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Mighty Timber!

DJ TIMBER – BTC,MZK,HP…

Peace Dj Timber. Please introduce yourself to the audience.

My names Timber aka the Grand Supreme Timber Machine. I’m down with the Mighty Zulu Kingz, Bad Taste Crew, Horsepower DJ Militia, Belfast City Breakers & Flava Squad. I grew up in Belfast, Northern Ireland & moved to Manchester, England in 2001 where I’ve been based ever since. I was born in 1982 and I am 6’4″ tall.

When did you started Djing and what inspired you to do it?

Well, I never really intended on becoming a “DJ”, I started getting into rap music when I was around 14 / 15, I started listening to Wu Tang, Rakim, Fugees, KRS-One, Erick Sermon, Biggie and anything else I could get my hands on really. I loved the ruggedness and the energy of the music, I can’t count the amount of times I’ve listened to 36 Chambers!! I used to play basketball for a local team and I met an Australian guy (Luke) there who used to pass me tapes & CD’s. My early music collection was all on tape. Then I started going to Luke’s house, listening to music there and one day he and his bro bought turntables, I had a go on them once and that was it, haha. I guess I started buying records in 1999 and by 2000 I saved up enough money to buy my own turntables and a mixer! My friend JP won the Ireland DMC’s in 2000 and sold me his Technic’s because he won a new set! I guess those are lucky turntables, hahaha.

Was it hard for you to get into the whole Dj culture? Who teached you your first things on the turntables?

Well, nobody ever taught me anything technical about how to do it, I learnt off trial and error, never read any books, did any workshops or watched any videos, lol. My greatest inspirations for DJing are Sconey & the Madden Twins from Belfast City Breakers, I met them in 1999 when I first started b-boyin, I used to see them at clubs and then we’d go back to their houses and sit up all night drinking, singing, DJing, dancing, joking, cooking food & eating it! I guess they taught me how to drink to, haha. They really schooled me about breaks, digging, b-boyin, they’ve been dancing since 1983 in Belfast, they’ve never stopped and well, they are amazing people!! The schooling they gave me was more “give a man a fish & he can eat for a day, teach a man how to use a fishing rod he can eat for ever” kinda thing and I will forever be grateful for that!

When I moved to Manchester, I met Mouse & he used to come to where I lived and dance around my room, up the walls and on the ceiling to the records I’d play him. He taught me a lot about how to promoting myself and about understanding my value. He helped me get a lot of gigs then (and still does) as he was becoming the best b-boy in the UK then and everyone knew him. He has been one of my main inspirations, both for DJing and b-boying, and has watched out for me from the moment we became friends.

Since you’re also a Bboy, what is your breaking background? When did you start bboying and who introduced you to the dance?

I remember seeing b-boying as a child, my parents told me I was about 3 or 4 and I was just stood fixated on it, they couldn’t distract my attention. It had always been at the back of my mind however I never really thought of trying it until I was about 14 or 15, the beginning were VERY slow, no videos, no internet, no books, no teachers, just me and my imagination!! Then someone introduced me to a guy called James Donnelly in late 1998, he had a copy of BOTY 95, he was instantly my new best friend, I used to cycle half an hour to his house every day to watch that video then we’d go in his garage, put some cardboard down and roll around the floor. In mid-1999 we went to Belfast City Breakers Anniversary party, I thought they’d be rubbish, but they were amazing…as good as anyone I saw in BOTY! I met Bad Taste Crew there for the first time to, they had just started but they were still good! BCB were mostly training when I was in school and I didn’t have enough money to get the bus over there so I stayed in school and practiced with them once every couple of weeks in the evenings. Every time I saw them they taught me something new, I was practicing a lot at home in my living room, I spent a lot of time learning headspins with a helmet on carpet, lol. Information was hard to come by and I guess that really gave me my thirst for the culture. I remember dreaming about the day I could go somewhere and see 20 b-boys, never mind a b-boy event, thats why I moved to England, because I’d heard there was a scene there.

In July 2006 I twisted vertebrae in my neck doing headspins which nearly forced me to stop dancing completely, it took about 5 months before I could dance more than once every two or three weeks. I’m back now, but I know I’ll never be able to do what I used to but that’s OK because I’ve adapted and come back stronger and better! I’ve had more than my fair share of injuries over the years but nothing stops my love or passion for b-boying. The way I see it is there’s me, the music & the floor and nothing else really matters!

You’re reppin’ many crews like Mighty Zulu Kings, Bad Taste Crew (Ireland), Horsepower and Flava Squad. How did you get down with all these crews?

