A 10 questions interview with Omar de Fati.

I have the chance to be currently in touch with a man from Detroit, Omar de Fati, who has experienced the early stages of Detroit hip hop. Back in the days of the hip hop shop, Omar tells it like it actually is. He kindly accepted to respond to my interview questions. If you are curious to know more about Detroit history, Detroit rap, Eminem and other white Detroit emcees, 8 Mile and the contemporary local hip hop scene, Omar’s answers will give you more insight about what you always wanted to know about Detroit hip hop.

1.Omar, you live in Detroit. You have witnessed the early stages of hip hop on the local scene. Can you tell us a few words about yourself?

I grew up in Detroit, essentially all my life. I moved from Adrian, Mi, where I was adopted, to Detroit in 1970 at 11 months old. We moved to Fenkell Ave. & Ilene then. After two years living off Fenkell Ave. my family moved to 12th Street & Davidson Ave. From there I attended Glazer Elementary, Longfellow Middle, & Central High, schools. I was never a music lover before I heard rap music. I didn’t like funk, Motown, or the precursors to house & techno (Kraftwerk (sp), etc.) or anything (despite this, I played a relatively great sax). In or around 1983 I was introduced to rap music, but I had already been breakdancing for a year or longer. Although I’ve grown to love other types of music, including my second musical love–Heavy Metal, rap has consistently been my favorite.

2.How would you define Detroit’s local scene as it was in the 80’s and 90’s?

Most well-known local acts seemed more like knock-offs of more popular acts. I remember Kaos and Maestro reminded me of a Public Enemy Clone, Awesome Dre reminded me of a solo N.W.A clone with a little L.L. Cool J flavor, & I thought K-Stone was doing the same thing as EPMD & the other early New York ‘grimey’ acts. Don’t take this in a negative way. I mentioned this three acts, however, I liked (and still do) all of them. I’m sure Detroit wasn’t much unlike other cities outside of New York, with the exception of Florida cities & the West Coast who had their trendsetters in Two Live Crew & Ice T/N.W.A. Some other better known acts from that early era were Detroit’s Most Wanted, AWOL, Smiley (ala MC Lyte), Ameer the Merciless (Ala Special Ed/Rakim, Ameer was, in my opinion, the best of all the Detroit locals during that time. I believe to this day his song ‘A Day Without A Rhyme’ is a Hip Hop classic, overall. And I still listen to it several times a week. Unfortunately, I wasn’t able to follow his career, or even to find out how or if it ended.) Oh, I remember Prince Vince and the Hip Hop Force too. *smiles* These are all late 80’s to early 90’s era groups. In the mid-90’s, so many different experimental styles began to develop in Detroit, it’s difficult to discuss in a written format. So I’m basically talking mid to late 80s here. In two main ways Detroit’s Hip Hop ’scene’ struggled for an identity in two ways: 1) What type of music represents Detroit; and, 2) How to get the music to listeners. Detroit was being influenced by every single style of rap between the late 80s & early 90s. During 1987, while in a juvenile camp I housed this guy’s ‘Criminal Minded’ cassette. Later, during the 90s, this same guy argues with me that Treach from Naughty by Nature is a better rapper than KRS–while wearing a Heavy D T-Shirt. This is of course anecdotal. The point is, Detroiters had no collective identity as a Hip Hop scene. Detroit’s Hip Hop scene also had no infrastructure. The one media that could have (and in my opinion tried) made the biggest difference was the dance show called ‘The Scene’. Then later, the spin-off dance show, appropriately named, ‘The New Dance Show’ often granted access to their audience to local artists. Unfortunately, ‘The New Dance Show’ primarily played dance mixes & national R&B. So to make this long story end shortly, I’d define Detroit’s scene during those years as a ‘perpetual infancy’. In the greater scheme of Hip Hop, Detroit is no longer an infant. I’d say it’s finally…a rowdy-ass young adult. The problem is, how do you define local? I remember thinking how cool it must be to be an underground artist in New York. To get mad love in New York, but not necessarily anywhere else. I think most artists would be happy with it, & so would I. Well, now there *are* artists like that from Detroit. There were also Nationally known artists from Detroit (setting aside the obvious Em reference since he was an aberration by both race & pure talent) who are essentially better known in other states than here.

