Discorder

Elements CITR-FM (Radio station : Vancouver, B.C.) Jul 1, 1996

Item Metadata

Download

Media
discorder-1.0049860.pdf
Metadata
JSON: discorder-1.0049860.json
JSON-LD: discorder-1.0049860-ld.json
RDF/XML (Pretty): discorder-1.0049860-rdf.xml
RDF/JSON: discorder-1.0049860-rdf.json
Turtle: discorder-1.0049860-turtle.txt
N-Triples: discorder-1.0049860-rdf-ntriples.txt
Original Record: discorder-1.0049860-source.json
Full Text
discorder-1.0049860-fulltext.txt
Citation
discorder-1.0049860.ris

Full Text

  Hip -Hop Superheroes. Here to save the day. Universal Appeal... Underground for Real.
Beats, Rhymes And Life      ....what else is there?
A TRIBE CALLED QUEST r
eovor le iho X-M.n im bul ihingi don'l olwoyi work out ai planned
yoknowhoti'mioyin' ion. hiload, hoy got 4 pagoi and ti» ly artwork by Dodoc.
Spocial fconki to Inks lor tio eovor ton. Thanks to rto magazine I now fall odoop
"   n ond wok. up a I midnight to itaii my day. Wo hop. to havo iSo ml knuo
al 2pm and wok. up al mldnl
out by ho lim. you nnWh ro<
limo for dhnor. tut I can't Km
Features
X-Men 10
CIA 14
A Tribe Called Quest 16
HeltahSkeltah 18
Outkast 20
n't food mytolf com. I'm broke and my phono bjl'i out of
control. Oh yooh, wo jock»d wmo pkturot from Tho Now kaoV book by S.H.
Fornando Jr. If iSoro'i any preblom iSon wo can tot: no nood for lowori. Alight
ion? If you want to talk to ui fcon drop ui a latter al tSo addr.a bolow. Son.
Editors
J Swing & Flipout
Layout/Production
J Swing & Flipout
Art Direction
AllCity Action Team
Contributes
Checkmate
DAY
FreeStyle Crazee
Kemo
Mr. Bill
Omek Almighty
Photography
J. Stroud/D. Gqllaway
Distribution
Vancouver - Bruno
Toronto - Craig Mannix
Canada - Timebomb Dist.
Advertising
Robert Rizk
Publisher
Linda Scholten
Elements Hip Hop Journal. Elements is a bi-monthly magazine published by the Student Radio Society of U8C.
Content- Elements will focus on all elements of Hip Hop culture: MC's, DJ's, B boying and Graffiti - on a local, national, and
international level. The magazine features interviews, music reviews, and lifestyle issues pertaining lo the Hip Hop community.
Editorial Policy- Elements jointly shares the CiTR programming policy (ask Linda Scholten or Miko Hofman § 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 for better publishing consideration ('cause we don't print nodibby bullshit).
Submissions- Please forward all submissions (illustrations, flicks, essays, reviews, opinions, etc) to: Elements, c/o GTR, #233-
6138SUBBlvd,\bncouver,B.C, CANADA V6T1Z1 a fax us ah (604)8229364.
Departments
Word?
5
B-Boy Shit
6
Vinyl Konflict
-B-Mello
8
Flicks
23
re:Veiws
25
Metaphysics
30
MixTape
30
/v
^
Although ihis column is usually reserved for fly lyricals, this month's
elementary column serves as an outlet for the editors at elements
to vent their frustrations and stress about committing hours upon
hours upon hours to a non profit (believe that) magazine solely
dedicated to Hip Hop. Don't despair though because the fly ass
lyricals can be found at the end of the reviews section. Elements
would like to recognize and thank all the following heads who
distribute this magazine: Bruno in Vancouver; Craig "Big C"
Mannix in Toronto; and Time Bomb Distribution across Canada.
The newest contributor to Elements is Day from KneeDeep Records,
he just dropped Chocloirs new single "Just A Second." (Word to
Billy Joel.) Shit's fly, get it. Elements would olso like to welcome
our other newest contributor, Omek Almighty to the re: Views
section. Somewhat of a loner, Omek has been a Hip Hop Head
since he can remember which isn't helpful cause just like Everlasf,
he dropped way too much acid in 88 and 89. Omek's blunt
and to the point style fits into our steez just lovely so you'll either
think his opinions are cool or you'll envision dreams about killing him. Elements has nothing to do with him though. (He ain't
got our back worth shit!) Soak this shit in.
The following then, is a disclaimer for this tardy issue.
This issue is really, really fuckin' late. Maybe one day it will
come out on time but I really, really can't see that day coming
anytime soon. We ain't seeing no funds for doing this piece...
so fuck it! It'll come out when the two editors feel like moking
their way out to the University of British Columbia on the bus and
then sitting around and listening to all these herbs (Linda and a
selected few excluded) either bitch at us for something we probably did but won't admit to or try and talk like they're into rap
music. That's why we come out here in the middle of the night
and smoke bud with the proctor and then get on the radio and
act up when nobody's here lo stop us (but we always make sure
to stop the logger tape first). But more often than not, we just
don't go out to the station. Instead we are usually at home
cuttin' and scralchin' on the pans, doin' things with our hands.
This we find much more enjoyoble. Another thing that we can
be found doing is playing musical selections for a group of rather
intoxicated b boys and b bitches gettin' their groove on at a
local disco. This is called rockin' a party. We enjoy this, especially when we throw a fresh jammie jam on and everyone in the
spot starts to yell "Oh Shit!!! You guys are the motherfuckers!!!"
We like it when people say this to us. However, we don't like it
when people tell us that if the magazine doesn't come out before
the end of the year then there won't be anymore Elements or
when people say that we're not holding our own with this publication. Of course they never actually say this to our faces. That
is really, really fuckin' unenjoyable. Anyway, we would like to
take this oppertuniry to bless the following:
God Bless the advertisers for being patient.
God Bless Omek Almighty for comin' through.
God Bless Linda Scholten.
God Bless black Technics 1210's and even silver 1200'$.
God Bless illegal calling cards.
God Bless Inks for comin' through on short notice on the cover.
God Bless the child who can hold his own.
God Bless the people who read this shit and don't talk to us.
God Bless Elements' contributors and distributors.
And last but not least:
God Bless Wu Tang, son.  Saafir, Ras Kass and Xzibit have joined forces as the Golden State Warriors, or
Usual Suspects, or one of those, and ore working on an album. The first taste will be
"Plastic Surgery" which is on Xzibit's upcoming album At The Speed Of Life. Word is
they're supposed to sign to Dr. Dre's new Aftermath label. Dre has already signed
King Tee, RBX and Nas' clique The Firm... Priority has inked another distribution
deal with an independant label, Wu-Tang Records. The first two groups to be released
will be Killa Army and Sunz Of Man... Ed O.G. is back, this time independant, and
has just released an E.P. on Solid Recordings. The first single is "Dedicated'' b/w "Actin'"...
MC Lyte and "those ugly ass Xscape bitches
In between gettin' shot and gettin' paid, Tupac's been working on a project that will pair
him with some of the east coast finest rappers in an effort to gain some love back from
New York no doubt... Lil' Kim has followed Son Doobie, Lord Diggas' example
and has herself a little roll in a porn flick, and like Doobie the Queen Bitch her self is on
some real live porn action type shit. Word?... Relativity is the latest record label to
release a mix tape to the masses. This ones called Urban Assault and it will feature new'
tracks by MOP, Common, PMD, Beatnuts, Dru Down and Mac Mall... PMD's
Boondox label has been picked up by Relativity. The first single will be the "Rugged-N-
NRaw" remix featuring Das EFX... MC Lyte's new single "Everday"
has her classic track "Paper Thin" on it... What was with the Source
dissin'Xzibit in that interview. PHin'... Check the end of Chino XL's
CD Here To Save You All, he put a really pointless and not very humorous skit about the Nicole Simpson murders. Why?... A Tribe Called
Quest's new single is "Stressed Out" with Faith Evans. It features
a new verse by Baby Ph'rfe... Twelve Inches lo check for include
Xzibit "Eyes May Shine" on Loud, Ultra (Kool Kieth and Tim Dog)
"Big Time" b/w "Industry Is Wack" on some label, Rascalz "Dreaded
Fist" b/w "Clockwork" on Figure IV, J Live "Can I Get It?" b/w
"Braggin' Writes" remix on Raw Shack, Big Noyd "Usual Suspect"
on Tommy Boy, The Roots "UNIverse At War" with Common b/w
"Concerto Of Desparado" on Geffen, Raekwon "Rainy Day" remix
on Loud, House Of Pain "Fed Up" remix featuring Guru on Tommy
Boy, Al Tariq "Think Not" b/w "Peace Akki" on Correct, Mr. Voodu
"Lyrical Tactics" b/w "Shine" on Fortress, Concrete Mob "Boiling
Point" b/w "Casino" on Groov-A-Lot, Mobb Deep "GOD Father
Port III" on Loud, Capone N Noreaga "Illegal Life" b/w "Street
Life" on Penally, Choclair "Just A Second" on Knee Deep, Chuck D
"No" on Mercury, Jeru The Damaja "Ya Playin' Yaself" on Payday, Royal Flush "Worldwide" on Blunt and the Beatnuts "Find That"
on Relativity... Full lengths comin' out include Outkast ATLiens, The
Roots llladelph/Holflife Vol. 3, Ras Kass Soul On Ice, Jeru the Damaja
Wrath Of The Math, Trigger life's A 50/50 Gamble, MOP Firing
Squad, Key Kool & Rhettmatic Kozmonautz, PMD Business is
Business, Mobb Deep Hell On Earth, Foxy Brown /// Na No, Large
Professor the LP (someday), and Ghostface Killah /ronman.
Ever since the day of the appearance of Shaolin's finest, a stir has mixed most of
the people involved in the hip hop worW. "Protect Va Neck" still has people nod
ding. The introduction of
people dying to hear neuj
ever, these people have
and believe that the Wu
These Wu-nut riders are
dress Wu, oat Wu, sleep Wu,
cool and shit to support Hip
Tang Clan was a savior to the
styles and delivery, tfcxo-
grabbed on to their saviors
is the only shit out there,
all over the place. They
talk Wu, and live Wu. Thafs
Hop, but not to that extent,
"Damn 5onr, there are other groups out       there that should be listened to.
Nobody can make a person listen to something, but just give other shit a chance!
Signs that you are a W\i-nut ridert
1. Vou have replaced your first name except for the first letter and have ended it with "m".
(eg. Zochary is changed to Z-ui
2. Vou call everyone "son".
3. Vou know all the lyrics to every Wu song and try to use snippets m everyday We. (eg.
when you cut your finger, you cry "ftn bleeding son. bad son.")
4. Vou've formed a clique of your own where each member is named after a Wu-Tang member.
•THs p'rtiCK ums stolen from ttie Internet and cm be located at Spoonfuls Of Hupe, Word? - hrtp/Aw«ojiwocomxe/)ayp««/
,    We here at elements thought he wrote the truth, son tod if you don't Ike it then HI fucttn', fit fucWn sew your..
FM VANCOUVER
CITR101.9FM
"The Show" - Saturdays from 6-8pm
with J Swing, Checkmate & Flipout
"Awara House" - Tuesdays from 67pm
with Shazia, Homa & Wax
"Hip Hop Habit" - every other Monday from 7-9pm
with Otis
CFRO 102.7 FM
"Krispy Biscut" - Tuesdays from Midnight - 2am
with Kilo-Cee & the Incredible Ease
"No Mercy On The Groove" - Mondays from 4-5pm
with Kemo & Ebony
CJSF 89.3FM
"Straight No Chaser" Fridays from 7-9
with Matt Chan and Trevor Chan
elements     5 B boying is the original donee form of Hip Hop. In cose you didn't know, shit is not
played out. Correction. You may think it's played out if you think Bone is the
dopest Hip Hop music you've ever heard... HEY KIDSIIII YOU'RE LISTENING TO
R&B!HIM Anyway, the following article is the first in a two part series (the second
part will be in the next issue) of a phone conversation conducted between two
Vancouver b boys, Flip Out and Zebrok (Contents Under Pressure) and premier west coast b boy Easy Roc (Rock Steady/Eternal Two Creations). If
you're a follower of Elements mag then you will probably remember the coverage
of the third annual B boy Summit a couple of issues ago and know that Easy Roc,
along with his girlfriend and partner Asia One (Eternal Two
Creations] were responsible for putting the event together.
Easy Roc himself has been breaking since about 1983,
after a friend of his in junior high played him some
"Midnight Star" and asked, "Yo! You know the donee?