Before I get into that, I’d like to point out that first and foremost I am my own man, I make my own decisions, I stand on my own two feet and its for those very reasons that all those I consider my family are my family because I know that whatever I do they have my back!

Belfast City Breakers are Godfathers of the Irish hip hop scene, the only thing they asked me to do is carry the torch for them and I am proud to say I’m a student of theirs and even though they are my teachers they are still students themselves – never stop learning!!

Bad Taste Crew hail from Omagh, Northern Ireland, it was originally a graf crew, however a couple of members started b-boying & they to got much of their early schooling from BCB and although we grew up in different places we’ve always been tight. I feel like we help carry on what BCB started, keeping Irish b-boying alive and do our best to continue on their legacy! I’m really proud of everything the boys have achieved and continue to achieve! The crew is now based in Newcastle, England

Mighty Zulu Kingz: The first time I met Alien Ness I was DJing in Leeds, I guess he liked me then cus he carryed my box of records down the street for me (why does nobody else do this?? hahaha). He heard me DJ another 3 times and he really liked my DJing. Then we went to Croatia for Circle Prinz South East Europe 2007, we’d talked before but we’d never really chilled, we were staying at the same spot for the whole weekend so we had time to kick it. I took his workshop out there, then the next day was Circle Prinz, I had talked to Ness about the way he judges battles and I got inspired because of the way he was talking and he see’s things the same way I do! They had 29 pairs of b-boys down to enter, so that gets eliminated down to 16. After round 18/19 I said to Atomic from Croatia (who was hosting the event and was the only person I knew there) “you wanna enter this” and he said “yeah” so that was that, we did the first round, got through the eliminators, I was splitting DJing the rounds half and half with DJ Woo-D from Slovenia, so then we got through the top 16, then won our quater final battle, then I had to DJ the next battle without any break which was the first semi final and dance in the one after that, I was wrecked & we got beat in the semi finals. I DJ’ed the whole of the next day at West Coast Istra Battle, after the final Ness & Pepito came up to me and asked me if I wanted to be down with the family, they said my DJing was fresh, my dancing was fresh and I have the same love & perspective for b-boyin as them so they when they asked me to get down it was a great honour!

Horsepower: I used to joke with Lil Lean, he asked me once on MSN “what’s that break?” and I told him it was Horsepower. I used to have the default picture of the two horses on MSN and the name stuck. Lil Lean’s done a great job with recruiting some really great DJs to the crew & promoting all the members. I guess it kinda started cus we started it cus we were sick of hearing wack DJs at events and on videos so we wanted to give promoters a kind of seal of approval.

Flava Squad also came through Lil Lean, its basically like minded talented people

So do you ever get the chance to spent some time with all your crews?

Not as much as I’d like, we all have things to take care of but I know when we do meet its family time! I got made redundant from my job at a record shop 3 months ago and since then I’ve been so busy I’ve hardly even sat down. I guess it was a blessing in a way because I’ve not been receiving unemployment benefits I’ve worked my ass off doing whatever I need to make sure the rent and bills are paid, there’s food in my belly and I got some money to buy new records! I don’t really see my crew’s as crew’s, they are more like family, you can see em once a week or once a year and you know its all good!

Do you sent out your newest tracks to all of you squad members? How do you keep in touch with all of them?

With most people in my crew’s I say to them “I’ll give you my mix-CD’s cus its important to me that you have them but if you got the money for them then give it to me”. Everyone gives me the money unless they are really broke because they know & understand how important it is to support each other & they appreciate what I do. They know that if everyone gives a little it means a lot! I know one person who gave me money one year after I gave them the CD, haha

When you’re working on a new Mix, how is your working process? How do you create a Mix?

Normally it comes from boredom at training, the whole reason I started really buying records was dancing. I’ll make a mix every once in a while to practice to and keep ideas from the mix and think about ways I could incorporate them into a proper mix-tape. I try to keep music varied but have themes running throughout a CD to keep it interesting cus too much of one thing means your attention drops. So i’ll have a soundtrack bit, then some rock breaks, then some funk breaks, then a latin section, whatever helps the mix flow. To be honest, its one of the few things in my life that I do willingly that really irritates me, I kinda hate doing them because I’m a free spirit and I’m also a perfectionist and there’s so much room for error especially playing breaks, but I understand the importance of having something tangible to share with others. It amazes me the places my CD’s travel to and I just do my best to put a fair representation of myself on them.

Since you’ve travelled a lot within the last years, what were your favourite events and your favourite moments on these trips?

