DEFINITELY HAVE
A SPOT ON THE ROSTER TO PERFORM
AT THE ROCK STEADY JAM IN THE
PARK, AND I BEEN TO THE JAM LAST
YEAR WHEN I WAS AT THE NEW MUSIC
SEMINAR AND KID, THIS PLACE WAS
TOTALLY PACKED. IT WAS EVERYBODY YOU COULD THINK OF FROM OLD
SCHOOL TO NEW SCHOOL, AND THIS
IS WHERE YOU CAN GET THE PROPS
OUT OF THIS WORLD CAUSE THIS IS
THE ESSENCE RIGHT HERE. THIS IS
THE ROCK STEADY JAMS THEY USED
SOUP:  YEAH.  SHIT
MAN, JUST TRY AND
LIVE YOUR LIFE ONE
DAY AT A TIME, AND
HAVE GOALS BUT BE
REALISTIC  ABOUT
THAT  SHIT.  IT'S
S    GOOD TO HAVE DREAMS
BUT   JUST   BE   REAL-
■■■■■i™ ISTIC    WITH    YOUR
SHIT,  AND FUCK BEING REAL.  CAUSE
everybody's SAYING their shit's
REAL. JUST BE YOURSELF AND IF
THEM NIGGAS CAN'T GET WITH YOU,
TELL THEM NIGGAS TO EAT A DICK.
ARTIST:
JURASSICK 5
I.ABI-L:
BLUNT RECORDS
ri:i.i:asi
UNIFIED
REBOLUTION 12"
1»R()I>1 c
HON: CUT CHEMIST
AND NU-MARK
Ml MB IK
S:  SOUP
AKIL
CHARLIE TUNA
MARK 7
CUT CHEMIST
HOMI-TO
WN: LA, CALIFORNIA
15 May 95   The Rascalz. A westcoast crew with an
abundance of rap talent. Hip Hop in its
purest form; no westcoast gangsta anything. No hidden marketing flows or radio   bullshit.   Strictly   underground.
by Rolando Espinoza
18 Elements s
till, this crew of MC skills, DJ/production, Graf Artists and forthe art form allowed them to progress and eventually form
B-boys has had their brush with the Canadian mainstream one of Vancouver's dominating Hip Hop cliques. Red I re-
media. Theirfreshman video "Really Livin", (from their calls, "Wewasall in dance crews. Iwasinadancecrew.writin'
CD of the same name) ranked number one for fourweeks rhymes, dreaming of the day I'd be put on the Mic." The MCs,
on MuchMusic's Rap City,
(Canada's answer to
MTV).Some time has passed
and now they too follow in the
independent-label tradition of
their American rap peers
ShowBiz & AG, E 40 & the
Clique and Wu-Tang Clan. Their
indy label, Figure Four is realizing the Rascalz new singe, "Blind
It has them on the verge of
blowing up- again; allowing
them to showcase their four
main elements of Hip Hop
with intelligence and style.
Misfit & Red I, long time relationship accents their stylistic
differences; where you sometimes witness a Jekyl & Hyde
type of combination. Misfit allows for deep introspection, allowing his "third wheel" rhyme
style possess his being, (mostly
closing his eyes when busting a
lyrical thought). His low tone is
DJ Kemo inspects the goods.
With The Science". It has them
on the verge of blowing up-
again; allowing them to showcase theirfour main elements of
Hip Hop with intelligence and
style.
The Rascalz officially started in
1989, but before then, they
were justfriendsdancin' to get
theol'ants'outthe pants. Now
several years later, all of the
Rascalzclique live within a 5 blockradius of each other in Van
"Kids gotta... continue
practicing, and don't stop
practicing- otherwise they'll
stay at the same spot where
they are. Their egoswill grow,
just making them worse."
Zebroc & Dedos B-boyin'.
a living metaphor. On the other
hand, Red I s natural delivery is
proof that you can deliver
deadly rhyme blows and still be
down with the party vibe. Trinidad born talent will always deliver a sharktooth grin.
" Kids gotta understand that
they are not what they perceive
they are until they practice, and
continue practicing, and don't
stop practicing- otherwise they'll stayatthe same spot where
couver's east side.    Although the yet-to-be formed Rascalz    they are. Their egos will grow, just making them worse,"
crew did not have any real MCs, they had concrete feelings    discloses Misfit.
about the energy, love and feeling of the music. This respect   The affiliation of these friends does not justfeed off of dope rhyme skills; on the contrary; the mic delivery is just a comment on the Hip Hop vibe that the other branches provide.
One such branch is the crew's B-boys- Zebroc & Dedos.
These kids be dancin' strictly from the heart; for a thing
called regional isolation didn't let them know that Breakin'
was considered played out by the mainstream. No one had
told them that the dance groove was over.
"We're tryin' to bring it back. My partner Zebroc and I have
been dancin' for about five years. Unfortunately, we see
dancin' dying out right about now. We don't see too many
rap crews with dancers nowadays. You gotta remember Big
Daddy Kane with Scoob& Scrap. Now all that is gone. We're
trying to bring that back.. The group, the MCs and the dancers-a full package"  -Dedos
On the live tip, the B-boys add a old/new lost dimension
that brings melt-down electricity back to live shows. Break
sources say that Vancouver's local vinyl recourses can, at
times be scarce- causing a Hip Hop handicap. The Labratz
production crew stresses no loud high hats. Just Nel Carter-
fat-ass bass lines.
