Katika Hip Hop ya Tanzania utakosa fadhila kama hutotaja vijana wa mwanzo kabisa ambao kuanzia mivao yao na kufoka foka kwao kulikuwa ni burudani na ushawishi tosha kwa watu kuanza kudadisi kuhusu maana halisi ya utamaduni huu hasa Tanzania.Kwa wakati huo ilionekana kama uhuni tena wa kupita kiasi.Nitawataja wachache ninaowakumbuka ambao kila kukicha ukigongana nao kwenye Night Clubs,Samora Avenue pale Salamander basi ulikuwa unachoka mwenyewe.Nakumbuka vijana kama John Simple,Dj Rusual,The BIG One,Babu Manju,David Nhigula,Abdulhakim Magomelo,Kessy,Ibony Moalim,Tom London,OPP (now Jay P) na Dj Ngomeley.
Tukiendelea hao niliowataja hapo juu walikuwa chachu katika uvaaji wa kihip-hop na katika kughani na sijui kama kuna mtu atasahau watu kama Fresh XE Mtui,BBG (alianza na Mr II),Adili kumbuka,KBC (Mbeya Tech),Saleh Jabir,Samia X,THE BIG,Rhymson,2Proud.Deplowmatz na wengineo wengi ambao walikuwepo na wakighani katka school parties au matamasha ya mtaani kabla hata ya kurekodi nyimbo zao studio.
Kwa mara ya kwanza pia promoters kama Joe Kusaga na Abdul hakim Magomelo walionekana kutobaki nyuma katika ukuzaji wa sanaa hii ambapo waliandaa matamasha mbali kama Yo! Rap Bonanza na Coco beach Bottle Parties kwa ajili ya kuwapa nafasi wale wenye uwezo wa kughani.Matokeo yake yalikuwa ya kufurahisha kwani kila mmoja alikuwa na shauku ya kuingia katika gemu.
Kwa vile sio watu wote walikuwa na uwezo wa kughani lakini pia kulikuwa na wale wenye kuimba kama wanamuziki wengi wa Marekani kwa kupitia matamasha mbali mbali kwenye Jumba la utamaduni la Urusi,Korea na mengineyo yalikuwa yakiandaliwa hasa na wanafunzi wa shule mbali mbali za sekondari jijini kama Forodhani pia matamasha yaliyokuwa yakifanyika kando kando ya ufukwe ambako wengi wenye kutaka kuimba walijitokeza.Hapa tunakumbuka kundi kama la Mawingu na mwana dada Pamela,mwanadada Stara Thomas na Judith Wambura ambao uwezo wake wa kughani na kuimba kama Mc Lyte ulimpa tafu hasa alipofanya hivyo kwa mara ya kwanza ndani ya kipindi cha DJ show ya Radio One,shukrani kwa Ipyana Malecela Mkwavi (RIP) kwa zawadi ya LP yenye instrumental (ala) tupu aliyonipatia kama zawadi aliporudi toka UK kwani instrumental ya single “Keep,Keeping on” ndiyo iliyomtambulisha Jay Dee wa leo Radioni kwa mara ya kwanza japokuwa kabla ya hapo alikuwa mwimbaji wa kwaya kanisani lakini mweye kusita kuingia kwenye muziki wa kidunia.Pia Kundi la R&B lililojulikana kama Four Krewz Flava pia Herbert Makange ambaye pia alikuwa akiimba.
Naweza nikawa nimesahahu majina machache hapo juu lakini kwa ufupi hao ni baadhi ya watu wa mwanzo kabisa kuuingiza masikioni mwa jamii muziki wa kizazi kipya pengine hata kabla ya chombo kilichoipaisha juu zaidi..RADIO.Na ninaposema Radio simaanishi Radio nyingine bali Radio One Stereo kama Radio pekee yenye kujivunia juu ya ukuaji wa muziki huu wa kizazi kipya kufikia hapa ulipo.
Lakini uko nako hakukuwa na mteremko,mambo yalikuwa mengi na mazito mpaka muziki kujipenyeza na kukubalika.Je nini kilichochea mapambano ya kuuchomeka muziki huu Radioni na kuupa nafasi ya kupigwa sambamba aina zingine za muziki kama ule wa dansi nk? nani alihusika katika harakati hizo na nini kilifuata? ugumu huo ulitokana na nini?
Lakini mimi binafsi mbali ya mkongwe Taji Liundi ambaye alifungua njia ya mapambano na harakati ili kuupa muziki huu nafasi yake kama ilivyo dansi na aina nyengine ya muziki,kamwe sitomsahahukijana mwenye akili “Genius” Dj Sebastian Maganga ambaye alipokea kwa dhati mikoba ya DJ SHOW baada ya miye kuachia ngazi.Sebastian ana nafasi ya pekee sana katika muziki huu tangu alipojiunga na Radio One toka Radio Tumaini,ikumbukwe pia Sebastian ni mwana HipHop aliyetoka na kundi la Afro Reign toka miaka hiyoo.Sebastian ni mbunifu na ndio yeye aliyenisukuma zaidi katika kuibadili DJ Show moja kwa moja na kuachana na nyimbo nyingi za Marekani katika kipindi cha DJ SHOW na pole pole tuliweza kufanikiwa kwa kushirikiana na DJ Jumanne kutoka Holland ambaye alitutengenezea promo nyingi za kipindi na kubadili usikivu wa kipindi hiki kutoka muziki wa Snoopy Dogg/Dr Dre mpaka ule wa akina Mr II/Kwanza Unit.
Na katika kufanikisha hilo kwa vile DJ Show ilikuwa inapiga muziki mchanganyiko lakini wa kileo.Siku moja tukiwa kwenye kipindi Sebastian aligusia mfumo wa kutenga muziki katika dakika 30 kila genre,kama tunapiga Reggae basi alishauri iwe dakika 30,kama R&B ya Tanzania basi tutenge dakika 30 nk.Nilikubaliana na wazo hilo kwani lingetufanya tutoe nafasi sawa kwa kila aina ya mtindo na sio upendeleo wa kupiga Hip Hop au R&B tu masaa yote mawili ya kipindi.
Ilipofika dakika 30 za muziki wa R & B,siku hiyo nilikuwa kwenye usukani na kwa mbwembwe nilicheza nyimbo ya kundi la R&B lililoitwa 4Krewz Flava na baadaye kuiunganisha na nyimbo nyingine ya Unique Sistaz.Kwa vile midundo,mpangilio,lugha na utaalamu wa muziki wenyewe kamwe huwezi kuufananisha na ule wa Soul 4 Real au SWV kutoka Marekani,tulipenda tutofautishe kidogo kati ya aina hizi mbili na ndipo session hii niliibatiza jina ambalo lingetofautisha R&B ya Marekani na ile ya kwetu….niliipa session hii jina la BONGO FLAVA.
Hii ilikuwa mwaka 1996 na ndio ulikuwa mwanzo wa neno BONGO FLAVA likiwa na maana muziki wenye mahadhi ya nje lakini wenye vionjo na ladha ya Tanzania na si vinginevyo lengo kuu ni kuitofautisha na muziki ule wa Marekani.Hip Hop ya Tanzania ilibaki na itabaki vile vile kama ilivyo,ila muziki wowote ule wa nje,mbali ya Hip Hop na DANSI ya Tanzania niliuita na kuufahamishakwa umma wa watanzania kama BONGO FLAVA ndani ya kipindi cha DJ SHOW cha Radio One.