3. Was it very different from the underground scene we know now in Detroit?

Absolutely. As different as an infant can be from eh… let’s say a young adult *smiles*. It was essentially a rarity to know someone who rapped & even more rare to know someone who rapped well. Nowadays, every hood has a few people who could rock a mic whenever. More of Detroit & Metro-Detroit is Hip Hop. Even our R&B tastes are being filtered through Hip Hop. Clubs playing various rap artists were once bumping ‘Boing Boom Tschack’. Before…you were a little bit different if you liked rap music. Now, if you don’t like rap music, you’re insane. If you don’t know Dice, Big Herk, or Detroit’s Most Wanted, you can’t say you’re a Detroit rap fan (loving Kid Rock, Esham, & Eminem isn’t enough). One looming difference is the world is watching Detroit from the corner of its eye…*expecting* something big. Before, Detroit was simply a place Luke Skywalker or Ice T could do a show & hang out with some real niggas.

4. Which artists have your full respect on the local scene and why?

First of all Big Herk. I respect him for several reasons. The biggest reason is I knew him personally when he started into Hip Hop. I didn’t know him well, but we were in middle school together & a little high school. We knew of each other, but I knew of him more…well, because he’s Big Herk & I’m just…well…me. He’s the only Detroit rapper I’ve known outside of the ‘rap scene’, & he has, in a manner of speaking ‘made it’ because he was doing something he love without any real example of success. So I’m happy for his success & because of the following reasons, I wish him even greater success. Big Herk is a good lyricist. I don’t mean someone who can just bang out a few bars, but he’ll say shit that’ll make you say damn… The way he rhymes forces me to create a visual sequence whose continuity is never upset by a break in his lyrical concept. Some rappers will get me picturing their words, then they flip the script & we’re somewhere else. But the mark of a lyrical architect is the continuity & fluid expression. Herk has that. And when I say fluid, I don’t mean soft, I mean he rhymes effortlessly–& still hard. Thirdly, but not lastly, Big Herk has in one way or another defined ‘how’ a genre of Detroit rappers would rap. And everyone needs to be shown. Hell, we needed to be shown how to rap at all, and especially which style to use. Big Herk’s mechanics & syntax weren’t new to me. I prided myself on being a good rapper, so I could appreciate the things he did in a bar. Still, Big Herk’s greatest accomplishment & contribution to Detroit’s scene, in my opinion, is content. He showed a genre of Detroit rappers ‘what’ to rap about. And I’m prepared to argue this point whenever. ’nuff said. Currently, I’m feeling Dan Sykes from Nu-Tez. I’m working on nearly all expectations here, but I think this kid is something special. I haven’t quite given it time for me to determine exactly why I like him, it’s more or less a gut feeling here. So aside from Eminem, these two are both number ones & all others are number two or lower. *smiles* I just want to point out I have a healthy respect for anyone, especially Detroit artists, who ply their trade & work their craft. There are too many to list so I picked two I thought would make great reading. Ironically, the only reason I mention this last point is because I respect so many Detroit artists. note: I typically give love to any group or artist who takes the time to rep Detroit directly in a song. I love that! And because of it, I have to add: I-mac for their song ‘Rep The D’. I love this song & it’s a classic among ‘repping the D’ songs.

5. Do you think that Eminem has influenced hip hop history and that he has influenced the local scene in some way?

Yes I do. I believe Eminem’s role in general Hip Hop is still underestimated. His influence on local rap, across the nation, cannot be measured. Even though Eminem was following a beaten path, his success convinced a wide range of people to try that path. And I’m just talking professionally here. Stylistically…he can be heard in any number of rappers’ styles. I don’t know if it’s because he’s used so much of good Hip Hop in his own style, or rappers use him in theirs. Think about it…exactly who came up with the idea to say ‘Fuck You!’? Was it him or Hip Hop? The best thing I can say here (and save time too) is Em’s grandest influence has been on Hip Hop in general. I don’t think he’s changed up the local scene rappers so much because local acts are anchored into themselves; the way good artists should be. That’s kinda of the draw about their diversity. His success has facilitated needed attention that’ll later result in a healthier Hip Hop infrastructure here in Detroit.

6. According to you, does 8 Mile reflect the reality of Detroit in the 90’s? Backstab is talking about an exaggeration and some untrue facts. What is your point?

