Hip-Hop international
Dear Friends, Family, Board Members and Supporters of Hip Hop.
I am writing a personal letter of appeal for your support to raise funds for the Universal Hip Hop Museum, the official museum of Hip Hop Culture.
The mission of the museum is not just to preserve Hip Hop History, which is extremely important. But to also serve as the culture’s governing body leading the way forward in the global socio-economic advancement of Hip Hop. Our goal is to uplift the disadvantaged with innovative educational and cultural arts programming, tech and art incubation, social justice and poltical reform, and economic empowerment.
Hip Hop has always been a force of change, and establishment of the Universal Hip Hop Museum will ensure that Hip Hop will continue to be a force of positive change worldwide.
Your tax deductible contribution will go directly towards development of the museum. The Universal Hop Hop Museum will be launching a virtual museum in 2016 and begin construction on a brick and mortar building by 2017.
The suggested donation amount is $42.00 (in recognition of Hip Hop’s 41st Anniversary +1 year for the Zulu Nation’s Anniversary). However, you can give any amount that you feel comfortable with. No amount is too large or too small. Every dollar counts. Please share this email appeal with 10 friends and ask them to also support this very important cause. We are trying to reach 100,000 people. Everybody and anybody who loves Hip Hop should support this cause. The
I thank you on behalf Vice Chairman Ndaba Mandela and the Founding Members of the UHHM Afrika BamBaataa, Kurtis Blow, Grandmaster Melle Mel, Grandwizzard Theodore, Joe Conzo, Shawn Thomas, and Mickey Bentson for your generous donation.
Click the link to make your donation today.
Warmest regards,
Rocky Bucano
President
Universal Hip Hop Museum, Inc
917.495.8144
rocky@uhhm.org
Courtesy of Amesterdam news
An extensive conglomerate of hip-hop pioneers and aficionados came out to Harlem’s Mother AME Zion Church (146 W. 137th St.) on the evening of Thursday, Sept. 17 to pay their respects to fellow legend Kool DJ AJ. A smaller crowd of a select few attended the homegoing services the following morning.Hip-hop’s Founding Father Kool DJ Herc and MCs Busy Bee and Kurtis Blow were among those in attendance.
Earlier this past July, MCs Kurtis Blow and Rahiem, of Grandmaster Flash and the Furious Five, tweeted that their comrade had been diagnosed with stomach cancer. He succumbed to the illness Sept. 8, and the following morning his friend and music partner tweeted the sad news: “RIP to my DJ and friend Kool DJ AJ!!!!”
Others followed suit: @Rahiem_Furious5, “My legendary brother Kool DJ AJ was always a stand-up dude and always treated me like his younger brother…”
Grandmaster Flash @flash4eva, “I put this Dj in front of my biggest crowds in the 70s and he never let me down. Kool Dj Aj he was my support Dj for more years than i can remember The Audubon Ballroom was the Triumph wowwwww I’m gonna miss him”
Big Daddy Kane @officialbigdaddykane, “RIP Kool DJ A.J. My condolences to your family, as well as Busy Bee & Kurtis Blow. UP IN THE BRONX WHERE THE PEOPLE ARE FRESH, THERE WAS ONE DJ WHO COULD PASS THE TEST”
Ice T, Russell Simmons and Funk Flex were among others who also paid homage via Twitter.
Born Aaron O’Bryant on Manhattan’s Lower East Side, he relocated to Jacksonville, Fla., just before becoming a teen after both his parents passed, where he was raised by his grandmother. He then moved to the South Bronx in 1975.
“Many may not know the man, but I’ve known AJ since 1975 … we both came from the South Bronx, AJ St. Mary’s and Moore House, and myself, Vansilk, John Adams but reppin Paterson Projects,” revealed his longtime friend, Vansilk. “He was the blueprint to all hip-hop parties then.”
AJ was an influential source before hip-hop became a multibillion-dollar cash cow for the music industry, developing his reputation as a prominent DJ before he went to see MC Busy Bee perform at the renowned hip-hop venue the Bronx River Center during the late 1970s.
In 1979, AJ helped break Blow’s monumental “Christmas Rappin” during his DJ set at the famed Audubon Ballroom, back when hip-hop was nonexistent on commercial airwaves.
“The next day on the radio, ‘Christmas Rappin’ is playing,” he reflected.
“AJ was DJing with Lovebug Starski and a couple other cats in the Bronx before he started promoting,” recalled DJ Lord Yoda X from Harlem’s legendary Crash Crew, as he recounted the two turntablists’ meeting in 1979.
AJ went on to DJ for Blow and Chief Rocka Busy Bee throughout the 1980s, while also venturing into the business side of music.
“AJ created the hip-hop battles called the MC Convention,” recalled Vansilk. “To this date the now famous hip-hop battle between Kool Mo Dee and Busy Bee was promoted by us and Harlem World!”
On Blow’s seminal 1984 album “Ego Trip,” the MC repaid his DJ while creating the cult-like classic cut, “AJ Scratch.” For many it was the first time they ever heard crisp scratches featured live on wax as the song’s namesake, Kool DJ AJ, displayed his turntable wizardry.
“He was always a cool brother and was always humble,” Yoda recalled. “He played with everybody from [Grandmaster] Flash, to [Grandwizard] Theodore, to [Afrika] Bambaataa. When you mention the pioneering DJs, his name has to be included in that conversation.”
AJ continued DJing into the 1990s, before retiring from hip-hop in 2010.
DJ Marley Marl paid tribute to AJ on his “Golden Era Radio” program on WBLS that following Friday evening, Sept. 11.
RAP
[ultimate 7 /]
In 1982, Hip-Hop emerged in Rio de Janeiro, succeeding the “BLACK RIO” MOVEMENT and becoming an important vehicle for the young residents of low HDI communities to access information and entertainment…
Having "Planet Rock" as the main soundtrack of a youth coming from the slums, which attended parties that would later become the famous "Funky Balls", the Hip-Hop was not accepted at the time by the conventional means of communication. Still, strengthened over the years without relevant interest of the "mainstream media", whose major referential were Samba and, later, the Baile-Funk.
