PMM,Polski Mistrzowski Manewr, the Szczecin group, formed by Bartosz “Głowa” Glowacki, Bartlomiej “Wężu” Lada counter and record producer Tomasz “S.S.W.” Szwed.Group officially debuted the 2008 album “Polski Mistrzowski Manewr” However, the two rappers had been his artistic achievements.Bartosz “Głowa” Glowacki is the polish rapper associated with rapping since 1999, when along with the precursor of Szczecin Maślakiem founded the group stage designers Style. Soon after, the group joined the clamp. Rappers have recorded his songs in the studio, Kakadu, but they never saw the light of day. During the slow work on the material, the desire to settle down meant that the group was left Maślak. Gentlemen split up the room rate and still maintain contact, trying to persuade Maślak occasion for joint recording. Place a precursor of Szczecin took the stage were representative of the now defunct Many CT – Rymek. The new trio once again moved to the hard work on the first album. Helped them in this newly entered knowledge of Adam, “sharp” Ostrowski.Thanks to their hard work gentlemen recorded many such numbers ”Walls” on the soundtrack for the movie “The Cage” in 2003 and played many concerts, including the “Battle Of The Year East Europe” in 2004. A year later, record label T1-Now, released their debut album entitled. ”We have it in your blood.” The album can be heard many interesting guests, such as Sharp, Gonads, Oh T. Plate, however, did not achieve significant commercial success. Rappers, however, decided to work on. They wrote verses, gathered productions and invited guests on the new album. One of these was Bartholomew “Snake” that Lada of designers met while joint events in Kamien Pomorski.
Barłomiej “Wężu” Lada is a rapper associated with the West Pomeranian scene since 1999, ever since the first recorded illegal Fri ”Ecclesiasticus”. A year later began working with a group of CZK, which faction was the project JKWL ”We are smiths of their own destiny.” Rapper support the local scene, but over time began to go out of her circle.In 2003, it can be heard on the soundtrack for “The Cage”, in 2004 gave the album Mores RSH Fri ”The word expensive than gold,” and in 2007 on the album dograł Style Designers Fri ”Brotherhood of Blood.”
At that time, designers have completed work on his second album. However, they encountered unforeseen circumstances. Just before the release of material, one of the members, clamp, without a word went with the same bristles breaking off all contact. This resulted in the inability to promote the album, resulting in “Brotherhood of Blood” was released only in the version with the possibility of legal MP3 downloads.
In the meantime, there was a new collaboration. Snake, who moved to Kamien Pomorski to Szczecin became friends with the head. During the recording sessions in the studio, Mark Dulewicza, gentlemen decided to create a record that the mood will differ from earlier projects. For this purpose, called in the producer Thomas “WSS” Swedish, whose music went beyond the canons of Szczecin style. In the meantime, Fat Flow Leibel founded in order for the board at their own expense. This created a PMM.
Spore emotions had a significant impact on the mood music. The group decided to spit out any negative feelings and show how it should sound a strong hip-hop. The album “Master Polish maneuver” was characterized by an uncompromising flow, braggadacio feisty, hard COREMA city of Szczecin and a hint of reflection. The board could hear the leaders of the Polish scene, among others: that guy Mesa, Grammatik, Piha, Ero and Cayman. Plate was based primarily on productions WSS which introduced a strong and sometimes electronic sound, not yet used on the stage of Szczecin. Material to promote two singles: “The Polish masterly maneuver” and “Jackie as” featuring Beata Andrzejewski. The album was released nationwide design stage core’u hard Szczecin.She also announced the further development of the group.
One year later they released the information about the work on second album, which from the beginning interested in the plant upright. Following the departure S.Z.W. permanently to Stuttgart rappers expanded the range of manufacturers. One of them was sharp, which is the author of the bit to the largest internet-blockbuster concert of the group. ”Give me a bit”, characterized by chilloutowym mood, has been a huge success, becoming an integral part of almost every concert PMM and sharp. In early 2010, hit store shelves on second album Fri ”Rap, Stresa, Hulan, interests.” The material described in Szczecin again core’u hard version. Rappers disputes but also put emphasis on wychillowanie, reflection and experiment. The album you can hear many guests min.: Acute, Ero, Cayman Islands, 4P, and the Czech PSH group. The album was released under the name Straight. Promote it: the original “Energy” which was an experiment group, the street, “How many roads so many truths,” containing scenes of Szczecin districts, and the strictly hip hopwe “Well, specifically, sharply,” to which they invited Bboyów rappers, writers, and DJs Bitboxerów . The promotional campaign starring rappers are also many important concerts including the slide before a group of La Coca Nostra in Warsaw, before the show DJ Premier in Lodz and Szczecin juwenaliach before a few thousand people.
Links:
http://www.facebook.com/PMMSZN
Booking PMM: adres email essa@poczta.fm and pmm.szn@fejm.pl, nr tel. 501-487-228 and 515-665-256
Cris Bullet – Italian raper from Milano
La stanza delle ciminiere Label
Cris Bullet, born in 1986, he is a rapper of Milan’s underground scene.
Begins to take its first steps in approaching culture back in 1999 to break dance and hemilitating on “Muretto” “Moscova” “Sesto Marelli” and “The Mushroom of Barona.”
He join on the crew of the INS (Interactive School) but after about 3 years, he abandoned this discipline but doesn’t stop listening to rap, especially the American one.
In 2007 he meets an old friend (Tommy Boy aka Zork) and began to compose texts. Join the crew of “Fuori Rotta” with Zork, Lex and Hobo.
In 2009 he made his first demo (Un anno fa demo).
During the implementation of the demo he knows Dj Low, a beatmaker, which begins with a long series of collaboration.
Also in this year based Bullet “La Stanza Delle Ciminiere” his home recording studio and video production in which young rapper Milan rely for their records.
During this period established a good relationship with Jack The Smoker, which produces a track “C’est la vie” which will enter the upcoming ep.
In 2011, brings out a selection of pieces made in 2010 together with DJ Low encased in an Ep (Ep Rapture vol.1).
Also in 2011 Mr.Tito know, a DJ and beatmaker of great experience that comes from (Razzalatina) and in 2012, decided to make un’Ep of his productions.
He has collaborated with such artists of the Milanese scene: Jack The Smoker, Mad Soul Legacy,I-South, Diacca, Syto, Ale.S, Bat One, DJ Low, Dirty Slay, Zork, Lex, Kappa, Paro, 2nd Roof.
