Slovo 27 (english language)

003 DJ Hurricane 006 2015: the 20 best hip-hop albums 011 Komo Sarcani 014 2016: the expectations 025 Abraham Lilson 029 2010s in the Hip-Hop 034 Ty Morris 037 5 albums 040 Andruty 046 Minister MCBEE-X 050 Hip-Hop Lesson 2 055 Tobias King

Editor: Nelson Translators: Mikael Salikh Ahki Dee Authors: Nelson Mixmastafreak The cover by Jane 26 http://jane-26.blogspot.com

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

DJ Hurricane is Hip Hop legend. He can talk about evolution of Hip Hop culture, because it was the one to whitness it. From early 80s till present days DJ Hurricane creates great music and saves Hip Hop atmosphere.

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You started rapping at the age of 11, when rap has not gone beyond a few areas of New York. What hip-hop was like back then? And what are the main myths about those times do not correspond to reality?

I would say that guys from Queens were not into Hip Hop like the Bronx is a myth. There were guys like Russell Simmons and Kurtis Blow that always had hip hop parties in Queens the Bronx was not that far ahead of Queens in Hip Hop. Tell us, please, about your first crews Solo Sounds and The Afros.

Solo sounds was the first all hip hop group from Holis Queens started by Davy DMX. We would rock all the block parties and local clubs in Queens. The Afros was also original members of Solo Sounds and Hollis Cew. How did rap groups from the '80s achieve fame in an environment where rap music was not perceived as a serious genre by the industry?

The 80s we achieved fame by being original and brand new to the music industry.

What has changed today – rap got recognized or its only commercial part of it, closely linked with pop culture?

The main changes I see that rap is accepted more than it was back then.

distinguishes them from other groups?

Run DMC came at a time when the Bronx rappers was either solo artist or a rap group of three or more rappers Run DMC came about with just 2 rappers and they dressed like b-boys.

Beastie Boys was different too. What attracted you to them when you first heard them? Were you already deejaying when you met Beastie Boys? How did you started to work with the Beastie Boys?

Beastie Boys what attracted me to them was they was white rap group never done before and they was very Hip Hop. I started working with them in 1986 on the "Raising Hell Tour". They needed a DJ and asked me to do it I said yes.

It's often said that African-American audience of the late '80s did not take the sound of Beastie Boys. How did the attitude changed over time?

That's not true the Beastie Boys had hit records in the African American communities.

In the mid-90's rap was very diverse style of music.

And you worked with a variety of an MCs. Tell us, please, about that period. What subgenres of rap music do you like most?

The signatures of rap from the 90s that I loved was Redman Biggie.

How Run DMC could escape to the top then? What

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How did confrontation between the East and West coasts influenced on your work and your DJ career?

It didn't influence me at all. I wasn't into the east west beef back then.

from Russia. How did your collaboration started? And what will your joint mixtape be like?

I saw some of Spot's work and wanted to do it with a DJ from another country and he was a great fit.

What have you learned from the cooperation with well-known MCs? What is the role of DJ in work with them? And what specific requirements they impose to the DJ? Requirements would be stay on point and rock the crowd.

The joint mixtape of two DJ's is not an ordinary thing.

The DJ and MC cooperate more often. What is the difference between these tandems and releases that they create?

Well one DJ has one style that will bounce off the other I'm always into trying new things a lot of my songs has scratches already built in.

There are three albums in your discography. The last one was released in 2000. What did you do after that?

What studio recordings were released, perhaps for albums from other artists?

After Jam Master Jay passed in 2002 I stepped away from music for a while to raise my kids.

Tell us, please, about the collaboration with artists outside of the US? It's always a challenge to record with artist from another country to find out what they like from where they are from.

How do you see the contemporary hip-hop? And how do you react on changes taking place in it – are you being changed under influence by new tendencies or do you leave new trends for the next generation, and remain a supporter of the classical traditions?

The new generation is gonna like what they created and the veterans are gonna like classic stuff.

Now you are working on a joint release with DJ Spot

Thanks to DJ Spot for organizing interview http://djspotblog.blogspot.ru Mixtape’s cover by Jane 26 http://jane-26.blogspot.com

http://www.beastiemania.com/whois/dj_hurricane https://www.facebook.com/DJ-Hurricane-215456471822569 005

After 2015, recall about its best hip-hop albums. Every hip-hop site made it, and each rating is very subjective. Our rating also does not pretend on objectivity, because how we can clearly compare such different albums from a variety of subgenres of hip hop music?

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20. Dirt Platoon - Bare Face Robbery Dirt Platoon is known team, but they are not very famous. Their releases have rarely seen in the tops of the best in the thematic sites. Nevertheless, there are must be there. "Bare Face Robbery" is a dope rap album, what created by the all canons of the genre. If you need the "injection" of cool recitative and heavy beats, "Bare Face Robbery" required for listening.

19. Onyx - Against All Authorities (EP) The EP, without which it is difficult to imagine past year.

In the American hip-hop is so accurately. The year began under the banner of protest against police violence in many cities of the United States, and it must was mirrored in rap music. Onyx reacted on this most severely and concisely. Their EP is an answer from the streets. Streets do not want to understand the political and social aspects, but simply respond to hatred with hatred. Does this not lead to anything? But these MCs are not "social engineers", they are "journalists of streets".

18. Ice Grill - Black Chalk This album is cool by its rhymes, beats, mix of the American hip-hop and Latin music and recitative of Ice Grill. "Blackchalk" connects tradition and modernity so that, without losing the precious atmosphere of the past.

And it's doing album actual!

17. Jedi Mind Tricks - The Thief and the Fallen Hardcore rap in the last few years was very much focused on the traditions of Jedi Mind Tricks, musically

and thematically. Not surprisingly, the entire of his album is the most important news for the subgenre. "The Thief and the Fallen" is probably not the best album of Jedi Mind Tricks, but that does not make it uninteresting.

This CD sounds more varied than the previous album and the latest releases of Vinnie Paz. This CD grabs you from the first track, and Vinnie Paz tells you about his ideas and doubts with which you certainly can disagree.

But you will listen to this album with interest.

16. E-40 - Poverty and Prosperity (EP) E-40 is a noticeable person in the West Coast rap. Many MCs can envy his activity. And the constant search for new sound is a distinctive characteristic of this activity.

It does not always lead to a really cool releases, although any assessment, of course, subjective. But "Poverty and Prosperity" is a cool EP. It is worth for listening to for its atmosphere, which relaxed and warm. It hasn't an electronic sound, what is very popular in contemporary West Coast. It isn't a long release. It is small and it listened with a pleasure, and leaving a desire to return to it again.

15. Mobb Deep - Survival of the Fittest (EP) What's new in this EP? Nothing. It's the old good Mobb Deep. They wrote himself into the history of rap music of all times. Havoc's beats recognizable. Nobody will be able to recreate the atmosphere of the best releases of Mobb Deep of the 90s. In this EP some moments ghosts of the past wakes up and look alive.

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14. Doomtree - All Hands Hip-Hop scene from Minneapolis has always been a unique phenomenon in the American and global hiphop. At the same time it is constantly evolving, thanks largely to the efforts of the association Doomtree. "All Hands" album is dynamic, with guitar riffs, but to call it rap-rock or other kind of mixture of rap and guitar music will not turn. This is a hip-hop album. It interspersed with other styles, but with recognizable atmosphere of music and a many mcing styles of Doomtree's members.

13. Tim Jones - Everyday This album is sure to be in the collection of g-funk fans.

Tim Jones could to recreate in details everything that we love in g-funk hits from releases 90s. Not the legendary Warren G, who also released a good EP this year, but namely Tim Jones rightly gets the status of author of the best g-funk releases of the 2015, and maybe all the past years.

12. Scarface - Deeply Rooted This is an album of narratives from the veteran who creates street stories for nearly three decades. The album is serious and at the same time "cinematic", because many of its tracks are ideal for film adaptation.

Scarface always had the ability to create such sound canvases. But "Deeply Rooted" in their series also has modern sound that also can be written in the dignity of the disc.

Cannibal Ox awakens polar emotions from different people. If you are trying to feel their experiments, you will be interested in his every album. If you are not, Cannibal Ox will for you just rap group. But for those who is looking for experiments in hip-hop, and wants that the result is staying a hip-hop, this release will be 10. Public Enemy - Man Plans God Laughs The early Public Enemy's albums can be sound like that, if it were written today. This definition I can give "Man Plans God Laughs". Public Enemy's style has always stood out among their colleagues, not to mention their lyrics. And this album is no exception. But it is largely "refresh" this crew. Public Enemy released the album with an eye on the young, and one by one began to release the clips on the tracks from it, that again quite in the spirit of a time, when the visual content is engine of advertising.

9. Your Old Droog - The Nicest (EP) This MC "shot" in the last year, due to the similarity of his voice and manner of performance with Nas. But fortunately, not only these advantages attracted the attention to music of Your Old Droog. This year he released two wonderful EP, of which "The Nicest" sounds particularly interesting. This is minimalist, built on a jazz beat EP. It would seem this is very beaten. But as it turns out, today it is also possible to stand out, because simple but tasteful music is always perfect.

Your Old Droog knows it.

11. Cannibal Ox - Blade Of The Ronin

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8. Malik B and Mr. Green - Unpredictable Another album, what wasn't included even in best lists of "underground" hip-hop magazines. However, this is a warm album, what evokes a feeling of peace and nostalgia. Good album, which has no flaws for fans of the classics.