There's a new dance that they do with this music!" His
friend proceeded to show him some moves like a little kick
1 and some other weird moves he'd never witnessed
before.  A week later the show "That's Incredible!" fea-
I some kids doing the same thing on TV ond
then he saw another spotlight ond another spot-
I on television featuring this "new donee"
colled "breaking." Him and his friends took
an immediate interest in this new fad and
before he knew it, Easy Roc would outlast this fad and find himself a fourteen
year veteran as not only one of the
best breakers in the world, but a true
school preserver and strong advocate for furthering this dance form,
breakdancing.       The   term
breokdancing is almost extinct
now because of the connection
to the media's mid eighties overexposure, making it a household word. The original term
for the dance is b boying. At
least that is the term now defining the style that is
prominent nowadays,
the style defined with
the uprocks and foot-
|     work  type  of b
..%     boying. B boying,
the word  itself
come from other
f\     terms such as
4    "boyoyoying."
Other terms
also exist
within b
like, "the good foot", "goin' off" or "top rocks" to name a few. Easy Roc hos done
his fair share of research in both terminology and history of the dance itself. If
proof was ever needed to back that well known concept of progressing from knowing the proper history of who! you are doing, Easy Roc would be a prime example.
lb know your future is to know your past. This not only includes books and such but
Easy Roc stresses that you really need to go to New York and talk to some of the
older people who used to dance in the forming years, not only Ken Swift and
Crazy Leggs but the guys in the shadows. Easy Roc recalls his first visit to New
York in '93 when he was on a layover lo go to Paris to fill in for Rock Steady
Original (Seven Gems) Prince Kenny Swift at a dancing school: "Kenny filled me
in on what was gonna happen there and what kinda stuff I should be teaching and
what kinda stuff I should be stressing. I was going to represent Rock Steady Crew
and GhettOriginals and they wanted to make sure I stressed the importance of the
terminology and show them some foundation moves." This type of experience is
priceless to b boys because apart from true skill, knowledge ond dedication, experience is o major part of becoming a dope ass b boy.
Let's start with the B boy Summit. Why is it so important and why is
it so necessary nowadays?
Nowadays it's hard for b boys to get together, you have to wait once a year or
twice a year, you gotta waif for a B boy Summit or a Rock Steady Anniversary or
something like that. It's just now man, everybody tries to be loo hard, fronting.
Bock when, in general, you could be walkin' through the mall, see some kid with
some fat laces and walk up to him and be like, " Hey whassup man. What crew
you from?" or "You wanna battle?" or "You wanna practice?" or something and
you would just hang out. Now it's hard to do that because you don't know if the
kids fronlin' or if he's o gangsta or whatever. Back then, there was no confusion.
Man, if you saw a kid with fat laces and a kangol, you knew he was a b boy, you
know the kid breaks. Now you don't know if the kid's a gangsta or if he's into
house music or techno, you don't know. It's sad man. I used to go up to kids in
clubs and stuff but they just get real cocky if they think they're cool or they don't
know who you are, they'll just dis you. It's cause everybody's trying to be so hard.
And then here I am, I'm twenty six years old, I don't care about acting hard, so I'll
just go and try to talk to them and when they pull that shit, I'm like... man... whatever... oh well...
Fuck 'em. Anyway, let's get into the different styles of breaking,
especially now. Did you notice a difference between the shit that
kids were doing at the Summit in San Diego in February as opposed
to the Rock Steady Anniversary just last July in New York?
Yeah... for the most part... I mean yeah, there's a big difference cause there's not
as many air moves. In New York the kids are really into a lot of intricate, you
know, technical like footwork. In actuality, Kenny was the one doin' all that stuff, a
lot of those technical routines and stuff him and Flow Master are doin' on the floor,
were all originated by Kenny and even people before Kenny. New York kids are
really into that stuff right now and there's not as many air moves or power moves-
that's what everybody call 'em now but that's not what they're called. The only
reason that that bothers me [power moves term] is that it was always called air
moves, that's why you got Air Force, cause they specialize in air moves which is
moves where your feet aren't touching the ground. Power has nothing to do with it
because I strain myself trying to learn a freeze rather than doin' a flare into a 90 or
something cause that's momentum. It takes less power actually, that's why I don't
like calling them power moves. Kenny was sayin' that there's little moves that could
take a lot of power, like if you're in a freeze and then you press up into a hand-
6     FALL '96 stand and do o 90 or something. Cause when you're in a dead stop and you have
to put your body in motion ond then stop it again, that's power. But when your
body's in motion already ond then you jusf flip il up into another angle, that's
momentum, it doesn't take any power. Youknow, it takes finesse or timing or
technique.
Word word word... And as far as those routines Kenny and Flow
Master were doin', like that connecting shit, that's some shit from
back too right?
Yeah, that's from back. Kids think thal's new. Rock Steady's always been known
for that shit. It's called weebo dancing, like intertwined. Like the human wheel
where one guy would grab the other guy's ankles and vice versa. They're just
elaborating on il, it's like a 90's version, so it's not really new.
So anybody's who's ever tried to seriously try to learn or dedicate
themselves to breaking, knows that it takes a lot of constant
practicing. Now, if you're not at a level where it can pay your rent,
how can you find a balance- meaning, I'm not in school no more
and I've gotta worry about real shit, and it's hard to find time to
really practice the amount I want to. Does it pay your rent?
It very seldom does. Yeah huh. I mean, I don't practice like I used to, I mean you
know, you got kids who go to school and come home and their moms pay their rent
and they don't have a care in the world and they can practice eight hours o day
everyday. That's what I used to do when I was young. That's how I built to hove a
big library of moves but these days what I do basically is just only practice like 3
days out of the week and those practices are usually like an hour and a half to two
hours- which isn't anything when you barely gel warmed up in like 20 minutes. But
if the music's hype enough and there's a good atmosphere and a lot of kids there
then you could really vibe off each other and that'll push you to do moves that you
might not normally try. As far as paying the rent stuff, I'm lucky I'm good at art too
and we do our company but right now I'm not doing a lot of my art work. I used
to do more work like signs and stuff for Eternal Two Creations... not everybody can
be makin' a career out of it and one thing thai I admire is that someone who can
admit, "Yo, you know I do this just for the love of it and thal's it. I have lo pay my
bills and I got this other career I want to try to get into..." or "I go! lo go back to
school, get my degree." But it is sad to me that not everybody can make something of it, I mean that's the only thing that's sad about the dance form. It's hard to
get work as a b boy, it's damn hard and that's why I don't make my money from
that, I make my money from my business- my artwork.
But you do travel a lot thanks to b boying.
Yeah, that's like the best thing. At least I travel, that's one thing thai I'm glad I'm
doin' now. I won't be able to do il for a long time, you know, sooner or later I'm
gonna have to slow down and stop too. I won't give it up but I'll have to slow down
and have lo gel more into my art work and maybe start another business, you
know open a shop or something. I'll see what happens. People like Ken Swift and
Crazy Legs have a bigger name so they can go for a lot longer even though they're
older, but they've established themselves and they have a great deal of respect.
Speaking of Crazy Leggs, he didn't dance at the last summit did he
stop?!
No, no.   How many boxers retire and then come back, you know, how many
athletes? I went to New York and he was kind of practicing a little bit. I don't know
what's going to happen but I know he's just practicing to keep what he's got. Like
I said, even if people aren't doing shows, they could be teaching classes or doing
lectures. That's what I want to be doing later too, just teaching classes and stuff
and passing the dance form on. I mean you don't have to be the dopest b boy to
teach some kids how to dance and tell them what it's about and further it on to the
next generation. Any b boy who has the basic knowledge can do that cause that's
the most important thing, making sure this dance form goes on lo the next genera-
lion.
That's true as fuck man. I hope people don't let the same fate that
the rap industry is headed for with the breaking. Okay, a lot of kids
had some sort of problem at B boy Summit II with Rock Steady's
stance on power moves- sorry- air moves, cause they were sayin'
that Rock Steady Crew says that air moves are wack or something.
Personally I like the technical shit better but I'll still be practicing
flare like mad right... But my question is do you think that in a
battle, somebody could take someone else out without doing one
air move, like one kid's just poppin' mad air combos and then the
other dude goes in and does some mad technical stuff?
Technically? Yeah... in the original b boyism standards, yeah. I try and explain it
to these kids man but they don't understand it. It's not a double standard because
you can have no air moves but you can have all the foundations, all kinds of fool
work styles, you could have mad freezes and all this stuff right? And you could
take some kid out that's only doin' air moves but it can't go the other way around.
It can't go like, if all you got ore air moves, you take some guy out with this
foundation. It con't really happen unless you have both air and foundation.
Then you'd blow him the fuck out...
That's why I try to stress: You learn your foundation. Learn a lot... First, learn basic
six step and then branch off from there. You got kids that are trying to be creative
now and are trying to do all the technical stuff that they see Flow and Kenny and
these guys doin', yet they can't do a basic six step. Six steps are like the basic
foundation of the footwork, you have lo know how to do that with a certain amount
of style and finesse and with a good centre of balance, cause that's what teaches
you centre of balance. Then you've got these kids who are trying to do really
creative stuff but they can't do that. They're skipping it. The/re not starting from
the beginning and working their way up, air moves should be the last thing you
learn, but they shouldn't be the only thing you learn. You shouldn't spend your
whole practice just practicing, you know like a flare, you should actually learn a
little bit, you know, even it out. That will really make you an intense b boy. But a
lot of kids aren't interested in learning the foundations because they think you're
going to get a lot of fame and be regarded as super dope if you have all these air
moves combinations. That's what's sad because that's what's killing the dance.
The original steps and foundations are getting lost because kids aren't interested
any more. They're interested in learning these spectacular, youknow, crazee spinning moves and stuff and there's nothing wrong with that, I mean yeah, it's really
fun to watch but one flare looks like another flare. We're always trying to stress to
be creative and take time to learn all this other stuff cause if you've got foundations
and you got air moves in a nice balance- you'll take anybody out. But if all you've
got is air moves, then forget if man.
That's it for part one. Be sure to peep part two next issue with fat
ass flicks to match.
"You got kids that are trying to be creative now and are trying to do all the technical stuff
that they see Flow and Kenny and these guys doin', yet they can't do a basic six step...
That's what's sad because that's what's killing the dance. The original steps and foundations
are getting lost because kids aren't interested any more. They're interested in learning
these spectacular, youknow, crazee spinning moves and stuff and there's nothing wrong
with that, I mean yeah, it's really fun to watch but one flare looks like another flare."
elements     7 VINYL KONFLICT
by J Swing
When did you first touch turntables?
Let's see, I think I started around 1983. Late '83. I had
been into Hip-Hop since 1979. I tried rhymin', I was
alright rhymin', and then I was into b-boyin' and shit around
about 81-82. I was really into b-boyin' and then it just
seemed like nobody was hookin' up the music as far as
everybody to dance lo so... I seen some DJ's that was
basically just cuttin' and that blew my mind and that's all
I wanted to do.
Where were you livin' back then?
I grew up in South Carolina and North Carolina. I bounced
from North Carolina in like '83 and I went to Japan. That's
where I was first really gettin' started DJ'n , in Japan. I
mean I was a kid really, I was tryin' to do what I could but
I wasn't doin' no club shit. Then I moved back to the
States in '85 to Woodbe Island in Washington, 'cause my
father was in the Marines. Then I graduated in '86 from
high school and went to Cali for like, half a year. Then I
went and bounced to South Carolina ond then I went in
the airforce for a minute. I signed up in high school and
went in early '87, January. I basically got out of the
Airforce in '891 think. I was only there a hot second, I got
into some trouble and shit. The whole time I was in the
Airforce I was DJ'n clubs, house parties, makin' tapes,
shit like that. I used to DJ this NCO club, me and a
homeboy of mine, and then one summer, I think if was
'87, we was really into battlin' so me and my man we
both tried to get into the New Music Seminar -The World
Supremacy Battle. The late Funkenklein, rest in peace, I
had sent a demo to him, of me cuttin', and he put me
down as an alternate in the DJ bottle. My homeboyJohnie
Vee that I DJ'd the NCO club with, he got into the battle
too 'cause he had a homeboy who worked at Jive who
plugged him in. He got plugged in nice. He got in the
battle and I was an alternate, so 'cause we both did the
NCO club I was like "fuck it, I'ma stay back and handle
the Saturday night of the dub.' So he went to the Seminar to get in the battle and that's where he met this kid
Danny D-Roc from Seattle, which nowadays is Supreme.