Like all movies, I have to say it doesn’t reflect the ‘reality’ of Detroit, per se, as I’ve witnessed it. But…it’s not so far off that you’ll have to call the movie bullshit. Plus, nobody knows how Em witnessed his life, so I wouldn’t speak on whether it was accurate according to Em. I can say this…the movie was a close enough semblance that if I take you back in time you won’t be surprised by the difference. It’s not apples and oranges being compared. As far as the racial divide goes, I’d say the movie is pretty accurate. Sure it was tough for white rappers, but it’s tough today too. It’s tough for girl rappers. If you’re not a street hardened black male, being a rapper seems quite a long shot. HOWEVER, there were quite a few white rappers getting props at the Rhythm Kitchen (the make shift ‘club’ represented in the movie as Chin Tiki). I remember a white female rapper holding it down on open mic. The ‘race’ thing was like everything else…some people made it a point about your race, some didn’t. In my experience, the crowds at the Kitchen were more Hip Hoppers & thugs having a good time. Nobody was into ‘killing the white boy’. The ‘look’ of Detroit protrayed in the movie is typical of some lower income areas in Detroit, but not indicative of Detroit’s condition overall. The few scenes of Mack Ave….well…let’s just say the producers picked an Ave. long known for being trashy looking. Sure there are some blurred facts in the movie, but it’s a movie, not a documentary. I don’t remember any non-facts being more non-factual than those in ‘Beatstreet’ or ‘Menace to Society’. 8 Mile was a great movie, a classic soundtrack, & is an example of Em riding ‘this’ Hip Hop thing until the wheels fall off. And I don’t mind him doing it. I’d be willing to argue any blantant misreprentations in the movie–for instance, wouldn’t it be blantant if *no* white person ever blessed a mic in Detroit, but in the movie they did? Of course, whites blessed the mics back then & still do today.

7. Many people seem to ignore it, but racial tensions are part of the Detroit history. How difficult was it for a white emcee to get some recognition from the local scene in the 90’s?

With reference to what I’ve said above, I don’t think it was hard for white rappers. I think it was hard for rappers period, & more hard for rappers who sucked. And let’s be honest, a larger percentage of white rappers back then sucked. They just weren’t plugged into the ‘Urban’ of it all. Nowadays, Hip Hop has taken the ‘Urban’ from the inner-city & dropped it off at the Suburban’s door. As a result, white boys (and girls) are showing their asses on the mic like pros & their skill. Like it should be.

8. According to you, what makes the Detroit hip hop scene so particular and why is Detroit city so inspirational to many artists from different backgrounds?

In some circles, Detroit has always caught flack for being an adopter of fashion & culture. And it’s true. Detroit’s trends typically come from other areas of the nation–East Coast, Southern Mid-West, Southern states, West Coast, even Chi-town. Detroit’s proximity to these areas account for this peculiar culture. Detroit is probably the best one-city example of general Hip Hop. To drive home this opinion, just yesterday, a Romanian guy I’ve known called me to ask for his Romanian rap CD back. Then he asked if I wanted to attend a Romanian rap show in Hamtramck (a small city inside Detroit) this month. Detroit literally has it all. We will never be known for “a” sound or style. Detroit’s rap scene *is* Hip Hop Jr. This is why I also think Detroit will continue to inspire people from different backgrounds in Hip Hop. When someone can understand how Hip Hop in general inspires someone *living* the culture, they’ll understand the role Detroit plays for a diverse audience & artists–just on a smaller, defined scale.

9. According to you, what are the qualities necessary to make a good emcee?

In short…don’t suck. More seriously, it’s all in the environment’s context. If you’re on stage I expect different qualities for you to be good. And again different ones in a studio, in a freestyle cipher, on a mic at a party, etc. I could list 100 things for each context & still not be half there. If I must say something about what makes a good emcee, but write less than 100 words for each context, but more than just ‘don’t suck’, I’ll say *be* an artist. Maybe rapping isn’t the *art* for you, but punk rock is. Rappers who use rap to express themselves artistically are typically good emcees. As an appreciator of good rap, I’ll find something about a rapper who is expressing themselves artistically. This doesn’t mean every artist in another genre of music should grab a mic & try to hold it down. Rap must also *be* the art for you. Some people who look cool in a sports car look stupid in a pickup. Some people who are otherwise good artists look stupid trying to rap. Now, if you mean ‘emcee’ as in *only* on stage ‘emcee’–well, the only good one is KRS. *smiles* All others are number two or lower.

10. If you could choose to promote an artist or local group from Detroit right now and make him or them famous, who would it be?