Reorganized in 1991 by the Associação Atitude Consciente (ATCON – “Conscious Attitude Association”), Hip-Hop had the LAPA neighborhood as their primary address on Saturday afternoons, beginning the politicization of its members. Its immoderate language has become a lethal weapon in favor of the young people who come from the “favelas” (slums), removing their names from police headlines and projecting them in the cultural sections: this is the Hip-Hop Cultural Movement of Rio de Janeiro, artistic genre that declared the end of the lack of opportunities for the slums, through names like DAMAS DO RAP, NAT, RYO RADIKAL REPZ, FILHOS DO GUETO, POESIA SOBRE RUÍNAS, CONSCIÊNCIA URBANA, GERAÇÃO FUTURO, OLHO NEGRO, PONTO 50, NOCAUTE, GBCR, ARTIGO 288, GABRIEL O PENSADOR, and others…
Last year, on October 1st, 2014, at a plenary in ALERJ (Assembléia Legislativa do Estado do Rio de Janeiro – “Legislative Assembly of the State of Rio de Janeiro”), under the articulation of the STATE REPRESENTATIVE Ms. ASPÁSIA CAMARGO, the commemorative date "NOVEMBER 12th" was recognized as the "STATE DAY OF HIP-HOP" through the promulgation of LAW 6.910/2014.
The legitimization of the "STATE DAY OF HIP-HOP" is more than the insertion of a commemorative date in the festivities calendar of Rio de Janeiro. It is evidence of a Cultural Movement that resists in the slums of the State and which reveals every year its central players of the Culture and Education in their social environment…
Therefore, people like the STATE REPRESENTATIVE Ms. ASPÁSIA CAMARGO, the STATE REPRESENTATIVE Mr. ZAQUEU TEIXEIRA, the ex-MINISTER OF RACIAL EQUALITY Mr. EDSON SANTOS, the CULTURAL PROMOTER & CEO OF “WEST COAST EVENTS LLC.” Mr. BRUNO RAFAEL, the SUPERINTENDENT OF THE “CRJs” (Centros de Referência da Juventude – “Youth Reference Centers”) Mrs. JÉSSICA OHANA, the MANAGER OF URBAN CULTURE OF THE DEPARTMENT OF CULTURE OF THE STATE GOVERNMENT Mr. TIAGO GOMES, the CEO OF THE “NGO RIOVIDA” MR. ARCÉLIO FARIA, the COORDINATOR OF THE “FLUPP” (Festa Literária das Periferias – "Literary Festival of the Peripheries") Mr. ÉCIO SALLES, the PHOTOJOURNALIST & SOULMAN Mr. ZEZZYNHO ANDRADDY, the PARLIAMENTARY ASSISTANT & CULTURAL MANAGER Ms. MORGANA ENEILE and the ADVISOR OF “COMDEDINE” (Conselho Municipal de Defesa dos Direitos do Negro – “City Defense Council of Black People Rights”) Prof. HELIO SANTOS give us fully aware of the existence in our country of people from different areas of expertise which are serious and also sensitive to a Cultural Movement that transforms lives…
The Hip-Hop Cultural Movement of Rio de Janeiro lives and the November 12th is its anniversary!
Em 1982, o Hip-Hop surgiu no Rio de Janeiro, sucedendo o MOVIMENTO “BLACK RIO” e tornando-se um importante veículo do jovem morador das comunidades de baixo IDH para acesso à informação e entretenimento…
Tendo “Planet Rock” como a principal trilha sonora de uma juventude oriunda das favelas, a qual freqüentava festas que viriam se tornar mais tarde os famosos “Bailes Funk”, o Hip-Hop não foi aceito à época pelos meios convencionais de comunicação. Mesmo assim, fortaleceu-se ao passar dos anos sem interesse relevante da "grande mídia", cujos maiores referenciais eram o Samba e, mais tarde, o Funk Carioca.
Reorganizado em 1991 pela Associação Atitude Consciente (ATCON), o Hip-Hop teve o bairro da LAPA como seu principal endereço nas tardes de sábado, dando início à politização de seus membros. Sua linguagem desmedida transformou-se em uma arma letal em favor dos jovens que vêm das favelas, retirando seus nomes das manchetes policiais e projetando-os nos cadernos culturais: este é o Movimento Cultural Hip-Hop do Rio de Janeiro, gênero artístico que declarou o fim para a falta de oportunidade para as favelas, por meio de nomes como DAMAS DO RAP, NAT, RYO RADIKAL REPZ, FILHOS DO GUETO, POESIA SOBRE RUÍNAS, CONSCIÊNCIA URBANA, GERAÇÃO FUTURO, OLHO NEGRO, PONTO 50, NOCAUTE, GBCR, ARTIGO 288, GABRIEL O PENSADOR, dentre outros…
Ano passado, no dia 1º de outubro de 2014, em plenária na ALERJ (Assembléia Legislativa do Estado do Rio de Janeiro), sob a articulação da DEPUTADA ESTADUAL Sra. ASPÁSIA CAMARGO, a data comemorativa de “12 DE NOVEMBRO” foi reconhecida como o “DIA ESTADUAL DO HIP-HOP”, através da Promulgação da LEI 6.910/2014.
A legitimação do “DIA ESTADUAL DO HIP-HOP” é mais que a inserção de sua data comemorativa no calendário de festividades do Rio de Janeiro. É a evidência de um Movimento Cultural que resiste nas favelas do Estado e que revela ano a ano seus protagonistas centrais da Cultura e Educação em seu meio social…
Portanto, pessoas como a DEPUTADA ESTADUAL Sra. ASPÁSIA CAMARGO, o DEPUTADO ESTADUAL Sr. ZAQUEU TEIXEIRA, o ex-MINISTRO DA IGUALDADE RACIAL Sr. EDSON SANTOS, o PROMOTOR CULTURAL E DIRETOR DA WEST COAST EVENTOS Sr. BRUNO RAFAEL, a SUPERINTENDENTE DOS CRJs (Centros de Referência da Juventude) Sra. JÉSSICA OHANA, o GERENTE DE CULTURA URBANA DA SECRETARIA DE CULTURA DO GOVERNO DO ESTADO Sr. TIAGO GOMES, o PRESIDENTE DA ONG RIOVIDA Sr. ARCÉLIO FARIA, o COORDENADOR DA FLUPP (Feira Literária das Periferias) Sr. ÉCIO SALLES, o FOTOJORNALISTA E SOULMAN Sr. ZEZZYNHO ANDRADDY, a ASSESSORA PARLAMENTAR E GESTORA CULTURAL Sra. MORGANA ENEILE e o CONSELHEIRO DO COMDEDINE (Conselho Municipal de Defesa dos Direitos do Negro) Prof. HELIO SANTOS nos dão a consciência plena da existência em nosso país de pessoas de áreas de atuação diversas que são sérias e igualmente sensíveis a um Movimento Cultural que transforma vidas…
O Movimento Cultural Hip-Hop do Rio de Janeiro vive e 12 de Novembro é o seu aniversário!