Illerstate are a Hip Hop group from Manchester, England consitsting of memebrs Sadiztik, Bad Newz & Wz. Recently they have released their debut self titled mixtape available in stores and also available online. The group possess an array of talents primarily being their diversity in sound and style, presenting technical multi syllabic rhyme schemes, wordplay and imaginitive writing. Members Sadiztik and Bad Newz are also in house producers and engineers. Illerstate have toured alongside Hip Hop heavyweights such as, Vinnie Paz (Jedi Mind Tricks), Ill Bill, Grandmaster Flash, Furious 5, Kurtis Blow and also many well respected underground UK artists such as Rhyme Asylum, Stig Of The Dump & Dr. Syntax.
Rasco – Mateo native Rasco (whose name is an acronym for “realistic, ambitious, serious, cautious, and organized”) worked as a member of the West Coast hip hop groups Various Blends and Cali Agents. His deep voice and straight‐ahead rap style came to the public’s attention with his 1997 12″ “The Unassisted”, which earned him several honors including number one on the Bay Area Hip Hop Coalition chart, number one on the independent hip hop chart in Hits magazine, and number one on Sway and King Tech’s nationally syndicated Wake Up Show for four weeks straight. His debut album “Time Waits for No Man” was released in 1998 on Stones Throw with a production team that included Paul Nice, Peanut
Butter Wolf, and Evidence of the group Dilated Peoples. The follow‐up EP “The Birth” arrived in 1999. Moving from Stones Throw to Copasetik, Rasco released “Hostile Environment” (2001) and “Presents Hip‐Hop Classics, Vol. 1” (2003). But after a fallingout with the label, he left to start his own, Pocketslinted, in 2004. That same year he issued the compilations “20,000 Leagues Under the Street, Vol. 1” (a re‐release from 2000) and “Minority Report”. In 2005 his solo effort “The Dick Swanson Theory” came out on Pocketslinted. Since his last Solo Lp Rasco soon after re teamed with Plane Asia to drop their 3rd album entitled “Fire & Ice” in 2007. In addition to all his solo projects, Rasco contributed to Linkin Park’s Platinum selling remix album “Reanimiation”. Rasco has been lauded by the critics, including SPIN, The Source, VIBE, Hip‐Hop Connection, URB,among many others.
Now Rasco is back in 2010 with his latest offering “Global Threat”. This is Rasco’s 6th solo effort and proves to be his best to date. Like any true artist, Rasco pushes himself on his new record to places he hasn’t gone before. 2010 Looks to be a promising year in Independent Hip Hop and Rasco is sure to be at the head of the pack when it is all said and done.
Dyscography
- 1998 Time waits for no man
- 1999 The birth
- 2000 20’000 leagues under the street
- 2001 Hostile enviroment
- 2003 Escape from alcatraz
- 2005 The Dick Swanson theory
- 2010 Global threat (Release Date Feb. 24th
N.W.A (short for Niggaz Wit Attitudes or Niggaz With Attitude) was an American hip hop group from Compton, California, widely considered one of the seminal acts of the gangsta rap sub-genre.
Active from 1986 to 1991, the group endured controversy due to the explicit nature of their lyrics, and was subsequently banned from many mainstream U.S. radio stations, and even prevented from touring at times. In spite of this, the group has sold over 10 million units in the U.S. alone.
The original lineup consisted of Arabian Prince, DJ Yella, Dr. Dre, Eazy-E, Ice Cube, and MC Ren; Arabian Prince embarked on a solo career in 1989 and Ice Cube left in December of that year over royalty disputes. Several members would later become platinum-selling solo artists in the 1990s.
Their debut album Straight Outta Compton marked the beginning of the new gangsta rap era as the production and social commentary in their lyrics were revolutionary within the genre.
Rolling Stone ranked N.W.A 83rd on their list of the “100 Greatest Artists of All Time”.
Formation and “Panic Zone” (1986–1988)
The group was assembled by Compton-based Eazy-E, who co-founded Ruthless Records with Jerry Heller. Initially, N.W.A consisted of Eazy-E and Dr. Dre, who in turn brought DJ Yella on board. Dre and Yella were both formerly members of the World Class Wreckin’ Cru, as DJs and producers. Ice Cube was added to the roster after he had started out as a rapper for the group “C.I.A.”
Ruthless released the single “Panic Zone” in 1987 with Macola Records, which was later included on the compilation album N.W.A. and the Posse. N.W.A was still in its developing stages, and is only credited on three of the eleven tracks, notably the uncharacteristic electro hop record “Panic Zone,” “8-Ball,” “Dopeman,” which marked the first collaboration of Arabian Prince, DJ Yella, Dr. Dre and Ice Cube. Mexican rapper Krazy-Dee co-wrote “Panic Zone,” which was originally called “Hispanic Zone,” but the title was later changed when Dr. Dre advised Krazy-Dee that the word “hispanic” would hinder sales. Also included was Eazy-E’s solo track “Boyz-n-the Hood.” In 1988, rapper MC Ren joined the group. Straight Outta Compton (1988–1989)
N.W.A released their debut studio album, Straight Outta Compton, in 1988. With its famous opening salvo of three tracks, the group reflected the rising anger of the urban youth. The opening song “Straight Outta Compton” introduced the group, “Fuck tha Police” protested police brutality and racial profiling, and “Gangsta Gangsta” painted the worldview of the inner-city youth. While the group was later credited with pioneering the burgeoning sub genre of gangsta rap, N.W.A referred to their music as “reality rap.”
Dr. Dre and DJ Yella, as HighPowered Productions, composed the beats for each song, with Dre making occasional rapping appearances. Ice Cube and MC Ren wrote most of the group’s lyrics, including “Fuck tha Police,” perhaps the group’s most notorious song, which brought them into conflict with various law enforcement agencies.
Under pressure from Focus on the Family, Milt Ahlerich, an assistant director of the FBI, sent a letter to Ruthless and its distributing company Priority Records, advising the rappers that “advocating violence and assault is wrong and we in the law enforcement community take exception to such action.” This letter can still be seen at the Rock and Roll Hall of Fame in Cleveland, Ohio. Policemen refused to provide security for the group’s concerts, hurting their plans to tour. Nonetheless, the FBI’s letter only served to draw more publicity to the group.
