Elements CITR-FM (Radio station : Vancouver, B.C.) 1995-09-01

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U-aaassj;. BROWN SUGAR
The Debut Album
Featuring the hit single
Also includes Cruisin' & Alright Elementary
..And the history continues. Perhaps it was the Roxy
every Sunday, or was it the Bronx's Disco Fever club (Tues,
Wed,Thurs) that set it all off: everybody was breaking and
boogalooing in the parks and clubs unknowingly creating a
scene that would represent that rebellious youth forever.
The music; being supplied from two turntabies; along with
a DJ's adlib banter eventually turned that scene into a culture and a multi-million dollar music industry along the way.
Whatever it was, this issue's special guests were there. Yes-
Crazy Legs, Ken Swift, KRS One, and DJ Cash Money all
rode Hip Hop's powerful crest all through the 80's and continue to influence the Hip Hop universe even as you read.
Some things never change.
A pillar that will never change is the true defintion of
Hip Hop culture's music: Rap. There is no question that
real rap is, and is self-consciously, music transmitting the
lives of urban youth with it's own set of laws and rules, and
language, about same and for same. Rap lyrics will probably
always be destined to be self-referential, with variations on
about half a dozen themes. Themes that at first listen from
someone unfamiliar to Hip Hop seem almost asinine or
downright dull. Most themes are so encoded in Hip Hop
slang that they are overlooked but the following are examples of why the music is attacked constantly because of it's
seemingly redunant, irrelevant and of course, controversial
content: Just how bad/dope/real the rapper and his lyrics
are; just how equally un-all-these his musical rivals (Sucka
MCs) are; how troublesome, vacuous and acquisitive
women (filthy bitches) are; how wonderful it is to be "paid
in full" for rapping instead of stealing/dealing drugs/working
a 9-5. And in particular, how sex, violence and yuppie material toys represent perfectly the urban black lifedrive to
90's N. American glory.
Even though Rap has many shortcomings, it's something that has brought a lot of people together. It's changed
countless lives, killed a few, and inspired a whole planet to
"put our hands in the air...and wave them like we just don't
care." Rap music is powerful art, but it can only move only
what's movable. From the street to our ears: the music's
message must remain uncensored, because it's voice is the
only untampered outlet that can the people can trust. Lyrics will always be controversial, not controversial for shock
value, but controversial because of that revolutionary topic
they rap about: truth. And the truth hurts don't it?
-Rolando Espinoza. Ed
e-mail: respinoz@eciad.bc.ca
Sept/Oct 1995 #3
01TR 101.9fM
This mag is mad late. But we're not sober
and we still don't give a fuck.   See you in mid Nov. with
issue#4. No diggety. Fuck them crooks who stole the fuckin'
KRS ONE interview tape. Bastards. Cover Art by Dedos. All writes reserved. Elements 95, Sun.
DasEFX 13
Rocksteady 19
Elemental 24
The Seen 4
Word? 5
Vinyl Konflict
- D] Cash Money     6
- Krispy Biscuit 7
-Ren One IS
- Flicks 16
re:Views 26
MixTape 31
] Swing
Mr. Flipout
Assistant Editor
Rolando "Flanders" Espinoza
J Swing & Ripout
Art Direction
AllCity Action Team
FreeStyle Crazee
Huge Bahamonde
Jesus Enrique Montaldo
Kemo the Labrat
Mr. Bill
Muzikly Inzanee
Rolando Espinoza
Linda Scholten
Elements Hip Hop Journal. Elements is a bi-monthly magazine published by the Student Radio Society of UBC.
Content - Elements will focus on all elements of Hip Hop culture: MCs. DJ's, Breaking and Graffiti - on both a local, national, and
international level. The magazine features interviews, music reviews, and lifestyle issues pertaining to the Hip Hop community.
Editoriol Policy - Elements jointly shares CiTR programming policy (ask Linda Scholten or Miko Hoffman @ CiTR radio (604)
822-3017 for details) and encourages submissions from all members of CiTR and the general public Please ensure
consistency with the magazine's underground theme for better publishing consideration ('cause we don't print no bullshit).
Submissions - Please forward all submissions (illustrations, flicks, essays, reviews, opinions, etc) to: Elements, c/o CiTR. #233-
6138 SUB Blvd,Vancouver. B.C..V6T IZI or fax us at (604) 822 9364. eSeen
Photos: Roly-E cWbfo?
First off, Elements would like to congratulate Vancouver's DJ Kemo of Lab Rat Sound
Inc. for winning first place in the world-wide remix contest for Aceyalone's new single
"Mic Check". Kemo's "Nutcracker" remix will be available on Ace/s next 12" so keep a
look out... Congratulations also go out to MadChild for being inducted into the West
Coast chapter of the Rock Steady Crew as an MC. MadChild had to battle veteran
member Cut Father at the Rainbow Cafe in San Diego to earn his way into PS... MCA
Concerts is bringing what most Vancouver heads are calling the concert of the year
(mainly because Vancouver hardly ever gets anything more than a double bill come through
town). Lou Diamonds (ab Chef Raekwon), Cypress Hill, Mad Lion, Supercat and
newcomers Call O' Da Wild will be at the PNE Forum on Nov. 14. Word?... K-OS won
Canadian Rap Video of the Year for his single "Musical Essense."... No! Say it ain't so!
Esteemed host Oliver has left MuchMusic's Rap City. And on top of that Tracy and
the shows producer Michelle Geister are also leaving Word?... Rap Sheet and Spring
Communications are putting on an event called "Free Expression In The 490's",
which is a huge pay-per-view Hip Hop concert to take place on Oct 13. Scheduled to
perform are Naughty By Nature, Wu-Tang Clan, KRS ONE, the Def Squad, and
Cypress Hill... Interscope Records, who were recently dropped by Time Warner, are
sueing C. Dolores Tucker (chairperson of The National Political
Congress of Black Woman). Interscope alleges that Tucker conspired to destroy the record label by trying to force Death Row CEO
Suge Knight to clean up the lyrical content of the labels groups or
leave Interscope altogether... Mary J. and Meth, Total And Biggie, Miss
Jones and AZ, Brandy and Channel Live.TLC and Craig Mack and now
Mariah Carey and OP Dirty Bastard. That's right, Ason Unique has
teamed up with Miss Mariah "8 octave" Carey on her new single "Fantasy" which is a certified hit using that loop, you know that loop Shit
is dope though because it's better than those nigguhz Dino and Master
Ice or lest we forget New Kids On The Block and Nice and Smooth.
But what's next, Whitney Houston and Mobb Deep?... A couple of
former Wild Pitch groups have found new homes. EMI bought the
rights to the Coup. The Coup is receiving money from EMI for studio
time but are yet to sign. Large Professor has jo'ned the likes of the
Genius and signed to Geffen. Rumors have his signing bonus in the
area of $500 000. Oh shit! Word?... Mac I0's latest project has
achieved certified gold status on Priority Records. Peep the execs in
the photo with their million dollars... Tommy Boy Records has signed
Big Noyd (the "R-A double R E-R from the QB"), who can be found on
Mobb Deep's "Give Up The Goods." Word?... The new De La
Soul album will be called Stakes Is High. The first single is called "The
Business" and it will feature Common Sense... Ras Kass' debut
album Soul On Ice will be delayed a little longer. It seems that Ras
wasn't happy with all the tracks and a lot of them have been bootlegged.
There's also talk of a posse cut that will feature E-Rule and Tash of the
Liks (who will be releasing a solo single late '95/early '96, with an album
to follow on Loud/RCA)... On the topic of Loud Records, they have
continued their quest to take over the rap industry and own the rights to
everybody by signing both Sadat X and Akynele. Their first release on
Loud will be a collaboration together called "Loud Hangover". Word?...
Immortal Records have released The Next Chapter, a compilation of
unsigned artists. Standout cuts include the Likwit Crew's PhilThe Agony
with "Net Weight", Laswunzout's "JustTo Be Famous" and Western Hemisphere's Vooodu with "PayThe Price"... Other LPs set for
release are Kool G. Rap's 4,5,6 on Epic Street AZThe Visualiza's
Doe Or Die on EMI, Rascalz's long awaited Cash Crop full length on
Figure IV, Mic Geronimo's The Natural on Blunt, Erick Sermon's
Double Or Nothing on RALThe Pharcyde's "Labcabincalifomia"
on Delicious Vinyl, Genius' Liquid Swords on Geffen and Cypress
Hill's Cypress Hill III on Ruffhouse... On the independent side of things
check for the new Lord Finesse 12"* "Hip To The Game" b/w "No
Gimmicks" feat KRS & O.C. on Penalty. Word? Also keep a look
out for MannishVExpectThat" on Correct Q-Ball & Curt Cazal's
"My Kinda Moves" on Q-Ball, Powerule's "Dawn To Dusk" on
Hydra, KRS ONE's "Rappers Are In Danger" b/w "Wannabe Emcee's" on Front Page, Nit Wits single and video "Then There's
Nada" b/w "On the Run (360°)" feat Radek One on Tremor, and
DaYoungstas Illy Funkstaz "Bloodshed & War" feat Mobb Deep
on Pop Art. It seems that the Illy Funkstaz have continued their trend of
imitating whomever they share a track with. Word?... Other 12" to
keep an eye out for include the new Group Home single "Livin' Proof"
on Pay Day, Smoothe Da Hustler's "Broken Language" on Profile, Mobb Deep's "Tempatures Risin'" remix on Loud, Blahzay
Blahzay's "Danger" on Mercury, Smif n'Wessun's "Sound Boy
Burial" & "Wreckognize" remixes on Wreck and Method Man's
"The Riddler" with RZA remix on Atlantic. Word.