7. Action Bronson - Mr. Wonderful This album is worth listening carefully. Action Bronson is not the experimenter, but he is an excellent MC with great sense of humor. This is what in his music captures the listener. But apart his mcing technique and lyrics, the album "Mr. Wonderful" captures by the music. Taken out of context tracks sounds just fine, but all together, in the album, they sounds like a delicacy, not a set of its ingredients. Not for nothing because Action Bronson is a professional chef.

6. DJ Krush - Butterfly Effect This Japanese master of hip-hop avant-garde doesn't release albums for very long time. And "Butterfly Effect" not only approved the expectations of the fans, but also became the best instrumental album of the year.

This is an atmospheric, an unusual, and at that time completely hip-hop release.

5. Joe Budden - All Love Lost The album is unjustly deprived of attention of the ratings of popular hip-hop sites. One of the best albums of the year. This status it deserves, first of all, for its atmosphere. From the first track on the album it is

completely immerse your attention. It is worth a lot, because not everyone MC is able to drive the listener's attention. Secondly, it is an interesting emotional lyrics of Joe Budden. Thirdly, it's a contemporary hip-hop, what does not causes dissonance from connoisseurs of the genre, because the emphasis here is still being done on the long narrative, rather than on dance club rhythms and minimalist noise experiments.

4. Oxxxymiron – GORGOROD (game of words: "gorod" is a city in Russian, Gorgoroth is mystic territory from J.R.R. Tolkien's books) I have made a separate list of the best albums of the year for the post-Soviet rap before. But this year it will not.

And Oxxxymiron's album will be among the best albums, regardless of geography. There are several reasons. First of all, this album is really special, which rarely release anywhere, and never have been released to the Russian-speaking rap. It is special because it is really a conceptual album with actual and philosophical topics.

But in this philosophy, he stay a personal album, presentation of the author, not a set of ideas. That being said, it is valuable like gold. And the second reason is that in the context of the cloned Russian rap, "GORGOROD" does not compare with anything.

Oxxxymiron with his album, of course, did not change the game, how he forecast before release, but only because the game is like a fuss in its own sandbox from which Oxxxymiron just grew. If it is an American release, Oxxxymiron will be putted on a pedestal with Kendrick Lamar for his level of the lyrics.

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3. Mr. Lif, The Polish Ambassador & Ayla Nereo Terra Bella "Terra Bella" is the fruit of cooperation of very different musicians. In results we got light, beautiful and at the same time, the original album. Every of its creators complements others. It is an example of an impeccable teamwork in music.

2. Raury - All We Need Raury is a young talent, who hasn't gone on a welltrodden road of his peers in trap or drill music. He did not begin to try to "revive" variations of screwed & chopped, how it doing some young MCs. Raury with his second album proved that the world is full of people, who is longing for a bright hip-hop, where you can find the notes of reggae, soul, and even the atmosphere of the hippie era. Only these people do not want to hear kitsch of 60s and 70s music. They want to listen to contemporary hip hop, impregnated

of the philosophy. And Raury gave them that kind of music. Listeners will love his many years.

1. Kendrick Lamar - To Pimp a Butterfly The fact that "To Pimp a Butterfly" took the first place in most of the tops of rap albums of the year was predictable. However, what is much important - this status is well deserved. Picture of black America, drawn by Kendrick in the language of AfricanAmericans and for them is impressive. This is not just a rap album, but a book with a lot of notes and references. And unlike the thousands of underground MCs, these references are not to mythology or some specific gurus, but to the all culture, that unites different people and different generations. That's all is perfectly connect with contemporary music, which is also able to unite under the hip-hop banner people, who invests in this term completely different values.

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Komo Sarcani is an MC, producer and creator of the label Tomawack Records, which has released a number of dope hip-hop releases. It certainly will be known not only in France but also on international arena over time. Especially releases from Tomawack Records where we can already hear famous American MCs. We talked with Komo Sarcani about the label and his own work.

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Tell us about your music. Your album "Komo Sarcani & Co." came out three years ago. What do you do now?

While recording my first solo album "Hors Norme". I still had a few extra tracks left that I had not put in the album, so I kept those to make a new project "Komo Sarcani & Co" which is a collaboration album with artists like Catch Lungs, Mic Supreme, Neil, Dj Veekash and many others. This project became the inspiration and outcome of a short movie musical called "Pretext (s)" written by Soom Aya (Manager of Tomawack Records).

Like I mentioned earlier, we are working independently.

We put out two projects via national distribution. For the rest of the projects we take care of the distribution in accordance to our touring schedule. When it comes to digital releases, we have our own platform.

The difficulties of an independent label like ours is the financial means, that your project will be visible only if you put up a large budget. But it is doing very well thanks to the sales of CDs and other merchandising.

You distribute music not only in the Internet, but also on CDs and vinyl. Tell us about the specifics of vinyl releases. Is it popular? How well does it sells? How You created the label Tomawack. Tell us about its expensive is it to produce releases in this format in France? history and releases.

I created the label in 2001 with Batos, our goal was to The album "Rimes, Beats & Vies" by Abraham Lilson is highlight artists who were struggling to be noticed via the second release on vinyl for the label, the difference shows and recording projects. Our first project was a between our precedent vinyl release, is that it is signed to compilation "Fables Merchants" a sort of presentation to a national distribution.

It was released with the spirit of making a collectors the label.

Then, considering my past and history with Blaz we album with an original such as "Inspirations" in released a joint album called "Dual Language" which collaboration with Guilty Simpson, which appears only on the vinyl version of the ended up being one of our album. most important releases and received positive "The time change does not affect us, T h e v i n y l i s s t i l l symbolic when critical success in the we make music we love and that is something you're passionate about world of French rap. We enough for us, we do not only live off music or a purist, it's did not officially work something that cannot be with an artist or group of our music, but we live our music". explained, only because we were still in connoisseurs will the middle of learning the art (knowledge of the music industry etc). We focused comprehend. In France as in elsewhere vinyl is returning to the for front like the return of the cassette. on my career and shows.

The label is composed of three people, including Soom Aya which is the manager of the label and two main Tell us about the collaboration with Abraham Lilson artists Abraham Lilson and myself, we work as a family. and about the work on "Rimes, Beats and Vies".

The label has also produced its first short film entitled Exactly, I worked on the album and also the production.

"Pretexte (s)" with big names in French cinema such as For one year I attended all studio sessions, putting the artists at ease, giving directions to follow, lots of other Sandrine Leberre and many others. things. It was a consistent album, on the following: What are the stylistic borders of the label? What are Rimes ("Do places", "Hold our volumes"), Beats ("On to the next one") and lives ("Wise poets", "We hold"). We the styles except hip-hop you release?

We don't really have a definite style per say, we just want leave nothing to chance, for me it was a great learning to make good music and send out good vibes. our aim is experience. to be an extremely general record label we are inspired by so much of the music out there in the world and we are You do not only release albums, but also hook artists also fans of electronic music, folk, and the rumba for up. Tell us about this work of the label. example so we don't really want to marginalize It really just comes down to team work, the advantage is that we know each other well, which makes work ourselves.

We are releasing a lot of hip hop soulful rap and boom enjoyable. We made a lot of wonderful encounters these bap records at the moment but we are open to all styles, last years, also working with rap heavyweights from people will understand during the course of our Detroit. So it was easy to call to artists who could collaborate on the project, Phat Kat, for example. upcoming records.

I learned to have an outside look on a project, so my goal How difficult is it to operate a small label in France? was to bring out the best in all of us.

How does the music distribution industry work?

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What do you think about contemporary French hiphop, and about its changes?

I grew up in Africa, my childhood was rocked by the first hip hop albums that came out in France.

So I experienced the golden age of music in France, I remain a fan of bands like IAM, NTM, Ideal J, La Cliqua, The Brigade, MC Solaar and many others. I know my classics.

At the time, to release an album you really had to be talented and have good knowledge. Today there are many artists thanks to the arrival of the Internet, so it has a great offer and people have a choice.

Aside from all that, we are artists that have always been on the field we never released music solely on digital formats.

We always privilege the physical formats, do concerts, interact with the public.

The time change does not affect us, we make music we love and that is enough for us, we do not only live off of our music, but we live our music.

Which hip-hop releases impressed you most this year?

I really have not had the time to listen to all the releases this year, but I retained Kendrick Lamar's album "To pimp a butterfly", Fashawn "Ecology", BadbadnotGood &

Ghostfaces album, Guilty Simpsons "Detroit's Son". It may seem paradoxical but I hardly listen to French rap anymore, I liked the album by Nekfeu, and that of Ali (45 Scientifik).

I also lean towards electronic music, I love stuff that takes you on a journey, and I love the album "Baker 3" by Fine Equipe.

What is the main direction in the Tomawack label's work for now? What projects are you doing now?

We open up our label abroad, our goal is to be present on the European hip hop stage, hence our first independent tour.

I am currently working on my second solo album that will be released for winter 2016, what I'm working on will surprise many of you. I'm taking my time for this project especially to give you good vibrations.

Kanasu Barz joined the team and he will sign a joint album with Abraham Lilson, the project is also planned for next year.

People can follow me on twitter, instagram, youtube and other under the name Komo Sarcani.

Thank you for your support and long live your magazine, peace.

https://twitter.com/komosarcani https://instagram.com/komosarcani https://soundcloud.com/komosarcani https://tomawacklabel.bandcamp.com https://www.facebook.com/KomoSarcani https://itunes.apple.com/us/album/komo-sarcani-co/id581390505 013

The new year has been started and all fans of rap music are waiting for new releases of their favorite MCs. Who promised this year to release a new album, and why it's worth to waiting for - in our small TOP anticipated releases of 2016. Many people, of course, are waiting for new albums of Drake, Wiz Khalifa, ASAP Ferg, Iggy Azalea, Pusha T, Future, YG, Chief Keef, Young Thug and Migos, but in 2016 planned more varied and interesting albums, including the releases of MCs who keep silent for many years.