"Basslines that retain the realness of 60's & 70s old soul,"
added Kemo. What's next for them? "Hopefully, next time
we get in the studio, we're gonna drop some live stuff. It'll
just be experimenting so far' cause we've never done it before. I'm not really a musician... knowhatl'm sayin'."- J
Kemo
The last and possibly the most underground Rascalz element
is its aerosol artists-the AA Crew, (AHCity Action). Armed
with a marker arsenal that would make even Mrs. Jiffy jealous, this crew practices nuff artistic crimes on Vancouver's
cityscapes. Dedos, (also a Rascalz B-boy), Z Lok and Virus
boys for the break. Trueschool, baby.
Perhaps makin' the most noise is the Rascalz' DJ/Producer
- Kemo (Labratz). Starting with back-in-the-day Radio
Shack-5-seconds kind shit, Kemo's first samples included
such bug-out material as La Bamba and tunes from the Benny
Hill Show. That was then and this is now, cause nowadays,
rumour sez that they have their phone ringin' with the Toronto's Dream Warriors asking' for some remix production
work. Their successful sound of sloppy, mystery gloom is a
result of Kemo's tenacity and almost nonexistent use of traditional break loops. (He still working on work-in-progress
beats that are 3 years old!) This sound explorer will use almost anything he can get his hands on, (witness underwater dolphins on the Rascalz last CD), and flip it like a brown-
around-the-edges pancake. This is a good thing, because
have perfected their skills, each bringing unique, individual
talents to the crew. Dedos being characters, Z Lok gets ill
with the letters and Virus, is just sick... he's the sickness.
The AA Crew's full-blown street graphics cannot be ignored,
for their world-
class color and
sharpness bring
necks to strain and
jaws to drop. It
should be an interesting time for Canadian Hip Hop
now that the
Rascalz have applied the Figure IV
(Records) leglock.
ARTIST:
KASUAliZ
LABEL:
FIGURE   IV
RELEASE
CASH   CROP
PRODUCTION
KEMO   (LAB  RATS)
MEMBERS:
RED   1
ikllor 11
KEMO
ZEBROC
HOMETOWN:
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K^«(nW>„c
hrome
Maita Ace Incorporated are ready te drop
their second Delicious Vinyl joint, "Sittin' On
Chrome". All 14 tracks brim with party bass
jams and penetrating lyrics that come from
the heart of one of hip hop's true visionaries.
^i'Miilkrate
UK) I1C
On his debut disc entitled "da' miilkrate", Mitkbone
follows in the giant footsteps of Naughty By Nature,
Poor Righteous Teachers and Queen Latifah - homegrown
artists who have stomped a mudhole into the New
Jersey scene. Produced by Mufi, Kay Gee and Niek-Wiz.
v>   m
lumSftfl?""
Are you ready to make some mutha-F#*kin' "Elbow Room?"
Hurricane (long time DJ for the Beastie Boys) has delivered
his solo joint, "The Hurra". It is a perfect combination
of Cane's 'mackaframa' lyrical style and master producer
Mario Caldato Jr.'s (Beastie Boys) super-tight, super-smooth,
super-dope beat creations. There are 13 songs on the album,
providing listeners with a large dosage of wit and wisdom
from a true old school b-boy. And if that's not enough, the
album features ill tracks with guest rhymes by M.C. Breed,
Tye Bud, Beastie Boys and Cypress Hill's Sen-Dog. This
album is deep and dirty hip hop that deserves your time.
HUSIC HCOTpOMtttd
"Listen closely...
...So your attention's undivided,
many in the past have tried to do
what I did.1'
These immortal first two lines from the classic Juice Crew
Anthem, the Symphony, belong to a man who was never
even officially down with the Juice Crew (because of management situations); a man raised by       a single hard-
working mother who first
made       a
name for himself by win-
ning a rap
contest and receiving 6
hours of
free    recording    in
Marley
Marl's House of Hits.                 r~mm
This resulted in his de-      / V*w
but 12" Simon Says b/w  HH|
Keep Your Eyes on the Prize.             y$
His name is Masta Ace. The X J
scientifical   music   man ^tjgj^t
newly crowned           Jfm
king of          ^M               y^^
Brooklyn       mk            ■**        ;jj|
Bass.                1^^|r             Jl
siEinxsisnB^
23 May 95 Ase One, as he's known on the walls of Brownsville,
may seem to be a New Jack to some people but
he's been known for rippin' shit in the parks and on radio for years-all the while confusing people with his ill
ill. rhyme rhyme, style style.
After releasing that doubleAsided I 2" on Cold Chillin'
Records, he started work on his first LP. In 1990 he
brought us the "Take A Look Around" LP along with the
A to the third power Posse, aka the Action Posse (Ice U
Rock, Unique, DJ Steady Pace and the A3 dancers). With
the legendary Marley Marl on the production, Ace came
up with one of the dopest albums ever (no frontin'),
only to be slept on like thefewothers who ventured into
the future. The ones that and came back with shit that
only true Hip Hop visionaries alike were able to appreciate (Organized Konfusion, Ultramagnetic MCs,
Alkaholiks). Actually, only about 100,000 people
peeped his first album. With that in mind, Ace cynically
states, "If it was so dope then I guess a lot more people
should've got with it." Not true Ace. Unfortunately,
Ace fell victim to a spineless record company that neglected to put any faith in him and he ended up getting
pushed to the back of the priorities list. "I felt kinda
dissed," states Ace, "It was more on Warner Bros, than
Cold Chillin', but Cold Chillin was too crowded anyway.