There’s been so many amazing memories in such a short space of time, I remember the first time I met Storm in Germany, he’d been doing a 2 week workshop and my friend had organised an after party. I turned up he had no idea who I was, I chatted briefly to him at the end of his class & he’d told me he hurt his leg and he couldn’t really dance, I told him, “nope, you’ll be dancing tonight cus I’m DJing” and sure enough he came down and didn’t stop dancing the whole night. That was a real honour to spin for him and to see the big fat smile across his face when I was spinning.

Spinning at BOTY German Nationals 2005 was special to, because it was in the Pavillion in Hanover, the same place at BOTY 95, that had a special significance for me.

I just got back from United Styles 3 & Floor Lords 26th Anniversary in Boston, we (Zulu Kingz) won $1,000 at the cypher battles at FL 26th Anniv, that was my first time playing in the USA…and to enter the cyphers with my Zulu fam was a real special feeling, I’d never met any of them face to face before but what Ness had told me about everyone in Zulu Kingz having the same outlook and hunger for b-boying was really confirmed for me. We all worked overdrive in those cyphers, we all stood together like a family should…plus it meant I could go on a last minute record buying spree in Boston on Monday morning before I left, haha

I’m sure you got to know most of the Break Dj’s out there. Who are your favourite Break Dj’s?

Well…I am a b-boy first and foremost so anyone that makes me wanna dance is OK with me!! My favourite DJ of all time has to be Leacy (RIP), he was…and forever will be…the greatest! He changed so much in the b-boy scene. I practice to his mixes more than anyone else’s!

And which are your favourite tracks to dance to personally? How would you describe the “perfect beat”?

I always said my favourite record is a record I never heard before. You can’t beat THAT feeling! For me, there’s two types of music, good music and bad music! I LOVE JAMES BROWN. If I had to list some of my favourite classic tracks to dance to I’d say The Grunt, Hot wheels (if the DJ cuts it up it right!!!!), Lovomaniacs, Cloud Nine, Super Bad, Sex Machine, Turnit Loose, Funk To The Folks, If You Don’t Work, You Can’t Eat, Get Into Something, Tighten Up and anything with nasty drums!!!! If you wanna know what I like buy my mix-CDs ;-), hahaha

Do you also Dj at clubs or any other kind of events except Bboy jams?

Yeah, I do lots of stuff, I’ve never played music I consider cheesy or corny or played anything I didn’t like. I know I could make decent money easily on the side playing pop music but to be honest, I’d rather get a job at Tesco’s!! I record hour long ‘radio’ shows and stick em up on my myspace every once in a while to give people something different to listen to, I just play a lot of music on them that I like in the hope that others will enjoy it to!

What are you newest projects you’ve been working on? Where can people order your mixtapes and how do promoter can contact you?

I’ve just released two new mix-CD’s “Super Bad” & “Live From The Timberdrome”. I’ve been working on Super Bad for a couple of years now and it feels great to have finally finished it, Breakin Bread ( http://www.breakinbread.org/ ) have released it on their label, its got loads of shout outs on there from the likes of Ken Swift, Alien Ness, Storm, Mouse, Ata, Pharoahe Monch, Supernatural, DJ Noize, Trac 2, Born, Focus, Dizzy and loads more. The “Live From The Timberdrome” mix was done live start to finish, I did it for my own b-boy training sessions & liked it so much I decide to do a limited release of 200 copies. Both CD’s are available through http://www.myspace.com/timbertron where I can also be contacted or you can e-mail me at timbertron@hotmail.com

Thanks for taking the time Timber. Any last shout outs?

Yes! Shouts to my families – BTC, MZK, HP, BCB & FS. Special mention to Mouse for all his help, guidance, teaching and encouragement over the years! Fresh Jive, Breakin Bread, Floor Ridaz, Explosomo, Pointman, Tuf Tim Twist & fam, Storm, Hooch, Renegade, Doy Travel, Pogo, Style2ouf, Manchester, Floor Lords, The Craig, Soul Maveriks, Spin, La Familia, Getlow Pirates, Laci Strike, Reveal, Fantastic Superheros, Atomic, Ox Roc, Time-1, Lajony, Teknyc, my family, BOTY, Ill Boogz, Andy Madhatter, Vox Pop, Concrete Kings, Spaghetti Face, Gabor (Enemy Squad), Flying Steps, Raw Edge and everyone who has supported me!