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Chance The Rapper

This MC drew the attention of listeners over the past couple of years. And now people are waiting for his new album.

They are waiting for a breakthrough. In general, it's worth to waiting for his album, because it is interesting to see a result and it can be surprise.

Danny Brown This is an eccentric MC with dope recitative. His previous releases were interesting. So we can hope that the new album will not be worse.

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Daz Dillinger & Snoop Dogg

On the one hand we so well know these MCs that aren't waiting anything new from them. But at the same time that duo arouses nostalgia about the cooperation Snoop Dogg and Tha Dogg Pound. No illusions that we can get an album with the sound of the 90s.

But some pleasant surprises "Cuzznz" can bring.

De La Soul

We have not heard anything from these veterans for a long time. And we want listen his new tracks! Because they're classics.

Because they are unique. And because their hiphop is kind. In the era of universal hatred and snobbery, music of this kind is not enough. The album has already gained the name "And the Anonymous Nobody". We are waiting for it!

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Death Grips

New CD from these masters of experiments called "Bottomless Pit".

Many musical critics were so much affected by Death Grips's releases of this year so they put their new album in the first place among the expectations of 2016!

DOOMSTARKS

Duet Ghostface Killah and MF DOOM. Such releases are attracting attention by the names of their creators.

Underground have its "canons" and "icons". And even if you do not tend to create idols, curiosity "what are they recorded?" will take your minds.

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Frank Ocean This guy is original and endowed with excellent musical taste. His albums are in the collections of the hip hop heads. So here it is not about five minutes of fame, but about a good record. At least, I would like to hope so.

Ghostface Killah Why? Because this is Ghostface Killah.

Because participants of Wu-Tang Clan doing now solo albums better than the collaboration releases. And because no matter how much predictable is "Supreme Clientele II: Blue & Cream", it will a good thing. This is a level, where MCs does not make substandard albums.

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Isaiah Rashad

The MC, who has been noted recently by critics and listeners. But now his tracks listen over the world. And people are waiting for his new album. In general, Isaiah Rashad is representative of the future generation.

So it's worth for listening, to be in a trend.

Kanye West

The disc will be called "SWISH". Why is it worth to wait for? Firstly, because Kanye could surprise and I want to believe that he will surprise in future. And even if you're not his fan, the album is worth listening to expand your musical horizons.

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Killer Mike

This MC is cool as on his solo albums and as a member of the duo Run the Jewels. Of course, his albums are waiting by many listeners and its worth to be waiting. The album will called "R.A.P. Music II".

Kno

This representative of the hip-hop underground knows what to do. And he does his job for very long time. So, at least we'll get a good album.

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Lupe Fiasco This MC announced two albums in 2016. It's music not for everybody.

So that's why it is interesting. Why wait for stamping albums? And Lupe Fiasco generally is not stamping.

Macklemore & Ryan Lewis

The duo caught the attention of his past record, and so many are waiting for the continuation. And if you're not familiar with them, the new record will be an excellent occasion to fix it.

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Nas Do you need an explanation why we must wait for this MC's album? It is unlikely that the list of such important expectations will be big.

Missy Elliott When the Missy has released her latest album? Do not you remember? You're not alone. But all listeners remember Missy and her album very awaited. For Missy it will be difficult to not disappoint her fans. But it is necessary to believe that the album will be dope.

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Q-Tip

"The Last Zulu" is long awaited album from the man, who made for the hip-hop culture more than a lot. Given the fact that Q-Tip always got along well with the different "ideological currents" in hip-hop, and he did not forget to change after the change of eras, the album may surprise. We hope that it will be a pleasant surprise.

Run the Jewels

They stirred up the traditional hip-hop, and have shown that even in wellestablished genres, you can create innovations. How after that we can don't wait for "Run the Jewels 3"?

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ScHoolboy Q He is a good MC, who took his place on the rap scene in recent years, will release a new CD. It is worth for listening to.

Trae tha Truth

"Tha Truth, Pt. 2" presents us steep stories, dope recitative and the atmosphere that makes you listen to the full album.

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Abraham Lilson is talented French beatmaker, who released the album "Rimes, Beats and Vies" last year. This album is definitely worth a look every fan of the classic Hip Hop. Abraham Lilson kept the spirit of old school but also added nuances, through which we can talk about the birth of his own style!

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You started to do beats in 2009, but your first album was released in 2014. Tell us how did your style formed during these five years. What have changed and what do you want to find now?

During 5 years I provide a hard work on sampling and digging art, I also gained all by himself more experience in the mastery of the machines that I use: Reason, Mpc 2500 and Machine Studio.

I am a self-taught. I didn't do music theory or school of music! Its my passion for hip hop led me to practice beatmaking, influenced by producers as 9th Wonder, Dj Premier, Just Blaze, J Dilla, Dr. Dre, Alchemist, Pete Rock.

I spent my time studying them by watching youtube videos, my style is a cocktail of influences.

In terms of sample I discovered that not only soul or jazz music can be sampled also world music, alternative rock, oriental and Indie, traditionnal african music, everything is inspiration!

How you perceive the album "Rimes, Beats and Vies" throughout a year after release?

A year later this album still gets me so much fun and pleasure when I listen it! But with hindsight. For me, this is a quality project, I'm proud of it but I also analyze the strengths and weaknesses in order to do

better for my next project. I will be more picky in my prods.

How did release of an album influenced on your future plans? What direction are you going to move?

My next project will be different from the first, there will be more instrumentals and less featuring compare to "Rimes Beat & Vies". Hip Hop influence will remain, there will still and always the sample, heavy bass, I can add that there will be fewer but featuring more instrumental, I still look for the thread driver.

The bass line and the atmosphere attracts most attention in your beats. Tell us how did you created the idea of an album, and its sound. What was leading you while selecting beats for an album?

At the beginning, I wanted to point me to make a beat tape "Le mur du son vol.1" ("The sound wall vol.1"), I was looking for some MCs who make lyrics on two or three beats of the project. So I called Komo Sarcani who's an MC friend of mine and a great Hip Hop activist, for helping me to find MC's.

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After hearing my prods, he purposed me to go further than a beat tape and to make an album. I had already done five beats and I continued to produce others with no specific artistic direction, the samples I have chosen give me the natural direction with some jazz, soul and oriental. Komo Sarcani found the theme of each beat and the Mc's that style will best matched for each track.

Concerning the album title, it hase naturally led for "Rimes Beats & Vies" ("Rhymes Beats & lives"): Rhymes for MCs; Beats for Beatmaker and Lives because music is an integral part of our lives.

This title is also a tribute to A Tribe Called Quest,one who are artists that have rocked my childhood. I was 15 years old when the album "Beats Rhymes & Life" was released, one of my favorite track is "Stressed out". For me this group represent afro american culture, it's a complete team with a Mc a Dj and a producer beatmaker.

after, french beatmakers were distinct from American beatmakers by sampling classic French music like Renaud, Aznavour. A classic beat of French rap is composed of drums, bass, a piano or violin sheet and a sample. For me, American Hip Hop inspire me more, but I also have some inspirations in French hip hop. The big difference is that in USA it became a big business.

Modern popular rap from France often copies trap and drill sound from United States. Do you think it would cause that French mainstream rap will become boring and monotonous?

Yes indeed it is true that I listen less and less French rap because of that, but fortunately there are artists that stands out and provides a quality of content and form.

In addition to soul and jazz samples which are traditional for hip-hop, you also sampled oriental melodies. Tell us what do you like in eastern music?

Oriental music is a great source of inspiration for me, when I say oriental music it's in the broad sense: it can be arabic samples, but also indie samples. What I prefer in oriental music is violin, it's for me an instrument that puts a lot of emotion. I have for reference Timbaland in oriental sampling with "Big Pimpin'" Jay Z, prod. by Timbaland. What I also like in oriental music is the specific rhythmic we can find.

Would it make sence to say that researching for inspiration and ideas in ethnic music is the future of hip-hop?

I think so soul and funk directories were used a lot, and the world music is very rich: from Africa, Asia or Eastern Europe like balkan music, I draw my inspiration through these universes.

French hip-hop was always differed from American. Not only the language, but also a melodies based on the samples taken from French music. What inspires you most - classic American or French hip-hop? Is there a difference for you personally?

For my part, at the beginning I think there was no difference between french and American Hip Hop if we strictly talk about beats, because french beatmakers sampled also soul and funk music, but 027

There are plenty of famous guests - French and American MCs - on your album. Tell us about cooperation with them.

It's Komo Sarcani who connected me with all those talented artists, some of them are friends. We presented them the idea of the project, the album of a beatmaker, and they all hung on the concept! Finally it's a custom-made album in the sense that for each beat it was necessary to find the MC which corresponds best to the track.

minded to work with you. There is no real difficulty except if it's the record label that decides of everything.

What are you working on currently?

I actually work on a common project with a Gambian M小 called Kanasu Barz, I also work on beats for Komo Sarcani next album and also my solo opus. I hope touch more people with my music. Stay connected on the Label Tomawack! We arrive with big projects!!!

Is it difficult to get feature with popular artists in France?

