“No Half Steppin’ “, a new book by authors Claude “Paradise” Gray and Giuseppe “u.net” Pipitone, explains the role the Latin Quarter of NYC played in the creation of some of the best hip-hop to come out of the 1980’s and 1990’s  including some of the greatest hip-hop legends. Being one of the first books to provide an oral history about hip-hop, it breaks ground in bringing readers back to the genesis of some of the most celebrated hits. Beyond this, it investigates the specific past of the often overlooked Times Square club, where stars like A Tribe Called Quest, KRS-One, Eric B. & Rakin, Queen Latifah, and Public Enemy gained their fame. Featuring both pictures as well as written content, the book has been described as a, “great shot in the arm to hip-hop culture with an enjoyable reminder of what we had and our entertainment was also birthed from…inspiring smiles and memories like our family photo books,” by Christopher “Play” Martin  (Kid & Play).

The book is available now for purchase via Wax Poetic’s website.

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The post New Book “No Half Steppin’ ” Delves Into the Golden Era of Hip-Hop appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Public Enemy is back… and this time they’re in action figure form.

The politically critical, Rock & Roll Hall of Fame inductee, American 80’s Hip-Hop group, Public Enemy, have been reincarnated into 10 cm tall collectible action figures.

The new collection that is said to be releasing anywhere between late September and early October will only include four of the group members: Flavor Flav, Chuck D, Professor Griff and Terminator X. If you’re unaware Public Enemy consisted of Flavor Fav, Chuck D, Professor Griff, Terminator X as well as Khari Wynn, the S1W Group, DJ Lord and Sister Souljah

Designed by Ed Piskor— best selling comic book author from the Hip-Hop Family Tree series– the action figures were manufactured by PopPress Inc., a Japan based pop-culture company. The figures were sculpted by Tomohiro Yasui .

The set will be sold for $59.95 USD and can be pre-ordered here.

Fans can fight for more than just moral and political justice with these action figures. They can Fight The Power!

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The post Public Enemy Get Their Own Cool Action Figures appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The Ford Amphitheater at Coney Island Boardwalk has finally opened up to the public after four years of planning, work and delayed construction. Mayor Bill de Blasio marked the official grand opening of the Amphitheater on June 29^th, 2016 with an honorary ribbon cutting ceremony, just in time for the annual 4^th of July holiday weekend. The $60 million investment venue, developed by iStar is expected to bring new affordable housing to the Coney Island area, more open space and should provide over 240 living-wage jobs.

The Amphitheater will be operated by LiveNation and assisted by Brooklyn Sports and Entertainment in programming and branding of the theater, the same company that oversees the Barclays Center’s business operations. The theater which already has a series of events lined up for the summer can seat up to 5,000 individuals. The main stage of the theater is built into the southern side of the landmarked Childs Building, which is set to be finishing off renovations on a new restaurant and a 400,000 square-foot greenspace set to open sometime next year in 2017.

Here’s a list of the ongoing performances at the Amphitheater for the month of July:

July 1: Impractical Jokers/ The Tenderloins

July 3: Sting & Peter Gabriel

July 4: The Beach Boys

July 9: Maxwell with Ro James

July 10: Hollywood Vampires Alice Cooper, Joe Perry, Johnny Depp

July 15: Jane’s Addiction with Dinosaur JR. and Nothing

July 16: 311 with special guest Matisyahu

July 17: The Kids Bop Kids

July 23: Slightly Stoopid with Sosa, Zion I, The Grouch, Eligh

July 26: Travis Scott with Metro Boomin

July 29: The art of Rap festival featuring Public Enemy, Ice-T, Naughty by Nature, Mobb Deep and more

July 30: Andrew Dice Clay- back in Brooklyn

July 31: Dark Star Orchestra

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The post The Ford Amphitheater at Coney Island is Finally Open appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Promethazine Wayne

The Drug culture has influenced many different genres of music in the past. Whether it was rock n roll, Jazz, or R&B, there are many artists who’ve made beautiful music while under the influence of some kind of substance. This phenomenon was very pertinent in the 60’s, during the era of Woodstock where many artists as well as many people in general were experimenting with acid and heroin. Many musicians have also been credited with making their best work while under the influence. While being under the influence can generate different thoughts which in turn changes your perception of reality – which in turn modifies your art, is it necessary? Does being under the influence really help you make better music?