 

TIMBER MYSPACE 

September 18, 2007 Posted by | interviews | 1 Comment

LEE “SCRATCH” PERRY INTERVIEWED…

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This interview took place on September 9, 1999, via phone from Melbourne, Australia to Lee Perry’s house in Switzerland. When I rang at the agreed time, Lee’s wife answered. She told me told me that Lee was “dancing or something like that”, and asked if I could call back in a half-hour. I did, and after some waiting, the Upsetter himself took the phone. It was a fantastic experience to talk to him, but it wasn’t easy. Even if I could understand the words he was saying, I couldn’t necessarily comprehend was he was talking about, and it was only while transcribing this that some answers became clear to me. I was also a little thrown by the fact that he apparently wants to disown his reggae past, which made some of my prepared questions difficult to pose. That said, some very interesting points were raised, particularly in regard to his burning of the Black Ark, and the pressures of working with a “poverty” music. This interview was recorded for airplay on my reggae radio show “Chant Down Babylon”, set to coincide with Perry’s tour of Australia in late September 1999.

JESSE: With me right now on the line, I’ve got one of the biggest living legends of reggae; Lee Scratch Perry, the original Upsetter. Thank you for taking the time out to speak to me Lee.
LEE: It’s a pleasure Jess. I found out you have such an interesting show, called Chant Down Babylon. Chant Down Babylon is what I’m doing right now from Switzerland mountain, from my chapel. And I have all the powers that you need to Chant Down Babylon, while I’m in the cluster, hitting the Pope with a knuckle-duster.
JESSE: Yes I !
LEE: Enjoy your reggae show… and have all the fun that you think you desire. And all the people with you on your side, I wish them happiness, and success in this revolution of chopping down Babylon.
JESSE: Yes I, it’s fantastic to have you with us.
LEE: I will forever be the exterminator of Babylon.
JESSE: Yes I. Now, you’ve got a lot of nicknames. They call you Scratch, The Upsetter, Pipecock Jackson, the list goes on and on. What’s your preferred title, what do you like to call yourself ?
LEE: Scratch. Scratch means more to me. Because I go by the alphabet and Scratch the S is for the sky. And the S also mean the American dollars. And the S also for space. Which is Scratch, Scratch, Scratch. And also the turntable, the Lion. So I prefer to be called Scratch.
JESSE: Right. Right. Now, you’ve been involved with reggae from the very beginning. What made you decide to enter the music business ?
LEE: Um Well, from the beginning I wasn’t really a reggae man; I was a soul man from the beginning. But when I see what was in Jamaica, and see all the people suffering in Jamaica, I think that nuthin’ [else] like reggae could help them. So I was starting to get involved in the reggae then I discovered that the meaning of the reggae it mean a strange dog who is designed to kill. So I won’t let the reggae kill me, but whoever the reggae must kill, the reggae must kill. So I’m going back to my place in (?) to record rock music, pop music, disco music, techno music, and no reggae music will be allowed within (?) after I return from Zion.
JESSE: Right.
LEE: But the reggae has already done its job.
JESSE: Okay.
LEE: But there won’t be another reggae artist come back in heaven for sure. You’ll have music that you won’t miss any reggae. I’m going to make music that you don’t miss reggae.
JESSE: Okay.
LEE: Mmm.
JESSE: Alrighty well many regard you as the godfather of reggae. What do you think about those sorts of statements ?
LEE: Godfather of reggae ? Who call me.. they don’t call me that !
JESSE: They call you that over here in Australia, on all the posters they’ve got up
LEE: I will sue people that do that.
JESSE: Oh really.
LEE: I don’t want to be the godfather of reggae.
JESSE: Right.
LEE: Because most of the people that follow reggae they are dreads and they’re too ugly.
JESSE: Okay.
LEE: I’ve seen this ugliness. Wherever you see you see ugliness.
JESSE: Right.
LEE: Too much bad man and the raggamuffin a come out of it. That’s why myself in my original state is a soul man, what I was before meeting Bob Marley the reggae king. Now the reggae kings are dying and the reggae princes are dying, and I don’t want to die in it. But I will assist it to do what it have to do. I used to love reggae, but I’m not a reggae lover anymore, I stop make reggae.
JESSE: Okay.
LEE: And the show that I’m coming to do, it won’t be a reggae show I’m positively sure.
JESSE: So is that why you burned down the Black Ark studio ?
LEE: Yeah, because it was built to be a reggae studio, and I find I make a mistake, and burn it down. I don’t want things like that in my house, or my yard anymore. No poverty around me anymore. Poverty is not good. Poverty is the worst crime. And whenever you have anything in poverty, people coming around it. Push it away, otherwise it will bring you down like they were.
JESSE: I recently heard a rumor that you were rebuilding the Black Ark studio, or starting another studio.
