In my opinion the term hardcore beat has, for some reason, been generalized very loosely. I believe nobody popular today knows what a true hardcore beat sounds like. So allow me to give you my definition of a hardcore beat.

A hardcore beat in Hip Hop is the type of sound that truly represents the streets. It’s the sound that belongs to us: the hustling underprivileged, the struggling middle class, and the 4AM blue-collar workers. It’s that sound that is hard as concrete! It is Rated R and unapologetic! No matter what the rap song is, the drum track is the template of the hardcore sound.

Here are ten examples of my definition of the hardcore Hip Hop sound. Now don’t confuse yourself thinking that I’m giving you my top ten greatest hardcore beats in Hip Hop history. I’m talking about my definition of the hardcore sound in Hip Hop…PERIOD!

Can You Feel It by Original Concept

Ya Playin’ Yaself by Jeru the Damaja

Flava in Ya Ear by Craig Mack

Dear Yvette by LL Cool J

I’ll Take Your Man by Salt and Pepa

It’s Funky Enough by the D.O.C.

Outta Here by KRS One

Public Enemy No. 1 by Public Enemy

Drama by Ice T

Peter Piper by Run DMC

There is much, much more, but those are just ten examples of my definition of the hardcore sound.

Now remember what I told you about the drum track being the template? Well if you’ve checked out any of those songs that I’ve mentioned, you should hear what they all have in common with each other. Each of those songs is bottom heavy from the life of the bass kick. The bass kick thumps with authority as if it’s giving you a kung fu kick dead in your chest!

I’m talking about the hardcore sound of Hip Hop music!

When the snare of the drum track snaps, it snaps so hard as if someone snapped a neck at the end of a fistfight! It’s my definition of the hardcore banging beats of Hip Hop that I’m talking about y’all!

It is where the hi-hat sounds are crisp; so crisp like the sounds of seafood and steak sizzling at a restaurant! The hardcore sound of Hip Hop is when the drum track of the song is well balanced, defined and strong, but more importantly it’s up front and in your face!

When the hell are we ever going to hear a rap song with a hardcore sound again?

In my opinion, the Hip Hop sound of the world today is often released unbalanced, undefined and weak. It is my definition of the softcore sound of Hip Hop, the one that’s Rated G. It’s as hard as cotton! It’s not on any street level therefore it highly lacks street credibility. It does not represent us!

I declare with authority as an Old School Scholar, “the softcore sound does not belong in Hip Hop music!”

Here’s a lil’ advice to the true school DJs out there. If you ever find yourself in the position of producing a Hip Hop song, think of my ten examples, and always create the hardcore sound. I can guarantee your name will be known real quickly!

Agree or disagree?

D.O.C. - It’s Funky Enough by SeikenRyujin

Craig Mack - Flava In Ya Ear by Stakya

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Let me give you a few relative scenarios to explain what I’m talking about. Let’s say you’re a Graff Writer and an employee of a BCM approaches you saying, “Wow, Man! You’re very talented! I’m a publisher, and if you sign with us we can make you rich and famous!’

What if you’re an emcee, rap artist, or rapper, and you’ve just rocked a local crowd at a party. An employee from a BCM steps to you and says “Yo, Man! I love the way you rap! I’m a producer, and if you sign with us we can make you rich and famous!”

How about if you’re a part of a B-Boy crew, and your crew just won a battle or tournament. An employee of a BCM comes up to you, and says, “Man, you guys are hot! I’m a director, and I’m filming a commercial. If you guys sign with us I could get you guys in it! We can make you rich and famous!”

Here’s a final one. What if you’re a DJ at a Hip Hop club, and you’re name has become big enough for an employee of a BCM to say to you, “Hey, Man! You’re the best I’ve seen! I’m a program director for 66.6 FM, and if you sign right here I can make you rich and famous!”

Now in all of these scenarios, the employee of the BCM would also offer a dollar amount you may never see in your lifetime. You may then say to yourself, “Yes, this is it! It’s the moment I’ve been waiting for! Finally someone has acknowledged my skills!” Well here’s where the measurement question comes in to play, “Just how deep do you love and respect Hip Hop culture in the first place?”

