LEGION Magazine

YOUTH

CULTURE HIP-HOP RAP

£5.99

LEGION

Editor’s Letter We all know what you’re thinking. A magazine dedicated to urban music without hip-hop honeys sprawled across the cover. Surely not?

Damn right. LEGION is the magazine that people have been crying out for. We’re here to give rap, youth culture and hip-hop the respect it deserves.

Were here to celebrate, analysis, question and reflect on one of most creative musical art forms of the age.

Lyrical mastermind ICE T summed it up in his introduction to the documentary Something From Nothing: The Art of Rap: “Rap and hip-hop requires skill. It isn’t about the money, the cars, the women or the jewellery. It’s about the craft.”

LEGION is dedicated to applauding the art and history of urban music as not only a genre but a lifestyle.

We bring you an in-depth look at the revolutionary stories behind the bling, demonstrating how rap and hip-hop has changed and shaped the world of music forever.

In our first issue, LEGION examines the evolution of Notting Hill Carnival, the effect music has on youth culture and the never-ending debate of rock vs. rap.

Rap and hip-hop music is a masterpiece, a revolutionary movement and were here to explore it.

Corrie Parris

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Jovel Walker

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R.I INTERVIEW

RAP V ROCK The Battle “This ride was never just about us.

Hip-hop, rap, rock, none of it was ever just about onegroup or one sound.

It was the sum total that made it all work.”

Welcome to the journey of rap and rock.

C

huck D, Public Enemy’s front man defines the journey and unity of two sounds so diversely different, it just works. Remember the time when medallion wearing rappers dramatically shocked fans by spitting over electric guitar rifts on MTV? Well everyone knows were over the ‘shocking marriage’ of rock and rap. In fact were so over it, artists aren’t only collaborating with opposing genres but they are now fusing styles together.

Meet Jovel Walker, better known to some of you as Random Impulse. Funny, self-deprecating and unmistakably British, Random Impulse isn’t your ordinary grime MC. Armed with an electric guitar and fusing together rock and grime melodies, it’s not surprising his music is making 80s rock-rap heads stand up and listen.

He tells us he describes his sound as “an amalgamation of Hip-Hop, UK indie, rock, grime and punk.”

Not many grime MCs can count Jack White as a fan of their music. But this 22-year-old punk lad definitely has a range of diverse admirers.

Described as the black Ed Sheeran, who by the way is one of his best friends, he has already been praised widely by everyone from MTV to The Guardian: “He’s punk. He’s grime. And he’s supremely catchy. This Britrap-rocker’s bundle of words and energy can’t fail to be huge.”

Combining fast electric riffs whilst ‘spitting’ over an electric guitar, Random Impulse is definitely bringing a fresh sound to grime music, which can often be seen as a repetitive genre.

Immersing himself in powerful hip-hop as well as credible rock bands like Queens of The Stone Age, and Artic Monkeys, Jovel’s musical education developed into a merge of influential styles that he grew to love.

Being surrounded by London’s gritty grime scene, and attending school with members of grime’s well-known crew Boy Better Know, Jovel found himself caught in the mix of the controversial genre.

“Growing up the music that surrounded me and had the biggest influence was grime. I never really knew I wanted to be a part of it until I was”.

Rap and rock contributed massively to popular culture, and changed the way people defined themselves. The ground-breaking fusion of rock and rap

introduced both fans to a new wave of ‘self expression’.

Both styles were born out of rebellion, and the desire to gain attention. You see that is the story of rock and rap, they’re unlikely partners in marriage, who more often than not wind up creating music so influential and creative it pushes all expected boundaries.

Collaborating rock and rap is one music risk, but mixing grime (a much rougher, edgier style) with rock is a gamble that hasn’t been done yet.

Successfully anyway.

Jovel began his transition into music by stepping away from the ranks of his grime crew G-Fam and decided to release his famed mix-tape CD ‘Word on the Street’ in 2008.

The mix-tape sold over 10,000 units in six months, pretty impressive from the guy who says he “fell into music” right?

Grime originated from East London, primarily as a development from UK garage, drum & bass, dancehall and hip-hop. Pioneers of the style included rappers like Wiley and Dizzee Rascal who really put grime on the music map as a genre not to reckoned with.