SEPT/OCT.    5 Y'myl KonflJCt        CashMoirey
■ ■■I
I'm straight rhythm.
Rhythm scratches
man.That's when you
make a rhythm - your
makin' the record basically sing a song."
What have you been up to since you dropped "Where's
The Party At?" with Marvellous Marv?
Just doin' a little production here and there, and tourin' with PM
Dawn for the past three years. Right now I'm starting my own
label called Green Eyes Records. Plus I got these mix tapes out
right now that are sellin' like hotcakes.
What happened with the whole record deal thing, how
come there was no second LP?
Well Sleeping Bag Records had folded, and at that time me and
Marv were going through somethin', yaknowhati'msayin? We
went our separate ways.
Whafs up with Marv right now?
I don't know. I don't even see him, man. I haven't seen Marv in
over a year, man. I don't know where he's at or whatever, but
were still mad cool.
What first got you into DJ'ing?
I had a Grandmaster Flash tape, one of those underground
tapes before they started makin' records. I met this guy named
Grand Wizard Rasheen from southwest Philly.he was showin'
me how to mix and stuff. I was like "Man, he's the man!".
How would you describe your style?
Aw man, I'm straight rhythm. Rhythm scratches man. That's
when you make a rhythm - your makin' the record basically sing
a song. Like if you was cuttin' "It's Time" it's not your basic
"da.da.da.da", it's more like "a da-a da, a da-a da-a da da, a da- a
dur-a da", yaknowhati'msayin?  My scratches are like that.
You won the DMC battle in '88, right?
Yeah, in '88. I won the New Music Seminar in '87 and I won the
by J Swing
American Mixing Championships in '88 also. That's what
got me recognition out side of Philly.after that it was world-
Speak about transforming for a minute, because a
lot of people credit DJ Jazzy Jeff for creating it?
Yeah, it wasn't him who created it. It was this guy named
DJ Spin Bad and then I took it to the next level making it
faster. Spin Bad was cuttin' "It's Time" and was bringfn' it
back slow, then I took it and made it fast like a machine
gun. I named it the transformer, it's just that Jeff put it on
wax before anyone else could so he got the recognition for
it. It's cool though cause he's my boy. Me and Jeff used to
have this thing called the Twins of Spin. When you see 2
DJ's up there spinnin' around with 4 tables, we started that.
DJ'n has changed alot since '88 when you were out
battlin' or whatever, who impresses you these days?
DJ's that I have scene and like are Rob Swift, DJ Ghetto and Roc Raider.
They're just funky man, especially Rob Swift. Ghetto's rough too, man.
What about the DJ's comin' out of the west coast?
I can't really get into it yaknowhat'imsavin? I'm not sittin' up here dissin' or
nothin' like that because as far as them doin' that they're the best at what
they're doin', but I just can't get into it man. It's on some old future suff, man.
I guess from the era that I come from - it's just a bunch of crazy noises, I don't
really understand what they're doin'.
What are you lookin' for then?
Take me for instance, if I'm doin' a party right and I'm going to do a little
cuttin' or whatever, I go back to back and your not going to miss a beat. It's
different when your doin' a competition because you only have a certain amount
of time to get in as much as you can, so sometimes things tend to be a little
sloppy. If your doin' a party you got all night to do your thing. Right now I'm
about to do these collage parties - see a lot of people when they think of me
they think automatically "Aw, he's gonna cut it up". I'm tryin' to let people
know that I can do more than just cut it up, yaknowhat'imsayin? I can rock a
whole party.
How do you see DJ'n now as compared to the mid to late'80's when
you made your name for yourself?
The DJ's today that are gettin' the light seem to be the DJ's that just play
records. It's like if you want to hear the record you could hear the record on
radio. Not to take nothin' away from these other guys that are out hear
makin' these mix tapes and stuff, but that's just my personal opinion. They're
doin' what they do best. Back when, when we was in Philly we was constantly
cuttin' the record up. That's what made us different. I mean everybody has
the same records. You can go to the store and buy KRS ONE, what's going
to make you any different by just playin' the record and your tryin' to become
a DJ, tryin' to be up there with DJ Clue or DJ Doo Wop or whatever.
What's going to make you any different? I'm known strictly for cuttin' it up, I
gotta stick with what I know best plus blendin' a little bit or whatever. I'm
tryin' to bring it back.
6    ELEMENTS KrisprBismit
by Rolando Espinoza
Rap came onto the radio courtesy of Mr. Magic, whose first
show "Mr. Magics's Rap Attack" went on the air in 1979 on station WHBI, a small station in New Jersey where you bought
your own time and then sold your own commercials. This was
the same station on which The World's Famous Supreme Team,
the duo that can be heard on Malcolm Mclaren's "Duck Rock",
hosted their own show.
Enter: Vancouver, Canada. Where every Tuesday midnight, you can tune your dial to
community radio, CFRO 102.7 FM.and listen to the live cuts/mixes courtesy DJ Kilo -
Cee and the street savvy comments of the show's two hosts: Incredible Ease and
Mr. Bill.
"...It's time for the station to get truly funky..." coolly states the Krispy Biscuit Mix
Show intro as listeners get prepared for Hip Hop done the old fashion way. You know
the styeelo... it's that eastcoast state-of-mind, with an underground= innovation-slept-
on kinda shit... but it always hasn't been that way.
DJ Kilo Cee is the one individual who is to be credited for having the clear vision and
the drive to bring urban style radio to Vancouver listeners. Sure, there were previous
shows on other stations that laid the foundation for future Hip Hop assaults, but it is
because of DJ Kilo Cee's involvement in earlier programming throughout the city that
brought Vancouver it's first legitimate mix show.
Host Mr. Bill explains, "DJ Kilo Cee had been doin' the show for some time before I got
involved, but it wasn't the same format as it currently is now. I mean, we had rotating
DJ's like Lovely Lisa (British Soul), Doug Deep (Deep House) and Michael Golf
(Rare Groove). The show was a lot more musically diverse then (1992). I was just
excited to be part of Vancouver's long overdue Hip Hop scene."
Since then, the Krispy Biscuit Mix Show has evolved into one of the city's leading rap
music programs - even garnishing its own devoted live studio audience (up to 30 + at
any given time) that religiously cool out in the station's dank green room lounge. All
Di Kilo-Cee
& Mr. Bill
this because word-of-mouth spreads quickly, and heads started realizing
that they could witness the weekly raw spontaneous energy of Hip Hop
right before their eyes, all live... all free of charge.
All the programmers at CFRO 102.7 are volunteers. They do what they
do for the pure love of the music, and the Krispy Biscuit crew are no
exception. Each member has their own reason for diligently staying awake
until 2:30 am every Tuesday, summer/winter, rain or shine. The Incredible Ease explains, "Every week is something different! Believe it or not!
Every week is something different! One week I'll say
somethin' on the air and I'll get someone on the street
and say "Yo, I heard you say this on the mic" and to
know that they experienced the same vibe is cool. Once
I popped a brew live on-air, or when I blew some smoke
into the mic and I got feedback sayin, "Aw, man... we
were at our pad smokin' a fat blunt at the exact same
moment when you were doin' that" - all that shit gives
me a mad thrill. To know that they feel me over the air
has to be the hit!"
Ease narrowed other facts down, all the while demonstrating his trademark hospitality, "Because we took that
(eastcoast) format, it has allowed us to really concentrate on our shit and the listener still has other outlets,
even on our same station. If you like live DJ skills and
strictly underground Hip Hop then you're going to format to us... we're not really formatting to the casual listener and blazay to the swazay... It's those who don't
know, who get offended by rap music, but as the station
goes, it's been great, they've been really good to us."
Dedication, creativity, expansion of horizons and everything on the live tip... "don't bite the Biscuit!"
Sept/Oct.    7 /I   ■-
\ A: ~    A"
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It s not that you gotta
have a chain around your
neck It's to say that the
link is something that
couldn't be popped.
Everybody thought we would
shine For a minute and then
break up, but nah! You can't
break this shit and it stays
heavy, 'cause we're heavyweights! ...I wanna let'em
know this is my shit. This is my team and I'm
the stand up man For this shit right now."
fit V
jBMG HIP HOP CLUB. 150 John Street. 6th floor. Toronto. Ontario. M5V 3C3|
NutMn to F Wit 95
So ProtEcT Ya Neck owd
picK up This Dope SHIT11
Available at all
locations SEPT/OCT.    9 II
Some people say that life on
a whole is serious and nothing is funny. But that's only if
you base your life around competition and money." -"ByAny
Means Necessary" By All
Means Necessary
In this short time span of existence
we experience called life, there is
the unavoidable question that most
all of us pose at one time or another; what is our purpose here? Many of us
never ponder too long
on the subject and
seem content with the
answers provided to us
by the controllers of
the state and one
could say the controllers of OUR state. The
formula provided: The
pursuit of happiness =
power from either
money and/or fame.
