Richard Raw: I am influenced by what I see. I try to write from the heart. I have read so many books, I don’t read no more, I am trying to live and practice what I already know. We are all inspired by each other.
The 5% teachings is very popular in today's Rap, known mainly as the Nations Of Gods and Earths, Hip hop greats such as Big Daddy Kane, Brand Nubian, Poor Righteous Teachers, Wu-Tang Clan, just to name a few have used some of the ideology's in thier ryhmes and music. Another ideology that has been ignored is that of the Nuwaubian influence on the HipHop culture, very well made visible by The Lost Children Of Babylon.
I once heard someone say Nu-wop, while LCOB might not be the first ones known for heavily using Dr. York's teachings, they currently stand in the fore front. By the time Hiphop started taking off, Dr. York was already a prominent teacher of alternative black cultural knowledge, working extensively with young people. He was also an active musician and producer (played disco/r&b), with knowledge of the industry and access to studio equipment. Doug E. Fresh and Afrika Bambaataa were among the old-schoolers who benefited from Doc’s guidance, according to the teacher’s adopted son, Tariq L., of the Atlanta-based duo the Hemisphere… “I just happen to be Nuwaubian,” says Tariq. “It’s not like I’m telling the world, ‘You got to be one.’”
That attitude is common among Nuwaubians in Hiphop. So the teachings are a lot less prominent in rap lyrics than, say, Five Percent Nation lessons, which tend more toward the directive… Posdnuos from De La Soul… has been down with the Nuwaubians for years, but his rhymes lend De La fans nary a clue. Prodigy from Mobb Deep, among the most respected of active rhyme writers, revealed in an interview some time back that he adopted a strict vegan diet on advice culled from Dr. York’s books, which he recommended to a fan with questions about nutrition. One of the best independent hiphop album of the modern era, MF Doom’s Operation: Doomsday, has on its back cover a photo of the artist and his late brother and KMD partner, Subroc, at the upstate New York Nuwaubian facility. It is not labeled as such.
Amongst the indie hip hop ranks you have Nuwaubians who perform what they call Nu-wop, such as Daddi Kuwsh, Twinity, Nefu Amun Hotep, 9thScientist, Scienz Of Life, Ntelek, and Lost Children Of Babylon to name a few.
Together, they made an album rife with quotes from The Matrix and rhymes about ancient Egypt, outer space and chromosomes, all laid over futuristic/sci-fi beats that seem transplanted from other worlds. It’s really much more than a musical creation; it represents a new, somewhat complicated teaching called Nuwaubu (new-ah-boo). “You can dance to our music,” Rasul Allah explains of the group’s aim, “but it’s strictly to stimulate certain latent forces inside your chromosomes.” going on to say "When I came into contact with another form of knowledge and enhanced my consciousness, I wanted to start spreading that as a form of message, through sound and words and music." Of the mix of spirituality and Rap, Kemite claims, "It’s the new evolution of Rap.
Wu-International had the privilege of talking to Richard Raw and Rasul Allah Of LCOB about past catalogue and the new album, The United Nuwaubian Nation Of Moors, Wu-Tang, and hip-hop in general.
................................................. Question: Peace, How are you? Richard Raw: I feel good, just staying busy.
Question: Rasul Allahu, what’s good? Rasul Allah: I’m doing ok, hopefully our albums will sell.
Question: We're just going to dive into the questions, please let us know who the Lost Children Of Babylon are? Richard Raw: The lost children are Richard Raw, Rasul Allahu, Breath Of Judah, Ancient Kemit, Atun Sen Geb, Cosmic Crusader, and Amun Sen Hotep Re!!!!!!
The Ninth Elder.Question: How was the group formed and how did everyone meet? Richard Raw: The group was formed by Rasul Allahu. Originally lost children were just Rasul Allahu, kemit and Judah. Rasul came to one of my shows because I released a record of landspeed back in 2000 called America. We were only to do a few songs but he just told me I was a part of the group and that’s how it happened.
Question: Rasul, you being the founder, could you please add on to this, how long has the group been in existence and how has it evolved to its current roster of MC's, producers etc? Rasul Allah: The LCOB is a group of apostles that form a council of nine, we are from the United Nuwaubian Nation of Moors, and LCOB consists of Rasul Allah (Verbal Terrorist), Rich Raw (Tehuti Mos), Cosmic Crusader (Quetzalcoatl), Ancient Kemet (Lyrical Alchemist), Amun Sen Hotep-Re, Atun Sen-geb (The Elohim), and Stretch The Mad Scientist. We have been around since the late '90's.
Question: And is everyone in the group from Philadelphia? Rasul Allah: Yes
Question: Is there a meaning to the name “Lost Children Of Babylon”? Why lost? Rasul Allah: Well the name is a metaphor, it implies that we are children of the most high lost in Babylon (America) Richard Raw: As you know America is the new Babylon. We who represent the voice of the children are lost in the midst of the madness.
Question: Spiritual Rap? the media has labelled your group as this, how would you describe LCOB type of music? Rasul Allah: I see LCOB as having an Esoteric and Psychedelic sound, Spirituality is inherited in it because of the subject matter that is being spoken about.
Question: You also go by the name Lost children of Egypt, but everyone is used to LCOB, any other names/aliases that you use? And why did you try to change it? Rasul Allah: No, We used LCOE because the supreme grand master teacher Dr. Malachi Z.York-EL asked us to use LCOE for our second album (Words Of the Duat) which has a more Egyptian-based view that ties in to our ancestors. Richard Raw: We never sought to change the name LCOB, the lost children of egipt was to represent our alter egos. The second album words of the duat was a much different sounding album for us. We were trying to go a step above the equidivium. I still think people weren’t ready for it.
Question: How did you meet with Jedi Mind Tricks to work on the Psycho-Social album? Rasul Allah: This is a good question and I’m glad you asked. The story goes like this, after I met Killah Priest and the Sunz of man back in 94 they told me that we needed to put together a demo, at the time LCOB was a group but we didn’t have any material. When I went to Philly I began to compose my scrolls, I got this call one night from a friend saying "His Friend (Vinnie) wants to do some songs with you" at the time they were in a group but weren’t called Jedi mind tricks yet. So I met up with them, and I began teaching them the ancient science of Nuwaupu, previously Paz was studying the hare krishna culture so he related to the teachings, we were discussing on collaborating on a spiritual - based album like the sunz of man, We began working on some tracks.
Question: There were rumours of a rift between you, the group and Jedi Mind Tricks in the past, is this true and could you please shed more light on this? Rasul Allah: The reason why a rift began is because individuals in the street were talking negatively about Vinnie, because he was rhyming about 5%, NOI ,and Nuwaupu lessons, and being that he was white people didn’t accept it at first and I was caught in the middle of it being a student myself. People, they thought I was the one saying those things when I wasn’t. So at the time we parted ways to further cause no more tension. I personally don’t know what took place with Jus Allah so I can’t comment on that situation, But all in all JMT and LCOB ARE IN GOOD WORKING TERMS....
Question: There have been debates online about LCOB being the founders of spiritual Rap, what is your claim or view on this? Richard Raw: There have been many that have pioneered spiritual Rap. I personally think it got its start with Brother J of X-Clan. The Gravediggaz took it a step further. So we did not start spiritual Rap. We go more deep than others but no, Peace to professor x and brother j of x clan.
Question: What influences or inspires your music personally and that of the group? Richard Raw: I am influenced by what I see. I try to write from the heart. I have read so many books, I don’t read no more, I am trying to live and practice what I already know. We are all inspired by each other.
Question: Your lyrics draw influences from numerous sources such as that of the Nuwaubian philosophy, Islam, Nations of the Gods and Earths, etc Do you follow any religion or science? Rasul Allah: Yes, I am A Sufi-Muslim, from the Sufi order of the Suns of the Green Light, I am also part of various masonic orders.