LEE: Yeah, but it won’t be a reggae studio this time. It will be a rock studio, a pop studio, a jazz studio, disco studio, techno, and club studio, or just what happens. I’m not going to go back into the gutter with the sufferers; I’m not a reggae artist anymore. I am black, but I’m not even black anymore.
JESSE: Oh really?! Okay. Well, I know that back when you used to do a lot of reggae, you produced some of the most heavy Rasta that ever came out of Jamaica or anywhere else for that matter.
LEE: Okay, but out of those reggae that I produce out of Jamaica, I wanted to build the Black Ark studio and there was no money coming from Chris Blackwell and Island Records. And neither from Bob Marley. Bob Marley write Jah Live and die. What a ting dat. Bob Marley write Jah Live and he die. Then what he want to do, him say God send God as a lion ? He write Small Axe, he said and mek the axe chop him. And he sing Duppy Conquerer and the duppy conquer him, so he’s telling lie. But I don’t want I will assist you people to do what you have to do with it, but I’m going back to Jamaica to build the Ark of the Covenant, but there won’t be no reggae musician nor dreadlocks coming through that gate. Say judgement and justice.
JESSE: Right.
LEE: Mmm.
JESSE: Okay, so you say there won’t be any reggae or any dreadlocks coming through the gate ?
LEE: No reggae artist, too lie. And the reggae too thief and wicked.
JESSE: Well, I know you don’t wear any dreadlocks, but have you ever considered yourself a Rasta ?
LEE: I always wanted to do it, but I didn’t know that’s why all the people who wear dreadlocks it’s a curse them have. I shall not pick up a curse, and my locks shall not wither. Says God’s son of David. My locks shall not wither, and my body shall not see corruption. And I shall not pick up a dread curse on my head. Cause I’m well blessed, I’m not cursed.
JESSE: Mmm. Okay.
LEE: I’m defending Jesus Christ. And a few dread defend Jesus Christ and say Jesus exists. And people say who say Jesus no exist, they die because they say dat. Like Peter Tosh.
JESSE: Like Peter Tosh ?
LEE: Yeah. All people who say Jesus Christ no exist they shall die. While I shall laugh, ha ha ha.
JESSE: Right. So what do you think about all the reggae singers over there in Jamaica right now. All the guys like Sizzla and Capleton.
LEE: I think it’s finished, I don’t think they have any chance. Maybe though Scratch them ‘ave a chance, but I’m Scratch. And I really decide not to help Jamaican again. I know care who they are. Not even my family I won’t help again in Jamaica. I will not live on through the reggae. And I’m the richest man in the world, I inherit all the money and all the power. And I will not help a Jamaican again as long as I live, so help me God. And as the sun shine, and as the clothes fly. I will never change my hands and help a Jamaican again, never.
JESSE: Okay, well you worked with just about everybody in reggae, and produced a lot of the stuff. Is there any of that stuff you look back on now, and you feel particularly proud of ? How do you feel about your great body of work ?
LEE: I build all of my life in Jamaica, and I don’t have any of those tapes. They all thief, and sold to Chris Blackwell, and Bob Marley says him write them all. They give me none of the money, I get broke and get what you call bankrupt, and none of them lend me any money. They (?) and laugh at me, so my white fans in England that love me so much, that I would go to England and go to the top of show business, and I’m not responsible for what happens to reggae anymore, I will not (?) and help it. And I am positively sure, the reggae won’t be going as far as where I’ll be going. So when I need money for show business, give me back the Black Ark studio. And I’m not going to take my show business money and go back and put it in a reggae artist. I don’t owe them no favor and they don’t owe me none. They did not vote for me, they vote for Bob Marley, and Peter Tosh, and Bunny Wailer, and Chris Blackwell. So I don’t owe Jamaican reggae no favour.
JESSE: Hmm.
LEE: No favor, and no favor.
JESSE: Okay. Well.
LEE: I’m not the godfather of reggae.
JESSE: Okay.
LEE: I have nothing more to do with it.
JESSE: Okay.
LEE: And the music that I’m going to play won’t be reggae for sure. And people won’t moan and enjoy.
JESSE: Right. So when you come out here to Australia, and you play here in Melbourne, what sort of music can the people expect from that ?
LEE: Rock, pop, jazz, techno, disco, and everything that sound good international.
JESSE: Okay. I know that in the last decade or so, all your performing has you haven’t done much producing, it’s mostly been performing sort of singing and chanting how do you describe your performance style ?
LEE: My performance style ? I am imitating Jesus. So my performing means spiritually healing, healing the brain of the sick people. Who are dread, and who are dead. So I have to come back and heal their brain, and heal their head, and save those from cocaine reggae. Save some from cocaine reggae, and from cancer reggae, and from death reggae. The gift of God is eternal life. And if a man is dead, don’t boil the dead, because he dead, dead, dead because he dead the sin. You can’t die unless you sin. You cannot scruple unless you sin. And you cannot paralyze unless you sin……