As interesting an open
discussion on that
topic would be, it is
not the one at hand. It
does however have relevance to the man referred to as the
teacher of rap Kris
Parker, better known
as KRS One. Kris has
composed songs with
themes seemingly
thought to be in direct
contrast to "traditional" rap music.
These "traditional"
themes (cop killing,
drug selling, sex and violence) are
attacked and exploited by the media at every opportunity in an attempt to discredit, manipulate and altogether
disregard and destroy
all positive aspects of
this relatively new culture, Hip Hop. A culture born from the same part of society that has always, throughout the
course of American history, been
depicted as the most negative aspect of the "American Dream."
"Don't get me wrong, America's a great place to live but listen to the knowledge I give..."
"Illegal Business" By All Means
"You can kill a man by taking
him out his land and puttin'
him in a land, he doesn't understand..." -"What I Know" KRS
The projects of the South Bronx, if
we were to use the definition of
project accurately, has produced
"For someone lookin1 from the
out, it seems like disrespect is
what rap is all about/'
Hip Hop is, let us overlook that and
focus on a man from the Bronx,
born in I 965, who entered the rap
game in 1986 and delved into topics and lyrical styles that none before had. Thus helping reshape, redefine and set the high standard of
the definition of a real MC thereafter; and few live up to that level in
1995 soon to be 1996.
"If you don't know me by now,
I doubt you'll ever
know me. I never
won a Grammy, I
won't win a Tony.
But I'm not the
only MC keepin' it
real, when I grab
the mic and smash
a rapper girls go,
"MCs Act Like
They Don't Know"
Speaking non metaphorically, KRS One
has broken the art of
MCing and being a rap
artist, down to a science. That is the only
possible way a rapper
could survive as long
and maintained the
level of consistency
that KRS One has.
Metaphorically speaking; if you want to bake
a cake, you have to
make sure you have all
the essential ingredients. So if you want
to produce consistent rap albums,
you must know what it takes to
make one. As far as the development of lyrical styles is
concerned, KRS One
is a gifted lyricist.
many fascinating and never seen before results. The most recognizable
being the birth of the now universal Hip Hop culture. As debatable
a topic as the true birth place of
"New types of verbal Hip Hop I bring.
When you know you can sing,
boy! You know you can sing. I
do not clutter up the airwaves
with stacks of useless facts,
MCs tryin' to be macks but act
10    ELEMENTS like ignorant Blacks." -"Rappaz
R.N. Dainja" KRS ONE
Some individuals are chosen to perform certain tasks in their lifetime
and some choose to. Those who
are chosen must realize that: To be
born gifted is one thing, but what
good is your gift if you know not
how to utilize it to its highest potential. The key to attaining this level
of consciousness is through knowledge of self.
"My true identity is
never meant to see.
I simply use the gift
sent to me, mentally." -"Build Ya
Skillz"   KRS ONE
Much more than just
the latest New York
slang to hit the
airwaves, knowledge of
self is an important, if
not essential factor in
the study of metaphysical philosophy. Metaphysics is defined in the
Websters Dictionary
as "the part of philosophy concerned with the
study of the ultimate
causes and the underlying nature of things",
or put simply the
search for the truth.
KRS One has been on
this search since the
day Mother Earth, the
Goddess, approached
him and told him his
purpose in life is to use his ability
to speak to his peoples, in a language
only they can comprehend, to uplift them mentally and
to the school like locust'cause
school now relates to them and
you would notice: Violence in
society would be a minimal
'cause the education would
now be metaphysical. Not living by laws but living by principle, if you disobey; the universe
gets with you." -"Squash All
"Others like to bring the shorty
to the party. I bring knowledge
of self; you cure the mind, you
cure the body." -"Rappaz R.N.
"East Coast -West Coast battles are
inferior,'cause I by myself, will take
"If    I    ruled    the
schools from pole out the whole North America."
to pole, the entire
judicial system would fold. I
would get rid of the books
'cause they're bogus and in
school knowledge of self would
be the focus.  Kids would flock
Dainja"  KRS ONE
Since his first album, Criminal
Minded released in 1986, he has
consistently obtained, researched
and exposed truths to the youth of
America and beyond, In the hopes
that they will respond by starting
their own pursuit in search of the
truth. Unfortunately, not many
youths are interested in these topics and don't necessarily want to be
pounded with facts and enlightenment.
"The moral to the story is:
Your addiction to your needs
and your wants is
what causes problems in your life.
Make sure you got
what you need... put
it a safe distance all
the things that you
want. It's wants
that get you into
trouble. This is the
balance of life; the
balance to life on a
whole." -"Hold"
"I'm giving you
these dates, not for
you to hate but to
evaluate your own
mental state. You're
gettin' older, not
younger; the system
keeps you under;
concentrate on living this summer." -
"What I Know" KRS
Let us not forget that
KRS One is not a philosopher turned rapper, he is an MC raised in the streets
of New York. So as much metaphysics as he delves into, he is still a bad
ass mother fucker
whom you should not
fuck with on the mic.
History shows that
Boogie Down Productions ruled New York
when KRS One and his partner,Scot
La Rock, took out MC Shan and
dissed the whole Juice Crew.
'For someone lookin' inside
SEPT/OCT.     11 from the out, it seems like disrespect is what rap is all about
but Hip Hop as a culture is really what we're givin' but sometimes the culture contradicts
with how we're livin'."
"Don't you understand that I'm
all about survival. I have only
friends because I killed all my
rivals. Show up at their rhyme
recitals, took their titles. From
'86 to '96 completes my first cycle." -"De Automatic" KRS
"Syllable superior. East coast
-West coast battles are inferior
'cause I by myself, I'll take out
the whole North America." -
"Build Ya Skillz"  KRS ONE
By composing songs like, "Poetry",
"My Philosophy", "Jack Of Spades",
"Outta Here" and co-writing along
side 1995 B.D.P. members Channel
Live,"Mad Izm" KRS One has held
the attention of Hip Hop's audience
by not just keeping up but still setting trends to follow. While his
Edutainment and Sex and Violence albums are regarded by most
as the period he fell off, his lyrical
style and content has stayed remarkably consistent, prolific and unmatched to date. Overall, every
album contains material that needs
to be heard. Positivity and genuine
concern of the upliftment of Black
peoples and humanity on a whole
has been put aside nowadays in exchange of jams about makin' money
and livin' large, that American
Dream. Once acclaimed rappers
like Chuck D have been forgotten
because through all the positivity of
Public Enemy, they failed to relate
with the youth and progress with
the times. Had Chuck D made a
"Mad Izm" type of song, he might
still have the ears of the youth listening, showing how KRS One further enforces the scientific methods
of keeping the audience appreciative and responsive.
"I remember thinkin' back to
'83, no videos. No, you had to
be a real live MC. Now you
youngens grow up, buggin'.
Any new jock you're huggin',
weak production, let me tell
you somethin'. Any MC could
battle for glory but to kick a
dope rhyme and wake up your
people's a different story." -
"Rappaz R.N. Dainja" KRS
South Bronx,
the South South Bronx, NY
Take out a I year subscription
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■ P.I.N. #?.!
CROOKLYN DODGERS '95 (Chubb Rock, OL Jeru the Damaja),
by FreeStyle Crazee
SEPT/OCT.   13 What happened with the Beanuts?
Skoob: What you mean?
With that shit they said on their E.P.
What they say?
You know, "...all that tiggety tiggety tongue
twistin' shit don't impress me" and "...diggety
Das the end" from "Third of the Trio".
Oh word.... well where the fuck are they? Put it
this way, if them nigguhz meant something.... them
nigguhz ain't stepped to me with it. They got on
some bitch ass shit and said it on a record and ain't
stepped to nigguhz. Das don't get down on no
bitch ass shit like that to say shit
about nigguhz in articles and
fuckin' records. We bring it to
nigguhz faces. And bottom line,
my shit is definitely knockin' they
shit out the box if those nigguhz
got anything to say about anything. So that's the deal with that.
But anyway...
You puttin' that in there?
Well shit you know, if you...
Yeah put that in there.... and
quote me word for word.
Alright, 'cause I know some
people who thought Beanuts
were dissin' and shit.
I don't know what it is, if they
tryin' to get cute or what. But
yo, we don't get down with that
pussy shit, that shit is pussy right
So in your video, "Real Hip Hop" you ;
some of y'all peoples with motorcycles in
there huh, bustin' endos with a bitch on the
back and shit.
Yeah, hell yeah. But there's a lot of scenes that
they didn't even catch on tape man. One of my
mans was doin' a wheelie with this bitch on the
back right. And she threw her middle finger up at
the camera but we ain't get that shit. And that part
with the police in there? All that shit was real, they
broke that shit up. That shit was real as hell.
How do you guys get down at live shows?
The shit is definitely off the hook! It's like bringing
the CD to life. So we definitely gotta show a lot of
Das exploded into the Hip
Hop game back in '91 with
a stiggety style that left a
mad scar on the rap industry. After all the Herbs had
squeezed every last drop
from their lyrical style, Das
came back to inform the
world that biting their steelo
would be Straight Up
Sewaside.   Of course you
motherfuckers slept, but
anybody who peeped that
second album knows that
Das EFX is definitely lyrics.