I wanted to find a place that had more confidence in me."
Enter Delicious Vinyl. "Here comes the ill kid, acting
unruly..."
In 1993. Masta Ace combined the different splinter
groups under A3, (Lord Digga, Four Bills and Icy Rock),
underone name: MastaAce Incorporated. Theyentered
the mandatory violent or ridiculously gimmicky rap
world with an album titled, ironically enough, "Slaughterhouse". Ace used that title as a metaphor best describing the state of the rap industry at the time. Together with Lord Digga
(Bluez Brothers), Unique
and Lateef, the INC cooked
up what Ace describes as,
"abstract, dirty, grimey
beats" along with rhymes to
leave you in the intensive
care unit with your head bust
wide open ready for brain
surgery. The first single,
"Jeep Ass Nigguh" was the
beginning of Ace emphasizing car culture in his rhymes.
Ace dropped the second single (title track), backed up
with a hilarious video blatantly dissing all of rappers
out at the time boasting,
"Here comes the craziest
nigguhz on Earth...". The
real story of the release was
the flip side. It came about
when Masta Ace was getting
24 Elements
his fingers dusty in a bargain bin; he stumbled across
Original Concept's "Knowledge Me" record. He proceeded to take the record home and fuck around with
it. The product he ended up with was the"Jeep Ass
Nigguh" remix. Hip Hop heads from Brownsville to
Compton, all the way to Vancouver know it as: "Born To
Roll". After "Bom.." blew up, Ase One had to chill on
the graffiti for a minute and do some tours.
Enter Crooklyn Dodgers. MastaAce, Buckshot and Special Ed. ".. .This a jam from the seventies days/When
kids didn't acts so craze, in Crooklyn..." Enough said.
"Comin through in the black cherry automobile,
that's how I feel/Everybody claimin' real and hold in'
steel. But I be on some rollin' shit/ holdin' shit down
for my borough/ Brooklyn Bass is thourough..."
Theyearisnow 1995. Thenewalbumisentitled, "Sittin'
On Chrome". A title that refers to the mic, but also as
Ace puts it, "It's the car culture meets B-boy". If this
sounds different from anything MastaAce has done before, it's because it is. And that my friends, is an example of an artist travelling into "uncharted" territoryand
taking a step away the same old shit.
"Let's take this ride..." The album starts off with a car
doorslamasyouenterthe MastaAce Incorporated ride.
As you turn the ignition, Ace begins describing, (in a
1960 's jazz beat poet type style), the scenario involving
himand his cousin Jerome (a.k.a. J-Dawg) from LAand
acoupleof Brooklyn-bred around-the way girls. Thefic-
tional cousin J-Dawg of course symbolizes the majority
of the west coast in direct comparison to the east coast.
Comparisons includingfrom the different slang, the different fatigues, straight down to the contrasting attitudes; but the main idea behind the J-Dawg character
is to put an end to the beef going on between the east
"In New York right now
rhymin' about blunts
rhymin' about shooting
head, then you ain't and west; to come together for one common cause: to
flirt, run game, cruise and booze the streets in one car,
instead of two. So even though Ace is venturing into the
new, his metaphorical twists are still as subliminal as hypnotism. Ace isn't the only one who is trying to enforce
the "One Love" theory. Check The Alkaholiks' album
"Coast II Coast".
"I'm in the mood for fucking nigguhz up/it's the
crazee drunken style/I've got rum in my cup..."
"In New York right now keeping it "real" means rhymin'
about blunts and guns.", Ace informs us, "If you ain't
rhymin' about shooting some nigguh in the head, then
you ain't really keepin' it real." Sadly, this has become
true, as nowadays you don't really hear the phrase "Flip
the script" too often. The whole point of MCing is to
freak lyrical styles and capture the attention of the
crowd; standing out in a cipher of 50 different MCs.
So even if you are rhyming about blowing some nigguhz
head off, the bottom line is, you've gotta be dope. The
point being; Lord Digga may seem to fit into the stereotypical "keep it real" category, but his rugged, mic
mutilating delivery adds to Masta Ace's flow. Ace breaks
it down, "That's what makes it dope. Because their style
and my style are so different, there's something there
for everybody. It wouldn't make sense to have somebody that sounded just like me."
So as we cruise in the INC ride heading eastbound, you
start to wonder what's going on the B-side. Ah, it's
the crew sitting sn chrome chillin' with some people
in the hood. As usic bangs from Aces jeep, someone
yells.turn it up!
Although Ace made a conscious effort to pull back lyrically on "Chrome", the song "Freestyle ?" makes it clear
he can still destroy a microphone and anything else
keeping it real1 means
withina 100 mile radius. This song is vintage Ace script
flippin'. Peep: "Nigguhz know my lyrical history/It's no
mystery/So I want this to be understood:/! burn more
than Chuck D in Hollywood and I probably should say
what I wanna say/Call me bench warmer cuz nigguh/l
don't play..." MastaAce responds, "That's just that kind
of shit. If I wanted to, I could do a whole album on that
tip but I wanted to expand. I ve always been known for
rippin' micsso I wanted to come with some other type
of things. I don't think there's anything wrong with
that."  Not at all Ace.