I think that all depends on the artist mindset and on the artistic direction he's looking for, if you make beats that are in his universe the artist gonna be open

https://tomawacklabel.bandcamp.com https://www.facebook.com/ABRAHAMLILSON https://soundcloud.com/abraham-lilson-1 028

After the half of the decade many of the trends in hip-hop culture has perceived not only as a fact of the present time, but also as the most likely future of hip-hop. What brought us the first five years of the 2010s?

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South wind Beginning of the decade was marked by the growing influence of the South side in the American rap. Popular in the second half of the 2000s, crunk and dirty south affected the entire mainstream. Many popular MCs and producers began to use elements of its sound. At the same time in the south has been already formed trap scene.

Today it is not just the world-popular, but somehow changed the sound of the whole rap. Many subgenres with minimalist sound and a heavy bass voice (like drill music from Chicago), and simply "sleek" pop rap tracks are make with an eye to trap music.

about it with the youth friendly contemporary hip-hop.

Of course, not without advertising Dr. Dre, Kendrick was declared the "new king of West Coast". Many people were outraged by this title. But the Internet disputes we leave at the network, and Kendrick Lamar has indeed become the major name in the rap the last five years. And not Kanye, or someone else, no one of the mainstream artists did not issue such a significant content releases like Kendrick. And all in a rising stream of primitive entertainment rap, his albums began to balanced combination of content, music and performance, at the same time contemporary and related with traditions.

Hipsters?

Rap, which quickly labeled as "hipster" in the past five years had become the most popular and debated, and gave place to new heroes. The exceptions are the leaders of the genre, notably Kanye West, who is still icon for millions. In general, this subgenre was a logical development of hip-hop for those who are tired of endless crime stories. These people wanted something beautiful quiet rap from people like them, and they listened to J. Cole and BoB, or they wanted the adolescent humor and they bought millions of albums Tyler, the Creator. At times it seemed that the conscious rap will go forever to the underground and in the charts we will not see it.

Fads of pop music The fact that rap has become part of pop music is hardly worth reminding. This happened long before the beginning of the current decade. The discussed period only strengthened this trend by making pop singers like Drake are leaders of rap charts, hip-hop themed portals and discussion of listeners. This is combined with gangsta rap, which is also long ago became pop music, but now he has become a ubiquitous "glossy advertising". Recall of at least five of the popular videos of "mainstream gangsters", in which they do not drive a premium class car, do not wear the most expensive brands of clothing or poking at the screen a label of elite alcohol. Do you not remember it? The same. Times when even the "studios G" filmed clips on the streets, and that thanks to the real entourage were interesting to watch, gone forever. Now each of the clips is quality filmed television advertising.

Consciousness of mainstream Rescue in this situation many people saw in the person of Kendrick Lamar. This young MC created a picture of real life, tied it with the culture of America, and talked

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In this situation the image of cool guy was not quit from the street. The new generation, that conquering the charts in recent years, use this image. These are guys from the south, or those who, armed with a southern sound, scoring the whole body with tattoos and writing lyrics about "Versace, Versace".

Deified experiment It is not surprising and unexpected and, therefore, it isn't something very interesting. This is a product of the entertainment industry, with its inherent logic of development. There is more interesting what happens in the experimental hip-hop. After all, in this genre have always been those who have tried to expand the boundaries of style, to find its new sound. And if five years ago, the audience's attention was focused on experiments Flying Lotus and other representatives of the glitch-hop, and mainstream innovative releases Kanye West, the past five years, there were many other experimenters. Kanye, of course, retained its status as an innovator, creating incredible hype around the album "Yeezus". And the delight of fans after this release describe difficult, but just looking objectively, is not supernatural in a mixture of hip-hop and early Chicago house. And the king, like in a fairy tale by

Hans Christian Andersen, sometimes looks "naked."

Among the lesser-known but interesting names for which the experiment is a goal and value, it is worth remembering Death Grips, whose latest album, "The Powers That B" is really original. Although you can see everything new in old, both are roots of trap found in electro-funk 80s, and talking about Death Grips it is appropriate to recall the experiments of Meat Beat Manifesto and Scorn with mixing hip-hop and industrial music in the early 90s. But it is in any case not an accusation of plagiarism Death Grips, because similarities between these two teams are not in the music, but rather in the ideological direction of the experiments.

Anyway, most of the young MCs and beatmakers are the children of the digital age. They cannot imagine life and music without technological devices and, therefore, their music becomes more and more "synthetic". Few artists have embarked on a revival of the "natural" sounds, based on the live instruments sound and the impact of the music of the past decades.

And they, of course, also have fan base.

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Erasing of borders In the 90s of mainstream and underground rap scenes were divided strictly. And even on the famous Source Awards ceremonies MCs took their seats in different parts of the room, depending on the membership of a particular coterie. Now those days are in the past.

Moreover, every year, a rating of the best albums, even in commercial magazines focused on pop music often includes albums of hip-hop underground. Somewhere there are more, somewhere less. But the line between commercial and "conscious" hip hop in these ratings is erased. People find the music. Different music. Of course, all ratings are subjective and controversial, and difficult to compare many releases, because contemporary rap become very diverse. However, the blurring of boundaries - it is always a plus for those who do not want to limit themselves.

Transformations of underground Speaking about the "hip-hop underground" it is necessary to recall a new wave that journalists dubbed the "beast coast", and from which awaited revival of the classic hip-hop. Expectations have been slightly inflated, but these are still young MCs and they can release a lot of albums. But a number of good albums, we have already received. Take, for example, releases

of Young Old Droog and Joey Badass.

But even more important was the project Run the Jewels, united EL-P and Killer Mike. They brought new trends to classic hip-hop sound, which seemed to have fully formed. Generally veterans over the past five years released a great number of albums.

Including those, who kept silent for years before.

Among these albums there are a lot of interesting. But the veterans got into the old trap - fans compare their new releases with the legendary albums of the legendary era, but times have changed, changed the veterans and the listeners too. And when they are repeated, loyal fans listen, but even they feel that something is missing. Young people just do not understand that music. Hardly this is a problem. It is just a reality. Veterans are mcing for people, who really waiting for the new artifacts of the old style. For young people their peers are mciing.

What about tireless original MCs among veterans, the unjustly deprived of attention turned Aesop Rock, which, together with folk singer Kimya Dawson created the project The Uncluded, and in 2013 they released the album "Hokey Fright". This album is a rare, a non-trivial and a quality pattern of compound of hip-hop and folklore.

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tried to find ideas for the future. Music sites wrote about the very different artists and very different albums.

These trends seem to persist for a long time. In hip-hop will be more and more electronics. The gloss of mainstream will be opposed by realism of underground.

Those musicians, who tired from these and other standards, will experiment in looking for new sound.

Hardly they can find something unheard before, but certainly they will create several new subgenre of hip hop music. When listeners will be tired from the "five minutes' hits", the industry will find the next young MC, who will be talking about serious topics so that masses will listen to it. And thus the industry will reserve places in their charts for conscious hip-hop. For a while. One thing is certain - we always will find something to listen to and discuss. The next five years will be so precisely.

Continues The past five years in hip-hop were eventful. Eventful by releases, by changing trends and a variety of subgenres. Hip-hop has proved once again that he did not become numb and continues to evolve. Another thing is that the lion's share of this development was the product of the music industry and it directed hip-hop in the direction of club dancing. Songs about "weed and bitches" were become hits. "Glamour gangsters" with teenagers on skateboards do not get off the covers of music magazines, and above all this sat artists, declares himself as "Jesuses of hip-hop". At the same time, interesting, informative and high-quality hip-hop announced about itself, and not only on the independent scene, but also on the releases of major labels. The young generation takes an interest in old school hiphop, and even trying them in this style. The boundaries between genres were erased, the crews looked back and

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Ty Morris is a young American MC, who became a part of the WeBuildHits crew. The head of this team is the legendary Billy Danze. Members of WeBuildHits create music with different sound.

And Ty Morris represents one of the directions of development of contemporary hip-hop.

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Who is Ty Morris? Tell us how you became a MC? Ty Morris is a guy who loves sound. A guy who used to write 8 bar raps in his spiral notebook instead of school work when he was 8 years old and get sent to the office only to write more raps while I was getting in trouble.

My mom found one of my rhyme books back then and gave it to this guys named Russell, he rapped too. He read it and was immediately like, "he needs to be rapping." As a kid back then rapping wasn't far-fetched because it was the "lil" era, Lil' Bow Wow, Lil' Romeo, you know haha longer story short, I recorded my first song with my two close friends back then and ever since I've always wanted to be an MC. Fell in love with the idea that I can record ideas on a beat.

Old-school MCs grew up on the funk of 70s, MC from 90s grew up on an old-school rap, and what music you grew up? Who has influenced the formation of your musical taste?

My household was mostly Wu-Tang Clan, Lord Tariq, Leaders of the New School and Digable Planets, I didn't have much choice seeing that my mother herself is walking hip-hop. As for my personal taste, Digable Planets definitely, Andre 3000, Method Man, DMX, Snoop Dogg just to name a few off the cuff.

You recently became the representative of the WeBuildHits crew. How was started your collaboration?

When I was 18 I was introduced to a guy named Dev, I was told to send him beats I made, so I never ceased contact, sometimes I would send songs and he'd encourage me to keep going, so an ongoing relationship and patience with Dev helped put me in this position.

Tendencies in rap often formed by teens. They are the future artists and the most active listeners.

What is a rap of contemporary American teenagers? What they want to get from this music?

I hear more teens now are into the hardcore trap style or futuristic sound, triple hi hats and things like that, based out tracks or the J. Cole-Kendrick Lamar type tracks, there's literally no in between now a days. Haha. They want more creativity, something that stands out from the rest of what seems to sound the same now a days so they can have a different wave to ride.