Jovel shares with us how he grew to be a part of the controversial music scene, and how he first began fusing rock and rap together: “I didn’t know the mix would work at all! I listen to indie/punk music and I always used to rap, so it wasn’t until I began making my own music that I

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“I just clicked on Youtube and searched how to play electric guittar and started practicing eight hours a day.”

naturally began to make music that I was interested in.”

“As you can imagine it was quite different doing grime music and rap, I used to listen to indie bands and sample their music, and I thought I wish I could make this kind of sound without having to sample it.”

The art of mixing genres and bringing cultural divides together has been an integral part of music for decades. If done well, the results can be electrifying. A fine example is the collaboration between Jack White (lead singer of rock band The White Stripes) and country vocalist Loretta Lynn brought together rock and country in one magnificent song.

Rock-rap has had a much harder time earning respect as a ‘genre crossover’; there are still surprisingly very few decent rock-rap collaborations that have achieved the dynamic mix.

Just because a gold-chained rapper spat over an electric guitar rift does not make the style respectable rap-rock.

Yes Willie Nelson and Snoop Dogg we are talking to you.

Only a handful of bands and artist have successful merged the two notorious styles together, including the most influential collaboration to date, Run DMC and Aerosmith.

The trouble was, many rock bands that knew very little about the contemporary state of hip-hop usually sought after MCs who hadn’t moved past old school rock styles like, Blink 182.

Being the random character he is (hence the name), he shares with us his

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WHAT TO EXPECT IN 2013?

A single, album, video, lots of festival and my own tour! It’s my first single of the major label!

other unusual influences: “I watch a lot of Japanese anime, the stories in animations are very complex and they’re good at developing plots. I also watch tons of indie, rock and metal bands and hip-hop (but not so much recent hip-hop because it’s shit).”

“My songs are very story-based so in terms of how to structure a story in a song I take a lot of it from animations.

Which is a bit weird!”

When hip-hop and rap blossomed in the early 1980s, it could not have been more diametrically opposite from rock music. By this time, mainstream rock had long matured and developed from its earlier years in 1960, and had turned into a glorifying moneymaking industry that was tough to crack.

But forget school academies and paid guitar lessons, as Jovel had his own unique way of learning the craft he loved: “I just clicked on YouTube and

searched how to play electric guitar and the drums and started practicing eight hours a day. I disappeared from grime for about a year.”

It’s well known that rock ‘n’ roll origins can be traced way back to African-American innovators. Though the racial segregation between rap and rock has still always been a prominent factor in American society and music.

If we were to take a look back at what the first type of ‘popular music’ was we can narrow it down to swing music and the jazz era. It was figures like Louis Armstrong that became the most respected and admired artists in American music.

It was in the 50s where real rhythm and soul was born. Performers like Ray Charles and Chuck Berry inspired a generation of predominantly white performers like Elvis Presley, to create the style of rock ‘n’ roll.

These days, the racial and musical divide between rap and rock is far from its once stereotyped days. And thank god! Both genres helped tear down a wall between cultures and what was deemed to be ‘appropriate’ to listen to, according to your style, interests, and even your dress sense.

Though rap, hip-hop, and rock have all been equally influential genres in Britain there have been very few successful fusions of the style to come out the UK music scene. Until now of course.

Jovel’s quirky style may incorporate a gritty grime sound, but having such a

Jovel Walker

unique sound, you simply can’t place him in a ‘genre box’.

The self-confessed nerd with a love of his mum’s vintage soul collection has built up a pretty impressive music résumé. He has already performed as a supporting act for artists such as Tinchy Stryder, The Wombats, Ed Sheeran, Professor Green and Gym Class Heroes.

Along-side signing Chipmunk to his own indie imprint Reignasance, he has engineered for Tinie Tempah, Wiley, Wretch 32, Ghetts, Skepta and JME. It was hardly a surprise when true die-hard grime fans were less than impressed with Jovel’s new direction, mixing live instruments with an underground urban sound wasn’t cool.