In the beginnings of rap, drugs weren’t really a huge topic of discussion. Most early rap songs centered around the party life, and drugs may have been mentioned but you never got the sense that doing drugs was a part of that rapper’s lifestyle. During the 80’s and 90’s there were even anti-drug records that made waves due to the havoc the crack epidemic was wreaking, such as Public Enemy’s  “Night of the living Baseheads” which condemned drug-dealers and compared crackheads to zombies. The late 80’s and early 90’s also brought about a conscious, pro-black era in hip-hop. The main themes of this era were being intelligent and vigilant because the powers that be want to see you fail. Of course drug usage does not intertwine well with that message. Dr. Dre stated in N.W.A’s hit song “Express Yourself” that “I don’t smoke weed or sess cause it’s known to give a brother brain damage, and brain damage on the mic don’t manage, nothing but making a sucker and you equal”. Of course the tide would switch, and when rap made the transition into discussing the harsh realities of inner city life, drugs would play a huge part.

The drugs of choice were Marijuana and Alcohol. For a lot of artists, Marijuana would become an intrinsic part of their creative process. When Dr.Dre left N.W.A , his first album would be called The Chronic , and he was heavily influenced by marijuana during the making of the project. The Chronic is a bona-fide classic in rap, and considered by many to be Dr.Dre’s best work. many other artists have credited Marijuana use for assisting them in creating music. Artists like Snoop Dogg, Notorious B.I.G, Redman and Method Man, Cypress Hill, Tupac and many others were all very huge marijuana advocates. In the present Marijuana usage is still hyper-prevalent amongst rap artists, and it’s become such a very important component that many rappers whole careers are primarily based off speaking about it. Artists like Curren$y, Wiz Khalifa, Smoke Dza and many more have built sustainable careers rapping about marijuana consumption.

As time went on, harder drugs started to hit the scene and were all parts of those artists’ creative process. A prime example is Lean (also known as promethazine ,codeine syrup, or purple drank). Lean is prescription cough syrup mixed with either soda, or alcohol. The southern influence in rap brought about new drugs and Lean was a favorite amongst Houston artists. Legendary group UGK as well as DJ Screw brought about the lean phenomenon and a new sound to go with it. This sound is titled Chopped and Screwed, and the use of this drug played a major role in making that sound internationally popular. Lean is still prevalent in rap till this day. Rap transitioned further into prescription medication when artists started doing more pills. Adderall, Xanax, percocets, Oxycontin.. etc are all currently a part of rap culture.

Drugs rather if they’re  uppers or downers affect how you hear sound and how you take in information. If you’ve ever used marijuana you notice that music sounds completely different under that influence. Certain sounds mesh better with that mind-state then others. Artists then go on to continue making music that mesh well with the mind-state they like to be in. You also have to take into account that drugs do affect your mind to where you’re perhaps more confident, more relaxed, and have an open mind because you are currently in a happy, laid back mood. It makes sense that those effects that drugs have on you can lead you to make better music. Anxiety halts creative thought, that’s a known fact, so when you take a substance that relieves some of that anxiety you’re able to be more comfortable creating and that of course makes for better music.

So Do drugs help you make better music ? No, being in a comfortable and relaxed mind-state helps you make better music. Thinking outside of the box helps you make better music. Constantly pushing yourself until your songs sound the best you think it can sound to you is what makes better music.You don’t necessarily need drugs for that. The drugs themselves don’t matter. Addiction often times manifests itself in a person medicating themselves due to the mental ills that they’re suffering from.  A lot of artists that feel like drugs are helping them are likely suffering from an issue. There are positive methods one can utilize to gain confidence in themselves, to be more relaxed, and to get rid of their anxiety without relying on a harmful substance that will most likely make their mental state worst. Drugs can be seen as an easy fix, with awful consequences. There’s been a rise in drug related deaths in hip-hop; From Pimp C to A$ap Yams, From DJ Screw to DJ AM,  to the constant drug-related seizures that Lil Wayne and Rick Ross keep having and denying. These substances are clearly doing more harm than good.

In sum, drugs don’t affect music quality , you do.

Peace!

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The post Rap talk: Do Drugs Affect Music Quality? appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

King Los performs lyrical gymnastics on Diddy’s 1999 release, “P.E. 2000.” While some may be unfamiliar with Puffy’s original, King Los breathes new life into a record that was released before the turn of the century. It’s bars as usual, but having that level of lyricism grace the beat from Puff’s standout cut from the “Forever” album is wildly nostalgic and really refreshing. Looks like Los and Diddy will always be on good terms. “One, one, one, one.”