Right this minute? I’d pick Nu-Tez or I-Mac. — Omar de Fati

Copyright© by Isabelle Esling
All Rights Reserved

When they settled down in Detroit, for instance, they had to face poverty, racial discrimination and segregation.
Although Southern states like Arizona are well known for their racism, Detroit’s history is linked with racism.
Henry Ford wanted to massproduce cars in order to make them affordable to a huge amount of people. Massproduction meant, of course, to the lowest expense and to the lowest salaries.
In many people’s mind, black people were viewed as inferior and deserved to become lower salaries.
Black workers used to live in a neighborhood sarcastically called  Paradise Valley , because it was a dark place with no green and no trees. It could rather be described as a hellhole.  Paradise Valley  corresponded to the East Side of Detroit.

The 1943 race riots

Recruiters from the Northern factories went to the South in order to make some publicity, promising high wages to the future employees, trying to convince Blacks and Whites to work for the new war factories. As a consequence, the migrations to the North increased so much that detroit was facing some housing problems. Food was rationed. In fact, people were working very hard and couldn’t even enjoy the benefits from the money they earned, because they had less time (they used to work 48 hours a week) and very few places for leisure time.
At this time, Detroit’s sarcastical name was the Arsenal Of Democracy . Segregation and racial discrimination ruled everywhere in Detroit.
Blacks were excluded from public housing programms except for the Brewster projects, they were treated unfairly by the police.
Whites also protested against Blacks working with them in the assembly line and during a strike, some people shouted out slogans like these :
 I’d rather see Hitler and Hirohito win than work beside a nigger on the assembly line.
Black men were armed to protect their properties.
On June the 4th, the Detroit Housing Commission had approved two sites for defense housing projects : one for Whites and one for Blacks.
Racial tension began growing to an unbearable level. Some Blacks began a bumping campain  against white people : they wanted to protest against unfair conditions.
On June the 20th, 1943, the situation exploded. There were almost 10 000 people brawling in the street. Incidents happened at Belle Isle. The police was chasing only cars driven by Blacks. Fightings started. Cars were set on fire. A white woman was raped and murdered. Six Detroit poilicemen were shot.
Two back men, Leo Tipton and Charle Lyons spread the rumor that Whites had thrown a black woman and her baby off the belle Isle Bridge. The angry crowd moved to Woodward, breaking windows and looting stores.
The police was only dealing with black rioters and was criticized for its refusal to follow  shoot to kill orders .

The police was praised by Detroit mayor Jeffries who made this statement that  he was rapidly losing his patience with those Negro leaders who insist that their people do not and will not trust policemen .
Thurgood Marshall is the first person to make things move for black people s rights in Detroit. With the NAACP, he assaile the city’s handling of the riot and pointed out the police’s responsibilities during the riots. Many policemen were watching whites overturn cars and burn without getting involved.

1967 race riots

The police is the main responsible of the second race riot in Detroit. Police through the Northwest side of Detroit to vice squad officers executed a raid on a drinking club in a predomantly black neighborhood located at Twelfth street and Clairmont Avenue.
People were partyingthere and the police tried to arrest everyone. The ploice was waiting for a clean up crew  to transport the arrestees when a crowd suddenly emerged in order to protest.
After the police had left, a little group of men who were offended to have been kicked out of the club started some trouble and broke the windows of a clothing store. As a consequence, vandalism spread from the Northwest side of Detroit to the East side.

The main causes of the 1967 race riots were due to police abuse, to the lack of affordable housing, black militancy and demographic changes.
4 men police units called  Big Four  and  Tac squad  were looking for prostitutes to arrest or bars to raid. They were degrading black people verbally and physically. In 1962, they shot down a black prostitute, Shirley Scott and beat severely another one, Barbara Jackson in 1964.

Housing problems were worsening the situation too: Blacks used to live in the poorest parts of the town. When middle classes Blacks attempted to integrate white neighborhoods, white inhabitants of detroit started building a large wall along 8 Mile Road.
The destruction of Paradise Valley which was bulldozed, left a lot of bitterness and anger among black folks, because it used to be the heart of Detroit’s cultural and economical black community.

Racial tensions have been very strong through the years after the race riots till the early 90’s.

If you take time to look back at Detroit’s historical background, you will notice that racial segragation is part of its history.
Eminem’s story made me focus a real interest on Detroit City. You can hardly study Eminem’s life story without focusing an interest on black history in Detroit. Knowing the huge racial tensions the D-town has been through and Eminem’s will to be part of black people’s cultural landscape, anybody who calls the talented rapper a racist is an ignorant person.

On a side note,I feel very concerned by black history as a white person, because my two kids are bi racial kids with an African-White mixed background and I do also teach languages (German and English) in public schools. As a teacher, I think that my responsibility is also to inform white kids about black history, because most of the time, facts about Blacks and other ethnical minorities are often taught in demeaning terms.I had the occasion to teach about hip hop this year and to talk about black history to white kids who were really interested in the subject matter.