ELETRONICAMENTE DESDE
3 DE MARÇO DE 2008
Parte I – Poder Executivo,
Parte I-JC — Junta Comercial,
Parte I-A — Ministério Público,
Parte I-B — Tribunal de Contas e
Parte IV – Municipalidades
circulam hoje em um só caderno
ATOS DO PODER LEGISLATIVO
LEI Nº 6909 DE 22 DE OUTUBRO DE 2014 DETERMINA A HIGIENIZAÇÃO DOS CARRINHOS, CESTAS E UTENSÍLIOS DE MERCADO DISPONIBILIZADOS AO CONSUMIDOR, NA FORMA QUE MENCIONA.
O GOVERNADOR DO ESTADO DO RIO DE JANEIRO
Faço saber que a Assembléia Legislativa do Estado do Rio de Janeiro decreta e eu sanciono a seguinte Lei:
Art. 1º- Fica determinada a higienização dos carrinhos, cestas e utensílios de mercado disponibilizados ao consumidor para acondicionamento de compras por mercados, supermercados, hipermercados, conglomerados comerciais, bem como estabelecimentos e centros comerciais.
Art. 2º- A higienização descrita no artigo 1º deverá ser realizada diariamente pelo estabelecimento.
Art. 3º- O descumprimento do disposto nesta Lei sujeitará o infrator às sanções previstas no artigo 56 da Lei Federal nº 8.078, de 11 de setembro de 1990 – Código de Defesa do Consumidor, aplicáveis na forma de seus artigos 57 a 60, sem prejuízo das sanções previstas na legislação sanitária, a serem impostas, nos respectivos
âmbitos de atribuições, pelos órgãos estaduais de defesa do consumidor e de vigilância sanitária.
Art. 4º – Esta Lei entra em vigor na data de sua publicação. Rio de Janeiro, 22 de outubro de 2014
LUIZ FERNANDO DE SOUZA
Governador
Projeto de Lei nº 1893-A/2012
Autoria do Deputado: Marcos Soares
Id: 1751907
LEI Nº 6910 DE 22 DE OUTUBRO DE 2014
ALTERA A LEI Nº 5.645, DE 06 DE JANEIRO DE 2010, PARA INSTITUIR O DIA DO HIP-HOP NO CALENDÁRIO DE DATAS COMEMORATIVAS DO ESTADO DO RIO DE JANEIRO.
O Governador do Estado do Rio de Janeiro
Faço saber que a Assembléia Legislativa do Estado do Rio de Janeiro decreta e eu sanciono a seguinte Lei:
Art. 1º- Fica instituído no calendário do Estado do Rio de Janeiro o DIA DO HIP-HOP que se realiza anualmente no dia 12 de novembro.
Art. 2º- O Anexo da Lei nº 5.645, de 06 de janeiro de 2010, passa a vigorar com a seguinte redação:
ANEXO
CALENDÁRIO DATAS COMEMORATIVAS DO ESTADO DO RIO DE JANEIRO
NOVEMBRO
(…)
Dia 12/11
“DIA DO HIP-HOP.”
Art. 3º- Esta Lei entrará em vigor na data de sua publicação.
Rio de Janeiro, 22 de outubro de 2014
LUIZ FERNANDO DE SOUZA
Governador
Projeto de Lei nº 2883/2014
Autoria da Deputada: Aspasia Camargo
Id: 1751908
Ofício GG/PL nº 303 Rio de Janeiro, 22 de outubro de 2014 Senhor Presidente,
Cumprimentando-o, acuso o recebimento 01 de outubro de 2014, do Ofício nº 264-M, de 30 de setembro de 2014, referente ao Projeto de Lei nº 2305-A de 2013 de autoria do Senhor Deputado Flavio Bolsonaro que, “DISPÕE SOBRE O ENVIO DE MENSAGENS DE TEXTO, DO TIPO SMS, DE UTILIDADE PÚBLICA, POR PRESTADORAS DE SERVIÇOS DE TELECOMUNICAÇÕES, SEM ÔNUS PARA O PODER PÚBLICO OU USUÁRIOS, ATRAVÉS DE CONVÊNIO CELEBRADO ENTRE AS PARTES”.
Ao restituir a segunda via do Autógrafo, comunico a Vossa Excelência que vetei integralmente o referido projeto, consoante as razões em anexo.
Colho o ensejo para renovar a Vossa Excelência protestos de elevada consideração e nímio apreço.
LUIZ FERNANDO DE SOUZA
Governador
Excelentíssimo Senhor
Deputado PAULO MELO
DD. Presidente da Assembléia Legislativa do Estado do Rio de Janeiro
RAZÕES DE VETO TOTAL AO PROJETO DE LEI Nº 2305-A/2013 DE AUTORIA DO SENHOR
DEPUTADO FLÁVIO BOLSONARO, QUE “DISPÕE SOBRE O ENVIO DE MENSAGENS DE TEXTO, DO TIPO SMS, DE UTILIDADE PÚBLICA, POR PRESTADORAS DE SERVIÇOS DE TELECOMUNICAÇÕES, SEM
ÔNUS PARA O PODER PÚBLICO OU USUÁ- RIOS, ATRAVÉS DE CONVÊNIO CELEBRADO ENTRE AS PARTES”.
Sem embargo da elogiável inspiração dessa Egrégia Casa de Leis, fui levado à contingência de vetar integralmente o presente projeto,que tem por objetivo obrigar o Poder Executivo a firmar convênio com as prestadoras de serviços de telefonia móvel, sem ônus para o Poder Público, com vistas ao envio de mensagens de texto de utilidade pública aos usuários, nos casos de situação de emergência ou estado de calamidade pública.
Trata-se de iniciativa legislativa meramente autorizativa, violadora do princípio da separação harmônica dos poderes, previsto expressamente no art. 2º, da CRFB, eis que normas como esta afrontam a iniciativa privativa do Governador de Estado para gerir a Administração Pública.
Além disso, a assinatura de convênios por parte do Estado independe de autorização legislativa, conforme já decidiu o Supremo
Tribunal Federal ao declarar inconstitucional o art. 99, XX, da Carta Estadual. A realização de convênios é ato de gestão típico do Poder Executivo, afigurando-se inócua, portanto, edição de lei autorizativa.
Nessa esteira, a obrigatoriedade imposta às concessionárias dos serviços de telefonia a prestarem referido serviço sem ônus para o Poder Público, invade a competência privativa da União para dispor sobre telecomunicações, a teor do que dispõem os artigos 21, XI e 22, IV, ambos da Constituição da República.
Por tudo isso, resta apenas consignar que o art. 2º da Constituição Federal, o qual consagra o princípio da separação dos poderes, não foi observado, eis que matérias reservadas ao Poder Executivo não podem ser supridas por membro do Poder Legislativo, o que nos faz verificar o insanável vício formal de iniciativa a macular este projeto.