So what was left to do in
1995? To drop a fat ass LP
called Hold It Down and
show these no talent biting
MCs how to really rock a
mic while displaying the true
raw Brooklyn sound that
cannot be duplicated. Still.
So you got DJ... fuckin'... DJ Dice right?
Yeah, my nig-GUH. East New York, Brooklyn baby.
That's my man from back in the day from a long
time ago. But when we first came out he had some
shit that he was doin', I think he was runnin' with
Tim Dog for a little while. Once that shit died out
he stepped to us and we did our thing. We was
always family yaknowhati'msayin', but it was just that
he was doin' his thing when we was tryin' to come
That "Buck Buck" shit is live.
True. See and right there we bringin' the show to
the CD. We just wanna show everybody how we
get down with a little freestyle cipher. We did that
shit right in the basement kid.
Yeah, no doubt in the basement
with turntables and mics. Then
Dice got on the set, we put the
mics on and we just got busy.
We just brought that whole
show flavor to the tape 'cause
a lot of heads don't get to come
to Das shows. For all those
heads that don't get to come
they can check that "Buck Buck"
thing out. As a matter of fact,
we had two versions of that
shit. But the other one didn't
make the album because of
sample clearance.
What was the break Dice
rocked on that one?
It was the S.W.A.T. theme,
"Bomp, bomp BOMP bomp
bomp. Bomp bomp. Bomp
bomp bomp. Bomp BOMP!"
That shit right there. We got
advanced promo tapes with
that on it.
Oh word?
So when EPMD was still around, they helped
you out with a lot of shit, as far as business
wise or just anything right?
Well basically, we looked at them nigguhz for examples and shit but overall, PMD was the only one
givin' information to Das EFX. He was the only
one in our corner lookin' out like, "Yo, do this do
that" or "Nah nah chill I did that already son, that
shit don't work,cool out." It wasn't really the Erick
half that was doin' that for Das, it was P in our
corner so we definitely look up to P and take his
advice into consideration.
How did you hook up with KRS ONE on that
jam, "Represent the Real Hip Hop"?
14    ELEMENTS It was just like, when we first got in the game we
had met Kris and we was always exchanging numbers like, "Boom boom, we gonna get up and do
this jam." "Yeah yeah. Yo! Let's do this jam kid!
Whassup?!" It was always like that and then we'd
go home and lose the number or Kris would lose
the number or whatever. And then "boom" when
Aresenio Hall had that show with a bunch of Hip
Hop nigguhz on that and we was on it with Kris. All
of us.Wu, Kris... so we exchanged numbers again
and then it just so happened that that nigguh was
workin' on his album when we was workin' on our
album. He was workin' with Premier and Premier
was like to us, "Yo, you know Kris is tryin' to get
with y'all nigguhz right?" and then he would be tellin'
Kris the same shit about us. So we finally hooked
up and did that joint
And both you and Kris put that song on both
of your albums right?
Just tryin' some different shit this time. Maybe our
fans will like that shit and wanna go get his new shit
and then vice versa. Some of his fans will hear that
shit and really be into Das and then wanna get our
What were you doin' before you started writing rhymes? Were you breakin' or writin' graflF
or anything?
Yeah, you know, all that shit was one thing sun.
Breakin', poppin', fuckin' writin' grafitti-all that shit.
But it just so happened that yo, us nigguhz knew
how to rhyme too. That was just one of the things
to do around the way. Then we just put that shit
on wax. We was blessed yaknowhati'msayin', to
have EPMD come through and find us and shit and
put us on.
They found you guys at a contest where you
came runner up, right? What song did you
do that night?
Yeah that was in 1991 and shit. We did "Clap Your
Hands" from the album Dead Serious. That was like
the early, early days with that shit.
Did anybody ever step to you two on some
battlin' shit after you came out?
Nah, they haven't but you know, we was just lettin'
heads know that if you gonna try to come with that
Das shit and kick it yourself, bring it son. If you
gonna kick that pussy shit on a record or in a magazine, bring it. Whatever you wanna do. Yo it's whatever kid! That's Hip Hop right there son, 'cause
before nigguhz was makin' money off this shit that's
how it was goin' down. A lot of brothers don't
have that mentality now but hey whatever. I do.
Just how far out of hand did the biting get
during them "iggety" days (1991 -1992)?
Kid, the whole world was stuck on stupid for about
a year. Nigguhz ain't know what the fuck to do... all
that "iggety" shit was out there? ...going crazy! Nigguhz ain't know what the fuck was goin' on! (laughter) That shit was crazy though. It got way out of
hand, it was off the hook. son. But you know, that
shit calmed down.
Do you think that with all this wack shit
comin* out every second, Hip Hop might just
self destruct?
Nah, I don't think so. The reason I don't think it's
going to self destruct is 'cause #1: It's makin' too
much money and #2: There's always that younger
generation, that street generation that's going to
wanna hear somebody representin' for them. And
there's always gonna be one nigguh out of that young
generation that can do it, yaknowhati'msayin'. So...
as long as you got one person representin' for that
generation. Hip Hop is gonna always be here. Belee
Hold It Down
Sioqf) & Drayz
Brooilyn, NY
By Rolando Espinoza
In his late, late 20's, REN is not new to
this. He has the insight to what real
work and commitment is all about.
Ren One: "I think it was back in 1980. I was doing political anti-nuke graffiti
until I went to New York City in '81. That's the first time I had seen Hip Hop
graffiti. It was amazing! Whole streets and the multitude of styles... amazing,
man. I picked up the style and stayed anonymous, you know "in the closet"
up until 1987", confesses REN when asked about how he first got involved in
graffiti art. As a founding member of Toronto's TCM artist crew, (The
Crime Messiahs, Trans Continental Mayhem, Try Catching Me...)
currently 8 active members deep, REN has seen Toronto's graff scene develop into an underground scene that has, "...a lot of kids getting into it, but
they're just making chicken scratch. Even though they have all the short cuts
with all the mags, videos and OG artists to influence them."
LEGAL WALLS: "I know there are some artists/would-be writers
out here that have never done an illegal piece... and that I think, is a cheap
short-cut. They're really just getting fame for nothing, really. Illegal walls
effect your style, especially when you're under pressure... It's the whole adrenaline thing, you know. Your skills develop different because you have to work
it out and plan so you're able to pull it off quickly. Illegal (laughter) is a lot
more fun for sure."
Canada's First School Veteran
HORROR STORIES: I've had people pull knives on me, I've had a
couple crazy ones where I was being chased into places that had vicious
guard-dogs. Then there was the time where I was chased by a couple of
undercover police officers; it was like "STOP! or I'll shoot!" You know, just
trying to scare me. I guess they weren't into running so they tried every
tactic to get me to stop... that wasn't too fun. I've had some tense spots on
trains with the train startin' up and I'm on it kind of thing!"
Always aware of producing quality work, REN explains that there has been
times when he just had to slow down and reflect, "...it's kinda good to do
that- drop off just a bit... think about what you've done- especially when
you're in a rut. But really... (pause) it's like an addiction... it's hard to stop!"
Best color of choice
"I would have to say... green. I like greens a lot, man."
Gone-through sketch pads
"Sketches? Well sketches aren't something I make a big deal about but I'd
say... I used to do loose-leaf for quite a while... up until '93. That's when I
switched to books. My answer:  12.
Shout outs
"The whole TCM Crew,Vancouver's AA Crew and everyone else whose got
the right attitude. Of course I can't forget my moms and my parents."
SEPT/OCT.     15  ■KM'WP' W*_
■ **»■%*
The Best Kept Secret
552 Beatty St.9 Vancouver
-Urban Clo^hing-Music-Graf. Supplies- B-boy.   Not a stance.   Not an old record label.
Not a synonym for a Hip Hopper. Not a break dancer...
SEPT/OCT. A B-boy and the act of B-boyingare
the title and description reserved
for those individuals who choose to
physically express Hip Hop in dance
form. B-boys have been B-boyin1 since
rhymers have been rhymin' and it has
gone through as much change and progression as rhyme styles have. But unlike rapping, not
and their
dog are
still trying
to break
in this day
and age of
the 90's,
aka "Make
you can't
mass produce or
c i a I I y
market a
B - b oy.
Breakin' did have it's "day in the sun"
back in the forgetten 1980's when the
media tried to expose and exploit this
elementand it's innovators. Nowadays,
B-boys have become few and far between but they now exist all across the
entire globe from Vancouver to Europe
and even i n Japan. Even more scarce are
those old school b-boys from the golden
age of Hip Hop, the shappingyears during the late 70's to the early 80's, before the media got a hold of any of it!
Can it be so simple? Yes, because b-
boyin' is alive and well with the help of
the now international Rocksteady Crew
with chapters found all over the world
(Japan, Atlanta, Bay Area, San Diego,
LA, New York, Great Britain to name a
few) representing DJing, MCing, graff
and B-boying. If you haven't had the
priviledge to see B-boys in '95, you must
get a hold of some recent footage because it's progressed eons beyond
handspins and the worm. Twenty years
deep into this breakdancing "phenomenon", original Rock Steady members
and active b-boys, Crazy Legs and Kenny
Swift have some shit they want get off
their chest.
What's Rock Steady Crew all about?
