Thursday, November 25, 2010


My brother from another mother B-Boy Focus of the infamous Flo-Mo Crew was just recently nominated to the Top 8, in the Bboy of the Year 2010 Award contest. He is  only two steps away from being the finalist.
In my humble opinion i fell Focus fits the critirior best out of all the finalist.
if your a focus and flo mo supporter like myself, or even if you apreciate his dance and contributions to the scene, it would be dope if you can take a few minutes out of your time to vote for focus as 2010 bboy of the year.
you can vote at this link.
peace and rock on

The Outlawz Drop "Warning Shots" Aimed At Funkmaster Flex

The Outlawz have dropped a scathing diss record aimed at Funkmaster Flex, after the popular New York radio host made controversial remarks about late rapper Tupac Shakur.

The new song, titled, "Warning Shots", is a 3:52 second record against Funk Flex, after footage of the Hot 97 radio host surfaced late sharing his opinion on Tupac Shakur on the stage.

"F**k n**gas sucking Tupac's d**k. I don't suck Tupac's d**k. Make some noise if you miss f**king Biggie Smalls!"
Funkmaster Flex during a clip of a show that surfaced on YouTube.com. Earlier this week, Funkmaster Flex clarified his remarks about Tupac Shakur during his popular New York show and defended his position about Tupac.
"Let me be the first one to say not only do I respect his music, I respect what he put down," Funkmaster Flex said. "I respect the records he made, the records he sold, his positive energy in the beginning, the great records he made and I know how passionate he was about his music."

Flex further stated that although he respected Tupac Shakur's legacy, he still felt that Pac brought a negative energy to Hip-Hop while he was alive.

Funkmaster Flex's clarification obviously wasn't good enough for The Outlawz, who label Funkmaster Flex a "mutt," "p**sy" and a "queer" accusing the DJ of pay-for-play.

"What he was saying on stage that night that was stirring up more of that negative energy," E.D.I. recently told XXL Magazine. "So I don't know what he was trying to accomplish by doing that. I really feel like he was just playin' to the crowd...because you can't say you don't like his negative energy when that's all you doing is stirring it back up."

The song ends with a clip of Tupac dissing Funkmaster Flex.

Wednesday, November 10, 2010






Coke La Rock (aka Coco La Rock) is an old school New York City rapper who is often credited as being the first MC in the history of hip-hop.
In November, 2010, Coke La Rock will be inducted into the High Times Counterculture Hall of Fame at the annual ceremonies at the Cannabis Cup in Amsterdam. He was born on April 24, 1955.

Kool Herc and La Rock

La Rock was a friend and musical partner of DJ Kool Herc, who himself is generally considered to have laid down the foundation for hip-hop music starting in 1973. Although it has been written that La Rock comes from Jamaica, in reality his parents were from North Carolina. La Rock joined Kool Herc for his first party, in 1973, to celebrate Herc's sister Cindy's birthday. It wasn't until about the fifth or sixth party that he took the name Coke La Rock. The name came to him in a dream. Before that time, he had no name and did his rapping out of sight from the audience, so no one knew who was doing the rapping. His original raps were usually shout-outs to friends, but gradually the poetry emerged. He originated such phrases as "You rock and you don't stop" and "Hotel, motel, you don't tell, we won't tell" (which was immortalized on the first Sugarhill Gang single Rapper's Delight although La Rock received no credit.
La Rock's raps were always purely improvisational, unlike those of later 70s-era rap groups—such as the Furious Five L Brothers Funky Four and Cold Crush Brothers ; who wrote down and also rehearsed their rhymes and created elaborate routines. According to La Rock, while rapping "at first I would just call out names. Then I pretended dudes had double-parked cars; that was to impress the girls. Truthfully, I wasn’t there to rap, I was just playing around."

