Slovo 25 (english language)

HIP-HOP Billy Danze & We Build Hits

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Kaip

Save Culture Clothing

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Represent 8

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Dee the Conscious One

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UnderCover Crew Price of Rhythm Alpachinski Punchi 034 037

Zombo Noir

THE UNIVERSAL ZULU NATION 041 046 051 054

Editor: Nelson Proofreader: Shooher Show Translators: Lab_Rat Мікаель Саліх Nomadum Mantis Марианна Чиф Саша Yashman The cover by Jane 26 http://jane-26.blogspot.com

Zulu King Dj BigW Zulu King Slone Minister Server Tavares

First Lesson about Hip-Hop

Website: HTTP://SLOVOMAG.COM Facebook Page: https://www.facebook.com/slovomagazine E-mail: slovohiphop@gmail.com

Legendary MC Billy Danze presented new hip-hop association We Build Hits. This crew released mixtape ÂŤWe Got It AllÂť. It was hosted by DJ Spot. This mixtape represent MCs, every with own style. It is a wonderful mix of classic and contemporary hip-hop.

Billy Danze told to our magazine about music of We Build Hits.

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There are a lot MC united in We Build Hits. Tell us about the members of We Build Hits. How did you start working together?

Every artist involved with the We Build Hits brand was once a part of Raps United Nation, (RUN) projects features artist from around the world. With hundreds of artist to select from I feel with picked the right artist to represent We Build Hits, These artist cover every sound of hiphop today.

Every MC has own style, and when the group include two or three members, they can to combine their styles in a single direction easy. But in the big team it's more difficult. What is the unifying factor in the We Build Hits?

Today's music industry is filled with up and coming artist by the thousands each artist pulling for themselves and competing with each other makes it impossible to get a break, We Build Hits is more about uniting the artists with different sounds to create one movement, one team, one win. The mixture of Ronve's mainstream, Eyeznpowa's traditional hiphop and Lucci Loner's new age club sound gives We Build Hits the opportunity to allow each artist to reach different markets by collaborating we member of the same team to gain a bigger audience.

You are internationally renowned veteran of hiphop.

But among the members of We Build Hits there are young MCs. How different approach to hiphop in the different generations? And what combine their

approaches?

The difference in the We Build Hits artists is the sound, I personally selected each artist for their strong points and style of music, collectively We Build Hits. Artist can play on any radio show, any video show as well as any club.

The company motto is "We Got It All".

Is new generation creates a new style of hiphop? Or is it all depends from the preferences of every individual MC? I listen to every artist and each have enough talent to and creativity as individual artists and as a team that will help the music industry go further. Their preference as artists individually is what made me pull them together as a team.

You represent We Build Hits as a union, which is able to replace the label. Tell us about the problems faced by the labels and MCs, who signed to them?

Most independent labels are created and operated by artist. The artist sometimes search for other artists to sign that have the same sound and style of music. The problem there is if the leading artists sound becomes no longer popular then the whole label fails. The We Build Hits coalition is ran by all of us and steered by me and my partners so every artist controls their own music and push as hard as me and my partners to reach their audience for a bigger profit then any record label will award any artist.

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What is the advantage We Build Hits? As such association can to promote their members?

The We Build Hits advantage is the different sounds draw different fan bases, when D-Dub aka D-007 (New York) does a collaboration with Reign Major (California) its cross promotion for both of them an audience that they wouldn't normally promote too.

M.O.P. influenced on many MCs worldwide. How does this impact on members of We Build Hits?

The fact that M.O.P is such a well respected group that is loved by many people including the We Build Hits artists, shows our team of MCs that dreams can come true.

And how collaboration with you changed every of We Build Hits MCs? Honestly the We Build Hits members have the talent to stand on their own, collaborating with me to help them reach Russia and other counties faster. I look at every artist as my equal, like any up and coming artist they only need help reaching the markets and getting their music to the people.

Your mixtape «We Got It All Vol.1» was mixed by DJ Spot. Tell us about the collaboration with him.

Two years ago Dj Spot created a video Promo "For Raps United Nation". He has the same passion as myself and believes in helping the new artist. Because he's dope and serious about his craft we thought to have him as part of

the We Build Hits Team would be a good asset.

Do you follow the international hiphop outside the USA? What countries hiphop are interesting for you?

I'm interested in hiphop from every country, I travel the world and notice the talent of people in all countries. This is why we created Raps United Nation. To help as many artist as possible.

Are you plan to cooperate with MCs, DJs and producers from other countries?

We want to work with Djs, MCs, and Producer everywhere. And it's something that we are already doing.

Who worked on the music for «We Got It All Vol.1»?

A variety of New Fresh producer supplied the music for the mixtape, most importantly every song was crafted by the artist, displaying the many levels of skill here at We Build Hits.

In the your mixtape sounds base of classical hiphop.

But at the same time I heard that the mixtape was recorded in our time. How do you see the perfect blend of the classical and contemporary sound of hiphop?

The perfect blend of classical hiphop and contemporary hiphop can be described with one word "WeBuildHits" the title of the mixtapes tell the story "We Got It all".

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Many MCs tell that technique of mcing and pressure of the music are the main in rap. Other MCs believe that the main is message of the lyrics. What is the main conflict of these points of view? And how do you solve this dilemma?

The thing about music is this, the beat will guide you, if the beat is slow and emotional then that's the type of song you will produce, if an artist choose to write a song without a beat then he will do what comes to him at that moment then find a beat to match. As artist we just create or aim but we are always influenced by something.

The hiphop mixtapes in the USA have particularly important and impressive history. Many MCs become popular thanks to their mixtapes, and most of the MCs begun from mixtapes. Tell us about the specifics of the American hiphop, and the characteristics of mixtapes and albums in the industry of American rap.

In America there are some many artist and not enough record deals. The best way to push your music to potential fans is by creating mixtapes. It's a very popular marketing tool and helps the audience know the artist, watch the progression and give the music free to determine if they like that artist before fully committing to spend money for the album.

Your mixtape was released recently. What further plans We Build Hits have? What releases, videos and concert tours you plan?

The mixtape is doing well, at this point the artist are creating music every day, we do have videos done and shooting more as well as working on the next mixtape. We will release mixtapes and continue to build a buzz before we release any albums.

Thanks to DJ Spot for organizing interview

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Kaip is the man of hip-hop. So it all that can describe everything that have done and still doing this MC, DJ and beatmaker. For many years he has been a part of the hip-hop culture. He was a bboy, and later actively engaged in music.

Kaip recently released EP "Vector", which is really imbued with the spirit of the old school. And last but not least important - it puts a high level of quality. This release is good musically and lyrically.

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You came to hip hop through break dancing, but later engaged mcing and DJing. How bboy's experience help to musical creativity?

Everything was a little bit wrong. From the fifth class I began to get involved in rap music, and then the whole hip-hop culture. I have been interested in all its aspects: on the lessons I drew sketches in notebooks, with friends reread texts and made beats on decks. But bboying allowed me in early age to express themselves so that it is taken seriously.

Tell us about Petrozavodsk hip hop of the 2000s, in which life you had also participated.

In the hip-hop of Petrozavodsk, unfortunately, I spent very little time, for about two years. Since I myself lived in the suburbs and began to pour into the city bustle in the high school. But I remember the basketball court well, where I can always meet representatives of Flave and their friends. They often discussed the works of each other, shared their experiences. I appreciate these guys is because they really showed interest to everyone, without regard to his status. Now, this is rare.

From this era only a few people from them are stayed in the hip-hop. At least in the role of professional artists. A "philosophical" question such this - how and why dreams and reality for many people were difference? What they did not have enough?

I am sure that most of them, somewhere in heart stayed artists. Give any of them mic, beat and a scene, and they will rock you. Simply, there are circumstances due to which they had to go the other way. I had period in life, when I suspended work in this direction, as it was necessary to take care of own future. We live in the country where few can earn money by music. There are a number of reasons for this. They can be valid, and not so. In any case they are morally with us.

Your rap in the period of Family of Epatage association and contemporary work – what do they have in common and what is different? It is understood that times have changed, he changed the rap, and you probably began to perceive differently some things. How all this is reflected in the works?

As for the musical part, I'm the common denominator. I hope that different is informative of text. All this time, I realized one simple truth - you need to be honest with yourself. Much has been done Family of Epatage, it was due to certain formats. It

was not fancy, but we had hope that this will raise us up to a new level. The miracle did not happen. Now I stick to the principle - to do for themselves. The more honest you are – the more closer you are to your audience.

Often they talk about the spirit of the old school.

But unfortunately, in many cases it is reduced to a vague lyrics about "willpower" and "hip-hop in the blood" with the same stylistically amorphous instrumentals. Why, in your opinion, in the old school, many people are looking for exactly this pathos, not naturalism and realism of street culture?

I think this question you must ask the authors of such tracks. Each of them comes up with his own world.

Someone believes in it, someone do not.

Your EP "Vector" - the opposite of the above.

Substantial and vital texts, without any abstract philosophizing. Good beats, sometimes with a bias in the "Petersburg style" complete the picture of a good EP. Tell us about the work on this EP and how the sound and themes of "Vector" were formed?

At this point, without qualms, I can say that this is my best work. The theme is taken from personal experience, but it is close to many people. Vector is the direction to the target. Each track is a certain stage in the life of each person. I just described the situation, who guided me in the right direction.

Sound is the protest to today's mainstream.

Something comes and goes, but something will be eternal. This is the same music that I always loved all the time I spent in this culture.

Music for it you wrote yourself? I understand that you are experimenting with different genres of rap music now, because after EP the track "Be yourself" was released. So it is the West Coast, GFunk track. Tell us about these researches and experiments.

On the track "Thaw" the musicians, which absolutely don't associated with hip-hop, help me.

One of them was a violinist at the Mariinsky Theatre.

We are preparing a couple of projects with him.

Everything else was diggined from my collection of vinyl. The track "Be Yourself" I nurtured for a long time, even before writing EP. So it was planned to do it in a warm sunny atmosphere. What can convey it except of G-Funk? I do not hold the same size and do not set limits. The beauty of hip-hop in its immensity.

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What role DJing played in development of your style? It certainly has enriched your music collection and impact on their own creative ideas?

At the first time, didn't. It was just a job. But when in my arsenal have appeared turntables, I began to study scratching diligently. The truth has not yet reached the heights. On my own tracks I beg to scratching other DJs. My job in this role arrange show, but not limited stylistic directions. I eat ideas from other sources.

And still on the subject of sound - a lot of talk about the St. Petersburg shade rap. But St. Petersburg rap is very different. And a lot of artists, you do not know about their geography, do not think that they are from St. Petersburg.

What is so special for you, "the St. Petersburg rap"? And do you can sum up your sound under this definition?

Russian rap is very difficult to bind to any geographical location. Feature of St. Petersburg rap, probably, in that it sets the tone. I do not mean that we

are the first, but a lot of the classics were created within it. From the sound my idols are: Dj Premier, Pete Rock, Jake One. Naturally, in this case, I create something of their own, but the Peter classics is not relevant.