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The sound of popular rap is becoming easier.

Hardcore has long gone from the first places of the charts. Your sound is soft and calm. This is dictated by your taste in music or when you select the sound of the track you are guided lyrical contents and emotions that you invested in it? And the aggression absents in your music, because you haven't it in your life?

Most times I record based on how I feel like you mentioned, soft and calm. I'm a laid back guy, but don't get me wrong, I do have aggressive or more, emotionally invested tracks, I've had a lot of hardships in my life and a few different tracks under wraps that display those feelings of hardship.

What are your best tracks and why do you consider them as such?

To be completely honest, I feel as though each time I record a new track it's my best one, haha my favorite track right now is one called "I like it" produced by me and featuring my homie G3.

The popularity of the track is sometimes a surprise for the author. MC may consider the track is not the best, but it became the hit. Do you have these situations in your music?

Absolutely! Haha. Most of the songs I don't like, Dev does and I never understand why. But it isn't about what I like, it's about what I can come up with that the people like so I understand why that is the way it is now.

What are the plans for cooperation with WeBuildHits? What are you working at now?

My plans are to show the world that there's a new wave of hip-hop coming through, it's time for evolution, with WeBuildHits, we will do just that, build hits and make history! Right now, I'm working at an album for myself and studying music trying to get better at what I do as far as being an MC and producing.

Thanks to DJ Spot for organizing interview http://djspotblog.blogspot.ru

https://twitter.com/Kingtymorris https://soundcloud.com/tymorris 036

The discography of Hip Hop culture includes thousands albums, which worthy of thoughtfully listening, keeping in our collections, and having places in charts. But in real life these albums couldn't win in rivalry between their authors and other MCs. Often authors of "forgotten" albums stopped create new tracks very early and in history they stayed authors of one album. But important that we must remember these albums and we can enjoy its! The list of these CDs can be truly endless. In this article I will tell only about five different albums. I will not single out the best among them or share their places in chart. There are just five good hip hop albums, which undeservedly rarely remembered.

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Ghetto Philharmonic - Hip-Hop Be-Bop This is jazz-hop from 1994. Heavy kicks, decorated with percussion and wonderful rhythmic recitative. This is all that we like in the golden age rap. But zest of this album is in the live brass instruments, which are inhale atmosphere of jazz music in this release. Of course, it is primarily a hip-hop, but unlike many releases built on samples of jazz, jazz in this album plays a much greater role, thanks to the combination with minimalistic rhythm section, and thanks to focussŃ–ng on the brass as a "canon of jazz music".

The name "Hip-Hop Be-Bop" also refers us to the great jazz style. Solo played by the author of the project Ghetto Philharmonic - Joseph "G-Clef" Cavaseno. He released the next album only in the 2004 and "Hip-Hop Be-Bop" remained the only example of early work of Ghetto Philharmonic.

Heather B. - Takin Mine Heather B. hardly can be called infamous. The participant of Boogie Down Productions from the beginning of the 90s. Only this fact has attracted attention to her person. But in the United States she is more popular because of her participation in various reality shows on TV. Although she released two great albums, and if she had been

more active in music, probably she would have been one of the icons of the female rap.

Album "Takin Mine" was released in 1996. It is a classic pattern of hardcore rap at those years, based on the heavy bass and juicy drums. Heather B.`s mcing will win you by the first track. And "Takin Mine" will occupy a prominent place in your collection, but most likely it is already there.

J. Spencer - Chimera J. Spencer is a jazz saxophonist, representative of jazz-fusion. He was a supporter of the idea of "new era of hip-hop and jazz", blending these styles. The result is a non-standard jazz-hop, not with a sampled basis, but completely different cocktail - soft live music in the style of smooth jazz and hip-hop rhythms. With this kind of music it can be equally rapping and sing. What J. Spencer had been doing was one of the directions of the development of popular music in 90th, which absorbed the jazz, hip-hop and many other genres. This music remains relevant for all times.

Unfortunately, J. Spencer had died suddenly in 2005 and left for us only two albums. Listen to his debut plate "Chimera", released in 1993, and you will want that this album playing forever.

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lyrics and the ability to easily and unobtrusively convey their thoughts in the tracks. These albums do not abound hits, and do not fall into the charts, but perfectly diluted releases from them.

Mack Da Maniak - Loco Motive Mack Da Maniak is one of many representatives of hardcore gangsta rap 90s. He released only one album and he did not get status one of the legends, what listed in every article about rap of those years. But I must say that the album "Loco Motive" sounds interesting, thanks to the combination of not very heavy beats and ragged broken recitative of Mack Da Maniak. His gruff voice and manner "to crumple" intonations create hardcore atmosphere in his tracks. And it is important that this voice is stored. It cannot be confused with other MCs. So between the littleknown releases of those years, this album you will remember definitely.

Makeba Moocycle - E.A.R.T.H. P.O.W.E.R. Makeba Mooncycle is known mainly due to her feats with Heather Headley, MC Lyte, and especially with Talib Kweli on the single ÂŤLunchroom ClassicsÂť. But her solo album "E.A.R.T.H. P.O.W.E.R." is worthy of your attention. In contrast to the releases described above, it touches not speed beats, heavy bass and rapping technique. This album includes stories that you must listen and about what you must think. Makeba Moocycle is interesting for its

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There is a radio Artistocrats in Ukraine, which not only deeply varies from a plenty of low-grade radios of post-Soviet space, but also has done the impossible – became the seventh popular product at the world's largest podcast service Mixcloud! Among the variety of cool radio programs, this radio broadcasts a hip-hop show called Andruty. We talked with DJ Westa and Franyk, the creators of this show, about the radio broadcast and the place of hip-hop music in contemporary radio.

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The first question, of course, is about the idea of the program. How it came to your mind, and what were the incentives to bring it to life?

Westa: Somehow I wondered "what I would like to do, if it does not depend on money." The answer came by itself.

I would like to do radio. We live in 2016 – in the epoch of the Internet allows doing so. Then I talked to Franyk and found out that that he was thinking of the same, and even discussed the idea with the guys from PidBit (Ukrainian battle rap community). Consequently, we come up with an idea of creating Radio PidBit. Franyk: But I had no idea what was happening with the Internet radio in our country. The first thing googled was Radio Aristocrats. Of course, I heard about it before and I listened to it many times, but mostly to hear new interesting music. And this time I was listening to the "Morning Show" by the radio creators Valeriya Chachibaya, Danilo Khomutovskiy and Yaroslav Lodygin. They are fascinating people. We Skyped, and were very pleased to talk on the radio; they invited me to the party where we met and Valeriya offered to try recording the pilot episode of our show. So somehow magically we come to each other, and so were born the "Andruty."

What does the name "Andruty" means? And why it was chosen for the hip-hop radio show?

Franyk: In our understanding "Andruty" is something good, tasty, hearty and spicy. In Galicia, in the Galician dialect (after all, we broadcast our show from Lviv), the Ukrainian word "andruty" is still used sometimes. It is a dessert with waffle cookies, "waffle cake." Somebody says that it's a Polish word, but there are such words as gofry and waffles (meaning the same) in Polish language.

Yes, it can be the Polish word, because it is widely used in Poland, its origin is definitely Galician, that is Ukrainian.

Westa: Within this year of our broadcasting, the word "andruty" sprouted so many interpretations and gained different meanings. We associate this word with “underground”. We can do nothing else but rejoice.

Moreover, andruty are crispy. Well, crunch of wafers

resembles the crunch of vinyl, and wafers are round as vinyl. This also has its implications.

What kind of radio programs about hip-hop were in Ukraine before? Is there any other program, apart from yours?

Westa: I know exactly that there was "Underground Radio" before. This program was created by Ninth and Aromatherapy crew. Recently I have found and listened to some issues. Dudes were just making shows and podcasting them. I recommend everyone to listen to these ones. You may find them in the Internet.

Franyk: I can't find "Brooklyn pies" anywhere. Maybe I'm bad in searching. They seem to be broadcasted on "Supernova" radio. Last time I had listened to them on audio cassettes. Fozzy from TNMK, Polozhynskyi from Tartak and DJ Dimmy D were the presenters. It would be nice to find them on public domain. Honestly I have nothing to remember.

As to the present shows – we have not even the slightest idea if they exist somewhere in the air. What we can say for sure is that the radio rap.ua has been launched recently; there are informative and interesting specialized programs. Therefore, we strongly recommend you to follow our colleagues as well.

Westa: Well, now, as we have already said, we have joined to create radio PidBit. Its beta version has been in the air online for some time. Then it went "underground" for a while. It also broadcasts programs and shows. So "you are welcome to keep it in mind." Feedbacks are important for us.

How do radio stations perceive hip hop programs in the light of the notorious format?

Westa: You mean the nationwide FM radio stations in Ukraine? – Awfully! They have a long way to grow for hip hop. In contrast to BBC, for example, where the presenter can bring CD by Eminem or Tech9ine and say, "I was planning to tell you about the theater, but yesterday this or that album was released, and we will listen to it."

That's a level!

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Looking through Aristocrats radio program schedule, I saw a lot of show tunes with the music that you will not hear on majority of FM stations. For how long does this radio exist? Does such editorial policy aimed at musical diversity a permanent thing?

Franyk: Radio Aristocrats broadcasts for almost two years. Its editorial policy is based on trusting the author.

After all, the authors are responsible for the musical content of each show. The same is for the subject matter.

And I think the audience feels it.