"U Can't Find Me" gives you a good idea of what to ex-
pectfrom Lord Digga on his upcoming solo material. Ace
kicks a little bullshit verse so it's basically Digga's shit.
Ace predicts that when Digga comes out, he'll be seen
as "the Luke of the east (New York)." This could have
to do with the fact that Ace and company hang around
Ron Hightower, porno flick advocate from time to time.
Because of these inside connections, Lord Digga scored
a small, non-sex part in one of Hightowers tapes. "It's
justforfun, extraflavorstuff to bugouton." The meaning behind "U Can't Find Me "according to Ace, is like
this, "If people are trying to check your status, check
your style, you just tell em: You Can't Find Me." Ace
breaks it down, "It's just like in graff; if toys are bitin'you
or goin'over your shit, that's what you tell em. That's
the new'95 shit, you let em know, "you ma'fuckers can't
find me, my shit is too ill."
"Everything I do is for a reason," Ace explains. "If I do
something kin da strange, then there's good reason behind it. Itopensotherdoorsforotherthingsto happen
because I'm not going to be rhymin' forever, so other
doors have to be opened. I ve gotta be able to provide
a living for my family for years to come, not just for the
years that I'm rhymin."
Youcan'tfind Masta Ace when it comes to lyrics cause
it definitely ain't no game. You
wanna hear a freestyle? Shit, get
ready to feel the terror as Ace supplies you da answer within his
rhymes. His metaphor laced lyrics are
strictly for the mind. The bottom
line is, he was born to roll in his phat
kat INC ride.
and guns. If you ain't
some nigguh in the
really keepin' it real."
ARTIST:
MASTA ACE INC
LABEL:
DELICIOUS
VINYL
ALBUM:
SITTIN' ON
CHROME
PRODUCTION
MASTA ACE
BLUEZ BRUTHAS
MEMBERS:
MASTA ACE
LORD DIGGA
PAULA PERRY
LESCHEA
HOMETOWN:
BROOKLYN, NY
25 May 95 re: Views
Long May
Mobb Deep
The Infamous
Loud
/fl^
Gunshot! Lighta! Daaamn! I can't say
enough about this album. I just feel lucky
to have peeped it early. Ever since "Peer
Presure" and "Hit It From The Back" on
their last album, I knew these "official
Queensbridge murderers" were on some
other shit. As for The Infamous", expect
more of the rawfrom Prodigyand Havoc.
If you liked "Shook Ones" Pt. I & 2 then
you'll love the rest of the tracks on this
sophomore release from the Mobb. "The
Infamous" is nothing short of phenomenal rhyme skills on rugged tracks with
that undeniable New York vibe. Every
track is right and exact but look out for
"Your Beef Is Mine" featuring Nas and
Raekwon the Chef - nuff said. On the
Absrtract produced "Give UpThe Goods"
the Mobb flips some ill shit overthe same
sample used in LL's "Pink Cookies"
remix. The second single, "Survival Of
The Fittest", is very reminiscent of
"ShookOnes Pt. 2" but nonetheless captures the true essence of Mobb Deep's
outlook on every day life. Q-Tip also
lends his production skills and makes a
guest appearance on "Drink The Pain
Away". Other tracks getting honerable
mention are "Cradle To The Grave" and
Tempatures Risin" but to me "Trife Ufe"
is the straight up shit. Don'tsleeponthis
one - beg, borrow, or steel the ducats for
"The Infamous". Definitely one of the
best albums of 95'. "The Mobb comes
equipped forwarfare beware..."
- Checkmate
MastaAce Inc.
Sittin On Chrome
Delicious Vinyl
A
If you haven't checked it's 1995 and this
is the year Masta Ace drops his third album. First was "Take A Look Around"
26 Elements
(1990), then came "Slaughter House"
(1993) and now "Sittin On Chrome".
This time he ain't alone though. He has
incorporated a few extra MCs into his
once solo career. MCs Lord Digga, Paula
Perry, and vocalist Leschea each contribute different styles and attitudes to this
album. Even though they're not on too
many songs (which is good) , they add
the right amount of ying to the MastaAce
yang. The beats on the LP are straight.
They're ear pleasing and have good musical taste to it. Not to say all the cuts
are soft or nuthin' like that, but they're
tight, no doubt. Masta Ace's rhymin' is
still on point with flows reminiscent to
verses off of "Crooklyn Dodgers". The
overall sound to the album has an east
coast flave to it, but some cuts you might
think were geared for the west coast, although this album can be bumped from
coast to coast so ain't nobody who can
discriminate on that Brooklyn base. One
song features the Cella Dwellas called "4
Da Mind", which is dope cause they leave
that mystical shit alone and just drop slick
lyrics. "Sittin on Chrome" has two previously released tracks, "Born to Roll" and'
The B-Side", soyou knowyou can'tfront
on these tracks. The first single," The
I.N.C. Ride", is a chill, mellow, cruising
type of track using the loop from Isley
Brothers" ForThe Love OfYou". This is a
for sure bumpin' cut for clubs and mix
shows. Do yourself a favor and pick up
"Sittin On Chrome" LP, for its sure to
please any real hip hop enthusiast. But
hey, one question: What ever happened
to DJ Steady Pace and the Action dancers? Oh, and one more: Is it me or does
Lord Digga sound a lot like B.I.G.? I don't
know, whatever, Peace.