Tuesday, November 9, 2010



the first corporate sponcered breaking compitition happend in 1983 by swatch watch. shortly after in 1984, it was done again in 1984 and was the first international event boasting crews from as far as london and germany

Monday, November 8, 2010


Hosts: GrandMaster Caz & Mick Benzo

DJs for the Anniversary Weekend include: The Original Jazzy Jay, TC Izlam, GrandWizzard Theodore, DJ Rockin' Rob, DJ Chuck City, DJ Tony Tone, DJ Johnny Juice, DJ Ready Red, Cutman DL LG, DJ Mark Luv, DJ Flawless, DJ Melstarr, DJ Vicious, Jazzy G, DJ Love Kid +

Thursday, November 11, 2010 @ Gaucho's Bronx NYC
B-Boys/B-Girls - Get Lite Family Night

6pm-? All Ages! Phony PPL (funky band of teens) from 10:15-11:15pm. DJs DP One, Swan...John Swan, Cutman LG, PopMaster Fabel, DJ Jazzy Jay, GrandWizzard Theodore & DJ GrandMaster Caz @ Gaucho's Gym 478 Gerard Ave. Bronx NY 10451 (behind Hostos College betw. 146th &149th). 2, 4, 5 to 149th & Grand Concourse or hopstop.com for directions. $15 w/ flyer or $10 w/ Zulu or Moorish ID. $25 without flyer.

Friday, November 12, 2010 @ Gaucho's Bronx NYC
Afrika Bambaataa piece by SPICE (2010) Chubb Rock, PMD, Jimmy Spicer, Just Ice, Black Rob
plus Soul Flower, A Prime, Ras Kofi Methuzelah and DJs.
9pm-? All Ages! @ Gaucho's Gym 478 Gerard Ave. Bronx NY 10451. (behind Hostos College betw. 146th & 149th)
2, 4, 5 to 149th & Grand Concourse or try hopstop.com for directions.
$20 w/ Flyer or $15 w/ Zulu or Moorish ID or $30 day of without flyer.

Saturday, November 13, 2010 @ Hip Hop Culture Center - Harlem NYC
Cold Crush Brothers, SoulSonic Force, Crash Crew, Son of Berzerk, T-Ski Valley, Ultramagnetic MCs, Big Daddy Kane
Marc Live, Jessie West, Halflip, DJ Johnny Juice, Brothers Fantastic, Stik-E In The Hoods, Smooth da Hustler, Trigga Da Gambler and DJs! 9pm - ? All Ages. $20 w/ flyer. $15 w/ Zulu/Moorish ID. $30 w/out flyer. Hip Hop Culture Center in the Magic Johnson Theater 2309 Frederick Douglass Blvd. 2nd Fl Harlem NYC 10027. A C B D to 125th or hopstop.com for directions.

Sunday, November 14, 2010 @ S.O.B.'s NYC
X-Clan, Brother J, Isis, YZ, Paradise, Rakaa, Roxanne Shante, Large Professor, Grand Puba, Sadat X, DJ Tony Touch, PMD,
plus Kid Jazz pka J Swagga, Super Hero's, Billy Ray, Jasiri X and more! 9pm-? S.O.B.s 204 Varick St. @ West Houston New York City 10014. sobs.com $20 w/ flyer or $15 w/ Zulu or Moorish ID or $30 without flyer.
1 train to Houston or try hopstop.com for best directions.

This Anniversary is Dedicated to Those Who Crossed Over to Watch Over Us as Hip Hop Ancestors including: Cowboy, Whiz Kid, Mercury, Disco King Mario, Master Don, Freeky Tai, Iz the Wiz, Sugar Shaft, Professor X, Big Pun, Tupac, Scott La Rock, B.O., Matthew Hall, Frosty Freeze, Notorious B.I.G., Buck 4, Kuriaki, DJ Darryl C, Kid Delight, Dondi, Jam Master Jay, King Sha Sha, Trouble T-Roy, Easy E, Michael Mixin Moore, Rudy Pardee, Rob 1, Talk Sick, DJ Dusk, Money Ray, J Dilla, Guru, Grand Master Roc Raida, Mister Magic, Rammellzee, Catfish Collins & Apache

Save $10
each night

Print out one of the many UZN 37 flyers at zulunation.com
and bring one in with you each night and save $10 off of admission!