With no time to spare though, Random Impulse’s first EP ‘Overload’ hit number five in the hip-hop charts with within its first day of release.

Though an original grime songwriter, MC and producer from London, Random Impulse has already made an impact in America. After writing and producing for Lupe Fiasco and performing shows with Katy Perry he is definitely putting his grime/punk stamp on the industry.

Even though its early days, he tells us what he thinks his highest career point has been.

“The highest point in my career so far? Just the general fact that out of all the million songs in the world, there are actually people that decided to go onto their iPod and click on one of my songs.”

“I think that is and will always be the key point of my career.”

Classic and notorious grime albums that took the genre from underground to mainstream were made in Jovel’s mothers London home.

The success of combination albums such as ‘Simply The Best’, ‘Back 2 Da Lab’ and Chipmunk’s ‘Whatever The Weather’ Volumes 1 and 2 emerged from undiscovered the basement.

Though an impressive list of friendly collaborations, we quizzed the punk, rapper on who he would love to work with in the future: “There are loads Jake Bugg, Jack White and the Arctic Monkeys. I would love to produce a song for Drake, though I wouldn’t particularly like to rap for him I would just like to make him a song.”

You know we had to ask Jovel what the most random impulsive thing he had ever done was right? Come on man, why the name?

“I went to the shops naked, and that’s the truth! I know that’s very fucking weird, I probably shouldn’t have admitted that but it’s alright man!”

Jovel’s adamant desire to bring his two musical loves together is a mix we absolutely love! We hope more artists from the UK take the gamble and let their creative juices flow. If we was to really put things into perspective, rap and rock are like part of dysfunctional family.

Whether the love is strong or not, their connected and have been from the start.

It is time we celebrated both genres and appreciated them as a unity.

So whether you’re dedicated to Tupac or Dead Kennedys, the battle is most definitely over. Well for now anyway.

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DEBATE

RAP

CULTURE YOUTH

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The sad truth is that dodging past a group of tracksuit wearing youths battling over gritty rap beats, immediately suggests gang culture.

H

eck why wouldn’t it, when their ‘idols’ glorify a similar lifestyle and deem it the only way to live?

Leaving school with little or no qualifications, condemned to a life on welfare and poverty, to find yourself involved in street-crime all because your rapper ‘idol’ said ‘it’s the only way to succeed’.

There’s the issue right there.

Youth culture for decades now has been inspired by the stories of their gangster rap idols. Their music normalises and glorifies a violent lifestyle so magnified it’s unrealistic to most.

Surviving the music industry and the ‘dangerous’ world, according to the typical gangster rapper means being ruthless, accepting violence and fighting the law.

Of course lyrics depicting hard work, graft, determination and brains wouldn’t sell records or be seen as ‘cool’.

One feisty lady who couldn’t agree with us more is Kerry O’Brien, former tough street MC turned award winning entrepreneur, founder and director of the London Urban Arts Academy (LUUA).

“I feel very strongly about

the impact that negative lyrical content has on young people.

Music is an expressive outlet; it gives a platform to have a voice without it being judged.” Kerry passionately tells us.

The LUAA was founded after Kerry broke free as a teenager from her violent environment and alcoholic father and focused on music. “I used music to express myself, music was my saviour growing up which lead into a very successful music career.”

It was in 2007 that Kerry ‘woke up’ and realised she wanted to help her past community and make an impact on the youth culture. “I sWWtarted doing workshops in schools, and I loved it. So I decided to set up my own organisation to improve the lives of young people through music.”

Is rap, hip-hop and grime music resulting in yet another lost generation? Youth culture’s desire to emulate the gangster lifestyle and the survival of the fittest attitude, has left a lasting image that education and work ethic is no longer necessary.

Mainstream rap is filled with objectification, licentious lyrics and lewd music videos flaunting women half naked. Sorry let us rephrase that, sometimes

completely naked. Music conglomerates believe (and their right unfortunately) that sex and violence sells. Kerry’s own experiences tell a similar story.

“We have worked with hundreds of young people who can rap and unfortunately, they feel its cooler to talk about guns, girls and money than to deliver a conscious more positive message.”

“Some young people talk the talk it and don’t live it and some talk it and then they start to live it.