Straight Outta Compton was also one of the first albums to adhere to the new Parental Advisory label scheme, then still in its early stages: the label at the time consisted of “WARNING: Moderate impact coarse language and/or themes” only. However, the taboo nature of N.W.A’s music was the most important factor of its mass appeal. Media coverage compensated for N.W.A’s lack of airplay and their album eventually went double platinum.
One month after Straight Outta Compton, Eazy-E’s solo debut Eazy-Duz-It was released. The album was dominated by Eazy’s persona—MC Ren was the only guest rapper—but behind the scenes it was a group effort. Music was handled by Dr. Dre and DJ Yella; the lyrics were largely written by MC Ren, with contributions from Ice Cube and The D.O.C. The album was another double platinum success for Ruthless (in addition to girl group J.J. Fad in 1988 and singer Michel’le in 1989).
1989 saw the re-issue of N.W.A and the Posse and Straight Outta Compton on CD, and the release of The D.O.C.’s No One Can Do It Better. His album was essentially a collaboration with Dr. Dre and notably free of “gangsta rap” content, however including the N.W.A posse cut “The Grand Finalé.” It would become another #1 album for the record label. “100 Miles And Runnin’” and Niggaz4Life (1989–1991)
Ice Cube left in December 1989 over royalty disputes; having written almost half of the lyrics on Straight Outta Compton himself, he felt he was not getting a fair share of the money and profits. He wasted little time putting together his solo debut, 1990′s AmeriKKKa’s Most Wanted, but he avoided mentioning his former label mates.
N.W.A’s title track from their 1990 EP “100 Miles and Runnin’”, however, included a diss of Ice Cube: “We started with five, but yo / One couldn’t take it—So now it’s four / Cuz the fifth couldn’t make it.”
The video for the song depicted the remaining members of N.W.A together in a jail cell, while an Ice Cube look-alike is released. Also heard on the EP (which found its way on the Efil4zaggin CD re-issue) was “Real Niggaz,” a full-blown diss on Ice Cube where the remaining members accuse him of cowardice, and question his authenticity, longevity and originality: “How the fuck you think a rapper lasts / With your ass sayin’ shit that was said in the past / Yo, be original, your shit is sloppy / Get off the dick, you motherfuckin’ carbon-copy,” and “We started out with too much cargo / So I’m glad we got rid of Benedict Arnold, yo”
The song “100 Miles and Runnin’” was Dr. Dre’s final uptempo recording, which had been a common feature of late 1980s hip hop. After this, he focused on a midtempo, synthesizer based sound which would become known as G-funk, starting with “Alwayz Into Somethin’” from Efil4zaggin in 1991. The G-funk style dominated both the West and East Coast hip hop music scene for several years to come.
N.W.A is referenced on Ice Cube’s 1990 EP, Kill at Will, where he name-checks his former group (likely in a mocking manner) on the song “Jackin’ For Beats.” On “I Gotta Say What Up!!!,” Ice Cube gives shout-outs to his rap peers at the time, among them Public Enemy, the Geto Boys, and Sir Jinx. At the end of the track, in what appears to be an on-the-phone interview, Ice Cube is asked, “Since you went solo, whatever happened to the rest of your crew?” and the phone is abruptly hung up on the interviewer.
The group’s second full-length release, 1991′s Efil4zaggin (“Niggaz4Life” spelled backwards), re-established the band in the face of Ice Cube’s continued solo success. The album is considered by many Dr. Dre’s finest production work, and it heralded the beginning of the G-Funk era. It also showed a clear animosity towards their former member, and derogatory references to Ice Cube are found in several songs. The interlude “A Message to B.A.” echoes the beginning of his song “Turn Off the Radio” from AmeriKKKa’s Most Wanted: Ice Cube is first addressed by the name Benedict Arnold (after the infamous traitor of the American Revolution) but then named outright in a torrent of abuse from both the group and its fans: When we see yo’ ass, we gon’ cut yo’ hair off and fuck you with a broomstick. Think about it, punk muthafucka, spoken by MC Ren.
The N.W.A–Ice Cube feud eventually escalated, both on record and in real life. AmeriKKKa’s Most Wanted had avoided direct attacks on N.W.A, but on Death Certificate, Ice Cube’s second full-length release, he retaliated. He sampled and mocked the “Message to B.A.” skit before embarking on a full-blown tirade, the infamous “No Vaseline.” In a series of verses, Ice Cube verbally assaulted the group: You lookin’ like straight bozos / I saw it comin’ that’s why I went solo / Kept on stompin’ / When y’all Muthafuckas moved Straight outta Compton / You got jealous when I got my own company / But I’m a man, and ain’t nobody humpin’ me
He also responded to “100 Miles and Runnin’”, claiming I started off with too much cargo, dropped four niggaz / And now I’m makin’ all the dough, and members MC Ren, Dr. Dre, and Eazy-E individually, using homophobic metaphors to describe their unequal business relationship with Jerry Heller, who became the target of harsh insults: Get rid of that devil real simple / Put a bullet to his temple / Cuz you can’t be the ‘Niggaz 4 Life’ crew / With a white Jew tellin’ you what to do.
The song attracted controversy for its antisemitism (the beginning of such accusations against Ice Cube during his affiliation with the Nation of Islam), based on the bashing of Heller’s religion The track was omitted from the UK release, and later pressings included a censored version of the song.
In September 1990, members of hip hop act Above the Law clashed with Ice Cube and his posse Da Lench Mob during the annual New Music Seminar conference, forcing the latter to flee the premises of Times Square’s Marriott Marquis, the venue of the event. On January 27, 1991, Dr. Dre assaulted Dee Barnes, host of the hip hop show Pump It Up, after its coverage of the N.W.A/Ice Cube beef.
According to Rolling Stone reporter Alan Light:
“ He picked her up and “began slamming her face and the right side of her body repeatedly against a wall near the stairway” as his bodyguard held off the crowd. After Dre tried to throw her down the stairs and failed, he began kicking her in the ribs and hands. She escaped and ran into the women’s rest room. Dre followed her and “grabbed her from behind by the hair and proceeded to punch her in the back of the head.