Copyright© by Isabelle Esling
All Rights Reserved

Nas is truly one of those hip hop giants who will allow us hip hop heads to keep our heads up with total confidence. Nasir Jones, deserves respect as a mainstream hip hop artist, because he never failed in his huge task. True to his African American roots, the talented artist has been more than a mentor to the whole hip hop community. Depicting the streets with veracity, outstanding lyricist, Nas is one artist I will keep having faith in.

Like Immortal Technique, Saul Williams and many contemporary engaged hip hop poets, Nas wants to react against corporate media in America. Sly Fox is aimed at Fox Channel in particular.

Distorted news, manipulative journalists that follow a corporate white America’s rules are put into a new light thanks to Nas’ brand new video. The electric guitar background is a powerful outlet for the emcee’s rage.

Nas’ fight is also aimed at all those narrow minded people who have a very limited understanding of hip hop and who will draw a very conceited image of it, voluntarily speaking in black folks’ names…when will people realize that so many places are owned by the government’s sheeps who betray hip hop’s REAL message?

No, hip hop is not about big cars, jewels and hoes. Only commercial hip hop is about such kind of crap. Real hip hop is an art: it is verbal mastery that allows the emcee to raise some real social and political issues. Real hip hop carries rebellion against conformist ways of thinking.

Real hip hop is lead by real emcees who raise their powerful voices each time it is necessary.

It looks like Nas is definitely digging Fox’ grave. I loved the video. It is powerful, insightful, creative.

Real talk. Real music for real listeners.

Copyright© by Isabelle Esling
All Rights Reserved

Ondre Moore aka Swifty Mc Vay is back, with a beautiful piece of solo work: his Forest Fyres mixtape. This mixtape has been made in collaboration with Swifty’s fellow emcees from Runyon Ave, the Fyre Department.

Swifty might be less known as a solo artist by D12 fans, he is nevertheless an amazing lyrical bomber. Besides his work with his fellow D12 members inside of the group, Ondre Moore has some very interesting work at his active with Detroit underground emcees from Raw Collection.
His former Grenade Pins mixtape is an underground jewel I recommend to hip hop lovers.

Swifty ignites the fire by dropping lyrical bombs. You could barely stay indifferent in front of his music.

Ready for a crazy ride with the Chief of the Fyre Department? Let me introduce you into his mixtape.
I Don’t Say Nothing is built on some rhythmic drum and guitar sounds that will lead you into a hot atmosphere. Listen to the sirens in the background. Swifty’s flow unstoppable and the valuable emcee spits fire on the mic. The words are offensive and murderous, our man is a « walking felony ». Welcome to Swifty’s world.

It Ain’t Safe is introduced into a raw street killer atmosphere. Piano sounds, violins, gunshots and sirens will lead you into the scary atmosphere of the streets of 7 Mile. Face it: it ain’t safe where he comes from. Heartbeats alike, the beats will remind you of a thug running away from an imminent danger.

Act A Fool is a club song. The title says it all…madness, drinks, chicks and blunts to smoke…be ready to get krunk.

Be Like Me: let the drums and maracas lead you into a funny fighting atmosphere. Let the words spread like deadly weapons from Swifty’s mouth. Knives alike, they will stab you in an offensive manner. Nicely done.

Change is a beautiful and rhythmic track that will show the listener what Swifty is all about. Always true to himself, he and his crew won’t change.

Back Against The Wall : a soft chorus introduces the song and it will soon contrast with Swifty’s reps. Where would you go when your back is against the wall. Feel the danger and the thuggish atmosphere of a politically incorrect track. Swifty shows some beautiful skills .
The instrumentals are well chose and totally fit into the song.

Swifty attacks a political system that created a lot of injustice and misery in the hood. The darkness of the track is underlined by piano and keyboard sounds.

The 7th song Fucking Wit Us is written on a beautiful oriental background. Instrumentally rich , it will make you enjoy Swifty’s gun talk. Better not talk shit about Swifty and his D12 fellows. Like the other songs, the track is a lyrical jewel, that I highly recommend to the listeners.

Do Somem has the same somber style. Swifty is writing murder music and it is lyrically highly enjoyable. Hell raiser, the talented artist is determined to bring a lot of darkness into his song. Welcome to the Murda Mitten, the dirty D town. Enjoy Ondre Moore’s great talent in creating an unsafe and murderous atmosphere.