Nikifikia tamati ya mtazamo wangu na jinsi nilivyoshuhudia muziki huu ukikua pengine kumekuwa na ubishi ambao kwa maana halisi nimeonelea nao niudodose kidogo hii leo.Nilipokuwa nyumbani Tanzania nilipata bahati ya kutembelea Clouds FM ambako mwenzangu Sebastian Maganga sasa ni Mkuu wa Vipindi na aligusia suala hili la chimbuko zima la muziki huu na neno BONGO FLAVA.Niliweka haya unayoyasoma wewe hapa bloguni kama yalivyo na niliomba yeyote mwenye kuona tofauti na ninauona ukweli kujitokeza lakini hakutokea mtu kupinga.
Nasema hivi kwa vile huko nyuma kuna waliodiriki kujitokeza/kujitangaza hapo mwanzo na kudai kuwa neno hili BONGO FLAVA ni jina lililotokana au kutungwa na wao,kitu ambacho mimi na mwenzangu Sebastian Maganga tunakipinga kwa sababu tunajua ukweli uko wapi.Watu hawa (tunafahamiana fika) waliombwa kuja studio za Clouds FM siku hiyo katika mahojiano maalum na kuuthibitishia umma juu ya dai lao lakini hakuna aliyetokea.
Ni kweli kila mtu na mtazamo wake katika kila jambo kutokana na alivyolishuhudia lakini ni vyema tukawa wakweli kidogo bila kupindisha mambo pale tunapotaka kuuhabarisha umma juu ya yale tunayotaka wayafahamu.Katika mnyambulisho huu hapa juu sio lengo wala nia yangu kumsuta mtu na inawezekana kabisa kama binadamu wa kawaida kuna mambo nimeyasahau,kama ndivyo basi ni vyema tukasahihishana ili kurekebisha mambo na sio kudanganya kwa kudhani ukweli kamwe hautojulikana na ndio maana nimeamua kuandika haya ili kuweka yale ninayoyajua wazi kwa faida ya kizazi kijacho na hata cha sasa ambacho kimekuwa kikipotoshwa na wachache.
Na kwa kufanya hivi sina nia hata kidogo ya kutaka au kuuukwa umaarufu,kwani nimekuwa maarufu toka nina miaka 19 na sihitaji wala silazimishi kuwa maarufu hivi leo.
Ieleweke kuwa haya yote ni katika kutoa elimu kama shuhuda wa mapinduzi ya muziki huu Tanzania kwani kumekuwa dhahiri na upotoshaji wa makusudi au wa kutojijua inapokuja katika mambo muhimu yanaohusu muziki wa kizazi kipya Tanzania.
Kwa mfano neno hili la BONGO FLAVA lilizaliwa na kutokea katika kipindi cha DJ Show na si vinginevyo kama ambavyo imekuwa ikidaiwa katika zinazoitwa historia za muziki huu wa kizazi kipya kutoka vianzio mbali mbali.
Mfano mwingine hai ni ule kuwa kuna kuna wanaosema TANZANIA MUSIC AWARDS imeanzishwa na mwanamuziki James Dandu (ambaye alikuwa ni rafiki yangu mkubwa) lakini watu wanasahau kuwa TANZANIA MUSIC AWARDS ilianzishwa na mwanamuziki wa zamani wa bendi ya Mawenzi/Prodyuza John Kagaruki chini ya kampuni yake ya Serengeti Production kwa kushirikiana na BASATA mwaka 1997 na sherehe za kwanza kabisa ambazo zilirushwa live na kituo cha ITV zilifanyika pale Whitesand Hotel.
Ni kweli mwaka uliofuata sherehe hizi hazikufanyika tena na zilipwaya.Lakini tusisahau kuwa mwaka 2000 kampuni ya Look Promotion kwa kushirikiana na Clouds FM walifanya tena onesho hili ikiwa ni mara ya pili kufanyika Tanzania.Na mwaka uliofuata bia ya Kilimanjaro kwa kushirikiana na mwanamuziki James “CJ MASSIVE” Dandu na kampuni yake ya Dandu Planet walizindua upya sherehe hizi ambazo zimekuwa zikifanyika kila mwaka toka wakati huo.
Mifano kama hii na mingineyo mingi tu inaleta mushkeri hasa inavyopotoshwa kwa makusudi ilhali mashuhuda wake tupo tena tukiwa hai.
Ebwaneeeeeeeeeeee issue ndio iko hovyooo.ni kwa mujibu wa MIKE MHAGAMA.
Sunday, February 22, 2009
NENO AU JINA BONGO FLAVA;CHANZO CHAKE NINI AU NANI?
Mike Pesambili Mhagama
Historia ya muziki wa kizazi kipya au Bongo Flava kama unavyojulikana miongoni mwa wengi hivi leo una historia ndefu. Ni historia ndefu kiasi kwamba hivi leo wengi hatukumbuki tena hata muziki huu ambao hivi leo umetokea kuwa kipenzi cha wengi ulianzaje,ukapitia hatua na harakati gani mpaka kufikia hapa ulipo hivi leo.
Miongoni mwa mashuhuda wa mwanzo wa harakati za mwanzo kabisa za muziki wa bongo flava ni aliyewahi kuwa DJ maarufu nchini Tanzania kwa jina Mike Pesambili Mhagama(pichani).Mike sio tu miongoni mwa mashuhuda wa mwanzo bali pia ni miongoni mwa watu wachache walioamini katika muziki wa kizazi kipya tokea mwanzo.Kumbuka hizo ni zile enzi ambapo muziki huo ulikuwa ukichukuliwa kama “uhuni” tu na sio aina mpya ya muziki au burudani.Ni watu wachache sana walioweza kutabiri hatua ambazo muziki huo ungepiga miaka kumi au kumi na tano baadaye.Lakini pia Mike amekuwa akikerwa na jinsi ambavyo kumekuwepo na upotoshwaji au upindishwaji wa vipengele fulani fulani muhimu vya historia ya muziki huo. Katika kujaribu kuiweka vyema historia hiyo,Mike Mhagama ameandika kwa mapana na utulivu wa kina kuhusu harakati za mwanzo za muziki wa kizazi kipya,suluba walizopitia yeye na watangazaji wenzake katika kuutambulisha muziki huo,wadau mbalimbali anaowakumbuka katika harakati hizo,wanamuziki wenyewe,promoters wa muziki nk.
Pia Mike Mhagama,anaweka wazi kitu ambacho watu wengi wamekuwa wakijiuliza;Nini chanzo cha neno Bongo Flava? Nani mwanzilishi wake?Kwa jibu hilo na historia nzima.
Fwatilia ktk blog hii.Mike Mhagama hivi sasa anaishi huko Los Angeles,California nchini Marekani.
KWANZA UNIT ILIANZA LINI?
Kwanza Unit:Then and NOW
CHEKI NA INTERVIEW NILIYOPIGA NA K.SINGO(KBC) WA KWANZA UNIT
KIWA.Mambo vipi?
KBC:What up kiwa!! It’s OBAMA 09 and I like this atmosphere,..Tunaendelea Kupambana..!!
KIWA: Kwanza kabisa nadhani wapenzi wengi wa fani ya muziki nchini Tanzania na duniani kote wangependa kufahamu;uko wapi na unajishughulisha na nini hivi sasa?Bado unafanya shughuli za muziki?Kama hapana,imekuwaje ukaachana na muziki?