As soon as he got back he was like 'yeah, there's these
kids in Seattle, they're doin' this and that.' They had a
little record out then, an independent they was tryin' to
do called "High-powered Hip Hop" by
Incredicrew, around '87. Basically, we
tried to form o production company. It
was me, Johnie Vee, and then in Seattle it
was Danny D-Roc and CMT and some
other heads. We tried to form Pointblonk
Productions, that wos in 87 & 88, so I
started comin' over to Seattle and checkin'
them kids out. I was in Spokane, Washington then. So as soon as I got out of
the military, 'cause there's no music scene
in Spokane, I just moved over to Seattle
to hook up with Danny and try to start
shit out here.
Where did things go from there?
Me and Danny used to put out tapes when
I first got here, we used to put out
Pointblonk mix topes. I used to DJ and he
used to do like the mic flavor and shit.
That was like '89. The tapes are kinda...
they're funny. I'm tryin' to get this dope
ass one, I think it wos Vslume 1, every-
got away from what if was. When we was first doin' it it
was cool, there wasn't but probably 3040 DJ's makin'
tapes in the whole country who were sellin' them like we
were sellin' them. But nowadays there's thousands of DJ's,
yo know? New York alone there's probobly a thousand
topemosters. So the competition is stiff now and it's not
really about the flavor or the skills it's just all about havin'
the new shit.
I mean the tapes coming out now there's no
songs off wax, It's all off DAT or tape.
Basically that's just the result of the industry catering to
mix tapes, tryin' to promote on mix topes. Everybody
wants to be the man, and whoever is the hot tapemasler
at the time, like Clue is real hot, so everybody and they
mom wants to hit Clue off with the new shit. So if you
work at Def Jam and you got the whole Trigger album
your gonna be like 'yo, I'ma get this cut to Clue. I'll be the
mon if I hit off Clue with this Trigger shit.' So basically
he's gettin' hit with a lot of DAT's and he really don't have
a choice. I mean if they're givin' them to him...
When did all that start?
I think it first all started with S&S and them. They first
started putting on advanced shit off tape. Shit that was
leaked out studios or shit that got leaked out from the
company. That kinda made it hard to make a DJ tape off
straight vinyl.
What would you rather do, a live tape or a 4-
track tape?
I would rather do a live tape for sure 'cause it's just more
flavor, it's more real. As far as 4-track tapes, you could
do some shit on 4-tracks but as long as people know that's
what it is. A lot of people use multi tracks to make there
tapes, they don't really mix to tough ond then they do
5-MELLD
thing on there is like classic now. We were like "brand
new from!...' Shit is wild.
When did you start makin' tapes?
I first started... we used to make mix tapes like '84-'85,
but as far as on the level it is now I started like '87-'88. I
used to make tapes and sell them, but it wasn't on the
level it is now. I would probobly sell around 20-30 tapes.
Once me and Danny started doin' it... I mean we didn't
sell a lot, but probably around 40-50 of the Pointblonk
tapes. I guess around '91, 'cause it was always hard to
hook up with him 'cause he was always busy doing his
thing, I started putting out B-Mello tapes. Basically I was
sellin' in this spot called Music Menu. That's where I
hooked up with Mike Clark, he put me on to a lot of shit.
What do you think of the level mix tapes have
gone to today?
I think it's kinda crazy and it's kinda out of control. It's
their shouts on another track, yaknowhati'msayin? When
I make my tapes I just do it once through and if I fuck up I
fuck up, whatever.
Are there any tapemasters out right now who
are doing their thing live and not using 4-tracks?
I can't really say. A lot of people say they do it live and
don't use 4-tracks, but you con tell. The main tapes I like
that do shit like me, I like my shit, Tony Touch's shit, there's
this other kid named Camillo who does his shit live. Basically that's it as far as just turntables, turntable skills. Back
in the day I used to always love Kid Capri's tapes. Before
that it was Brucie B, Starchild, all them shit's, they influenced me. I mean, I take them for what they are. I like
Doo Wop's tapes. Wop's my man. His shits are fly 'cause
he always came with the fly ass infros and the fly freestyle
shits, even when it was just him and his crew. Then he
started elevating and putting on big names and having fly
ass freestyle intros. He wouldn't really mix it up to tough
or cut it up but he's got nice mic flavor plus he has a fat
8     FALL '96 intro so that to me made a dope tape. Even like S&S
when he was just comin' out with crazy new shit, those
tapes were dope to me. Same with Clue, even if he ain't
really doin' nothin' he still comin' with some fly shit. But I
mean overall, shit like Tony Touch with the overall package, cuttin', the live shit, freestyles and some new shit is
dope.
Who first started makin' tapes?
The first ones I heard were like Starchild and Brucie B.
Then I heard Kid Capri. I used to get Lord Finesse's tapes,
I used to like Finesse's shit 'cause he would mix live and
he would rhyme on them. Them shits was dope.
Where do you think mix tapes are goin', I mean
they're already on CD now?
I think it's kinda doin' too much already. I think the tapes
shit is a good avenue for promotion, especially in places
where there's not urban radio. I don't know, I could see
the record labels gettin' hot if people start sellin' enough
tapes and not payin' any royalties. The CD shit, that's
kinda fucked up too. I mean I'm trying to put this tape I
did with Zooted ("Back to Back") out on CD so I don't
know...
What are your favourite tapes?
I mean I like my Blends Part 1, which was my first blend
tape and I did it all live. I had two giant stacks of wax and
I was throwin' records everywhere. There was mistakes
but still it was dope. I liked that and I liked 6/20, 'cause
we used to name tapes by the date you made them, that I
made back in '93. I also listened to like Kid Capri Old
School Pt.2, even though it's all R&B that shit is dope.
There's so many damn tapes though.
What else you into aside from putting out tapes?
"When we was first doin1 it it was
cool, there wasn't but probably
30-40 DJ's makin1 tapes in the
whole country who were sellin1
them like we were sellin1 them."
I got this new sponsorship with Zoomies, the retail chains,
I'm doin' tapes for them. Basically in store tapes that aren't
for sale, exclusive tapes that'll only be heard in store. The
promotion company, Pointblonk Promotions, that has really taken off in the past couple of years. That wasn't
really a direction I had planned on. I wanna get into the
DMC this coming year, and there is a lot of other battles
like the Rap Sheet battle, but I've been real over loaded
with what I've been doin' so it's like I need time to really
practice and come up with somethin'. I don't want to get
into that shit unless I got some next shit. I wanna at least
get into the DMC a couple more times. I also got a show
on a pirate radio station in Seattle every Saturday night
from midnight to 3am called "Bock To Basics". It's basically just live on the 1 's & 2's. I'm playin' like 75% old
school. Not just old school like you would think, I'm not
just playin' "Eric B Is President" and "Top Billin'", I'm play
ing like some obscure type shit usually that youngsters aren't
hip to so it's kinda fillin' a little gap. That's on 89.1.
Eventually I want to start moving those tapes and getting
them out too. I'm also on KGRG & KUGS.
rmmrn'osEiEtiEgmMEREi 10     FALL '96 It's about two o'clock in the afternoon on a Saturday. I got my sister to drop me off at
Metrocentre Hotel on Kingsway in Burnaby, across the street from Metrolown Centre
Mall. I'm on my way lo interview these two guys from New York, these two New York
DJ's named Roc Raider and Mista Joey Sinista from the uncanny X Men crew. They
just finished ripping a show at the Mars club in downtown Vancouver the Thursday
prior but they've decided to spend a few days in our laid back city before heading
back to the hectic big rotten apple. I moke my way up to room 242, where Sean Ski
is supposed to be with Raider and Sinister to hook up this interview. Sean isn't there
yet but Sinister invites me in. Roc Raider's layin' on his bed watching TV but politely
turns it off when I walk in the room. Mista Sinister, or Joey, sits himself down on his
bed ond I take a seat at the foot of it. While I'm trying to be os low key with my
recorder as I can, I start chatting with them, asking them what they think of Vancouver
and shit while I try to place my recorder in the most strategic spot on Joey's bed
without creating too much attention thai our conversation is going to be recorded.
But I later found out that they don't give a fuck if they're talking to you for an interview
or for a fucking police statement, they just chill and talk. Politickin*, knowhali'msayin'?
Cool ass individuals. Oh yeah, they're pretty good DJ's too.
So is New York on a lot of bullshit? I mean, as far as appreciating you
guys and just real DJ's in general. Do they appreciate what you do?
Joey: They definitely got the bullshit.
Roc Raider: They appreciate it but... what do you think Joey?
Joey: Put it this way: They appreciate it but then it gets to the point where certain
done fuckin' dropped out of school and I done did this. So it's like shit, this is what
I gotla slay with now.
And to some kids, all this bullshit that you see, to them this is THEIR
dream now. All this drama type stupid shit and then that's fucked up
on top of that.
Joey: That's why... there's a lot of kids around the way that wanna be DJ's and I lei
'em know like, you know, look at other avenues cause I wouldn't want them to go
through the things I wen! through. Like I've sat at home, same thing with Raider, just
DJin' and thought, "Yo, I wanna be an ill DJ and then when I get out there, I'm just
gonna get mad work and everybody's gonna respect me and it's all gonna be good.
But when you go out there man, you see so much bullshit. As far as bein' a DJ,
people wanna limit you, they wanna limit the price and you supposed to be on call
for them twenty four hours a day seven days a week, it's like you don't have a life of
your own. Another thing loo, this is a fact with DJ's especially. It's like: When you
doin' cuts in the studio, everytime for some reason, when it comes to the DJ's part,
when you take a couple of takes to do your shit it's like, "Aw c'mon man!!! Let's go
man. Yo whassup?! It's easy!"
(The room erupts into a huge ruckus, mostly due to the fact that there's
four DJ's there. Joey raises his voice to interrupt the noise and finish
his point...)
Joey: Then you got people over here like, "Yo let me do this, you just go like this!
"For a competition like DMC, they don't really care. The competition itself isn't a DMC's
thing. Their real thing is house music, techno, jungle all that shit so when a competition comes around, it's all about who's gonna look good and who can we take around
to the Hip Hop parties, the jungle parties, that's gonna appeal to everybody whether
the audience likes Hip Hop, never heard Hip Hop, or never seen black people before."
members of other DJ crews wan! to front on us...
Raider They give us our props but then you hear, "Yo such as such said they only
way you win battles is cause you do this or- yaknowhati'msayin'?
Joey: Jealous talk. Cause we work hard lo get where we at...
Raider: But what fucks it up is that those are the same people who say to our face,
"Yeah we respect you, we respect what you do, we wanna accomplish the stuff y'all
did." But then behind our back, it like, "Man all those guys do is this, all those guys
do is that!"
Joey: Yup. So there's definitely a lot of bullshit but I mean they appreciate us. We
have a lot of love in places but I think we get more love in LA. and like San Fran.
Cause Q bert and them guys opened it up.  But they are on some
OTHER shit but uh....
Joey: A lot of scratching. Flares.... sounds...
I gotta ask you about that flare scratch cause I dont know what the
fuck that is...
Joey: That shit is dope!
Raider: It's just a little bit off beat. You just gotta learn how to get into it. It sounds
a lot like a transform.
Is there any record out that someone busted it on, that I mightVe
heard?
Joey: Nothin... except the Common Sense shit. "The Bitch In Yoo", the new shil. I
did a little bit of it on Fashion's shit- Al Tariq.
Dope, dope. It must be gratifying now to be getting the recognition
you deserve finally.  I mean, everybody's gotta pay dues but I can
imagine that being a DJ, you get shitted on more frequently than if
you were MCs.
Raider: Shit is funny man. I mean since I was little man nine, ten years old and I
wanted to get into Hip Hop and be a DJ, be a good DJ at thai. And now I'm in this
shil and I see so much bullshit goin' on man, as far as goin' on the road and seein'
people like, "Oh I thought he was cool. Ah, that's fucked up, I ain't know he was like
that."  It's just like a little kid that sees his fuckin' dream and it's some other shit,
yaknowhati'msayin'.  But it's like too late now, now I have to live this shit cause I
You can't do a simple...." It's like this. That used to happen lo me a lot
yaknowhati'msayin', so I sat down and had to tell the people, I'm not gonna mention
any names, but I had to tell the people I was doin' work for like: Listen. How come
when an MC rhymes to a beat, usually the beat is given to the MC usually two or
three months before so he can feel it. DJin' a feelin' like anything else. The producer
should hit the DJ off also with the track. But what they do mostly is they call the DJ in
at the last minute, they call you right there and you supposed lo just do it, one shot.