On most of the tracks, Swifty and his Fyre Department are dropping some pure heat.

Be sure: you all gonna remember him. Don’t miss Obie’s track Kill Me that is also part of Swifty’s mixtape.

My advice to all of you: go cop Swifty’s mixtape that is available on his official website. You won’t be disappointed.
The lyrical bomber in D12 has dropped an explosive mixtape. Each track is definitely worth a listen.

More info about Swifty, his Fyre Department and the Forest Fyres mixtape can be found here.

Copyright© by Isabelle Esling
All Rights Reserved

His unique, instrumentally inventive, lyrically creative tracks will probably enchant hip hop lovers.

This Is It will take you by surprise. The bitter-soft saxophone notes are astutely combined with keyboard sounds. Malaki’s raspy voice introduces the track. Ready to listen what a hip hop dedicated heart has to say? Open up your ears and let the Detroit emcee take you for a ride…i like the way he expresses himself, smashing commercial rappers! He’s truly killing it in this track!

Bigges Losa is based on dark and rhythmic instrumentals. Listen to Malaki take over Motor City by loud musical force. Malaki’s stormy flow delivery needs to be underlined too. The track is a powerful outlet for ghetto rage and hip hop passionate people. You are gonna like it.

Starting on a soft flute musical background, suddenly interrupted by some noisy drums Murder Me will take you by surprise. The Sleeper Cell track, that is dedicated to Proof will allow you to discover Malaki’s lyrical ability combined to an explosive scratches apparition.

Soft guitar and vocals introduce the listener to Boombox Platinum. The blues influenced vocals totally match with Malaki’s complaint.

Discover more about the outstanding Detroit underground emcee here.

Copyright© by Isabelle Esling
All Rights Reserved

“Up You Mighty Race, Accomplish What You Will…” (Marcus Garvey)

The following text is dedicated to my eldest son Marcus.

Marcus Mosiah Garvey was born on August the 17, 1887, in St Ann’s Bay, Jamaica as the youngest of 11 children.

Marcus Garvey was known as a journalist, entrepreneur, publisher and a crusader for black nationalism. During his whole life, he has fought for racial equality.

Childhood years

In St Ann’s Bay, young Marcus attended grammar school. Alfred Burrowes, his godfather, also gave him some private instruction. Alfred Burrowes hired Marcus at the age of 14 as an apprentice in order to learn the printing trade.

Garvey’s father, who was the owner of a private library, encouraged young Marcus’ love for books.

During his apprentice period, Marcus used to discuss politics and social affairs at his uncle’s place.

In 1906, Garvey moved from St Ann to Kingston.

In 1908, Marcus Garvey participated in Jamaica’s first Printers’ Union strike. The strike was unsuccessful and as a consequence, Marcus Garvey lost his job.

Luckily, he was employed by the Government Printing Office.

Visiting the world

Around 1910, Marcus Garvey left Jamaica for Costa Rica. There, he worked as a time keeper at a panana plantation. Then he went to Central America, visited the Panama Central Zone. He observed Blacks and Indians hard working conditions. He also traveled to Equador, Nicaragua, Honduras, Columbia and Venezuela.

Very sensitive about discrimination and racial prejudice, Marcus Garvey always had the will to make things change. That’s why he appealed to his government in order to improve West Indians working conditions. But the government just wouldn’t listen to his complaint.

Garvey, the publisher

Marcus Garvey’s first publications started during his Central American travels.

In 1910, Garvey started his first newspaper, The Watcher, that was followed by several other short lived newspapers

He was also associated with several publications:

- The African Times and Orient Review, The Daily Negro Times, Harlem, 1922-1924

-The Blackman, Kingston, Jamaica, 1929-1931

-The New Jamaican, Kingston, 1932-33

Marcus Garvey started The Black Man Magazine in 1933 in Kingston. His magazine was continued in England until 1939.

Black militantism: the creation of the UNIA-ACL

Marcus Garvey was very conscious that improving black folks conditions was a long term work. It had better chances to work if Africans united. That’s why he created the the Universal Negro Improvement and Conservation Association and African Communities League (UNIA). As the President of the UNIA, he defined its goal to unite « all the people of African ancestry of the world into one great body to establish a country and Government absolutely their own. » very precisely. The UNIA’s flag is red, black and green.

In 1916, Marcus Garvey went to the USA and gave a lecture tour.

In 1920, Garvey set up branches of the UNIA in more than 40 countries.

Garvey’s ideas

Marcus Garvey fought for social, political and economic freedom for Black people.