If you sign the BCM contract, and/or service agreement, within five minutes of the offer, then I say onto you that you have no love whatsoever for Hip Hop culture. Meaning, to you the culture would just be a simple pawn; a mere stepping-stone. It’s a comic’s punch line. Now on the other hand, the longer you hold out signing a BCM contract, and/or service agreement, the depth of the love and respect you have for Hip Hop culture will be evident.

You see, in my strongest belief, everyone that is involved in the elements of Hip Hop culture has a voice of passion. That voice is what gives all of us purpose. You speak to the world through your artwork. It is what we all should be treasuring the most in Hip Hop. Part of the point of what I’m saying is this, in my opinion, signing a BCM contract is equivalent to signing up for the military. Once you sign on that dotted line, congratulations, you’ve made it. You have now become their product; your voice now belongs to them!

Yeah, I know what you’re thinking. What if the employer offers me cash in advance? Well ladies and gentlemen, be very aware of this maneuver. Like my man Danger S always calls it, it’s the old dangling of the carrot trick. The cash in advance is a BCM term of a loan. It is not free money. I repeat, not free money! Nothing, and I mean absolutely nothing, from a BCM comes free! One way or another you will end up paying back that loan with interest. Oh, by the way, the word loan will not be uttered from the BCM’s choice of vocabulary.

So if you’re that Graff Writer, they’re gonna tell you what to paint, how to paint it, and what colors to use. If you’re that emcee, rap artist, or rapper; they’re gonna tell you what to rap, when to rap, and what beat you’re gonna rap to. If you’re that B-Boy crew, they’re gonna tell y’all where to dance, when to dance, and what type of music y’all gonna dance to. If you’re that DJ, they’re gonna tell you what songs to play, how to play it, and how many times to play it.

In my opinion, the greatest example of this would be the most memorable products of the BCM. The first victim went by the name of Vanilla Ice. The same could be said for another victim that went by the name of MC Hammer. Looking back at them now in Hip Hop’s history, I see them as victims of the BCM through their own volunteering. They chose to chase the dangling carrot and became novelty sideshows.

The BCM’s exploitation tactics weakens Hip Hop culture without fail, but they need all of us to help them do it!

I mean once a upon a time the Hip Hop community was becoming a powerful social union, and once the culture began to make sick money on its own, the BCM must’ve said to themselves, “we can’t let this keep happening!” So what does one do if an employee from a BCM steps to them? What does one say to the dollar amount that they have never seen before? Well, I am damn sure not gonna tell you to say to them, “Hell no, step off!”

If you truly believe your voice is highly important to you, then the one thing you must do is to find the courage to obtain the ability to negotiate. This particular act is what I call, the Integrity Protection Planyour voice of passion during the process. Not just for you alone, but for Hip Hop culture altogether. See to it that your voice is a major part of the contract, and/or service agreement, and that your voice is never compromised in the fine print. Always keep in mind of the measurement question; “just how deep do you love and respect Hip Hop culture?” because you are being true to

Search carefully for an entertainment lawyer you can trust, if you do not feel comfortable about negotiating on your own. I know that they’re hard as hell to find, but they do exist. Let him, or her, know first and foremost how important your voice is to you. Every now and then ask yourself; “does money measure the depth of my love and respect for Hip Hop culture?”

On the contrary, what if we were to flip the script for a bit? What if we asked, “does money measure the depth of the love and respect an employee has for his or her employer, the Bloodsucking Corporate Machine?”

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This film is narrated by several famous writers on the culture, drama, and lessons of being a Graff outlaw. Old school legends Cope 2, Futura 2000, Chino, and Daze speak from their experiences and history as artists and bombers. Street kings Ket, JA, Noxer, VFR, Skuf, and Kaws discuss their modern day battles for fame and freedom under their anonymous superhero-like identities. These brothers are laying down the law about their passions to bomb, tag and burn at all costs with a fetish intensity. Everything they discuss as a writer is the competitive nature of Hip Hop’s rawness battling style for style and respect.