Westa: In general, if you listen to Radio Aristocrats, you can really hear a plenty of unexpected tracks in interweaving with painfully familiar songs. Rarely it was something that did not get me in the mood. Or that something bothered. The Aristocrats have no concept of rotations. That is the reason why songs don't pall.

In particular, I saw there a jazz program. It is considered to be non-format for Belarusian FM radios, except for the radio "Culture", which is funded through the budget. I can't say that it devoted too much time to jazz. In general, how does the Ukrainian listener assess such "islands" of good music?

Westa: Aleksei Kogan is generally a legendary man. As I understood from the words of the radio creators, he partially inspired them to create the Aristocrats. His experience and expertise make each program in a two-

hour radio play. On each artist, conductor, musician, or separately on any composition, he speaks in such way that you just can't let it go without listening to this music.

Certainly, it is the ultimate task of each and every radio DJ – to get out the message to the audience why they should listen to it. What is most interesting, Mr. Kogan does not use any abstracts, cribs, or Internet during his show. He is just coming to each broadcast with a new disk, specially prepared for the program, puts the track by track and tells everyone what's on his mind. This is a top performance.

Franyk: Once at the party of Radio Aristocrats, in the dressing room, he told us that now he is working on the radio he dreamed of. By the way, apart from his program "Jazz Time", a separate button "Aristocrats Jazz" is working on the radio for almost six months. All connoisseurs can enjoy the exquisite jazz music.

On majority of our FM stations, like in your country, jazz, hip-hop, and a lot of other styles both well-known and not very popular – are considered to be non-format. Although the concept of "format \ non-format" does not mean anything seditious when these terms are manipulated by ignorant huckster who feed people with their fast food music and put it to their ears and heads, without thinking about the future, especially without thinking about the national culture domain – it is sad, at least.

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Westa: But back to the question "How does the Ukrainian listener assess the "islands" of good music?"

I do not know, but at Radio Aristocrats, if I am not mistaken, there were nearly 300 000 unique listeners, yet before 3G technology came to Ukraine‌ Franyk: Radio Aristocrats hits the top ten of the most popular accounts on Mixcloud. And this, for a second, is the seventh place in the world rankings. Therefore, I do not know how to evaluate. It seems that it's popular.

Hip-hop is often perceived as the entertainment for young people. Therefore, program directors expect thematic entertainment shows and pathos that attracts the audience. Have you had problems with the "vision" of hip hop format of the program? Or everything is much easier on the Radio Aristocrats?

Franyk: When we got down to the show, we did not want and did not plan to do it as a program about hip hop. We did not have much experience, but have a lot of ambitions. Initially we imagined a two-hour dialogue with tea and wafers about gadgets, bikes, movies, parties, social networks, skiing, just about life, about our personal problems as humble citizens, about some interesting social issues, especially in our city, or something like that, about things that seem to be so distant from Kiev, for example. Some sort of comic radio strip, occasionally with invited guests. All this we would like to fill with selective hip hop, Ukrainianspeaking in particular, and serve it without too much pathos on a par with foreign music – European or

American. This is exactly what hip hop deserves.

Westa: That is why we did not identify our show as "a hip hop program." We wanted to use hip hop as a style for a two-hour vibe. Our emphasis shifted quickly, when we realized that we are second to none on the planet who will play this music, who can tell you about these talented musicians and poets. They are numerous, this is a separate culture that already exists for a long time and has its own luggage, and all its history is unfairly deprived of attention.

You talk mainly about the Ukrainian hip hop. How many names it gives for new programs? That is, how actively does it develop and how much hip hop news exists in Ukraine in terms of creating a radio program?

Franyk: If you look at hip hop in general, as the culture – it is developing rapidly thanks to the Ukrainian bboys, who have repeatedly shown their skills in various world competitions; and thanks to our writers not only our cities become brighter, but also the streets of European cities, where they often go as invited artists.

Of course we, as a radio program, are most interested in music, though here everything is not so rosy. After all, there is still a language barrier. You rightly said, we are focused on Ukrainian hip hop, and even more to say, when we say "Ukrainian rap", in 80 percents we have in mind Ukrainian-speaking one. It happened in such way.

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Westa: It's really a bit different. And it goes on its own way of formation and development. Therefore, we single out it for ourselves and our listeners in order to present it holistically. It is perceived better in such way. Each trend of hip hop is characterized by its peculiar content, that gains quality day after day. Each trend has its heroes, and they are interconnected, somehow communicate, cooperate and conflict. This is life. There are already several generations of respected poets and musicians who are worth knowing, and better in their lifetime.

Franyk: Of course, we pay attention not only to Ukrainian-language music. We had guests from France, we invited English-speaking MC. We cannot deny the Russian-language product from Ukraine. On the contrary, we support its development and prosperity. And yet we want Crimean Tatar rap, and Armenian rap to develop in our country, and that each one would have its own background, its own history. It will be very interesting. Of course, they will be forced to collaborate.

But you can also play foreign songs on the air. How do you choose the track list for your shows? What are the criteria?

Westa: They are different. Basically, the principle of what we like or don't like, usually depending on the urgency or on the topic. If we have no guests during the show, we select the topic ourselves and play corresponding music.

Franyk: We almost always try to explain to the listener why we play one or another song, even if it is an explicit trash.

Preparation of radio programs faced a number of difficulties, including engineering considerations. Tell us about this kitchen of "Andruty."

Franyk: We record our shows at "474 Studio", which previously dealt only with music records. It looked pretty funny at first, because we had only one good-quality microphone so we spoke in turns or from both sides. We has no idea how we are going to invite guests, so we just spoke about our characters. It is one thing to dig up information about Action Bronson from New York, or about Liroy from Busko-Zdr贸j, and quite another thing is to find something about Ukrainian MCs, which is not something that one may encounter in Wikipedia, or in their own public servers. Therefore, we understand that live interviews are inevitable. We started to write them separately on Zoom, which we borrowed, then finalized the draft program, and there has always been the temptation to tweak something, cut the extra break or someone's "moo." In addition, everything took a very long time. Well, we have refitted our little studio for a second season, making it roomier, and now it is much more comfortable for us to chat with guests. Now we spend two hours accurately to record two hours of the show.

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Westa: We are planning to start the third season with a remarkable event – to invite artists and DJs who have been or still will be with us on the air. We will also participate as artists. We will celebrate together the first year on the air. The event will take place in Lviv in early March, so stay tuned for announcements on social networks. We do not know, maybe we manage to arrange a live stream straight outta there. In future, we still want to have a permanent regime of the air, and then accompanied with the video stream. There are lots of plans, and technical challenges are expected to be in abundance.

Your program goes on the air weekly throughout a year. We can sum up the intermediate results. What conclusions can draw for this period?

Franyk: We draw some sort of conclusion in our final episode of the second season. We have noted some of the tracks for ourselves, some releases of individual artists and their achievements for the year. We played them again, refreshed our memory. We discussed them with our guest, who has actually no concern with hip hop culture.

We enjoyed this practice: speaking on hip hop with people

who are not ready for such practice. We will do it again in the future. In general, we had neither bad reviews nor tracks within this year. That is all our results for now.

I wish your program to develop and broadcast for many years! What is your vision of its development in the nearest future?

Westa: I have already mentioned our short-term goals – as to the live air and video streaming. We would like to hold a series of Andruty parties in Ukrainian cities to somehow communicate with our listeners in real life.

Franyk: In addition to our public pages in social networks, we also set our mind on developing a Youtube channel, which is already running. You may find a couple of videos where our guests rap in our studio. There will be more. However, there is a lack of time to manage everything planned, but we realize that in fact it is all about a lack of sponsor. So we are open to suggestions.

Any. Thank you for your wishes. That's the plan. And you take care of yourself.

http://aristocrats.fm/shows/andruti 045

Photos by Pasha Trishin

Minister MCBEE-X is the creator of UZN DE (chapter of the Universal Zulu Nation in Germany), a member of the World Council of UZN, as well as the head of the Zulu Nation Radio, which is already more than five years brings hip-hop culture in its original form to listeners.

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Tell us, please, about the history of the Zulu Nation Germany.

The History of Zulu Nation is explained in The Infinity Lessons Book 1. The Green Book explains that the Universal Zulu Nation stands for Knowledge, Wisdom, Understanding, Freedom, Justice, Equality, Peace, Unity, Love, Respect, Work, Fun, Overcoming the Negative to the Positive, Economics, Mathematics, Science, Life, Truth, Facts, Faith, and the Oneness of God. It also explains you must seek Knowledge. You must have Wisdom. Understanding what you have gained out of Knowledge with intellectually using your 3rd eye, the mind.

These are the 3 elements of life to conduct and teach for a better world that we live in.

If you look up Infinity Lesson 2, the History of Afrika Bambaataa (page 18), you will find out how Bam created the beginning establishment of The Mighty Zulu Nation, or Zulu Nation, or even when it was considered as the Organization. To this present time, it is documented and registered as the Universal Zulu Nation. As stated after the 1973 fall out of the Black Spades, Bambaataa started a campaign at Stevenson High School calling it the Bronx River Organization. With support from Mr. Biggs, Queen Kenya, and Keith Cowboy (RIP). A year later, Bam, formed the Zulu Nation in dedication to worldwide studies (of South Africa at the time). Bambaataa established the Shaka Zulu Kings and Shaka Zulu Queens, who were Bambaataa´s 5 dancers. After Bams success DeeJay´s, Graffiti Artists and many more, Hip Hop listeners followed Bambaataa to establish the Culture we call today Universal Hip Hop Culture.