In response, Dre commented: “People talk all this shit, but you know, somebody fuck with me, I’m gonna fuck with them. I just did it, you know. Ain’t nothing you can do now by talking about it. Besides, it ain’t no big thing—I just threw her through a door.” The End of N.W.A (1991–1995)
1991′s Niggaz4Life would be the group’s final album. After Dr. Dre, The D.O.C. and Michel’le departed from Ruthless to join Death Row Records and allegations over Eazy-E being coerced into signing away their contracts (while however retaining a portion of their publishing rights), a bitter rivalry ensued.Dr. Dre began the exchange with Death Row’s first release, 1992′s Fuck Wit Dre Day (And Everybody’s Celebratin’), and its accompanying video featured a character named “Sleazy-E” who ran around desperately trying to get money. The insults continued on The Chronic with “Bitches Ain’t Shit.”
Eazy-E responded in 1993 with the EP It’s On (Dr. Dre) 187um Killa on the tracks “Real Muthaphuckkin G’s” and “It’s On.” Eazy-E accused Dr. Dre of being a homosexual, calling him a “she thang,” and the music video for “Real Muthaphuckkin Gs” showed promotional still of Dre wearing make-up and a sequined jumpsuit. The photos dated back to Dr. Dre’s World Class Wreckin’ Cru days, when such fashion was common among West Coast electro hop artists, prior to N.W.A’s popularization of gangsta rap.
After Eazy-E’s AIDS-related death on March 26, 1995, all bad blood between the group ceased. Dr. Dre and Ice Cube would later express their re-evaluated feelings to their old friend on 1999′s “What’s The Difference” and “Chin Check,” 2000′s “Hello,” and 2006′s “Growin’ Up.” In the 2011 music video “I Need a Doctor,” Dr. Dre displays old pictures and video footage of N.W.A and also visits Eazy-E’s grave at the end of the video. Reunions and legacy (1995–present)
Having both parted with Ruthless Records on bad terms, tensions between Ice Cube and Dr. Dre eased on the other hand. Ice Cube made a cameo appearance in Dr. Dre’s “Let Me Ride” video in 1993. The two recorded the hit song “Natural Born Killaz” for Snoop Doggy Dogg’s 1994 short film and soundtrack Murder Was the Case. Later Ice Cube appeared on MC Ren’s album Ruthless for Life in the track “Comin’ After You”. MC Ren appeared on Dre’s 1999 album The Chronic 2001, and the three remaining N.W.A emcees would reunite for “Hello” on Ice Cube’s 2000 album War & Peace Vol. 2 (The Peace Disc).
The West Coast and “gangsta” music scene had however fallen out of the spotlight since the death of Tupac Shakur in 1996, and it was only after Dr. Dre’s successful patronage of Eminem and Dre’s ensuing comeback album The Chronic 2001 that the genre and its artists would regain the national spotlight. 2000′s all-star Up In Smoke Tour would reunite much of the N.W.A and Death Row families, and during time spent on the road, Dre, Eminem, Ice Cube, MC Ren, and guest star Snoop Dogg began recording in a mobile studio. A comeback album entitled Not These Niggaz Again was planned (and would include DJ Yella, who had not been present on the tour).
However, due to busy and conflicting schedules as well as the obstacles of coordinating three different record labels (Priority, No Limit and Interscope), obtaining the rights to the name N.W.A and endorsing the whole project to gain exclusive rights, the album never materialized.Only two tracks from these sessions would be released: “Chin Check” (with Snoop Dogg as a member of N.W.A) from 1999′s Next Friday soundtrack and Hello from Ice Cube’s 2000 album War & Peace Vol. 2 (The Peace Disc). Both songs would appear on N.W.A’s remastered and re-released Greatest Hits.
There would also be partial reunions on “Set It Off,” from Snoop Dogg’s Tha Last Meal (2000), which featured MC Ren and Ice Cube as well as former Death Row “inmates,” and The D.O.C.’s “The Shit,” from his 2003 album Deuce, which featured MC Ren, Ice Cube, Snoop Dogg and Six-Two. Dr. Dre and DJ Yella were present in the studio for the latter song.
In addition to the Greatest Hits initially released by Priority in 1996, Capitol and Ruthless Records jointly released The N.W.A Legacy, Vol. 1: 1988-1998 in 1998, an album that contained only three songs from the actual group but various solo tracks from the five members. The success of the album prompted a second volume, The N.W.A Legacy, Vol. 2, two years later. It emulated the format of its predecessor, containing only three genuine N.W.A tracks and many solo efforts by the crew members. In 2007, a new greatest hits package was released, entitled The Best of N.W.A: The Strength of Street Knowledge. Future biopic
New Line Cinema representatives announced to Entertainment Weekly’s “Hollywood Insider Blog” that N.W.A’s story is in development to become a feature film for theatrical release in 2012. According to the Internet Movie Database, the script was researched and written by filmmaker S. Leigh Savidge and radio veteran Alan Wenkus, who worked closely with Eazy-E’s widow, Tomica Woods-Wright. Wright, Ice Cube, and Dr. Dre will act as producers of the film.
As of September 2011, John Singleton was selected as director. Ice Cube and Singleton previously collaborated on Boyz n the Hood, a movie that was nominated for an Academy Award in several categories. The cast also has yet to be disclosed. To date, MC Ren and DJ Yella have not commented on whether or not they will be involved in the production. Casting calls began in the summer of 2010. There have been rumors of Lil Eazy-E playing his father Eazy-E, and Ice Cube’s son and fellow rapper O’Shea Jackson II playing his father as well.
Twelve Jewelz - In 2006 Aslan decided to release a collection of tracks with a crew over the
years, a came with proper compilation. This resulted in the critically acclaimed
“Aslan presents… The Concentration Camp Part One”, which featured tracks
“This Rap Industry” 3 weeks consecutive winner on Itch Fms battle
competition, and The Art Of War, which features Beretta 9 and Shogun
Assassin of the mighty Killarmy (Wu-Tang-Fam). The album was entirely
produced by Aslan and featured some heavyweight instrumentals with various
Concentration Camp members.
In 2007 Aslan met Killah Priest who brought him into the Maccabeez, crew
consisting of Killah Priest, Hell Razah, Timbo King and other affiliates). Since
then Aslan has featured on and produced a vast number of material, featuring
on many classic underground tracks, Shabazz the Disciple & DJ Extremidiz
“Hood Scriptures” on the song “The Sun of Man Mus Suffa” alongside Shabazz
& Hell Razah. Other notable features include Codefendants – “Killa Season
remix” featuring Cappadonna, Slanted Eye Assassins – “Planetary Collisions
featuring Sabotawj, Gage Ones – “Dead Angel” featuring Holocaust/Warcloud,
Co-Defendants “Street Testaments Remix” featuring Killa Sha & Delta.