The video for the track "I'm your fear of" conveys the idea very atmospheric track. And I must say that among the thousands of identical rap video he released and this atmosphere, and concise expression of ideas. Tell me about it. Who is the author of the idea of the video? Who worked on it?

I was surrounded by a large number of creative and talented people. The authors have been many of them, but to realize it my girl help me. She is also a screenwriter and director of photography of this work. Installation did myself. Many people ask why I did not clip on the most powerful track release. The answer is simple - I have not seen a similar material, and this had the opportunity to stand out than that.

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Tell me about the club ÂŤ1703Âť, one of the founders of which you are. In general, to create your own club in a big city like St. Petersburg, it seems something almost impossible. Is it so hard? And how do you manage to survive in the tough competition of St. Petersburg?

1703 is more a cozy bar than club. If you can do something good, then nothing is impossible. We good at creating its atmosphere, unparalleled, and therefore we do not have competitors. You just need to be confident in its success, and everything goes according to your scenario.

In your club passes Battle Versus. This, of course, bring you a lot of new visitors? Tell us about cooperation with the organizers of this rap battle.

Is battle rap interesting for you? And in what format you would like to see him? This hard with numerous diss, as it happens on Versus? Or do you prefer a more peaceful battles with the specifics?

With these guys have more friendship than

cooperation. From the beginning we took this unselfishly, and did not think that it "came shooting out."

If we go back to our roots, we can recall where there was an interest in our culture. It was from break dance battles. No one is interested in watching a halfhour setting broken dance. There must be present the spirit of domination. So it is with rap battles. Instead of listen of hours talking in mic I'd rather choose a verbal battle. But I don't like when some persons are moving to a personal relationship, it begins to resemble. As for the rest it's everything cool. The term does not fit the definition of peace.

And of course, at the end, I want ask about any plans for the full-length album. There are such plans? Or maybe you already is working on it?

I don't see sense to release an LP album, so I will most likely throw singles. Nowadays, with a lot of information, you need to constantly remind yourself, and for the LP release should be at least six months.

http://vk.com/kaipofficial https://soundcloud.com/kaipofficial http://promodj.com/kaipofficial 010

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Good hip-hop festival is not only interesting MC performances, bboys battles and graffiti bombs. There is another very important ingredient. It is the atmosphere. Without an atmosphere that brings people together and makes a set of elements of hip-hop a single culture, the festival is at its best is just a good entertainment.

Of all the festivals which I visited, it was the «Represent» that was distinguished by the unique atmosphere of the hip-hop culture. Why have the organizers of the festival always been able to create it?

I think the answer is simple. They are the people who take hip-hop seriously and they see it as a culture, not as a set of music, dance and graphic forms of recreation. «Represent», as well as possible, demonstrates the importance of that relationship to hip-hop. Most of those who reckon themselves among the part of hip-hop forget that a quality of organization is not all that is necessary for the good festival. It can be carried out perfectly, but to be "soulless" commercial "show". If a person has not been “boiled” in hip-hop for years, and most importantly – has not absorbed all the emotions and philosophy of this culture, he will not waste time, efforts and money to create a project aimed at hip-hop as a culture.

This year «Represent» was held for the eighth time.

And I can say that the composition of the participants and the audience were so, that a one wants to see at hiphop festivals. But there is an important problem: the amount of the public was not that, as required for the hip-hop fest. Especially for the festival, which takes place once a year and for its eight-year history made history of Ukrainian hip-hop! In spite of very small cost of the ticket, people still responded inertly to the event. You can certainly admit the sad fact that the majority of people would prefer to spend their cash on beer and they do not have it for the ticket, and that people say about the absence of good concerts, but do not go for those that they have, killing the enthusiasm of the organizers. But there is no sense in this talking.

Those who understand it all, come to the fests, write albums and do many other interesting hip-hop projects.

«Represent» was among them and remains among them, regardless of whether it will take place in future years or not.

We offer you a small photo report from the cozy festival «Represent 8" which left wonderful memories.

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Photos by Spotko https://vk.com/spotko

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Dee the Conscious One is the well-known man in hip-hop of Ukraine. He is cool MC, member of Mad Cypha, and one of the first representatives of Zulu Nation in the territory of Ukraine, and an organizer of various concerts and festivals. He is organizer of festival ÂŤRepresentÂť, which recently took place for the eighth time and entered in the history of Ukrainian hip-hop. About this festival we talked with Dee the Conscious One.

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You have many years engaged in the organization of hip-hop parties and festivals. What has changed during this time? What changed in the capabilities of the organization and in the relation of the public?

Peace. I want to say a lot, but it does take half a day to write. During this time everything is changed: opportunities, the public's attitude, the attitude of the participants, as well as hip-hop itself. And I'm not saying that this bad changes. Simply, it's different. Now everyone can something organize. We need only place and sound. Often happens situation, when enthusiasts gain access to the spot with the sound and immediately begins the process of organization.

Some of them call their event "large", some canceled, did not take place. «Represent» took place to be this year.

Point. We made an attempt to resume the festival in such a difficult time for everyone, and it is an experience with which we move forward.

All of your projects were aimed at combining elements of hip-hop. How it manages to do in reality?

And what are the results in the long term it has given in the cities where you are festivals?

There was a time when I was more interested in rap just l i k e m u s i c . A c c o r d i n g l y, t h e f e s t i v a l c a l l e d «Underground» was aimed at its development. In those days, I brought in Ivano-Frankivsk nearly all notable performers of Ukrainian underground scene, pulled up the young, no contests, line-up reached an absurd number - 30 participants. Then they just ended :). Around the same time I began to pay more attention to rap music as an element of hip-hop culture. And when it became possible to organize a festival again - no doubt that it is necessary to focus on combining elements of hip-hop. This laborintensive process, especially in Ukraine, where people

who understand what I mean, do not go to festivals in the majority, they have different priorities and concerns. I would like to believe that all of the events, organized by me personally or with my help, united people living hiphop into one, even for a short time. I think I can't judge whether this received. As for the prospects, organizing of this events is one of the real ways of development and formation of the infrastructure of hip-hop in Ukraine (I do not specially say "in Ukrainian hip-hop", as this concept is very abstract, warped and strange even those who say they are engage it).

«Represent» is important project for the Ukrainian hip-hop. It is the only one project where hip-hop has always been presented as a culture with its own philosophy and principles. More often fests are only do shows and entertain the public. Tell us about the vision of the history of «Represent» in retrospect.

It just happens because I've always wanted to do something more than just the ability to create opportunity for friends to hang out together. I wanted to give the opportunity for young people to show themselves, even sometimes for the first time to go on stage and feel the mic in his hand. At the same time balancing on the brink of relevance to viewers and listeners by changing focus and direction of each theme of the festival, its content. In short, I make the necessary and thankless job, keeping the event interesting. «Represent» for its 5 years of existence, has developed rapidly, worked his way from the parties of interests to the International Festival, and this, of course, not only the merit of organizers and performers as well and everyone who has ever been here. Because we offer not a concert, not a show, no contests, namely the atmosphere. In this people feel themselves very hungry.

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After the festival in this year, you said that he was the last in this format. What is pushing you to change the format? And how do you see the new format?

Practice shows that if you cannot grow in a particular direction, it's time to start something new. The process of organizing this year made it clear that in the short term we are not above the previous jump, so why do something just for the sake of doing? I am confident that for a good atmosphere does not need extras, only high-quality audience. As an organizer, I do not want to do concerts, filling the hall obscure men. I want everyone who came to hang out, knew why he was here. With such a background, you can develop event.

Will this «Represent» or some new project?

Most likely, «Represent» should be left in Kalush and move on. In this regard, I look forward to helping from the brothers and sisters of the Zulu Nation in Ukraine as well as Belarus and Russia. We have a responsibility of the future of hip-hop as a culture in our countries. Ideally I want organize Zulu jams and parties which aim is the uniting the elements of hip-hop culture.

Within the framework of «Represent» many crews advocated and began their journey for today are the backbone of Ukrainian hip-hop. The part that can present Ukranian hip-hop at the international level.

How do you see the role of festival in changes of hiphop in recent years?

Extremely positive. Just not in the extent which all of us

would like. Sure, it's cool that in Ukraine there is a qualitative hip-hop, which is began to recognize on the other side of the border, and I'm talking not only about the Slavic countries. And, of course, I am pleased that some of these representatives is closely linked with «Represent». Even more pleased that we were able to give people the opportunity to talk with representatives of other countries, to see the attitude of the culture of other nations. This is an invaluable experience. To this must be sent every festival, regardless of scale. The goal is one the development!

What, in your opinion, it is due to the fact that the public does not go to local concerts and festivals? This lack of interest in not famous names? Or the impact of the Internet, which control all communication? Or something else?

There are a few "recipes" a successful event. We will not focus on that, all of them well-known, but if there is a festival or concert organization without one of the components it is a failure! Or, more simply, party for friends and friends of friends. Most of the local's event are organized like it. In fairness, it should be said that I had such. And not only in the beginning. Nowadays, people are interested in the main entertainment and stay in trend, so all the new areas especially do not feel hunger.

But hip-hop has long been out of fashion. There approach is needed. Moreover, desirable this approach must be to complex...

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An integral part of the past years of "Represent" were seminars organized by representatives of the Zulu Nation from Ukraine. In what format you see them without ÂŤRepresentÂť?

The topic of our activity as members of Zulu Nation, recently was a bit lost, but today it is a top priority for me personally. Before we consciously tied workshop (lecture, lesson, whatever you like) to a particular event, so it was easier to gather people, but there is a huge disadvantage, which is disinterested public, which expected to start party. This should be ruled out. More is not better. In the same way, we did a lecture on the invitation, mostly from organizers of some festivals. It is unlikely that in this case we would change anything, because any interest in Zulu should be used and justified. But not a single workshop, as they say, so definitely we will expand the field of activity and the number of active members of the organization. All who are interested in information of seminars, events and membership freely contact deekickit@gmail.com.

And a general question – including everything what is happening in the Ukrainian hip-hop, what prospects do you see? Conversely, what problems have not been resolved, and what does not overcome the negative trends?

How sad it is not stated, but country in the war for today. This largely affects the development of culture, the presence of many artists in the country, or rather the lack thereof, in the desire to do something. But if there are people who understand that hip-hop above it, eager to chat with cultural figures in their and other countries, independently of their political views, wishing to promote hip-hop in general and themselves in it - we have to look for them get together and do a good deed. Its look like a plot of X-Men movie :). But the way it is. This is the main perspective and solution to all problems.

Peace & Blessings, Dee the Conscious One (Mad Cypha, U-Born Zulus Ukraine)

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245th is MC from duo UnderCover Crew in this year entered the top of three finalists of band camp on the festival "Represent". His dense reading and clear message in text immediately evokes associations with classic old school hip-hop, which 245th is fan. We talked with him about culture, festival and hip-hop in the east of Ukraine.