The post King Los Feat. Diddy – “Public Enemy” (Freestyle) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo Credit: Justin Abbink

Before we get into anything specific I just want to thank you for taking your time out to rock this interview. It’s always a pleasure. Lets backtrack a bit here. Who were some of your biggest influences early on as far as music is concerned?

Awe man lets see. The first record I ever got was “Yo! Bum Rush the Show” by Public Enemy. My step pop put me onto that record initially. So, definitely Public Enemy. I would also say Big Daddy Kane, LL Cool J and D.O.C. I remember my step pop playing the D.O.C. record for me but he didn’t know that joint had curses on it (laughs). Him and my mom were responsible for putting me onto what was good pretty much.

I wanted to talk a little bit about the early days of you being a recording artist prior to the debut. One of the first records I heard you on was off of Blu’s “Give Me My Flowers While I Can Still Smell Them” album on the “Growing Pains” track around 2012. Can you touch on these early records?

Yeah, the “Growing Pains” joint was actually supposed to be on the Dag Savage EP, but it was released earlier than expected and ended up on Blu’s record. I still love that joint. I came up on the San Diego scene and around the age of 14 or so I was battling grown cats from around the way. Aside from battling I was rocking any open mics I could attend at the time. This went on for a while. But, I feel like when you’re a “battle rapper” people kind of put you in this box and you get a very specific type of label or something. I wanted to make records and do what the people I looked up to did and expand from that. Long story short – I had a four-track and everybody in my neighborhood that rhymed would come over and we would record music. It was challenging but very dope. That’s kind of what the early, early days were like.

You and Exile have some intense chemistry on records and always create top notch work. I’m sure the world would love to hear how you two met initially and began to work together. Can you get into that a little bit for us?

I’m pretty sure it was 2002 when we met initially. One of my big homies actually went to school with Exile. He is the one who told me about him and his group with Aloe Blacc called Emanon. He told me they were rocking this spot out in Orange County pretty often. Once I was able to start catching the Grey Hound bus out there I would go over. We would catch cyphers and all that. Exile and I basically just started building from there.

The name Dag Savage sparks some curiosity amongst us fans as well. Who came up what the name Dag Savage for you and Exile? Do you two have a cool story behind the name?

Once we started cutting records and getting serious we started playing around with titles. Exile pretty much came up with the name for us two. We were like – it sounds like a U.K. rock band or something like that! Some European rock band! (laughs). Nah, but, we looked more into the title on a serious note. The word dag means a socially awkward person, and savage, well, that’s self explanatory. It makes perfect sense and it represents the yin and the yang. Exile is a little more quirky and quiet than me, and I just approach things as a savage. Overall, our chemistry is great man. He is very honest and straight forward when it comes to cutting records, and he would never release anything wack – period.

I don’t think anybody can argue that one. The highly anticipated “E&J” album was released not long ago and the feedback from this end seems to be amazing since it hit the shelves. On a personal note I can’t put the album down. What kind of responses have you and Exile been receiving since the lp dropped? Are you happy with the outcome overall?

For the most part it is critically acclaimed. I am grateful for that because initially all I ever started rhyming for was for somebody to be like, “yo that’s dope”. You know what I mean? Whatever comes after that financially is cool. I didn’t expect for people for take onto it like they have been, so it is really exciting. The responses have been amazing.

This next question is more for fun, but it’s certainly relevant. If you could work with one artist dead or alive who would it be?

Michael Jackson for sure. I don’t care how underground you are, how many years in the joint you did, whatever. If Michael Jackson came out with me it would be a wrap. (laughs)

Word on the street is that your live performance is quite the show. Unfortunately I have not been able to catch you live yet, but I wanted to talk a little bit about rocking stages. I think it is a mildly bypassed topic. Do you think it is an important element in this game?

I agree – I think it is an important element and overlooked as well. From a fans perspective when I go see artists that I like live and the performance doesn’t connect to me like it does from the record, than I think it takes away from it. With me I go into the old open mic days again. You may only get the chance to impress certain people that one time. If you body the stage and leave an impression from your performance you are that much better off. Performing live is one of my favorite things – even over recording songs. I take a lot of pride in it.

What is one of the most memorable moments over your whole music career thus far, and why? I ask this question often, but the responses are too notable and dope not to ask.

The first memory that comes to mind is when we had a whole Dirty Science show. It was all of us; me, Aloe Blacc, Exile, Blu, Fashawn etc. Having everybody in that whole damn spot know every word to every song was priceless. It really took me back, like damn. I mean, of course I’ve had fans know my records line for line before, but this show was serious. That’s when I knew we were doing something right. Also, we rocked a spot out in London not too long ago and those cats knew everything! It was really dope. It makes you feel good.