It's like, yo, you know, this is a rhythm, yaknowhatimean? A producer ain't gonna
put a track out if the snare ain't right. They'll sit there for five, ten, twenty hours fixin'
a snare to make sure it's tight. The MC too, they'll take a thousand takes to make
sure his vocals are right. And when it comes to the DJ, it's like, "Ahhh!" As soon as
you mess up like three or four limes it's like, "YO YO YO!! WHASSUP!!??!!?? You
can't get it? Yo if I were lo coll this DJ he'd do it..." It's like, yo man, you gotta adapt
to the feelin', with the MC it's the same thing, it's a feelin'. And I got to the point
where I was like, look you wanna do the cuts then you do the cuts but you can't do
'em cause you oskin' me to do 'em.
Sean Ski: That's a good point man.
Joey: Ya know? Yo, I've done numerous amounts of work and when I had the track,
I could practice at home to the rhythm and by the time I get to the studio I already got
il down, it take me like two or three takes, that's it. I mean, a lot of people didn't think
thai we would gel this far as DJ's. People used to come to my house like, "You're only
a DJ and you can't get this you know, you gotta do like Kid Capri cause all that other
shit don't work." I mean yo, I respect Kid Capri, I like mix tapes, like all of them.
Especially Kid Capri. But it's like this guy's comin' to my house tellin' me don't do
hardcore DJin', you're not gonna make it with that. And now he's seen the videotape,
you know and he calls me, "Yo where you goin'?" I'm like "yo I'm about to bounce to
Canada" or "we're goin' to Japan to do this showcase." And it's like, "Oh shit." You
know?
Sean Ski: He caught the vapours.
It's the same thing for rhymers too cause it's like they say, "Why you
gonna do that hardcore, underground rhymin'? You ain't gonna make
it big."
elements     11 Joey: Right?
Now with your video tape, with you all exposing so much footage of
yourselves I can't help but think of that rhyme that Kane had, "...open
up a school for MCin' for those that wanna be in....to havin' MCs
coming out soundin' so similar to might be hard for you to remember
the originator..." Right? Don't you feel that too?
Raider: I mean if someone does our style or tries to sound like us it just makes me
feel good. That means thai who! I stayed home and practiced for, people are recognizing ond accepting as a new style of DJin'. That makes me feel good. BUI
When you do exactly what we do, that's like....
You know, I took the Method Man record and I tried that same sh'rf
Joey did...
Raider: I mean, I tried a whole bunch of people's stuff cause that's how you learn.
When you don'l try other people's stuff, that's not gonna help you any because you
could lake someone else's scratch and make it info something totally different, you
could do a trick with it.
What are they gonna do? Not do be like that but you can't just limit yourself, I'm not
gonna say I'm not gonna scratch cause they already doing scratching or I'm not
gonna do body tricks cause body tricks are wack. If they're wack then make them
dope.
What about people who get over on body tricks.
Raider Well, in New York you can really see the upgrading in that. You see
people struggling to put their hand behind their back. I mean when it looks like
you're struggling, you are. It's like need to practice that and don't come out till
you've perfected it. But people do if and they do it all slow and it looks wack man,
it gives it a bad name.
And don't forget using tires and footballs and handspins on the turntables.
Raider Ah, that's nonsense. That's circus tricks.
So what about European DJ's? What's your opinion on them?
Raider: I mean, you got the real DJ's out there ond then you got an abundance of
bullshit ones. The real DJ's out there are Culmasler Swift and Pogo and... Damn!
That's it!
DJ Noize?
Raider: ...Cutmaster Swift...
(Mod laughter in the room)
Raider: Naw naw, let me get this straight. DJ
Noize; he gets credit for mastering his style-
Sean Ski: Yo Sinister want to hit this blunt?
"If music is a part of you, you
most of us that's our way of
We try to separate thebusiness
caught up in thebusiness
it for a job and it's not really
Joey: But when you do someone's exact shit, out in a crowd and then accept props
for it like.... I mean the same exact thing and the crowd goes off...
Sean Ski: Yeah yeah but the real heads know. But the kids who come and who've
never seen no shit like that be like, "Oh! Shit!" But the real heods'll be like, "C'mon,
he got that from blah blah." It's wrong.
And then when you try and tell someone that they look at you like
you're jealous and say, "You can't even do it!" You know. It's a trip
because some kids seem to think that just cause they live in like Vancouver for example, and they see some shit from New York or San
Fran or whatever, they think they're the only one's who know about
it, like they're the only one's who are into Hip Hop or something. And
then they enter contests and try to pull some ol' wool over the eyes
type shit... and win even!
Raider: So then we gotta make more videos. But then even more people will be
biting our shit.
It's all good though cause if someone bites your shit then you just try
to do some ol' next shit to fuck up their whole program.
Joey: Right right.
So yo, I understand that Q bert and all of them dis body tricks for the
most part and say that body tricks are wack.
Raider: They say that but when they say that they catch themselves and say like,
they don't like people that do body tricks unless it's the X Men. You can't exclude
body tricks cause that's like me sayin' scratching is wack. That's their whole style.
So if anything, if they say body tricks are wack to us we'll just say aiight let's just
battle in scratches and beats. But if we say don't scratch, let's just bottle with beats.
Raider: Huh?
Sean Ski: I got this shit rolled up. (As he pulls
a blunt from his inside coat pocket.)
Raider:  Oh it's rolled up?  You can light it
then!
Sean Ski: Word up.
Joey: Pass it to Raider.
Raider: Um... okay... DJ Noize gets props for doin' his style of cuttin" word phrases.
Like he'll take Big Daddy Kane, "I put words together like lelferman" and then "put
words together on two turntables."
Joey: And then he'll repeat it.
Raider: But. Once you do that for five minutes, it's like "OK. You've been doin'
words for six minutes. What else?" I mean, a routine from a correct DJ should
include everything plus something different. When I say everything, I say scratching,
body tricks, beats, showmanship and something else, something to add to it,
yaknowhati'msayin'. Something so you can be like, "Oh thal's dope, I never seen
that." But when you're whole routine is ok, ok, ok, ok.
So why not write these rules down. There's so many unwritten rules
that people are supposed to know in Hip Hop, if it's gonna get so
fucked up why not write jt down?
Raider: For a competition like DMC, they don't really care. The competition itself
isn't a DMC's thing. Their real thing is house music, techno, jungle all that shit so
when a competition comes around, it's all about who's gonna look good and who
can we take around to the Hip Hop parties, the jungle parties, that's gonna appeal
to everybody whether the audience likes Hip Hop, never heard Hip Hop, or never
seen black people before. They wanna appeal to them. And DJ Noize isn't one of
those people either but then again, I'm the total opposite of one of those people. So
they gonna look at Noize and say fuck it, let's take him, let's put him on the world
tour, he's gonna appeal to more people.
So the winner goes on this DMC tour thing. Do you even care about
goin' on that tour?
Raider:  Well, now that I look back on the whole thing and I just think that they
12     FALL '96 wonted to have DJ Noize because he's closer to their headquarters which is in London so there wouldn't be that much of a problem to promote Noize cause he's right
there, in the next country. But with me in America... I'm already in the place where
you got mad opportunities so they're like, Roi can fake care of himself, let's take
Noize and blow him up. Until he loses and they can sell him out.
Well what happened? Had DMC sponsored you before or something?
Raider:  DMC hooked me up with Technics to model their turntables they made,
those 1210unlimiteds-
Those black ones?
Raider: Yeah.
Joey: They're different ones though. They black but they got a gold platter. And it
has this button for the pitch that, anywhere the pitch is at if you press it it'll just stay at
the green light. It'll go back down to the middle.
Raider:   And they were only gonna make a certain amount of them so they're
gonna be like a collectors item.
And you got some?
Raider: Yeah.
And you use 'em?
Raider: (Nods his head)
Hell yeah huh! I'd put 'em on my wall
right, (laughing)   What about that
Vestex shit now.
Raider:  The mixer? That shit is dope.  The
gonna keep doin' it. It's like for
escape, by listening to music
from the music cause if you get
too much you start doin' if for
from the heart."
turntables they say are the next best thing to the
1200's so... like if you can't find 1200's, buy
that.
Now what about Technics? I heard they
totally front on Hip Hop DJ's.
Raider: I'm glad you said that. Cause with
Technics and DMC, they're like brothers right
now. Let's say I fax Technics a proposal sayin' I could do this for you in America, I
could go on tour with this guy here and do a world tour so let me get two of your
turntables and a mixer and I'll promote your stuff. I'll wear Techniques t shirts, put
your stickers all around- all of that. They'll go to DMC- Ok, Roc Raider just faxed us
this. What should we do? DMC already got the personal thing with me so they'll say
no don't do that, his tour is petty, it's just some rap shit. Then they'll come back to me
and say, well sorry we can't help you. You know?
Joey: That's the bullshit in the business.
Raider: It's real fucked up man. From what I thought when I wos little trying to get
into this mon, shit is opposite. I didn't know it would be like this. People opinions
can mean so much and what somebody says about you can really hurl you. It's like
my life not even in my control right now. All I can do is put this tape out or do this
extra showcase and hope that I get more work or hope that somebody recognizes
what I'm doin' is different.
Joey: That's basically how it is.
How do you keep goin' then?
Joey: You just keep goin'. If music is a part of you, you gonna keep doin'it. It's like
for most of us that's our way of escape, by listening to music. We try to separate the
business from the music cause if you get caught up in the business aspect too much
you start doin' it for a job and it's not really comin' from the heart. The best part is
when you're doin' it when it comes from inside not when you're forcing yourself. It's
like, when you're at home and you're with your people, that's what you do. You do
music. When I'm home, my peoples come, they freestyle, they rhyme, I DJ- that's the
original vibe right there. If you can keep that vibe all the time then you never wary.
But when it goes into the business side, like when people ask you to do work for them
because there's shiesty people out there. I mean I've done scratches for projects ond
got no credit, that people wouldn't even know about.
Like what?
Joey: Like Kurious Jorge, "Mansion and a Yacht." I did scratches for "The Rhythm"
that was Fat Joe, Beatnuts, Lord Finesse, BasBlasta. That shit. Umm. I guess you just
call that payin' dues period. When you just do shit to get exposure ond dap.
Raider: You learn from that shit.
Word. That and also hours and hours and hours of crazee practicing
right?
Joey: We have tapes of us man, when we practice and we start at around eleven
o'clock, you'll see on the video tape that we're usually by a window or something
and you see like, daylight. And then you see that shit faaaade.
(Mad laughter in the room)
Joey: You see it fade into fuckin' darkness and it's like, "DAMN!! Y'ALL NIGGUHZ
PRACTICE THAT LONG!?!?! Those were the days when we were practicing for the
ITF. We were practicing hard.
Raider: The ITF (International Turntable Federation) bottle was a battle put together
by X Men and Skratch Pickelz, held at the last Rock Steady Anniversary. We wanted
a real fat battle other than some shit where, this guy wins cause he's battling in the
town where he's from. He didn't do nothing special but he was just favored lo win.
So how did that go?
Raider: Shit was fat man. I mean the battle was long but if was dope.
Is it on video tape.
Raider: Aw yeah, it'll be out in like two or three weeks. You just gotta see the tape.
What about that Battle Sounds project?
Raider: That's gonna be a documentary on not just the X Men but on Hip Hop as a
whole.
Like a Style Warz type of thing.
Raider: Yeah yeah but just on DJin*.
At that point the conversation started winding down (along with the batteries in my
recorder) as Sean started asking them some questions about some New York cats like
Carlos Bess and then I pulled out the DJ issue of Rap Pages and we talked about that
shit for a bit. After thai, they headed over to Metrotown with Sean and I headed to
the SkyTrain to get to The Show at UBC. Anybody who was at the X Men show on
that Thursday prior, knows and bore witness to true finesse and flavor on the turnto-
bles that has not been duplicated or more importantly, topped, to this day. Keepin'
it real only as mutants with superpowers can... when's the last time you tried to front
on Wolverine?
Contact Fat Beats for ITF Battle & X-Men videos (212) 673-3883.
elements     13 Eh yo! The CD's called Hellraiserz Inc.", it's out in the stores right now and word
to mutha, these cats are outta Vancouver, BC. So where's all the hype? The
video, the shows? I recently got a chance to lounge out with CIA lyricist PDS aka
P-man, so we could shed some light on the Criminals In Action...