Question: The CNN once described "The Nuwaubian philosophy to include elements of Christianity, ancient Egyptian polytheism and a belief in unidentified flying objects (UFOs)." What is your take on this? Richard Raw: Nuwaubu is an ancient science practiced by the being we call the pygmy... As you know eve of the genesis story came from this tribe who were considered the earliest inhabitants of this planet. They practiced a way of life called nuwaubu (the science of sound right reasoning) all religions and ways of life came from this including the so called egiptian philosophy. As you know Christianity and Islam has roots in egipt. So all is inclusive. That’s why they can’t pinpoint us. Nuwaubu is not a religion it’s more of a fraternal order. Rasul Allah: First of all I don’t believe in any UFO's because the statement itself is illogical. The reason why you see various religious imagery within the nuwaubu philosophy is because we are rewriting theology. Christism, Judaism, Muhhamadism, all come from the Ancient Mystery Schools of Egypt
Question: Thanks, So Rasul when and why did you start searching for the right knowledge? Rasul Allah: I was raised a Muslim and I would attend the madras, I would always question the Quran, and so I was reprimanded. Finally I was introduced to the teaching of Dr. Malachi Z York around ‘93 that lead me into the principles of sound right reasoning. Question: Ok, Moving on, there was a logo of Sunz Of Man on your first album, and also a recent press release claimed you had an affiliation with Wu-Tang Clan’s Sunz Of Man, Is this true? If so please tell us how you are affiliated? Richard Raw: We actually snuck behind stage of a sunz of man concert years back. We rhymed for them and killah Priest took a liking to us. We have kept in contact with them ever since. Rasul Allah: Yes, we are affiliated with Sunz of Man, Killarmy, and the rest of the killabess. The first affiliate that I met was 4th disciple and Budda Monk (ODB’s brother), he then introduced me to 9th prince (the madman) who then introduced me to killah priest. And we have been tight ever since.
Question: So would you consider yourself to be affiliated with the bigger family of the Wu-Tang Clan? Rasul Allah: Yes Richard Raw: We all represent truth justice and equality. Wu-tang is for the children and we are the lost children who they were trying to reach. So we grew up listening to our elders and we are ready to stand with our big brothers. Rest in peace to ODB!!!!!
Question: Have the group worked with Sunz Of Man or their members on any songs and are there any plans for further collaboration in a song or album? Richard Raw: Actually, I just recorded a song with Killah Priest called baby Israel, its one of the craziest songs ever!!!!!!!!!! Me and Rasul just recorded a song with Killah Priest and Hell Razah called March. We are working real close with them these days. The lost children of Babylon just did a show with killah priest in Miami.
Question: Will there ever be a Sunz Of Man / LCOB album? Rasul Allah: Yes there will be a future lcob/sunzofman collabo. Hell Razah and killah priest are working on a project called the premix ...so look out for that ...produced by Ahmad and Jesse for Bombshell recordings..
Question: Who else in the Wu-tang family tree are you or the other members of the group close to? Rasul Allah: We’re cool with the whole fam, but we’re closest with Priest and Hell razah.
Question: What else as in groups/religion etc are the LCOB affiliated or linked to? Rasul Allah: We study Nuwaupu, which doesn’t bind us to one religion, we are students and teachers of all philosophies and cultures
Question: Please tell us about all 3 albums released by LCOB? Rasul Allah: Our first record “The Equidivium" takes you on a philosophical spiritual journey through theology math, and metaphysics. Then “Words from the duat” is taking you on a darker journey yet with the same subject matter. Our most recent record the 911 report deals strictly with today’s issues around the world and in politics....
Question: The albums were initially released independently and they sold very well, It is to date one of the highest sellers on eBay, You have fans in Europe, Asia and worldwide who would pay big box to get a hold of your CDs, why do you think this is so and do you think the internet is the future of album releases and sales? Richard Raw: We are one of the last groups to maintain a spiritual twist to our music. So when people have access to it they don’t mind paying for what is almost extinct. There are a lot of people across the waters that love LCOB. Being we are not able to get there physically, we get there though our music via internet. So having a strong hold on the net is a must. This is the future of hip-hop. Rasul Allah: The reason is because people want to hear something different, consciousness is rising in hip hop and people realizing the artistic talent in LCOB and are drawn to it.
Question: LCOB have done well selling out most of your albums independently, why did you hook up with babygrande to re-releasing all 3 albums again? Rasul Allah: Well we tried to sign with babygrande 2 years ago but for some reason, I think there was someone in the background telling Chuck Wilson (CEO) not to sign us...we probably would’ve sold more records if we would’ve signed then. But we are proud to be a part of the Babygrande team.
Question: How did you get involved with Babygrande then? Richard Raw: Babygrande always knew about us because of the Jedi mind tricks album. We actually were out in LA and we sent Chuck Wilson a copy he replied back to us and the rest is history... You know a lot of people are pissed because we are on baby Grande. STOP THE HATING!!!!!!!!!!!!! Chuck recognizes real talent period point blank!!!!!
Question: Will “The Appendices: The Scroll of lost tales” album ever be released and on what label? Rasul Allah: yes, it will be released through babygrande executively produced by Killah priest look for that by the end of 06.
Question: The group is always linked to Jedi Mind Tricks and right now you are all on the same label, Babygrande, Can the fans expect any collaboration with Jedi Mind Tricks or even Jus Allah in the near future? Rasul Allah: Yes .. definitely Richard Raw: We are open to work with anybody. I think if we collaborated with JMT it would be groundbreaking for underground hip-hop. I never recorded with Vinnie but I always was open to do work with him and stoup. I got love for Vinnie shit he is the one who got me my first vinyl deal... I will try to make that happen, I will sit down with them and smooth out the ruff edges so we can bring back that classic shit.
Question:: Please tell us about your last album “The 911 Report – The Ultimate Conspiracy” Is there, if any, a meaning behind the title? Richard Raw: The title should be self explanatory. We actually did the sound track to Michael Moores Fahrenheit 911 being the fuck didn’t want to put no real hip-hop shit on there!!!! TRUTH IS TRUTH
Question: Being a fan of your music, I already own all 3 albums and there are great albums that get constant spins on my ipod, I think 911 album is more political than spiritual compared to the other albums, Is there any reason for this? Richard Raw: I actually suggested that we do this album. I wanted to diversify our audience. We always would talk about the truth behind why 911 happened, we just put it to music. We also had to prove that we could do more that just spiritual hip-hop we are also political.
Question: Where were you on September 11th, 2001? How did you deal with it? How do you think it has affected Hip-hop? Richard Raw: I was home sleeping when it happened. Dr. Malachi Z York already warned that this was going to happed years ago so it was not a surprise. I don’t think it really affected hip-hop. It happened to affect the economy. Rasul Allah: I was sleeping, my friend called me and told me to turn on the TV, when I saw the buildings had been attacked... and my grandma said "they took the buildings".
Question: The artworks on your album covers are very unique and unlike any album covers out there, The 911 report is quite a controversial cover, do you not think this might hinder sales of the album? Rasul Allah: Not at all, if anything it would help sales, if you really look at the cover, it is not demeaning in anyway. The flag isn’t burning or is not upside-down, what people see is the fire burning, but they saw the buildings explode on TV. The cover in itself is a symbol of a dictating force that is governing people. They say Muslims are terrorists when it’s really America that is terrorist.
Question: What would you say are some major misconceptions that people have about the group? Rasul Allah: one of the biggest misconceptions is that all we rap about is aliens and space ships. If you really listen to the words we really speak on subjects that relate to theology, Egyptology, metaphysics, and Physics. Richard Raw: People put us in a box, if we do something beyond what they think we are capable of, they trying to say we are confused. Also they think we are real militant. You should get to know us and talk to us. We won’t fuck you up if you don’t provoke us to!!!!!!!
Question: The internet has aided a lot of Hip Hop activities globally, do you think the net has affected or contributed to Hip Hop? Rasul Allah: I think the internet has helped greatly. We need to learn how to utilize the internet to better our business, if it wasn’t for the internet we probably would not be talking.
Question: On a more personal level, do any of the members of LCOB have any solo projects out apart from yourself Richard, as I know you have a solo album out? Richard Raw: Yes Rasul will be working on his solo album this year. Look for cosmic crusader next year. And I think atun sen hotep is finished. Rasul Allah: Yes I am currently working on a solo project entitled Bear Witness: The Ghetto Quran, Rich Raw is working on two projects: Word to the Wize vol.2 and The Quill, and Cosmic Crusader’s project is called Cosmic-Calculations.