Crazy Legs: We're definitely tryin' to preserve and evolve the culture. Tryin' to continue passin' down the culture to the
younger generation in it's raw essence, in it's
true essence, not what is perceived to be by
the media.
ferent groups that were hangin' out. You had
your graffiti artists and your B-Boys, whatever... I mean, we just did it. It wasn't called
Hip Hop until '81 -*82.
How did it get that name?
CL From Bam. Bambaataa took it from a
that Luv
"It's not even a physical thing, B-fooyin' is mental.'
A lot of people consider you Old School,
but there was actually people before you,
CL Without a doubt. Some of us came in
on the tail end of what was the original
KS: There was people since 72.
CL I started in '77. When I washearin' Cold
Crush tapes in the early 1980's, there's this
one tape where J DL is talkin' about "and you
know I'm down from the Old School". So
1980's, before RUN DMC came out, the
originators were talkin' about the Old
But the shit started with Kool Here.
CL Without a doubt, Kool Here and Bam.
Yeah. See you gotta look at it this way: Kool
Here is the man that started it, right. Bam is
the one that presented it to the world as a
culture. He's the one that labelled it a culture. Itwas just something that we did back
in the days, ya know? When Kool Here and
them were doin* it, he came out with his system and there was a fusion of all these dif-
wop- all that shit.
KS: Shoo
wop doo
How do you feel about the movies you
were in like Beat Street?
CL Beat Street, except for maybe 2 songs,
had the corniest soundtrack I've ever heard
in my life. That shit was no B-boy music man!
We didn't even want to dance to that shit.
That was garbage... that movie is corny to
me. I only like Beat Street in segments. To
me, the ultimate one (movie) was Wild Style
but they never should've labelled it a movie,
it should've been a documentary.
So you never stopped through all the
years when the media didn't like you?
CL Media still doesn't like us. (laughs)
But you're getting more exposure now.
KS: We just real, that's why we get exposure. Nigguhz know they searchin' for
somethin'        that's genuine,
yaknowhati'msayin'? I know in my heart, and
I'msure in everybody's heart, there'salways
that bug in there, that when a beat came on
it didn't matter. If you wanted to do it you
20    ELEMENTS did it, and that's how I lived.
CL B-Boys don't lose it, we just get rusty...
put a little oil in there "doonkum doonkum
doonkum" (makes oil pumping sounds).
KS: It's not even a physical thing,
yaknowhati'msayin'. B-boyin' is mental. It's
like a reaction to drums. Your mind has to
absorb them drums first, before you can even
rock, before you can even throw yourself. You
gotta feel it in your mind. It's like "boom", it
hits you then you react. So it's all mental, and
that we'll never lose ya know. You could be an
old muthafucker, you could still be a B-boy...
'cause you're gonna react regardless of what
your physical is gonna let you do.
CL: And B-boy isn't a stance and Russell
Simmons isn't a B-boy either, just in case... ya
Want us to print that?
CL Hell fuckin'yeah! I ain't worried about
Russell, shit....
Do you think there are any naturals when
it comes to breakin'?
CL Oh yeah, as a matter of fact Ken Swift is a
KS: I feel
I'm a natural too.
Nah, you
know I
know if I'm
a natural
but I know
that this
dance was
made for
me man...
'cause I was
hyper, I
was into
percussion, I was
a drummer, and
when I first
saw it I was
an athlete when I was about 11
who've got no type of entrance to the
dance floor. He'll just walk on and immediately jump on their head and start spinning like some fuckin' court jester. Just to
get an immediate reaction from the audience. But when did he actually dance? Or
did he just jump in there and do 50 head
spins? That's just movement based on momentum.
Fu flicks. And then leave the Kung-Fu flicks and
go uptown to the park and start doin' some ill,
psychotic, you know, type of styles.
CL We'd leave the theatre fighting each other
then go and practice.
KS: "Vup. That's the one of the only things we
were influenced by.
KS: Yup, and alot of people forget that this
is a dance. You're supposed to dance. The
music stops goin' and you got circus act
nigguhz jumpin' on their heads and their
backs still goin' and theirain'teven no beats
on.    You're like "Yo, whassup man?
What'cha dancin' to?" The shit turns into   KS: Forget about it.
a spectacle. "Look at me, I'm an asshole!
CL You see, a lot of people like to do gymnastics. I think that's all cool but If you do a gymnastics move and make it only a gymnastics move
and you don't change it to a B-boy move and add
some flavor to it...
CL "Look at me, I'm destroyin' Hip Hop
Some rap magazines and other media
sources have just recently attempted to
link B-boying to having some roots in
gymnastics and especially the Brazilian
martial art, Capoeira. For the most part,
it seems like they're taking the props
away from the originators?
'"These ftids would rather breai than fight... Fucir that shit
CL A lot of people can do movement. But to
be a B-boy and possess the finesse and the
flavor and all the style... to be able to incorporate your character into the dance, is what
it's really about. You got a lot of these fools
KS: Ya see, we didn't watch no damn gymnastics, we didn't see no damn Capoeira
because I never heard of Capoeira 'till '90.
Yaknowhati'msayin'? The only shit we used
to check out was on 42nd Street, we used
to go down there with some booze and all
the fellas, go have a snackand watch Kung-
CL It's like, "Yo man, go to the Olympics."
KS: That shit is wack bro. I'll say it straight up.
Buck 4 used to do flares but he used to do B-boy
flares. He used to do these bugged out flares that
were B-boyflares not gymnastic flares. Nowthat
to me is usingyour creative ability. You know, if I
watch somebody do a pommel horse for like ten
minutes and flares for ten minutes, I could just
turn on ABC Sports and see a fuckin' gymnastics
routine. Shit like that changes the face of
breakin' because people start lookin' for that
only. They don't know that there's flavor,
soul, concept, science and
foundation involved .
lookin' at
some rep-
clean. Oh
and it's
got an
And then
spin and
they crash
into the crowd that even makes it worse for B-
boys because the freeze is one of the most important elements of B-boyin'. It's about control.
But it does happen to all of us, but for the most
part it's when nigguhz go powerfully out of control...
(Mad laughter from everybody)
SEPT/OCT.    21 KS: .. .they just get into some rocket boosters and shit and "KRSSSHHHSHSHSHHH"
(rocket launching sound effects). Kickin'
nigguhz molars out they mouths.
CL Yo, when we were battling these kids out
in San Diego. Nigguh was doing mad flares
and whatever, kickin' like three helmets and
hittin' some guy by accident...
KS: One nigguh jumped outthisyear, with a
helmet attached to his ankle by accident. The nigguh tried to jump in the
circle with a knapsack and a helmet
strapped to his ankle, trying to free
himself from it. That shit was funny.
Nigguhz trying to camp out next to
the circle like a camping outing. It's
funnyman. They need to be schooled
everyone calls ita windmill and everyone calls
the 1990 a 1990. But the original 1990 is a
float backspin that Ken Swift made up.
KS: .. .and the spin starts on the other side,
not on the flat part of the hand, not on the
palm, on the other side.
CL Yeah, and it's a bugged out move... not
too many people are aware of it. It's one
them moves you keep in the files and just
trying to think of somethin' that was futuristic and didn't deal with what people were
doin' at the time. I was trying to get on another level cause I was young and fresh and I
was feel in' right. So that was in like '81, '82,
and I said let me call it 1990 because it was
like eight years ahead of its time,
As far as actual moves and names
go, a lot of people don't know is
that Kenny, you created the 1990
and Legs, you created what most
people call the windmill. Is that
"You got a lot of these
fools whoVe got no type
of entrance to the dance
floor. He'll just walk on
and immediately jump
on their head and start
spinning like some
fuckin' court jester."
CL: And another thing, you know the
headspin, the continuous headspin with the
catch. That's Kid Freeze who made
that up, from Dynamic. But right now
it's like we'd have to get a pamphlet
out to every B-boy households in the
world to really correct it.
So you all used to be tight with NYC
Breakers and all the other crews
back when?
CL: Oh yeah, except for like, Dynamic. We used to fight with them all
the time.
Breakin1 would lead to fights?
CL Alright let's clear that up. See when we
went on tour, New York City Breakers and
Dynamic Rockers were left to rule the city,
while Rock Steady was already touring. It's
I ike the Hebrews and the Arabics, once they
broke away from the Aramaic language they
started changin' the dialects and all that
stuff. Same thing. The windmill is not called
the windmill. I made that up, it's called a
continuous backspin.   Fine,
blow a nigguh out with it.
KS: The 1990 word and name I made up.
But in '95 you look at someone do a 1990
and it's just doin' a handspin. And that's not
what a 1990 was. It was the essence of a
handspin. When I was makin'
it up,  I was
CL Check it out. That all depends on
the individual.  Sometimes there'll be like
one asshole in the crew that might want to
start a fight. That doesn't reflect on the
whole crew. But it would
lead    to
22    ELEMENTS both crews havin' beef. I'm not gonna say
B-boying' took the place of fighting and all
that, the only thing it did was I ike.. .when we
weren't fuckin' around doin' shit that was
negative, we was practicing or tryin' to get
some girls or gettin' high. I heard Kenny say
th is once," It was our alternative form of recreation."
KS: People wrote that a lot and a lot of media like magazines were like (in achezwhitey
accent) "Hey, these kids want to break
rather than fight" Fuck that shit.
CL: A lot of us still wanted to fight too.