The reason why I explain about the beginning of the construct and Bambaataa, is that? If Bam would have not formed this concept, we would not be talking right now about this interview of Hip Hop Culture. It is 1st priority always to mention the beginning factor as a spokesman or teacher to tell about the beginning of the function that you have been inspired bye and maintain to teach.

About U.Z.N. Germany, notice I am using the slogan Universal Zulu Nation, not Zulu Nation. The German awareness to what really the U.Z.N. means within its Philosophy is a building stage at the moment. Meaning that before the establishment of U.Z.N. DE there was much confusion. Afrika Bambaataa came to Europe in the 1982, where he started his Planet Rock tour. The tour started in France, England and then came to Germany. Zulu Nation Philosophy was honestly never understood within this country, its status was a factor of acknowledging its functions of Hip Hop celebrations, but not really understanding its mission. There were many artist´s, members from the past that abused its awareness by just stating that Zulu Nation was them and how they represented Zulu in their status was for all to recognize from.

To date that the older members in the beginning here in Germany were never really registered. A few, but not many.

The exceptions of a few known artist´s within Germany that basically used Zulu Nation as an insurance for their market exposure. You must remember Germany at that time was not aware of Urban Economics, or Hip Hop Culture, they seen it

"We have different titles and topics that consist with topics of life and politics within music concerning Hip Hop". and observed it, and wanted to copy it, but really understanding the construct they had no experience to build from.

How should I explain, have you ever notice when someone who is known, or famously accomplished something, everybody wants to get involved, but yet really does not understand why they joined. I call it "The just because factor". It´s like Michael Jackson with his glove, Michael Jordan with his Nike Shoes etc. etc. People become fantasized and attached to products, just like a kid now a day´s asking his parents for an IPhone.

Germany has many sources to grow from, but yet the deliberation of its culture from the past and now future is in question? Can it make it, I feel yes it can, it needs the right people guiding others about the integrity of Universal Zulu Nation to become recognized as a Humanitarian Movement!

On sectors, we have the community of Wiesbaden where at this present time is the Home Base of U.Z.N. DE (Germany). This statement is official and there is no other location of U.Z.N. Old school rap in Germany had positive lyrics content.

But during the time aggressive battle MCs became more popular. And contemporary commercial German rap associated mostly with "media gangsters" who boast of cars and gold chains in their videos. What caused this change of lyrical content in the popular rap? It is strange, because Germany is a comfortable country for life, and "thug life" for the majority of the population in this country is not more than the picture in Hollywood movies.

First thing what is Old School Rap to New School Rap? To me right there, is a "Hollywood monkey wrench factor" being placed in the minds of the youth and adults. (It's the same thing whether it's new or old).

Remember a major factor is to separate the masses of thinkers and people who control their own destiny, therefore you can control others by separating them. Hip Hop is a global concept that is a force spoken in any language. That is power within itself. To control that power, you have to build jealousy, hatred within the factor to separate the unity of Universal Hip Hop Culture.

True Gangsters are ones never publically known, their underground, untouchable. Media Gangsters are clowns, puppets that are controlled by the Puppet Masters.

What caused this change in Germany? Again Society Control factor. 2nd Germany is not so comfortable as you think, we have a growing mass of homeless people and unemployment constant rising in this country, all though Germany has learned very well on Westernizing its public from the United States (especially within the media).

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You created Zulu Nation Radio. What programs on the radio now and what are you planning to create?

Is this only internet station or you also broadcast on the Radio waves?

Zulu Nation Radio is a broadcasting network in Germany that is over 5 years old now. Our Broadcasting network is Radio Darmstadt 103.4 Mhz, 99.85 Cable net. We are online and radio for every public listening viewer. Zulu Nation Radio was created to preserve the Inner Concept of True School Hip Hop Music and in dedication to Afrika Bambaata and his goals as a Humanitarian. We have different titles and topics that consist with topics of life and politics within music concerning Hip Hop. We are partners with Free Dome Radio in New York City, hosted By Bambaataa and Lord Yoda X. We have live interviews at our radio station with the likes of Kurtis Blow, Afrika Bambaataa, The Jungle Brothers, GrandMaster Mele Mel, The Sugar Hill Gang, King Tee, The B Boys, Donald D and many more.

It is actually spoken about in conferences Nationwide.

For those that are aware, just take a look at Alex Jones and Professor Griff. We are not just talking about corrupted higher learning Masons, we are talking about Satanic Worshipers. I´m not a religious fanatic, but you cannot keep a blind eye closed to what is going on within this day and era.

Remember anything that can bring awareness in speech and outlook is a possible threat to those who want to enslave people within the masses. Hip Hop is a cultural adaptation of what? People, Culture, Spoken word, artistic behavior.

People come in Zulu Nation with different purposes. Someone just wants to join the oldest hiphop organization, someone is looking for people with whom he could work together on projects in the social and cultural sphere, but also there are "posers", who endlessly repeating slogans about the "world, unity and love", but apart from posts in Facebook with these slogans they do nothing. Do On the radio page it says that the "The Illuminati you think it is a problem only for Zulu Nation, or it and its music agendas on mind manipulation and is an inevitable phenomenon, like in any other undermining a covert operation to control the organizations?

Ok, to answer the 1st sentence, masses within the Hip the U.Z.N. is actually not a Hop Urban Music Scene". portal for you to achieve your Do you really think that "Our Vision is till Infinity and personal music goals, we help t h e re i s a d e l i b e r a t e "plot" to manage the Beyond, it never ends. You will be guide and educate certain masses with the help of the something else when you leave this entertainers to a higher level, but honestly those entertainers commercial music world.

Our Souls and mind never made their mark on their own. industry? ends".

The Poser´s as we call Movers I think you all ready, know and Shakers, will always be a that answer, of course. The nagging source. In the images that we see and beginning it bothered me, and observe are distorted in comparisons to what they use to be. Even the new Star I would get upset, but since I have been with U.Z.N. for Wars to me was a flop from Disney. It´s not the same so long it´s not something that we are not accustomed vibe as it once was, and that concerns Hip Hop as well. to. Those who "Fake the Funk" as Bam would say are Let´s be honest the real methods of Hip Hop culture sooner or later not with us in the long run. within the media outlets is obsolete (dead). It´s either About Facebook, this is an official statement from Zulu the pioneers touring places to bring a small awareness Staff that no intern or intel discussions should be posted on Facebook. You can alert a meeting for back.

The United States Government has a covert operation promotional purposes stuff like that, but honestly guys going on right now, it´s killing black people day in and who are just selling merchandise of U.Z.N. need to stop out. Who is behind these judicial strings, well you can and doo their business at the Official Major events that guess who it is. Just look up the documentary on a lost unites the people together. U.Z.N. is a nonprofit generation in Hip Hop spanning from 1985-2010. organization. Meaning no profit for privateers.

Institutionalized Prisons, being funded by the major There is a way to alert people, hand to hand is the best corporation, the Big 5, Sony, B.M.G, Warner, Capitol, way, an eye for an eye, a tooth for a tooth. Technologic EMI, even Virgin. The Prison Industrial Program, look logistics is a grand advancement but also it up to gain intel. In the 1950´s Jay Edgar Hoover uncontrollable. installed the covert operation Co Intel Pro, which got rid of Marcus Garvey, lead to the assassination of Malcolm X and Dr. Martin Luther King Jr. 048

What is your vision of the social activity of Zulu Nation in the future? What we should do and what are the global goals for us? #1, stay positive, know yourself for who you are. Ask questions 1st before joining anything that might seem exciting. Gain as much intel as you can, learn from it and then find out if that source is direct and not saying something false. That is the beauty of the Infinity Lessons to learn archived data and manuscripts and to one day remodify its teachings. We are all Sons of mankind we live in the celestial galaxy. We are a source

of living energy. There is nothing that you cannot do within your own frame of mind, and never let anyone tell you different. Our Vision is till Infinity and Beyond, it never ends. You will be something else when you leave this world. Our Souls and mind never ends.

We will be always remembered by some source of creation. For we are the children of the heavens, the Ama´s, under the Atum.

AshĂŠ HoTep, Peace and Prosperity. Thank You for your Interview.

https://soundcloud.com/michael-breunig-3 https://www.facebook.com/ZNRadio103.4MhzRadioDarmstadt 049

Holding of local festivals for hiphopers is starting to become a tradition in Grodno. I'd like to hope that this tradition will get stronger and will be perceived as an integral part of hip-hop culture of this Belarusian city.

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The second festival Hip-Hop Lesson held in Grodno on December 26. It would seem that what can be interesting in a local jam for hiphopers? At least, the fact that it's not just a crowd, it is a full educational marathon, in which well-known Belarusian b-boys and b-girls managed to conduct a master class for young dancers, and talk with them about the relationships between hip-hop and knowledge as the basis of this culture. Agree, in commercial event this is not real. Who will be interested in friendship and mutual respect when it comes to earnings? That's right - nobody. Hip-Hop Lesson wasn't commercial party. Organizers and participants of the Hip-Hop Lesson were aimed at live communication and the creation of atmosphere of unity, which is much talked, but you do not often see at various parties.

Of course, dance cannot be without cool music. DJ Cyrax gave all present his sets filled with cool hiphop, what was tasteful and mixed competently. So

that dancers could show all their skills and wanted to do it sincerely!

Over ten (!) hours of the festival participants had jam and some battles: Unity Battle, Battle Cypher King Hip-Hop and Battle Cypher King Breaking. Mazzz, Meelisa, Fused Pluton and Stacy held with them a master class.