(phone line drops out) I call back and Lee’s wife answers. She tells me to call back in 30 seconds, so I hang up and call back as requested. (Lee answers)

JESSE: Can you still hear me?
LEE: Yeah, I can hear you.
JESSE: Excellent, excellent. I don’t know what happened there, the phone just cut out or something.
LEE: Well, um.. maybe the power.
JESSE: Okay.
LEE: Because the whole thing is obeah. Obeah from Jamaica. And they are trying to pull me back into the reggae. I will assist you people to do what you want to do with the reggae, but I’m not going back into it. I will supply you with better music than the reggae, because I have gotten all the money and all the power. And I don’t want to go back into some things where I see to much poor people a crowd me gate.
JESSE: Right.
LEE: I want to create in the year 2000, with a hit record, chart record, top record. Record that can sell a hundred, thousand, millions. Not a reggae album which sell three thousand. When you make a record that sell three thousand, you cannot pay the studio time, and you cannot pay the artist, and the artist say you rob him. Your song is number one, and you only sell three thousand, waste of time, waste of energy, waste of money. And I have no time for anything stupid as that.
JESSE: Okay. You say you’re..
LEE: It will have my flavor, and my spiritual feeling, and my spiritual healing in it. That when you hear it you will be able to say “did he change rock music into something else ?” Because you will hear magic. Rock magic music. Pop magic music, Jazz magic music, that you won’t know what it is, you will say it sound maybe like reggae but it won’t be reggae for sure.
JESSE: Well..
LEE: It with a space music! Space out. Music make you feel like you want to fly. Music to heal your brain, heal your heart, and heal your thoughts.
JESSE: Okay. Sounds great.
LEE: Something very special.
JESSE: Sounds very good indeed.
LEE: Music to make you walk on the air, music to make you walk on the wire. Heh heh heh.
JESSE: Now, when you’re walking on the wire, do you often smoke herb ? Do you still smoke herb, I know you used to smoke a lot back in the early days.
LEE: Of course I smoke herb. But not much like I used to before. I’m smoking less herbs now.
JESSE: Right.
LEE: Smoking less, because those days I was too high, and didn’t see what was happening. While I was getting high they was stealing my tapes. Stealing my master tapes to sell to Mr Blackwell. And after I use up too much of my money, and spend too much of my time, and my energy with them, and get bankrupt, then I discover that most of my tape has been gone. Then I was working with Blackwell, then he had put out Arkology. And he pay me six maybe six thousand.. um.. down on those three CDs. Promised to pay royalty, and we didn’t get a statement nor as much as royalty.
JESSE: Really.
LEE: And all those Trojan thousand of LP from Trojan, I never have any royalty off dem yet. And I don’t think I’m going to get any. I don’t want to go back into it, and I don’t want to be the godfather of reggae anymore.
JESSE: Right, so you’ve gotta do your own thing now.
LEE: Yeah.
JESSE: Right. Well, I know that a lot of electronic music these days has sort of grown out of reggae in some ways. How much of a debt do you think the modern electronic music has to reggae music, and dub techniques ?
LEE: Well, um. The thing about electronic music, people love it because mostly they’re like the teenagers now. Who want to get in music. They love it electronic music, and they will love it until them hear something better. So when something come better they will accept it, but right now they’re going to love the electronic music. Until something come better.
JESSE: Right.
LEE: If reggae can (?) and make the reggae holy, and make the reggae righteous, make it godly and no put no cocaine in it, then the children can like it better. But until we find the right people to make holy righteous music, we’re not going to stop electronic music.
JESSE: Right. So these days you’re working mostly with Mad Professor. You’re touring with him when you come to Australia. What attracted you to working with Mad Professor ?
LEE: Well, let see. When I was in Jamaica, and after things happen and I get bankrupt, and I made my way to London, he was the one who decide to go out with me, so we could make some money to live. Because I wasn’t getting any money from those records I was making in Jamaica, and neither royalty until now. So he was helping me til then, and til now we be locked into this touring business and the show that we have the best show on earth.
JESSE: Yes I. We’re very much looking forward to seeing that show.
LEE: You’re going to love it.
JESSE: Oh yeah. What can the people expect in Melbourne expect when they see you down here.
LEE: What type of people ?
JESSE: What can the people expect ?
LEE: Me. Kids mostly, cause if I don’t see kids I’m going to get mad. Because I was working for grown up people, but the children mean more to me than grown up people.
JESSE: Right.
LEE: I’m more interested in seeing children. Children can understand me more, and I can understand children more. I’ll be happy to see those grown ups who are there, if they play the part of the children, because if the people are humble, they get the truth from me. And if they are (?) they won’t get anything from me. I work especially for children.
JESSE: Well, I know my little sister has heard a lot of your music, and I grew up listening to that as well, so it’s going to be fantastic for us to see you out here.
LEE: Nice, you’ve got to be kid’s stuff. Must be. Cannot be nothing else but kid’s stuff. I work for children from the very beginning. And I won’t stop.
JESSE: Okay. Well you’re in your early sixties now, and you haven’t shown any sign of stopping. Seems like you can keep going forever, what do you think ?
LEE: Well, I went up to sixty-three. And when I look pon me age, it wasn’t looking good to me, so I changed it from sixty-three to nine. Because six and three cannot be sixty-three six and three is nine. Do you see what I’m saying ?
JESSE: Yes I, I see indeed !
LEE: You’re as old as you think you are, and you’re as young as you think you are. So if I think I was sixty-three, I would throw it in. But I changed my age and say I’m not sixty-three, I’m only nine. Six and three is nine.
JESSE: Right. Well that’s part of the secret to staying young I guess, you know how to do it.
LEE: Of course! I don’t want to be sixty-three, I want to stay with the children, that’s what I’m saying.
JESSE: Right.
LEE: If I don’t see kids there I’m going to get really mad.
JESSE: Okay, I’ll pass that message on.
LEE: There’s got to be children there.
JESSE: Yes, I hope so.
LEE: There must !
JESSE: I’m sure there will be enough people that will be loving to see you on stage.
LEE: I’m not sixty-three anymore, I’m nine! Six and three is nine, I reversed my age.
JESSE: Okay. So are there any words you’d like to leave for all the people in Melbourne here that are listening to this ?
LEE: What I say to the listener, may God bless your ears, listening to Lee Scratch Perry. The richest man on the planet earth, and now millionaire, and the now children teacher, and the now children healer, and the healer of the universe that will heal your brain forever. With music like shower, shower, shower, shower !
JESSE: Fantastic Lee. Thank you very much for speaking to us.
LEE: Okay !