Day 1: It's a blistering hot day in June '96, I'm loungin on my patio LA style when
I hear some humps comin1 from roundway. Sho nuff here comes this m'fucker
flossin some gold spokes with a wicked gold flake in his paint job. He pulls up
outside the crib and bounces up my walkway, big brown paper bog in hand and
hollers a familiar, "What's up maain!" Word up! PDS in the house ready to kick
some wisdom on east Van's CIA crew. Actually, on this day, all we ended up
doin' was bumpin the album "Hellraiserz Inc." and downin cold 40's on my
patio, yaknowhati'msayin'! You know how it go... nigguhz get faded and next
thing you know we philosophising on this whole Hip Hop shit, life, etc...
Day 2: It's almost a month later, it's still a hot ass day and P bounces up in my
spot looking stressed, talkin' 'bout he had to cop the transit from North Van! Five-
O impounded his ride. Word! He walks in on me, Mario and Jeeps, having a
heated discussion on this Epicentre project we're devisin'. So while I'm wrapping up my business, P's choppin' and wrappin', if you knowhatimean...
So now we're blessed and maxin by an open window in my kitchen. I break out
the $50 mini-recorder I borrowed from Mario, (low budget writer styles) and
action...
Checkmate: Aiight holmes, lefs serve 'em up, yaknowhati'msayin'!
Plug ya shit, whatever... what you're representing, all that shit
PDS:   Yo, we're
W
,,.„; *JJ
comin    out    the    eastside    of    Vancouver,
yaknowhati'msayin'. We're just tryin to put this city
on the map... yaknow... a lotta groups out there
tryin to do some shit and ain't nothing happening.
So we're just comin' out with this Hellraiser
thing... yaknow it's an independent label
that's lookin for a hook up and shit but you
gotta do your own shit in this city... that's
the way it's goin' down.
Word. What makes y'all different
***   from anybody else in this piece?
Whaf s /alls style, you gotta have
j style and flava, yaknow...
Yeah,  we're  on  the  hardcore tip
yaknowhati'msayin'.   Nuff love to the
rest of Hip Hop and all but I've always
been into the hardcore, my potna always
been into hardcore yaknow. You can hear
the shit bumpin, some deep bass, just some
gangsta-ass shit!    Something you wanna
. bump when you ridin.
Talking about your album, it's called
Hellraiserz Inc. Tell me more about it,
your favorite songs, whatever...
interview by Checkmate
Yeah we got the single "Hydroponic Funk"
that's the first one, that's track 3 (three).
We're gonna get some singles out right
quick. Then we got some other dope
tracks, "Crime Rhyme" the second
track. Then we slow it down with some
14     elements sex type shit, you gonna recognize that shit, track 11 (eleven).
Yaknow, slow it down for the honeys... a lotta gangsta shit
though... a lotta real shit, no perpetrating...
Yaknow the shit that I like is the track with the Ice T
they just jealous of the
makin!"
sample "Maybe
dollars that I'm
Bomb right there.
"Hydro Funk" is
the    shit    too.
What about ya
partner in
crime, my man
Vic, Killa KV
right.   What's
his        steez,
cause     you
know      me
and       you
donekicked
it, but
ya kn ow
what  the
deal 'with
KV?
Yo,    KVs
my potna
yJcoArdrry!
We been
down
since like '89 and shit
tryin1 to get this thing together... been
writing since like '88. We just hooked up back in the
day and he's really the real and that's how we come together
and do this shit.   He's my boy.
Yeah, he a cool motherfucker. Lemme think...
At this point we're at red eye stage and my minds starting to
get frazzled.  It's amazing how short my attention span gets...
The whole business end of things, you got an independent label right? How's the distribution gonna
be. How are y'all gonna get your shit out to the
peeps, bottom line?
Right now we're workin' with another label, Sugarshack
Records. They just put out "Social Deviantz" outta Vancouver
too. They helpin1 us out with the cash flow, we're working
together. Right now for distribution we're just puttin' the shit
out ourselves, that's what we gotta do. Ain't nobody trying to
help us out, so we're just puttin some packages together for
some majors and we got peeps doin' the dirty work... handing
shit out and blowin it up just by hearsay. It's comin' together
yaknow.
So basically y'all takin your shit to record stores like
HMV and Sam and they sell it for a small cut and
outta town you're mailing packages.
Plus we're goin' down to Seattle to put our shit in Tower. If you
wanna do this shit you gotta do it. There ain't no time to be
waiting around. We got a record out so we gotta make sure it
gets put on.
Word. So y'all going hardcore independent. That's
some tough shit but I like it, underground, out the
back of the trunk, whatever street shit. OK, your
neighborhood... the kinda kids there and shit, what's
it all about? Cause I heard about some
kid bumpin your CD talkin'
bout he knows
you...
We ' re
comin
outta
Collingwood,
nuff love to
all my peoples in that
area, keep it
real     cause
there's      too
many   bustas
and tricks in the
rap game.    A
lotta people are
offended by reality but a lotta kids
are bumpin our
shit.  It's like everybody wants to get
paid and it's easy to
go out and get paid-
you gotta deal with
cops tryin' to ~^s^     jack you and shit...
but as far as I'm concerned, any kid tryin' to hustle and
come up, from any part of Vancouver, do your shit... but uh...
we're just representing our neighborhood where we're coming
from and where we're kickin' it at, yaknowhati'msayin'!
Tell me about your ride...
Peace out to my ride, my shit is impounded right now. These
pigs are tryin' to fuck with my shit but uh... We got the car club
goin' on, "East Side G Rides" Shouts out, rah rah and all that!
Yo, crazee commotion in the room as large ass Ryan aka "Big
Dog" bails into my kitchen, sack intact and lookin for snips
black. Word. Random Task Personnel (RTP) in effect. He's
talkin' about his party at Mars called the Hype. It'll be over by
the time you read this. Anyway, time for a break so I'm a leave
you with a few words from PDS representin dem Criminals In
Action:
PDS: Yeah, I'd like to say wuzup... Yo, I'm sittin' on something
phat... when you see the big blue Regal rollin through your set
sittin' on dem gold D's, you'll see the East Side G Rides Placa...
it's the P-Man baby!
For more info on CIA write to:
Sugar Shack Productions #82, 2182 W. 12 Avenue,
Vancouver, BC, V6K 2N4
SEPT/OCT.      15 From experimenting with people's instinctive travels and paths of
various rhythms to formulating the theory of low end and defining
all of the above as a result of marauding in the midnight hour,
comes the latest ground breaking experimental results from the
tribe by the name of Quest: It seems that through all the pushing
along while leaving footprints chasing a girl named Bonita after
hours all the way to El Segundo, just to ask if they could kick it with
her over a nice plate of ham and eggs- or not; that all this youthful
expression devoted solely to the reputable art of movin butts can
be filtered down into one simple formula: Beats + Rhymes = Life.
16     FALL '96 Although the argument could be made that
the superior Low End theory had forever
defined the simplest equation, the latest
equation has done the unthinkable and perhaps now, mad scientists around the universe will comprehend the true meaning of
Hip Hop. Not to downplay the value of
the mighty theory of low end, which of
course first brought to light the infinite possibilities of experiencing exciting excursions through show business and rap pro-j
moters, but also the problems with bugginc
out and catching a date rap charge-
through citing the classic examples of such.
While the world thought that the scenario
in the city was that everything was fair,;
was later proved that jazz music, skypagers
and butter were the nouveau fad amongst
other vibes and stuff. Some still couldn't
grasp such simple concepts within the
verses at first deeming them too abstract
and were perplexed to scream an audible, "What?!" only because they failed to
check the rhyme and reason of the above
theories. To put the Low End theory into
another light, let us delve away from the
light into depths of the nocturnal being, the
midnight marauder. This project came to
be from the
tribesmen's
experiences on
their award
tours sometimes accompanied
by the original mad
scientist
(who has
been
breaking
atoms since
the age of
fifteen) the
rather large
professor, X tra P. United along the tour,
they were able to bring to light over 6 million stories while they kept it rollin' with all
their lyrics to go. On the second leg the
tour or the Chase Part II, they paid tribute
to great men such as Steve Biko, through
the usage of the same type of procedures
outlined in the Low End theory. Which is
to demonstrate that god lives through in
all. Thus first sparking the spirituality that
they would further explore later. Even
though punk ass sucka nigguhz tried to stir
it up, Quest still succeeded in proving that
they could get down while making the mid
night marauding followers clap their hands
through the uncanny execution of their methods of electric relaxation. Again, some
could not grasp the concepts and were
prompted to exclaim "Oh My God?!?!"
repetitively buj^uf kily forJ$i| and for all,
me 'aS_f-feSP^I_&u 4<romF$^nc'ec'
ve^ e^^JBelff+RhymlT=^y WJ^Jt
elsfkthl
three man faction fr^P#»m?e cal^
ijest are as follows: |Q(ueensj Tip afe
LJfea tic; ^1 i Sbahe*
# Muhil'ilf ^bd^inadl
TEENAGE BOHEMIAN WEIRDOS
orfmfjjsij
m the making, going from teenage
irdos to spiritual self fincj$% mid
h|sica|/late forties|frientally ^3
Muslim F
■► •-Aperime.-' itr.^t'Js o in*.- 1
except that all those phony rappers need
to get a hold of something or motivate themselves to make more than just the hottest
jam of the minute. Quest's words of wisdom to those are: Even though your crew
feels the pressure, once again just use your
mind
power.
Mr.     Muhammad
contributes,
"Hopefully
people will
remember
that    Hip
Hop       is
about
rhymes
and beats
and having
fun.   With
our album,
it's about
skills and all that but as well we dig in a
little bit deeper and just kicked it from a
spiritual level." Are you phony rappers listening? Mr. Muhammad is speaking! "Because at the end of the day, when you're
out there and you're done buying up all
the Versace and buying up all and owning- getting to the point where you own
Mercedez Benz- the company- the manufacturers, and getting to the point where
you've knocked off Fort Knox and you have
all the gold that you could possibly have,
at the end of the day, you still have an emptiness.   So hopefully, you know, we try to
give you direction toward finding to fill up
that emptiness."
Quest is quick to stress that Hip Hop is
mostly about fun and doin' dances like the
hop but in order to keep it moving, Hip
Hop contributors most definitely need to
know the history of what they are doin'.
Right Q tip? "It's definitely important because then you can know how you can
progress. Because you have to see how it
started and what were the mistakes and
pluses and the things that happened
"that were good and bad so that you can
|centuate the pluses and continue to de-
i the minuses. So you'll be more aware
f what the past person's experience was,
what you can do now in your present and
your eventual future. So it's definitely important. And if I could, if I had a wish, it
would be to get a hold of a lot of that old
stuff tapes, videos, otherwise, of all the jams
and stuff and try to put them out on VHS
and cassette just for kids to have, you know,
so they can know what the history is." To
know your future is to know your past.
Kamaal feels the need to speak more on
the subject, "Hip Hop has a rich tradition
when you
look at the
Run DMC's,
the Afrika
Bambaataa's,
the Soul
Sonic
Force's, the
Cold Crush's,
Grandmaster
Flash and the
Furious Five
as compared
to the Wu
tang's and
the Gang
Starr's and
the Biggie
Smalls of today. They come from a very
rich, illustrious, powerful tradition."
So continuing that tradition of rankin' MCs
is baby Phife, making his return after his
disappointing rendition of 6 million stories
in the ghetto, but there's no use in dissing
because we can't be separate/together
and what really goes on is that Phife is
skilled in the art of word play. In the end,
everybody's just really stressed out and they
need to keep the faith, in both themselves
and the creator. Beats, rhymes, life.
What the fuck else really is there?
MIDNIGHT MARAUDERS
elements      17 Yes, Yes rail
•••
7ZEL?*$
by DAY
18 "Yo Day, what's up yo?"
"Chillin'."
Of course I'm chillin", I got Rue and Rock
on the line and we talkin' about Toronto Hip
Hop, go figure. Of course I was biggin' it up
like always.
Now I'm ready to start.
I made the small mistake of setting it up with
the lame question, "Who is Heltah Skeltah?"
"Oh? Well I'm 6 foot 1 and I'm tons of fun..."
Really now? Serious though, I wanted to
know who Heltah Skeltah was. Not to figure
out who exactly is in Heltah Skeltah, not saying
that their video with the Fab 5 threw me off, but
to find out why they're called Heltah Skeltah
and not some nonsense name.
First, "Heltah Skeltah is me, Rue. Heltah
Skeltah is Rock, the power forward and centre
of the Fab 5. Heltah Skeltah is the nigguhz in
the midst of this utter confusion bringin' forth by
definition. We're two serious/hilarious dudes.
You got both sides to everything. If one exists,
it's opposite exists too. Heltah Skeltah is the
balance."
Don't stop.
"Heltah Skeltah is utter confusion.  A lot of
now. Matter a fact, I'm still doin' that shit.
