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Yes Yes Y'all is an ongoing examination of hip-hop culture in our community. Discussing the four elements (mcing, djing, break-dancing, graffiti) and beyond, Smile Politely tries to bridge the gap between the mainstream and the underground bringing to light the presence and absence of both here in C-U.
Our search for The Next Big Thang continues and we are still looking for entries! This is the perfect opportunity for someone looking for a leg up. Are you tired of whack home recordings through cheap microphones that don’t quite capture your ideas? Can’t find a way to get the attention of local promoters? This is your chance. Step up to the mic and let us hear what you have to say. If we dig it, you’ll get a full length original track and a feature profile right here on Yes Yes Y’all. What are you waiting for?
Entry instructions after the jump.
Yes Yes Y’all and Smile Politely are giving you the chance to be THE NEXT BIG THANG! In an effort to promote independent and undiscovered local hip-hop artists, we are hosting a contest for the entire month of March to find C-U’s best kept secret. We know that there are a lot of emcees out there who just haven’t had a chance to shine. Think you got the skillz to pay the billz? Time to step up to the mic! The contest will be judged by Yes Yes Y’all columnist Larry Gates (Curb Service, ex-Lorenzo Goetz) based on lyrical content, originality and overall flow. The winner will receive a full-length original song produced by The Jezebelly (Larry Gates, Josh Miethe) and a full feature profile on Yes Yes Y’all.
Late last year, following a Rhymesayers show at The Canopy Club, a group of friends staggered home in hopes of an after-party, only to find that none of them had any money — not even enough for a blunt. That night was known as the birth of The Broke Rappers Coalition. And though their financial woes have not ceased, the resourceful crew has decided to pool their resources and combine their efforts musically. Let's take a closer look at C-U's most talented eight-man clique.
Anyone who was moved by the militant, forward-thinking sounds of Public Enemy in the 80s and 90s may be surprised to hear that long-time PE affiliate Prince Akeem resides a mere 15 miles north of our fair twin cities, where he focuses on his passions: family and music.
Prince Akeem (Akeem F. Muhammad), a Chicago native, was educated in the city’s south side Nation of Islam schools. Akeem’s commitment was so in-depth that by the time he had reached his early twenties, NOI leader Louis Farrakhan had appointed him Minister of Youth. In 1988 the Nation of Islam purchased the Stoney Island Mosque in Chicago for just over 2 million dollars and on February 26, 1989, Farrakhan organized a Savior's Day event (celebrating the birth date of Wallace Fard Muhammad), inaugurating the grounds and naming the center Mosque Maryam in honor of black womanhood.
While discussing hip-hop in Champaign-Urbana, you’d be hard pressed not to mention the name Matt Harshbarger, more commonly known as Harsh. Born and raised in C-U, Harsh has spent most of his life here (aside from a few short stints in Charleston, IL and Miami, FL). He has also spent the past two decades immersed in hip-hop culture and has contributed as a promoter, an emcee and a video producer.
Why only five? Cause ten would make the man lose sleep!
It seems that the industry’s continual search for flash-in-the-pan “bangers” has done more than just dumb down mainstream hip-hop. It has made it virtually impossible to find complete pieces of work, whole albums that stand as a cohesive offering. Albums like A Tribe Called Quest’s The Low End Theory, The Beastie Boys’ Ill Communication or Mos Def’s Black on Both Sides are becoming rarities. Don’t fret — I found at least five albums worth your time this year.
In the late 90s, the C-U scene got a boost when DJ Bozak (Adam Boskey) submitted a proposal to WEFT (90.1 fm) for a late night hip-hop show. The proposal was granted and “Needledrops” was born. Giving attention to both local and independent artists, “Needledrops” became a platform for the underground, serving as both an outlet for artists and a source of new music for heads in the community. There was never a shortage of guests or co-hosts (including a three year stint by DJ Spinnerty). Whether in studio or on location, they managed to land countless interviews with the likes of RJD2, Blueprint, Brother Ali, Jurassic 5 and Mix Master Mike, among others. Soon, gig offers began to roll in from area clubs for Bozak and Spinnerty, making it tough to stay committed. Soon after, Spinnerty relocated to San Francisco; by 2006, a busy schedule forced Bozak to relinquish the time slot and the show has yet to be replaced.
So what now?
Through pure chance, I recently acquired a box of free records. This happens from time to time, as I am known as a bit of a music fanatic and I dabble in the art of djing. This particular box was not filled with standard fare thrift store throwaways. No Ronnie Milsap or The Lettermen to be found. No Anne Murray or Jim Nabors in sight. Instead, it was filled with treasures from hip-hop’s golden era and beyond. As I dug through the box, gasping at nearly ever other sleeve, I started mentally categorizing each record into its respective wave of the movement. In the first wave, for example, I would put Kool Moe Dee’s “How Ya Like Me Now" or "Run D.M.C.’s “You Be Illin'.” Artists like 3rd Bass and Digital Underground occupied the second wave (filed nicely alongside the likes of A Tribe Called Quest and De La Soul), while Outkast’s Stankonia album stood atop the third wave, representing modern hip-hop. What a find. Three waves of music spanning 25 years plus—a veritable crash course in the history of the genre, handed over in a single cardboard box.
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