It is a well edited film that speaks for itself. Getting Up: A Graffiti Documentary is a solid 30 minutes of schooling about the life, freedom, adventure, and resourcefulness of a pure Graff Writer. Check it out right now. You will not be sorry.

Enjoy!

Getting Up 1 of 3

Getting Up 2 of 3

Getting Up 3 of 3

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What was it like your first time when you saw B-Boying, a Graff mural, or a DJ rockin’ the breaks? How about the first rhyme you heard flowing so sweet that it made you say, “I want to do that, too!” Do you remember way back when Hip Hop was invited by your innocence?

I ask these questions because whatever you may have been doing at that time Hip Hop culture brought some form of amplified happiness to your youth while you were transitioning towards adulthood. I am confident it was very positive in your life.

Though oftentimes than not, Hip Hop does not receive the positive attention it deserves when the media comes into play. I do not know fully how it is treated around the world as it is commonly trashed, ridiculed, or sold as a commercial novelty here in the United States media. However, what I do know is when Hip Hop culture is edifying and breathing new life into people it must not be dismissed as rhetoric. On a sad note, if there is no cute little story to make you feel good about yourself then you will not see it on prime time news. When it comes to Hip Hop activism and the media, it will be passed over like a tofu patty at a carnivore’s banquet.

But I have some good news for you. We are not the media. We are the people.

I want you to take a moment and learn about a fantastic organization in the country of Uganda led by three B-Boy apostles; Abramz, Antonio, and Emile. These brothers are in charge of Break Dance Project Uganda, a youth movement teaching and exhibiting B-Boying to all children and teens throughout the country. They reach out to youths from the streets, in prisons, and orphanages as well as people from other disadvantage areas.

From what I have seen in Abramz’s YouTube video channel, these brothers are what Hip Hop is really all about! I saw pure light and creativity.They are truly motivated with the love for their people and raising up their communities. The videos also came with a special guest appearance by The Rock Steady Crew!

According to their vision:

The aim of this project is to empower the youth and children by using Break Dance [Hip Hop.]

• To give a chance to all the people who want to dance as a career but can’t afford to pay for dance classes.
• To bridge the gap between Northern Uganda and the other regions of Uganda.
• To resolve tribal, religious, and racial conflicts.
• To bridge the gap between the advantaged and disadvantaged.
• To build people’s self-esteem.
• To help upcoming dancers make use of their talent.
• To bridge the gap between illiterates and literates.
• To promote interaction between local and international dancers.

What I have seen on these kids faces when they were rocking the cypher in these videos, I saw joy! I saw community and happiness! I saw Hip Hop, and I saw how Hip Hop made me feel when I was a youth all over again! It was fantastic!

Much props to Break Dance Project Uganda and Abramz. Thank you for showing the world what Hip Hop culture can do out of love. It is another lesson well learned.

Please visit Break Dance Project Uganda for more detailed information at http://www.myspace.com/breakdanceprojectuganda. For contributions: In Uganda please Contact: +256-712-81-66-17 or email: tekyabra@yahoo.com. In Denmark please contact: +45-40871978 or email: dianahaakonson@hotmail.com. In the United States contact maiwen18@gmail.com or http://www.myspace.com/maiwen18. Also pay a visit to http://www.myspace.com/sylvesterabramz and sample the music endeavors of Abramz and Sylvester.

Crazy Legs and Abramz in Gulu

Rock Steady Crew in Kisenyi slum, Uganda

UGANDAN BBOYS BATTLE 1

UGANDAN BBOY BATTLE 2

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From over 30 regional battles around the world, B-Boys gather in Germany for the biggest global dance showdown ever assembled. Every continent where Hip Hop culture lives gives birth to dance crews who craft their way to the finals. Every competition is seriously earned. This means no freebies or mistakes allowed. There are no curves in scoring. It is a simple judging system where style, skill, aesthetics, and difficulty of execution allows the winner to take all.

For the past several years B-Boy crews have dominated from Korea, Japan, and France with no holds barred power moves and finesse. Will these nations meet a new world power? We shall see!

Thanks to the world community, and best said by Benson Lee of Planet B-Boy fame, the art of the B-Boy has evolved. Go see for your self!