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What is the history UnderCover Crew?

245: UnderCover Crew exists about three years.

Before that we have evolved separately. I noticed Ral (Sergei) on one of the party. He impressed me, he have stale and mad energy. It aroused idea to do some tracks together. I see in him my brother. We communicated not only about hip-hop and all that is associated with it.

He is a good friend. At this moment we have little teamwork. We are located on different sides of the country and do something together very difficult. We promote over crew separately, but it's only for now. We waiting for best time when we can see without problems and engage in creative work together.

You doing rap in classic style with focus on dense reading and the message in the text. Tell us how you define your style, who is an example for you, and how you relate to different fashionable now "games" with the voice and imaginative rapping?

I met hip-hop a long time ago. When I was eight years old, I moved to the 245 quarter city Gorlovka. There is a guy – John. He wore t-shirt Dennis Rodman and he carried with him boombox from which naturally played rap. I was interested and want to know what is that music. First cassette, that came into my hand, its more than once re-recorded copy of the album Run D.M.C. "Down With the King". Latter I heard Bad Balance. There are mine source of inspiration. Mikhei is my favorite Russian language MC. Even now I don't see anyone, who could surprise me anymore, than he did. Mostly I listened Western rap. From this the love for classic sound. Now, of course level of skill MC more higher in terms of style, but earlier there are more sense in this music. I don't belong to newfangled stream. Well done, trying, but do not cling to the soul.

Of course there are cool guys, but they are less than I would like. MC must understand, that people listen him and take example from him. So I can say that he is responsible for most acts of these guys, which someone said from the speakers, that it's cool to smoke, drink, stagger on the entrances and doing something like it. Life is better than it seems, and each person is unique. I try to bear similar promise in my work.

You performed at the festival "Represent" twice.

Tell us about your impressions from performances and the festival.

For the first time I visited "Represent" in 2013. I was in the group Not Found. I like this fest with its atmosphere. There's a great pleasure to performed.

There are recoil, own energy. In general, its all right.

The first time it was easier to perform. Boys are working strongly as team, adore them. In this time I

like recoil of listeners. Happened that I was not circulated them, they rock me. But it was difficult to draw everything by myself, but in the final I was blown away at all. However, I got a lot of emotions. From the atmosphere, of the performing guys. Particularly impressed by the Alpachino, salute him. The strongest festival definitely better, which had to happen. I am grateful to organizers for the opportunity to were there. I hope there isn't end and "Represent" will pump us ofttimes.

How "Represent" changed during this time among your performances?

For me, It did not change. Only that this time level of the participants been higher. Last time I enjoyed a smaller number of guys. That almost all were worthy.

People were less, but for me it was not too important factor.

You have a tattoo with Zulu Face, and line in the track about it. Tell us about how you learned about the Zulu Nation, and about your vision of the organization in our region.

I learned about UZN from a documentary about hiphop culture. Unfortunately I cannot say much about their activities in our region. Where I grew up, the people don't know about the organization. For me it is the beginning of all, respect and decision to make this tattoo.

You sing in your track, that people see this symbol as a "smile". Do this lack of knowledge of hip-hop culture, in your opinion, a serious obstacle to the development of the Zulu Nation in Ukraine and in general in the post-soviet region?

The words in my track do not belong to the people what don't understand hip-hop as a culture. This promise to the children who are engaged in hip-hop, but do not know about its roots. Practice shows that the most part of the "unenlightened" is among rappers.

Bboys know this topic perfectly and give respect always, seeing my tattoo. Naturally this obstacle.

Now, in my opinion, notion of hip-hop is very skewed.

The guy saying in his text "my hip-hop, my hip-hop", and what is "his hip-hop", I have no idea. Hip-hop is the same for all, the main thing is to correctly understand its essence. We can rarely find development and originality in the works of modern "representatives" of the culture. This is my opinion. In the bboys community all remained as before. They're hang out together, still battle and jam. Level is growing. This is evidenced by holding of a world-class battles. My dream is to go to such an event.

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Tell us about educational initiatives in the field of hiphop in your hometown and the surrounding part of Ukraine? Are there any seminars, workshops and similar events?

In my hometown is now unlikely to develop hip-hop.

There's hot now. I was not there for about a year. As far as I know the majority of young people have left the town. In Mariupol hip-hop movement also stopped. I can say about breakdancing festival "Desire." It was carried out just the same day as a "Represent". And I don't visit it. This festival was done for the children. I know that there is breakdancing center in Kharkov. There often gather the guys on breakdancing battles or watching movies about hip-hop. There is development.

How did you rate the overall level of hip-hop and rap in particular in the east of Ukraine?

Now in the east this is difficult. But guys spend battles, rap festivals. But in my opinion its not that we need. Rappers in the east now is talk a lot about politics and war. I think it's too much. How you can come to the light, talking about darkness? It is not clear in general. There is certainly worthy guys, but theirare units. I can name Old School Ninja - interesting character, Not Found, Max Skit - nice guy, he makes quality rap. In terms of breaking Vlad Kumurdzhi salute. He organizes jams in Donetsk. Guy with ideas. In Mariupol I know guys The root from the Nine, they have their own studio. They helped me to prepare the instrumentals to "Represent". I grateful to them. In principle its all that I can say about hip-hop in the east today.

A lot of teams there are inscribed in the history of Russian-speaking rap. But if look in terms of hip-hop culture, how, in your opinion, they reflect its principles?

Bad Balance have done a lot of things. I am from Gorlovka and naturally I cannot mention South Central. I grew up on their music. They made excellent festivals in our city.

Gorlovka performed "Rap Pack" - all-Ukrainian festival of rap music. They brought Killed Rap, Voice of Donbas to our city. They collaborated with local bboys Jump Squad.

Back in the 90's they shooted program on local television, like as the Kharkov "Rap cage." They won first place at the then-scale "Rap Music" in Moscow. I do not know what about Ukraine, but they made a lot for Gorlovka. South Central are my heroes.

And as it is now evolving rap scene in those regions in the east of the country where there is no war?

I know that recently took place in Kramatorsk rap festival.

In Donetsk planned party "Flavors Funk". In Mariupol were parties. Not much happened, so really nothing to say.

Again, a lot of guys talk about politics, I'm not interested to hear it. There is a quality, no originality. I will watch what is done in Kiev and Lviv, there is a decent level.

What are your plans for the near future? Do you make some releases?

With the arrival of Mariupol I finally started working on the album. He will be solo, but under the name UnderCover Crew. I think thst album will be released in autumn. Plans for the future - I want to live!

https://vk.com/undercovercrew https://vk.com/id17954875 https://vk.com/ralmadafaka 024

Price of Rhythm have been pleasing the Ukrainian listeners, and not only, with a qualitative boom bap not for the first year. Among many performances, the particularly important for the group are their concerts at the festival "Represent". This year, Price of Rhythm showed the ideal performance, which brought them victory in Band Camp.

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The group Price of Rhythm has existed for several years. Tell us about changes in your style of that time, the most important releases and performances.

Dovgy Pes: The style of performance was strictly maintained in the framework which exist now: a classic sound of golden age of hip-hop era! The situation with the releases is difficult, but the most important thing is in the future! Each next performance is most important.

Johnny Divny: Salute! Yes, in fact, the group has been existed since 2011. During this time we released the EP entitled "StarYO!", plus a number of solo and collaborative releases.

Concerning the changes in the style, there are no.

Everything is as it was, and remains in the classics of the genre. For us, Price of Rhythm is a boom bap, and, whatever one may do, we are keeping the brand in this direction. If we talk about solo projects, each of us looks at music from different angles, it results in a lot of experimentation and trends of musical creativity.

However, for us the priority is a teamwork. Personally for me, Price of Rhythm in my life, in my mind is number one. All my movement through life turns around it, let's call it "project" and in the future I am going to push this shit to the masses. It's time to declare to everybody that there is a true Ukrainian hip-hop, such as it should be.

Rounding gradually to the issue of performances, I should note that our group, as such, was founded during one of those events. It was «Represent # 3", if I

am not mistaken. Then we played as two separate teams, and since we have worked in a similar direction of rap music and had very good relations with each other, we decided to create the association. Over time, new people were coming to the group, and others were weeding out through "natural selection". As a result, we have a Price of Rhythm, which can be seen now, that is composed of four persons: Dovgy Pes, Tru MySelf, Zhovty, and of course of me – Dzhonnі Divny.

This is one of the reasons why the performances at «Represent» have always been very important for us.

Plus, one should not forget that among other things, this festival has always been largely a grand event for the Ukrainian hip-hop. That is to say, in response specifically to your question, for me one of the most important performances in my life was a series of performances at «Represent» festivals. Another very memorable performance was at the "Devil's Dozen" in Ivano-Frankivsk. It was one of the first performances with the name "Price of Rhythm". Then we really rocked pretty cool and won the competition. As well I remember the performance in the city of Ternopil, but it is memorable wuth the performance, but with the events that occurred there (it is now ridiculous to remember). Jump off from the stage into the hall to create a brawl with an idiot who poked "fuck" during the performance - it is the most unpredictable turning point that anyone could expect. The local newspaper wrote about this event. But it was very jolly, now it seems funny.

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The list of such performances can be continued, since each of them is special and there is something to remember. We performed in many cities of Western Ukraine, so I must admit that I do not remember all of them.

Actually, for us every performance is important in its own way. I try to take full responsibility for the business, because if we are invited to perform, we need to rock so to make everyone happy. Whatever one may do but the performance is primarily a show.

Speaking of performances, I just note that you have everything smooth and perfect that you can rarely see on our rap concerts. How do you assess the level of your performances?

Dovgy Pes: We enjoy the moment when we hold mics in our hands! I think it shows our level.

Johnny Divny: Perfection has no limits. You should always develop the skills. Rehearse and work, work, work. I would assess our level as "good".

But during the performances it does not always go smoothly. Much depends on the equipment. But this is my personal opinion. But, of course, skills are above all if there are barriers in the performances, firstly you need to seek for the problem not in the equipment, but in your personal defects.

You recently released the single "Vgoru" in a boom bap sound. Tell us about it.

Johnny Divny: The track turned out to be a good one, but not special. "Vgoru" is not that track that can be called a hit. Personally I think that our "card" track is «MVP» on the beats by KyLYa, and scratch by the «DJ

is paranoia" (guys, greetings, yo!).

Dovgy Pes: The track is representation of each MC and his position in life, is made for live shows! There is my opinion about rap and everything that is happening around the hip-hop culture! Salute to KyLYa! KyLYa made a beat for this track. He is well-known in Ukraine, and outside the country too, as a beatmaker with a recognizable handwriting. He makes a significant contribution to the development of boom bap in Ukraine. How did you personally come to this direction in hip-hop?