Mas não é só. As Defesas Civis Estadual e Municipais firmaram o Termo de Cooperação nº 01/2014 entre o Ministério Público Federal e as operadoras de telefonia, cuja finalidade é viabilizar o funcionamento no Estado do Rio de janeiro de protocolo para o envio de alertas e de informações de emergência à população, acerca dos riscos de desastres naturais ou tecnológicos, mediante a utilização do serviço de mensagem curta de texto – SMS, a ser prestado, de forma gratuita, pelas empresas concessionárias do Serviço Móvel Pessoal – SMP. Referido serviço abrange 94 Municípios do Estado do Rio de Janeiro.
Pelos motivos aqui expostos, não me restou outra opção a não ser a de apor o veto total que encaminho à deliberação dessa nobre
Casa Parlamentar.
LUIZ FERNANDO DE SOUZA
Governador
Id: 1751909
Ofício GG/PL nº 304 Rio de Janeiro, 22 de outubro de 2014 Senhor Presidente,
Cumprimentando-o, acuso o recebimento 01 de outubro de 2014, do Ofício nº 267-M, de 30 de setembro de 2014, referente ao Projeto de Lei nº 3084 de 2014, oriundo da Mensagem 02/2014 de autoria do Ministério Publico que, “DISPÕE SOBRE A RECOMPOSIÇÃO DAS PERDAS REMUNERATÓRIAS DOS SERVIDORES DO QUADRO PERMANENTE DE SERVIÇOS AUXILIARES DO MINISTÉ-RIO PÚBLICO DO ESTADO DO RIO DE JANEIRO”.
Ao restituir a segunda via do Autógrafo, comunico a Vossa Excelência que vetei integralmente o referido projeto, consoante as razões em anexo.
Colho o ensejo para renovar a Vossa Excelência protestos de elevada consideração e nímio apreço.
LUIZ FERNANDO DE SOUZA
Governador
Excelentíssimo Senhor
Deputado PAULO MELO
DD. Presidente da Assembléia Legislativa do Estado do Rio de Janeiro
RAZÕES DE VETO TOTAL AO PROJETO DE LEI Nº 3084/2014 DE AUTORIA DO MINISTÉRIO PÚBLICO, QUE “DISPÕE SOBRE A RECOMPOSIÇÃO DAS PERDAS REMUNERATÓRIAS DOS SERVIDORES DO QUADRO PERMANENTE DE SERVIÇOS AUXILIARES DO MINISTÉRIO PÚBLICO DO ESTADO DO RIO DE JANEIRO”.
Sem embargo da elogiável inspiração dessa Egrégia Instituição, fui levado à contingência de vetar integralmente o presente projeto, que pretende reajustar as remunerações dos servidores do Ministério Público do Estado do Rio de Janeiro, consignando que as despesas decorrentes da iniciativa legislativa serão atendidas pelas dotações orçamentárias próprias do Ministério Público.
É que a Lei Complementar nº 101, estabeleceu limitações atinentes aos gastos com despesas de pessoal, fixando limitação temporal à prática de atos que ensejam aumento de despesas em ano eleitoral, proibindo qualquer modalidade de reajuste nos 180 dias que antecedem ao término do mandado. Assim estabelece o Parágrafo Único do art. 21, da LC 101/2000:
“Art. 21. É nulo de pleno direito o ato que provoque aumento
da despesa com pessoal e não atenda:
(…)
Parágrafo único. Também é nulo de pleno direito o ato de que resulte aumento da despesa com pessoal expedido nos cento e oitenta dias anteriores ao final do mandato do titular do respectivo Poder ou órgão referido no art. 20.”
Nesse sentido, em que pese o louvável e nobre objetivo de recompor as perdas inflacionárias nas remunerações salariais sofridas pelos servidores do Quadro do Ministério Público do Estado, a presente iniciativa afronta o disposto na Lei de Responsabilidade Fiscal.
Pelos motivos aqui expostos, não me restou outra opção a não ser a de apor o veto total que encaminho à deliberação dessa nobre Casa Parlamentar.
LUIZ FERNANDO DE SOUZA
Governador
Id: 1751910
Ofício GG/PL nº 305 Rio de Janeiro, 22 de outubro de 2014 Senhor Presidente,
Cumprimentando-o, acuso o recebimento 01 de outubro de 2014, do Ofício nº 263-M, de 30 de setembro de 2014, referente ao Projeto de Lei nº 3177 de 2014, oriundo da Mensagem 06/2014 de autoria do Poder Judiciário que, “DISPÕE SOBRE A COMPOSIÇÃO DAS PERDAS SALARIAIS DOS SERVIDORES DO QUADRO ÚNICO DE PESSOAL DO PODER JUDICIÁRIO DO ESTADO DO RIO DE JANEIRO E DÁ OUTRAS PROVIDÊNCIAS”.
Ao restituir a segunda via do Autógrafo, comunico a Vossa Excelência que vetei integralmente o referido projeto, consoante as razões em anexo.
Colho o ensejo para renovar a Vossa Excelência protestos de elevada consideração e nímio apreço.
LUIZ FERNANDO DE SOUZA
Governador
Excelentíssimo Senhor
Deputado PAULO MELO
DD. Presidente da Assembléia Legislativa do Estado do Rio de Janeiro
RAZÕES DE VETO TOTAL AO PROJETO DE LEI Nº 3177/2014 DE AUTORIA DO PODER JUDICIÁRIO, QUE “DISPÕE SOBRE A COMPOSIÇÃO DAS PERDAS SALARIAIS DOS SERVIDORES
DO QUADRO ÚNICO DE PESSOAL DO PODER JUDICIÁRIO DO ESTADO DO RIO DE JANEIRO E
DÁ OUTRAS PROVIDÊNCIAS”.
Sem embargo da elogiável inspiração dessa Egrégia Corte Jurídica, fui levado à contingência de vetar integralmente o presente projeto, que pretende reajustar as remunerações dos servidores do
The authors/submitters alone is responsible for what is expressed
Peace to all,
The Universal Zulu Nation Belgian Chapter is proud to present
The Official Belgian Elimination for the BATTLE OF THE YEAR on Saturday 22nd April 2006.
We remind you that the Benelux Final will take place on September 30th 2006 in Utrecht.
More informations just click www.zulunation.be / www.botybenelux.com / www.battleoftheyear.net
Peace to all,
The Universal Zulu Nation Belgian Chapter is proud to present
The Official Belgian Elimination for the BATTLE OF THE YEAR on Saturday 22nd April 2006.
We remind you that the Benelux Final will take place on September 30th 2006 in Utrecht.