KBC:What up kiwa!! It’s OBAMA 09 and I like this atmosphere,..Tunaendelea Kupambana..!!
KIWA: Kwanza kabisa nadhani wapenzi wengi wa fani ya muziki nchini Tanzania na duniani kote wangependa kufahamu;uko wapi na unajishughulisha na nini hivi sasa?Bado unafanya shughuli za muziki?Kama hapana,imekuwaje ukaachana na muziki?
KBC:Well at the moment im “PassPort Pimpin”..In and Out of Bongo..Si Unajua tena siku hizi dunia kijiji cha ujamaa??I’m Graphic Designer by Profession..Mfanya Biashara and a B.BOY GENTLEMAN..In Bongo im a Hip Hop Veteran..Sitoweza kuacha music..I still write alot.
KIWA: Kumekuwepo na mijadala mbalimbali kuhusiana na historia nzima ya kundi la Kwanza Unit. Ndani ya mijadala hiyo kumekuwepo na kutofautiana kuhusu historia nzima ya kundi hilo.Unaweza leo kutuambia kwa mlipoanzisha kundi la Kwanza Unit mlikuwa wangapi, kina nani na mlikuwa na malengo gani hasa?Mwamko wenu ulitokana na nini?
KBC: First and foremost let me start by giving Thanx to All the Kwanza Unit supporters All over the world,from the early days till now..
Kwa kweli tumeshuhudia mijadala mingi kuhusu historia ya Kwanza Unit lakini tatizo watu wengi huitazama Kwanza Unit kama kundi la muziki tuu..while Kwanza UniT is/was a MOVEMENT. That’s bigger than Music…bigger than the number of Emcees in it..
The Movement started in 1992.Malengo yalikuwa ni kwanza kutambulisha na kuelimisha jamii kuhusu utamaduni huu wa HipHop..Pili ni kutumia Hiphop kama chombo au kitendea kazi cha kuelimisha na kuangazia mazuri na mabaya yanayotokea katika jamii zetu za TZ..Long story short EDUTAINMENT..
KIWA: Ni changamoto gani(kiutendaji na kijamii) ambazo mlikumbana nazo kipindi mnaanza ku-rap?
KBC:Changamoto ilikuwa to follow the VISION that we had collectively..to Document whats happening Around our Jamii,..The Struggle,The Good times,the joys and Pains..so we became the Voice of the urban Bongo Youth.
KIWA: Kumekuwepo na mijadala mbalimbali kuhusiana na historia nzima ya kundi la Kwanza Unit. Ndani ya mijadala hiyo kumekuwepo na kutofautiana kuhusu historia nzima ya kundi hilo.Unaweza leo kutuambia kwa mlipoanzisha kundi la Kwanza Unit mlikuwa wangapi, kina nani na mlikuwa na malengo gani hasa?Mwamko wenu ulitokana na nini?
KBC: First and foremost let me start by giving Thanx to All the Kwanza Unit supporters All over the world,from the early days till now..
Kwa kweli tumeshuhudia mijadala mingi kuhusu historia ya Kwanza Unit lakini tatizo watu wengi huitazama Kwanza Unit kama kundi la muziki tuu..while Kwanza UniT is/was a MOVEMENT. That’s bigger than Music…bigger than the number of Emcees in it..
The Movement started in 1992.Malengo yalikuwa ni kwanza kutambulisha na kuelimisha jamii kuhusu utamaduni huu wa HipHop..Pili ni kutumia Hiphop kama chombo au kitendea kazi cha kuelimisha na kuangazia mazuri na mabaya yanayotokea katika jamii zetu za TZ..Long story short EDUTAINMENT..
KIWA: Ni changamoto gani(kiutendaji na kijamii) ambazo mlikumbana nazo kipindi mnaanza ku-rap?
KBC:Changamoto ilikuwa to follow the VISION that we had collectively..to Document whats happening Around our Jamii,..The Struggle,The Good times,the joys and Pains..so we became the Voice of the urban Bongo Youth.
KIWA:Ni wazi kwamba muziki wa rap/hip hop nchini Tanzania umeshapitia vipindi kadhaa muhimu.Hapa nazungumzia tangu kuanzishwa kwake mpaka hapa ulipo hivi leo.Sasa ukilinganisha na “enzi zenu” na jinsi mziki ulivyo hivi leo nchini Tanzania,kuna tofauti gani za kimsingi ambazo unaziona?Ni tofauti nzuri au mbaya?Kwanini?
KBC:“Enzi Zetu” huh?..ha haa..we not that old Jeff! HipHop Culture inatambulika zaidi kwa watanzania siku hizi.Thanx to Programs like WAPI chini ya usimamizi wa ZAVARAA a.k.a CHIEF RHYMSOM,kwa kuelimisha vijana kuhusu Hiphop Culture and its elements.
Lakini Bongo HipHop music bado unapata vikwazo vingi siku hizi kutokana na mafanikio ya muziki wa BONGO FLAVA. Watanzania wengi Bado hawajui tofauti kati ya HipHop na Bongo Flava..hata wale Radio DJ ambao ni kiungo kati ya msanii na mashabiki wa Muziki wa TZ.
Siku hizi Everybody RAPs..Even RnB singers Rap nowadays..lakini ukweli ni Kwamba just cos you Rap.. it doesn’t make you HipHop artist.Ni kama wale watalii wazungu wanaweza kujifunza kuongea Kiswahili vizuri tuu..lakini hawawezi kuwa waswahili..vivyo Hivyo kuna wasanii wengi wa BongoFlava wanao Rap lakini sio Wana HipHop.
KIWA: Pia kumekuwepo na habari au taarifa tofauti tofauti kuhusu muanzilishi au waanzilishi wa muziki wa kufoka foka(rap) nchini Tanzania.Kwa unavyokumbuka au kuelewa wewe,nani unaweza kumuita mwanzilishi wa rap nchini Tanzania?Ilikuwaje?
KBC: No Disrespect Jeff,but the word KUFOKA FOKA is offensive to an artist as the ‘N’ word to a Black person..that word was invented by ignorant TZ journalist who did not know anything about Rap music,and even when they were informed about it they refused to call it what it is..RAP MUSIC..so they called it KuFOKA FOKA..
Now you see what we had to go thru “Enzi Zetu”..we had to fight for everything..Most press and media people at that time found it hard to be informed about this new artform by these Urban Bongo youngsters.Most of them wrote their own version of our story and that’s why you have too many contradicting stories.
KIWA: Kama ilivyo kwa mambo mengi katika jamii,muziki wa kizazi kipya ni eneo mojawapo ambalo linapingwa,kubezwa na kupewa shutuma mbalimbali.Miongoni mwa shutuma zinazoambatana na pingamizi kadhaa ni ile ya kwamba hivi leo vijana wengi wanafanya muziki sio kwa sababu wana vipaji bali ni katika minajili ya kuganga njaa tu.Unasemaje kuhusu shutuma kama hizo?Unadhani zina ukweli wowote?Kama ndio,hali hiyo unadhani ina mchango gani katika maendeleo ya muziki?
KBC: Muziki sio kitu ambacho kila mtu anaweza kufanya,kwa kizazi kipya au Zilipendwa..The Problem is not doing it for the money or for the love..the issue is do these so called Wasanii know music??..