July 17, 2007 Posted by | interviews | 3 Comments

Medicine Crew (Germany)(2006)

 

Medicine Crew

 

Cine e Medicine Crew?

First of all, medic!ne is more than just a group of dancers. we are good friends an feel like a big family, we are trying to support each other in every aspect of life – not just in b-boying. medic!ne is a concept, an idea, it is a red line trough our lives that connects us. Up to date medic!ne crew consits of: Remo, Seba, Gabfunk, Mark78 – The Toprock Terrorist, Deny La Rock, Leo Da Vinci & JohnJey99.

Ce v-a determinat sa va apucati de bboying?

Each of us has his own story to tell about that. Some of the members are quiet new to the b-boy scene, some are more old school – so for everybody it was a different way how we got into it. Remo or Mark78 who are dancing for nearly 12 years now and have definetly completly other reasons than Deny who is in it for about 3 years now. Leo, Seba, Gabfunk & JohnJey are dancing for about 9 or 10 years now and also had different inspirations. In General the love and exitement for something different, something underground, something creatve and positive started a fire in all of us. Remo: “To most of us it was just the love for the movement itself, the love for Hip Hop Culture and his basic ideas of connecting people and bringing them together.” Mark: “B-Boying to us, is the highest evolved artform. There is nothing thats even coming close to it, there are no limits, you are free to express yourself with your mind, body & soul.”

La ce eventuri ati luat parte? Cu cine v-ati “luptat”?

Battle of the South (1998, 2000, 2001, 2003, 2004, 2005), B-Boy Unit 8 (2006) Korea, South German Championships (2000 &2001), Battle of the Year Germany (2003, 2004, 2005) Battle of the Year International (2004, 2005), Battle of the Month (1998, 2000 – 2006), Battle of the East 2000, Get Fresh Romania 2005, Bring it on the Floor Romania 2005, Manchaster B-Boy Battle 2005, Starbattle Karlsruhe 2003, Swiss Championships 1998, Ultimate B-Boy Session 2001, UK B-Boy Championships 2004 London, Freestyle Session Germany 2005, Junior Battle 1999, X-Mas Battle 2005 Austria, we have been on some many battles over the last 10 years – too many to name even 10% of them. We were in Switzerland, Romania, England, France, Italy, Austria, Croatia, Turkey, Spain, Slovenia, Belgium, Bulgaria, Korea, the Netherlands and all over Germany. We appeared in several music videos (Va:See, Kool Savas, Lumidee etc.), acted on stage in various theater shows, are making a lot of performances and are giving workshops.