Question: Richard Raw, You have been busy, tell us about your album, mixtapes, upcoming album, and Headlinerz Ent? Richard Raw: My first album is called MY CITY. I have about 6 mixtape waiting to be released. The latest is word to the wize pre-album mixtape volume 2. Log onto WWW.HEADLINERZENT.COM. Headlinerz is my own company, we are getting ready to start a movement.
Question: You first outing “My City: A Place Where Somebody Can Nobody” was quite decent, diverse, and contained vast topics and versatility, would you say the solo ventures allows you to cover certain topics you would not otherwise cover on a LCOB album? Richard Raw: Yes.
Question: Ok, So how would you describe your style? Richard Raw: I don’t have a style. When someone is able to define you, they are able to confine you. So I am like the water--- you hear me!!!!!!!!!!!
Question: What can we expect from your next album “Word To The Wize”? Richard Raw: Word To The Wize is banging!!!!!!!!!! I have a song on there dedicated to DR. York called (we can change). This album is well rounded filled with hot production from myself and others. People don’t know that I produce my own music.
Question: Will it be released independently by yourself or by a major label? Richard Raw: We in talks with several labels who are interested in releasing it. I’m just trying to get the best possible deal so there is stuff of the table. I also am 20 records into my double LP. I just recorded 5 songs for my revolutionary album as well. Let me tell you something,,,,,, RICH RAW will be at the status of like 50 cent or Jay Z don’t trust me just watch!!!!!!!!!!!!!!!!!!!
Question: Who did you guys grow up listening to and who do you listen to now (musically, any genre) Richard Raw: I grew up on Big Daddy Kane, Rakim, LL, you know the greats. My three favorites of all time Tupac, Sizzla, and John Coletrane. I listened to it all. Shit I like Advril Lavine I would love to record with her. Rasul Allah: I grew up listening to Kool G rap, Big Daddy Kane, Public Enemy, Xclan, The Wu-tang clan, Boogiedown Productions, Das-Efx, NWA, Boot Camp, Redman, Intelligent Hoodlums, and many more......I currently listen to some new age music and Underground Hip-Hop. Question: Ok, Rasul, are there any artist out there that you would like to work with, dead or alive?
Dr. Malachi Z York & Rasul Allah
Rasul Allah: I would’ve loved to work with Big Pun (RIP), because lyrically he was one of the best to ever touch the mic. Right now I’d love to work with Nas, any one from the Wu, Shabazz the Disciple, Tragedy Khadafi, Killah Priest, Immortal Technique, Dead Prez, Chino xl, and Krs .
Question: Do any of you go into the studio with pre-written rhymes, lyrics, and themes or do hear the beat first and write there and then? Rasul Allah: It really depends on the situation Richard Raw: There is never a set formula. I may freestyle, write in my head or on paper. Depends on my mood.
Question: So what is next on the menu for LCOB as in albums, tours etc? Rasul Allah: Right now were concentrating on the Appendices. Richard Raw: We are going over this year. I can’t wait!!!!
Question: Rasul, What is your take on hip-hop’s current state and that of Philly? Rasul Allah: The current state if hip hop is destroyed, the only way for the culture to redeem itself is for major labels to sign Revolutionary Hip-Hop artists like us, JMT, Sunz Of Man, Immortal technique, etc, In order to put hip hop back in order. My personal opinion on the Philly hip-hop scene is that it’s the wackest of all time and full of haters.
Question: What advice would you give to a young emcee or producer who wants to have a music career? Rasul Allah: Do everything for yourself and don’t just try to run and get a record deal because you won’t get one.
Question: Most of your fans are also based across the globe, I can speak for Europe, are there any plans of the group coming over in the near future? Rasul Allah: Yeah we definitely acknowledge the love and support and want to return the support when we do go out to tour in Europe. We love Europe.
Question: What book(s) would you recommend to any one seeking right knowledge or light to read? Rasul Allah: it depends on what school of thought you come from, I can’t really tell you one particular book to get enlightened from but what I will say is "seek and you shall find"
Question: Ok just a quick word association on time, I am going to say a group/name and you would say the first word that pops in your head, for examples if I Say “Dead Prez”, you may say “Revolution” okay? Here we go; there are only 6 of them for you Richard, and 4 for Rasul...
Killah Priest & LCOB
Question: The Police? Richard Raw: Corrupt!
Question: Egypt? Richard Raw: GODZ!
Questions: Wu-Tang Clan? Richard Raw: Classic!
Question: President Bush? Richard Raw: What?
Question: Death Penalty – For or against?” Richard Raw: FUCK!
Question: Malachi Z. York? Richard Raw: Reformer!!!!!!!!!
Question: Freemasons? Rasul Allah: Circle and Square
Question: Religion? Rasul Allah: Enslavement
Question: Thanks very much for that, anything else you might want to add that we missed? Or any final words for the people who are reading this, Shout outs etc? Richard Raw: Yeah peace to my LCOB crew. My headlinerz crew MIKE J MUSIC, SUGE, DJ VORTEX, BIG M, peace to REVOLUTION HIPHOP. This is just beginning!!! OOOOOOO shit go cop my new mixtape if you don’t have it already... WWW.HEADLINERZENT.COM. tHANX TO WU-INTERNATIONAL FOR YOUR TIME AND TO THE FANS TOOO Rasul Allah: I wanna thank Wu-International for giving me the time to speak my mind, I want give a shout out to the whole LCOB squadron, Revolution Hip-Hop, Killah priest , Sunz of man, Killarmy, The whole Wu-tang, Black Market Militia , The Maccabees, Jedi mind Tricks, Babygrande , Seventh Cathedral, DGK, Stevie Williams, Stretch the Mad Scientist, Wazulu , Allen Sands, and my grandmother, and I also wanna shout out my peoples in Portland, NYC, LA, Florida, Europe, and all over the globe , Everyone that supports LCOB. Peace....
Dark 7 Invader: Thanks very much... Peace
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Lil'Vietnam
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One Love
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Lil'Vietnam
Vizitator
meditate undastand feel God Love Art Spirituality is in Everyone and it is Everythin
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Lil'Vietnam
Vizitator
Hiphop..peace love unity knowledge wisdom undastandin One Love
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Lil'Vietnam
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Hiphop..peace love unity knowledge wisdom undastandin One Love
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Lil'Vietnam
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God is Dance..God is Hiphop
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Lil'Vietnam
Vizitator
Hiphop..peace love unity knowledge wisdom undastandin One Love
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Lil'Vietnam
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God is Art
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Lil'Vietnam
Vizitator
yeah man, I admit that i didnt create originate the twirly leg stuff. First inspirations was Crazy Legz, then EZrock and Gizmo (bag of trix). Then Storm... Lego (SNC), then deadly mike, then everyother dope bboy in the world. All i did was get inspired, then tried to create out of what inspired me. Some people may argue and say i didnt create anything, and i dont seek for credit, ill just let my danicng explain itself. Who right now isnt guilty for doing something that others dont do anyway. Youll be surprised when you dig deep into everyones dance history. In order to Originate something, if you most likely would have to be one of the originals... so what matters most now, is make your style look the best to represent who you are inside. When you dance, just ask yourself if you are really dancing the way you feel (and think) inside. If you are, then keep doing what you do, dont let anyone tell you how to think and feel.
But ofcourse, keep trying to grow and learn. Bboying is like knowledge, its never ending and keeps on going. However knowldedge is different from Wisdom. Wisdom seeks for truth in knowledge.
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Lil'Vietnam
Vizitator
I recently caught up with Moy at the Out For Fame Houston heat, (Houston is HOT, skill wise and weather wise) and got a chance to hook with one of Texas’s up and coming b.boys..
Whatup Moy, tell the readers a little bit about yourself..
Wuz up! Im Moy from Havik, currently 16 years old and I've been dancing for about four years.
What's the Texas scene like?
Texas is alright but not the way it should be, but there are a lot of dope bboys, though!
Who are some of your influences?
Some of my influences were my friends from HAVIK, Style Elements, and lots of other bboys (too many to name).