Ukweli ni kwamba hata kama una kipaji cha muziki ili watu wakusikie utahitaji kurecord professionally. Hapo itabidi ulipe studio fees,mashabiki wa muziki ni wengi itakubidi kujipromote..itabidi utengeneze copies of your demo..itakugharimu..Hata kama unataka kutoa muziki wako bure itakubidi utengeneze copy nyingi ili kila mtu akusikie nk
Sasa kwa wale wanaoweza muziki na wana uhakika na vipaji vyao kutokana na demand ya mashabiki wa muziki,wameingia kwenye “Biashara ya Muziki”..watu wengi wanaotoa shutuma Hizo inabidi wafanye mahesabu ya gharama za kurecord+Kupromote. Studio owners dont care kama una kipaji or Not..All Money is good Money,its bizness,they have bills to pay too.If it was Free then we could critisize.Halafu kila mtu ana haki ya kujitafutia.Si ni borawafanye Muziki kuliko kwenda kukaba na kutumia madawa ya kulevya..au sio?
KIWA: Katika muendelezo huo huo wa shutuma na lawama,limekuwepo suala la producers kuonekana kama chanzo cha kuzorotesha ukuaji na umakini wa muziki wa kizazi kipya.Wanaosema hivyo wanasema kitendo cha producers kukubali kumuingiza mtu yeyote studio ili arekodi nyimbo bila kuzingatia kipaji alicho nacho mtu bali hela aliyonayo tu kinaua kabisa fani.Unasemaje kuhusu hilo?Unashauri nini kifanyike?
KBC:Tatizo sio Music Producers Jeff..kusema kurecord wasio na Talent ni kuua fani ni sawa na kusema Kufundisha wanafunzi wajinga ni kuua elimu..Tatizo ni Radio Dj’s wasiojua Muziki,wanaopokea pesa na kupromote yeyote yule mwenye pesa..sisi wana Hiphop tunaziita WACK SONGS.
Kwa mtindo huo huwapa nafasi wasio na vipaji kwenye chart za muziki..so every other kid thinks music is easy..so they go to the studio too..more money to the Producer-More money to Radio Dj’s..More money kwa Muhindi anayeuza kanda(cassettes) na kuwaibia wasanii..RADIOs KILLED GOOD MUSIC!!
KBC:“Enzi Zetu” huh?..ha haa..we not that old Jeff! HipHop Culture inatambulika zaidi kwa watanzania siku hizi.Thanx to Programs like WAPI chini ya usimamizi wa ZAVARAA a.k.a CHIEF RHYMSOM,kwa kuelimisha vijana kuhusu Hiphop Culture and its elements.
Lakini Bongo HipHop music bado unapata vikwazo vingi siku hizi kutokana na mafanikio ya muziki wa BONGO FLAVA. Watanzania wengi Bado hawajui tofauti kati ya HipHop na Bongo Flava..hata wale Radio DJ ambao ni kiungo kati ya msanii na mashabiki wa Muziki wa TZ.
Siku hizi Everybody RAPs..Even RnB singers Rap nowadays..lakini ukweli ni Kwamba just cos you Rap.. it doesn’t make you HipHop artist.Ni kama wale watalii wazungu wanaweza kujifunza kuongea Kiswahili vizuri tuu..lakini hawawezi kuwa waswahili..vivyo Hivyo kuna wasanii wengi wa BongoFlava wanao Rap lakini sio Wana HipHop.
KIWA: Pia kumekuwepo na habari au taarifa tofauti tofauti kuhusu muanzilishi au waanzilishi wa muziki wa kufoka foka(rap) nchini Tanzania.Kwa unavyokumbuka au kuelewa wewe,nani unaweza kumuita mwanzilishi wa rap nchini Tanzania?Ilikuwaje?
KBC: No Disrespect Jeff,but the word KUFOKA FOKA is offensive to an artist as the ‘N’ word to a Black person..that word was invented by ignorant TZ journalist who did not know anything about Rap music,and even when they were informed about it they refused to call it what it is..RAP MUSIC..so they called it KuFOKA FOKA..
Now you see what we had to go thru “Enzi Zetu”..we had to fight for everything..Most press and media people at that time found it hard to be informed about this new artform by these Urban Bongo youngsters.Most of them wrote their own version of our story and that’s why you have too many contradicting stories.
KIWA: Kama ilivyo kwa mambo mengi katika jamii,muziki wa kizazi kipya ni eneo mojawapo ambalo linapingwa,kubezwa na kupewa shutuma mbalimbali.Miongoni mwa shutuma zinazoambatana na pingamizi kadhaa ni ile ya kwamba hivi leo vijana wengi wanafanya muziki sio kwa sababu wana vipaji bali ni katika minajili ya kuganga njaa tu.Unasemaje kuhusu shutuma kama hizo?Unadhani zina ukweli wowote?Kama ndio,hali hiyo unadhani ina mchango gani katika maendeleo ya muziki?
KBC: Muziki sio kitu ambacho kila mtu anaweza kufanya,kwa kizazi kipya au Zilipendwa..The Problem is not doing it for the money or for the love..the issue is do these so called Wasanii know music??..
Ukweli ni kwamba hata kama una kipaji cha muziki ili watu wakusikie utahitaji kurecord professionally. Hapo itabidi ulipe studio fees,mashabiki wa muziki ni wengi itakubidi kujipromote..itabidi utengeneze copies of your demo..itakugharimu..Hata kama unataka kutoa muziki wako bure itakubidi utengeneze copy nyingi ili kila mtu akusikie nk
Sasa kwa wale wanaoweza muziki na wana uhakika na vipaji vyao kutokana na demand ya mashabiki wa muziki,wameingia kwenye “Biashara ya Muziki”..watu wengi wanaotoa shutuma Hizo inabidi wafanye mahesabu ya gharama za kurecord+Kupromote. Studio owners dont care kama una kipaji or Not..All Money is good Money,its bizness,they have bills to pay too.If it was Free then we could critisize.Halafu kila mtu ana haki ya kujitafutia.Si ni borawafanye Muziki kuliko kwenda kukaba na kutumia madawa ya kulevya..au sio?
KIWA: Katika muendelezo huo huo wa shutuma na lawama,limekuwepo suala la producers kuonekana kama chanzo cha kuzorotesha ukuaji na umakini wa muziki wa kizazi kipya.Wanaosema hivyo wanasema kitendo cha producers kukubali kumuingiza mtu yeyote studio ili arekodi nyimbo bila kuzingatia kipaji alicho nacho mtu bali hela aliyonayo tu kinaua kabisa fani.Unasemaje kuhusu hilo?Unashauri nini kifanyike?
KBC:Tatizo sio Music Producers Jeff..kusema kurecord wasio na Talent ni kuua fani ni sawa na kusema Kufundisha wanafunzi wajinga ni kuua elimu..Tatizo ni Radio Dj’s wasiojua Muziki,wanaopokea pesa na kupromote yeyote yule mwenye pesa..sisi wana Hiphop tunaziita WACK SONGS.
Kwa mtindo huo huwapa nafasi wasio na vipaji kwenye chart za muziki..so every other kid thinks music is easy..so they go to the studio too..more money to the Producer-More money to Radio Dj’s..More money kwa Muhindi anayeuza kanda(cassettes) na kuwaibia wasanii..RADIOs KILLED GOOD MUSIC!!