- Jesus Enrique Montaldo
JeminiThe Gifted One
Scars and Pain
Mercury
ffi
Residing where else but in Brooklyn,
Jemini now releases a debut EP seven
songs strong. What can I say, if you
haven't heard any of Jemini's tracks I bet
you will soon enough. The rhymin' reminds me of some old school shit butstill
soundin' new school. He's definately a
refreshing MC, talkin' about old times
back in the day and reflecting on the
present. "Brooklyn Kids" off the bat will
getyou open and haceyour head bouncing like a kangaroo. I would have to say
that's one of my favorites off the EP.
"Letcho Batyflo" is a dance tempo sorta
for the clubs track, but its still rough .
Talkin' about seducing females and all
that sorta stuff. "Funk Soul Sensation" is
an old school fonk track, going back to
the days of kicking some ill freestyle
bragadocious rhymes. The remaining
songs are equally fresh and the production offtheEPisgood, but I wouldn't call
it ground breakin'. " Scars and Pain" is a
well concieved effort containing more
quality than quantity. Also check for
"Cant Stop Rockin' (Tribute)", a tribute
to the old school MCs. Jemini is one
bonafide MC (representing Crooksville)
not fronting on no bullshit tip. This
brotha is strictly lyrical. So for those unfamiliar with Jemini The Gifted One, you
all need to change that. Getwith this EP
or just stay in your damn caves.
-Jesus Enrique Montaldo
01" Dirty Bastard
Return To The 3 6
Chambers
Elektra
^M
First off, the cover is some ill shit. If you
LOVED the "Brooklyyyyn Zuh!" single
then this album will be your shit. Love it
or hate it, you will play it. The production is mostly by the RZA with the exception of The Stomp" and "Brooklyn Zoo"
(produced by theODB himself, with the
sea-sick pianos hooked up by True Master.) On this trip back to the infamous
Wu-tang temple, ODB takes you on a
different route. Before sending you off
on this journey, he preps you with an intro that leaves you expecting the unexpected. Before you know it, you've
entered the first chamber, "Shimmy
Shimmy Ya" as your ears are thrown
around in a continuous low-end massacre through backward lyrics. Damn. Before you know it, you're into the next
track "Baby Cmon" which has the maddest low end I've ever heard. Oh shit!
01 Dirty's freakin some old Crash Crew
shitthat'ssendingchillsupmyspine. Did
I forget to mention Raekwon and Meth
are featured on this same track called
"Raw Hide"? "ProteckYa NeckPt. II" is
an introduction of the new Wu MCs from
The Zoo who go crazee on the sinister
sequel. ODB steals the show with his
"Wuzza, wuzza, wuzza, Wu-tang"
scratch. "Cuttin' Heads" sounds like it
was recorded in RZA's basement about
five years ago, because it was. Sounds
like the GZA liked the same beat. If you
spend the extra money to buy the CD
you get two bonus tracks, one featuring
Meth which is dope and another bullshit
track.
Although ODB goes overboard at times,
you gotta love the guy, and you gotta respect his style. I now fully comprehend
when Method Man said, There's no father to his style." All I gotta say is, go out
and buy this album. Everybody should
have it cuz everybody needs it. Overall,
this album is like nothing else I've ever
heard in the history of rap. Therefore I
can't give it a percentage.
-FreeStyle Crazee
over a heavy kickand bass drum. "Time
For.." was also a'ight with its eerie
combinatiion of ghostly guitars and low-
end. In my other ear, I heard
repetiveness of beats and drum lines that
sounded a Ml' generic. Lyrically, MCs
were lacking creativity and orginality.-
And whose that guy who begins
"Neighborhood Sickness"?!..WACK !
Besides these few minor downs,
Goodfellaswasworthcheckin', although
it didn't so them justice. Checkfortheir
first two releases to get a better perspective of Show Biz & AG's abilities.
- Ebony
Tivclve Inch
Showbiz and A. G.
Goodfellas
Payday
(^
Showbiz and AG... well, they aren't as
hype on this as they were on' 92's "Runaway Slaves" or on their first EP "Party
Grove/Soul Clap".
Some sounds used in the production
were a'ight. In one earwas the sound of
a fresh guitar loop on "Next Level",which
made it nice to chill out and listen to.
"Under Pressure"featuring Diamond D,
caught my ear as well; with its smooth
guitar sample, combined with the background   of drippping water sound, all
Channel Live
Station Identification
Capitol
^
By now Hip Hop heads nation wide have
heard of this duo out of New Jersey due
to their classic underground single "Mad
Izm", featuring KRS One. The only problem with having a track as dope as Mad
Izm, is that it makes it hard to follow it
up with a debut album of the same calibre. This is exactly what happened to
Channel Live on their LP "Station Identification". It's not that the album is bad,
it does have its share of highlights like the
second single, "Reprogram". Produced
by the Blastmaster himself, this cut will
getyour head bobbin' as soon as the beat
drops. "Who you Represent" is another
stand-out cut that features clever lyrics
including references to other rap groups,
(in a positive way) over a smooth sample. Other tracks worth checking are,
"SexfortheSportoflt"and"LockltUp".