Words are power and they create our realities.”

Grime music, following its emergence from East London clubs and pirate radio stations, was archetypical music of urban disaffection. Lyrics often focus on gunplay, postcode rivals and street-crime.

The genre has made much progress from its once mocked underground street sound, pioneers like Dizzie Rascal and Tinchy Stryder dominate the UK charts regularly with a much glossier sound.

2012 saw notorious and influential grime artist Giggs aka Hollowman, and friends charged for ‘possession with intent to endanger life’. A search revealed a loaded semi-automatic Browning LEGION 10

gun with a bullet in the breach was in the vehicle.

Growing up in gritty Pecknam London, Giggs was openly involved in gangs and drugs and went to prison in 2003 for firearms offences. All of course while sending his ‘message’ to his hundreds of adolescent fans.

The case raised questions on how challenging it is for young men to escape the roots of the street, and whether their so-called musical ‘idols’ are influencing their decisions.

Skip nine years and the rapper is signed to XL Recordings, the label responsible for successful chart artists like Adel and Radiohead. Still rapping about his ruthless past but with much more conviction and maturity, Giggs has said to of stripped himself of his gang image. Supposedly anyway.

In February 2012 when the arrest was made, his second XL album was due for release and he was booked to perform at one of the country’s largest live events, Radio 1’s Hackney Weekend, LEGION 11

headlined by Obama White House favourite, Jay-Z. Now that is an achievement we would not miss for for anything, let alone a drive-by shooting.

Just to give the youth society a little further confusion, when we grilled Giggs on his influence on street-crime he told us this: “Loads of non-gang members get into music but I don’t hear music being affiliated with them, why is that?”

Some may say that’s because many other genres do not depict guns, violence and object to the law? Just a though ay.

Maybe everyone is just over reacting and youth crime and violent music has no real connection whatsoever. You can decide as Giggs continues: “Gangs and music are not connected, you might just have

a gang member who wants to do something positive with his life so he gets into music.”

“He sees it as a way out, there’s no difference to a gang member wanting to make music and a nongang member wanting to.”

We appreciate the fact the gangster Peckham rapper and his music have been an integral part of grime for years. But we can’t help but think his lyrics like ‘feds try and nick me for a murder, but it could’ve been the man that had the weapon before me’ attract a violent youth culture.

Though don’t get us wrong, not everyone who hangs around aimlessly on the streets ‘spitting bars’ must therefore be a criminal.

Though we definitely think music and crime are connected in some way or another.

But what is it about the powerful tool of music that either helps rehabilitate a young person, or indeed corrupts them?

“Music helps build confidence and self-esteem which leads onto stronger self-belief to empower

“Just because you’re from the ghetto doesn’t mean you can’t grow.” - Tupac Shakur young people. When you feel empowered and confident it gives you a focus to achieve whatever you want.” Kerry tells us.

We think part of the damn problem with crime and music being affiliated, is that certain young people do not have anywhere to turn to liberate themselves, so they release themselves into society. And not in a good way either.

Kerry knows the struggles that the youth culture face today: “When your home life is not loving, you search for it elsewhere and most of the time that’s in gangs or groups that do not have your best interest at heart. We think that having ‘friends’ will make us feel more loved, no matter what the consequence.”

That’s where LUAA comes in. They held a workshop in November 2012 where they used music to tackle street crime.

Kerry tells us more, “we used

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the art form of radio presenting to address the issues that young people face that lead into crime.

We used techniques such as, social awareness and personal issues that have an influence on the path to crime. It was an extremely effective day.”

So what is it about LUAA that atracts some of London’s most troubled youths?

Kerry fills us in on what makes the London academy so special: “We want to change the lives of young people and to make a difference to the way youth street culture is perceived.”

“Young people can easily be drawn into a range of activities that lead to negative personal, social and community issues, and we are there to provide positive opportunities.”

We think that’s a pretty good statement, and a damn good enough reason to turn your back on the streets.

People will always jump to the defence that crime, rap, hip-hop and youth culture have nothing in common, but the evidence is in the lyrics.