What more I can say? The best emotions and the atmosphere of the second Hip-Hop Lesson reflected on the faces of its members in the photo report.

Photographer Alexander Pasechnik https://vk.com/club70425014

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Tobias King is a beatmaker, DJ and Hip Hop activist from 206 Zulu Nation Seattle. We talked with Tobias about long history of hip-hop, his creativity and views on education, science and culture.

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Please introduce yourself and tell us how you came into Hip-Hop? Peace everybody. I'd like to start by saying thank you to Frixan Yak for the opportunity to let you get a chance to get to know me a little. I appreciate that Akhi. I'll start by saying my name is Lodei Osric Nicksic also known as Tobias FatherBornKing TheJedi and Tobias King online which is actually FatherBornKing with a couple extra additions. How I came into Hip Hop? I would say my first what I would call real Hip Hop experience was in the mid 80s when we had a local breakin crew called The Systematic Breakers. It was a fun thing we were doing where we had to chance to perform for the community a couple times. Some of us were most definitely better than others and I remain pretty humble in the breakin reality these days but I would say those were my first times experiencing Hip Hop as something cool to be into. Since then I've always done the knowledge to hip hop and paid close attention to beats and lyrics but only now in the last few years have I begun to involve myself with my local Zulu charter. 206 Zulu has been a beautiful experience filled with a whole mob of cool folks doing very cool things. Personally I've always been striving to reach higher heights musically so I've played around a lot with the tables and the mic on my own time for years also beatbox type flute stuff all day lately so my experience with Hip Hop and as Hip Hop has been multi leveled and fairly well rounded.

Its all working toward what it is becoming meaning I see the future of what my music can be and I'm really having fun doing what I'm doing. I'm becoming Hip Hop more all the time. The way I see it the more we learn about the all the aspects and levels of Hip Hop even History and founding members and unlimited other involved individuals who played an important role the better we understand what we can do to add our own original flavor to the mix. Before you can do something you have to know how. That's part of how I see it. Be around the knowledge to get the knowledge, basic math.

Hip Hop history starts in the Bronx, but today new generation don't want to study history, they need only studio and to make records. What do you feel about the ones who say we need to be original and don't look at anybody in HipHop. I mean they trying to be original in their countries and they don't wanna hear about the fathers who created the Culture. What do you think about it?

Peace Akhi to answer the question about studio and album makers not knowing about or not respecting

the real Hip Hop knowledge of this culture and its forefathers. That's a question that I personally would kind a leave alone because I strive to focus on my own reality and do everything in my power to understand that just because I think something about somebody that doesn't make it true. In all actuality I see it as its each individuals choice to research or not.

It's ultimately up to the individual and I personally have respect for many peoples music and contribution regardless of what they know or not but an educated intelligent person is an educated intelligent person. It's up to them tho... Some people may also be saying they are Hip Hop without much of an understanding of what that really means or entails. We have peoples grandmas saying look at this hip hop song I just made. Many don't understand the magnitude of what Hip Hop is yet. I just focus on my work tho...

Why do you think knowledge is important in Hip Hop? I think knowledge in Hip Hop is important mainly because knowledge is infinite we never run out of things to say and build on and do. The knowledge of every element is so vast that it keeps the things moving in a forward motion of fresh creation...

How we can teach young people and wake their minds for seeking of knowledge. How do we turn them into good side for overcoming negative to the positive?

I think as long as were making children aware of the importance of getting knowledge the more it will become second nature to them as they're learning all the kinds of things that are good for them and the kinds of things that aren't. If we are good influences and good teachers the children will know and understand the importance. I think doing cool things as a good example and being somebody to look up to as well is very important when it comes to watching eyes. We have to question what that means. We must create and implant the interest in getting knowledge while teaching. The knowledge of Supreme Mathematics has the power to help as well... It has done a lot for my study habits and understanding so I encourage the teaching of this type of system of understanding. In my eyes we can create geniuses through knowledge wisdom and understanding along with all of the other righteous principles we do the knowledge to.

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How can Supreme Mathematics help people from other cultural visions and state of mind?

In many ways. We work with mental elevation and awareness so this system could influence activation in anybody from any culture if applied as we do. It's somewhat like jump starting a car. It doesn't start up till you give it the power. The mind is similar...We are able to activate parts of the mind we never really played with. We awaken to the understanding of Self...When we apply the math to ourselves we become very self motivated meaning we make the things in our life happen ourselves through the knowledge to build rather than praying and expecting God to do everything for us. We realize we must build success and everything else ourselves...

When did you accept the Gods teaching and why did you choose this side? Explain please what 5% means for you? I know 5% don't believe in mysterious God but how do you mix it with Zulu Nation's vision In the Name of the Source Who is the Force called by many different names but it's All in One. That's a big answer my brother. I've been aware of the Gods since "Wu-tang Forever" wu revolution, but only in the last four years have I started to actually getting knowledge of our lessons and applying mathematics daily. So I've been studying for about four years but I've had my ears open to the knowledge in Hip Hop for

over two decades. To me being one of Allahs five percenters simply means that I'm aware of the truth about self and God...

Seattle's music scene is wide known. There's a lot of famous musicians of different genres in your city.

How did it reflected in hip-hop from Seattle?

In all actuality's I personally live about an hour and a half north of Seattle in Bellingham. I have only in the last 2 1/2 years started to make my way around Seattle and I am a new Zulu Nation member just in the last couple of years. I personally cannot say that I am all that responsible for any growth of the Hip-Hop scene in Seattle as a result of so many different genres being involved. Yes true many great musicians of come from Seattle but I'm not the best suited to answer this question...

Is Zulu Nation 206 united only with hip-hop community, or there's a lot of representatives of other subcultures among Amazulus in Seattle?

One of the main things I know about our organization is we are mainly Hip-Hop but we are most definitely not limited to Hip-Hop. Sometimes you will find certain individuals more interested in the community outreach aspect side of things. I would say yes we are mainly Hip-Hop but I like to make it very clear that everyone who is like-minded and understands a common cause is welcome to be a part of our organization. Being that I am a very new member I'm not the most qualified to speak on organization matters. I'm still learning how the organization functions myself.

What is spiritual research for you? Many false "gurus" use uncertainty of the word "spiritual" to manipulate people. Where is the line between the spiritual self-development and way in the deadlock of their own illusions and delusions?

In this matter I can only speak for myself. These days I don't consider myself a religious or even spiritual person. I have spent many years studying religion. I've always been interested in what all the different religions believe and what are all the main principles of different religions are. This is been something that all my life I've been interested in. My understanding of God has evolved into what it is now. I'm the type of person that doesn't believe in God. I personally know for a fact God is real and exactly what it is that that means. What I do is more of a system. A scientific system of understanding how things work and what's going on around myself. One thing I most definitely do not do in my own personal life is sit around praying to a god that I know nothing about and have never seen.

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How does hip-hop culture stimulates your spiritual researches?

Again for me I don't consider what I do spiritual or religious but I do see how mathematics and all of the principles of mathematics coincide nicely with all of the principles of Hip-Hop. On one level knowledge is infinite so if you think about it we can never run out of things to rap about for one. For two mathematics plays a major role in rhythm and beat making. Musically mathematics is very real and relevant. Also to better understand the principles in my lessons is to better understand self.

When you better understand self you can better express self through the elements of Hip Hop. How was your worldview created? What did influence on it and how did it change over time?

I personally would say throughout my lifetime I'm a very musically educated person and some of my main education has come from music lyrics. This is one thing I see in Hip-Hop that many don't. To hear how people express their experience is like sitting in a classroom listening to a lecture learning something about something you didn't know. I learn from how people see life itself.

That's just me though.

What I have learned to do is build on actual facts. I've learned to focus on things that I can see and things that I can understand. Then I build on those things and all the things that are out of the realm of being able to see and understand I'll just leave it alone because if I'm not allowed to understand it I'm obviously not going to understand it. What I have created as an understanding is based on a human level based on the human temple called the human body. I understand that the closest thing anybody will ever have to understanding God is within self. Without our physical temple we don't know anything about anything.

Mythology, mysticism and science - what is the difference between this words in your opinion? And which of them should be used for own education and development by Zulu Nation?

Well if I could choose out of any of them I would choose science to focus on. I'm really not very well studied in mythology or mysticism and I only understand certain types of sciences but I do the knowledge to science and things that are scientifically proven. I now through supreme mathematics see the importance of actual fact.

Anything less than actual fact is weak truth. I would have to study mysticism and mythology more to be qualified to build on such topics.

Tell us about your creative projects and about projects of 206 Zulu Nation.

I personally am dealing with issues where I'm lacking beat making equipment and I personally don't have my turntables right now but what I do is play my instrument every day and I've been getting really good on that. I will eventually incorporate that into all my computer studies to make quality music as much as possible. I personally strive to make quality timeless music and if you are a musician or performer you know this takes time to cultivate your skills. The 206 Zulu is responsible for many amazing Hip-Hop events monthly. In Seattle it seems there's always something going on. At least a few times a week there will be somebody Zulu related performing somewhere. I am personally amazed with the work of our organization. If you've heard the 206 does good work you heard correctly. Again I am a new member still learning how things go. Thank you so much for the opportunity to be interviewed my friend. I'm glad I can give people a chance to get to know me a little bit better.

I'd like to say thank you for doing the knowledge to my words and peace to all Zulus worldwide. It is a great honor to be involved in such an amazing universal organization. Peace.

Interviewed by MixMastaFreak and Nelson https://www.facebook.com/mixmasterfreak https://www.facebook.com/nelson.slovo

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