KS: We weren't sayin', "Damn, I don't want
to be a fighter no more, I'm gonna get into
breakin'." You just got into breakin' man,
and if shit jumped off, shit jumped off. But
when you look at it on a positive level, subconsciously it was keepin' us out of trouble.
CL: B-boyin' was created by all the gangstas.
KS: The ruffneck nigguhz.
CL: It was the Zulu Kings and them. Those
are the people that were the Black Spades...
KS: ...and those people had children. The
young ones was the ones that were gettin'
out there on some rah rah and not really caring what people were thinkin'. 'Cause when
you look at it, a brotha that drops on the
floor and starts buggin' out, if you've never
seen it before, you're sayin', "Damn, isn't
he worried about what people are gonna
think of him?" When I fist saw one of my
partnersdoitin'76, '77,1 was embarrassed!
What's this brotha doin'? We walked by a
record store and he did a spin and a split and
everybody was lookin' at him. He just got
up, hewasfeelin' it, he was happy. And I was
lookin' at him like, "Damn, you don't even
care!" And that was the essence. So a lot of
ruffnecks were droppin', doin' what they
wanted and they didn't care who was
lookin'. That'sthereal essence of B-boyin',
not real ly conform ing to society and the way
you're supposed to be, supposed to act. The
beautiful thing about breakin' back in the
70s and 80s was that it was never documented. So there were no rules. If I made
up a move, I made up the move. And you
couldn't tell me I was doin' it wrong. I was
doin' it right. That's it, it's mine, it'syours,
boom whatever. No rules, no elders, no
teachers, nobody could tell you that you
were doin' it wrong...it belonged to the
street. Point blank.
Hip Hop Explosion Tour
1 I I  fcsy Sol   C_  _fc  Freestyle  Or_,_e?«B
"/efoliiiS    ^X,.
Dedos of       s
This past July, people across Canada witnessed Hip Hop history being made in the form of
the Rapcity Hip Hop Explosion Tour. This 17 date show featuring artists Raseali, Ghetto
Concept, K-OS and Frek Show boasts the first all Canadian rap tour to connect the coasts of
Canada. Hip Hop heads came out the woodworks in every city and represented themselves in
every city. All throughout the tour a few brave challengers from the crowd stepped up to the mic at
after parties and even during the shows only to be given a lesson in breath control by Rascalz MCs
Misfit and Red One Renegade, and Ghetto Concepts mic controllers Madlocks, Dolo, Quadro
and Infinite. B-boys Zeblin and Dedos also faced full squadrons, (most memorably in Hamilton)
and left casualties as well as taking a few blows themselves. Most importantly, they gave concert
goers across the nation an upclose demonstration of true b-boy style on stage with routines choreographed with Dj Kemo
the Labrat live on the
wheels of steel.
The first spot to
be blown was in the nation's capital Ottawa
on July 1st, Canada
Day. After thatfirst successful show, the tour
proceeded to demolish
most of Ontario's arenas with five consecutive
bombings. The fifth and
last Ontario show took
place in Thunder Bay
where 350 heads
packed the building.
Winnipeg was the next target, but due to a simple wrong turn, the groups tour vans
ended up crossing the Canada/USA border unknowingly. Resulting in a four and a half hour delay.
Why such a delay in crossing back into Canada, with three vans full of aspiring young Wack Hip Hop
artists? Maybe it was due to strict border crossing regulations. Or, it was just some good old
fashioned BULLSHIT.
The tour then
rolled into Alberta and
stampeded through
Calgary and made their
way over the Rockies
into British Columbia,
home of the Rascalz By
that time each group had
their shit basically down
to a fine science, so when
they arrived in Kelowna
they completely blew the
town into oblivion, leaving shards of flying shrapnel embedded in the
heads of the most responsive audience on the tour. In laymans terms it was some live ass shit, complete with stage diving
and all. K-OS even jumped in there on some ol' brave shit
The Hip Hop Explosion Tour finally reached the Pacific Ocean. The tour was extremely
successful (except for the mediocre Vancouver turn out) as crowds across Canada got to witness
live Hip Hop courtesy of the Rascalz Ghetto Concept and K-OS. Honourable mention goes out to
Frek Show for representing themselves well and getting their name out there besides working with
some bw budget type business.
Props go out to Rap City, Figure Four Records, Quality, HipLogic, REMG and
most of all to the real motherfuckers for coming out and supporting their Hip Hop culture. Peace.
SEPT/OCT.    23 How long have you two been together?
When did you two start taking It seriously?
G-Knight: Elemental, we've been together for 3 years. I was introduced to Precise through someone named the Infamous
Darkman, he was playin' as my manager at the time. He introduced us and we started practicing up on our skills. I was just an
MC.nawl couldn't really call myself an MC. I was an aspiring MC
from around the way, I was 16 or 17 at the time. I was just you
know, freestylin" around the way, but I never really took it too
G: When I first actually met Precise, and was first introduced to
him. I just started to learn how to practice up on my skills as a
rapper, pronunciation, volume, just practising up on my flows so
I sound clear.
Precise: I was a basement DJ I guess you can say... I have a sound
crew now. But yeah, I was just a DJ from around the way until I
metG-Knight. I never reallythoughtaboutbeingaDJinagroup,
24    ELEMENTS doing shows and stuff, until this Infamous
Darkman actually broke it down to me. So
then he introduced me to G-Knightand we
hooked up and started practicing and stuff.
Let's speak about the record for a
minute, is "Drama" and "Livin1 Underwater" your first studio experiences, or
have you gone
through the
demo process?
G: Actually,
"Drama" and
"Livin' Underwater" are the
first two actual
studio cut
songs that we
ever did.
Word? What
are you trying
to get across
with this 12"?
G: "Drama" is
just introducing the world
to Elemental.
It's what we
do. The first
verse describes
what I have to
go through to try and link up with Precise
sowecanpracticeanddowhatwedo. The
second verse is more of a vibe, just freestyle lyrics. It just gives an overview of what
Elemental is about. The b-side, "Living Underwater", is life through my eyes in an imaginative way of putting it. I didn't want it
to appear just plain black and white and
just tell what goes on. I wanted it to be
different so it would hit on a different part
of the brain.
How do you want to be seen as an MC?
G: I started to take more of a liking to solo
artists, because I like seeing MCs that are
strong individuals on the records, instead
of havinga whole group, or gang of nigguhz
that come on and help them out. They
handle all the creative aspects by themselves. That's what I admire them for and
I'd like to be admired the same way.
What is Elemental trying to bring to H ip
G: When they listen to G-Knight, when
they listen to me rap, I want people to recognize that here comes a different brother
with some different morals and a different
standard that I want to set as a part to
what's going on everyday. I nstead of goin'
with the grain, or the mainstream, I want
to change mainstream and make it follow
behind me.
How do you see the Hip Hop scene in
P: They're very picky. They know what
they're lookingforin a Hip Hopgroup, and
they're not afraid to criticise.
G: Definitely. Toronto is a very unforgiving crowd. It's good and it's bad. AToronto
crowd can spot a fraud in a second, in a second. But if your good, but inspiring to be
better, they won't support you until you
reach that better point. You might as well
not come out until you got everything
down pat. It's hard to get a second chance
out in Toronto. People out here love their
Hip Hop though. There's not a lot of
positivity towards their homegrown acts,
they're always looking toward the states.
But it's changing 'cause there's a lot more
P: A lot more talent coming out.
G: A lot more talent coming out of Toronto. More now than I've ever seen before, andeverybodygottheirshittight. I'm
eager to see what's going to happen in the
next few years.
And the Canadian scene?
G: I see all the
groups around
here getting
more tighter
and better, but
still don't
think the market up here
is... it's not really there yet
until somebody from
Canada actually breaks over
to the state
side. Nobody
will blow up
their own until
they see if
somebody outside likes
them. Say if
from Canada
has a hit single
in New York or
whatever, then
Canada would be the bomb. When other
cities out side the country take interest in
Canadian product then I thinkCanada will
really be the bomb, because the crowd up
here is so used to following everywhere
else for good music.
Is there anything else that you want to
G: Just don't sleep, just don't sleep. And
give thanks to Vancouver, all the real heads
who represent and support Elemental.
SEPT/OCT.    25 ews
Long Play)
First of all, every artist must change
with the times, not to follow trends
or whatever, but to keep innovative
and progress. KRS knows this and
comes correct everytime with lyrics
and beats for non stop head nods but
he gets 7% knocked off for not having the names of his songs and producer credits on the advance tape.
We figured it was Premier, Diamond D, and the Blastmaster
himself on the boards. Just for your
few dollars he hits you off with a lifetime of knowledge. This is Kris'
eighth album (including the live joint)
since his debut circa 1986. The only
trend KRS follows is his own; to
edutain his followers by sharing all
the information he accumulates
through his life to date. Like any
good teacher, KRS One is not trying
to impress anyone so let him tell you
what he knows. And holy shit!
That's a lot of shit! "What I Know"
produced by Diamond D contains
lines like,"If you don't know who you
are then you are clinically insane!"
That track is followed by "Give Me
Relief", a more realistic "I'll Take
You There" Big Daddy type joint,
where KRS breaks some shit down
without sounding corny, including an
education system overhaul. This album
has the substance of any classic BDP
album with the added 95 flavor update Kris consistently develops
every album. Pure lip service here.