As you can see it is nearly impossible to name all the crew we battled agaist. Some of the most known are: Pokemon, Extreme Crew, Funkstylerz, Battle Rock Maniax, Assassins, Stuttguards, Rocking Attack, Battle Squad, Battle Toys, Spartanic Rockers, Ghost Rockz, RuffNX, 7Eleven, Dirty Mamas, Rockin till Death, Jumani, Footwork Pioneers, Breakaholix, Style Crax, Toys ‘n Effect, Arad Breakers, & Big Bounce (salut!)

The hardest Battles?

Remo: “Man, versus Mouse (Funkstylerz, UK) in Manchaster 2005. That was the sickest thing that ever happened to me & the same time it brought me back to the essence of myself and opened a different view on dancing for me. “

Mark: “Versus Oski of Zürich Allstars, I don’t even know if he is still dancing but back then he completly ripped me apart! “

Gabfunk: “Seven-to-smoke in Mössingen versus the other guys of my crew. It was hell!”

Seba: “At B-Boy Unit 8 versus Extreme Crew – they killed us! And versus Pokemon at UK B-Boy Championships, we didn’t sleep for 24 hours and I couldnt even stand on my feet!”

JohnJey99: “In 2000 versus Battle Toys Crew in Nürtingen, it was crazy because Siggi back then was moving so tuff and I was just in my beginning years. It was a great inspiration and gave me the will to continue and improve my moves.”

Leo da Vinci: “At Battle of the Month this year versus V-San of Stuttguards/Style Crax. It was hard it was a 32 B-Boys 1 vs. 1 and it was the Quarterfinals.”

In momentul de fata care este tzinta voastra?

When we were younger I guess we had the same targets that every other crew has, to be @ the Battle of the Year and battle up on stage. But know things for us have completly changed, today our main objective is to live and represent original B-Boying and give our experiences to the younger generation. It is about expressing ourselfs and evolving our own styles and ways of dancing.

Descrieti style-ul abordat de Medicine Crew.

Raw & Original B-Boying. Nothing more nothing less!

Ati avut pe cineva care sa va invete,sa va indrume?

We had nobody, we learned all by ourselfs. We helped each other and what we didn’t know we learned from the rare videos that were available back then. It was different in the early 90s, there was no internet or DVDs. The only chance to get B-Boying Videotapes was on jams for a lot of money.

Majoritatea ati fost in Romania.Cum vedeti scena de bboying din Romania?

We think it is great to see the Hip Hop Scene is spreading all over Romania and to see it improve and grow, but it is strange to us that the people had no chance to actually live Hip Hop from the beginning and had to collect most of their information through the internet. So we are really glad right now the scene is coming up with Battles, Jams & Events so that everybody can be an active part in Hip Hop and make thier own impressions and experiences and can define their own point of view about this subculture.

Dar scena de HipHop in general?

The Hip Hop of today is not the Hip Hop most of us grew up with. Today things have changed, for us the feelings that we had back in the days are gone. We don’t consider ourselfs to be “real hip hop” anymore. We consider ourselfs to be Original B-Boys, and that’s what we are representing. We are representing B-Boy Lifestyle. Even though some people find it strange that we think you don’t necessarily have to listen to Hip Hop Music or wear Hip Hop clothes to represent Hip Hop Culture. It is hard to discribe because we have been here for a long time and it wasn’t easy to finally get to this point of view. Hip Hop as a culture got divided into its’ ingriediants. Graffiti & B-Boying are staying completly underground while MCs & Djs are full face in the media. This is not bad but it is delivering a wrong perspective of the original essence of this culture. People can’t separate Hip Hop & Rap – to them it is both the same, the music – all the cultural aspects have been forgotten.

Daca mai vreti sa ziceti ceva,acum este momentul…

Okay, never give B-Boys the opportunity to make some shout outs!!! you got some space left?? okay let’s start…

First of all to the originators of Hip Hop, all the people who inspired us – Storm, Swift & Speedy – the almighty Battle Squad, Rocksteady Crew, Actuel Force, Crazy Force Crew & Style Elements. Peace out to Moonwalkers Crew, our families & friends and all the people that believed in us and in what we do and supported us since way back!! Peace!

 

May 7, 2007 Posted by | interviews | 1 Comment

DJ Nickel-B from Itation Sound (2006)

Nickel-B

Gwaan bredrrin?How yuh livin?

Give the people a little information about who you are and what you do.

Read the rest of this article

May 7, 2007 Posted by | interviews | 1 Comment