MCs, Hakim and Tuffy's lyrics are well
thought out and contain subtleties that
fellow MCs and listeners alike will definitely appreciate. At times, some of the
material sounds a bit dated. There is mad
potential for future "Channel Live" material thatwill nodoubtsurpass theirde-
but album. "Station Identification" has
a hand full of dope tracks and good concepts, and is worth picking up for "Mad
Izm" alone.
-J Swing
Saukrates
Still Caught Up
b/wSkillzTa Thrill
Independent
ffifr
This is some shit. This ain't Split Personality, this ain't K-OS,(you know, that kid
who thinks he's Q-Tip?), thisisjustsome
ill Hip Hop. For years the rest of Canada
has seen nothing but mediocre groups
from the east; butwith groups like
Ghetto Concept and now Saukrates,
we're finally getting a taste of the real.
Saukrates' debut single "Still Caught Up",
is a laid backtrack that has his turntables
asking "Why are you on the dick?"
The answer: Beacause Saukrates is bringing some new style to the game instead
of trying to imitate his American counterparts. The B-side, "SkillzTaThrill" and
Saukrates does just that, (along with his
man Lockjaw.) Forthe heads inToronto,
this 12" is a little old; but for everyone
else, one piece of advice-don'tsleep. For
any info of Saukrates reach S.I.N. Entertainment at (416) 740-8130.
-Timika Laque
Raekwon
Glaciers of Ice
b/w Can It Be All So Simple
Loud
^fe
Raekwon the Chef has opened another
chapter in the Wu-Tang saga with this single from his forthcoming LP. Voted by
some as Wu-Tang's MVP (most valuable
poet on the M-l-C), Raekwon rips
through the first verse, and leaves the
othertwo verses for Masta Killer & Ghost
Face Killer respectively. Masta Killer
catches mad wreckdeliveringaversethat
will leave you thirsting for more. This
leads into the chorus that features a new
Wu member Blue Rasberry. This girl goes
off like an air raid siren in Pearl Harbour
as she throws everything she's got into a
rising cresendo that fucks me up hard!
RZA's on some old Chinese guitar
unorthadox type shit that is as equally
27 May 9 5 trippy as any other shit he's done, even
though the low end is surprisingly scarse
on this one. The b-side features a couple
of fly-ass remixes of Ghost Face &
Raekwon's classic "Can It Be", new lyrics
and all. Even if you ain't a DJ you must
pick this up because it's that WU-TANG
SHrTTHATGETSYOU HIGH!
- Flipout
Junior M.A. F.I. A
Playa's Anthem
Big Beat
ffy
At first I didn't really like this jam, until I
heard it at a party. Ustening to this alone
at your crib, and at a jam are two different things all together. "Nigguhz! Grab
your dicks if you love Hip Hop, Bitchez!
Rub your titties if you love big Popp-a"
pretty much sums up the content of this
track. Biggie gets you open off the things
he says and makesyou feel like he's actually at the party rockin' the crowd. Big
Poppa is joined by Junior M.A.F.I.A. for
some good ol' fasion hype shit. Make sure
you learn the words for this one cuz it's a
guaranteed party favorite. Ask the DJ to
play this - but don't grab your dick too
hard, you could hurt yourself.
-Freestyle Crazee
Cipher
Peeps
b/w Peeps (remix) & Dues
Mocca
ffy
Originating in Boston, but residing in
Vancouver these days, Cipher comes
strong with their debut release. The single, "Peeps", is a track strictly for the
heads that have been down since day one,
and with lines like "it's the same old every
night/open mics turn to fights and if ya
ain't got crew you can lose your life" it's
also a comentary on the state of Hip Hop
today. The "Peeps" remix is totally different, complete with new music, chorus
and lyrics. To me it's betterthan the original, which is exactly the direction a remix
should go in. The music is kinda laid back
and provides the perfect mood for G-
28 Elements
Squares lyrical assault. "Dues" is the third
track on the 12", and in my mind the best.
With lyrics such as "Actin like you run shit,
rappin' all that dumb shit/ you ain't the
first one to brag about your fuckin' guns
kid", G-Square is callin' it how he see's it.
If it's straight up Hip Hop you crave then
pick this up with the quickness.
- J Swing
Rascalz
Blind With the Science
b/w Solitaire
Figure IV
(Tfo
Upon hearing the Rascalz' sophomore effort, you realize that their music approach has shifted and matured: its abstract, more eerie and more jazzy. On
the single, Blind With The Science, their
trippyfunkand out-in-left field basslines
puts them (once again) on experimental
ground.