KIWA: Leo hii ukiangalia jinsi ambayo muziki unaoitwa wa kizazi kipya umepata umaarufu kiasi kwamba ndio umekuwa kimbilio la vijana wengi katika kutaka kujiajiri na mambo kama hayo unajisikiaje?KBC: It really feels like Graduation day..Job Well Done..Juhudi zetu na malengo yetu yametimia,nguvu zetu hazikupotea bure..TZ artist can live off music now..Vijana wa kitanzania wanatumia sauti zao na uwezo wao wakisanii kujiajiri na kutangaza utamaduni na maisha ya jamii yetu ya Kitanzania..ProF Jay on tour Europe+USA..Juma Nature getting nominated for MTV awards…Lady JayDee performing at Nelson Mandela’s Birthday nk. Enzi zetu wengine walituita wahuni lakini hatukukata tama.Leo hii hata President Jakaya Kikwete ni mshabiki wa muziki huu wa kizazi kipya.1994 People were amazed of what KWANZA can do..today Im amazed of what FID Q can do..”it feels really really Good”..
KIWA: Ni wanamuziki gani nchini Tanzania hivi leo wanaokuvutia kutokana na kazi zao?Kwanini?
KBC:Unajua Muziki wa Vijana TZ umegawanyika,I have alot nitataja wachache..HASHIM a.k.a Dogo,FID Q,JUMA NATURE,SALU T,Professor JAY,J-Mo,MChiZi Mox,CHIDI BENZ,NAKO2NAKO,BaBUU,KURASSA,LANGA,BOB-Q na BK,..aaaah Man! kiwa I got many..LADY JAYDEE,NURUWELL,DAZ NUNDAZ,MASHARIKANZ,Giz MABOVU,Mjomba NASH..i can feel up a room kiwa let me stop..ha haaa
KIWA: Je mna mpango wowote wa kujumuika siku moja kama Kwanza Unit na kufanya japo onyesho moja na pamoja?Mawasiliano yenu yakoje?
KBC: Yeess!!Mpango huo upo na ulikuwepo..Tulitarajia kujumuika pamoja mwaka jana kwa Kishindo Kikubwa ile siku ya 08/08/08..Lakini Mikataba ya Kibiashara ikaingiliana..lakini yote Heri..Tegeni Macho na Masikio 2009!!..its gonna be BIG!!
KIWA: Matatizo ya haki miliki na wasanii kuibiwa kazi zao yamekuwepo toka enzi na enzi.Unadhani kwanini inakuwa ngumu kuyapatia ufumbuzi?Unadhani hiyo ni vita isiyo na mwisho na ambayo mshindi hawezi kupatikana kamwe?
KBC: Haki Miliki itapatikana pale wasanii watakapo funguka macho kuhusu biashara ya Muziki..TZ music industy set up needs to be restructured.Tunahitaji Music Business ya kweli.Msanii anahitaji kuwa na lawyer,Msanii anahitaji Kuwa na Contracts na Recording Labels..sio radio DJ’s.
Haki za msanii na makubaliano ya kibiashara yawe wazi kwenye Contract wakiwakilishwa na Lawyers wao.Kwa wale wasanii wakubwa wanaohitaji Meneja..inabidi wawaajiri..Msanii ni boss wa meneja wake sio vice Versa..
Record Label ndio zigharamie studio fees na promotion cost..we all know alot of money is generated in Entertainment industry,more Tax money for our serikali.Ingekuwa vizuri kama serikali ingesaidia kulinda haki miliki za wasanii hawa..Kwa kweli inabidi wanamuziki wa TZ waende na wakati..”2008 World SuperStars like Jay-Z,50 Cent,Shaggy,Akon,KC n JOJO,etc wanafanya shows Tanzania..na tunawalipa pesa nyingi tuu..Mamillioni!! kwanini hatuwezi kuwalipa wasanii wetu wenyewe??
KIWA: Mwisho ungependa kutoa ushauri gani kwa vijana ambao hivi leo wapo kwenye “game”?
KBC:Kuheshimiana,kushirikiana,kupeana support.Nimewahi kwenda show mbali mbali za wasanii wa siku hizi..ni vigumu kuwaona wasanii wenzao kuja ku support..kama kila msanii wa kizazi kipya atahudhuria show ya mwenzao basi wote watatengeneza chakula kizuri.
Nawashauri katika Fani yoyote ile..Bring your “A game”..work hard on it..give it 120%..wasitegemee misaada.Business is never personal.Wasanii wajielimishe,wasidanganyane na mafanikio ya hapa hapa nyumbani. Wajitayarishe kama kama wanariadha kabla ya Olympics.Wana jukumu la kuiwakilisha Tanzania kisanaa.Pia nawaomba wasanii wote wawashauri Wanaume Family(Ze Original) kurudiana…their shows were AMAZING!!Vile vile Kumshauri HASHIM “Dogo” kurudi kwenye Muziki..tunahitaji sauti yake..Hata Album moja tuu..He is the Best TZ HipHop artist thats never been heard by many.
KIWA.Asante kwa muda wako na tunakutakia kila la kheri katika kazi zako.
KBC: Yo! kiwa shukrani sana..its been REAL,Keep up the Good work with the Blogg..Here is a gift to All Kwanza Unit and Bongo Celebrity Fans.my song called “GRINDING”-KBC feat Fid-Q n RoZe PeTaL..Enjoy
KIWA: Ni wanamuziki gani nchini Tanzania hivi leo wanaokuvutia kutokana na kazi zao?Kwanini?
KBC:Unajua Muziki wa Vijana TZ umegawanyika,I have alot nitataja wachache..HASHIM a.k.a Dogo,FID Q,JUMA NATURE,SALU T,Professor JAY,J-Mo,MChiZi Mox,CHIDI BENZ,NAKO2NAKO,BaBUU,KURASSA,LANGA,BOB-Q na BK,..aaaah Man! kiwa I got many..LADY JAYDEE,NURUWELL,DAZ NUNDAZ,MASHARIKANZ,Giz MABOVU,Mjomba NASH..i can feel up a room kiwa let me stop..ha haaa
KIWA: Je mna mpango wowote wa kujumuika siku moja kama Kwanza Unit na kufanya japo onyesho moja na pamoja?Mawasiliano yenu yakoje?
KBC: Yeess!!Mpango huo upo na ulikuwepo..Tulitarajia kujumuika pamoja mwaka jana kwa Kishindo Kikubwa ile siku ya 08/08/08..Lakini Mikataba ya Kibiashara ikaingiliana..lakini yote Heri..Tegeni Macho na Masikio 2009!!..its gonna be BIG!!
KIWA: Matatizo ya haki miliki na wasanii kuibiwa kazi zao yamekuwepo toka enzi na enzi.Unadhani kwanini inakuwa ngumu kuyapatia ufumbuzi?Unadhani hiyo ni vita isiyo na mwisho na ambayo mshindi hawezi kupatikana kamwe?
KBC: Haki Miliki itapatikana pale wasanii watakapo funguka macho kuhusu biashara ya Muziki..TZ music industy set up needs to be restructured.Tunahitaji Music Business ya kweli.Msanii anahitaji kuwa na lawyer,Msanii anahitaji Kuwa na Contracts na Recording Labels..sio radio DJ’s.
Haki za msanii na makubaliano ya kibiashara yawe wazi kwenye Contract wakiwakilishwa na Lawyers wao.Kwa wale wasanii wakubwa wanaohitaji Meneja..inabidi wawaajiri..Msanii ni boss wa meneja wake sio vice Versa..