Tuesday, November 2, 2010

Seattle Mayor Michael McGinn Proclaims November as Hip Hop History Month

206 Zulu Helps Promote Awareness for Hip Hop Issues and Culture

 SEATTLE, Wash., November 1, 2010 - 206 Zulu announced today that Seattle Mayor, Michael McGinn, issued an official proclamation recognizing November as Hip Hop History Month, honoring both the birth month of Hip Hop culture and the important contributions made by Seattle Hip Hop artists in the areas of Deejaying, Emceeing, B-Boying/Girling, Graffiti Art and Knowledge.  206 Zulu petitioned the Mayor in early October for the acknowledgement.

“206 Zulu is excited that Mayor McGinn recognizes the many contributions made by hip hop artists in the Seattle community", said King Khazm, chair of 206 Zulu.  “Being able to celebrate Hip Hop History Month in Seattle is a celebration of all of the hard work, sacrifice, innovation and dedication of local artists whether famous or nameless. Moving forward, this annual occasion will facilitate additional education programs to celebrate the culture in a positive manner.”

Hip Hop Culture began in the neglected and poverty ravaged New York City Burroughs, the South Bronx, in November of 1974.  Hip Hop has since become a global culture and has made a profound impact on Seattle's arts and music community.  Hip Hop in Seattle was pioneered in the early-to-mid 1980's and has grown across all its artistic mediums, known as the "Five Elements" gaining local, national and international recognition.

The official birthday of Hip Hop is November 12th, 1974. Within the past 35 years, Hip-Hop culture has greatly influenced the entertainment world with its creative contributions in music, dance, art, poetry, and fashion.

  About 206 Zulu - Universal Zulu Nation Seattle Chapter
206 Zulu is the Universal Zulu Nation Seattle Chapter. With members from all corners of the Pacific Northwest, 206 Zulu carries the vision and commitment to unify, preserve Hip Hop culture, educate, and empower our communities. The Seattle Chapter of the Universal Zulu Nation has received international recognition for the progressive civic involvement of its members. 206 Zulu's success in building coalitions and engaging Hip Hop culture in social change on a local level is the cornerstone of their continuing mission to set a precedent through transformative contributions made by organizing the often disparate Hip Hop community. 

206 Zulu - Universal Zulu Nation Seattle

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Monday, November 1, 2010

Why Hip Hop Must Return to Rap: Lyrics of Fury

TRUTH Minista Paul Scott

Last week , Hip Hop headz gathered for the 20th annual, "Emergency Meeting to Save Hip Hop" Conference to discuss, once again, ways to save the dying art form. All was going well until underground emcee "Intellect"  suggested that the lack of lyricism was destroying Hip Hop culture. Outraged, platinum selling artist, " Mo' Ron Nik,"  busted him upside the head with a bottle of Rose' and left the building with his gangsta goons as the crowd applauded his "reppin' real Hip Hop." Not realizing that they were part of the problem....

The debate over Hip Hop vs Rap has been a source of heated arguments for almost a generation. However, most of these arguments never rise above the level of semantics or someone quoting KRS's oft used line "Hip Hop is what you live, rap is what you do."

However when Hip Hop artists stop "doing rap" we are stuck with a bunch of knucklheadz promoting swagga over substance. What we have seen over the last decade is a steady decrease in lyricism, which is why Hip Hop has ceased to be a source of social change and is now just a weak marketing tool used to pimp ignorance, death and destruction. In essence, we have lost respect for the power of the spoken word.

Respect for "the word" goes back thousands of years. The scriptures teach us that "in the beginning was the word." Also in his book , "The Afrocentric Idea"  Dr. Molefi Asante discusses the concept of nommo in traditional African societies which he defines as, "the generative and productive power of the spoken word."

Although the power of the word has been traditionally revered by civilized societies, it has also been feared by those who seek to exploit the masses of the people.  The goal of the oppressor has always been to control "rapping" or the transmission of thoughts and ideas that challenge their rule.