Aslan has since been touring France every year since 2007 and has also
covered Germany and Spain in the process, Thru his career so far he has
worked alongside some of Hip-Hops most respected underground artists and
featured in songs alongside members of Wu Tang Clan, Gravediggaz, Sunz Of
Man, Killarmy, Royal Fam, Black Knightz, Wu Deadly Venoms, Wisemen, Zulu
Nation, 25 to Life, X Clan ,Cappadonna, Killah Priest, Timbo King, Hell Razah,
Shabazz The Disciple, Killa Sha (RIP), Beretta 9, Islord & many more. Things to
look out for include: Aslan “The Black Magician” video featuring Stamina Li
Aslan & Killah Priest “The Book Of Shadowz” video Aslan & Beretta 9 “The Test
Of Time” video Aslan – The Black Magician Lp Aslan – The Epitaph Ep Aslan &
Killah Priest – The Keys Of Solomon Ep Aslan & Beretta 9 Ep follow ups to The
Concentration Camp part one with The Latin Quarterz, French Legion, Twelve
Jewels Australia, and The Horns Of Jericho compilations…
Live Shows from November to December 2011
Friday 25th November – live in Barcelona, Spain
Saturday 26th November – live Barcelona, Spain
Friday 9th December – Live on “Break Ya Neck” radio show Lyon, France
Saturday 10th December (daytime) – Live at UDGS
Saturday 10th December (evening) – live show in the Alps, France
Tuesday 13th December – live show in St Etienne, France
Wednesday 14th December – live show in Paris, France
Thursday 15th December (9pm) – live on “L‟Antichambre” radio canut
Thursday 15th December – live in Lyon
Friday 16th December – live in Alps
Saturday 17th December – live in Villefranche
More shows to come for 2012 in France and Spain please check the website for further
details and information
Links:
Official Twelve Jewelz Website http://www.twelvejewelz.com
Official Twelve Jewelz Twitter http://twitter.com/twelvejewelz
Official Twelve Jewelz Myspace http://www.myspace.com/aslan9ether
Łukasz ”Grudzień” Martyniuk born in Zamość, 1996. He came to England in 2007 with 10 years.
The first texts written in English after school with friends in 2009,
English rap resigned immediately after the first six months and then record first texts
were written in Polish until today. The first song he recorded with a colleague in Polish December 22, 2010
under the nickname Young JML have been published on YouTube, then begins to make its own equipmenttogether
and created his own studio under the name””Asasino studio that is until today, 3 months later
released his first album was not lawful”immediately” It happens 6 months after the release of the album ”sometimes”
”The board issued a Jot to El Square”. 10 October 2010 changed the nickname of the Young JML in December.
Currently involved in rap music videos and gluing.
There is planned new album in 2013 .
You can check his productions on YouTube Channel and Facebook :
1995–2000
This was also a time that a lot of immigrants were moving to Germany and they all came with their own culture which contrasted with that of Germany.
The years from 1995 to 2000 were a golden age for German hip hop, as the demand surged, and the market was flooded with new records, with scenes forming in larger German cities, most notably Hamburg, Stuttgart, and Frankfurt.
Among the bevy of new releases, new styles emerged that were not easily classifiable as Alte Schule (“oldschool”) or Neue Schule (“newschool”). These included Kopfnicker by Massive Töne (1996), Bambule by Absolute Beginner (1998), Fenster zum Hof by the Stieber Twins (1997), Quadratur des Kreises by Freundeskreis (1997), and later Deluxe Soundsystem by Dynamite Deluxe (2000).
Battle Rap and Battlefreestylen emerged as a popular genre. These were based on the freestyle battles that had long been popular in the United States, in which rappers competed in self-aggrandizement and hyperbolic mockery. Though battle rap was at first strictly a performance art, German hip hop CDs soon included battle rap tracks, many of them directed at unspecified or imaginary foes.
Karakan also emerged in the German hip-hop scene. In 1991, Alper Aga & Kabus Kerim formed the group in Nuremberg, Germany. This year, they released the first ever Turkish language rap track in, named “Bir Yabancinin Hayati” (Life of a foreigner). Two years later, they released classic tracks like “Cehenneme Hosgeldin” (Welcome to Hell) and the controversial “Defol Dazlak”, which was released as a Maxi Single. “Big Porno Ahmet” joined the group as a producer / beatmaker. Shortly, the success of Karakan spread beyond the borders of Germany and the group started to get well-known within the European Hip-Hop scene. During jams, they met Cinai Sebeke (Da Crime Posse) and Erci-E. Together, they established the legendary group CARTEL and released a compilation album in 1995.In 1997, KARAKAN finally released his first official album “Al Sana Karakan” and shot 2 videos, which marked a high point in Turkish hip hop.
The only Single from this album, “CARTEL”, composed by Big Porno Ahmet, reached platinum status and sold more than 2,250,000 copies…
Another genre of hip hop was Polit Rap, which sought to expose social problems both in and outside of Germany, especially in the larger cities like Hamburg, Berlin and Frankfurt. This often blended with U.S. style Gangsta rap.
The multilingual and multinational group TCA- The Microphone Mafia is an example of ‘Oriental Hip Hop in the German Diaspora’. They combine Spanish, Italian, Turkish and German raps with live music and samples of traditional music from all the previously named countries.One of their hits was ‘No! Wanna be’ released in 1997. 2000 to present
Despite a dramatic increase in both rappers and fans in the late 1990s, there was little innovation in the music of that period. The boom ended around 2001, as the rate of new releases sank. The underground scene once again became the dominant force in German hip hop culture, as in the 1980s. Young aspiring rappers compose beats and texts in their homes, often sharing them over the Internet.
Battle rap has become more popular, made popular by groups like M.O.R. and led by rappers like Kool Savas, Taktloss, Azad and Dan F.. Rap on political and social themes has continued with groups like Freundeskreis, Advanced Chemistry, Samy Deluxe, 5 Sterne Deluxe and Curse.
Several bands have emerged under the label Aggro Berlin . The new “Berlin scene” has a harder, more serious sound than the more established “Hamburg scene.” Sido’s debut album in 2001 was hailed by many critics as the first real German hip hop album, as it seriously addressed social problems in the violent, anti-authoritarian, and often sexist style that has typified US Hip Hop.
The Frankfurt-based rapper Azad has ascended into the top 10 with his album Der Bozz.