What are your views on the East vs West, Cali vs Texas issues?
I don't think that those issues should be going on because, we are all dancers and are part of one culture, and if it does go on let it be for fun.
People tend to generalize Texas with only having Airtracks (airflares). How do you feel about that ?
To me that’s ok because people are entitled to their own opinions but they shouldn't judge off what they see on videos. It doesn't bother me.
What would be your idea of the dopest crew battle (any two crews)?
A dope battle would be between Stylelements and Boogie Brats.
What was your most memorable battle?
My most memorable battle was Freestyle Session 5, Havik/KORO vs Stylelements/Footwork Fanatics.
Where do you see the b.boy scene heading within the next couple of years?
I see b.boying getting more involved in commercials and positive programs.
What do you think about the Out For Fame U.S. B.boy Championship?
I think it is a good event because it gives other bboys the chance to represent!
Lastly, what we all want to know, what is the secret to Airtracks??
Your waist! shhhh!
Any last comments or shouts?
Thanks to GOD for everything he has given us and showed us...HAVIK,KORO, SWC, Tribal Gear, Youth Advocates, Hope in Hollywood, La Breakers, Stylelements, Kujo, Ivan, and to all those I forgot…Peace....
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Lil'Vietnam
Vizitator
The Mighty 4 is honored to present you with an exclusive interview with the living legend himself, KEN SWIFT.
Peace Ken drop a lil info for the cats at home..
Name: Ken Rok,aka,Kid Zoom,aka, MadMugs,aka, Ken Ski,aka,Prince Ken Swift,aka, Kid Extra Nasty,aka,Ken Swift Age: 35 Location: Money Island, NYC, Upper West Side Manhattan RSC, NYC, BreakLife NY
Tell us about the first time you ever seen B.boying and what made you get into it?
The first time I saw bboyin was 1978, ..at first I was shown a shuffle by a friend, and then soon after that I saw it a jam in a party thrown at a church hall and at a jam around my block. I think Ron Daris was the first rawbboy I saw, and Im using the term bboy in its true context. We were into anything and everything around the way.We were wild and were into playin in the pump, playin ringaleevio, kick the can, hot piece a butter, tag no touch,bike stunts, playin in abandoned buildings and having rock fights, ...so,...when I saw the rockin and how different ,radical and high energy it was, it fit right into to the type of stuff we was doin. I was already writin graffitti in the streets and motion taggin so, through that scene I was introduced to breaking.
Who are your influences/inspirations?
Past, ..Greggo,(originality, speed, flexibility) Ron Daris, (flips) The Light Brothers, (flips)Kid Sorceror, Deno Rock (RIP), Kid Terrific, Markie Dee (RIP), The #1 Sure Shot Boys, DominicanFreddy, Shakie, Magnetic (power, spins), Kid Galaxy,(power, spins) Buck 4 (RIP), Spy, Trac, Ice Ice, Pierre, Lil Lep, Pex, DST, Mr. Freeze, Frosty Freeze,(character) Crazy Legs, Kid Spy & Migo (for the UpRock), Lenny Len,(footwork).........................Presently,........too many to mention.
What were the golden years of B-boyin in NY to you in your opinion?
The Golden years had to have been before I came in the mix, ....those where the raw years of early development, my golden years were 80 to 83, I was in my raw no thinking stages, no fear, thirsty to battle, off the dome, up & coming mode. A lot of the people I was around were better than me so I was Lucky.
When you first began dancing, did you ever dream that it (bboyin) would get to where its at today?
No, i didnt look ahead at all..no dreams of fame stardom etc, ....we were just doin what was happenin, ..to me, thats like sayin, "did you ever dream that ridin a bike would get to where its at today".
What is your definition of foundation?
I believe that foundation consists of the essential mentality combined with moves from the first years of development, ............foundation to me was that person reacting and dancing to a song with no shame/that person with the flava gears, that when you looked at them you knew they was ready/the attitude that you was the one who would out dance the others at the jam/the one that did something incredible that you never saw before....the mentality stands out to me, ..because when you apply those characteristics to moves, those are what make the moves personal and dope. I mean, if I show you an old "foundation move" and you dont flip it with your adobo on it, its gonna look wack. The kids back then just had that flava thats kind of unexplainable, thats why you loved to see them rock, I dont think they applied too much thought to it, they just went out and went bananas when the music came on, ..thats the foundation! Lettin the music rock you, ..letting go.
Alot of the best bboys were stick up kids and ill street dudes who could care less about fame........Now, there are "foundation moves", but being that I started a lil later on, my opinion on it can be debated, .....I see it being, ...circular ftwk patterns, shuffles, chairs, babies, swipes, sweeps, spins- (head, knee, butt, back, etc.) back rock, single tracs, bridges, cork screws.
Rockin' has been around before B.boyin', when did you first get to see cats Rock (Brooklyn rock etc.) and how do you feel about the artform of Rockin'?
To me, when you say "rockin has been around before B.Boying" to me its a lil funny cause when I think of rocking, I think of breaking, ...........I really didnt call it bboying that much when I first started, ...,even though when I first heard about breaking, my friend told me, "check out this bboy shit".................so I guess you mean uprocking, my older brother Speedy used to run with a crew called The #1 Sure Shot Boys, they were from Amsterdam Houses on 61st. St. in Manhattan, ..he was 4 years older than me, ...I saw them rock a lil bit, but they broke mostly at the parties, ...I was younger so I was looked at like the lil shorty goin for his on the breakin tip, they were one of my biggest inspirations, ...other crews were The Four Aces, The Midnight Rockers, The Da Boys, and some members from Rockwell Association. They hung out around 83rd st. & Amsterdam, I lived on 97th & Amsterdam. I saw more Up Rock when I went to USA Skating Rink in Queens, the cats there were crazy dope, ..but I saw so little of it, that when we went back to my block, we had to try to remember it which was hard because we didnt have someone to show us, ..but then again we wouldnt have asked someone to show us anyway, ......so, ..we kind of developed a different type of style and delivery, we were primarily into the breakin but we did our lil Up Rock here and there. Thats the reason why we called it Brooklyn Rock, I was told that it started in Brooklyn so, ...nuff said, ...heads came up in the nineties and tried to diss me saying I was doing it wrong , but, ..with all due respect (cause I have the utmost respect), the dudes that popped the shit didnt step to me, I stepped to them. The first time I felt like one dude edged me, ..but after that I learned alot from that battle and when we went at it again I felt like I shook shit apart, .....regardless of that, ...in my heart I know they can Rock better than me. Ive been blessed to be able to get lost in music with that dance, and some of the music is so incredible that it gives you no choice but to Rock, ...I wish I wouldve came up with those dudes cause I know I wouldve been tight with that style. I still havent figured that dance out, when I watch the older legends rock, to me, I feel like a rookie, I have the ultimate respect. In my opinion, only the people that came up with that dance in NY in the early seventies, can flip that dance correctly, once again, over time people have seen moves and steps and have done them, but, there so much more to that dance, ..the songs structured alot of what was done, you had to be there in those ancient parties and jams to learn that. My favorites, Eddie from 93rd. & Columbus Ave., he was partners with Kid Galaxy's younger brother, they battled together with us against Dynamic Rockers at Liincoln Center, they were called Migo & Amigo, ... even though he was from Manhattan, he hung out in Brooklyn and he was outta control nasty in that dance, he's in the Planet Rock video battling on the checkered floor, .....then theres Eddie Ed aka, Kid Spy ...he was my bboy partner at one point, ....his Uprock was ill, ..he was also in the Planet Rock video, ..he's rockin next to a tv on the floor, he does this jerk forward then drops back into a split, and shoots himself in the head, check the video when you can, its sick. The other favorite is Spice One from Flatbush, Ive had the opportunity to meet him through Burn 1, to me he was tight beause he knew most of the styles from the different neighborhoods in BKlyn. Ive seen him rock and he definetly opened me up, ...also Sammy from Incredible Breakers, we practiced together a few times and I gained tremendously from that. Also, Chino & Brian, Incredible Breakers/Rockers Revenge,....these dudes are straight offiical hardcore brothas, ...Chino is a mad man with that dance, he's ill, those kids is Bronx Official 4realz.