Tupac Shakur, one of the world’s most notorious word poets and gangster rappers, spoke about violence, hardship, crime, racism and social problems.

We believe beneath the bravado, many of his messages told a true story and plays on many issues we still unfortunately witness a decade later.

What choice will you make?

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nyone who’s been to carnival knows not to call it by its ‘official name’: The London Notting Hill Carnival.

Believe us when we say, you might be mistaken for an undercover police officer, or indeed a feeble first timer. This will probably not get you into any of the backstreet after-parties.

Taking part in the streets of London W11, carnival is the UK’s largest and longest living street party. Coming into its 49th year, LEGION wants to really find out just how much spirit is left in the capitals most treasured occasion.

One woman’s vision to bring racial peace to London had her branded as ‘the Mother of Notting Hill Carnival’. Claudia Jones, single-handedly crafted carnival as a way to put a halt to the vicious black vs. white riots in the 50s.

Never afraid to cause a stir and bring light to the controversial race debate, Claudia organised the first ‘carnival’ in 1950. It was a small, political and cultural evening held at a London town hall. The formal event (yes carnival was formal) announced that proceeds from the evening “are to assist the payment of fines of coloured and white youths involved in the Notting Hill events.”

Now try and imagine compressing carnival today, into a small town hall and it becomes clear the celebrations have come a long way since its humble beginnings. We don’t think static sound systems blasting the finest reggae anthems would have quite fitted in with the politically run event in the 50s.

Where else in the UK could a festival pride itself on being entirely free yet incredible successful at the same time?

Only London, a capital so diverse could withstand holding an event as controversial and bold as carnival.

Forget queues, tickets and a wristband, carnival is one big freedom-of-speech party, with no rules!

From the amazing array of Caribbean music and striking costumes to the social solidarity witnessed on the streets, carnival is a way for Afro-Caribbean communities

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Notting Hill Carnival

The Evolution Is music still the heart and soul of Carnival? to celebrate urban music in all its glory.

With musical roots dating bWack to 1964, carnival was the first event to showcase steel band musicians and celebrate ‘black music culture’ freely on the streets of London.

If carnival was a theme park, then the family-filled parade is the teacup ride near the entrance. The real magic though, happens on the backstreets, where the steel pan drums come with a baseline.

The traditional parade illustrates the finest Soca, Calypso, Reggae and R&B music every August bank holiday, and thousands of people crowd together to enjoy the purest sounds of the Caribbean.

Steve Thomas, a member of BASS, the official sound systems for carnival, shares a moment of the madness with us: “The shocking truth is that a 50 year old Jamaican woman, that potentially could be a long lost auntie, can wiggly past dressed in nothing but feathers at any moment. That’s the beauty of carnival.”

If you’ve never been to carnival, the horror stories will you have you believing that it is an innately violent event. Don’t

believe the hype that it is just a multitude of angry youths hooded up ready to bring postcode wars to the streets.

Of course there is trouble every year, and issues of the law are never too far from the surface of carnival. But it is easy to forget that someone was tragically beaten to the death at an after party at V Festival in 2012. The sad truth is that carnival just has a tendency to attract negative headlines. It’s sad really.

The famous Notting Hill race riots were a series of racially motivated attacks that took place over several nights in late August 1958. The summer saw an increase in violent attacks against black people.

There was a significant divide between white and black gang youths at the time.

Newly arrived Caribbean migrants had settled in the London area after World War II and it did not go unnoticed by white community.

The Metropolitan Police arrested over 140 people during the two-week disturbance, mostly white youths. A Met Police Commissioner stated that 72 of 108 people charged were white youths, with 36

©James McCall

being black.

Now that’s a pretty serious statistic to reflect on.

Carnival today presents a much more matured and established image.

Organisers from the 2012 event made establish links with a number of exciting events from across the world to create a global carnival network. The success of the London Olympics saw carnival highlighting the success of multicultural London and reinforcing the capitals reputation for holding world-class events.

Steve sheds lights on the gossip, filling London’s streets: “The rumours are unfounded. The 2010 nationwide riots and the 2012 Olympics were supposed to be death knolls to carnival but forget them because guess what we’re back for 2013 and bigger than ever.”