He founded several companies like Black Star Line and Black Cross Navigation and Trading Company.

He also created the Negro Factories Corporation, which helped to created more marketable black businesses. Garvey was commercially very active: he started chains of groceries and restaurants and many other kind of businesses.

“Africa for the Africans…At Home and Abroad!”

Marcus Garvey wanted Blacks to consider Africa as their permanent homeland:

« I have no desire to take all black people back to Africa, there are blacks who are no good here and will likewise be no good there. Our success educationally, industrially and politically is based upon the protection of a nation founded by ourselves. And the nation can be nowhere else but in Africa ».

In 1920, he worked on the ambitious project to develop African state Liberia by building colleges and industries , but he had to stop it, because of many European countries’ political and economic interest in Liberia.

Mail fraud charges

Marcus Garvey was confronted by mail fraud charges in 1925 and sentenced to jail in 1925. He was jailed at Atlanta Federal prison. After his release in 1927, he was deported from New Orleans to Kingston, Jamaica, where a huge crowd welcomed him.

Defending Blacks till his death

Marcus Garvey has never stopped fighting for the cause he found right.

In 1928, he went to Geneva. He presented the “Petition of the Negro Race” to the League of Nations, which was strongly against black people’s abuse around the world.

In 1929, he founded the PPP (People’s Political Party), which became Jamaica’s first political party. This political party was all about helping poor people, education and workers’ rights.

In 1929, Garvey was elected Councillor for the Allman Town division of the Kingston and St. Andrew Corporation (KSAC).

He was reelected in 1930.

In 1931, Marcus Garvey created Edelweiss Amusement Company, a company that was supposed to help artists to make a living out of their work and to give them an opportunity to get known better- at least locally.

In 1935, Marcus Garvey moved to London. He kept being involved in his activism till his death. Garvey died in London in 1940. He is considered as Jamaica’s first national hero.

It is a known fact that Marcus Garvey was nicknamed « Black Moses »…

Don’t search so many saints in the Holy Bible when you have a pretty good example in real life.

Copyright©2005 by Isabelle Esling

All Rights Reserved

Listen has some rough accents. The challenging track will lead the listener into the world of rap battles. Diverse instrumentals that sound like birds-a combination of slight flute notes, violins and scratches sounds- will lead you into the ghetto jungle. It resembles nothing other I have heard yet. You will feel the struggle against the enemies and the bloody spaces.

Choices is built on an Eminem’s No Apologies sample. Journalist 103 carries the spirit of ghetto soldiers who fight against discrimination. I loved the hardcore atmopshere and the outpouring rage that came from the emcee’s chest. Listen carefully and realize the song’s critical analysis of our contemporary society.

Writer’s Bock strongly invites you into the literary world of engaged writers- composers. Discover the incredible power of a pen and a mic. I love the way Journalist 103 spits his rhymes. He fights with the force of a Myke Tyson, he courageously opposes his point of views for the sake of the truth.

Journalist 103 is the kind of emcees who encourage me to keep my passion for writing and for hip hop alive. As long as there will be emcees of his kind, hip hop will keep breathing and enlightening the crowd of listeners.

Discover Journalist 103 here.

Copyright© by Isabelle Esling
All Rights Reserved

Jermaine Harbin aka Uncle ILL was born on April the 5th, 1976, in Detroit. Uncle ILL grew up in Detroit. Not only was he the witness of the early stages of Detroit hip hop, he participated largely to its first steps. Rich of 16 years of rapping experience, Uncle ILL has earned a lot of respect on the local scene. However, Jermaine Harbin deserves more recognition on a nationwide and international scale for his numerous collaborations and very original and diverse work.
Largely influenced by Ice T’ movie Breakin’, Uncle ILL started rapping at the age of 12.

How does he sound?

In fact, it is quite difficult to define Uncle ILL’s music. Very open minded about the music, Uncle ILL found his inspiration in many different artists such as Ice T, George Clinton, NWA, Eminem, Kraftwerk, Red Hot Chili Peppers and many more. With his typical grave voice, Uncle ILL talks about diverse themes from domestic disputes, fake thugs, hood life to moving to the suburbs and nosey behaviors, just to name a few themes.
Uncle ILL uses various instruments and manages to create a very dynamic and energetic sound. You could barely sit down while listening to Uncle ILL: most of his tracks are an invitation to move your body and dance to his music.
Uncle ILL is not a hardcore rapper, he nevertheless deserves the listeners’ attention for his good work.