More informations just click
www.zulunation.be / www.botybenelux.com/ www.battleoftheyear.net
Press Release
Black Noise Hip Hop Group
News
Contents
– Black Noise DVD “Hip Hop How To Vol 1” in stores now
– Black Noise new website www.blacknoise.co.za
– Black Noise recording new CD
– Emiles new book, My Hip Hop is African and Proud
– Cape Flats Uprising Records releases HTH 5 & 6 & Isaac Mutant
– African Battle Cry 2005 3rd Dec – 23rd Dec
– Black Noise years plan for 2005
– Contact Information
– Black Noise DVD “Hip Hop How To Vol 1” in stores now Check www.bowline.co.za – Its the first of a set of 5. Vol #2 shot in Dec on B-boy/girl history in South Africa and a “how to” do all the moves. Also available on DVD from Black Noise is African Hip Hop Indaba 2003 & 2004
– Black Noise new website www.blacknoise.co.za For many year Black Noise have been hosted by Making Music, but the group has set up its own site at www.blacknoise.co.za. The new designer is currently updating the site with lyrics, links, hip hop shop, members personal information, sponsors and give-aways for members to the groups quaterly newsletter. Plans are also in place for the creation of Da Juice as an internet magazine, so keep checking the site for developments
– Black Noise recording new CD
Black Noise recording new CD for release early in 2005. the group will release it independently as usual and plan to tour nationally promoting it.
Already Angelo has created interesting new dance beats, while Emile has written a variety of tracks from the usual b-boy elektro to dancehall to dance tracks to knowledge to rock to … Black Noise supporters will not be dissapointed by this one
– Emiles new book, My Hip Hop is African and Proud Book will be out at the beginning of Dec 2004. It is a look at African Pride learnt from Hip Hop through Emiles’ 22 years of being involved in South African Hip Hop Scene. It also contains poetry, short stories and articles Emile wrote over the years about hip hop and other issues.
– Cape Flats Uprising Records (Emiles’ underground record label) just released Africasgateway Heal the Hood Compilation 5 Check www.africasgateway.com for details of artists on this one Isaac Mutants new CD Side Show Freak Vol 1 Isaac is the GOD of Afrikaans rhymes on the Cape Flats. Uncompromising in what he rhymes about and how he delivers this one. 18 tracks that will change your view on what Afrikaans rhyme actually should to sound like. A definite for your collection.
Heal the Hood Compilation 6
Tracks and freestyle battle from African Hip Hop Indaba 2003. Tracks by Sky 189, Mefic from Sweden, Frida Davul, Emile YX?, Ace, Def Boyz, Da Mates and Krooked Tongues Crew
– African Battle Cry 2005 3rd Dec – 23rd Dec Focus as usual is on hip hop development in the townships Ocean View, Mitchells Plain, Grassy Park, Guguletu, Khyalitsha, Atlantis etc Finale at Podium Hall 23rd Dec – Hip Hop Fancy Dress – Battles MC DJ B-boy/girl & Fashion Show – Prizes- Give-Aways etc
– Black Noise years plan for 2005
Jan & Feb- First leg of the Southern African Hip Hop Development Tour
Main focus will be around dancing, while we will also cover all the other elements of the Culture.
DJing, MCing/ Rapping, Writing/ Graffiti and
B-Boying/ Breakdancing
19th – 21st Mossel Bay
22nd – 25th Oudtshoorn
26th – 28th Port Elizabeth
29th – 31st East London
1st – 4th East London
5th – 7th Transkei
Black Noise Album release
What is Hip Hop Book release
March – 2nd leg of the Southern African Hip Hop Development Tour
Cape Festival Co-inside with launch of second DVD in “Hip Hop How To series Mia and Sanna, “Swedish Hip Hop Dance Twins” Tour South Africa with Black Noise
April 1st – 4th April World Hip Hop Summit in France
5th – 28th April Norwegian Tour
May – Freestyle Session, South Africa
3 Californian B-boys judge and battle at the event
June – National African Hip Hop Indaba 2005
Hip Hop developmental tour throughout South Africa
Week long stay in each town with workshops and battle at end of week
July – National African Hip Hop Indaba 2005
Hip Hop developmental tour throughout South Africa
3 day stay in each town
30th July – 7th August performance in Stockholm, Sweden by Black Noise
August – African Hip Hop Indaba 2005 Finals
26th August National MC “Rap” & DJ Champs at the DromedarisHall,GoodHope Centre 27th August National B-boy/ B-Girl” Breakdance” Champs “Battle of the Year”, South Africa in the Main Hall, Good Hope Centre 28th August National Writing “Graffiti” Champs
Oct & Nov- Heal the Hood Third leg of the Southern African Hip Hop
Development Tour
December – African Battle Cry 2005 , 10 leg Western Cape Community tour
10 different venues from the previous year
– to promote hip hop culture and positive youth activities Finale is the end of year celebration and acknowledgement of youth in the hip hop culture
23rd Dec 2004 – African Battle Cry Finale – Podium Hall or Good Hope
Centre
31st Dec New Year Hip Hop Jam
– Contact Information
Contact Person:- Emile Jansen
email:- emiley@mweb.co.za
or blacknoisesouthafrica@hotmail.com
Tel #:- + 27 21 706 0481
Cell :- + 27 (0) 82 3958125
P.O.Box 31184
Grassy Park 7888
Cape Town 8000
South Africa
www.blacknoise.co.za
January – Black Noise Hip Hop Group Celebrates 27 Anniversary with a New Single release, Performance & Hip Hop Party at Jolly Carp Organic Market 7th February 2015.
Black Noise, South Africa’s oldest Hip Hop Group and Pioneers will celebrate their 27th Anniversary with a release of a new single called “Heartbeat”, signed and released by Native Rhythms Records.(Label Press Release Below)
Black Noise started as Break-dancers in 1982 with the groups like Pop Glide Crew, Supreme Team, Ballistic Rock & Jam Rock Crew. It is because of this strong dance background that Black Noise Anniversaries have Hip Hop dance battles, performances, old school throw-downs, talks and workshops. This year Emile YX?, who just released his 6th solo CD and won an Honorary Award at South African Hip Hop Awards , will host a talk about self sustainability as an artist in Cape Town, South Africa at 4pm. Dance battle start after that and event runs till midnight, with Black Noise performing their new single.
Entrance is merely R50 for the day, Hip Hop Products and Food will also be on sale at the venue. It is also possible to braai, so bring your own wood, first come first serve on this.
For more information contact Emile YX? at 0823958125 or 0217060481
22 January 2015
The Noise is Back: Black Noise Drops a new Single
Black Noise has vowed to occupy a prominent space in the forever-growing hip-hop scene. Recently signed to Native Rhythms Records (a label that has become synonymous with breaking acts), the group is preparing to release what could be a seminal EP in 2015.