As of today the 2008 BOTY World Finalist qualifiers are:

Extreme Crew (Korea / Winner BOTY World Finals 07)

Bad Taste Cru (Northern Ireland / Winner BOTY UK 08)

Groove Kingz (Netherlands / Winner BOTY BeNeLux 08)

Smokemon (France / Winner BOTY France 08)

Dead Prezz (Greece / Winner BOTY Balkans 08)

Crazy Twisting Tribal Team (Poland / Winner BOTY SEE 08)

Top 9 (Russia / Winner BOTY Russia 08)

La Halla King Zoo (Marocco / Winner BOTY West Africa 08)

TIP (Korea / Winner BOTY Asia 08)

Formosa (Taiwan / 2. Place BOTY Asia 08)

Kaiden Ninja (Japan / 3. Place BOTY Asia 08)

Now or Never (Canada / Winner BOTY Canada 08)

Unstopabulls (Israel / Winner BOTY Israel 08)

Ghost Rockz (Switzerland / Winner BOTY Switzerland 08)

Tsunami Allstars (Brazil / Winner BOTY Brazil 08)

The remaining BOTY 2008 World Finalists qualification rounds are scheduled at the following countries:

Battle of the year 2008 (Fra)Super Final,1 video-Eurosport 2 by Zoksy

Battle Of The Year Brazil 2008-Tsunami All Stars-Best Show by B Boy Brasil

Battle Of The Year Brazil 2008 - Amazon B.Boys vs Df Zulu by B Boy Brasil

Drifterz Crew vs T.I.P Crew - R-16 2008 (HIGH QUALITY) by Xfarsx -T.I.P. Crew is on the right.
This video is not from BOTY Korea, but another recent 2008 event showing how tough Korea competition is. T.I.P. Crew are Korea’s newly crowned BOTY 2008 Asian World Finalists.

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I’ve just described what I call an old school rule that you must operate within The N.B.A. Rule: No Bias Allowed! Never ever be partial to one type of sound because you’ll never know when a break-beat nobody else has heard before may come your way. Not only that but you may also find a funky loop, a stab, or a phrase come your way.

Just in case you’re someone who is truly starting from scratch (pardon the pun) of being a DJ, a break-beat is a Hip Hop term for a musical breakdown or a drum solo within a song. It was most prevalent in the late 60s to late 70s live band recordings until it pretty much died out at the end of the Disco era. This could be considered the main reason why you can’t be bias to a particular sound from that period. Break-beats could be found on any song you could get your hands on. I remember Grandsinister Ice once told me he had a Country Rock album he thought about tossing in the garbage until he discovered a break-beat on it. Yet, understand, break-beats are not just the only thing to look for in a song.

Although there are different types of music, a tempo and a rhythm will forever be similar to one another song for song. Meaning that you may find a Big Band sound that could mix with Reggae; or a Jazz sound that could mix with Country; or a Folk song that could mix with a Disco song. Believe me when I tell you this, if you use your DJ’s ear and mix these types of music together, your name will stand out a lot further than you could imagine!

But only if your mixes are funkier than Grandsinister Ice’s. Yes, that is called a challenge.

So it is highly important for all you up and coming DJs to listen to everything. Yes, I do mean everything. After all if you think about it, a Graff Writer doesn’t paint with just one color. Therefore a DJ shouldn’t play just one sound.

No Bias Allowed.

Beat Diggin’ Documentary care of Gone42 who gives credit to JESPER from BUSYBODY FILMS

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But it just smells too good in here!

I use to love cuttin’ and mixin’ the old school sounds, and now the BCM (Bloodsucking Corporate Machine) has got me so bored outta my mind playing this sweet smellin’ crap! I do know that they know in music videos sex sells, but when it comes to audio, I don’t think they know that funk sells! I am thinking they don’t because I keep seeing them pumping out this crap for us DJs to play. I do not get it!

Yet all I know is that it smells too good in here!

Never in my lifetime did I think I would see the sound of Hip Hop smelling so good. Nowadays, the Hip Hop sound has been soulless, empty, monotonous, weak, bland, limp and without spirit. I wish I could get all of my fellow DJs and organize a boycott against the BCM. Hell, someone needs to be held accountable for the major lack of funk in the Hip Hop sound!