Having supporters and avid fans overseas must be a crazy feeling. I could only imagine. Sometimes it seems like there are more supporters of real Hip-Hop overseas than there are here in the states. From what I see online and hear through word of mouth there seems to be a booming scene in lots of areas outside of the country.

Oh for sure. They know what the deal is overseas. And, some people got it twisted and think anybody can go out of the country and rap, and they will automatically think it’s dope. That’s a total lie. They know what’s good and what’s bad! I remember being at the merchandise table and having cd’s available for purchase, and them ranting that they only wanted vinyl. That’s raw! (laughs) – But yes, overseas there is a lot of love and support.

Photo Credit: Justin Abbink

What are your thoughts on the current state of Hip-Hop?

I love it. Obviously there are pros and cons to it all. I love the diversity right now. I love the element of the internet, even though it leads to a lot of over-saturation and overnight stars. I’m not one of them dudes that thinks every artists should do it a certain way. Stay in your lane and I will stay in my lane, you know? The one thing I don’t like too much on a mainstream level is that the exposure is basically like the same sound always. There are lots of dope artists who just don’t get the exposure they may deserve because the media only seems to push one sound at a time. When I was a shorty I remember hearing a wide range of Hip-Hop on the radio. You don’t really get that no more.

Inspiration is one of those things that can come from all elements of life, not just music. What keeps Johaz inspired to keep writing rhymes? Or, what were some of the most inspiring things early on that kept you going as an emcee?

I get inspired by my peers and my Dirty Science team. Blu, Aloe Blacc and Exile all have inspired me a lot and still do equally. I love a little friendly competition you know? If I hear a new Kendrick Lamar joint on the radio, I might be like, okay, time to cook up. Or, if Blu hits me with a new verse, I’m like, okay time to wreck, he ain’t getting me! (laughs) – I get a lot of inspiration from other people.

Before we shut it down I just wanted to know what the future plans are for Johaz. What should the world be expecting from here on out? Any new projects, tours, collaborations, etc. that you have going on currently?

Right now I am working on finishing up this free album I want to put out which is about half way done. I’m hoping for it to be available by the end of the year. So, that is coming soon. We have some more tours lined up but I don’t think we are hitting the road again until around January 2015 or so. Basically I am just working on creating more music. A lot more content is coming so stay tuned. Also, go grab my family Choosey’s new release titled “Left Field”. It is a loaded project. Thank you for all that you do with this culture and for having me.

Dag Savage Twitter Exile Twitter

Johaz Instagram Exile Instagram

E&J Digital Purchase Dirty Science Shop (cd’s, vinyl, etc) – do it now.

The post Johaz (Dag Savage) Discusses Debut Lp, Joining Forces With Exile, Inspirations & Much More appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

There is no group more dedicated to providing knowledge and power to the people in their hip-hop career than Public Enemy. Today’s #DefJam30 mix is in honor of the strongest group to ever speak the truth to masses. All 30 minutes are slammed by DJ Mister Cee, the wax master of NYC’s Hot 97 FM and the original DJ for Big Daddy Kane. He’s also one of the main reasons you enjoy Notorious B.I.G’s rhymes, as he was the one that passed his demo on to the powers that got Big in the game.

The fact that Public Enemy can command their own singular mix is enough to praise the musical accomplishments and influence they’ve had on the culture. Not only uplifting and bringing light to political themes, Chuck D personified the strength of a hardcore rhymer that could flip his aggression into a rally cry for justice. He is the voice of Def Jam. Period. Flavor Flav cut the tension with wit, humor and unchained style. Plus he is just dope. Terminator X on the cuts, no one could see him on the tables. The production team The Bomb Squad are as much of PE as the group members. Public Enemy also hold the title of greatest remix in hip-hop with “Shut ‘Em Down” produced by Pete Rock. No debate.

Get into the mix as Mister Cee grabs select cuts from PE’s glorious Def Jam history.

In partnership with iHeartRadio, check the previous six mixes featuring DJ Tony Touch, DJ Scratch, DJ Big Jeff, DJ Jay Cee, DJ Boogie Blind and DJ Daddy Rich at www.defjam.com/30mixes/

The post #DEFJAM30 MIX 7 OF 30: All Public Enemy by DJ MISTER CEE OF HOT 97 FM appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.