This week, Black Noise releases Heartbeat, aka âClapâ with Emile YX singing in Khoekhoegowab (Nama) and is one of the songs that will see the group mixing hip-hop with local sounds such as Klopse or Goema, Khoi and San indigenous sounds and chants, as well gumboot and dance rhythms.
Explaining the future direction and sound of Black Noise, Emile Lester Jansen, aka Emile YX says: âwith this single, Heartbeat, we want to mess with peoples perception of race, tribalism and mix things up in our music. Last year the group had a successful tour of United States of America and performed at The Kennedy Centre in Washington DC and at Trinity, University in Connecticut and the response to our sound and performance was tremendous.
Written by Emile Jansen & Jean-Pierre Frolick and a beat by Ebrahim Mallum, and sung by Nicky Samuels, the single is a true reflection of the character of South Africa diverse native sounds.
Black Noise is a hip-hop crew hailing from the Cape Flats in Cape Town, and one of oldest active hip-hop crew along with Prophets of da City (POC). Black Noise is credited with being the pioneer of Cape Town’s ‘conscious’ hip-hop scene in the late 80s and early 90s.
Through Native Rhythms Records, Black Noise will also release an EP of five (5) tracks in the first quarter of 2015 and will be available on iTunes and other digital platforms.
For enquiries: Vusi Mahlangu or Bayanda Dlomo: management@nativerhythms.co.za or 0114475199
__
Australian Hip Hop – Melbourne styles.
To trace Australia’s culture of Hip Hop back to its origins we need to travel back to the early 80’s. In the beginning, Melbourne Hip Hop Culture was predominantly influenced by graffiti and b-boying (Breakdancing). The first real influences felt by B-Boys and B-Girls were from the video clips Malcolm McClaren’s Buffalo Gals and Herbie Hancock’s Rockit.
The book Subway Art, by Henry Chalfant and Martha Cooper was also a major early influence and was regarded almost as a bible or rather, an authoritative guideline to the art of Graffiti. At the time, across Australia, it was the most stolen book from both local Libraries and stores.
Early writers in Melbourne would religiously gather in the “Old City Square” on Saturdays where there was lots of open space and a council provided tagging wall. Many of the artists would then walk along the train lines to take photos of new work. The “Old City Square” had what was originally a small record shop named Central Station Records, which stocked the latest dance, electro and hip hop sounds available at the time.
Both B Boys and writers would also gather at the Marble, which was not a specifically significant building or place, but was so named for its marble floors. The Marble was a place where people would swap fat laces, and discuss developments in graffiti, b-boying and the other elements of Hip Hop culture.
In late 1984 the Rock Steady Crew toured Australia which heightened the influence of break dancing, Hip Hop and electro music in the general community, and strengthened the growing links within the Australian Hip Hop Community.
At this time, the national music television show Countdown hosted a national b-boying competition which was judged by the Rock Steady Crew and won by a Melbourne crew. This had the double effect of demonstrating that Australian Hip Hop was indeed a national movement, and that Melbourne was a place where people were the influence of Hip Hop was alive and strong. It also showed the rest of Australia that Melbourne’s b boys were highly skilled.
It was around this time that one of the strongest early influences arrived in Australia. The movie Beat Street gave birth to a new generation of B-boys and writers, and gave a further sense of direction to those already immersed in the subculture. It may also be said that through the influence of this movie, B boys and B girls initially started expanding into the less practised, and at this stage, less recognised arts or turntablism and rhyming.
Another early, though major influence, was the arrival in Australia of the Style Wars and Wildstyle documentaries. Although copies of these films were rare, they influenced the direction taken by the more hardcore adherents of Hip Hop. The influence of the documentaries gradually filtered through the larger Hip Hop community through newer developments in styles of dance and painting and a wider awareness of aspects of the culture in General.
The current affairs program 60 Minutes here in Australia produced two story’s on Hip Hop which further added to the impetus of earlier influences. The first program showed B-boying and Graffiti in the Bronx and showed important locations in New York such as Disco fever. For many, it was an early glimpse of the home of Hip Hop.
The second program featured Australian writers and B-boys from both Sydney and Melbourne and once again saw Hip Hop as a topic of discussion in the national media. Overwhelmingly this attention was negative, particularly in the press.
This second program did devote some time to the Melbourne scene and illustrated how hardcore and determined the writers in the city had become. It also included a short interview with a transit detective. It again demonstrated the strength and determination of B boys from both Sydney and Melbourne and showed that adherents to the elements of Hip Hop were truly dedicated.
This was further boosted by an early tour of rappers Double O and Velour. With them came New York Graffiti legends Phase 2 and Daze, who painted murals at different spots around the country. The visit of these artists had a profound influence on early writers, and opened channels of communication to New York.
The murals painted by Phase 2 and Daze remained untouched for many years and indeed were regarded with a great deal of reverence by artists all over Australia. The visit left Australian artists feeling they had now achieved a degree of respect from the larger Hip Hop community, particularly in New York.
In the mid to late 80’s, the culmination of all these factors saw the rise of all four elements of Hip Hop culture. The element which experienced some of the more rapid growth during this period was that art of turntablism.
Though DJ’s were always influential by playing the latest Hip Hop tunes, this period saw the DJ became more heavily involved in the culture, especially with international events such as the DMC DJ Battle which was shown regularly on video at Central Station Records.
In 1988 Run DMC visited out shores and were the first large scale international Hip Hop act to perform here. It may be argued that many within the Hip Hop culture in Australia felt that this event had joined us to other Hip Hop communities around the world, and had placed Australia on the map as part of the worldwide Hip Hop fraternity.
This event also promoted grassroots rapping and really motivated our culture; it helped motivate the DJ element through the exploits of DJ Scratch. The culture held this stance throughout the remainder of the 80’s. Events where held in the “Old City Square” where b-boy battles would take place and later mc’s would pick up the mic.
A few clubs started regular events that kept the positive alignment of the culture, places like Check Point Charlie, Planet Rock, Contact and Sub terrain, just to name but a few.
One real development in the aftermath of the Run DMC visit was the birth of crews who made music as opposed to art or dance. The development of the MC and DJ as a Crew also began to pave the way for our own distinct culture of Hip Hop groups, who reflected Australian themes and ideas as opposed to pure emulation of American trends.
The beginning of the 1990’s saw a real growth in the number of Australian crews releasing material on vinyl. This created a body of work which gave up and coming practitioners something to aspire to. It also created the opportunity for the musical aspects of the subculture to grow through airplay on local Radio and opening slots with the international Hip Hop Acts that were touring at the time.
These things had a tremendously positive impact on our culture and helped it grow exponentially. This was also affected by the wider commercialisation of Hip Hop around the world in the early 1990’s, where more people not previously exposed to or interested in the culture began to embrace it wholeheartedly.