Johnny Divny: I do not know how exactly to answer this question. Well, I got into hip-hop probably 10-11 years ago. For me always hip hop and rap music had holistic, cultural values. I perceived as a whole all the elements of hip-hop, since at that time he was still so. If you watched any rap video on TV, you saw bboys and graffiti in the background. And though I began listening more mainstream artists in rap, my fascination with this hip-hop brought to that stream in which I started working as far as I got acquainted information and music of the real hip-hop. Now the times are changing, the world is not standing on one point. The range of creativity in terms of hip-hop has expanded, so I'm loyal to new artists and new directions, despite the fact that earlier I was totally against any such "transformation" of rap. But now it's 2015, guys.

Dovgy Pes: Each participant came to this himself, getting interested in the roots of his own business and lifestyle. And the Price of Rhythm has already started from this point! We are just like-minded persons.

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In fact, in Ukraine is reviving that hip-hop, from which in many countries everything began. And the Ukrainian scene goes away (at least in the face of some of its representatives) from the amorphous post-Soviet traditions of rap, where everybody weas rapping something, but few people thought about the style of sound. How do you see the development of hip-hop stylistic in Ukraine in recent years?

Johnny Divny: Until recently, the majority of hiphop in Ukraine had the classic sound. All attempts of innovations from those who would like to experiment were suppressed by criticism. Therefore, for a long time hip-hop in Ukraine did not develop and did not gain such an importance in the masses, as the concept of Ukrainian rap music. Now everything is changing a little bit. People are starting to look and learn about the large number of Ukrainian artists.

And those who once feared because of the critics to begin to do something new now pick up speeds in their works. I treat it positively and with respect. We can say that now the Ukrainian rap is divided into two branches (old and new sound), but nevertheless, everyone knows each other, they communicate and a discord in styles does not really create a barriers. On the contrary, the audience of listeners is getting larger.

But whatever one may do, there is still a lack of the real unity in Ukrainian hip-hop.

Dovgy Pes: In my country, in my region, people listen to the rap that is cool, so I'm happy! I look forward to the development and exit to the masses!

We have something to show, and you have something to listen!

You have repeatedly performed at the festival "Represent". So, this year you won the Band Camp. Did you expect that you would win?

Johnny Divny: We did not expect, but we were going to win.

Dovgy Pes: I agree – we went for a victory!

Were the performers in the band Camp, who appeared to you as favorites? And perhaps were there those who became an interesting discovery for you?

Johnny Divny: Personally, my favorite was Alpachіnskі Punchі. Discovery is Standard. If I am not mistaken, they were the first in a row, and the performance was very strong.

Dovgy Pes: I thought Alpachіnskі would take the prize, but alas :)!

Any discovety? No... I knew everyone.

"Represent" is a very important festival for the history of hip-hop culture in Ukraine. In particular, in the western part of the country around the festival over the years the most interesting MCs and rap groups were focused.

What do you remember most during the existence of this festival?

Johnny Divny: "Represent 5". I call this the Ukrainian hip-hop Kazantip:). Two days festival.

The stage for all performances and activities (rap, breaking, Battle of graffiti sketches, sale of clothes) in the same place, accommodation in another (something similar to the hostel). That was something crazy!

Dovgy Pes: I remember a very important moment for our gang: it all started here!

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Organizers of "Represent" talk about a possible change in the format of the festival. What would you like to see it in the future?

Johnny Divny: More grandiose. I would like to see an open air stage, recognizable headliner, more advertising (up to TV), a few days extent and the opportunity to stay somewhere nearby.

Dovgy Pes: I would like to just continue! Everything will be hip-hop! I am personally for hip-hop motion!

As far as I understand the won prize will be contribution to new releases? What do you plan to release in the nearest future?

Johnny Divny: Yes, I personally most of the profits invest in creativity. In plans there is to release two more separate tracks the work on which is almost finished and done:) and to create some calmness before the storm. You can also expect a clip at the end

of the summer.

Dovgy Pes: With this war and our prices the earning process sucks! Everything is pissed away.

The above mentioned single "Vgoru" prepares listeners for full-length album? When do you plan to release it?

Johnny Divny: Yes, by the end of 2015 the release of the album is planned will be out of the album, but the above-mentioned track, probably, won't be included.

Dovgy Pes: I agree. Making an album and going in the battle!

Johnny Divny: Thank you, peace to everyone! All the best:).

Dovgy Pes: Thank you for your attention to us!

Good luck to your project!

https://vk.com/price_of_rhythm https://soundcloud.com/price-of-da-rhythm http://price-of-da-rhythm.bandcamp.com

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Alpachinski Punchi are namely duo Chino and Oldi, this year showed cool at the festival "Represent" and got the final band Kemp. Someone knows Chino and watching his work, but not all have seen and heard live performance duo. He deserves to be seen!

It is unlikely to energy Chino and Oldi leave you indifferent.

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Can you imagine a new generation of Ukrainian rap.

Tell us about yourself and your work.

Chino: Hi everyone. My name is Alexandr and my street name in the rap is Alpachino aka Chino Alpachinski aka Punchi. Yes, I represent a new generation of Ukranian rap.

Back in 2009, the year I discovered the world of hip-hop in the 2011-12's, I had started writing lyrics. Alpachino so that I liked his movies and I decided to create his hero, rapper Alpachino. Currently I have two releases, one of which on the original disk (but circulation was very small), and two official videos, and 50 audio tracks.

Oldi: Rap Yo! Submit Ukrainian rap for me is still loudly, but I try to develop it not only in Ukraine but also in themselves. I Olya (Oldi), in this culture of 2010.

Breaking enticed me, today it plays an important role in my hip-hop life. Rap started to write about since the beginning of 2014 the first. Now I start working on this more, because the people who surround me in this practice for years, and thus indicate to me the mistakes, and vice versa - the better. On account audio tracks say anything to me until one of them all, but this is the beginning, yet will I give the word of rapper :).

Who else from the younger generation you check?

Chino: I speak only Ukrainian "popular" performers. In particular town Lviv. I think the bar we show Chapter 94, the hardcore rap duo from Lviv. Both my friends how to rap, and in life, and the label (which a little later). Also Nemo, rap group 8BLOK, Sirius MC is artist with classic style. All of them from Lviv. And would mark X-tra, Zherebiy Soloma, Uncle Vova, Ozzi Armed, Price of Rhythm.

Oldi: Repeated somehow not cool, but still if the guy really worth the attention it: Price of Rhythm (peace be upon you), Chapter 94, Nemo, even kill and Papamavpa also there will be, and PVNCH I believe, too, can. Lots of cool, if honestly.

The question about punchlines demand of nickname Alpachinski Punchi. Enough them in your tracks.

Wordplay, as I understand it, for you is one of the most important components of rap? What else is important to you and all the text that you see "formula" tough rap lyrics?

Chino: Alpachinski Punchi - it's my author's name. In fact, a good rap recipe simple as five cents. It squares where each stanza is the essence, but completion of these very cool rhyming stanzas. Here it is the recipe formula.

Your duo immediately stands out among the other groups. And the style and the way sound with your voice. But most part your tracks are solo. Are you planning to write joint tracks?

Chino: I must be honest. I initiator so that we had shared tracks, but despite the rap team we are in relationships.

Our relationships are rough surface like a crater. At any moment can be eruption. So we do not go until something in common... Olya has one of the best vocals I've heard, and as it grows in terms of rap. I do not want promise, but we are trying.

Oldi: Our relationships are rough as I have hungry. And something they will need time (which I have little). So I think eventually it will be.

Questions to Oldi. In Ukraine, the little girls MC and very few of those who focused on the classical style of hip hop. Who among MC (not only Ukrainian) inspires you? And what style of rap closest to you?

Oldi: To be honest I did not listen rap, in my player are only beats. I can only listen if there's throw to PidBit and then, very rarely. If not Ukrainian, I cannot mention by Wu-Tang Clan, Het VerZet, Onyx. I do not inspire by other rappers.

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Your performance on "Represent" from the point of view of the show was very cool! How much performance depends on the quality of the experience? And far from his own drive and energy?

Chino: Thank you! In fact, successful performance depends not only on experience and drive artist - although these are the main factors. Also, the harmony, the hall, which supports, equipment and how it is configured well and the atmosphere. We had no rehearsal before "Represent". But she caught me well and even pulled out, which is very strange for a woman. I owe finale at Band Camp.

Oldi: work experience is good, but turnips me it is not.

There is no fear of the stage, that is, I feel free from micro in hand and the people who are there. Drive and energy for me the main, the ÂŤRepresentÂť in the final I did not know the words, but in dramas bore me so that huuuh, cool cool.

Continuing the theme of experiments with styles. For example, the track in instrumental style drum-n-bass one people to enjoy, while others consider it a departure away from hip-hop. Where you end frame of hip hop?

And these ideas are born at the junction of tracks of different styles?

Chino: I tend to think that this is a step in the direction of hip-hop. Do not get hung up on one and experiment is well.

In the US, it has long been understood. The main quality of the product to loved it. But such a move as drum-n-bass beat like larger range of audience. And as an artist and I get bored doing the same thing, so I'm planning many more such "deviations".

Oldi: Frames? Frames for me only the law, but not hip-hop, you can mix-and not only from drum-n-bass, but also with other styles, just need to be able to do it and true serve. I still do not know how.

Representatives of hip-hop culture of different countries often say that any music can be part of Hip-hop if it is the spirit of this culture. What for you is this spirit of hiphop?

Chino: Recitative is the only language of hip-hop, and if you know how clicking on it you understand hip-hop It understood by all lovers of hip-hop.

Oldi: Spirit of Hip Hop probably at everyone. My spirit is in the air one breathes oxygen, and I am hip hop throws the lungs. He is everywhere with me, he all living things, it just needs to want to see.

Hip-hop on Ukranian language (especially in Western Ukraine) is very original. It is on the one hand absorbs the classical tradition of hip-hop culture on the other is on the border of the Russian rap influence and European. But many say that the influence of Russian rap still stronger. Someone sees this negative moment, some not. How do you assess this phenomenon?

Chino: So that's the sad truth. What is based on influence.

All matched think as does the Guf or Smokey Mo correctly, people just do not want to accept what they have under their noses, they did not support national product (before recent events). Now I trust their opinion will change, and we, performers, too transgressions thresholds stereotypes are created before. The more quality music from Ukrainian performers, the less influence my opinion. Yes, I think so: "To do cool rap do not need to listen to rap."

Oldi: Well, I'm usually use Ukrainian language, but did not see anything negative in other languages. In many countries rep read in their own language, and we all share in one same culture.

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What are the trends in rap Western Ukraine can call?

What you put in what happens, and that, on the contrary, you would like to change?

Chino: I would not like to offend someone, maybe I just do not know. But here we doing rap from their to their. This is because we have less feats, few joint projects advertising.

That is why we created the Lviv label Warewo. And we want combine the best. Now in our ranks best Lviv subway 8Blok, best hardcore Chapter 94, and trip-hop and Gora.Black and The A.Ghost and a couple men. Also talented beatmaker A.Rubik (pretty soon you check out his work). And guess what else do you need to develop?

