Archive for the ‘mix-tapes’ Category

On this episode of TCOHHL (The Chronicles of a Hip Hop Legend) Radio, D.D. Turner and C.Stats welcome back to the show, Masta Ace. This time, the conversation provides an in-depth look at the making and intent of Masta Ace’s latest album release, The Falling Season; a concept album that offers fans/listeners access to Masta Ace’s formative years as a teen growing up [in the early 80’s] in Brooklyn, NYC. Hip Hop heads…This is an episode that you don’t want to miss!

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And regarding the playlist? Let’s just say that DJ Jay St. Paul blesses us with a mix that reminds us of Masta Ace’s dynamic career and why he is appropriately regarded as a legend.

Click below to hear the episode.

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On this episode of TCOHHL (The Chronicles of a Hip Hop Legend) Radio, D.D. Turner welcomes his older, Corey Turner, Esq. to the TCOHHL experience and together they kick it with celebrated DJ, Music Producer, Documentarian, Hip Hop purveyor/protector, and Host of the Fran Lover Show, Fran Lover. With a relationship that goes back more than 30 years [with origins firmly planted in the Linden Housing development located in the East New York section of Brooklyn – NYC], the discussion unfolds in a manner that proves familiar, insightful, nostalgic, and entertaining.

And regarding the playlist? Let’s just say we appropriately explore Hip Hop’s Rap music timeline through an unfiltered and undisturbed East New York lens.

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Click below to hear the episode.

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On this episode of TCOHHL (The Chronicles of a Hip Hop Legend) Radio, D.D. Turner and C. Stats kick it with the King of Content, James ‘Kraze’ Billings. During our conversation we discuss his Long Island – New York roots, his journey towards becoming the King of Content, his past projects with FUBU and Audi, his Industry Muscle website and brand, his upcoming projects [including a documentaries on Hip Hop lyrical legends, Rakim Allah and Biz Markie] and a truly riveting discussion on Hip Hop’s cultural appropriation.

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And regarding the playlist? Not only do we open the show with a gap-bridging event, we satisfy your appetite with a pure and authentic Hip Hop experience.

Youthful expression in Hip Hop has always been fundamental to the culture. After all, the youth collectively are and have always been responsible for the long-term sustainability and progressiveness of the culture. In a recent conversation, I went on record saying that Hip Hop and I are twins; there are very few recollected moments in my life in which Hip Hop hasn’t been a major fixture.

In this regard, DJ Kool Flash and I are similar. Where we differ however is DJ Kool Flash’s ability to profess her support of the culture [at her present age] in a way that is extremely passionate, expressive, and masterful.

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This week on TCOHHL (The Chronicles of a Hip Hop Legend) Radio (4/20/2016), D.D. Turner and C. Stats kick it with the talented future legend, DJ Kool Flash. During our time spent with DJ Kool Flash, we discuss her Hip Hop roots, her favorite Hip Hop artists, and equally as exciting and riveting, her introduction and ongoing skill development as a Turntablist. And regarding the playlist? Let’s just say it bridges the musical gap and effectively celebrates those Hip Hop artists that started out young…Like DJ Kool Flash.

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By: D.D. Turner, Founder/Executive Producer/Host
TCOHHL (The Chronicles of a Hip Hop Legend) Radio
Twitter: @TCOHHL_Radio/@HipHops_Wizard
Instagram: @HipHops_Wizard
Chroniclesofahiphoplegend.bandcamp.com

**You know the drill! Don’t be a #Turdbird! Visit mixcloud.com/tcohhl_radio to listen to our show archives. And while there, subscribe to our station to stay updated on our latest show releases.**

 

In 2000 years from now, it’s reasonable to think that Hip Hop’s story will be contained and accessible in a collection of texts that are as significant as the Bible, the Quran, the Torah, the Tripitaka, and the Vedas. In our sacred Hip Hop text, I foresee the opening sentence reading as follows:

“In the beginning, there was the DJ [or Disc Jockey/Crowd Controller/Cut Master/Mix Master]. For thou extremities, serving as an extension of thine heart and projecting the passions contained within thine soul, controlled the emotion of the crowd, and quelled the collective angst.”

I grant you that my zeal for the Hip Hop DJ is perhaps extreme [and even blasphemous based on the reader] but it is appropriate. Hip Hop culture started with the Disc Jockey. And it would be because of this foundational role, Hip Hop would be conceived and nurtured into the global powerhouse of a culture that so many of us have come to support and love. But like anything else that is nurtured, it inevitably matures and morphs into something that is an exact manifestation of its own hopes and dreams. And that is a refined, highly skilled, and progressed version of its predecessors and younger self.