Around the time of 1994 there were a handful of production teams working within the culture to help make it what it has become today. These productions teams brought new professionalism and Australian identity to the scene, for which they are owed an enormous debt.
These early influences and the passion and determination of a great many individuals have brought the scene to its current healthy state. Australian B Boys and B girls are developing a truly Australian and Melbourne identity in all they produce.
Although still a scene in its relative infancy, Australian Hip Hop has come a long way.
We have much to learn on our journey of development and refinement, however, we look and listen with open minds and positive focus into the future. The next 30 years and more will no doubt be a journey of most educational, learning, sharing, unifying times. Each One Teach One.
Written By : Universal Zulu Nation : Australian Chapter
Edited By : Jinks TCB Crew.
ZULU KING NINO BROWN acessou o RioFesta, e lhe mandou esta notícia.
Mensagem:
quinto elemento do hip hop, conhecimento e sabedoria.
Hip-Hop(TR):Afinal, o que é Black Music?
É lamentável ouvir nos dias de hoje opiniões precipitadas por parte de algumas pessoas da nova escola do hip-hop a respeito da black music. Frases como ´aquilo é festa que só rola black e black music é o c…, o negócio é hip-hop`, ilustram o estado de consciência daqueles que se intitulam os membros de um movimento entendido como hip-hop. Infelizmente percebe-se que muito pouco ou realmente nada se sabe acerca daquilo que estas julgam defender… Neste caso, cabe ressaltar que o rap, quanto música, é um elemento, e também o último a compor os galhos da gigantesca árvore da black music; e, para que talvez este preconceito passe a não existir mais em nosso meio, resolvi desenvolver um resumo que pudesse servir de guia explicativo para romper as dúvidas naturais sobre este assunto:
Blues – estilo musical afro-americano, caracterizado por expressivas modulações (blue notes), qualidades tonais únicas e fraseado original, com temas tristes, de desilusão amorosa sob a ótica da condição negra, influenciado pela matriz africana no padrão de ´chamados e respostas` dos refrões, e na imitação de frases vocais através dos instrumentos, em especial a guitarra.. O blues nasce no sul dos EUA, no delta do Mississipi, no fim do séc. XIX, tendo como referência básica os bluesmen WC Handy e Charlie Patton. Atingindo sua maturidade no norte (Chicago), o blues passa a influenciar todos os estilos de jazz, consagrando durante os anos 20 Bessie Smith fazendo dela sua intérprete clássica (Mama´s Got the Blues); enquanto que Louis Armistrong, com suas inovações, faz com que o blues e o jazz ocupem notavelmente a categoria de expressão artística. Billie Holiday também pode ser lembrada como a cantora das décadas de 30 e 40. Nos anos 40, surge a modalidade do be-bop, popularizada por Charlie Parker e Dizzy Gillespie, trazendo desta forma uma nova concepção harmônica, dando, inclusive, influência na música contemporânea e no rock.
Funk – estilo de rock negro surgido nos EUA por volta de 1970, marcado por personalidades de artistas como James Brown, Sly Stone e Stevie Wonder.
Gospel – cântico religioso dos negros no sul dos EUA durante a escravidão. Pode-se afirmar que do gospel originaram-se ritmos como o jazz, rock e funk, fazendo dele o ponto de partida para o conceito da black music. Deste gênero, destacaram-se nomes como Mahalia Jackson, Aretha Franklin, Al Green e Kirk Franklin.
Jazz – música afro-americana criada no início do século (1890-1910) pelas comunidades negras do sul dos EUA, baseada principalmente na improvisação, no tratamento original da matéria sonora e em uma valorização específica do ritmo (swing). Neste período, ocorre em Nova Orleans a fusão de três estilos musicais, até então paralelos: a música popular dos negros (música religiosa, cantos de trabalho e em especial o blues), o ragtime e a versão ´branca`, ‘europeizada`, da popular afro-americana (música de vaudeville). Esta síntese passa a ser possível graças à harmonia criada entre as diversas etnias negras existentes na época, e uma delas, por ser de expressão francesa, consegue a apreciação do código legislativo da Louisiana, que passa a considerá-la uma expressão autenticamente negra. Destacaram-se ao longo do tempo nomes importantes como Jelly Roll, Sidney Bechet e Louis Armstrong.
Rap- conhecido pela tradução da sigla ´ritmo & poesia`, o rap aparece nas ruas do bairro do Bronx, por volta de 1975, através das popularizações do projeto do dj Grand ´Master` Flash: o grupo de rap The Furious Five. Embora o rap faça parte da cultura hip-hop e, atualmente, tenha adquirido a aceitação e participação das demais raças, ele ainda carrega em seu DNA a predominância legítima da raça negra em suas características, vindo quanto expressão musical, compor dentro da modernidade sua colocação junto à árvore da black music. Personalidades como Grand ´Master` Flash & The Furious Five, Afrika Bambaata & The Soul Sonic Force e Run DMC alavancaram o gênero para o mundo, tornando-o uma indústria poderosa de 1 bilhão de dólares.
Rhytm and Blues- gênero de música popular negra norte-americana surgida em torno de 1940, através da fusão entre o blues, o jazz e o gospel, indissociável à dança, na qual o rock-and-roll se inspirou profundamente. Do r&b, se destacaram e se destacam até hoje grandes nomes: Chaka Khan, Teddy Pendergrass, Mary J. Blige…
Para ver o restante da notícia, clique aqui
Fonte: Ag. riofesta.com
Autor: Autor: TR (Acorda Hip-Hop)
HIP HOP VIDEOS
[ultimate 4 /]
Its Emile from the Heal the Hood Project in South Africa. To explain the
concept briefly, is that we have been involved in Hip Hop since 1982 and we
have learned that the system as it is, is only after the money generated
from hip hop and not the liberation and revolutionary importance of hip hop.
We have thus researched the process of their control of the masses and how
it is done. We have realized that our main downfall is our expectation that
they will help us attain this freedom.
Capitalism has no interest in the masses gaining freedom as that will mean
that they will have to share their money with more people and thus even care
about the most poverty stricken people that they use for gaining their cheap
slave labor that ensures their capitalistic ways. We have thus seen that
they have a network that will decide and dictate the way that hip hop is
perceived by the masses by the control of the global media networks that
they have control over. This network aims to get us into contact around the
world and thus also create a network that aims to serve as a distribution
network that will generate an income for the creative people from the
various communities that we choose to work with. Those that gain from this
project has the DUTY to pass what they have gained to others in the
community and thus also ensure that more money is generated for more
positive hip hop globally from the hip hop network that we intend to spread
throughout the world. We have thus far started an interest in this network in
Sweden, South Africa and Norway. We are currently speaking to England,
Australia, Zimbabwe and a few others. Our intention is to expand in each of
our towns globally to get more people involved and spread a newsletter that
will have stories about the real hip hop and spread it in each of the
countries that we have spoken about above. If you want to get an article
from your country into the magazine, please mail it to me and we will get it
into issue one and we will then send copies of the magazine to each country
and offer it as part of the global membership fee that will ensure that we
get it out quarterly globally and we will also advertise whatever locally
produced, non mainstream artists work in the magazine called DA JUICE, a
heal the Hood project.