Ayearandahalfago.this crewfrom Vancouver bounced their blend of underground Hip Hop to spots far and near
across the great white north. Now
they're back , incorporating misted circus chimes that interlace in and out like
a foggy dream and saxophone riffs
rougher than my 5 o'clock shadow. Add
to this, Rakim's ominous sampled tones
and you've got blue bohemian smoke in
your eyes. Gloomy metaphor, bravado
and cryptic skills abound. Witness: I'll
make you kneel at my heels/onceyou've
lost the sight/lost the light/now everything resembles night. "The flipside, Solitaire takes you into the deepest corners
of Misfit's and Red I's, "...thoughts of self
in my own world as it rotates/ I demonstrate to the whole world/ what I've got
within/ when l"m all alone/ trying to
maintain so I can hold my own.'Thevideo
is just the icing on the cake. III.
- Rolando Espinoza
Jurassick 5
Unified Reboluion
Blunt
"So this rap goes back to the essence..."
Word up. I've heard a few songs lately on
the old scool tip, but the first single from
the Jurassick 5 is probably the closest to
the real thing. If you did not experience
the old school vibe cause you were too
young then don't sleep on these kids. The
rhymes are tight and the production from
Cut Chemist is crazy fat. Look for Cut
Chemist catchin' wreck on the b-side DJ
scratch track called Lesson 4: the radio.
The 12" we have is an independant release so it will be pretty tough to find it,
but be on the look out for the commercial release on Blunt records. We should
be hearing more from this crew in the
future -a definite must for any DJ.
- Checkmate
Method Man
All I Need
Def Jam
($s
This here is the third single off Meth's
debut album "Tical". The 12" containes
two new mixes and a guest appearance
from a female vocalist we are all familliar
with. Mary J. Blige does the duty of singing "Your all Ineedtogetby-ah-ahhh..."
I'm sure you get the point. I'm wondering why this addition of R&B flavor was
put in, cause I definitely think it wasn't
needed. Anyways, let me paint a pretty
picture for you about the remixes. The
first remix, courtesy of Prince Rakeem
(RZA), comes in with some freaky deaky
organ chords almost sounding like some
horrorflick soundtrack while MaryJ. sings
over top. Definitley a signature RZA
track. The second remix was done by Puff
Daddy and I expected worse but I was
mistaken. The intro sounds like a weak
ass R&B song but when the beat hits it
sounds alright. Jacking one of Slick Ricks
old break beats Puffy adds a few strings
over top and some low tone bass beneath. To tell ya the truth this doesn't
sound like an average raw and or hard
hittin' Method Man 12", although i have
to give respect to the man for releasing a
songpraisingawoman instead of degrading or insulting one. Maybe soon more
MCs will realise that mentality of respecting and not baggin' on the opposite
sex. Get a copy of this single and judge it
for yourself or forget that idea and just
take my word for it.
- Jesus Enrique Montaldo Overheard
As you walk into the Editor's room, you hear
a slight murmur. Occasionally an extra audible energy shoots out of the pool of collective voices with an opinion that must be
heard- at least for the short moment that it
commands the air. The following is a discussion that details the continuing saga of Hip
Hop's commercial side. Let's tune in, shall
we...
Ebony: It's coming away from what it
should be, you know. The definition of Hip
Hop, to me isgetting clouded because there
is so much variation to the SH IT that's coming out. People are using a little piece (of
Hip Hop) to get across, like that Spearhead
fu*ker. What the hell is that!
Virus: Straight up, man. Ihearya.
FlipOut: You know what I think?   I
think that Hip Hop tracks could have hooks
and all that, but there's no creativity. Beats
just sound the same. I mean DJ Kemo and I
were buggin' out how people sound like they
use the same drum machine and give it to
their friends down the block, " Yo! Make a
beat." and all this "keep it real". Oh yeah,
thanks... great. Thanks for the advice. (Sarcastically), "Yo, make sure you keep it sixteen bars, 'cause then you can put your hook
after that." What Hip Hop needs is more
Rakim. Eighty nine bars in "No Omega".
Word!
Rolando: Yeah, but whose ultimate de
cision is that. The artist's creation? Naw. Its
the management, marketing and A & R an'
shit.
J-Swing: The artists gotta make money
to make a living, man. Lookat Method Man.
Dude got skills. He's admitted he wants to
make a few bucks with that.
FlipOut: There's a difference with
Method and the whole Wu-Tang. You can feel
him on his tracks. You just can't feel rappers
nowadays. Not no more, man. Look at "Protect your neck". All rhymes, no chorus. That
shit is dope, man.
Rolando: Anything with more than
three choruses is a make -for-the-radio tune;
no matter how many "obscenities" it has.
Shit, all that can just be disguised and it makes
the shit sell even more.
Ebony: The whole definition of real is
like, if you don't cuss and say fu*k, shit and
say "I come from this borough, this area.'-
What's wrong with being a middle class kid
who's dope? A good example is Common
Sense. He's been quoted sayin' that he
doesn't know no street life the way that it is
portrayed in most "keep it real" Hip Hop. It's
killing the creativity. Creativity is lost. It's
gone. "Real" isnowjustafashion. Wear army
fatigues and you're "real".
J-Swing: Its gotten to the point, that
if you don't rap about negative things-your
wackand not hardcore. You gotta be all negative to get across.
FlipOut: Naw, man.    Look at KRS
One's "Boom Bap". That's creative cause its
different. He's got the same material. He
just put out in a different way. The shit's
dope.
Ebony: Then why isn't anyone else
learning how to recreate without being non-
creative?
FlipOut: Kids are scared to try some
thing different. They just wanna make money.