Damn! It smells way too good in here!

When did the funk pass away? Not a soul told me the date of its funeral. Speaking of funerals… That’s what this party feels like. A damn funeral!

You wanna know what the problem is? I will tell you what the problem is. The problem is that it smells too good in here!

It seems to me that music producers the BCM have in their back pockets do not know the meaning of the word FUNK! All they seem to know is junk! If the BCM keeps it up, I’m gonna be forced to retire and find something else to do.

Wait a minute! You know what? That wouldn’t be such a bad idea after all!

If I am forced to retire, then what I could do is become a Hip Hop producer myself. Yeah! Sure! Then I will be the one accountable for bringing the funk back into the Hip Hop sound! Hell! I’ll set a whole new trend. I will have every DJ following ME for a change! It’ll be cool to be the one to start some sort of a DJ revolution against the BCM!

But right now…

It’s just too bad that it smells too good in here!

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Mark your calendar on September 26 and 27, Friday and Saturday, for the 2008 DMC World DJ Championship finals in London, England at the Indig02. If you are in the United Kingdom, you already have heard the tickets are sold out by now, but I am sure you know a cousin of a friend’s mother’s neighbor’s boss’s sister whose baby’s daddy is the bouncer guarding the back exit in the alley. You can only dream!

For those of you who do not know [if you were recently thawed out from a cryogenic freezer], the DMC Word DJ Championship is a legendary series of DJ battles that has evolved due to the art of turntablism. What once started out as a London convention in 1985 for DJs, the DMC finals have tremendously escalated into the ultimate championship every turntablist covets. It is the World Cup of DJ battles, and every year supremacy is well earned and fought for. To be the finalist of the DMC World DJ Championship is practically the highest calling of titles!

To qualify for the world finals, DJs battle internationally in heated regional competitions until one is crowned champion for eligibility. There are three types of championships formats for teams and soloists.You better believe the technicians who make it to London positively earned their spot to battle for it all!

Legends who have been crowned finalists are DJ Q Bert, Mixmaster Mike, Cash Money, DJ Craze, DJ Rafik, DJ Kentaro, Roc Raida, and DJ Noize.

Some of the global results are in as of this month with more regional battles scheduled through mid September. Check out who’s who representing your area or nation, and give them props for making it to the battle for supremacy at the DMC DJ World Championships 2008. If you have a DMC battle coming up near you do not miss seeing history in the making!

Table of 2008 Results courtesy of DMC DJ Champs.com

	Australia	Melbourne - 6th September 2008
	Austria	Dombirn - 6th September 2008
	Belarus	Minsk - 28th August 2008
	Benelux	DJ Damented
	Brazil	DJ RM
	Bulgaria	DJ Nicky 1
	Canada	Quebec City - 13th September 2008
	China	DJ Cavia
	Denmark	Copenhagen - 30th August 2008
	France	Paris / Nantes - 19th September 2008
	Germany	Stuttgart - August 2008
	Hong Kong	Hong Kong - 7th September 2008
	Ireland	Dublin - 12th September 2008
	Israel	28th August 2008
	Italy	DJ Craim
	Japan	Edisu - 9th August 2008
	Kenya	Nairobi - 30th August 2008
	Malaysia	Kuala Lumpa - 29th August
	Mexico	Mexico City - August 2008
	Nigeria	Lagos - 27th July 2008
	Philippines	Makati City - 6th August 2008
	Portugal	Lisbon - 13th September 2008
	Russia	Moscow - 6th September 2008
	Singapore	Singapore - 30th August 2008
	South Africa	Cape Town - 8th August 2008
	Spain	DJ Dataflex
	Sweden	ALX
	Switzerland	Baden - 29th August 2008
	UK	DJ Skully
	Ukraine	Kiev - 30th August 2008
	USA	New York - 30th August 2008
	Venezuela	DJ RIZE1200

DJ HBD @ 2008 DMC CHINA FINAL by ryotheheadbanger

DMC 2008 - DJ Rachi by thesupadupa

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Now first ask yourself this, when was the last time you’ve gone on an ego trip or even told a story in a rhyme?Must we depend on rap artists such as Eric Sermon, KRS One, RedMan or Method Man to ego trip for us? Must we depend only on Slick Rick the Ruler to tell us stories?