What generation of B-boys are we in today?
I dont know!!?? maybe 5th generation .....72 -75 beginning,, 75 -84 most influential, overall structure point, 84-89 world continuance, 89-96 home & abroad B.Boy comeback, 96-01 event expansion/video era & retro commercial exploitation/positive rapid dance advancement ......................my opinion of course.
What was your most memorable battle?
A lot of good ones,...........but it has to be ..Rock Steady vs. Floormasters at Negril in NYC I think that was 82. Also RSC VII Gems vs a club full of BBoys in Tokyo 1997.
Who were some B-boys from NY that didnt get much limelight but definitely deserved thier rightful dues? (I hear about cats like German, Float, Incredible Breakers etc.)
You gotta understand how big breaking was in NY at that time, and how big the five boroughs are, ..you had BX, Manhattan, Bklyn, Queens, Long Island, Staten Island, ...were talking massive numbers of mad hyped up kids, ...to think about it if you are mentioning the names above, that means that they were noticed, ..but think about it like this, ..every neighborhhod had an incredible bboy in it , ....were talkin about 20 block radiuses, ...theres dudes that we'll never hear of that were amazing. Float for sure is one of a kind, ...you need an interview with him on this site,....his dancing and top style is top of the line, ..he had he ability to make everything he did look effortless, you rarely saw him struggle with his moves, ..a true innovator of power moves,...plus, he had dope footwork, ...if he was inthe mix I think he would be a definite contender even now. There were alot of dope crews, ....peace to ScramblinFeet also.
When did you first come to the Westcoast and get a glance of B-boys out west?
Its funny because I was born in Brooklyn but moved when I was almost two years old to California, ..my father was in the Army, so I lived in Saramento, Eureka, Palmdale, Arbuckle, and San Francisco until I was six years old,..then I moved back to NYC. The first time I went to Cali. to break was 84, and by that time people had been exposed to breaking already. We, RSC, judged A Big BreakDance Contest. I remember seeing the most incredible Popping/Boogaloo etc crews, they did like 6 minute choreographed shows. We saw like 50 groups. I was completely blown away and never saw it like that before. We also performed at Magic Mountain, were we ran into OZ, who had left NY and came to LA, and was real popular with the breakers. The breakers were doing incredible spins, side moving ufo's, inverted elbow spins, blazing backhand 90's some ill original stuff. I met Tech, ..from Tech & Sway, ...he was with The San Francisco Ballet Breakers, .......the scene was definetly open, ....but most of the dancers were into power moves and spins.
Do you feel the European scene played a major role in keeping B-boying alive?
Without a doubt. ...Id rather say they played a role in keeping "Hip Hop" alive overall .......Europe held it down with all the elements, ..much respect, ......I think Europe and other countries played a major role in keeping it alive......but I have to say, back then, alot of people didnt know what real B.Boying was, and even though there were a few that were official, the majority of people were just into spins,....from the movies, most people drew to the spins and air stuff when they got into breaking, ...there were'nt that many people doing footwork & dancing to the beat. Idont say that as a disrespect in any way, but thats the way I saw it,...Europe has a great history of its own, ..Im sure there were a few people breaking out there in the early eighties,....we went to Paris and the U.K. in 82 and when we went back after Beat Street, it was outta control, ....we toured Germany in 84 for six weeks and people went coconuts. Australia also has to get its props too, ...even Japan has a thorough history.....put it like this whatever country that got a hold of Beat Street and Wild Style got their dose of Hip Hop. Props to Actuel Force, Gabon, (France), Maurizio, (italy.) Swift & Storm, (Germany) Evo, (UK) Nico, (Sweden) King Bee, (UK) Emilio & Marcella (Italy), Crazy(Switzerland), Wildcat,(Denmark) Crazy A,(Japan), Machine (Japan), Hiro (Japan), Renegade, (Sweden) Tech & Karma,(Norway) Swerve, (New Zealand) Rooney (Brazil) there are so many more but,...peace to all many world pioneers and legends old and new.
In the early 90's what pushed you to get back down and serious to B-boy again?
I went through alot of stuff that most of you dont know about, ....I got into alot of trouble in the streets.....we're talking like 84 to 87.........but through all the madness I always reacted to music and broke when I wanted to, I didn't practice everyday and all but , ..I never felt like breaking was dead or anything like that cause if i felt it, I did it,......people have said between this year and that year this one or that one stopped breaking......................when you have something in your heart & soul, no society or situation or rumour or propaganda can stop you from feelin it, ....see, ...when media and the masses started exploiting the dance and sayin breaking was played out, ...alot of people said,,....OK, ...and stopped ........I wasnt part of the time when TV made people start, I came into it in its underground state. So it has stayed in me always regardless of what TV, Magazines or people in the street said. After Buck 4 and Kuriaki's deaths, The Rhythm Technicians were doin shows and stuff, and then we, RSC, collaborated with them on the play "So What Happens Now? In 1990, I guess what pushed me was the fact that I knew deep inside I could rock, I wasnt makin much progress but I didnt give up. I was about 160 pounds, .(my breaking weight is 135) I was tryin to get down with the updated power and air stuff, my hip was destroyed from the early eighties, and I couldnt find a swerve with my dancing. I was frustrated because I didnt feel good about my stock (moves)....., after I lost the pounds I needed to, .....around 1993 while practicin I decided to take my old moves and put attatchments on to them, while focusing more on freezes... ...after that the flood gates opened up and I was makin up a different move or combo everytime I practiced, .. I wrote down all of the moves by name and number, in 97 I recorded 94 moves, four pages of combinations and moves in different catagories, I would go to practice and run down the list and do each move twice for execution and memory, when I got to the last move I would start over again, those who used to train with me have seen me with my papers laid out on the floor in the practice. Around 1998 I stopped keeping track of my moves by writing them down cause I toured like 8 months of that year, but since then Ive made up at least 40 more combos & moves.When I started lacin kids real easy, it was scary beause I still felt like I could get better.
What year did you get down with Rock Steady?
I believe it was 1981 .
Are you currently still affiliated with Rock Steady?
Ask anyone from around my way that question and they'll laugh at you and think youre stupid. ....but the again....... In 2001 Rock Steady Crew belongs to one person, RSC is a business, ..to me "the crew" ended in the eighties. Go figure, from friends on the block just havin fun dancin to, one guy threatening the other that if he uses the name he will call his lawyers. Cmon bee, I laid the bricks son, from the get. My history is etched in stone. I rep RSC whenever and wherever I choose, I dont have to wear a shirt with letters, if you know the legacy, then that question is ludicrous. I got one thing to say to sum it up ..."Behold A Pale Horse".
Being an O.G. in the game and still gettin busy in the trenches, how do you feel about the scene today and where its heading?
Alot of the top BBoys who have influence right now, need to educate themselves on the history of this dance so they can understand and respect its journey,.. breaking is not a fad, it is a legitimate dance that has been and continues to be exploited and looked down on. In my opinion breaking is the "Original" dance of Hip Hop Culture. The younger generations need to know this. Unless there continues to be an educational effort in teaching the history of this dance, it will get wacker and wacker, and then it will be lost in sport and entertainment. This dance is for the communities of young people throughout the world to enjoy and also prosper from, but unless we understand what its been through, we wont know where its going. I like the dancing more than anything right now, ...its dope, and the competition level is tight, and theres so many dope and different styles flowin, mad super heroes and even a few complete B.Boys ...........................but, ..... The gossip is wack, the jealous haters are wack, the ones that lie about their history are wack, some events thrown by non bboys are wack, the NY pioneers that compromised their principles for money are wack, and the biters are wack.
What's your training schedule like?
My schedule depends on the time I have left over after my responsibilities with my kids are taken care of. If Im lucky If get Like 6 hours a week thats like two hours on three seperate days.
When your not into your daily routines, what do you do in your free time?
Believe it or not I get more free time when Im travelling than while Imin NYC. Im with my kids a lot when Im not in the mix. I like to work out with the weights every now and then, ...right now Im studying Investments, Money Management and Financial Planning. On tour I like to chill with the local people and soak up their culture & traditions.