Competition and it we also are. This pop of Brilians. Our school rap don't enemies. One of the best ideas for Ukrainian hip-hop was the idea A.Stadnyka "Pidbit AWARDS". The best about it can be found on the Nescafe Ideas.

Oldi: Parties are simply unrealistic and inspire me pumped.

I like when they spend "Conferences knowledge," experienced when more people talk about how to reach heights. And on account of change yoooy me all happy to be honest, to simply not stop the development of hip-hop in Ukraine.

achievements in rap battles.

Chino: Battle - this is what keeps Rap in tone. Battle online format unequivocal leader is PidBit (Battle is the first in which I watched). Organizers Andriy Stadnik and Roman Mamitov has made 12 successful seasons, it is good number. Rap is really there, and he's very tasty. The second format Battle "Versus", that's where we can talk about the impact on the part of Russia.

This fully copied product with Russian Versus, only much worse in terms of organization. But I attending there because it's close to my house. And the prizes again, holding Rap afloat.

Finally, questions about your purpose and creative plans?

Chino: Thank you for those questions, they are very professional mooring. The plans of the album, which will release this summer, the exact date is not known, but we know that it's July, and tour of western Ukraine. In the development of two new clips. Peace to all who follow, then you comfort.

Oldi: I do not have such grand plans (although I think not deviate). But I will try to make good what so love you to love what I do.

AlpaChino, you take part in numerous rap battles. Tell about rap battles, which stage in Ukraine. What interesting rap battles you are? And tell about their

https://vk.com/chinospanches 033

Zombo is a representative of Zulu Nation and MC with the original style. Someone can remember his first work with RClan, and his activities in Kickit lable. Zombo recently has presented his solo album, "Attack of Letters" as an example of intelligent hip-hop, what is pretty rare in post-Soviet.

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Once we made an interview and talked about RClan. What's with this team now? And what have changed in your work over the years?

RClan went into total underground. Poured into Kickit community. Our last release "Rubbing the soles" was released in 2013. After that we together have done nothing new in music. Qake firmly took up the video and we are working with him in collaboration of music and video works. Although from time to time we think about writing something together under RCLAN. Is solo album formed itself, or was a specific goal to do something other than your work under RClan?

There was not a specific goal. Most of the album is ripe texts and beats of my bros, and were written for three years. It is our expression; we would like to share with everyone.

The album has a very warm jazz sound. Tell me about jazz-hop as you see it. What is it in Ukraine?

I did not intend to do a jazz sound. There are beats in minimalism. Just had thought that laid out on paper, then there were beats that stressed sense. As a jazz-hop can mention my bro - Alexjazz. He works with this style more closely. But it's hard to talk about some jazzhop scene in the Ukraine. There are some artists who make individual tracks in this style. But this is not systemically.

How releases with this sound do you manage to present in club? Rap party visitor often waits a

hustle. Is your listener completely different? Or any listener can tune in, if it was correctly presented?

At our parties "Wicked Kickit" jazz-hop sounds mainly in the late of party when people do not slam and rest, nowadays jazz sound finds its audience. My listener is looking for meaning, message besides groove. It's a rap that should swing something in mind and heart, intelligent hip-hop. When we did the presentation of the album was a lot of people who are far from hip-hop, but they came and noticed for themselves what in texts is. It is very important to me.

The name "Attack of Letters" alludes to the importance of the texts in the album. Its theme is really diverse and interesting. Tell me about it, about what or who influenced the appearance of these texts?

Each text affects some circumstances, the mood. One lyric I could write at the unsuccessful rap party ("Tune in"), the other one on the way ("On the road"). I spend a lot of time writing the texts from the birth of the idea to record in the studio. Many of them were written over a long period.

Intelligent hip-hop is a label that hung firstly on the text component or music albums? How would you define the style?

Intelligent hip-hop in my understanding it is primarily a text component, no matter for which beat it will be set out. From the negative and the decline of morality, what a harsh world represents.

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Jazz is shaped music. And your lyrics are in harmony with jazz beats to which they go. The imagery of lyrics - how important is it? How important is innuendo and even specially created simple texts?

The imagery in the text takes us to another world, makes it possible to think out his version of what the author said, through the abstract parallels so as to talk about surrounding. I respect that in any work. I think jazz and jazz, soul, blues samples are just the most harmonious.

by beats or beats were chosen in accordance with the mood of the texts?

You can hear beats of Shon, Price Beats, Own View, KuLYa. The main text and the beats were written separately and during the process found each other. It was hard to record the album; we were forced to rerecord some tracks, as the projects were lost. I recorded about 17-18 tracks, and 11 was left. I familiar with all beatmakers, hip-hop united us. All of them are from Kickit label, except KuLYa. He is a part of Tulim duo.

Again, the question about the concerts - imagery and emotional lyrics and sound how it creates the atmosphere of a concert? Is it possible to attract the attention of the audience and get them to listen attentively just with the help of some intonations, intros and etc.?

Exactly the emotional part attracts attention, keeps the listener from start to finish. If it is a story, you want to hear what happens next. If it is an image, to understand what MC wanted to hide behind it. I think you can attract attention, if you do it efficiently and from the heart. Checked.

The album was released by Kickit. In recent years, the label has expanded and includes not only the MC and musicians. Tell us about the news of the label.

At this time it includes MCs Alexjazz, Drud, Miroman, Sheksta me. DJs and beatmakers Shon, Jeremy Star, Price Beats. May 21 was the release of Drud's album ÂŤTempÂť. In general, all the label's releases can be heard on our website kickit.in.ua.

Talking about the musical part of the album, we cannot say about beatmakers who created it. Tell us about them and about the process of working on the album "Attack of Letters". The lyrics were written

What plans do you have? And what about recent releases from Kickit?

Now I do much collaboration with different musicians who will be released. Well, and I think over the next album. As well as concerts, parties, jams. I know that Shon's album in already at the final stage and there are projects that are not going to disclose. Follow us online.

http://kickit.in.ua https://vk.com/zombooo 036

Noir is MC and beatmaker who is since the early 2000s in hip-hop.

And during that time, of course, much has changed: tastes, interests and approach to music. Recently, Noir has released a four years awaited album "Bloody Underground". It reflects much of what happened during this time. And partly conveys his experiments with sound. Let's talk about this album and other projects of Noir.

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Between albums of "Diomorfin" and your solo album it took many years. What happened to your creativity during this time?

During these four years I have written a lot of music, inspired and experimented. For example, in beatmeaking I gradually moved from sampling to write own musical parties. This inspired me by my talented friend Taras Dergachev. This period I was working with him on the experimental electronic music Futuristique - "Star Energy". Our stellar energy was born from a mixture of drama, dubstep, trance and guitar solos. Taras was so easy and inspired improvised that it gave me a thrill! Many of the tunes were written on the first try. I like it so much that I began to improvise with various synthesizers too.

Also, the whole time I was engaged in "Creel" album in Ukrainian, also with Taras. I have written many featuring with sound from classical poetry to trap. I actively started writing with my good friend and fellow countryman Sasha Zaver smth. like album, or EP in Ukrainian called "Rap Patterns." Soon there will be many new and interesting!

sense when partially intertwined historical facts, fiction and mystification. Sometimes I believe that the story of the Black Avenger - the truth told as a fairy tale.

Are there social themes, which is understandable in the current environment? How rap should reflect the social reality in order not to turn into a set of slogans, but to encourage people to think?

Ukraine is experiencing very, very difficult time. This is a historic minimum. People's hearts are full of anxiety, pain, and fear of the future. Therefore we write this, we are talking about and share. We do not think as politics or agitators. We all simply and clearly, because we - the ordinary people. We are the people. We speak the same language. Not in linguistic, but in terminology, understanding of things and the perception of the world. Pure and simple questions - when the war is over? When we win corruption in government? When we live consistently? Simple answers and calls – act, help as you can, change yourself…

On the content "Bloody Underground" is a diverse album. During long period of writing track themes were born gradually? How did these periods of your life reflect it? Honestly, the album was written aprox. 70% in 2011. I gathered thematic instrumental pack, chose the concept, and then wrote a few texts, also took the poetry of our creative association "Obіystya". The idea was to show that the underground - this is not a one person but a whole society of free and talented people who want to express their creative ideas, thoughts, worries, feelings. It's not mainstream. They are ordinary people, we can meet every day on the streets. They think the way we all do, they solve the same problems, in the same conditions that we do. The political crisis in Ukraine, thoughts about man in society, routine office work, unhappy love, etc.

The last 30% I have finished writing and rewriting until the date of the release - 13/04/2015. Here's for example 808 kick and some modern trends in seemingly typical of classic hip-hop sampler constructions.

Among the subjects of the album is even a reference to the legend. Tell me about this side of your lyrics.

The verse of the song was written by me and my friends Tim and founder of "Obiystya" - Taras Taranenko. Prose in the form of a legend was written

by Taras too. All this is pure fiction. Something of "Dictionary of the Khazars" by M. Pavic style. In that 038

Speaking about "adult rap". Your album may be attributed to this definition. Is it acceptable to use such a label in your opinion?

I think that rap needs to be more informative than entertaining. Therefore, the "adult rap" for me is not a label, but a fact. After all, who participated in the creation of the album texts/poetry - people aged 22 to 50 years. We write about what we live. This is normal.

The album has an unconventional sound. It is not a classic, and not imitates trends. What is the basis of your sound?

I've always loved to work with sound: experiment with different sounds, to do something new, to look for interesting sound. Often working with instrumental I can sit for months. Do not continuously of course. And just to go back to it from time to time by adding and removing any sounds. Originally I planned to make a sound of classic Onyx, Cypress Hill, Wu-Tang Clan, etc. But in the process of adaptation and finalization of the album I have replaced a lot of sounds to the ones that I began to like it more, more modern. I understood that it results a nonstandard sound. But I liked it and I'm not afraid of experiments. For example, the song "Burn all in fire" had more than a dozen versions, but got only one to the album. Two beats I made in collaboration with Raziel and Junkis Toltek (Mental Side Beats). Met Qouta (Pundah Records) helped me reŃ ord instrumentals. He approved the sound of each track that has given me even more confidence. Also, almost at the last moment I have connected to the work on the album Dj Shon (Kickit Records). He masterfully made scratches in four tracks, plus did mix of instrumentals - "BloodyMix". It was the

final note.

How the long work period did reflects your attitude to the album? And what are your feelings now after the album was released?

During making simply tired. I am now interested in a completely different sound, which I actually work with, nowadays. But the album, he was like a child, I just had to let it "go". Yes, he was born in the basement, in pain and blood. But I am sure he will find his place. After I took the CD pressing - I was easily in my soul, I shook free and feel the freedom. Thanks to everyone who helped me in creating! The album is worthy, I think.

Can we consider it a point, and after begins a new stage in the works? And what are your plans for the future work?

The point? No! I have no points. I'm always in process.