As you should know to lyrically project visions is not just a gift. Having someone to see the picture that you’re painting with your rhymes is an art form. This is why, in my opinion, Slick Rick is forever held as the very best of storytellin’ in Hip Hop music.

Other rap artists have told stories once before. Excellent stories like Mahogany written by Rakim on his Let the Rhythm Hit ‘Em album. Miss Fat Booty written by Mos Def on his Black on Both Sides album. It Was a Good Day written by Ice Cube on his album, The Predator. Then of course we mustn’t leave out Cinderfella written by Dana Dane on his Dana Dane with Fame album. However, when it comes to storytelling, Slick Rick is the main one to look up to, and if possible, the one to try to surpass!

The one true thing that I have noticed when a skilled rap artist tells a story is that crafty details are the key to a good story. Especially when it’s a fictional one. My personal favorite short story was written by DLB the Microphone Wizard from the rap group, The Fearless Four. They did a hit rap song called Problems of the World Today. It was the third verse about child abuse that truly touched me with its style and details, and it still does affect me when I listen to it today.

Another great thing about storytellin’ is that it has the greatest chance to become an instant classic. Hip Hop classics, such as Grandmaster Caz’s Yvette and Slick Rick’s La Di Da Di. Then there are the ultimate classics such as Adventures of Super Rhymes written and performed by Jimmy Spicer. The other ultimate classic is Rhythm Rap Rock written and performed by James Minor a.k.a. Count Coolout.

Now allow me to turn your attention to the other type of rhymes that I feel we all need to hear more of and that is ego-trippin’. In my opinion, for some reason ego-trippin’ seems to have been sent upstairs to its bedroom. It is as if its been told to go stand in the corner and take a time out. To me personally I could never get tired of hearing ego-trippin’ rhymes, and I am not sure why. Is it the way that everybody flows with his or her egotistical rhymes? To be honest I couldn’t straight up tell you! All I can tell you is that I just love hearing them!

Furthermore, you now must understand what I’m about to tell you next, and that is, ego-trippin’ rhymes and materialism rhymes are not the same thing.

Egotistical rhymes are about bragging how much skill your character displays on the microphone; how skillful your character is rockin’ a Hip Hop audience; or how treacherous your character’s DJ is on wax. I say the word character because, for the most part, that is what you will be portraying up on stage.

Now materialism rhymes are simply bragging about what your character has and that’s it! Keep in mind that when you are writing materialism rhymes, after a real short while, the Hip Hop audience will not care for who you are on the microphone. Therefore, do your best to avoid writing this type of content for your respect and career. Story tellin’ and ego-trippin’ rhymes need to be written more often within the near future. Why? They are highly important to maintain the balance and variety in Hip Hop music.

Imagine if everyone was to rap only skirt chasing rhymes. The rap world would without doubt be six feet under. So always keep in mind that there are other types of rhymes to write about and perform. Although, you must admit, ego-trippin’ and storytellin’ rhymes are especially the most enjoyable to listen to!

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I’ve already expressed my analysis of today’s vibe in my previous article Weeds in Hip Hop, yet let it be known that Weeds are only part of the problem. I am not one electing to bring back the real Hip Hop in their general terms. Instead I vote to bring back the TRUE Hip Hop in all of its glory!

So where do we start? How can it be done?

I believe the first step is to quit the finger pointing (this also includes me, myself and I) then show and teach those who are guilty of putting the rap world in ICU the history of the art form of rap. I strongly believe by bringing back the true Hip Hop, as in culture, we must go all the way back to the very beginning.

How do we do that you ask?

Well, what needs to happen is the MC, the rap artist, and the rapper must once again, and forever, share the stage with a DJ, and demonstrate the magical collaboration amongst the both of them. Now I am not talking about having the DJ continue the pathetic tradition of being a prop! I am talking about going all the way back to the very beginning of having the DJ back-spinning break beats as the MC, the rap artist, or the rapper rocks the Hip Hop audience.