The “beef,” a form of highly publicized, extended rivalry between rappers, has become a prominent feature of German hip hop, as it was several years earlier in the United States. Azad, for example, once accused Sido of insulting his mother, for which, after considerable media fanfare, Sido apologized on TV.
The idea of “beef” is not the only convention adapted to the German hip-hop scene. Azad’s video for “Ich Glaub An Dich” , the theme of the German version of the television show Prison Break, boasts much of the hip-hop aesthetic and production value seen in today’s U.S. releases. While there were no sampled voices or syncopated loops there was a smooth interpolation of piano, voiceover and guitar riffs comparable to some G-Unit cuts. Scenery also mirrored much of what might even be seen today in the next Fabolous or Cassidy music video. The gritty prison scenes from the show were contrasted to the dramatic, pictruesque background of a beach or a lighthouse from which an R&B artist melodiously sung the song’s chorus. There is also, of course, the pimped out ride, a factor which is probably more related to Germany than to the U.S. as it is where many “rapper cars” are engineered. The rapper-R&B singer dichotomy seen in the video, accompanied by other subtle elements attributed heavily to more commercial U.S. hip-hop videos is demonstrative of the fact that not only the hostile legacy of rap beef but also the some of the prettier aspects of how rap should feel and look were culturally diffused into German Hip-Hop culture.
Today, the German hip hop scene is a reflection of the many dimensions that Germany has come to represent in a unified image of Europe. Everything from “migrant hip hop,” which is known as hip hop from the large Turkish immigrant population that is mostly centered in Kreuzberg, to the more humour-based groups, such as the wildly popular Berlin based group Puppetmastaz, paint a portrait of a vibrant and diverse hip hop community in Germany.
Today immigrants make up almost 10% of the population in Germany, notable rappers with immigrant background are Fard, Farid Bang, Bushido, Azad, Summer Cem, Haftbefehl, Bero Bass, Kollegah & Massiv. Their songs mostly copy the American punchline style, they use puns and metaphors in order to humiliate an imaginary person (sometimes other rappers, known as “Disstracks”). Apart from these crude and meaningless lyrics, some rappers attract attention with intelligent songs about the problems that immigrants in Germany are confronted with. Especially Fard, a German rapper from Gladbeck of Iranian descent, often mentions issues like poverty, xenophobia, cultural differences in a credible and honest way without copying US rapscene clichés that couldn’t be transformed to the German environment.
German hip hop at this moment is undergoing a huge transformation. From the beginning the music genre in Eastern Europe was heavily influenced by the American hip hop culture but in Germany hip hop and rap was never quite the same because it came from somewhere else. The German hip hop artists of the 1980s and 1990s were white middle class men. The songs were about love, loss and parties. They had titles like “Sie ist weg” (“She’s gone”) or “Ein Tag am Meer” (“A day at the sea”) both by Die Fantastischen Vier. Now a little bit of the “gangster” and “ghetto” touch is being added. Previously, according to German hip hop group, The Joy of Zoo Sound, “They [German youth] felt almost exactly like the people portrayed in Beat Street. The artists leading this music revolution are artists and groups like Haftbefehl, Azad, Kool Savas, Bushido and Nate57 who rap about crime, police brutality, drug abuse and violence. Their lyrics are often a crude mixture of German and English slang. Their backgrounds in the ghettos of Germany can compete with life in the bad neighborhoods of New York or Los Angeles.
Despite common notions of the Old School German hip hop’s emulation of US hip hop styles and the New School’s attempt to rap about crime and violence, some “Old Schoolers ” feel that the New School has, in fact, forgotten about its roots. Old School supporters and Scholars disagree on the nature of the recent transformation in German hip hop. Scholars have argued that the Old School German hip hop “scene was musically and vocally oriented to American role models. Rhymes were written in English; funk and soul samples dominated musical structures”.However, Old Schoolers themselves contend that it is the New School German rap artists who have been “Americanized,” and therefore lack the authenticity of the struggle of the ghetto in West Germany. The German old school acknowledged that there were many the differences between the situation in the United States and the situation in Germany, and aimed at expressing the concept of “realness,” meaning to “be true to oneself”. Different from the US hip hop’s equating “realness” with “street credibility,” many raps that came out of the old school German hip hop “address this issue and reject unreflected imitation of US hip hop as clichés and as the betrayal of the concept of realness”.Furthermore, the Old School of German hip hop may have been seen as representing “a critique of White America” because of its modeling after US hip hop; however, Old schoolers dispute that hip hop in Germany was about the oppression of people in Germany. One Old School artist, DJ Cutfaster lamented that, “Most people have forgotten that hip hop functions as a mouthpiece against violence and oppression and ultimately against the ghetto, which has become the metaphor for the deplorable state of our world”. Contrary to the New School hip hop’s attempts to crossover into the mainstream popular culture, the Old School “envisioned and propagated hip hop as an underground community that needed to keep its distance from and to create resistance to mainstream culture in order to avoid co-optation”.
German Hip Hop refers to hip hop music produced in Germany. Elements of American hip hop culture, such as graffiti art and breakdancing, diffused into Western Europe in the early 1980s.
1980–1990
“Katz Rap” by JaJaJa (1982, Ata Tak- WR 14) was the first rap song recorded by a female in Europe. American Julie Ashcraft A.K.A. Julie Jigsaw wrote and rapped the lyrics to “Katz Rap” after co-founding JaJaJa in Düsseldorf with German drummer, Frank Samba, and Swiss bass player, Wietn Wito. The track was engineered and mastered by Kurt Dahlke A.K.A. Pyrolator at the Ata Tak studio. With the release of “Graffiti Artists International” on JaJaJa’s self-titled LP album (1982, Ata Tak – WR16), Julie Jigsaw became the first rapper to record a song about graffiti in Europe. JaJaJa toured with a large graffiti canvas she spray painted with the band’s name and a giant reptile/dragon/dinosaur. JaJaJa’s “I Am An Animal” video featured breakdancing youths costumed as dinosaurs.
Other early underground artists included Cora E. and Advanced Chemistry. It was not until the early 1990s that German hip hop entered the mainstream, as groups like Die Fantastischen Vier and the Rödelheim Hartreim Projekt gained popularity. German hip hop was heavily influenced by films which led to a strong emphasis on cultural elements such as graffiti and breakdancing, rather than just the music itself.