Back in 2011, I started at the same time the album "Bloody underground", "Wings", "Star Energy". I also wrote a lot of beats and make stuff with different people.

"Bloody underground" and "Star Energy" are in network.

"Wings" on the way. Work with "Rap Patterns" feat.

Zaver also is in progress. I still have many plans and projects with interesting creative people. Ideally, I want to create not just the hip-hop but music as art. That it was the cultural asset.

With "Bloody underground" were involved about 15 people, all of them - the talented and creative people.

Among these poets, musicians and artists. I joined their forces, trying to make a concept album. Did I managed?

Let every listener tells.

https://vk.com/denis_kotenko https://soundcloud.com/bronx13 039

Zulu King Dj Big W is one of the first and one of the most active members of the European hip hop culture. He was a pioneer of Polish hip hop. He always seek knowledge about the roots of this culture. It's help him create the Polish branch of Universal Zulu Nation. Zulu King Dj Big W helped a lot of people around the world come to hip hop culture!

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We know that chapters of the Universal Zulu Nation are in Poland, the Netherlands and Germany. Tell us, what countries in Europe still have Chapters of the UZN? As it comes to Europe – there are official chapters in Poland, Germany, United Kingdom, Holland, France, Sweden, Italy and Belgium.

Who was the first official representative of Zulu Nation in Europe, and when did it happen? Is it true that the Polish chapter is the oldest in Europe? How many people are in it now? What European Chapter is the biggest one, how many people are there?

It's hard to say who was the first one. Such a things are always arguable and difficult to discuss. Nobody has ever documented this fact, but what is sure – UZN is in Europe from the beginning of 90s. Polish chapter as the official one is not the oldest, but probably I am one of the oldest UZN member in Europe.

Right now – we have 20 active, official members, but there are also many people, who support us. It is not about the number it's more about quality. As I know from my experience – often when there were organizations/initiatives gathering many people - they were not functioning. People were not willing to take actions.

I think that my brothers from Holland are right now the biggest chapter in Europe. There is a serious crisis in German and Italian UZN. You can notice there a need for change and serious actions.

Tell us about the development of the Universal Zulu Nation in Poland and in the whole of Europe. From the moment you became part of the Zulu Nation, what important events happened in the European Community Universal Zulu Nation? How does it spread to Europe?

I have been representing hip hop culture since 1988/89 and Zulu Nation since 1996/97. I was only one person in UZN in Poland for many years. When communism collapsed – people just started to get to know the world. Some of them tried to "do hip hop" in Poland, but not so many people knew the roots, Zulu Nation. As far as I remember – I have been always fascinated with "digging in the roots", history.

Being part of hip hop culture – it was my dream. Not just to be a random guy. You should know the roots for better understanding of the culture.

I consider last 5,6 years as a great time for the Zulu Nation in Poland. For Zulu Nation and the real hip hop culture.

More and more people are trying to reach the roots and it makes me happy. I don't like comparing past with the present actions. What was, already happened and it is important to look ahead. Right now – each and every event is extremely important to me. It doesn't matter if I am speaking with KRS One, Afrika Bambaataa, Mobb Deep or children at school, kindergarten – we talk about hip hop culture.

There are many events that popularize hip hop culture and many that don't do that. E.g. when you speak with your 5

friends at home about hip hop culture – it is also important, because each one of you is constantly living this subject and you keep on popularizing it.

There are many events going on right now, we are still active, because that is what membership in Zulu Nation should be.

What are the requirements currently imposed for the creation and registration chapter? In various regions the requirements are different or they are the same for all?

As it comes to official UZN chapter – it is really long road.

But it is the same for everyone. You must have at least 20 active members of UZN, who are active for at least 6 years.

Then – you can talk about possibilities of creating the chapter. Through many years of UZN of Poland – there had been many people in the organization. But – as it happens in life – there are black sheeps, that needs to be separated. I had to already remove 8 inactive members.

Tell us about the events in the life of the Polish branch of Zulu Nation? What lectures, seminars, festivals you organized? What plan?

It is another questions that I might answer for a long hours and you will get many pages of stories. To be honest – because of the enormous numbers of events – I can't remember many of them. What can I say – is that we had been organizing and still organizing many lectures in schools, culture centers, penitentiaries, approved schools, universities and many other places. Among the events, organized by us – you can find small one and big one – e.g. b-boys battles, graffiti jams, meetings and so on. Constant cooperation with other chapters is also really important.

We invite them to us, we are guest at their events.

Many events involved cooperation – e.g. events with Afrika Bambaataa, Mobb Deep, Krs-One, Edo G, Grand Wizard Theodore, Mr. Freeze, Mr. Wiggles, Masta Ace and others. We have plans – with our friends from Big Idea – to organize concert of Nas and some other events. Life changes every day, so each plan can be changed.

Please tell us whether «Center for Hip Hop Culture» is in Poland? The state assists in the development of hiphop in your country?

Hip hop culture centre in my city Szczecinek. I know is several same place in Poland, but I open first 9 years ago and city and sometimes state or politics help for us with events etc in my city very much help.

How to change hip hop in Poland under the influence of Universal Zulu Nation?

I think that hip hop in Poland – just as around the world – is changing in positive way thanks to the UZN. Zulu Nation is the roots, roots are spade work, knowledge and education. If someone loves hip hop culture and wants to popularize it properly – it should be done according to the rules of UZN. These rules are nothing but positive message, unity, respect, no race segregation etc.

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The hip hop in Eastern Europe has undergone several changes. For example, there was a trend in rap, popular with football fans, and very distant itself from the ideas and aesthetics of hip hop culture in its classical sense.

How, in your opinion, is related to the size and activity of representatives of the Zulu Nation in eastern Europe with the number and activity of the total mass of people who are simply interested in rap music, break dancing and graffiti as the art forms?

When you about rap, which is popular among football fans – it does not have much in common with the hip hop culture.

Rap is the part of hip hop culture, but it is also perceived as the music genre. Not every rapper (right now – most of them) – don't represent the hip hop culture. They don't have a clue about it. They are just talking some bullshit to the microphone and people, not using brain – believe in their banal message. And that's how it goes. For me – it doesn't exist. I am 40 years old right now and I have seen and heard a lot. People who want to reach the true facts – they will reach them. It is not about showing something at all costs. You have to do your thing, and there must be a will from the person. There is a saying: "Zulu is for everyone, but everyone is not for Zulu".

If some is interested in any hip hop elements as an art form, not the culture as a whole, but wants to do it properly – with 100% of engagement – he should know the roots. We are the roots. And there you have a vicious circle.

What are the specific difficulties in the development of Zulu Nation in Eastern Europe? Is there problem with the stereotypical perception of the organization as

"African-American" and not related to local cultures?

There are no stereotypes about the Zulu Nation in this context. UZN has its roots in Black Panter movement, but it has never been only for the Afro-Americans. Bambaattaa had a vision, which is stated in the name of our organization – UNIVERSAL Zulu Nation, organization for everyone, who loves hip hop culture and wants to change negative to positive. Difficulties in Eastern Europe are just the same as in other parts of the world. It is always about open mind. Hip hop culture is more like mental state – not just clothes, music etc. I have seen many people, who came and swore "I'd give my life for hip hop" and then they disappeared.

People like me are always with the culture. When looking at own experience – there is no such a thing as problems with spreading hip hop depending on the place of living. I have contact even with people from Nepal, Iran and other parts of the world, who are willing to join the UZN. I am Zulu King, so my obligation is to help these people.

Which directions in the dissemination of knowledge about hip hop and the Zulu Nation in our region do you consider most important?

Right now – I can't see better and faster way for spreading and searching for the "hip hop message" as through the Internet, Social Media: Facebook, Instagram and other interesting tools. You know – for the smart people Internet is valuable source of information and contact with the world.

Stupid people will always use this powerful tool in bad ways. What can I say is – Internet gives possibilities, but you have to think and know what you are doing.

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What about translations of books about hip hop, and in particular of articles and books about the Zulu Nation in Polish and other languages of the countries of Eastern Europe?

I think that most translations are valuable source of information. Not everyone knows English. Perhaps – your mom will be willing to read something about the hip hop and doesn't know English language. Through the translations – she may know better what you are actually doing. It is important to show what hip hop is to people not associated with the culture. They may show better understanding of our actions.

Every initiative is good, as long as it provides smart education and real knowledge.

Do young people need these translations or the majority is well aware of the English language to read in the original?

Of course – translations are needed. Not only for the older ones, but also for the younger ones. E.g. – there are 35% people in your country, who know English – they can read about the hip hop from the English materials. But what about other 65%? Translations give opportunities to reach them.

Tell us about the specific in doing of the Zulu Nation in different countries of Eastern Europe?

It's not about perceiving Zulu Nation in different way, because UZN is only one, just as the hip hop culture.

Of course – UZN and hip hop culture are differently represented in many countries. It is more about culture differences. You can also look at this as the opportunity for spreading hip hop message in different ways.

How did you come to the Universal Zulu Nation?

You became the Zulu King in 2014. How you have achieved this status and what responsibilities laid upon you with him?

As I mentioned before – I became member of UZN in 1996. I have been working hard since that day.

Working hard for the UZN and popularizing its ideas.

Next step was to set up official UZN chapter in Poland. Along with this moment came the title of Zulu Minister. It motivated me strongly for more actions – as a member of UZN, DJ and hip hop culture activist.

These actions are taken with the people from the different parts of the world.

Finally – Zulu Staff from New York – at the UZN anniversary celebration – gave me the title of Zulu King. I also received award for popularizing hip hop culture in the world.

Zulu Nation is the official, legal organization. We have own lawyers, logos and names are restricted. As

you noticed – there are certain status in the organization. Personally – I am at the highest level in the organization, which is the prove of my hard work.

It is the prove that path that I took to follow – from the street thug life to hip hop culture and UZN – was the right one.

What do you do besides work in the Universal Zulu Nation? Or is your main job, which you earn a living?

UZN is not considered as work for anyone. We don't earn on Zulu Nation, we build UZN. It should be done from the heart, not for the money. Personally – I am a DJ, actually living in Germany, where I have a regular job. I don't know what about others, but for me Zulu Nation is something more than just an organization, it is a real family. Many beautiful moments happened in this family.

Do you consider hip hop and Zulu Nation as a whole, or for you, still there is a difference in these terms?

When you say hip hop – you also say Zulu Nation.

When you say Zulu Nation – you also say hip hop.

There is no other way. If someone says differently – he really needs more knowledge.

You spoke several times with KRS-One. Tell us how you feel about his philosophy of hip hop and the organization of Temple of Hip Hop. Each pioneer has own vision and describe it in own words. KRS one spoke on numerous of lectures, wrote numerous songs etc. KRS speaks how he feels and sees things – just like each one of us. Sometimes people interpreted his words too literally. When you read e.g. his book – you have to think about his words and interpret them – according to own thinking. When I say: "Sky is hip hop" – some people won't understand this. But for me – hip hop is everywhere and when I look at the sky I feel great love for the hip hop culture. I am 24 hours a day with it. It is always about interpretation.