What's your all time favorite jam to bust to?
Every song has a different effect on me, I think I have about ten alltime favorites, but I would have to say, it might be Apache.
If you could see two crews or two particular B-boys battle it out, who would they be and why?
I havent seen who's out there lately but maybe, .. Moy /Lil Rock vs Iron Monkey/Ruin , Crumbs/Reveal vs Kmel/Remind ....why, I dont know, ..I just made it up, ...thats a hard question, why you tryin ta strain my brain?
How do you feel about B-boyin and how its getting more play in the commercial industry?
B.Boying isnt getting play in the commercial industry, ..breakdancing is. I think its corny when people dress up in tiger suits with booties on their feet and break in front of jungle back drops, or do incredible tricks to a song that doesnt have a break, ...why cant they ever show it the way it is, and why cant they ever show someone dancing on top to the beat without spinning or doing a trick. ....what can I say, I think breakers are being pimped and so many people want to be seen in a video, that they do whatever is asked, I just cant do it because I came up differently, ..I have principles and Ive seen how that hurts the dance, .I believe in creative control...........people that see breaking in vids only see one or two seconds worth, ...and they'll never get a glimpse of our dance because they never show someone dancing, ..they only show a visually incredible move, ...this is why some people say " breakdancers don't dance they just throw their bodies around acrobatically." But also, I dont blame the young cats for doin it and I aint hatin them, ...I just laugh when I see pioneers play themselves for that dollar, ..these are the same dudes that I sat next to on panels that used to bark about how people shouldnt play themselves in that way.
When judging battles, what is your criteria?
Whetever is brought to the table between two people or two crews,....choose who executes the best, and does what they had to do to win.
Who are some crews that's out today that you are diggin right about now?
BreakLife World Reps, Strategic Air Command, Zoom Platoon. ........jusplayin, ..... .....wow, ...too many to post, and so many I havent seen.........Peace to 7 Gems, .......the original Seven Grandmasters ..................Dude, ..you know I can go down the list for every state. Im diggin the crews that are versatile, the ones that have a person for every style that gets presented, ...the complete crews. And Im diggin the crews that regardless of how good they are, ..you can chill with, and not have to worry about the BS, respectable people who have open minds to dance, and dont diss original style. Peace to all my BreakLife jiggas out there, yall know the tempo.
What are your thoughts on the tragedy of the recent terrorist attacks?
Its a changing world, ..you have to have faith and live each day to the fullest, ..theres no telling what the future holds. Its a tuff situation, but I have faith in God and understand that good will always overcome evil. Im just into trying to do whats right while Im here, I've been blessed and I dont take that for granted. Enjoy life people, tomorrow is not guarenteed.
What advice would you give to up and coming B-boys and girls?
Respect your mind and body, enjoy breaking for what its truly worth, remember this is a dance, ..in business, protect yourself, see the world if you can, challenge yourself first, your main battle in life may be with yourself. Ask questions, Always respond quick when you get hit by a dope move, control your anger, let your dance do the talking, try to master all styles, learn the history, set goals, train hard, know your priorities and be responsible for your own actions.
What projects are you currently in the works with?
My final vid, "ill Padrino"
What is your biggest pet peeve about the scene today?
Jiggas get ten dope moves and think they the shhh.
Is there any possibities you would ever do a book or something of that nature where you would tell your lifestory as a bboy, myself and im sure thousands of others would definitely pick that up.
If you know somebody who knows the procedure to do a book, ..let me know,..Ive thought about it.
Any last comments for the people at home?
Thank you to all the people who have approached me and givin me respect,....I never take for granted the compliments that people give me, and personally those compliments are the true jewels that I value so much in my life at this point. People have made me feel like I made a difference in their life and that makes me feel like it was all so worth it. Stay real with yourself and be cool. one million. Ken Swift Corleone.
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 35.3KB
#187
Lil'Vietnam
Vizitator
Art love and God is in Everyone
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 37.3KB
#188
Lil'Vietnam
Vizitator
Bboyin ....Real Art....Hiphop fo Eternity..One Love
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 52.2KB
#189
Lil'Vietnam
Vizitator
The Art of Bboyin
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 43.4KB
#190
Lil'Vietnam
Vizitator
Tha Art of Bboyin...Tha Art of Dancin
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 50.4KB
#191
Lil'Vietnam
Vizitator
Dancing is a meditative way for many of us to experience visions of Peace, Love, Unity, and Respect, and transmits these Visions to humanity Since the beginning of time people have danced as a way of communing with the higher power. People have danced in prayer, for fertility, to help their crops grow, to communicate with spirits, and to celebrate Life. Every One of Us is truly a divine creation, each unique in nature, the result of a spark from the Fire in the heart of God. The Age of Aquarius is truly here. This is a time for our selfidentity to be revealed. We are all divine beings. After 26, 000 years, as enough of Humanity reaches this realization, an effect is created on all human beings. The Force of Truth is pressing on us. The Force has cracked the dam, which restrains Human consciousness and has allowed an unstoppable flowing energy to be released.
This Force of Truth is gaining more momentum every day, as more people feel it's effects.
Don't fight the flow. Let it carry you to our true destiny, Unity.
The illusion of separateness is the dam that blocks the stream of consciousness. Overcome the illusion; expand your circle of compassion.
Love One Another..God Is Love..
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 46KB
#192
Lil'Vietnam
Vizitator
statements of protest were often written on walls and in public places so all those in the community could see them. Some of this ancient graffiti can be seen in the catacombs of Rome. But even before the Romans, civilizations painted on walls. The Egyptians, Greeks, Macedonians and others communicated with their societies in the most effective means possible--through colorful and powerful images on the walls of their dwellings, tombs, and architecture.
Thousands of years later, in the 1960s and 70s, young people in the South Bronx re-established this artform in their own way, creating a dialogue with their fellow graffiti artists and society. The need for these young people to establish their names--to create "fame" for themselves--flourished in the boroughs of New York and soon spread to the entire world. To many people, graffiti is simply scrawled, unreadable markings on a wall. To others, it is symbolic of gang activity--a common misconception. In most cases it is illegal. But, from the subway cars and handball courts of the Bronx, it became something very different. Although a few of the "tags" (scrawled signatures) are done by gang members, most artistic graffiti, including tags and "throw-ups" (names done in large, outlined letters), are markers of recognition for an entire society of graffiti "writers." It is a means of achieving fame--and gaining notice for their larger works called "pieces" ("masterpieces".
Graffiti artists call themselves "writers" and their art "writing." Writing began with just that--writing. Writers simply painted or marked their names (actually nicknames) everywhere they could. This activity is called "tagging." From these simple tags, writers took the shapes inherent in standard English characters, expanded them, decorated them, and made them much more than just simple letters. They used these stylized letters to spell their names and make statements. The more creative the style of the letters, and the more often their work appeared, the more popular the writer became with their fellow creators. Over time, many of the letters were so stylized they became difficult to read by the regular viewing public.
"Stash", 1985. From the book Spraycan Art by Henry Calfant & James Prigoff
Besides using highly stylized letters, writers create interesting and intricate images in their works. They often borrow iconography from popular culture, such as cartoon or comics figures. Sometimes they do portraits. Many writers even invent their own caricatures, and these figures become associated with their names further adding to their notoriety.
By combining unique letter styles and images, writers create their pieces--large works of art that often take up an entire wall or, as it was at the time the artform was in its heyday--a subway train. It's through creating large pieces that writers truly establish their names. The pieces are what distinguish the masters of graffiti art from the new, inexperienced writers that graffiti society refers to as "toys." Toys, in fact, are those that do most of the tagging and throw ups because they are trying to establish themselves in the graffiti art world.
Most young writers work with experienced writers to learn the techniques, and after periods of tagging their names around the city, they soon graduate to larger and larger pieces.
A detail from a piece entitled "Saw Sude" at the corner of 151st and Gerard in Mott Haven. The character featured is "The Mask" from the comic book that inspired the movie. Writers: Prod, Jel, Psycho, Slust, Kaws, Cher, Siren & Xman.
In fact, most writers work with a team of other artists, referred to as "crews" (also spelled "cru". By being "down" (in) with a crew, young artists can learn from several teachers, and gain fame by their association with a given group.