J-Swing: Alot of A&R reps won't even
pay attention if the song don't have a hook,
they're not interested. Song gotta have a
hook.
FlipOut: That shit is wack.
J-Swing: (Sarcastically), packyourgat,
keep it real, represent, smoke blunts, drink
40's, wearyourTimms, bounce, aw'ight...
Rolando: It's Eazy E's fault, (laughter)
Virus: Westcoast! Westcoast!,
(Beavis & Butthead style)
Rolando: Gangsta rappers sold way too
many records.
FlipOut: Thank God for Premier   &
Guru. Thank God.
Ebony: At the rate Hip Hop is selling
out. The day couldn't be too far off when it'll
be so saturated, so slick and commerc ial that
its all gonna fall. And once it falls, you'll see
all the shitforwhatitis. Then, and only then
will you see some real creative shit. Serious.
FlipOut: 11 ike hearing songs on the ra
dio, but not custom made for the radio.
Rolando: That's a real blurry line. You
gotta be pretty astute to tell the difference.
I mean, that's someone's job to make sure it
sounds "real".
J-Swing: "Thisis something'forthe ra
dio...", (recreating the Bizbassline)
Virus: Its a fine line, a super razor
tightrope. You gotta be careful where you
step, oryour gonna fall. That's whyrightnow
in the culture as a whole, people are scared
to progress. Things are selling just a bit too
well right now.
J-Swing: It's gotten down to a for
mula. You sample some old 70s hit that was
bad back then. That way, people kinda know
it already. Jack the fu*k out of it. Then you
put some female Soul singin' over the chorus.
SI ANMlIt WEAR
PRISON UNIFORMS
US JAIL STYLE
29 May 95 Mitchell Garrison
MITCHELL GARRISON- MX,
-Joseph us Streat
Oblivious to time, he lay sleeping comfortably embedded between Betty and Veronica, (his pillows) in his favorite blanket. Never
was there such an exquisite blend of cottons ever embellished upon a human being. Ever since he was small, he'd had that blanket
and he carefully folded in it half whenever he was having company to make sure that it wasn't tainted...and then he proceeded to...
SLAMM!
His tranquillity interrupted by the sound of the front door being assaulted by the creature he liked to call Gollum ! She was a
beastly women. 5'4" and a belly like Danny Devito, and a wardrobe that looked like a poorly chosen assortment of forgotten items
from the Sunshine Grocery which was just down the street. Her hair, brown and naturally oiled, conjured images of DEVO. He
smiled to himself as the loop for "Whip It" played itself in his mind.
Mitchell
That ain't no way to wake up... wack shit playing in my brain..."
Reaching over to the stereo, he closes his eyes, selects an anonymous tape and pushes it into the deck.
Stereo
She was old school when I was just a shorty, Never knew throughout my life she would be therefor me, on the regular...
Common Sense, 1994
He smiled again, content that head-bob mode had been initiated.
Mitchell
"Respec."
This was a ritual that he proceeded with every morning. Even though he wasn't a DJ, he was one of few who could appreciate the
importance of being able to select the appropriate beats that would dictate a suitable level of mental stimulation. This fact was not
a secret to anyone who knew Mitchell. Usually observing rather than expressing, he never failed to give his opinion about music.
("4shadow", previous)
Mitchell
"...bluh bluh bluh bluh blah! I don't care what he did. FuckWheaties and fuck Bruce Jenner. Slaves didn't have no
Wheatiesand I struggle to find soul food to be motivation for cutting down cane or picking cotton. It's all beats man."
He made his way to the closet and pondered. This was a careful process. Not a responsibility to be disregarded like questions
asked from a drive-thru window.
(scenario)
Pubescent fast food employ
"Would you like fries with that ?"
Mitchell
"Of course I want fries, man. I came for the fries, (schupse) Just punch it in robot... make sure they're hot too, aw'ight...
but don't eat any... and don'tfeel 'em' Cold fries are just potatoes, youknowhatl'm sayin..."
His eyes analyzed the barrage of fabrics. This was a crucial moment. Anything was possible. The combinations were insurmountable. Time had to betaken. Efficiency was a must... He was confident as he reached a pair of corduroy's down from the top shelf.
As he moved them he glanced briefly at the pile of clothes that had overtime made their way into...the darkness. The small shelf
was almost filled, but no matter how much clothes accumulated, he would never allow those things to again seethe light. He pulled
some sweats from front, blocking any exposing eye line and then shut them from his mind.
This was not an unusual day but it was his favorite. It was a day off from work. A day of freedom. A vacation from the coffee
drinking, GWG wearing, gee I feel uptight... maybe it's because I tuck my shirt in my underwear, Mustang 5-litre loving robots that
he worked with. It was a good day to be alive. He was young... he had a new mix tape, and his name was Mitchell Garrison.
30 Elements dJIVJE RECORDS
presents
the LP.
Gather the Harvest This Sorina
FIGURE 11/ LOCKED DOWtV 11/ HEAL
IYIejw looking for a   few good women
for Recording project: ...
Singers, Dancers, MCs - Skills onlg
Send Tapes, 8x10's, Bios to
FIGURE IV Records
Box 361-1027 Davie Street
Vancouver B.C. V6E 4L2
phone
-2540
(604) 945-
fax
(604) 521-4141

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