KRS one has been in the hip hop since the beginning.

Through many years – he expressed himself through numerous of words and sentences. Even he – when looking from the perspective at some of them – may slightly laught at them. Why? Because at each stage of our life we may notice some other things, our way of looking at the world is different. Words that we say today, may not represent us e.g. 5 years later.

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People are lazy nowadays and want to have already prepared answers – just like it is written. They don't want to add own thinking to this. It is always great to listen to KRS one or other pioneer, but remember that they are people with own words, sentences, metaphors etc., which should be interpreted by each person individually. Look at the big picture, context of their speaches/songs, not always for the specific word/sentences.

Just to add – KRS one is really positive and really involved in hip hop culture. He really knows what it is, just to mentioned he had a chance to watch Afrika Bambaataa building unity on the streets – just at the beginning of UZN and hip hop.

How do you see the relationship Universal Zulu Nation and Temple of Hip Hop? It doesn't matter if it's Temple of Hip Hop or other organization. Each cooperation is good, when positive effects for the hip hop culture development come with it.

You don't have to be in any organization to represent the hip hop culture. These are our personal choices, we decide where we belong. At the end – when there is involvement – then everything is ok.

You ever been in Belarus? Do you have any relatives or friends there? Maybe you have had joint projects with people from Belarus?

I have never been to Belarus and don't have relatives there, but I know Belarus, just like about other countries, who are somehow historically connected with Poland. It doesn't matter to me the country of origin. For me – one and only discriminant is how people popularize hip hop culture. Then I see – if there are my brothers, sisters or not. Wish and hope that UZN will develop in Belarus. I know what changes in people lives it might bring. In terms of changes I mean strength, love that connect people. I am always open and – if there is a chance to cooperate within the project from Belarus – you can count on me – on 100%.

What would you like to add on my own at last?

I would like to thank you for this interview, your time and your popularization of hip hop culture. Hope that it will develope in your country and people – just like in Poland and other countries – will seek for knowledge and the roots.

Remember – at the end only the real ones stays. Greeting to all the brothers and sisters from Belarus – peace, love, unity and having fun!

https://www.facebook.com/ZuluDj.BiGW http://realhiphopculture.com 044

Zulu King Slone

Zulu King Slone has been involved in graffiti culture almost from the moment of its appearance. He studied the earliest writers, and began writing in the mid 70s. Over the past forty years, Zulu King Slone did not part with this art. Graffiti became his passion and purpose in life. Today he is recognized as a classic street artist and inducted in the Graffiti Hall of Fame in Harlem. His work can also be seen in various galleries. Zulu King Slone is one of the founders of the Wizards Of The Styles Crew, numbering 275 chapters around the world!

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Tell us about yourself, your creative work and about your history in Hip Hop culture.

My life as a writer started back in 1976. While riding the J train I was 11 years old, I saw a writer tagging the inside of the train in broad day light, with people on it. He turned around and looked at me and gave a wussup look. After seeing this I was hooked I knew I wanted to be a writer as well. So my journey began learning the tricks of the trade; meeting older writers, and learning from them the rules of the game. I knew it was important to have my own style, and never to bite other writer's styles, and to respect their space never to go over any writers name. I started with doing my name in block letters slowly moving to harder lettering, like wildstyle and semi wildstyle. Improving on characters and my hand styles I soon started to understand the language of graffiti. Many years later I became part of Zulu Nation and the hip hop culture movement, even becoming a Zulu king.

My life as a writer spans 4 decades and I am still a student in the game.

You have created a truly ambitious project - WIZARDS OF THE STYLES CREW. It has 250 chapters around the world! Tell us about it.

In 1995 I founded the Wizards of the Styles Crew along with VP Tumer, at 2am in the morning. We were having fun and sketching together; so I said, "What if we created a worldwide crew that would span the globe"? We both looked at each other and laughed. I went home and then started thinking of names for the crew, and I came up with WOTS! After I came up with the name, I thought to myself this was original and different from any other name. It meant we were magical; we were amazing – so thus, "live to amaze, and amaze to live" became our motto! I started to put the best of the best writers down with the crew. It went from 5 people to 36 people, then to 116 divisions, from 20 chapters to 60, to now present day 275 chapters. I have hub were all writers worldwide could connect and share style and culture. Soon I had members in different countries. And like any other movement it exploded quickly. I had females and males down so we expanded it to bboy's and bgirl's, as well as poets, dj's, mc's, etc.

development of artists participating in the WIZARDS OF THE STYLES CREW worldwide?

It has allowed artists from around the world to be seen on global scale, and to connect and build friendships with each other. It has become a great movement for hip-hop in general, but more importantly for graffiti culture.

Sometimes, people forget that graffiti is the 1st element of hip-hop culture.

The coordination of 250 branches simultaneously is serious work. Tell us about the difficulties in this business, and how you manage to solve them.

I keep members updated via Facebook and the Wizards of the Styles homepage. Any shows and exhibitions held by crew members (myself included) are posted to these public sources. On this page they also post up the latest works and projects. I connect them with other new members of the crew so the members can handle meeting and greeting and planning of events they are posting and hosting. When there is a new change or order in the crew I post it to all the members. When a person becomes a member of the WOTS crew, we address each other as wizards. I am Wizard Slone.

Other examples are, Wizard Keiibi or Wizard Lady Champ.

It is a daunting task to manage so many members in crew like this, so I have web site, www.wizardofthestyles.com, where all the members can post daily likes and links to the works they do. I plan to create a website for the members to manage on their own soon, but this is work in progress.

You are also executive director of the Zulu Nation Visual Arts Dept World Wide. Tell us about this responsibility.

As Executive Director for the Visual Arts Dept for the Zulu Nation I am in charge of making sure no one uses our images without approval from my department; as well as protecting the rights of all our members worldwide. Members in the nation charters must submit a proposal along with the images they wish to use. A merchant card, and promoters card must be purchased to be able to sell and promote the Zulu Nation image and name. It's a great honor to have been selected by the World Council, and Supreme World Council to serve the nation on such a large scale after being a member for 22 years.

How has international relations contributed to the

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seen in galleries. But also it has become part of modern mass culture, widely used in advertising. Many graffiti writers refer to this commercialization of graffiti critically. What is your opinion on this issue?

Everything has changed now, people use graffiti in videos and marketing worldwide; some writers can make a living of what they love. As long as we can keep to the history of the movement I feel it's gotten the attention it deserved for so many years.

Tell us about exhibitions and festivals in which you participated with your work?

I have had my work animated in the "Planet B-Boy" film.

Participated in fundraisers for the New York Yankees fund for cancer. I have taught graffiti at Columbia University. I also worked on a collaborative piece on a train door with Loud1ne (LOC Crew) for Jim Jones. I contributed to the Rebuild Project for the Hurricane Sandy Victims in Brooklyn. Writing my name in graffiti on the wall in the video. Additionally, I have been published in "Lineacurve" magazine in Spain.

Awards received include: Humanitarian Award 2014 Lifetime Achievement Award 2012 Inducted to the graffiti hall of fame 2011 Signed with House of gallery 2015 Currently on exhibit "Bomb the Line's" collection.

Another one of your affiliations is as Art Director at the magazine Dancemogul. Tell us about this magazine and your work there.

I met the director at Dancemogul magazine at an event in Philly; where we shared our ideas about the culture. Basil and his son were the founders of the magazine. This magazine was a clean publication; it featured only dancers and positive people in the culture and the movement. I thought to myself, 'wow this was a great thing only promoting the positive! So I partnered up with the magazine, and they featured me soon after I was inducted into the graffiti hall of fame. I then introduced them to the founders Zulu Nation. They became the magazine that would soon cover all of the Zulu anniversaries. They honored Afrika Bambaata and I with lifetime achievement awards on the same night. After that I was made art director for the magazine. It allows me to look for talented artists who do work that inspires people in the places they live to aspire to be published in the magazine as well.

Graffiti culture has undergone many changes throughout its history. But connoisseurs of classical style, like you, today prove that graffiti is an interesting and compelling art. What important aspect can you always appreciate in classical graffiti?

It still proves that the oldschool style is the origin of where all graffiti came from no matter what. This was never considered art to people during its growth, but years later it's in major galleries worldwide. With thousands being paid for pieces; it has finally earned its place in history.

Graffiti is an integral part of contemporary art. It can be

You starred in videos of famous rap groups, such as Dead Prez, have been published in magazines from different countries, and have received many awards.

Which of these moments was the most important, or perhaps the most desirable for you?

I feel that it's great to be honored by my peers and people who love and see the work I do. But they have a special place and moment in my heart. I have been chasing a dream for 42 years, and to finally see it all come together is the reward. I have been able to meet a lot of my heroes in the culture and been blessed to give back to a movement which has given so much to me as an artist.

You were inducted into THE GRAFFITI WRITERS HALL OF FAME. This is an important measure of recognition in the world of graffiti. Tell us about the GRAFFITI WRITERS HALL OF FAME and how your name became a part of it.

Well I had always heard of the hall of fame in Harlem, and only the greatest of the great were inducted. So my dream was always to be able to walk through the gate some day as one. I had a lot of time to put in my work as a writer, so I figured some day I would make it there. In the meantime I worked on my skills and art, readying myself to be in place to be a part of such a brotherhood and sisterhood. When I got then news I had crossed that milestone, I felt a lot of things – but most importantly, I felt accomplished. When I walked in that day, I made it my mission to use this honor to uplift and help the next generation of youth - to prove to kids that no matter what your dream is, if you have passion for something you must seek it out. It took me 39 years to reach this milestone.

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In addition to the active work in the field of graffiti, you are also recognized as a King in the Zulu Nation. Tell us how you came to the Zulu Nation, and about your activities in the organization.

I became Zulu early in my life but it was a calling I never look back on. As a Zulu king it is my role and job to inspire and encourage our members to seek greatness in themselves, and achieve the goals they set for life. I can teach and ensure the knowledge of Zulu will endure for the next generation of Zulu's. I started as a member, then after many years I became a chapter leader and then elevated to kingship. After 20 years I've now been assigned as the Executive Director of the Visual Arts Department (world wide) for the Zulu Nation.

Today many young graffiti writers around the world do not associate themselves with Hip Hop, and are not interested in its other elements. Have you such a problem in the USA? Well some artist like it, some don't. It's ok; the main thing is that art continues to change and move in the right direction.

How many graffiti writers are members in the Zulu

Nation?

I really can't say how writers are in the UZN, but whatever that number is, it will continue to grow in the future!

What projects are you working on now?

I just finished a 7' piece collection called "Bomb the Lines" for House of Art Gallery, along with Richard Beavers the gallery owner and founder. We want to recreate the trains from the 70's and 80's, so people can view how the trains looked back then. It was a lot of work, but the greatest thing about this was being able to bring this back for people to share stories with friends and family! The result was huge for me to create this for the gallery.