"You can be a mack, a pimp, hustler
or player, but make sure live, you is
a dope rhyme sayer." You probably
heard that shit on his latest single
called "MCs Act Like They Don't
Know" and his other shit "Ah
Yeah!". Nuff said there. But keep
an ear out for "Represent The
Real Hip Hop" (on both KRS's and
Das's albums) where Das EFX join
Kris up on the mic and tear shit up. No Diggedy! "Rappers Are In Danger" is probably the second single and it's bangin'. "Build Your Skills" is
another public service announcement to all stupid ass half fast, part time
sucka MCs trying to make a fast buck. The only let down was that some of
the beats is just alright, but these are just our thoughts. But don't get us
wrong, the LP is tight still without question. Oh yeah, that hole, hoi', whole
etc. shit is a trip. So link yourself up with a copy and sit your ass down,
take off your hat and shut the fuck up 'cause class is in session this September, again. This time around, WAKE UP! Take the wack shit from your
tape decks, and put KRS in it. Fresh for 95! YOU
SUCKAAAAAS   !   !   !
- Kemo the Labrat & Mr. Flipout
26    ELEMENTS Various Artists
Bomb Compilation:
Return of the DJ
Bomb Magazine
There were very few things wrong
with this compilation. Most of the
material is very creative and original. But on the other hand, some
of it can be somewhat ongoing and
repetitive. If somebody stepped to
me and asked me to hook a track
for a project like this, I would do a
hell of a lot more than just cut over
a drum track. A couple of the
songs were kinda the same; in the
sense that you might ask, "Why
would a DJ of this calibre sell him/
herself short by only cutting breaks
on top of a track?" Don't get me
wrong now - every head that got
down for this album is mad tight!
All DJs possess skills, some alike
and some not. The best track was
"The Chronicles" by Peanut
Butter Wolf as you're taken
through sort of a time warp
through Hip Hop. The Invisible
Scratch Pikelz (Q-Bert,
ShortKut and Disk) represent
just lovely on a track constructed
solely from the turntables. No
samplers, it's unbelievable, you
need to hear it yourself. Another
track of note is Rob Swift of the X
Men (Sinister, Roc Raider etc.) from
New York, rocking "Nobody
Beats the Biz" back and forth. I
believe that when some people review records (no one in particular)
they tend to rate the record by
comparing it to another. There has
never been a record like this one
so it would be impossible to compare it to anything. I can't rate it
but I can definitely say that it's one
of the most creative Hip Hop
records to own. And it's an absolute must have for anyone that's
down with the culture as a whole.
So What Cha Sayin? Pick the
motherfucker up and show your support. DJ's are dying and they
need vinyl.
-DJ Kiio-Cee
Hold It Down
Ah yes, it's diggedy Das and the Hit
Squad once again invading air waves,
dance halls and everywhere else in between with their new LP, Hold It Down.
This is some classic Das material, 18 full
cuts deep with the Pete Rock remix of
"Real Hip Hop" on the CD. The tracks
which impressed me the most were
"RepresentThe Real Hip Hop" with
a guest appearance with the
Blast master himself. "Here It Is" and
"Dedicated" are also some songs to
look out for. Don't forget the first single "Real Hip Hop", that's my shit right
there. As far as the beats go, I think
Premier should have done the whole
album. Most of the tracks are tight but
they could have been more bad ass to
compliment the bad ass lyrics. Included
in the LP is a little wreck session called
"Buck-Buck" with DJ Dice cutting the
"Big Beat" break back to back and
Krazy Drazy and the Books in reverse
rockin' raw rhymes through distorted
speakers. Remember that RUN DMC
shit? That's the cut to keep everybody
open. Das frequently flips the iggedy
stylee, but all that tiggedy-tiggedy-tongue
twisting shit don't impress me. There's
also a little too many metaphors and
rhymes about 40's and blunts, but like I
said, this is a classic Das album so don't
expect a new and improved Das. It's still
the same Krazy Drays and the Boogie
Banger Books wreckin' mic's, teaching
the amateurs how to rock shit properly.
I love these brothas flows and if you liked
their last two albums, Dead Serious and
Straight Up Sewaside (you know, the
one that everybody slept on) ya best to
examine Hold It Down.
- Labrat #1
Junior M.A.F.I.A.
Big Beat
To tell you the truth, I'm kinda sick of
hearin' rhymes about the same ol' shit -
designer labels, money, expensive cars,
gats, and more gats... and this is basically
the subject matter of Junior
M.A.F.I.A.'s debut album, Conspiracy.
Don't get me wrong, there's definitely
some funky material on it, but there's
also a fair amount of bullshit! On side A
check for "White Chalk", a slow
tempo hardcore track which definitely
bangs for me. "Realms of the Junior
M.A.F.I.A." and "Get Money" are
kinda nice too. On side B, I dig "Oh My
Lord" which reminds me of a b-side on
a Kid Sensation single called "Seattle's
Best In Action". The bomb song on
the b-side is probably "Murder Onze"
- the shit is fly. Some members of Biggie's
clique, like Larceny & Klepto, got
rhyme skills. But as for Little Kim, the
only female MC in the crew, her shit is
wack. The second single, "I Need You
Tonight", is one of those "let's make a
jam for the clubs and radio and get paid"
type track that will probably get a whole
SEPT/OCT    27 lot of club and radio play. I hate it when
all the MCs in a crew got the same flows
and be rhymin' about nothin', and this is
often the case with this album. Overall,
Conspiracy is pretty much an extension of Biggie's album. Aside from the
songs mentioned, the rest of the album
is pretty much cheese. Make sure you
got fresh batteries in your walkman when
you peep this album, 'cause you might
be doin' a bit of fastforwarding and rewinding. Checkmate rate - 70%
- Checkmate
Step into the cipher as we go 360°into
a world of deep beats and straight up
rhymes. Out on Mocca Records.Van-
couver's G2 and Clean are bringing you
some ol' ill shit Starting off at 60°, we
go into "One" where G "splits heads
on phonograph" and let's MCs know
who's in charge. From here he let's you
know what it's like comin' up and that
you gotta pay "Dues". This track has an
ill bassline that seems to be swirling
around you as the drums keep hittin' you
in the face. You might recognize it as the
beat that cipher clique member Sleep
rhymed over at the beginning of the video
for the first single "Peeps" (DJ's better
recognize). Now we're at 180°. In here
we get introduced to the rest of the crew
on "Punchlines" the albums posse cut
featuring Sleep, Natural Skills, Pele
Stoane, and Precise. At 240° we get
"The Sequel", the remix for "Peeps",
and my favourite cut off the album,
"Blast Off". I say nothing, just check
it. 360° brings us to "Relay", where G2
shares the mic with his partner from
Boston, XL. As an album, 360° is not
earth shattering and the production
seems to be muddled at times, but don't
push it aside either. Overall it's good
listening. I don't see any of the songs
blowin' up on the dance floor, but I don't
believe that was their intention either.
Check it, listen to it, and bob ya head.
- Musiklee Inzane
Chef Raekwon
Only Built for
Cuban Linx Nigguhz
Every time I sat down to write this review I couldn't write more than two or
three sentences before I was lured into
the music and completely side tracked.
What more can I say except Raekwon
and Ghost Face got the best product
on the block and I'm fiendin' for another
hit. Shit, nothin' can be compared to
Enter the 36 Chambers but yo, straight
the fuck up.this shit is BANGIN'. From
the lyrical content straight down to the
song titles, the shit gets me the feelin'
like watchin' old Mafia flicks and shit.
Lemme rundown the new aliases theWu-
Gambinos are also known as: Lou Dia-
monds-Shallah Raekwon, Tony Starks-
Ghost Face Killa, Maximmillion-Gen-
ius/Gza, Johnny Blaze-Method Man,
Cappuchino-Cappa Donna, Noodles-
Masta Killa, Roily Fingers-lnspecta
Deck/Rebel INS, Lucky Handz-U-God/
Golden Armz and of course the Mas
ter, Bobby Steeles-Prince Rakeem/
RZA. Special appearance by Nas
Escobar accompanying Diamonds and
Starks on some "Verbal Intercourse"
shit. Starks catches solo wreck on
"Wisdom Body" talkin' about/Check
the bangin' sounds that I invent!" Point
blank, every track is dope on this so I
won't even bother mentioning anymore
about them. Except yo, I gotta put in
my two favorite choruses off the album.
The first is from "Knowledge God"
"Why is my nigguhz always yellin' that
broke shit? Let's get money sun, now
you wanna smoke shit. Chill god. Yo the
sun don't chill Allah. What's today's mathematics sun? Knowledge god." Oh the
track, "Incarcerated Scarf aces"
Raekwon flips, "Yo yo, time is running
out. It's for real though, let's connect,
politic, ditto. We could trade places, get
lifted in the staircases. Word up. Peace
incarcerated scarfaces." If you need
anymore info on this shit, make sure you
check out Flipout's Raekwon essay in the
previous issue (Aug.) Peace and no more.
- FreeStyle Crazee
28    ELEMENTS f
Kool G Rap
"It's A Shame"
Cold Chillin'
"And once again it's Big G..." Make that
the Big mother fuckin' bad man G and
to take a phrase from another bad ass
Queens nigguh Cool J, "Don't call it a
comeback, I've been here for years..."