Opening shows, I'm doin' my own shows now
but I'm still tryin' to get my shit out there, flashin'
flesh money like crash test dummies, you know.
Tryin' to promote this work we got. We got a
whole album of 16 cuts, we tryin' to work this
product."
At fist, I was thinkin' to myself if it was really
that hard for Heltah Skeltah to break through
with Camp's name already out there among the
masses, but then these guys must've been down
with Boot Camp from the start.
"That's right. I am Boot Camp. Other people get down with Boot Camp."
"You are Boot Camp?"
"It's like... you're not down with your family, you're one of 'em. I might get down with
your family, yaknowhati'msayin'. But you're on
of 'em, you can't get down... We are Boot
Camp."
Word, I like that. Philosophies of the unda.
I was lookin' at my next question, "Nobody from
Boot Camp has put R&B singers on their tracks
while the rest of Hip Hop's elite has definitely
taken advantage of that avenue. Do you feel
putting R&B singers on Hip Hop tracks is selling
that's our slang from around the way."
"Your mother could be a gun clapper, man."
-Rock.
"Word up. Then again, a drug dealer on
the corner could be a gun clapper. A gun
clapper ain't nothin" but somebody who'll do
whatever it is they gotta do to get ahead,
whether it be hustle or go to work 9 to 5. If he
doin' it for his cause or because nigguhz be
makin' shit happen, nigguhz be gun clappin'.
And O.G.C. are the Original Gun Clappers."
"And again, I don't study Rastafarian religion
to tell you the truth."
That's straight, "Just a lot of people are like
'Boot Camp's this, and this, and this'." -Day.
Ruk laughs.
Down to earth. I like that. I continued on
with questions about the album and asked if
they were gonna start touring any time soon.
"Yeah, we're tryin' ta hook up some spot
dates where we can blow up the spot in some
cities we ain't never been at before. We ain't
never been to Detroit yet."
Rock, "I've been all the way to Japan but I
ain't been to Detroit."
Show business.  Next question. I definitely
Ifs 2:45 PM on a Wednesday afternoon and I'm settin' up my mic to record a phone conversation.
I'm expecting to interview Heltah Skeltah at 3 and I don't want to miss a thing. Three o'clock and
the phone rings," 15 more minutes, is that cool?", publicity people letting me know it's still on.
people, they hear Helter Skelter and get mistaken. They think, 'Ain't that Charles Manson?
Ain't that what they used to call him?' They,
don't know what the hell they talkin' about and
shit. We ain't got nothin' to do with the case
murders."
Interesting.
"Charles Manson's definition of Helter
Skelter was the war between God and the devil
and the end result would be that God would
win. If God didn't win then that war wouldn't
be Helter Skelter. So it's like, Helter Skelter,
even back then with Charles Manson, all there
was was a war that drove him crazee. His
problem is the fact that he felt he knew this war
was about to go down and he wasn't going to
be amongst the winning team. So he was planning for that day."
Rock cuts in, "So this Heltah Skeltah's the
winning team."
No doubt indeed, these guys are on point.
Oh, wait. I remember Heltah Skeltah being in
Toronto a couple of years ago.
"Yeah, many moons ago, but Rock wasn't
there, I was." Along with Black Moon, Smif N'
Wessun and Wu-Tang, they blew up the spot.
But between then and now, what's been goin'
on?
"Workin' hard instead of hardly workin'.
Payin' our dues. The same shit you see we do
in Toronto, that's what I've been doin' up until
out?" and expected the answer to be along the
lines of "Yeah."
"We got a song called "Therapy". We got
Vinia Mojika singin' on our shit" (for those of
you who don't know, Ms Vinia sang on "Verses
from the Abstract", Tribe.)
"Oh, so it is going to happen?"
"Yeah. But it ain't R&B. That shit is bangin',
once you hear the track man, we ain't on no
jack off shit."
The Rockness Monster, "We ain't gonna do
no track and just, 'Oh, we need somebody ta
sing on this', nah. If that's what the track need
then that's what we gonna give it. V/e need
one that's gonna get the girls', nah, that ain't
us."
"Then you guys'll be the first to do so from
Boot Camp", as if they didn't know.
"No question."
All right, when people heard I was interviewing Heltah Skeltah, they insisted I ask the
following, "You're down with both Smif N'
Wessun and the Original Gun Clappers. First,
we saw the video for "Sound Bwoy Burial" from
Smif N' Wessun where we see praise to Jah
and the Rastafari religion which promotes peace
and not violence. Meanwhile, we keep hearin'
about gun clappin'. How does that work?"
Rue the Irrational, "Original Gun Clappers,
again, like Heltah Skeltah, people let the name
fool 'em.   A gun clapper is something that...
had to touch on the fact that almost every group
that's come out has split up, not always on bad
terms but realistically, does Heltah Skeltah see
themselves doing any solo projects.
Ruk, "Yeah. We got solo jams on the album. That's what the problem is with
motherfuckas, they're not real with each other.
I mean, me and Rock, from day one, we was
two solo artists and we just formed Voltron."
Rock, "I was a solo nigguh, but I wanted a
partner. It was under our nose the whole time
'cause I know this nigguh since he was 12.
When we discovered each other we were like
'let's do it' but that still don't change the fact
that at one time we had it in our hears to do it
solo."
What about production.
"Rock produced two tracks on the album."
I was surprised, these guys are doin' a lot,
"What can we expect from the album?"
"You can expect not to find too many
muthafuckas that'll fuck with Rock and Ruk lyrically, 'cause we don't play that bullshit. We
don't throw away lines, we don't throw away
jams. Fuck that. All the lyrics on my shit is
tight."
The conversation ended rather abruptly with
some more talk about Toronto Hip Hop and then
they was out. I peeped the album, "Nocturnal" and the "Operation Lockdown" video and
I gots ta say, "Yes, yes y'all- Heltah Skeltah."
SEPT/OCT.      19 OUTKAST
Two Dope
id a Cadillac
You two entered into this music thing at 17     that did you handle this time around?./     lay the beats ond then I mean, when you comin'
& 18. Do you think you were prepared for , . doa'J have to sample somebody
what you were about to get into?
"You can neve| duplicate w!i
we could do was starfcc
you have a next kid $c
|e already done so the only thing
ce havin1 a kid and then when
Itel
that
one.'
Andre: Well really, when we first came Into it, |
mean we didn't really know too much about the business end of things. The only thing we knew was
what we seen on TV, like other groups we grew up
on, and we just knew we wanted to do this. When
we got into it the only thing we knew was we had
like raw talent. But we came to find out that there's
a lot more to it then just the music part.
Big Boi: It was also a business side too.
What did you learn through that experience, other than the business side?
BB: Basically, to just try and expand and go into the
whole aspect of the whole thing. We done tapped
into the little production port, now we gettin' more
involved in our videos. We're co-producing our videos. We stepped the lyrics up ya know, we're just
tryin' to go to that next plateau that's all.
Did that change your approach to the new
album?
BB: It didn't change the music too much, but it did
change the way we looked at the business. We watch
it closely now. The music is still the same.
You mentioned production, how much of
20     FALL '96
s the vibe of the album?
The album is called Alliens, what's the
meaning behind the title?
BB: It's basically, yaknowhati'msayin', being an outcast. Lettin' everybody know that findin' yourself is
what we're doin', we findin' our self somewhat. We
tryin' to let everybody do a self evaluation and notice that bein' different is better than trying to mimic
yourself after somethin' that you're not. That's how
we stay innovative. We stay original.
Speaking of original, the last album was
basically sample free. Is the new one?
BB: Yes.
What's the reason for that? Did you have a
problem clearing samples or is that how
you chose to approach it?
BB: I mean, that goes back to being original. I
think there's maybe like one sample on there, but
that's not really like a sample. I mean it's not what
everybody is using, it's not no old Slick Rick or nothin'
like that. Basically the whole sample free concept,
and our whole camp, is about being original. We
just put it together.   Lay the rhymes, lay the hooks,
A: The whole vibe of the album was to show our
diversity, to show our originality. We did the same
formula as the first album, just went in there and did
what we felt. We got on the tracks and whatever the
tracks brought out in us that's what we recorded and
that's what we put out.
BB: True.
Did you ever feel any pressure to top
"Southernplayalistic"?
A: No, cause you can never duplicate what you've
already done so the only thing we could do was
start a new life. It's like havin' a kid and then when
you have a next kid sayin' 's this kid better than that
How have people treated you since the success of the first album? In "Elevators" you
mention that just because you went platinum people think your rollin' now.
A: They really think you just big time once they see
you on TV, and we just want to let everyone know
there's still struggles goin' on. We still got things we
gotta battle with just like if you were on the job. When they see you on TV they think you have a whole
bunch of money and your livin' good, you have no
BB: Cause your in the public eye. But when it's
down on paper it's different things, people got different deals going. But automatically when you on
TV, BET, MTV, the BOX, they think you gotta have a
little cheese.
What advise would you have for anyone
coming into this.
A: Make sure that this is what you want to do, and
if your serious about it just stick to it. Always believe
in yourself and go head on.
BB: Yeah. Go head on.
What's the scene down in Atlanta all about?
A: Well, the areas out here and what's happening
is happening everywhere else. It's like everybody
. has got their own ghettos and everybody is going
through their own struggles or whatever. As far as
the music scene? It's growing now, everybody wants
to move down here now because there's a lot of
opportunity. Which there is but uh... we just want to
make sure that when you come down here you make
sure you still do your own music. Don't come down
here and try and get on our type of vibe 'cause what
makes you tight is what you do, not what we do.
BB: Right.
You two never fell into that east/west category...
A: Naw.
BB: Naw.
Did you try to avoid those labels?
BB: People have accepted us how we projected
ourselves. We never made music for one part of the
country. We made music for everybody, music people can relate to because it was everyday life situations. As far as the east coast west coast thing goes,
we never been labeled east coast. We was more
like Miami Bass music, that's what people titled us
as but right now we have no boundary's on our
sound.
With all the press that the east/west thing
is getting these days do you think its coming to a close now that people are finally
realizing its all bullshit anyway?
BB: Don't know.
A: Well it's looking like it's coming to a close but
you still got knuckleheads out there who will still keep
the flame going cause they supposed to be representing or whatever. I don't know what they
representin', but you know.
BB: Stupidity.
Andre, I read that you don't smoke bud no
more. What was your reasons for stopping? I mean on the first album you were
smokin' a grip of weed.
BB: Smoked a whole lot a bud!
A: Yeah, but it was like... I'm tryin' to tighten up. I
had to tighten up ond focus on what I was doin'.
With that weed I couldn't really do that. In all it's
just not good for you.
Is there anything you guys want to add?
BB: Get that album! Get the first one so you can
get the whole story.
A: And get the Goodie Mob album so you can
understand what was going on in between albums.
elements     21 VT/WE*VAL0E*V/NrAGE>
CLOTHING LTD.
VANCOUVER'S LARGEST
VINTAGE CLOTHING STORE
rITS ALL BENEATH THE STREET
70 s/80's SPORTWEAR
_Jc«SH«I?*^EATi!5RTS
0°LFJA2SfTS/^RKWEAR
. _»ATa / SHOES / SH/idito
WE BUY / TRADE LEVIS
AND ©OOP VINTAOE DIOS
12 -6 MONDAY TO FRIDAY
CALL FOR INFO
„ » jiiuwfflffi|Mpi™raB^B
STORE HOURS
m
IE HOURS S!',:!
_ WED 11-7
a^-SAOo      THURS11-9
ROBSOW^I.   SAT 10-8
SUN 12-6 Saukrates of Figures Of Speech
Marvel of Figures Of Speech
elements     23 THE
ROOTS
"Clones" and
"Concerto Of The Desperado"
IN STORES SEPTEMBER 25TH
Mem
rir^l____nr
he man responsible for New Jack Swmg and the
legendary GUY returns wjfA album #2 frdm BLACKSTRE
Includes the first single "Nm^Diggity" featuring Dr. Ore.
nM^Wx Nas
It Was Written
Columbia
How do you follow up an album like "lllmatic"? The
answer is... you don't. There'll only be one debut from
Nas and that featured an all-star production, with Nas
being hailed as a street prophet. In my mind, "lllmatic1'
was kind of an accumulation of all Hip Hop up to that
point... But you know what? We've moved on since
then. It's now 96 and Nasir Jones is back the only way
he knows how... talkin' thatQB slang and manhandling
tracks like only he can. There's no question about his
rhyme skills because any one who says his lyrics ain't fly
is frontin' or maybe they just don't know what's up !