Kwame Nkruimah said in his book "Consciencism ," "social revolution must, therefore, have standing firmly behind it , an intellectual revolution;  a revolution in which our thinking and philosophy are directed towards the redemption or our society" which is in sharp contrast to the Hip Hop artists of today who are determined to put us back on the plantation.

While some may argue that Rap is just one of the elements of Hip Hop which also, includes "B-Boying, Graffiti and DeeJaying," it must be noted that break-dancing never sparked a social revolution, graffiti on a subway has never challenged the socio-political domination of the world elite and neither has deejaying ever contributed to the protracted struggle against Imperialism. However, rapping in the form of words of power that "moved the crowd"  (to borrow from Eric B and Rakim) has done all the above.

We must be clear, it was not Hip Hop "swagga" that sent shock waves throughout America during the late 80's-early 90's but the rap analyses of artists such as Professor Griff and Sister Souljah.  Also, the mixing of rap lyrics with the speeches of Malcolm X, Dr. Khalid Muhammad and Minister Louis Farrakhan during that period, blurred the line between where rap ended and revolution began. Not to mention that many artists of the period were, merely , doing rhythmic versions of the information of black scholars and researchers such as George GM James, Steve Cokely and Dr. Frances Cress Welsing, making it more palatable to the masses.

It is for this reason that the industry has waged war against lyrics , with MTV even elevating  self- proclaimed ,non-lyrical Hip Hopper Waka Flocka Flame to one of the top 10 artists of 2010.

One must remember that back in 2002, the same company censored Public Enemy's video "Gotta Give the Peeps" which included the lyrics "Free Mumia (Abu-Jamal)  and H. Rap Brown (Jamil Al Amin)." Although, members of Public Enemy were know for their intellectual statements, perhaps the greatest fear of the industry is that on any given day, even a dumb rapper might say something smart.

We must remember that back in 2007, it was alleged that a certain "Lyric Committee" at Interscope records prevented the release of  an anti-police brutality song by former G Unit member, Young Buck.

In our current political climate, it is more important now than ever to hear strong black voices.  It is doubtful that Hip Hop can be that instrument, as commercialism has rendered it impotent. According to activist, Sham Pu Keilyn,  "Rap is the art form not Hip Hop."  He argues that while anybody can claim Hip Hop, only a "highly skilled melanated being can truly rap."

This is why we are advocating that members of the "conscious" Hip Hop community reclaim the term RAP, which, in this case, could stand for "Revelation And Power." We are calling for a "conscious coup;" an overthrowing of the Hip Hop oligarchy.

Karl Marx once suggested that the seed of the destruction of Capitalism lies within its own contradictions, so it is with Hip Hop, as it strives to be simultaneously, the voice of the oppressed and the tool of the oppressor.

Although some Hip Hop purists will consider tampering with Hip Hop, sacrilege, it must be done. While, some my feel that they have an inherent right to define Hip Hop, no man has a monopoly on Rap ( nommo, the spoken word) as it originates from the Creator and has been passed down through the ancestors. It is on this principle that we take our uncompromising stand.
Even the most dogmatic defenders of Hip Hop will have to admit that it is time for a change. We can no longer engage in what Dr. Frances Cress Welsing ,in her essay "Black Fear and the Failure of Black Analytical Commitment'"  calls  "circular thought: moving from problem perception, away from problem solution and back to problem perception." She argues that " there is never constant motion towards problem solution because to do so would " challenge and alter the power dynamic of oppression. "

So, as they say, "it's been real"  but this is where we part ways. Those who want to use music to elevate the consciousness of the people rollin' with RAP and those who want to keep the masses deaf, dumb and blind going down with the sinking ship of Hip Hop.

Unless we reclaim Rap, we will be still complaining about "what's wrong with Hip Hop" 20 years from now and even then, as Fred Hampton Sr once said,  still "coming up with answers that don't answer, explanations that don't explain and conclusions that don't conclude."