With certainty, it can be stated that Hip Hop’s DJ Pioneers hoped for the progressiveness of the discipline and absolutely, DJ Rob Swift has contributed to leading the effort of fulfilling these hopes. More than a DJ, Rob Swift is a skilled Turntablist; a musician of sorts whose instrumentation is a result of his skillful and admired manipulation of sound through a carefully crafted and honed technique.

This week on TCOHHL (The Chronicles of a Hip Hop Legend) Radio, D.D. Turner and stats kicks it with the legendary, DJ Rob Swift. During their park bench-esque conversation, the duo discuss with Rob his DJing roots, growing up in Queens, his foray into academia, and a host of other topics. And because we’re sure of your inquiry about the playlist, we’re proud to announce that it’s ALL ABOUT THE DJ.

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By: D.D. Turner , Founder/Executive Producer/Host
TCOHHL (The Chronicles of a Hip Hop Legend) Radio
Twitter: @TCOHHL_Radio/@HipHops_Wizard
Instagram: @HipHops_Wizard
Mixcloud.com/tcohhl_radio

**You know the drill! Don’t be a #Turdbird! Visit mixcloud.com/tcohhl_radio to listen to our show archives. And while there, subscribe to our station to stay updated on our latest show releases.**

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The Chronicles of a Hip Hop Legend (#TCOHHL) Radio is deeply saddened by the untimely passing of pioneering lyricist and Hip Hop purveyor, Phife Dawg. So, to appropriately celebrate the life and legacy of our beloved Hip Hop hero, D.D. Turner, Stats, and Mr. Street recorded this show in his honor and memory.

Follow the link below to stream the Phife Dawg Tribute episode/chapter.

Hearing good music, in its originally composed format, makes for a great experience. But when that original composition is reinterpreted in a manner that explores and subsequently identifies additional depth in the piece, the listener finds themselves thrust into a subjective space where the sound’s melodic pleasantries are perhaps as ubiquitous as the smell of ripe fruit emanating from a NYC Produce stand on a hot summer’s day.

By far, Hip Hop has led the charge in the reinterpretation of classic music compositions; inherent to the existence of true Hip Hop DJs, Producers, and Beat Makers is the beloved activity of Crate Digging – The process of sourcing past obscure and popular music titles for the purpose of reinterpreting the original composition to make it anew. At the beginning of Hip Hop’s timeline, the infancy of this skill would be displayed by pioneering DJs [like DJ Kool Herc, DJ Hollywood, DJ Afrika Islam, DJ Grandmaster Flowers, DJ Afrika Bambaataa, DJ Grandmaster Flash, DJ Grand Wizard Theodore, Kool DJ Red Alert, DJ Marley Marl, DJ Chuck Chillout, and DJ Jazzy Jay], all of whom would maintain the collective momentum and engagement of partygoers by manually extending/looping identified drum patterns from previously released classic Soul/R&B compositions. This would come to be known as the Break-Beat; the keystone and arguably most fundamental component of Hip Hop’s, Rap music. Celebrated beat and production craftsmen that have and continue to indulge in this process while making advancements to the skill include the likes of the legendary J-Dilla, DJ Pete Rock, DJ Premier, DJ Quik, Dr. Dre, No I.D., Hank and Keith Shocklee (The Bomb Squad), Q-Tip, Kanye West, Timbaland, 9th Wonder, and Just Blaze.

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But also leading the effort of this discipline is Detroit’s own, Tall Black Guy. Tall Black Guy has coined a sound and music production style [amidst the realm of Hip Hop] that is truly all his own. To attempt to contextualize the depth of his creativity in words is to be of a disservice to Tall Black Guy and the effort of explanation related to his level of musicianship. So, in traditional TCOHHL (The Chronicles of a Hip Hop Legend) Radio fashion, we’d like to formally invite you to check out the upcoming, ‘Tall Black Guy Chapter.’ This Wednesday on March 16th, TCOHHL Radio kicks it with Mo-Town’s own, T.B.G. With him, we discuss his childhood, musical influences, production style, Hip Hop culture, past/present/future projects, and a host of other topics. And the playlist you ask? Let’s just say that this will be a great opportunity for you to be introduced and/or reminded of the skill and style of our homie, Tall Black Guy.

By: D.D. Turner , Founder/Executive Producer/Host – TCOHHL (The Chronicles of a Hip Hop Legend) Radio

Twitter: @TCOHHL_Radio/@HipHops_Wizard

Instagram: @HipHops_Wizard

Mixcloud.com/TCOHHL_Radio

Chroniclesofahiphoplegend.bandcamp.com

**You know the drill! Don’t be a #Turdbird! Visit mixcloud.com/tcohhl_radio to hear the interview. And while you’re there, subscribe to our station to stay updated on our latest show releases.