However, nigguhz around my way were concerned with
the production... This project was handled by the
Trackmasters, which was a big let down to a few heads.
I'm sayin' the tracks are fly enough but they weren't exactly done by Primo, Pete Rock or Extra P. Primo did get
to flex on "I Gave You Power", which was nice, but not
enough though. With this in mind, let me also say that
the Trackmasters production sells like a mutha'... ask
Biggie. They got that funky "club-friendly" shit. Which
means that for every hardrock dubbing the CD off their
DJ. potna, there's gonna be two crossover fans buying
it at full price. So what's the odds that "It Was Written"
sells more than "lllmatic"? Pretty godd odds. Maybe
that's what Mr. Jones was contemplating. I don't know,
I ain't chatted with him lately, whatever. Though how
you gonna playa hate this kid, who inspired us all first
time around? To put it straight, this is a more-than-solid
sophomore effort from Nas. The bangin' tracks for me
are "Street Dreams", "Take It In Blood", "ShootOuts",
"The Message" etc... But eh yo, there's probably only
like two or three songs I 'd leave out! In other words, I'm
sayin' you should have this album for yourself, it's definitely worth it. I think it would have been so easy for him
to come out with an all-star production team, the second
time around, but shit... that nigguh already got all the
props he can handle. I think now he needs that lucci I!
"It Was Written" is fat enough for my dollars.
-Checkmate
Outkast
Alliens
La Face
Those southern playalistic Cadillac musack muthafuckas are back on
the scene, bringing you more of that old laid back "fo' yo ride" shit! I
got to say though, shit is bangin'!!! I really like this second LP a lot
more than their debut release "Southemplayalisticadillacmusik". Not to
say it sucked but, the new shit is far more refined and appealing, with
lyrics to nourish your burnt out brain cells... knowledge. With the release of the first single, "Elevators (me and you)" Andre and potna Big
Boi have regenerated the buzz left over from their last album. Most of
the production duties were handled by Organized Noise and Outkast
themselves. Representing Atlanta to the fullest and distinguishing that
dirty south sound, with songs like, "Two Dope Boys in a Cadillac",
"Throw Your Hands In The Ayer" and "Mainstream" which feature label
mates the Goodie Mob. "The alienate us cause we different/ keep yo
hands to the sky like Sounds of Blackness/ when I practice what I preach
I don't lie/ I be baker and the maker of the piece of my pie/ now
breaker-breaker 10-fo' can I get a reply". To me, I can fully get down
with Andre's flow and I like his style. Big Boi's flow though, kinda
reminds me of E-40's rhyme style way too much. Not a good thing. I'm
not saying he's biting but if your gonna sound like any other MC don't
have it be E-40. (If I have offended any E-40 fans I don't apologize for
your bad taste.) Be prepared for an out of the ordinary, out of this earth
type of vibe from the album. "Stellar!!!" some may say. I say it has a
down to earth, soulful feel to it. I can't go too deep into the LP right now
cause I've only heard it twice or thrice but believe you me that you're
bound to hear hella more cuts from this LP once it reaches the record
store facilities.
-Omek Almighty
elements     25 A Tribe Called Quest/—x
Beats, Rhymes & Life f %$% j
Jive/ Zomba V__>-/
This is Tribes fourth LP release to date. With
fifteen songs strong this album holds its own.
All production handled by the Ummah (Q-Tip,
Ali Shaheed, Jay-Dee), minus a few select songs
done by Rashad Smith (who produced "Woo
Hah" for Busta.) The album embodies that classic Tribe sound, you know vibes and stuff,
you know. Regular appearances all over the
LP by Consequence (featured on "Oh My God"
12 inch single, no naim remix, 1994 and "The
Chase Pt II" remix.) If you didn't know any
better you be led to think this fucker is the newest member in the Tribe. Also on "Stressed
Out" there's a special guest appearance by
the bad girl herself Ms. Faith Evans, who drops
some vocal harmonics satisfying all clubheads,
creating that mass appeal type joint. Definitely
a favorite for the girlies. "Baby Phife's Return"
is a solid solo track featuring who else, the
mad man Malik. Phife dog has most definitely
progressed and improved over the course of
three albums. The proof is in the pudding so
check the song. Another song worth mentioning is "Crew" a solo joint from the Abstract
Incognito, reciting an ill verse where his
bredrens start digging on his wife, then shit
starts to get out of hand, everybody gets all
hostile then "PoplPopllPopll! Goes the nine",
somebody ends up shot. Really a dramatic
ending, with all types of effects (I'd swear it
was originally made for an anti-violence commercial). The runniest part is when Tip starts
acting all rough, screaming and swearing, not
your usually calm, relaxed Tipster. Dope none
the less, even if it was under two minutes long.
There a few so so songs but pound for pound
the album is tight with good production and
lyrics to go. It definitely seems as if the Native
Tongues reign supreme for the nine-VI. If your
a devoted Tribe fan and like their last albums,
this one won't disappoint your expectations
and if you happen to pick up the limited CD
cover, you can bug out on the cover. Oooooh
trippyyy.l!
-Cal Worthington
Doctor Octagon
Doctor Octagon
Bulk Recordings
Yeah yeah, this has been out for a few months
now but this album is a project never done, let
alone thought about. This is nuts; this is no
longer about "Keepin1 It Real." This is about
fragmentation of personality, reality, sex, mu
sic and rational thought. This album makes a
mockery of everything you think is Hip Hop or
hold dear about Hip Hop. This is a brilliant
and funny album. You want bad porn, mad
doctor shit? Check "Intro", "A Visit to the Gynaecologist", "I Got to Tell You." You want
new styles and metaphors? Check "3000",
"Earth People", "Dr. Octagon", "On Production", "Biology 101." You want "Spinal Tap"?
"I'm Destructive" is your prescription. Keith
and company push the music beyond to a direction now uncharted. This leaves you to follow or be lost. Where do you go? Do you
have any idea? This is not for conventional
use, rollin' on Robson, bumpin' in the clubs,
passin' a phat one or gettin' your mack on.
This is the darkness. This is a peep show- dark,
dirty, shit. In fact if my girl ever hears this...
Props to the Automator, Q Bert, Kutmaster Kurt,
C Note, Sir Menkik, Whoolio E. Glacies and
Joe Des Cee. Look out for Mr. Gerbk...
-Mister Bill
Blahzay Blahzay
Blah,BlahfBlah
Fader
I had always wondered why this east New
York duo decided to call themselves Blahzay.
mmcWQcmmcWQcnmvcw
i_iy*
>. ERflgiiroi
eXTRA N€W CLOTHING
call now to inquire about the back to school sale
fall/winter catalog out soon
retail inquires only call 604.253.8601 or fax 604.254.1232 This term means mediocre, half ass, not so
good, whatever type shit. I don't know but it
probably means something different to them,
obviously. So that's cool. But to turn around
and call your album Blah Blah Blah. That's
like straight dissin' your own shit. It's like sayin'
right on the cover of your album, "Oh we just
yappin'. We ain't sayin'shit." I know that the
"real" shit isn't supposed to rely on promotional
tactics and what not but... callin' your album
Blah? After a few of their singles were released
I was preparing myself for a Blahzay sort of
album. You know, not horrible but also not
banging. Blah Blah Blah is just that. I can't
fully disrespect because the production on the
album is good. But the material on a whole is
just, just... well.... not that great. The first two
singles were cool and they got mad play and
mad love in clubs and radio but the "Dangers"
Part I and 2 plus "Pain I Feel" carry the album
basically. I don't want you not to check it
♦hough, cause this is only how I feel. You might
agree with me or not. I feel some of the most
outstanding cuts are "Good Cop Bad Cop"
and the title cut too, along with "Posse Jumpa"
featuring Darkman and Mental Magician.
Man, I just feel groups need to come with some
material to uplift and/or get mf's open. This
LP release is just another piece of lard cloggin'
up the Hip Hop arteries already suffering from
a high cholesterol count. Hip Hop needs to
trim down the fatty content or it might have a
cardiac arrest. Then there will be no more
heart left in the game.
-Omek Almighty
WwA^
Beatnuts
"Find That"
Relativity
There once was an emcee who loved to rhyme
about lickin' clits and givin' girls fits. But this
MC was just too sexy for his crew so he jetted
and changed his title to Al Tariq. No more
Kool Ass Fashion. Now the group returns to
the original duo of Psycho Les and Junkyard
Juju with their latest single entitled, "Find That."
A song about collecting loot off people who
owe them for whatever reasons, sendin' out
vulgar threats to all those in debt talkin' 'bout,
"I ain't never sold no drugs to no stranger."
Now, I don't know if these two ever really
needed the assistance of Al Tariq as the third
of the trio but this cut does not compare to any
of their older songs. The lyrics are pretty much
whatever. "If you owe me money, better find
that shit, cause bitches be dying too behind
that shit!" I'm confused. Have these two started
moonlighting as repo men or have they run
out of shit to rhyme about? Who knows? Everybody's killing something nowadays or a murdering convict or a druglord of some sorts or
a pimp playing hustler. All I can say is that
I've heard better from the Beatnuts and I wasn't
too impressed with this latest single. I'm waiting for their next track so I can hopefully eat
my words.
-Omek Almighty
Capone N Noreaga
"Illegal Life" S~\
b/w "Stick You" ( 9#£j
& "LA, LA" remixes Viy
Penalty
CNN- the latest reporters from the streets have
arrived in the form of Capone and Noreaga.
These partners in crime come from the 25 to
Life camp where the Intelligent Hoodlum aka
Kadhafi can be found producing tracks for
these cats. They were first heard on the "N.Y.
N.Y." response record "L.A. L.A." and who
could forget that incredible Marley Marl remix
featuring Mobb Deep and Kadhafi with a fly
ass verse to end it off. Damn. Capone N
Noreaga are ready to drop shit for self now
(more or less) with these two joints right here.
First off, "Stick /ou" starts with the generic street
scenario: a rainy night discussion of retaliation and payback laced with more "sons" than
the Kennedy's. Capone and Noreaga got a
dope style that perfectly fits their drug slangin'
lyrics with Spanish terms splashed throughout
due to Noreaga's Latin King background,
givin' it a fresh ass feel to it. Definitely not
your regular thug shit. More like some hype
ass Hip Hop with mad vibe, you know that
New York shit. "Illegal Life" is the shit though,
produced by Kadhafi with an ill backward
woman vocal sample that sounds like it's sayin'
"Kemo! Kemo!" At least that's what Kemo
thinks. The beat's dope and Capone N
Noreaga come off! I'd try to quote the first
lines of Noreaga's verse but it's so laced in
NY slang and Spanish shit I'm not sure what
the fuck he's sayin', sounds fly though. The
chorus features Mobb Deep givin' it that same
type of chemistry as "L.A. L.A." which is also
found on this same single, both remixes in-
elements      27 eluded! If you're with what I'm sayin' then this
shit will have you open, you best pick up this
single and look for the album on Penalty some
time soon. "Jose Luis gotcha/ Golden guns
and tons/ (or something like that) General
Emanuel/ rock emerald/ government out to
get me/ tryin' to stick me/ move quickly/ a yo
the god study swiftly" That's that shit man, I
can't get enough and I can't wait for Tragedy
aka Kadhafi's new shit (remember "Back To
Reality","Arrest the President.")
-Freestyle Crazee
Common
•The Bitch In Yoo"
b/w 'The Real Weight"
Relativity
My, my, my Mr. Ice Cube, what in the world
could you have said to this man to make him
write an entire song fully dissin' yoo and your
whole clan. Must have been some cold, heartless diss his moms type shit. Cause boy, is
Common ever miffed at yoo. Let me jot down
the instigating lyrics from Ice Cube's verse off
of "West Side Slaughter House" a song done
with other west side connects, WC and Mack
10.  "All you suckas wanna diss the pacific/
but you busta nigguhz never git specific/ used
to love her/ mad cause we fucked her/ pussy
whipped biiiatch with no common sense..." I
think Common comes quite specific with his
latest release. "A bitch nigguh with an attitude named Cube/ stepped to the Com with a
feud/ now what the fuck I look like dissin' a
whole coast/ yoo ain't made shit dope since
Amerikkka's Most..." To all the Ice Cube fans
out there, I'm sorry to say but you're boy got
taken the fuck out by Common. If you listen to
every thing Common says about Cube and his
now close to a decade career, there's no lies.