Steve tells us: “The spirit is strong within all of the arenas, though the real question is does the UK still have enough spirit for carnival?”

We sure as hell know were ready for 2013 carnival. Come on, where else can you pay a welcoming Trinidadian women

"Guess what We're back for

2013 and we are bigger than ever!"

£1 to use her toilet and be greeted with a pot of jerk chicken upon return?

That’s the beauty of carnival, the freedom that the community feels they can share with the rest of world, in that one moment. Steve chuckles: “I don’t do this job because I have to, carnival is in my blood, and it’s all I know, I have to.”

Cameras in hand, national flags proudly wrapped round your necks, and you’re ready to party to some of the hottest urban music to date. Though we asked ourselves how many people value the real meaning of carnival, and the history behind this incredible event?

Since its humble beginnings in 1964, carnival set out as a way for communities to embrace their traditional cultures, the streets of London represented a very wholesome image for many years.

Ricky Belgrave, the Chairman of BASS reminisces on his memories of carnival.

“Carnival has most definitely changed.

I have been attending since a child and saw the 1976 and 1980 riots that were the result of tensions between the community and Police all year round at the time.”

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LEGION FEATURES He tells us, “The tensions all year around manifested at carnival and it became the battle ground for trouble. Though relations between the community and Met Police are not 100% perfect they have improved considerably over the years.”

BASS organisers have seen their fair share of drama surrounding Notting Hill carnival for years since the company began in 1970. This unfortunately is not a shock to the community, as controversy often follows urban music and the people involved.

Sound systems have been present as an integral part of black British culture for years, and have been a part of carnival since the very beginning. Many of the UK’s most respected artists and pioneers of grime music displayed early signs of success at carnival. Such as Dizzie Rascal, Wiley and Skepta who brought a much needed modern twist to carnival.

Ricky tells LEGION more about how the organisation works, and how it has grown and developed since the 70s.

“BASS is the formal trade association that organises and represents the static sounds at the annual Notting Hill

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©James McCall

“CarniVal is in my blood ” Carnival. It has evolved to have an executive to deal with the growing event organiser responsibilities, complexities and planning challenges.”

BASS is the leading organisation for static sound systems and has provided the streets entertainment for years says Ricky: “The BASS executive and members all work really hard on an ongoing basis, to ensure the sound systems present themselves in the most professional and responsible manner they canin addition the presentation of the art form that brings joy to 100s of 1,000s of sound system followers during carnival.”

Genres like hip-hop, grime, funky and bashment have brought to light the change in atmosphere at carnival.

Charlie Sloth, Radio 1xtra’s resident hip-hop DJ tells us exclusively how he sums up carnival: “It’s one of the most vibrant, energetic and diverse events in the whole world”.

Ricky goes on to explain how in recent years carnival has seen a change in the type of ‘festival goer’ that attends.

“The West Indian Community has been here in the UK now for 50-60 years. What the community listens to has become far more diverse over the years.

Some of the community no longer attend and don’t like they way carnival is now but those persons have a valid view and a right to it.”

He tells us: “That does not mean traditional music is not played or respected; it’s quite the opposite in fact. The music played at carnival reflects the diversity of participants and what the community and UK carnival goers listen to.”

2013 is expecting a larger than life return from the street party. There has been a huge focus on crowd safety and the

involvement from London’s youth scene, to create a modern and fresh image.

Ricky fills us in on their new plans: “I rose at a board meeting discussion to offer junior competitions to the local kids whereby young people can get involved in the performing aspect of carnival. Instead of being held on the streets of London we could hold them at local facilities like parks, community centres and halls.”

Finally, the youth of London can contribute towards carnival and represent their area in a positive light, and what better platform than carnival to perform?

So many people think carnival is nothing more than a glorified village fete, whereby troublesome kids value their possessions more than their safety.

But we know better than that. While those people do turn up en masse, there is so much more to carnival than the clichés and the headlines, it will always be about the music.

Ricky tells us what brings him ‘home’ to carnival every year: “Carnival’s magic, vibe and spirit you cannot get anywhere else in the UK, which is why I always say you ‘feel’ carnival.”

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