A detail of a present piece in a ball court next to Yankee Stadium. We believe the title is "The Power of Imagination". The writers' identities are to be determined.
Among graffiti crews and writers there is a great sense of honor and respect. When a writer and/or his/her crew finishes a piece, it is very rarely defaced by other writers until the paint starts to wear. If it is defaced, it is usually done by a toy, or other writers trying to establish themselves. The result, however, is often a scolding by their peers or flat-out rejection. Another point of honor is that the creation of the art is cross-cultural and non-sexist. Women, men, Hispanics, Caucasians, African-Americans--all of them write with the crews and share ideas. Crews are not enviro-centric, either. Writers like to visit other neighborhoods to meet with other crews and writers to see what is being done there. This is not to say that competition does not exist, but the competition is an honorable and charitable one.
Painted subway cars by Paze, Midge and Foam, 1982. From the book Subway Art by Martha Cooper and Henry Chalfant.
Modern graffiti actually came into its own on the subway cars of the New York City Transit system. During the 70s through the early 80s, the painted subway cars were a gallery of the art. Train cars were "bombed" (covered with painting and writing) nightly by eager young artists. But pieces were short-lived due to the "buff" (chemical cleaning) of the cars. Later, in 1987, the Metropolitan Transit Authority (MTA) all but ended subway car graffiti by replacing cars with paint resistant, stainless steel cars, or refurbishing older cars with paint resistant materials. When this happened, graffiti moved to walls and handball courts. This is where most pieces are seen today.
A piece in progress by Il Crew, located in a ball court by the park at the corner of Cedar and Sedgwick Avenues.
A recent trend in Bronx graffiti is the creation of tributes and memorials. Often taking up entire walls, memorials are testimonials to those in the New York community who have died tragically through drug-related accidents, violence or AIDS. Most times these memorials are done legally, with the permission of property owners and community members. Since the loss of subway cars, many writers have graduated from illegal graffiti to getting paid for their talent.
This Bronx-born art, including it's lettering, terminology and imagery, has now spread to the entire world. Enthusiastic writers from other countries visit New York, in the hope of meeting its originators, some of whom have even attempted to paint the subway cars in an effort to express greetings to their fellow artists. But their efforts are easily washed away on paint-resistant surfaces.
True graffiti, with all of its power and mystique, is part of the same culture as Hip Hop and breakdancing. All of it, Bronx-created, is indicative of the lifestyle of those who live in this urban area. Graffiti artwork adds color to a world that often lacks it. And in that the artistic form of graffiti serves the most noble of purposes.
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 39.3KB
#193
Lil'Vietnam
Vizitator
NOVEMBER = Hip Hop History month !!
HIP HOP HISTORY MONTH
The Universal Zulu Nation calls on the World to recognize the whole month of November as HIP HOP HISTORY MONTH!
The official birthday of the Universal Zulu Nation is November 12, 1973.
The official birthday of Hip Hop is November 12th, 1974.
With consideration to the above mentioned dates, nothing makes more sense than to celebrate Hip Hop culture and it's history during November, which is exactly what the Universal Zulu Nation has been doing for over 27 + years. November is also significant in the fact that it kicks off the "indoor jam season". The Hip Hop community jams, enjoyed outdoors in the parks, throughout the Summer, had to move indoors for about 7 months to community centers, gymnasiums, schools etc. for the Fall and Winter seasons. The Hip Hop World should recognize this month and pay tribute to those who laid the foundation and paved the way as well as to those who continue to preserve the rich tradition of the culture.
Of course, The Zulu Nation appreciates all efforts to preserve the whole of Hip Hop culture, including any days or weeks set aside to conscientiously appreciate Hip Hop, but would rather that all of these days and weeks combine to celebrate in unity every November as the tradition has been since the beginning of this culture. Founded by the godfather of Hip Hop himself, Afrika Bambaataa, The Universal Zulu Nation is the world's oldest, largest and most respected grass roots Hip Hop organization. It's members and supporters are Hip Hop's most famous and legendary artists. True school enthusiasts travel from all around the world to be in New York City, in November, for the annual Zulu Hip Hop Anniversary, the only true Hip Hop Anniversary since the beginning. The Anniversary hosts a positive Hip Hop community coming together from all walks of life to celebrate the true essence and excitement of what Hip Hop was meant to be. Many artists who have donated their performances to help raise funds at Zulu Hip Hop Anniversaries have gone on to become legends and many of these legends continue to return to NYC, in November, to give back to the core community who supported them since their careers began.
A Little Background Information: In the early years of the culture, the movement went untitled until Afrika Bambaataa, started calling it "Hip Hop", a term originated by Lovebug Starski. In the 70's, ten years prior to it's gaining global recognition, Hip Hop was a celebration of life gradually developing each of it's elements to form a cultural movement. Due to it's energy, dynamics, and momentum, Hip Hop culture has become, ultimately, a key to upliftment and reformation, as well as a billion-dollar industry.
From the 80's on, the Rap industry and media have helped to make the terms "Hip Hop" and "Rap" synonymous, leaving out the other elements included in the culture. In light of this enormous oversight, the Zulu Nation promotes the "5th element" of Hip Hop, which is KNOWLEDGE, and actively tries to educate the masses about the history and foundational elements of true Hip Hop culture. Bambaataa declared: "When we made Hip Hop, we made it hoping it would be about peace, love, unity and having fun so that people could get away from the negativity that was plaguing our streets (gang violence, drug abuse, self hate, violence among those of African and Latino descent). Even though this negativity still happens here and there, as the culture progresses, we play a big role in conflict resolution and enforcing positivity."
Hip Hop is the Vehicle to Deliver Innumerable Lessons! Afrika Bambaataa doesn't believe that Hip Hop heads should just have knowledge of Hip Hop. He promotes and proves that Hip Hop can be used as a vehicle for teaching awareness, knowledge, wisdom, understanding, freedom, justice, equality, peace, unity, love, respect, responsibility and recreation, overcoming challenges, economics, mathematics. science, life, truth, facts and faith.
The Elements: Hip Hop culture is defined as a movement which is expressed through various artistic mediums which we call "elements". The main elements are known as MC'ing (Rapping), DJ'ing, WRITING (Aerosol Art), SEVERAL DANCE FORMS (which include Breaking, Up-Rocking, Popping, and Locking) and the element which holds the rest together: KNOWLEDGE. There are also other elements such as Vocal Percussion/Beat Boxing, Fashion, etc. Within the past 20 years, Hip-Hop culture has greatly influenced the entertainment world with its creative contributions in music, dance, art, poetry, and fashion.
Due to their lack of knowledge about the whole of Hip Hop culture, many of our world's youth are mistaken in thinking that activities such as: smoking blunts, drinking 40's, wearing a designer label plastered across their chest, carrying a gun, or going to strip clubs, are "Hip Hop". Hip Hop is being portrayed negatively by many artists who work in the element of Rap (emceeing), and this negativity is usually instigated and promoted by the record industry and various other corporations who exploit the culture at the expense of the youth's state of mind and morality. The Universal Zulu Nation believes there is a difference in speaking out about negativity (activism) and promoting it as a desirable lifestyle. Gangsters, pimps, playas, hustlers, niggers, spics, and many other derogatory words once used against us are now self employed in our everyday vocabulary. Our ancestors who have fought and died trying to free us from these sicknesses and slave mentality are probably turning over in their graves! Bambaataa asks you to just think about this, "How in the hell did we turn from GODS to dogs?"
Afrika Bambaataa encourages you to do more research about our story, his/her-story, and what you think is your mystery is actually your history. Where are our Hip Hop thinkers, lawyers, holistic doctors, scientists, agriculturalists/herbalists, revolutionaries, politicians, judges, researchers, teachers, police, army, accountants, anthropologists, etc. Where is our own Hip Hop Museum? Many talk the talk but don't walk the walk. Many straight out sell-out to the liberation of our people as well as to all humans on the planet so called Earth! He also encourages you to do research on any Hip Hop organization that deals with consciousness and the upliftment of all people. To all those who purposely make up your own history and lie about the culture- DO YOUR RESEARCH!