The truth must hurt. It will be really interesting
if Cube retaliates as specifically towards Common in his own song. And oh yeah, to yoo
over zealous Cube fans, I mean the drama
seeking gullible as wanna be gangsta MF's. If
you're thinkin' that Cubes gonna be a "real"
G and just literally kill Common Sense then
you're even more retarded than I thought. Ice
Cube is an entertainer. He makes movies. He's
rich. He owns property. He has a wife. He's
got kids. He's almost thirty years old. He
ain't trying to go to jail over some rap shit.
My man's worried about his taxes, about his
assets, about his family. GET IT. So this is a
lyrical battle so the only weapons are lyrics.
I'm not ruling out Cube yet but boy, he better
get back to some N.W.A. "I ain't the One"
type of style or homeboy's gonna get clowned.
Peace to everyone who knows what I'm sayin'
cause there's some bugged out individuals out
there who will probably wanna shoot me too.
Fuck you faggots, shit's entertainment! On
another note, the B-side offers something a little different. It's not even a Common Sense
song, it's a brand new release from Common's
homeboy/producer, No I.D. He's not rhyming but he lays down the track for newcomer
Doug Infinite to rhyme on. Overall, I'm eager
to hear the new shit from Common Sense
though.
-Freestyle Crazee
Chuck D
"No"
Mercury
Chuck D is back on the scene with no Flavor
Flav, no Terminator X, no SI W's. "No fuckin'
way!", you must be sayin'. This track is kinda
not so bad, comparatively to his last material
with Public Enemy. But with his latest release
from his forthcoming album "Autobiography
of Mista Chuck" the brother comes brand new.
To be honest I wasn't expecting a song like
this here, in the first few bars you'd be thinking Chuck D was doing a duo with the godfather himself, James Brown because the beats
are just funky like that with all the horn stabs
and guitar riffs. Classic JB's sound. The lyrics
are pretty straight forward, " No negros with
egos, no more shows calling women bitches
and hoes, no thoughtless flows, no woes...",
"No gas ups, no soups, no Lex coupes, no
crackers..." NolNollNoll! I really think that
Chuck is trying to make a point here, but the
message gets lost in all the monotony of the
lyrics. Not very insightful. He could have made
his point in a little less repetitious form. But
don't think I'm dissing the song, in its entirety
it brings new life to Chuck "Public Enemy #1"
D. In a rap world full of insanity, guns, money,
murderer and mayhem not everyone's
gonnastand for it. One man puts his foot down,
"No more!"
-Forilla Guerilla
M.O.P.
"Stick To Ya Guns"
b/w"Brownsville"
Relativity
Mash Out Posse's back in the 9-6 with the fix
for all Hip Hop's chickenhead cluckas. Loud
and overtly obnoxious to some, to others
M.O.P. brings that raw, that hype, that adrena-
28     FALL '96 line pumping shit! With a forth coming album
to be entirely produced by Premier, the B-B-B-
Brownsville bad boys are bringing back that
energy which some have traded in for that
smooth, laid back playa style. Sticking to your
roots is all good, but when your roots are the
streets and projects you're best to "Stick To
Your Guns". This hype song features a little
guest appearance from an old vet... none other
than Kool G Rap making this, one dangerous
friggin' rap tune. The B-side doesn't stray too
far from using the same chemistry found in the
A-side track. "Brownsville" Uses an odd,
fucked up sample that sounds like computer
blips plus a solid base tone for that bottom
end. Lil' Fame and Billy Danz bust that old
cowboy shoot 'em up shit back n' forth, freaking the beat something live, for real. "Wit' cha
'ifth on ya HIP!/ ready to FLIP!/ when ever
you empty your CLIP!/DIP!, and get the fuck
up out of Dodge...", "I must keep it steppin'
hops/when shit be gettin' hot/ I step n' bop
while I stroll with my weapon cocked/ the
hill that's real/ we kill at will/ clack! Clack I
clack! CLACKI clackl CLACKIII / mad
guns in ya grill in tha 'ville". Eh, if you like
your shit with extra testosterone and a helpful
serving of vicious attitudes then this is that shit
you'll be wanting to blast in your Jeeps.
-Kemo the Lab Rat
The Roots
"Concerto of the Desperado'
b/w "UNIverseatWar"
Geffen
To proceed and continue was the Roots main
theme from the get go. With that said we move
into the second round. You've already heard
"Clones" and "Sections" so here's two new
fat cuts off the album. "Concerto..." produced
by Kelo Williams, has an up tempo symphonic
sort of vibe to it with some opera singing floating in and out of it. I must say that MC Black
Thought sounds less like Nas than he used to.
Now on the flip side, this track blows the spot.
Possibly cause it features Chicago's own Common Sense, who blesses the mic with knowledge and wisdom. The songs main topic revolves around the politics of the devils new
world plan. Quite the popular subject lately,
with 2000 around the corner and all. These
tracks are milestones in hip-hop's ever evolving music, kind of like reports from the streets,
a ghetto CNN. Dealing with real issues and
events. Roots definitely add a positive change
to some of the stagnant shit floating about in
the mist. They got some shit for dot ass. And
oh yeah, that's not Ol' Dirty on the chorus, so
don't get confused.
-Omek Almighty
ILL LYRICALS
JERU THE DAMAJA - "YA PLAYING YASELF"
Intro:
Yo, are you a pimp, a hustler?
No I'm not.
Are you a man or can you stand alone like
a man has to sometimes?
Yes I can.
Are you willing to go out there and save
the lives of our chifaren even if it means
losing your own life?
Yes I am.
I believe you Jeru. You ready.
First verse:
Now, I don't push a Lex
Others have their turn to flex, Jeru is up
next
All these so called players up in the rap
game
Got brothers on the corner selling cooked
cocaine
It used to be LaToya and jim hats
But now it's uzis, macs and g packs of
cracks
Everybody's psycho or some type of good
fellow
But me I keep it real that's all swine like
iello
Don't drink Krystal, can't stand Mo'
Never received currency for moving a kilo
Or an ounce, make 'em bounce to this
fake pimp free flow
I never knew that hustlers confessed in
stereo
Or on video get caught you'll know who
turned stints
Evidence murder weapon profession and
fingerprints
Mama always said watch what comes out
your mouth
Tight case for the D.A. from here to down
south
Knowledge wisdom understanding like
King Solomon's wealth
You re a player but only because you be
playin' yourself
Chorus:
With all that big willie talk hops ya playin'
ya self
With all that big gun talk rock, you're
playin ya self
Witn all the rah rah rah, you're playin' ya
self
You're playin' ya self, you're playin' ya
self
Second verse:
Now these ladies is lookin pretty from city
to city
I refined a few I met, around the country
The nitty gritty is all reality, no question
Actual tact like tight jeans cause yeast
infection
And sisters with good minds, get no
respect when
Their ass is all hang in out, playin' the bar
section
Of the club. Shake what your mama gave
ya, back to the lab
I drop the truth cause rhyming is more than
just my craft
Or a way to get ass or fast cash or blasted
Black women make sure you're respected
When nigguhz is kickin' that old off the
wall shit,let 'em know
From jump. Dead that. You're not
ignorant
Knowledge wisdom under standing is the
key to wealth
Put some clothes on that ass if you respect
yourself
Chorus:
With those hooker type wears hon, you're
playin' ya self
Witn those skin tight jeans baby you're
playin' ya self
Everything all exposed you're playin' ya
self
You're playin' ya self, You're playin' ya self
Third verse:
Now I don't bust a tec, bubble drugs
In the projects or use mics to sell sex
Nigguhz nowadays is all about this
So much ying yang, it's ridiculous
If you got so much cheese where are the
black distributors
And these record companies shake 'em
down like mobsters
But impostors, like commercial locks and
not Rastas
Always fakin moves never makin moves
Ass is shaked bottles pop the government is
breakin' down
You fools, you work all week and give the
devil back his loot
For jewels and the steak on your plate is
filled
With chemicals, still brothers leave brothers
All battered and bruised on the streets
Won't see snakes on my feet
The race is on but I won't compete
In this competition because I have a
greater mission
I hope that you listen
Knowledge wisdom and understanding
brings long life and health
Think anything else and ya playin' ya self
Chorus
J
elements     29 I AWfttt&tyu
Past/ Present & Future
The Past
e ^  J
My journey has been difficult. It has been the road less travelled. Doing nothing meant death. It's the
summer of 1987. I've lived and died, seen life and death, love and hate, been trusted and betrayed,
struggled with openness and closure and fittingly embraced modness and sanity. Ultimately I became a
parent. All at 19. Reality was bent and I needed guidance to the light... Rakim came with the answers.
Rakim - "It took me a while to write lyrics 'cause I make sure I do it correctly. What I do, I like lo have
the track first, the music; I sit down, turn all the lights off and I get this one spotlight that I put on the paper.
Then I just turn the music on for a while, listen to it, get into it. That's where I get my style from."
Within were the answers, but was I ready to listen?
Was I willing to listen? I had that spotlight; "see it,
appreciate it, use it." Journeys are full of problems,
bad luck, bad things, and lack of insight.
"... I know I'm righteous, because I went through
hell before I became righteous. I went through hell...
You gotta go through hell to come out right and before
I became righteous I wos doin' a lot of shit I wasn't
supposed to be doin'. Instead of being a leader I was
followin', that's why I now say "Follow The Leader."
I'm gonna lead now. 'Cause when you comin' up
man, there's a lot of potholes and shit, and you don't
know which way to go. But now I know what time it
is."
That's what Hip Hop gave me; a chance to believe, to grow, and to live right.
The Present
I spectated, I participated, I grew up. I felt the
power, saw birth and growth, inward and out.
DJ Muggs - "I do feel that Cypress Hill changed the
face of rap music once again when it came out, just
like when Run D.M.C. did. It changed the whole way
rap is made and thought about and seen... Or Public
Enemy came out and switched it up again, Boom!...
reinvented rap music. De La Soul reinvented rap music. Wu-Tang reinvented it. Dre... again reinvented it.
Just certain groups reinvent the way people do things
or what people talk about."
I guess that's what's meant by leading instead of following.
"Everybody is fast food. Fast food mentality; here today gone tomorrow. People aren't even holdin'
onto their shit like the old days like our legends. We need to build our shit higher; they like 'Aw you large,
you played... Next!"
I've shared the following feelings.
"I was like kinda scared for a minute man. I was like, 'I love this shit, but I'm bored.' So fuckin' bored.
Then some new groups came out and kinda got me hyped again. Okay this music is fun... put the fun back
into it. You can motivate yourself a lot, but after awhile you need some motivation from somewhere. To
hear someone doin' some shit, that just makes you want to do some other shit."
The Future
The blindness of the unknown. I see pop culture's stranglehold on Hip Hop's familiar; all the bullshit, all
the pitfalls. The stupidity of youth culture. I feel the weight of the culture's dogma. "Play this track, paint
this way, this is what real Hip Hop is." I smile when I see an artist push the culture off a cliff, or the cliff, and
remove the shackles of creative enslavement. I return to the spotlight of Rakim's strength and style. I know
I'm free.
- Mr. Bill
The Roots w/ Common
UNIverseAtWar-fe/fo«
Mr.Yoodvw/Natadft^
Shine - Fortress
Ohostfaee KHIah
PatfonaSOO-fc^tavp
4«ruthaPama|a
One Pay-rtyfeK
ChodaJr
Just A Second -KmVup
KfflaArmy
WakeUp-rVWa/*
Nas
Silent Murder * tobmbk
PslaSod
ttzMeezee{H<rt)-rwwyft>r'
CowrstiMob
toiling Point - koov-A-ltt
A Tribe Called Quest
Crew-^«
Outkast
Wheels Of Steel -lahu
WHotHtew/ThaAlcahcflu
International Anthem - tektfvhy
Vooduw/Meantoi
XPeadlySlns-^/wfl*
Sadat X w/ Money ton Playrt
Game Sober -loud
NgNoyd
Usual Suspect -Tommy toy
JIM
Can I to K?-few «
Al Tariq
Think Not - Comet
ChuckP
No - Mercury
30     FALL '96 SHORTY THE PIMP STILL GETTIN' IT. (album number ten)
TOO 5H0RT
(album number ten)
Featuring GETTIN' IT (with Parliament/Funkadelic)
and BUY YOU SOME (with Eric Sermon) E5B        HI
Wa    mar rafi
JBk 21  J.
ED
1111
WILD
WUW
(MM)
f www.loud.com
SASAT IS
FBATTMXfi
HANG'EM HIGH
STAGES AND LIGHTS
am. PETTY PEOPLE
i GREATEST    HITS
DR. DRE
The World's Most Dangerous Group
Includes Previously Unreleased Material
AVAILABLE

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
http://iiif.library.ubc.ca/presentation/cdm.discorder.1-0049860/manifest

Comment

Related Items