Commercialization of American rap and hip hop began in the early 1980s and began coming to Germany as early as 1983. The influence of film was critical on German hip hop’s early development, leading to a strong emphasis on the more heavily visual aspects of the culture like graffiti-art and break dancing. It soon percolated into Germany through recordings, cinema, and the American soldiers stationed there. Through such films as Wild Style and Beat Street, German youths developed a taste for breakdancing, spraypainting, and freestyling, thus beginning hip hop’s first wave of popularity. GLS United, formed by three widely known radio moderators, was perhaps the first German hip hop group, releasing the first German-language hip hop song “Rappers Deutsch” in 1980 although they were just a novelty act created for this one song. These movies led the people of Germany to realize that hip-hop was much more than just rap music, but was very much a cultural movement in and of itself. Though at the time of the release of the movie, it did not have a great overall impact, once reunification began in 1990, the hip-hop scene began to flourish.As one German remembers on a visit to the US in 1986, things were much different. There was no thing like MTV in Europe, as the scene was still very much underground. And there aren’t any hip hop only clubs there, as there are in the States.
After this initial wave of popularity, hip hop fans were few and far between.however the fans that did remain would play a role in the resuscitation of the hip hop culture. “…The hardcore hip hop fans that remained after the breakdance craze faded from the media were central to the further development of hip hop in Germany-they supplied much of the personnel for the important rap groups that began to develop in the late 1980s and early ’90s.” “Graffiti and breakdancing came out big but it only lasted for one summer. But hip-hop survived in the underground.” These quotes illustrate that although the first stages of hip hop were driven by the media and quickly died, the true hip hop fans would not let hip hop be a one and done fad. It was the passion and persistence of the underground hip hop scene that allowed it to prosper later on. Unlike most hip-hoppers of other countries, German fans did not identify themselves by wearing specific clothing styles; rather, most knew each other personally, and organized hip hop jams became demonstrations of unity.These parties, hosted at youth centers or at individuals’ houses, attracted regional and sometimes national attendance. Early jams were the locus of a nascent German hip hop culture, at which sprayers, breakers, rappers, and DJs convened and exchanged ideas.
Part of the genre’s attraction was its foreign origin. Many hip hop fans viewed contemporary German songs, such as those of the Schlager and Neue Deutsche Welle genres, as trite and unoriginal. For this reason, rappers at early jams rapped only in English, and to American beats.
The fact that most German rappers, for a time, rapped in English gives strength to the theory that German Hip-hop is a form of ‘cultural imperialism’: Germans emulating the culture of the United States, while relinquishing their own.Even today, there are German videos that look much like hip-hop videos shown in the United States, displaying nice cars and artists wearing huge jewelry and shades. Furthermore, the German dialect used in German hip-hop is a form of cultural imperialism. Because German Hip-hop artists are predominantly of Turkish-German descent (which is the largest minority group in Germany) and are constantly marginalized, they embrace Hip-hop as a music for all minorities to use and create a German “ghetto-style” of rapping when not rapping in English. By using a German form of Ebonics[clarification needed] to rap, Turkish-German Hip hop artists display the common need for minorities, when using rap as a vehicle of protest, to use language that is somewhat vulgar and improper to express their outrage towards the wrongs society has done upon them.In other words, Hip-Hop, no matter what the language, demands a specific dialect that is controversial to speak in public, but understood, in order for Hip-Hop to deliver the minority artists’ message of rebellion, powerfully.
Torch, a member of the Heidelberg-based group Advanced Chemistry, was perhaps the first artist to freestyle in German at a jam. Advanced Chemistry had previously freestyled in English, but they had (unlike other groups) addressed the audience in German between songs. At one jam, Torch, without the prior knowledge of the group, spontaneously began rapping in German. The audience was enthusiastic, not only because they could better understand the rap, but also because they felt more directly addressed. From then on, Torch rapped increasingly in German, writing his first German rhyme in 1988.
Die Fantastischen Vier (the Fantastic Four) are another important German hip hop group, who also began to rap in German around the same time as Advanced Chemistry. Die Fantastischen Vier saw English rap in Germany as meaningless loyalty to “surface elements” of U.S. rap, and devoid of any German political or social context. They sought to appropriate hip hop from its foreign framework, and use it to bring a voice to historical and contemporary problems in Germany.The shift of rapping from English into German increased hip hop’s appeal to the German people, Gastarbeiter (guest workers) included. Growing self-confidence among Germany’s immigrant population coincided with the use of the German language in German hip hop, and provided them with a vocal outlet in line with the plight of poor African Americans, out of which hip hop had originally emerged.
The Group Advanced Chemistry originated from Heidelberg, Germany. As they were one of the few early hip hop groups to rap in English, they were extremely influential in promoting the hip hop scene in Germany. More importantly however, Advanced Chemistry was a prominent hip hop group because of the ethnic diversity of the members. Torch, the leader of the group for instance is both of a Haitian and German ethnic background.Advanced Chemistry exploded onto the German hip hop scene in November 1992 with their first mixed single entitled “Fremd in eigenem Land” (Foreign in Your Own Country). This song was immensely popular because it directly addressed the issue of immigrants in Germany: “In the video of the song, a band member brandishes a German passport in a symbolic challenge to traditional assumptions about what it means to be German. If the passport is not enough, the video implies, then what is required? German Blood?”.
After the reunification of Germany in 1990, many Germans saw a growing wave of racism. Because many hip hop artists were children of immigrants, this became a major theme of German hip hop.
During the 1980s Germany first saw a wave of second generation immigrants coming into the country. Immigration became a big issue is hip hop albums at this point. The German synonym for an immigrant is Gastarbeiter which means ‘guest worker’, and these ‘guest workers’ were rapped about often. Immigrant teenagers commonly use rap and hip hop as a way to defend themselves in their new countries. “Since honour cannot be gained, but only lost, a permanent readiness to fight is required. Thus social approval is acquired by actually defending one’s honour or by exhibiting abilities such as the willingness to face physical encounter, talkativeness and humour… According to the rules of the game, the first one to whom nothing clever comes to the mind is the loser. This concept is quite similar to ‘dissing’ in rap.” 1990–1995
In 1991, the German music label Bombastic released the record “Krauts with Attitude: German Hip Hop Vol. 1”. The album featured fifteen songs – three in German, eleven in English, and one in French. The album was produced by DJ Michael Reinboth, a popular hip hop DJ at that time. Michael Reinboth moved to Munich in 1982 and was the first DJ to introduce garage-house and old school hip hop music to the Munich club scene.His compilation “Krauts with Attitude” is considered one of the first German hip hop albums, as it features Die Fantastischen Vier. The title refers to N.W.A (Niggaz with Attitude), one of the most controversial hip-hop groups of the time in the United States. “Krauts with Attitude” was the first album to nationalize German hip hop, and its album packaging reflected this. “The cover was designed in the colours of the national flag (black, red and yellow), and the linernotes read as follows: ‘Now is the time to oppose somehow the self confidence of the English and the American.’” Overall the album played a significant role in promoting and nationalizing hip hop and hip hop groups in Germany.