How do you celebrate the life and legacy of, Sean Price? In a public forum, preferably one that is broadcasted, you invite his brother and arguably the person, following his immediate family, that knew him best. That would be, the Rock[ness] Monstah (most commonly known by true Hip Hop heads as, ‘Rock’) from one of Hip Hop’s most notable and quotable premier lyrical tag-teams, Heltah Skeltah.

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Next Wednesday, February 17th, TCOHHL (The Chronicles of a Hip Hop Legend) Radio kicks it with the Rockness Monstah. From life in Brooklyn to his brotherhood with the legendary, Sean Price, to his perspective on the current state of lyricism and music, Rock gives us an interview and discussion that is sure to keep you thoroughly enthralled. As well as, new music that will undoubtedly get you excited about the “Buck-Town” legend’s upcoming project(s).

You know the drill! Don’t be a #Turdbird. Visit mixcloud.com/tcohhl_radio to hear the interview. And while you’re there, hit the “Follow” button.

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“…these are the words that I manifest. I Manifest.” – Gang Starr, Manifest (No More Mr. Nice Guy, 1989 – Wild Pitch Records/EMI Records)

Peace, Macklemore and Ryan Lewis

With sincerity, I submit this manifesto of gratitude and appreciation for your concern. More to the point and specific to this document’s intent, I thank you for your candor; your willingness to acknowledge the plight of Black people [through your dialogue invoking joint, White Privilege II] and the origination of what has proven to be an insurmountable social obstacle against the system of White Privilege. Your efforts are commendable, and brave to boot. Your public observance of what has been an issue for nearly 500 years is regarded as sincerely empathetic and not trivial, for it suggests that you understand the proper way in which to address and impart reasoning unto your cultural peers for the purpose of contextualizing the very real idea of white privilege, cultural appropriation, and cultural subjugation. However, while your song content and approach are unique and brim with quality, I’d be remiss if I failed to mention that the intent and goal aren’t. As I am sure you are aware, Hip Hop has always served as the initiate for social change, highlighting the adverse circumstances under which we were, are, and continue to be placed, per the ubiquitous nature of white privilege/supremacy.

Over the years, many of our beloved and legendary Emcees have worked to bring awareness to the problem while bolstering the richness and righteousness that is contained within us, the original man – “The maker, the owner, the cream of the planet Earth, Father of civilization, God of the Universe.” Legendary Emcees such as: KRS One – You Must Learn; PRT (Poor Righteous Teachers) – Shakiyla; X-Clan – Funkin’ Lesson; Lakim Shabazz – Black is Back; King Sun – Be Black; Big Daddy Kane – Young, Gifted, and Black ; Brand Nubians – Wake Up; Public Enemy – Fight The Power; Grandmaster Flash and The Furious Five – The Message; Fearless Four – Problems of The World Today; Gang Starr – Royalty; Black Star (Mos Def & Talib Kweli) – Brown Skin Lady; Rakim – The Mystery; Nas – I Can, and a host of others that go unnamed but are equally recognized. Unfortunately, the gracious offerings of these artists wouldn’t surpass exposure beyond cultural relevance; the exception perhaps being those White brothers and sisters that were and continue to be avid Hip Hop supporters and/or historians.

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Macklemore and Ryan, the point of the aforementioned is not to convey nor pose opposition to your song, but, to simply acknowledge those that have come before you [as you’ve most notably done on DownTown feat. Kool Moe Dee, Grandmaster Caz, and Grandmaster Melle Mel]and have leveraged the platform of Hip Hop culture as a means of effectuating social change, or in the least, spark the flame of cultural consideration amongst  White folks.

Regarding this matter, I found myself compelled to express my perspective. Not because I felt it necessary to align with the wayward backlash that you guys are being met with, but instead, to provide an articulate and respectful explanation of how we as Black folks potentially feel about your song, albeit gracious. On another note, I have to admit that I was somewhat indifferent about your career; I’d concur that your lyrical prowess is mostly enjoyable and your content/topics were interesting and sometimes even poignant but your songs never quite resonated with me. In fact, if I can be honest, I initially considered you to be just another White rapper using the benefit of implicit privilege, supremacy, carefree themes, flow patterns, suitable vocal inflections, and vocabulary to drive a career. A shift in my belief has since occurred causing me to depart from this perspective and see that in fact, White people can genuinely care about and be invested in the long-term sustainability of Black culture. The two of you have proven this through your public sincerity and gratitude for the incomparable contributions that Black culture has imparted unto the world.  You guys have possibly set the stage for change amongst White people and it is now time to execute.