Record Label ndio zigharamie studio fees na promotion cost..we all know alot of money is generated in Entertainment industry,more Tax money for our serikali.Ingekuwa vizuri kama serikali ingesaidia kulinda haki miliki za wasanii hawa..Kwa kweli inabidi wanamuziki wa TZ waende na wakati..”2008 World SuperStars like Jay-Z,50 Cent,Shaggy,Akon,KC n JOJO,etc wanafanya shows Tanzania..na tunawalipa pesa nyingi tuu..Mamillioni!! kwanini hatuwezi kuwalipa wasanii wetu wenyewe??
KIWA: Mwisho ungependa kutoa ushauri gani kwa vijana ambao hivi leo wapo kwenye “game”?
KBC:Kuheshimiana,kushirikiana,kupeana support.Nimewahi kwenda show mbali mbali za wasanii wa siku hizi..ni vigumu kuwaona wasanii wenzao kuja ku support..kama kila msanii wa kizazi kipya atahudhuria show ya mwenzao basi wote watatengeneza chakula kizuri.
Nawashauri katika Fani yoyote ile..Bring your “A game”..work hard on it..give it 120%..wasitegemee misaada.Business is never personal.Wasanii wajielimishe,wasidanganyane na mafanikio ya hapa hapa nyumbani. Wajitayarishe kama kama wanariadha kabla ya Olympics.Wana jukumu la kuiwakilisha Tanzania kisanaa.Pia nawaomba wasanii wote wawashauri Wanaume Family(Ze Original) kurudiana…their shows were AMAZING!!Vile vile Kumshauri HASHIM “Dogo” kurudi kwenye Muziki..tunahitaji sauti yake..Hata Album moja tuu..He is the Best TZ HipHop artist thats never been heard by many.
KIWA.Asante kwa muda wako na tunakutakia kila la kheri katika kazi zako.
KBC: Yo! kiwa shukrani sana..its been REAL,Keep up the Good work with the Blogg..Here is a gift to All Kwanza Unit and Bongo Celebrity Fans.my song called “GRINDING”-KBC feat Fid-Q n RoZe PeTaL..Enjoy
Kama vp tegeni masikio kwenye radio zenu Mtasikiza ngoma hiyooo wajanja wanguuuuuuuuuuuu
KBC A.K.A K.SINGO WA KWANZA UNIT Anasemajeeeeeeeee?
K.SINGO
Kabla ya makundi ya muziki kama vile Wanaume TMK,Das Nundaz,Nako2Nako,East Coast na mengineyo kuibuka au hata kutambulika kwenye anga za muziki nchini Tanzania yalikuwepo makundi ambayo hivi leo wengi tunakubaliana kwamba hao ndio waanzilishi wa kinachoonekana hivi leo kuwa kama vuguvugu la vijana katika kupigania haki yao ya msingi ya kujielezea(freedom of expression) katika jamii kupitia sanaa ya muziki.
Miongoni mwa makundi hayo ni lile lililotamba sana na kujulikana kama Kwanza Unit.Miongoni mwa wasanii waliokuwa wanaunda kundi hilo ni KBC au KSingo(pichani) kama alivyojulikana wakati ule na hata hivi sasa.Mbali na Kwanza Unit,wengi bado mtakuwa mnamkumbuka kama mpigania haki za Wana Hip Hop na pia miongoni mwa wanamuziki waliojitolea sana katika kuhakikisha kwamba Hip Hop ya Tanzania inaeleweka na kukubalika.Pia wengine mtamkumbuka kama DJ pale Clouds FM katika Dr.Beat.
Tukiwa bado katika kuhakikisha kwamba historia ya vuguvugu hilo na kwa ujumla historia nzima ya muziki tunaouita “wa kizazi kipya” hivi leo,haipotei na inawekwa vyema mtandaoni,hivi karibuni tulifanya mahojiano na KBC kama utakavyoyasoma hivi punde.
Je unakumbuka Kwanza Unit ilianzishwa mwaka gani?Nini yalikuwa malengo ya mwanzoni?Leo hii KBC akiangalia nyuma anaona tofauti gani au maendeleo ya aina gani katika muziki wa kizazi kipya?Nini ushauri wake kuhusu masuala ya haki miliki na utawala wa biashara ya muziki?Kwa maoni yake,nani anachangia kudidimiza muziki?Ni producer au Radio DJ.
JIBU LIPO.
WANAMUITA MR.BLUE
Ze king wa maposeeeeeeeeeee?
Wimbo uliomtoa ulikuwa ni ule uliokuwa ukiinadi rangi ya blue.Pengine ndicho chanzo cha yeye baadaye kuja kujulikana kama Mr.Blue.Pamoja na hayo wimbo wake ulioitwa “Mapozi” ndio ulikuja kutamba kwa staili ya aina yake.Baada ya hapo ikawa ni mapozi nawe,mapozi nawe.Lakini kwa mashabiki wa muziki wa kizazi kipya anabakia kuwa Mr.Blue.Hivi karibuni alikuwa katika ziara ya muziki nchini Uingereza.Ni miongoni mwa vijana walioko katika fani ya burudani kupitia muziki nchini Tanzania ambao wanaweza kusema “wanafanya vizuri” katika wanachokifanya.
PROF JAY KATIKA “THE MTV MAKING OF THE VIDEO”
Prof Jay(kushoto) akiwa na Director maarufu wa video,Anthony ambaye ndiye ame-direct “Who You Be’
Hivi karibuni msanii maarufu wa Hip Hop nchini Tanzania,Professor Jay amekuwa akizuru nchini Ghana mara kwa mara ikiwa ni kufuatia kuteuliwa kwake na MTVbase katika ile project maarufu ya “The MTV Making of The Video Part II“.Hiyo ni kutokana na kukubalika kwa Prof.Jay miongoni mwa wana-Hip Hop wa barani Afrika. Huko Ghana,pamoja na kufanya maonyesho mafupi mafupi kadhaa,Prof alikwenda kutengeneza video iitwayo “Who You Be” akiwa ameshirikiana na msanii maarufu wa nchini Ghana aitwaye Kwaw Kesse(pichani juu ni Prof na Kaw Kesse).Video hiyo itaonekana hivi karibuni kupitia MTVbase na TBC.Stay Tuned!Hongera Prof Jay kwa kuwakilisha Tanzania na mafanikio yako katika muziki.
Saturday, February 21, 2009
HUYU NDIO 2PAC MAZEEEEEEEE.CHECH ZE HISTORY
Tupac Shakur
Maelezo ya awali
Pia anajulikana kama
2Pac, Makaveli
Amezaliwa
Kigezo:Birth dateEast Harlem, Manhattan,New York City, New York,Marekani
Asili yake
California, Marekani
Rapper, mtunzi wa nyimbo, mwigizaji, mtayarishaji wa rekodi, mshairi, mwandikaji muswaada andishi, mwanaharakati
Tupac Amaru (16 Juni 1971 -na akafariki 13 Septemba, 1996) alikuwa mwigizaji, mwanaharakati wa haki za binadamu, na pia mwanamuziki maarufu wa muziki wa hip hop kutoka nchini Marekani. Anafahamika zaidi kwa jina lake la kisanii kama 2Pac. Ni mmoja kati ya wasanii wa hip hop waliouza rekodi nyingi za muziki dunia.