House of Art Gallery can be found at: 408 Marcus Garvey Blvd Brooklyn NY 11216 (347) 663-8195 contact: Richard Beavers Also I will be a part of the Harlem Arts Festival in NYC 2015 along with other artists who were selected to exhibit there. The festival dates are June 26-28 2015.

I want to thank you for giving me the honor of interviewing me for your magazine. Peace and blessings.

http://wizardsofthestyles.com http://www.harlemartsfestival.com http://www.hoagallery.com/artist/SLONE-72.html http://lineacurve.bigcartel.com/product/linea-curve-issue-04 http://www.youtube.com/watch?v=XCGyYyjyIys http://www.youtube.com/watch?v=mhhQACREqgY http://www.youtube.com/watch?v=V9dNi3Y6Qp8&feature=youtu.be

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Minister Server Tavares for many years developing hip-hop culture and developing yourself along with it. He is a member of multiple organizations, the most famous of which are the Universal Zulu Nation and the Temple of Hip Hop. Minister Server Tavares talked about how to build the Temple of Hip Hop and the book ÂŤThe Gospel of Hip HopÂť, and his vision of hip-hop culture. This interview is a view on hip-hop from the standpoint of the person for whom it has become a way of being and thinking.

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You are the official representative of the Universal Zulu Nation and the Temple of Hip Hop. Tell us about yourself and how you came to these organizations.

I am Minister Server, the Hip Hop Life Coach; I was born and raised in Atlantic City, NJ. I've been involved with Hip Hop since I was 13 years old; I was a rapper in High School. I was a DJ in college, after graduating from college in 1987, I moved to Atlanta, GA. In 1992 I started working with Nation Time Syndicate, Inc.; a Hip Hop collective in Atlanta made up of rappers, DJs, graffiti artists, writers, producers, activists, photographers, organizers, promoters, teachers and many others. I worked in several capacities with NTS and learned a lot about the true essence of Hip Hop culture, which gave me the foundation to do the work I currently do.

I became involved with the Temple Of Hip Hop in 2001, in 2003, while still a student in ministry school, I was asked

by TOHH founder, Hip Hop pioneer/legend KRS-One, to become the lead minister of the Temple Of Hip Hop and help to organize the movement.

Although I respected the teachings of the Universal Zulu Nation for many years; in 2003 I officially became involved with the UZN. In 2009, I became the spiritual advisor for the UZN Atlantis Chapter, which serves the Atlanta area. In 2012, I was appointed as the UZN District Manager for the State of Georgia, which is the current position I'm in.

Many people have never heard of the Temple of Hip Hop. Tell us more about this organization.

Founded in 1996 by Hip Hop pioneer and legend KRSONE; the Temple Of Hip Hop is an international ministry, archive, school and society (M.A.S.S.) movement that teaches Hip Hop beyond entertainment. The TOHH promotes and preserves Hip Hop's accumulated historical/cultural/spiritual wisdom for the purpose of empowering the Hip Hoppa and guiding the Hip Hop nation. Hip Hop is a term that describes our independent collective consciousness. Ever growing, it is commonly expressed through such elements as Breakin, Emceein, Graffiti Art, Deejayin, Beatboxin, Street Fashion, Street Language, Street Knowledge and Street Entrepreneurialism.

The TOHH is beyond race, religion, ethnicity, gender, class and sexual orientation. The TOHH expresses Hip Hop as a unique way of life that promotes health, love, awareness and wealth (HLAW). The TOHH is not a place, a fan club, entertainment corporation or religious organization. The TOHH is a movement of conscious people who are committed to using Hip Hop as a lifestrategy for spiritual enlightenment, creative expression and self-empowerment.

What do I need to become a representative of the Temple of Hip Hop? Although KRS-ONE is the founder and Teacha; there are no leaders of the Temple of Hip Hop. From the time you enter your temple of Hip Hop with the "vow I am Hip

Hop", you are expected to initiate your own self study into Hip Hop Kulture, its meaning and purpose for your life and the spiritual essence of the Gospel of Hip Hop. Currently, Temple of Hip Hop is not an organization with an official membership? And plans to soon introduce in it official membership, for example Universal Zulu Nation?

From my understanding, there are conversations about creating a formal process to become an official member of the TOHH, however, I'm not sure what they are or when it will happen.

Who is working on the official site of Temple of Hip Hop. Tell us more about this project. What material do you plan to publish on the site. Will online store?

I'm not sure who is currently working on the "official" TOHH website at this time. When it's completed, I'm sure there will be an online store where people can purchase books, CDs, DVDs, T-Shirts, etc.

What is Hip Hop for you? How you saw it in his youth, and how do you see it now?

For me, Hip Hop is a consciousness, a state of being, my culture, a way of life and how spirit expresses through me.

When I was a youth, although I loved being was a rapper and DJ I didn't really understand what Hip Hop culture was or the influence it would have on my life. When I started working with Nation Time, it gave me a deeper understand of what Hip Hop culture was and how it could be used to enlighten, inspire and empower myself and others, especially the youth. Now Hip Hop Kulture is a part of my everyday life; from how I raise my children, the work I do as a minister, teacher and Hip Hop Life Coach.

You are one of the co-authors of the book "The Gospel of Hip Hop". What for you is this book?

Well, I'm just one of many spiritual contributors to the GOHH, the bulk of the book was of course written by KRS-One, the Teacha! I truly appreciate him giving me the opportunity to be a part of such a historical book. I believe every Hip Hoppa or anyone interested in Hip Hop should buy the GOHH, it's really a great book! What inspired its creation? The book was inspired by KRS-One, it's really written for the next generation of Hip Hoppas so they will have a blueprint of how to live a spiritual Hip Hop lifestyle and not have to rely on people outside of our culture to attempt to explain our way of thinking, living and being.

Who worked on the book, and how long you have to create it?

Over the years, many people worked on the book like Professor Z; Malik-One; Dr. Jah Jah Shakur and Kurt Nice and, just to name a few of the contributors, they are listed in the GOHH. It took over seven years to complete the GOHH; there were several different versions from various perspectives, before it was finally released to the public in 2009!

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KRS-One in his lectures often use Hip Hop as a synonym for all of human culture. What, then, separates Hip Hop from many other areas of culture, created by people for different centuries?

I believe what separates Hip Hop from other cultures is our ability to use the best aspects of various cultures and convert them into Hip Hop! Hip Hop Kulture gives people the opportunity, respect and encouragement to be their authentic selves without needing to fit into a box, regardless of their race, religion, class or creed, it allows you to grow and fulfill your divine purpose!

How do you see yourself ratio of different spheres of culture, different trends in world culture?

I am a world citizen and according to the United Nations, Hip Hop is the fastest growing culture in the world!

Everywhere there are people on the planet Earth, Hip Hop is there, which means I can travel all around as Hip Hop and be accepted! What it takes place in Hip Hop? We are a very young culture that is learning, growing and uniting with each other on a daily basis! For example, there will be many Hip Hoppas on the other side of the world that I have never met, but they will read your magazine and learn about Hip Hop because of the work you are doing, that's powerful, Word!

What projects in the Universal Zulu Nation and the Temple of Hip Hop are you working now?

Right now I'm working with Hip Hoppas around the world to get ready to celebrate the 18th Annual Hip Hop Appreciation Week, which is May 17-23, 2015, our theme is INTEGRITY! I'll send you the 2015 HHAW message that I send out every year to encourage Hip Hoppas around the world to celebrate HAW and share it with their community!

What would you like to change in the policy of Universal Zulu Nation and the Temple of Hip Hop? No, I believe both groups serve an important purpose for the individuals that are involved with them.

What do you think is the main difference between these organizations?

The UZN is the foundation of Hip Hop culture; it's the first Hip Hop organization in the world so anything any person or organization does, is built on their foundation! The TOHH is focused on teaching the spiritual aspects of how to "BE" Hip Hop and how to live a positive lifestyle that we can pass on to future generations forever, Word!

https://www.facebook.com/minister.tavares https://thetempleofhiphop.wordpress.com 052

May 16, in Grodno (Belarus), at the social center House 46 the hiphop workshop «First Lesson about Hip-Hop» took place. As a part of this event was a demonstration of the film «The Freshest Kids», b-boys jam and actually the seminar about hip-hop and Universal Zulu Nation. It was a local, but important event. About it is a review of its host and participants.

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Yashman: In my opinion seminar was ok. I liked pleasant and relaxed atmosphere of unity. I was pleased with the number of participants and the fact that there were representatives of different dance styles and schools. Of no less importance is the fact that everyone was dancing and talking, did not feel shy and thereby developed the spirit of unity. Not only dancers, but the people who are interested in different forms of culture and creativity participated in the workshop. I was pleased with the interest of the participants to hip-hop element "knowledge". In my opinion, this is a great start on the way to presenting meaningful hip-hop to the masses.

Shooher Show: «First Lesson about Hip-Hop» was the first jam workshop of this kind, in which I participated as an official representative of Universal Zulu Nation. And it is a great honor for me.

I am very pleased with the atmosphere of hip-hop, which was created by DJ Cyrax. To its rhythms all people united in the dance. As a result, all the dancers demonstrated the quality of breaking.

The seminar started fairly briskly. The audience immediately began to ask questions on the subject of hiphop and Universal Zulu Nation, which could not fail to please. Many of them knew what to ask about hip-hop.

The seminar was organized at a high level, throughout our meeting photo and video shooting were conducted. I believe that «First Lesson about Hip-Hop» can be considered successful. It achieved its goal.

Alena: I, as a person not related to the hip-hop culture, but who knows quite a lot about it, generally liked «First Lesson about Hip-Hop», and I was pleased with the positive and cheerful atmosphere of this meeting.

As for the workshop, I was left with a sense of

incompleteness, because I waited for summarizing in the end or, more simply, the conclusions of all that happened on the workshop. But the seminar ended abruptly. And I see this as the only negative point of this wonderful event.

Nomadum Mantis: The seminar was conducted in the most successful form - a dialogue. That form has been selected in the course of the jam due to the lack of time to lecture the whole story of the early development of hip-hop culture. Participants asked each other questions, all learned something new, and this is important. The media support of presentation should be more thoughtful, but compared to the first hip-hop workshop in Minsk in 2012, everything turned out much livelier and productive.

Nelson: The seminar was not first for me, but certainly the most successful one. I note the good organization of the event, excellent music and dance jam, which preceded the workshop. No less interesting was the movie. In fact, all these components of «First Lesson about Hip-Hop» formed the big picture.

Regarding the workshop itself, the first thing I want to note: the format of the dialogue. If all went into the scope of the originally planned lecture - it would have been much worse.

So a spontaneous change of format was a very important decision.

The workshop was an excellent start for such meetings. Of course, we need to finalize the visual accompaniment of future seminars and their contents. In my opinion, it is necessary to try to make workshops more lively, with stories based on our own experience, as well as useful practical information.

But the most important - if the people go, seminars will go on.

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