You can contact the Universal Zulu Nation at their main website www.ZuluNation.com and to explore links to other Zulu chapters and websites.
Thank you in advance for forwarding this announcement to everyone you know!
Peace and Blessings Afrika Bambaataa & the entire Universal Zulu Nation.
As we say in Zulu - respect the many UNIVERSES and especially MOTHER EARTH
PS: If you are planning any events in honor of Hip Hop History Month in November please feel free to write to the webmaster at ZuluNation.com to keep us up-to-date! THE 5TH ELEMENT OF HIP HOP CULTURE KNOWLEDGE, CULTURE, OVERSTANDING FACTOLOGY VS. BELIEFS
NEW YORK STATE SENATE RECOGNIZES NOVEMBER AS
HIP HOP HISTORY MONTH
STATUS: J6602 ESPADA Resolutions, Legislative TITLE....Honoring the rich traditions of Hip Hop Culture
/www.senate.state.ny.us/
12/11/02 REFERRED TO FINANCE 12/17/02 REPORTED TO CALENDAR FOR CONSIDERATION 12/17/02 ADOPTED
BILL TEXT:
LEGISLATIVE RESOLUTION honoring the rich traditions of Hip Hop Culture
WHEREAS, It is the sense of this Legislative Body to pay tribute to
those individuals of historic and artistic significance whose creative
talents have contributed to the cultural enrichment of our communities
and our Nation; and
WHEREAS, The month of November is now recognized by the State of New
York as Hip Hop Culture History month; and
WHEREAS, Afrika Bambaattaa, was the first Hip Hop activist, who once
said, "Hip Hop Culture was created to be about peace, love, unity and
having fun, in order to help people to get away from the negativity that
was plaguing our streets"; and
WHEREAS, Even though this negativity still exists, as the culture
progresses, Hip Hop Culture plays a big role in the conflict and resol-
ution by encouraging positivity; and
WHEREAS, Hip Hop is made up of Rap, DJ'ing, Break dancing, Up-Rocking,
Popping, Locking, Vocal Percussion, and Beat Boxing; and
WHEREAS, The godfather of Hip Hop culture is Afrika Bambaattaa; and
the world's oldest, largest and most respected grass roots Hip Hop
organization is the Universal Zulu Nation; and
WHEREAS, Hip Hop culture is a positive tool for social change; and
WHEREAS, The inception of Hip Hop culture in the Bronx was during the
early 1970's; it has been a vehicle for breaking down racial barriers on
a world wide level; and
WHEREAS, Hip Hop is a means for overcoming challenges, and a means for
teaching awareness and knowledge, inspiration and wisdom; and
WHEREAS, During the 70's, Hip Hop was a celebration of life, gradually
developing to form a cultural movement as a result of its dynamic energy
and momentum; and
WHEREAS, Hip Hop culture has become, ultimately, a key to uplift the
spirit of many; and
WHEREAS, Hip Hop culture has greatly influenced the entertainment
world with its creative contributions in music, dance, art, poetry, and
fashion; and
WHEREAS, Hip Hop is the vehicle to deliver innumerable lessons and
continues to provide for unity, love, respect, and responsibility; and
WHEREAS, D.J. Afrika Bambaattaa and the Universal Zulu Nation, Cool
Herc, Grandmaster Flash, the Cold Crush Brothers, Cool Clyde and Light-
nen Lance, Nolie Dee, Maria Davis and Mytika Davis are true inspira-
tions; and
WHEREAS, It is the sense of this Legislative Body, in keeping with its
time-honored traditions, to recognize and pay tribute to those organiza-
tions which foster ethnic pride and enhance the profile of cultural
diversity that strengthens the fabric of the communities of New York
State; and
WHEREAS, It is the sense of this Legislative Body that those who
enhance the well-being and vitality of their community and have shown a
long and sustained commitment to excellence certainly have earned our
recognition and applause; now, therefore, be it
RESOLVED, That this Legislative Body pause in its deliberations to
honor the rich traditions of Hip Hop Culture; and be it further
RESOLVED, That copies of this Resolution, suitably engrossed, be tran-
smitted to Afrika Bambaataa and all of the participants of the Hip Hop
Culture Celebration.
This November for Hip Hop History Month the Temple of Hiphop will be celebrating the accomplishments of Afrika Bambaataa and his contributions to Hip Hop Kulture. All Temple Members are encouraged to assist Zulu Nation and the Universal Federation for the Preservation of Hip Hop toward Afrika Bambaataa’s vision of peace, love , unity and safely having fun.
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#194
Lil'Vietnam
Vizitator
"When we made Hip Hop, we made it hoping it would be about peace, love, unity and having fun so that people could get away from the negativity that was plaguing our streets (gang violence, drug abuse, self hate, violence among those of African and Latino descent). Even though this negativity still happens here and there, as the culture progresses, we play a big role in conflict resolution and enforcing positivity." GodFatha Afrika Bambaataa.. ZULU Divine Inspired ZULU One Love
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 31.2KB
#195
Lil'Vietnam
Vizitator
One Cypha One Divinity One Love One Art One Soul One Hiphop One Wisdom One Consciousness One Energy One Everythin....
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 53KB
#196
Lil'Vietnam
Vizitator
Divine Inspired..God inspired Everythin Love Art Wisdom Kulture HipHop u know what i'm sayin...
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 24.8KB
#197
Lil'Vietnam
Vizitator
we show Love insteed of hate"Teacha KrsOne
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 39.9KB
#198
Lil'Vietnam
Vizitator
Tha Divine Art of Bboyin..HipHop Kulture ya....One Love One Art..Tha Cypha Of Hiphop...
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 62KB
#199
Lil'Vietnam
Vizitator
Dance (from Old French dancier, perhaps from Frankish) generally refers to human movement either used as a form of expression or presented in a social, spiritual or performance setting.
Dance is also used to describe methods of non-verbal communication (see body language) between humans or animals (bee dance, mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical forms or genres.
Origins of dance Main article: History of dance
Unlike some early human activities such as the production of stone tools, hunting, cave painting, etc., dance does not leave behind physical artifacts. Thus, it is impossible to say with any certainty when dance became part of human culture. However, dance has certainly been an important part of ceremony, rituals, celebrations and entertainment since the birth of the earliest human civilizations. Archaeology delivers traces of dance from prehistoric times such as Egyptian tomb paintings depicting dancing figures from circa 3300 BC and the Bhimbetka rock-shelter paintings in India.
One of the earliest structured uses of dance may have been in the performative retelling of mythological stories. Indeed, before the introduction of written languages, dance was one of the primary methods of passing these stories down from generation to generation. [1]
Another early use of dance may have been as a precursor to ecstatic trance states in healing rituals. Dance is still used for this purpose by cultures from the Brazilian rainforest to the Kalahari Desert.[2]
Origins of Sri Lankan dances goes back to immemorial times of aboriginal tribes and "yakkas" (devils). According to a Sinhalese legend, Kandyan dances originate, 2500 years ago, from a magic ritual that broke the spell on a bewitched king.
Many contemporary dance forms can be traced back to historical, traditional, ceremonial, and ethnic dances.
[edit] Dancing and music See also: List of dances and :Category:Music genres
Although dance and music can be traced back to prehistoric times it is unclear which art form came first. However, as rhythm and sound are the result of movement, and music can inspire movement, the relationship between the two forms has probably always been symbiotic.
Many early forms of music and dance were created and performed together. This paired development has continued through the ages with dance/music forms such as: Jig, Waltz, Tango, Disco, Salsa, Electronica and Hip-Hop. Some musical genre also have a parallel dance form such as Baroque music and Baroque dance where as others developed separately: Classical music, Classical ballet.
Although dance is often accompanied by music, it can also be presented independently or provide its own accompaniment (tap dance). Dance presented with music may or may not be performed in time to the music depending on the style of dance. Dance performed without music is said to be danced to its own rhythm.
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 25.6KB
#200
Lil'Vietnam
Vizitator
Hiphop is our Soul..One Love One Art
True Hiphop..tha essence of Hiphop – poza de Lil'Vietnam, in BBOY'ing · 25.6KB
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