Huyu alikuwa mtoto wa Afeni Shakur, ambaye alikuwa mwanachama wa chama cha Black Panther Party. Mama yake Tupac alitolewa jela mwezi mmoja kabla ya kumzaa Tupac. Tupac alikufa mnamo tar. 13 Septemba katika mwaka wa 1996 baada ya kupigwa risasi akiwa anaendesha gari mjini Las Vegas, Nevada, siku saba kabla kifo chake.
Mara nyingi aliitwa 2Pac, Pac, Makaveli na pia mwenyewe akajiita The Don Kiluminati. Tupac, pia alishawahi kuishikiria Guinness World Record kwa kuwa na mauzo ya juu sana kwa msanii wa muziki wa rap/hip hop. Alipata mauzo takriban milioni 74 kwa hesabu ya dunia nzima na milioni 44 kwa mauzo ya Marekani pekee.
Maelezo ya awali
Pia anajulikana kama
2Pac, Makaveli
Amezaliwa
Kigezo:Birth dateEast Harlem, Manhattan,New York City, New York,Marekani
Asili yake
California, Marekani
Rapper, mtunzi wa nyimbo, mwigizaji, mtayarishaji wa rekodi, mshairi, mwandikaji muswaada andishi, mwanaharakati
Tupac Amaru (16 Juni 1971 -na akafariki 13 Septemba, 1996) alikuwa mwigizaji, mwanaharakati wa haki za binadamu, na pia mwanamuziki maarufu wa muziki wa hip hop kutoka nchini Marekani. Anafahamika zaidi kwa jina lake la kisanii kama 2Pac. Ni mmoja kati ya wasanii wa hip hop waliouza rekodi nyingi za muziki dunia.
Huyu alikuwa mtoto wa Afeni Shakur, ambaye alikuwa mwanachama wa chama cha Black Panther Party. Mama yake Tupac alitolewa jela mwezi mmoja kabla ya kumzaa Tupac. Tupac alikufa mnamo tar. 13 Septemba katika mwaka wa 1996 baada ya kupigwa risasi akiwa anaendesha gari mjini Las Vegas, Nevada, siku saba kabla kifo chake.
Mara nyingi aliitwa 2Pac, Pac, Makaveli na pia mwenyewe akajiita The Don Kiluminati. Tupac, pia alishawahi kuishikiria Guinness World Record kwa kuwa na mauzo ya juu sana kwa msanii wa muziki wa rap/hip hop. Alipata mauzo takriban milioni 74 kwa hesabu ya dunia nzima na milioni 44 kwa mauzo ya Marekani pekee.
OLD SCHOOL HIPHOP AND NEW SCHOOL HIPHOP
The 1980s saw intense diversification of hip hop which developed into a more complex form. As technology evolved so did the practice of looping break into breakbeats; the emergence of samplers and sequencers allowed the beats to be manipulated with greater precision and granularity and recombined in more complex new ways than was possible with vinyl alone. In 1984,Marley Marl accidentally caught a drum machine snare hit in the sampler; this innovation was vital in the development of Electro (music) and other later types of hip hop. In 1989, DJ Mark the 45 King,under the moniker DJ Mark"45 King", released "The 900 Number", a breakbeat track created by synchronizing samplers and vinyl.
The content evolved as well. The tales of 1970s MCs were replaced by highly metaphoric lyrics rapping over complex, multi-layered beats. Some rappers even became mainstream pop performers, including Kurtis Blow, whose appearance in a Sprite (soft drink) commercial.
Ministries-and-Holy-Hip-Hop-Music-form-Strategic-Alliance/made him the first hip hop musician to be considered mainstream enough to represent a major product. Another popular performer among mainstream audiences was LL Cool J,who was a success from the release of his first LP.
Hip hop was almost entirely unknown outside of the United States prior to the early 1980s. During that decade, it began its spread to every inhabited continent and became a part of the music scene in dozens of countries. In the early part of the decade,breakdancing became the first aspect of hip hop culture to reach Germany,Japan and South Africa, where the crew Black Noise established the practice before beginning to rap later in the decade. Meanwhile, recorded hip hop was released in France(Dee Nasts) 1984 ''Paname City Rappin''') and the Philippines (Dyords Javier's "Na Onseng Delight" and Vincent Dafalong's "Nunal"). In Puerto Rico, (Vico C) became the first Spanish languageSpanish rapper, and his recorded work was the beginning of what became known as reggaeton.
While early hip hop arose through the decline of funk and disco while still employing their musicianship, there was the rise of artists who employed the use of the turntable as an instrument in itself. Hip hop turntablist DJs use turntable techniques such as beat mixing/matching, scratching, and beat juggling to create a base that can be rapped over. Turntablism is generally focused more on turntable technique and less on mixing. Each scratch of the turntable is considered unique due to the complex waveforms produced and employing digital sampling is considered an affront to a true Turntablist. Prominent artists included the Invisibl Skratch Pikl(xmen)
MainWorld Hip-hop has globalized into many cultures worldwide. We now find hip-hop in every corner of the globe, and like the South Bronx, each locale embodies a kind of globalism. Hip hop has emerged globally as an arts movement with the imperative to create something fresh by using technology, speech, and the body in new ways. The music and the art continue to embrace, even celebrate, its transnational dimensions while staying true to the local cultures to which it is rooted. Hip-hop's inspiration differs depending on each culture. Still, the one thing virtually all hip hop artists worldwide have in common is that they acknowledge their debt to those Black and Latino kids in New York who launched this global movement in the first place.
As hip-hop is sometimes taken for granted by Americans, it is not so elsewhere, especially in the developing world, where it has come to represent the empowerment of the disenfranchised and a slice of the American dream. American hip-hop music has reached the cultural corridors of the globe and has been absorbed and reinvented around the world.
The globalization of hip-hop starts and ends with 'Where You're At.
The content evolved as well. The tales of 1970s MCs were replaced by highly metaphoric lyrics rapping over complex, multi-layered beats. Some rappers even became mainstream pop performers, including Kurtis Blow, whose appearance in a Sprite (soft drink) commercial.
Ministries-and-Holy-Hip-Hop-Music-form-Strategic-Alliance/made him the first hip hop musician to be considered mainstream enough to represent a major product. Another popular performer among mainstream audiences was LL Cool J,who was a success from the release of his first LP.
Hip hop was almost entirely unknown outside of the United States prior to the early 1980s. During that decade, it began its spread to every inhabited continent and became a part of the music scene in dozens of countries. In the early part of the decade,breakdancing became the first aspect of hip hop culture to reach Germany,Japan and South Africa, where the crew Black Noise established the practice before beginning to rap later in the decade. Meanwhile, recorded hip hop was released in France(Dee Nasts) 1984 ''Paname City Rappin''') and the Philippines (Dyords Javier's "Na Onseng Delight" and Vincent Dafalong's "Nunal"). In Puerto Rico, (Vico C) became the first Spanish languageSpanish rapper, and his recorded work was the beginning of what became known as reggaeton.