Another thing that needs to happen in bringing back the true Hip Hop is we must demand, and make it mandatory, for every single rap video to have a minimum of five scenes showing a Graff Writer doing a burner. The same must be done for the B-Boy or B-Girl doing what they do best on the dance floor. I really do mean this must be done in every single last rap video showing these other elements of Hip Hop culture!

The one most important thing that we all need to remember, and never ever forget, is that true Hip Hop was born raw wearing street clothes. Unfortunately, we’ve somehow allowed the bloodsucking corporate machine to have Hip Hop music put on a three-piece suit and hence the reason why true Hip Hop culture is kept in storage covered in cobwebs.

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I attended the Rock the Bells festival in Miami on August 2, 2008. I give the event two thumbs way up for its performance line ups, the surprise special guests, the quality of sound and lighting, the great work the roadies conducted between sets, and the participating venues and sponsors involved. It was a grand success, and I am sure this will continue into your international tour.

As great as Rock the Bells was for me in Miami, and to others abroad, it can be a whole lot better.

There was a lot of talk about real Hip Hop from the performers which is expected because too many scrubs have tainted the music, but I was somewhat troubled when I did not see real Hip Hop as a whole. We only got real Hip Hop music as a recording artist exhibition. Sure, we got to see Immortal Technique’s DJ, GI Joe, put on a small B-Boy show and rock the turntables, but that was it! It would be nice to see every act rhyme over a live DJ’s break beats for at least one song. Now, that is real Hip Hop in its rawest form.

I spoke to quite a few true school heads, and we want to see Guerilla Union up the ante. We want it to be a real Hip Hop festival. We want all of the elements to rock the show.

I have my suggestions how to make this work.

I recommend the following ideas starting with Rock the Bells 2009. I recommend between each artist’s set there be a six minute B-Boy battle. I recommend there be four regional B-Boy crews battling it out at the first venue, and the winner moves on to the next venue to battle the next three regional crews. This should go on until the final Rock the Bells show where there will be the crowning of the tour champs. Red Bull has a strong B-Boy sponsorship history, and I would encourage them to get involved.

A classic B-Boy tournament battle is unheard of in Hip Hop concerts and tours. Rock the Bells would be the first to have a tournament battle out on tour, and it would only have three crew battles a show.

Now for the DJs, I recommend the same battle format skill for skill. Each DJ should have a three minute routine. The winner out of the four DJs will move on to the next venue. Yes, the last DJ standing at the final show is the world class RTB champion.

Like I said before this has never been done in Hip Hop concerts and tours.

My final recommendation is to bring in Graff Writers to either put on an exhibition or battle at each show on temporary murals. To see an organized Graff writing battle at work I refer you to check out Write4Gold for ideas. If Graff battling is too much, then it would be cool to have some big name writers who should go on tour like Seen, Mode 2, Lady Pink, or Cope 2. Graff art would definitely authenticate Rock the Bells as a venue for Hip Hop culture.

Why I recommend the additions is to make Rock the Bells legendary in Hip Hop culture. I am sure you guys have thought about this, but I want you to know there is an audience who will be hungry to see Hip Hop in its entirety in one venue. Most of your audience wants to know more about Hip Hop culture which is very important for Rock the Bells growth.

Imagine Guerilla Union announcing next year in April about giving the other elements a format to demonstrate their own aesthetics. Imagine promoting Hip Hop battles in their rawest forms for B-Boying, Turntablism, and Graff writing. It will make the festival more unforgettable than it already is now.

I explained how to do it in the most simplest fashion, and that is between acts for B-Boying and Turntablism. It can be done. I know you can do it, and Hip Hop culture will be extremely grateful for it.

Rock the Bells is already on its way to be the ultimate classic festival since Woodstock and Lollapalooza, and I will be back next year for more to indulge. I am looking forward to seeing your improvements.

Thank you for your time and professionalism.

Sincerely Yours,

Q Ball, The 800lb Gorilla.

co-editor of Old School Scholar

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