Below are some recommendations of how you can further facilitate an understanding amongst your ethnic peers regarding the social dynamic between Black and White people and how it is impacted by the system of White Privilege.  Some recommended group talking points amongst White people are as follows:

  • Don’t be threatened by the assertion of Black [and Brown] Pride
  • Seek opportunities that support/reinforce empathy for the Black [and Brown] experience
  • Similarities between the Black and White racial/social experience is virtually non-existent
  • Understand that the statement, “Black Lives Matter” is not suggestive of racism or a disregard for White lives
  • Gentrification is a result of White Privilege and is a real and proven concept that forces cultural displacement
  • White flight is a result of White Privilege and is a real and proven concept that erodes the cultural diversity in a neighborhood, thereby, causing the inevitability of poverty as a result of ethnic stereotyping
  • Amongst Black people, Rioting is never a result of animalistic and/or apathetic manifestations. Instead, it is the result of hopelessness in the face of racial adversity, inequality, and injustice
  • Effectively, Black [and Brown] people can’t reasonably be regarded as racist amidst the looming shadows of systematic White Privilege/Supremacy

Again, I thank you [prospective Hip Hop Legends] for your willingness to create the basis upon which healthy dialogue regarding the issue of ethnic privilege will perhaps come to thrive. It is my hope that the perspective shared in this manifesto has merely served as additional context and has imparted suggestive instructions that look to contribute to a foundation of better understanding the Black experience.

Thank you in advance for the engagement. Looking forward to hearing back from you.

One,

D.D. Turner, Enforcer of Negritude

TCOHHL (The Chronicles of a Hip Hop Legend) Radio

@TCOHHL_Radio

mixcloud.com/tcohhl_radio

tcohhl.wordpress.com

chroniclesofahiphoplegend.bandcamp.com

 

 

 

 

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I’ve recently had the opportunity to hear Macklemore and Ryan Lewis‘, Downtown; a multi-layered and bouncy banger that is complemented by the fast paced yet well enunciated flow of Macklemore. And if that’s not enough for the Hip Hop/Rap aficionado, the song features some of Hip Hop’s most celebrated legends; Kool Moe Dee [of The Treacherous 3], Grandmaster Caz [of The Cold Crush Brothers], and Grandmaster Melle Mel [of Grandmaster Flash and The Furious Five].

Speaking honestly, up until my recent introduction to this song, compliments of my selective viewing of the 2015 MTV Video Music Awards, I’ve generally assumed a “Whatever” regard for the prowess of Macklemore; being a stark critic of lyricism while understanding that my subjective opinion is nothing more than personal perspective, I historically find myself only engaged by the careers of a few Emcees. But after my exposure to, Downtown, I suddenly find myself interested in Macklemore and Ryan Lewis and their trajectory into Hip Hop’s stratosphere and beyond. To know me, D.D. Turner, is to understand that my sudden interest in the duo has been precipitated by the groups willingness to pay homage to the legends by granting them the opportunity to be featured on a mainstream song.

To the Black Emcee/Rapper that didn’t find it necessary to grant a similar opportunity to our beloved legends, you should fuckin’ be ashamed of yourself! So often we hear the argument that Hip Hop culture, albeit universally accepted and celebrated, is ascribed to us as Black people and that it is only because of our permission, that others are able to partake of its concessions. Realizing the arguably extensive roots of Hip Hop culture, I consider this to be factual. However, being the fruit of such a legacy, today’s Black Rapper/Emcee that finds themself endowed with the fortune of mass appeal, has the responsibility of celebrating the legends in a manner that supercedes the mere occasional shoutout reference on a song, and provides the invitation of a feature, much like what Macklemore and Ryan Lewis have done for Kool Moe Dee, Grandmaster Caz, and Grandmaster Melle Mel.

Perhaps the graciousness of the Seattle Hip Hop duo will spark something in their fellow Emcees/Hip Hoppers, placing the realization of their own conscious or unconscious disregard for the lyrical legends before them. Bringing the expression of my perspective to an end, I find myself confronted with the very distinct feeling that we will now begin to see an increase in song appearances by our most celebrated and lyrically capable legends.

Shit! You all should have been doing this from jump.

By the way, Eric Nally…Dude, you’re destroying your knees!!

*Artists seeking guidance on a legendary Emcee capable of holding their own on a mainstream song feature, I bequeath the following list unto thee:

– Chuck D
– Rakim Allah
– KRS One
– Kool Herc
– Afrika Bambaataa
– King T
– Trigger Treach
– MC Lyte
– MC 8ight
– De La Soul
– Big Daddy Kane
– Special Ed
– Bone Thugs & Harmony
– Bahamadia
– Kool G Rap
– Lin Que
– Brother J
– Chubb Rock
– Wise Intelligent
– Everlast
– 3rd Bass
– Rob Base
– CL Smooth
– W.C.
– Jeru The Damaja
– AZ
– Mic Geronimo
– Sauce Money
– Tragedy Khadafi
– LL Cool J

By: D.D. Turner, #TCOHHL (The Chronicles of a Hip Hop Legend)