In the future we intend to release CDs with hip hop from around the world on
it and have that distributed internationally. We also want to have youth draw
designs and create t-shirts and murals in each others communities showing
that graffiti can also expose artworks from ghettos from different parts of
the world to be done in different countries and giving them exposure as well
as an income from their creativity, in various countries around the world.
As you can hear , we have millions of creative ways of getting around their
control of our minds and we know that you have many creative ways that you
will also share and put into effect in your country. So my brothers and
sisters …. What we are saying is that we are the majority on this planet
and we have to reclaim our POWER from the corporate capitalist minorities
that wants to keep us THE MAJORITY as slaves to exploit with their BULLSHIT
LIE, democracy. Its more like bought and brainwashed dictatorship. I see a
SAD FUTURE if we continue to believe the lies they sell us that we are world
famous, when their world is only dictated by economic statistics and judged
by the flow of wealth. It is a sad world, when a few countries dictates its
desires and views on the majority of countries around the globe and we
remain silent when they go to war and enforce democracy via their
dictatorship. Its a sad world, when information is controlled by finance and
they are able to get the world to forget millions of DYING AFRICANS from
their manufactured CHEMICAL AND BIOLOGICAL WARFARE EXPERIMENT named A.I.D.S
and get away with it, as they did with SLAVERY. No remuneration or
compensation or even SADNESS for their deeds.
A BRIGHT FUTURE CAN ONLY EXIST IF THE MASSES ON THE PLANET TAKE BACK THEIR
TRUE IDENTITY AND VALUE ATTACHED TO LIFE. These colonials degraded cultures
from around the world and made theirs look CIVIL- LIES- ED. Cultures like
OURS here in Afrika that worshipped GOD in everything around us, thus loving
the GOD in everything, thus not polluting, not taking life of animals
without praising the GOD in it and thanking it and after they had their
churches force their version of GOD on us, their children today worship
spirits or GODS in everything like with so-called witchcraft. These children
are running the world my brothers and sisters and know not what they do. It
is time for that masses and elders to TAKE BACK what belongs to us all. I am
not talking about their worthless money or fancy material things … we need
to re-value their values they have enforced on us. What gives their money
worth ? Why is it worth more than life ? Who said that gold can by a fruit
that was loved and nurtured and grown from the earth, what makes this
mineral worth more than that or LIFE itself?
I know many people reading this will think I am losing my mind, but think
about your children and their children’s children. What will these theives
leave for them? What world will exist then, when they control life and will
sell it to you. They will own the genetically modified seed, that killed the
naturally grown seed and poisoned the soil and they will dictate what you
eat and if you eat. WE THE MAJORITY CAN NOT LET THIS HAPPEN , WHAT WILL OUR
CHILDREN THINK OF US, WHY DID WE JUST SIT BY AND LET IT ALL HAPPEN, WE CAN
RETURN TO THE WAYS OF OUR ANCESTORS WHERE WE EXCHANGE CREATIONS OR PRODUCTS
WE BOUGHT … REMEMBER BARTERING….
This network can become that and we can let each other see what is really
happening in our countries without CNN or BBC or their controlled media. We
can create our own media and travel to each others countries to learn from
each other directly, replacing the humanity of learning.
My dear brothers and sisters, like everything else, this is just an idea
that has grown into a concept that we have made a reality in two countries
initially and now wish to spread throughout the world. Heal the Hood is not
a economically driven programmed, it is a people driven programmed. So if you
are an ambitious corporate type wanting to make money without giving back to
the people that support you, then this is not for you. The name expresses
our intention to HEAL THE HOOD (as in Neighborhood)
All praise is due to the Universal Zulu Nation & Afrika Bambaataa for the
inspiration for this concept. LOVE, THANKS AND RESPECT TO THE ANCESTORS AND
ELDERS FOR GIVING US HIP HOP, Kool DJ Herc, Rock Steady Crew, GrandWizard
Theodore, Grandmaster Flash, Chuck D, Public Enemy, Nation of Islam, Nelson
Mandela, Steve Biko, Ashley Kriel, Robert Sovukwe, Patrice Lamumba, Malcolm
X, Martin Luther King, Bob Marley and millions of others that have died and
continue to die for the world liberation from greed, white supremacy,
racism, capitalism, neo-colonialism …
May our GODS and ANCESTORS be with us
from Emile YX?
Black Noise
Heal the Hood , South Africa
Peace to you My Brothers and Sisters around the world
Some time ago I saw some information from the Zulu Nation that said that we
are all to blame for the state of hip hop, not just the media and industry.
It suggested that DJs play conscious songs as part of their sets , MCs
release knowledge and information on the underground, writers do messages on
walls that would enlighten the masses and event organisers hire some
positive hip hop acts as well, magazines run some stories about positive hip
hop etc…
I have done my bit to do positive hip hop events like the Heal the Hood
project in South Africa, Sweden and Norway, Da Juice magazines knowledge
section, Heal the Hood Cd compilations and now …
I have ready to release my information/ knowledge based hip hop Cd named
“Who am I?” It also contains all lyrics in the sleeve as well. If your
magazine website or radio show wishes to have a copy sent for review, please
email me the contact person, name and address of the magazine via email or
post a copy of the magazine to P.O.Box 31184, Grassy Park 7888, Cape Town
8000, South Africa or call me at +27 21 7060481
People wanting to buy a copy of the CD can post a postal order for R100
(which includes cost for overnight local postage) to Emile Jansen P.O.Box
31184, Grassy Park 7888, Cape Town 8000, South Africa or send money directly
ino the account:-
Name of Account:- Black Noise Rap Group
Bank:- Standard Bank of South AFrica
Branch:- Blue Route
Account Number:- 073425338
IBT code:- 5609
Type of Acount:- Plus Plan
If you are from Sweden you can contact jenny@integralmusic.com or.
frokenvanilj@hotmail.com to buy a copy of the CD.
If you are from the USA please or elsewhere and want to buy a CD, send 25US$
to above address which also includes postage.
Well, thanks for your support over the years, with all my love and respect
EMile YX? from Black Noise
Contact Emile at 082 395 8125