Back in the days of early Detroit hip hop
Uncle ILL has collaborated with many local emcees on the Detroit scene. In the early stages of his career, Jermaine Harbin needed some beats. A friend of his, Fred, introduced him to Manix of Bassmint Productions.
At this time Manix was producing beats for Champtown’s album, Crazy Home escapist & Check It, an album on which Uncle ILL is featured.
This is also how two young men known as Marshall Mathers aka Eminem and Dan Carlisle aka Mc Hush crossed his road.
Soon Uncle ILL and Mc Hush would unite their talents and their passion for hip hop and work together on their common Da Ruckus label.

Da Ruckus

After his collaborations with local rapper Champtown, the Detroit rapper that would actually play a major role in Uncle ILL’s collaborations is another veteran on the local scene: Dan Carlisle aka Mc Hush.
Both rappers decided to unite their talents and their passion for hip hop and created the legendary label known as Da Ruckus that is mentioned in Eminem’s Stan song.
In 1997, Da Ruckus released an album independently, Quiet As Kept.
Federation Records decided to invest in the Da Ruckus label and the following year, the label would release an EP Da Ruckus Episode 1.
150 Emcees is an example of the beautifully well handled songs from the Episode 1 EP. Da Ruckus Episode 1 is rich of many interesting Detroit collaborations including Eminem, Swifty of D12, Miz Korona, Mad Chemist.
Two singles, « We Shine » in collaboration with Eminem and « We Came Here To Party » in collaboration with Dale, would be released in 1998.
In his Metro Times review of Da Ruckus, Hobey Echlin says about Epidode 1: « Episode1 isn’t just tight, it’s a pretty accurate depiction of a day in the strife. »
You will be able to listen to snippets of Epidode 1 here.

One of Da Ruckus’ main goals was to struggle for more recognition on a national scale. Da Ruckus’ musical style is dark and close to a definitely Esham inspired horror core.

Solo career and collaboration with Mad Chemist

After a while, Hush and Uncle ILL decided to both concentrate on their solo careers.
Uncle ILL started collaborating with Mad Chemist on his solo album Ya’ll Know, that was released in 2001. Mad Chemist produced Y’all Know.
You will be able to listen to some tracks of Uncle ILL’s album here.

I particularly recommend you Cho, Who’s Ya Uncle, Stress and Sunday. Uncle ILL’s CD is full of interesting Detroit collaborations, including Mad Chemisy, Mc Hush and Miz Corona. I’d call it a Detroit underground classic that is definitely worth your interest.

A rich career that is far from ending
Besides his numerous collaborations with fellow emcees,the commercials he did for various companies like Wireless Toyz, Uncle ILL also created his own clothing line Uncle ILL Gear.
Moreover, the talented and dynamic Uncle ILL never gave up his passion for rap: he is still active in making his original music. On November the 15th, 2005, he released a brand new CD, Undisputed (1996-2006), which can be considered as an anthology of his work and collaborations.
Uncle ILL has made a video for his Keep On song that can be found on his my space account.

Uncle ILL is a skilled emcee of experience. Co founder of the Da Ruckus label, Detroiters already consider him as a local hip hop legend. Check out the talented artist who is definitely worth your attention.

Copyright© by Isabelle EslingAll Rights Reserved

Ready for some rhythmic, passionate reps?

Body Bag is based on repetitive guitar sounds and enhanced with Guilty Simpson s crazy hustling attitude. Enjoy the astute wordplays and let the Almighty Dreadnaughtz teach you the art of war. I loved the beauty of the rhyme that fit with the emcees confident attitude!

The Incredible is introduced by DJ Exclusive. Beautifully enlightened by scractches sounds all the way. Keyboard sounds, electric guitars in the background totally match with the emcees hot verbal dynamite. You gotta love this one. Satisfaction guaranteed.

Welcome To Tha Land begins with numerous shooting sounds: it reflects Almighty Dreadnaughtz offensive annihilator spirit. Rhymes and flow work together with the instrumentals, proudly carrying the raw Detroit spirit. Better fear the Almighty Dreadnaughtz, because their lyrical bullets will hit your chest in a merciless manner.

KittyBangBang starts the hostility on a shooting background. Claps are combined with repetitive keyboard sounds and mad shootings, making the listeners feel unsafe while our emcees flow with ease on some inventive lyrics.

The Almighty Dreadnaughtz have earned a solid reputation over the years on the Detroit underground scene.

Check the incredibly skilled, Detroit-rooted emcees here.

Copyright© 2007 by Isabelle Esling
All Rights Reserved