In the early 1990s, hip hop established itself in the mainstream, and many new rappers emerged on the scene. One such band was Die Fantastischen Vier, four rappers from Stuttgart, whose optimistic sound has brought them fame both in Germany and abroad. Apparently, original crew members Smudo and Thomas D, were inspired to begin rapping in German following a six month visit to the United States. It became apparent that they had nothing in common with U.S. rappers and their essentially middle-class upbringing was foreign to that of the cultural environment of U.S hip hop. “The group subsequently decided to concentrate on issues they saw around them, using their own language, rather than aping American styles.” They released their first LP Jetzt geht’s ab in 1991. Unlike earlier German hip hop groups, Die Fantastischen Vier never played in underground jams, and they did not invoke American “Gangsta rap” themes. The group was therefore not taken seriously at first. In 1992, however, their single Die Da?! hit the top of the charts. Despite the fact that this was the first German rap record sung exclusively in German, many in the hip hop community were aghast, because the band had barely no connection to the jam scene, rapped about in a light-hearted nature, and released their music through Sony/Columbia. The latter asset was particularly controversial, as Hip hop culture, both in Germany and the United States, had developed with a distinctly anti-commercial edge. By 1992, however, anti-commercialism no longer predominated in the American hip hop, and it has since lessened in Germany.
Although Die Fantastischen Vier achieved commercial success and helped to pioneer hip hop music in Germany, they were contested for sounding “too American.” The group’s lack of socially conscious topics and simplistic delivery and material informed the ways in which they were viewed as a trite pop group. Other German rap groups criticized Die Fantastischen Vier for not incorporating localized material that would resonate with German culture.
During 1992-93 many acts of protest occurred in the wake of anti-immigration in Germany. Amongst the angst of this period, the content of German hip hop started to become more politicized. Additionally, the language of the music started to reflect a more local voice. The group Advanced Chemistry has been noted as one of the first to incorporate social critiques of growing prejudice and racism in Germany. “…the newly emerging hip-hop movement took a clear stance for the minorities and against the marginalisation of immigrants who, as the song said, might be German on paper, but not in real life” In essence, Advanced Chemistry engineered legitimacy and authenticity to German hip-hop music by expressing the “real life” hardships experienced in German society.
During the inception of hip hop into Germany, most popular hip hop artists have come from West Germany.This could be because of the large immigrant population there at the time. “By 1994, the number of immigrants living in Germany had reached 6.9 million. 97 per cent of all immigrants were resident in the western part of the country, which meant that in the former Federal Republic of Germany and in West Berlin every tenth citizen was a foreigner.” f those 97% of immigrants in the Western part of Germany over 1.5 million of them originated from a European country. For example, the community with the largest number of immigrants (roughly 1.9 million people) was the Turkish community. Within the Turkish community only 5% of its people were of age 60 or older. Such statistics give justification for why hip hop may have flourished in Germany; many of the people were young. Furthermore, German hip hop, much like many other countries, was heavily influenced by the western world. During that time, a rises of anti-immigrant feelings resulted in the acts of arson and murder against the Turkish asylum seekers. In May 1993, 5 Turkish people were killed and many injured when someone attacked the home of a Turkish family with a firebomb. In 1993 German hip hop “globalized” with the emergence of Viva’s Freestyle; the equivalent to the American Yo MTV Rap show. Viva’s freestyle consisted of hip hop songs from the United States, United Kingdom, and Germany.The influx of immigrants into Germany caused an adverse effect on employment and wages. It was found that immigrants and native Germans were imperfect substitutes for each other, while old and new immigrants were interchangeable exposing an inelastic labor market. Lower wages and a poor job market are often catalysts for an emerging hip hop scene.
No new Deutschrap (German-language rap) albums made the charts from 1992 until 1995. Underground rap continued to develop, splitting into two the Neue Schule and Alte Schule (“new school” and “old school”). The members of the Alte Schule – many of whom had rapped in the early jams – accused the Neue Schule of not taking hip hop seriously. The Alte Schule, (derived from a groundbreaking compilation record of that name from the independent label MZEE-Records ) which included Cora E., the Stieber Twins, and Advanced Chemistry, had a more political focus that the Neue Schule did not share. One example of politically charged Alte Schule hip hop is Advanced Chemistry’s 1992 Deutschrap 12 inch Fremd im eigenen Land, (also MZEE-Records) which concerned widespread racism and the plight of disadvantaged immigrants. Another example is the Absolute Beginner song K.E.I.N.E. which criticized the police for being everywhere but where they were needed.
In contrast, the Neue Schule, which included the Fantastischen Vier, Fettes Brot, and Der Tobi und das Bo, sought mainly to produce fun, accessible music. They rapped about less weighty topics, injecting a liberal dose of humor and irony into their songs.
Despite criticism of the Neue Schule, it arguably paved the road for wider acceptance of the Alte Schule. Nonetheless, members of the latter continue to regard the former with disdain.
In the mid 1990s German hip hop was growing. John Clarke used the term ‘recontextualization’ to describe the process of borrowing cultural ideas and integrating them into a new society. German hip hop did just this as it took U.S. hip hop and gave it a new meaning and identity in German culture. Black American gangsta rap however is not the only type of rap that has developed in Germany. Some of the most innovative rap music in Germany is made by Germans or by underground crews dedicated to rap for both political and artistic reasons. Rap has been able to succeed in Germany not just due to a different national culture of the U.S., but also because people are responding to other racial and ethnic cultures. At this time, in the mid 1990s, the relation of import and domestic rap was 70% import to 30% domestic, but domestic was increasing rapidly. CD’s had practically taken over the market in Germany and cassettes were almost out and were just used for black copies. German hip hop was yet to have a specific identity as different styles occurred due to ethnic and musical background.
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