While early hip hop arose through the decline of funk and disco while still employing their musicianship, there was the rise of artists who employed the use of the turntable as an instrument in itself. Hip hop turntablist DJs use turntable techniques such as beat mixing/matching, scratching, and beat juggling to create a base that can be rapped over. Turntablism is generally focused more on turntable technique and less on mixing. Each scratch of the turntable is considered unique due to the complex waveforms produced and employing digital sampling is considered an affront to a true Turntablist. Prominent artists included the Invisibl Skratch Pikl(xmen)
MainWorld Hip-hop has globalized into many cultures worldwide. We now find hip-hop in every corner of the globe, and like the South Bronx, each locale embodies a kind of globalism. Hip hop has emerged globally as an arts movement with the imperative to create something fresh by using technology, speech, and the body in new ways. The music and the art continue to embrace, even celebrate, its transnational dimensions while staying true to the local cultures to which it is rooted. Hip-hop's inspiration differs depending on each culture. Still, the one thing virtually all hip hop artists worldwide have in common is that they acknowledge their debt to those Black and Latino kids in New York who launched this global movement in the first place.
As hip-hop is sometimes taken for granted by Americans, it is not so elsewhere, especially in the developing world, where it has come to represent the empowerment of the disenfranchised and a slice of the American dream. American hip-hop music has reached the cultural corridors of the globe and has been absorbed and reinvented around the world.
The globalization of hip-hop starts and ends with 'Where You're At.
ROOTS OF HIP HOP
The roots of hip hop are found in African American and West African music. The griots of West Africa are a group of traveling singers and poets, whose musical style is reminiscent of hip-hop and who are part of an oral tradition dating back hundreds of years. Within New York City, griot-like performances of poetry and music by artists such as The Last Poets and Jalal Mansur Nuriddin had a great impact on the post-civil rights era culture of the 1960s and 1970s. Hip hop arose during the 1970s when block parties became common in New York City, especially the Bronx. Block parties were usually accompanied by music, especially funk and soul music. The early DJs at block parties began isolating the percussion breaks to hit songs, realizing that these were the most dance-able and entertaining parts; this technique was then common in Jamaica and had spread via the substantial Jamaican immigrant community in New York City, especially the "godfather" of hip hop, Jamaican, DJ Kool Herc.
Dub music had arisen in Jamaica due to the influence of American sailors and radio stations playing R&B. Large sound systems were set up to accommodate poor Jamaicans, who couldn't afford to buy records, and dub developed at the sound systems (refers to both the system and the parties that evolved around them). Herc was one of the most popular DJs in early 70s New York, and he quickly switched from using reggae records to funk, rock and, later, disco, since the New York audience did not particularly like reggae. Because the percussive breaks were generally short, Herc and other DJs began extending them using an audio mixer and two records. Mixing and scratching techniques eventually developed along with the breaks. (The same techniques contributed to the popularization of remixes.) Such looping, sampling and remixing of another's music, sometimes without the original artist's knowledge or consent, can be seen as an evolution of Jamaican dub music, and would become a hallmark of the hip hop style.
DJs and "MCs" would often add call and response chants, often comprising of a basic chorus, to allow the performer to gather his thoughts (such as "one, two, three, y'all, to the beat, y'all").
Later, the MCs grew more varied in their vocal and rhythmic approach, incorporating brief rhymes, often with a sexual or scatological theme, in an effort at differentiating themselves and entertaining the audience. These early raps incorporated similar rhyming lyrics from African American culture, such as the dozens. While Kool Herc & the Herculoids were the first hip hoppers to gain major fame in New York, more MC teams quickly sprouted up. Frequently, these were collaborations between former gang members, such as Afrikaa Bambaataa's Universal Zulu Nation (now a large, international organization). Melle Mel, a rapper/lyricist with The Furious Five is often credited with being the first rap lyricist to call himself an "MC."During the early 1970s, breakdancing arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive, frenetic style. The style was documented for release to a world wide audience for the first time in documentaries and movies such as Style Wars, Wild Style, and Beat Street.
Although there were many early MCs that recorded solo projects of note, such as DJ Hollywood, Kurtis Blow and Spoonie Gee, real notoriety didn't appear until later with the rise of soloists with really big stage presence and drama, such as LL Cool J. Most early hip hop was dominated by groups where collaboration among the members was integral to the show.
DOOOOOOOOO KUMBEEEE ISSUE NI NDEFUU....
Dub music had arisen in Jamaica due to the influence of American sailors and radio stations playing R&B. Large sound systems were set up to accommodate poor Jamaicans, who couldn't afford to buy records, and dub developed at the sound systems (refers to both the system and the parties that evolved around them). Herc was one of the most popular DJs in early 70s New York, and he quickly switched from using reggae records to funk, rock and, later, disco, since the New York audience did not particularly like reggae. Because the percussive breaks were generally short, Herc and other DJs began extending them using an audio mixer and two records. Mixing and scratching techniques eventually developed along with the breaks. (The same techniques contributed to the popularization of remixes.) Such looping, sampling and remixing of another's music, sometimes without the original artist's knowledge or consent, can be seen as an evolution of Jamaican dub music, and would become a hallmark of the hip hop style.
DJs and "MCs" would often add call and response chants, often comprising of a basic chorus, to allow the performer to gather his thoughts (such as "one, two, three, y'all, to the beat, y'all").
Later, the MCs grew more varied in their vocal and rhythmic approach, incorporating brief rhymes, often with a sexual or scatological theme, in an effort at differentiating themselves and entertaining the audience. These early raps incorporated similar rhyming lyrics from African American culture, such as the dozens. While Kool Herc & the Herculoids were the first hip hoppers to gain major fame in New York, more MC teams quickly sprouted up. Frequently, these were collaborations between former gang members, such as Afrikaa Bambaataa's Universal Zulu Nation (now a large, international organization). Melle Mel, a rapper/lyricist with The Furious Five is often credited with being the first rap lyricist to call himself an "MC."During the early 1970s, breakdancing arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive, frenetic style. The style was documented for release to a world wide audience for the first time in documentaries and movies such as Style Wars, Wild Style, and Beat Street.
Although there were many early MCs that recorded solo projects of note, such as DJ Hollywood, Kurtis Blow and Spoonie Gee, real notoriety didn't appear until later with the rise of soloists with really big stage presence and drama, such as LL Cool J. Most early hip hop was dominated by groups where collaboration among the members was integral to the show.
DOOOOOOOOO KUMBEEEE ISSUE NI NDEFUU....
ORIGIN OFTHE TERM HIPHOP
Coinage of the term hop hip is often credited to Keith Cowboy, a rapper with Grandmaster Flash & the Furious Five.Though Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was still known as disco rap, it is believed that Cowboy created the term while teasing a friend who had just joined the U.S. Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers.Cowboy later worked the "hip hop" cadence into a part of his stage performance, which was quickly copied by other artists; for example the opening of the song "Rapper's Delight" by The Sugarhill Gang.Former Black Spades gang member Afrika Bambaataa is credited with first using the term to describe the subculture that hip hop music belongs to, although it is also suggested that the term was originally derisively used against the new type of music.The first use of the term in print was in the Village Voice by Steven Hager, later author of a 1984 history of hip hop.
HIPHOP IMEANZIA MBALI WANAAAAAA SI NDIOOOOO...
HIPHOP IMEANZIA MBALI WANAAAAAA SI NDIOOOOO...
WHAT ZE HIPHOP?
Hip hop music is a music genre typically consisting of a rhythmic vocal style called rap which is accompanied with backing beats. Hip hop music is part of hip hop culture, which began in the Bronx, in New York City in the 1970s, predominantly among African Americans and Latino
MMENISOMAAAAAA?
MMENISOMAAAAAA?
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