The Kool Genius of Rap has returned
to his stompin' grounds to claim what's
his and what's yours and more of what's
his. On this latest tale from the streets
of New York, G. Rap speaks of what he's
gotta do to get that loot. This may seem
like some played out shit to some but
remember, this is the man that has been
relaying stories of sex, money & drugs
since his debut album Road To The
Riches and was wanted dead or alive
years before Snoop was on death row.
This nigguh taught motherfuckers how
to rhyme about that shit So his debut
single "It's A Shame" from his new album 4,5,6, is some serious rhymin' that
few, if any, can touch. The track itself is
on some rugged smooth shit guaranteed
to have you rewinding for the rest of
the week. That bitch singin' does get to
you though but fuck it, shit bangs. To
complicate matters even further, the
remix (by Dr. Butcher) will keep you
occupied for another two weeks of rewinding. Hopefully this time around
motherfuckers WON'T SLEEP! By the
way, Nas is on his album.
- FreeStyle Crazee
Duck Down Sampler
"Nigguhz Ain't Ready"
b/w "Letcha Brainz Bio"
Duck Down
Wha'!!! This shit is dope, no frontin'.
This 12 inch features two tracks. On
one side is the original version of
"Headz Ain't Ready" featuring the
members of the Bootcamp Clique, which
sounds like Total's "Can't You See" (minus the singing and r&b chords of course)
by using the JB "Payback" loop. This
shit is called "Nigguhz Ain't Ready"
and it features Smif n'Wessun, Buckshot, Heltah Skeltah and Original
Gun Clappers, so you know that this
joint is all that, from conception. The
other track is the first shit from the
Bootcamp's newest duo to be released,
Heltah Skeltah, with the cut "Letcha
Brainz Bio". I heard that same loop
on Show & AG's, "You Know Now"
remix by Buckwild. Heltah Skeltah consists of two seriously dope MCs, Ruk
and Rock. These two Bucktowners deserve all praises due while the
Beatminers get all my love still, just
keep pumping out those butter
instrumentals. Be aware because
Bootcamp Clique is ready for the war
so, who wan come test? Bring it to the
battle lines if you think your ready. If
not I recommend you search for this
hard to get 12 inch (there were only 300
copies pressed up, but it's now available
on bootleg) and keep your ears and eyes
out for the next Heltah Skeltah product. You won't be disappointed.
- Labrat #1, Kemo
Big Kap feat. Da Ladies
"Da Ladies
In The House"
Tommy Boy
I could have got with the whole 12 inch
had it not been for a few turn off s and
minor disappointments. First, I must say
that all five of the female MCs, Trip,
Uneek (Doo Wop and the Bounce
Squad), Precise, Bahamadia
(jazzmatazz II, "Respect the Architect")
SEPT/OCT.    29 & Lauryn (Fugees) show and prove on
"Big Kap with the Ladies". They all have
crazy skills and of course for that reason alone it's worth checkin'. Both versions of "Da Ladies In The House" are s-
u-u-w-e-e-t! Especially the remix that
uses that classic Eric B & Rakim beat
from "Mahogany" along with Slick Rick's
"Mona Lisa". Dope. However, the disappointment came with "Big Kap is lllin'".
The title basically says it all. The man
hardly makes sense trying to chat while
the ladies are doin' the do. To me, it
sounded like he was tryin' to make it
ultra clear to everyone that he played a
significant part in uniting these dope
MCs on wax. Kap, your name is on
the cover! Overall I'd suggest this 12
inch to anyone who is down to hear
some dope ass MCs rockin1 the mic.
Nuff respect.
- Ebony
Shabazz the Disciple
"Death Be
The Penalty"
A word of warning, if you have ancestors who were slave masters, you'll probably feel a sharp pain in your gut when
you first hear this single. Scientific
Shabazz drops a bomb with his first
12 inch and video. The lyrics contain
some factual knowledge about the imposed religion on the western world,
slave trading and some of it's history,
amongst other things. If you get to hear
this song, listen to it Here's some of
the jewels dropped by Shabazz - "...the
trick knowledge them use to decieve us/
you've been plagued with the mental diseases/ you worship false portraits of Jesus/ the crafted image you worship is
Ceasars." and "I be the star to dispel
the darkness/ casted on your soul by
inhabitants of Mount Caucus!" The man
gets deeper still so heads best not sleep
on this here single. This is another
branch of that top grade Wu-Tang Hip
Hop. Sunz Of Man member 60 Second Assassin shines some more light
during the chorus, "Swing it low sweet
chariot/ pick up the right to vote and yo
then carry it/ to a new home and identity/ for my peeps/ death will be the penalty..." Production is handled by the
Fourth Disciple and the shit is a bomb.
Although the remix doesn't compare
with the original, it didn't bother me a
bit. Shabazz is one MC I'm waiting to
hear more from and you can also check
the GraveDiggaz joint, "Diary of a
Madman" for Shabazz's first verse and
he's also drops science on "Graveyard
Chamber". That shit ain't no horror-core
bullshit. Oh yeah, if you get to see his
video, the shit is mad. Paz y no mas.
- Jesus Enrique Montaldo
b/w "Drop"
Delicious Vinyl
"Can't keep runnin' awayyyaahyeeaa..."
Holy shit! How can I explain this?
Pharcyde has stepped into some foreign territory,some unseen and unheard
type shit This beat has a bossanova flow
to it, with each lyricist bringing a new
delivery from each other making this a
brand new Pharcyde that we've never
seen before. I believe this song here
could catapult Pharcyde into Superstar
"Pimp Status" Entertainers, along the
likes of Michael J or Madonna or
Boyzli Men. Or they'll near fatally hurt
their careers... somewhat The beat is
smooth shit with intense melodic
rhythms.Very appealing production courtesy of Jay Dee. "Running" is gonna
have you thinking twice about what kind
of music your listening to. Definitely a
milestone joint, that seriously next, next
level kinda close to no mans land. On
the flip-side is "Drop" which is another
cut off the new Pharcyde LP
LabCabinCaliforinia. This track wasn't
anywhere close to the A-side and it
didn't really move me. But you could
fuck what I'm saying and peep the shit
for yourself, as usual. See what type of
vibe you get from the songs.
- Kemo, the #I Labrat
"Liquid Swords"
blw "Labels"
Ole! Ole! Toro! What is that I see over
them there pastures? Is that the GZA-
GZA Genius waving a red cape at a raging bull? Naw, but that's the image you
might get at your first listens of "Liquid
Swords," the title track off the new
Genius album. This is the Genius strictly
wrekin' the mic to shreds. No fancy production by Bobby Steels and no pretty
voices in the chorus. Once again, it's
that raw, uncut, pure grade Wu product.
"I don't waste ink, nigguh I think, I drop
megaton bombs faster than you can
blink" just a little taste of what will, "hit
the mental plane, just to spark the
brain..." This is the year of the Wu no
doubt,be prepared for more infifcrations
of other Clan members into your local
hip hop airwaves and look out for the
new Wu-Gambinos compilation coming sooner than you think.
- Kemo
Q-Ball & Curt Casal
"My Kinda Moves"
"My Kinda Moves" is the feature song
off this twelve inch. The beat uses a simple piano loop with the Ol' Dirty Bastard's patented "Whoaooohhhh!!!" vocal sample. I somewhat enjoyed this selection because it's straight forward and
simple. This doesn't have a mass appeal
feel though rather a distinct underground
vibe. The other side "All the Flava"
sounds similar to material by Warren G
or the Dove Shack.. The other song fea-
tured on the record is "War Out
There" which including a group of people called the Exmenn. This track is
on the border of mediocre but the lyrics are well delivered. Overall,this 12 is
worth the loot for "My Kinda Moves"
- Ebony
30    ELEMENTS 1. Centos - Liquid Swords
t Smooth? Pt Hustler - token language
3. Aceyakme- Mic Check
(labrat Remix)
4. Sniff »' Wessun - Nuthin' Moves
Put The Money
5. NfrWto-Then There's Nada
6. A Tribe Called Quest - (Hamour
and Glitz
7. Q-m Sr Curt Casal - My Kinda
S. N Rob Swift-... (rets Susy
9. Pas EFX-Here It Is
10. Kool t. Kap feat. Nas - Fast Ufe
1. Wq Kap feat. Pa ladies -
Ladies in da House (Remix)
1. Rascalz - Solitaire (Remix)
3. KRS ONE- Rappaz R.N.Painja
4. Shabazz the Plsctpie - Peath
&e The Penalty
5. Saukrates - Hate Runs Peep
6. Masta Acs Inc. - Maintain
7. Cipher-Wast Off
S. Raekwon - Rainy Pays
9. AZ-1 Fed For You
10. Pas EFX and KRS One - Represent
the Real Hip Hop
*£^ The Funk Of a Lifetime
Curtis Mayfield
Harold Melvin &
The Blue Notes
fHE Spinners
Music From The Motion Picture
/   **■ 1/ ^ \_.i
A Hughes Brothers Film
Isaac Hayes tsf all On By"
Available on Underworld/Capitol Compact Discs and Cassettes
Film Opens October 6
Excecutive Album Producers: Albert Hughes £ Aden Hughes £ Dairy I Porter. Co-Executive Album Producer: Bonnie Greenber?


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