QUESTOSAHN: A DOCUMENTARY

Questosahn: A Documentary from MOF on Vimeo.

Check out this DJ Quest documentary by the homie Matt Oner.

MYSTERY SOLVED: STREET BEAT RECORDS, SF

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My homie Walter sent me this note after reading my BBO post:

Hey,

Just a quick note... that record shop on Market and 6th was called Street Beat, run by this white dude from FL named Chuck. That place was great, totally ghetto! I used to go there all the time because he used to sell releases way before the release date, he used to bootleg stuff too, until he got roughed up by an unnamed SF hip hop group. Word on the street is that he owns a store in L.A. now.

Holla!

Walter

LIBRARY SCIENCE: THEMES FOR DRAMA, MYSTERY & WEIRD

Another book post? Yep. Seems like recently I've been able to spend more time reading books than I have been able to spend listening to records. My homie Jake Won just hooked me up with an early b-day gift - a copy of Jonny Trunk's book, The Music Library (Fuel Publishing, 2005), which is a really slick looking hardcover that serves as a primer for the world of sound library LP's. For those not in the know, sound library records were created for use in the film, television and radio industries featuring music performed by various studio musicians for all types of moods. Because they were never issued for retail sale, they are very rare and often go for big bucks on the ebay machine (especially for us in the states since most of the heavy library labels based in Europe). Stories of Euro diggers stumbling upon boxes sitting out for trash have been the stuff of many sweatily read record nerd message board threads. Check out this article from the SF Weekly for a nice background on sound libraries. The book is organized alphabetically by label and each label gets 1-2 pages (some of the heavies like De Wolfe and Chappell have bigger spreads) with full color cover scans. While the book's primary focus is on the cover art, there are some basic notes on each label and it comes with a 17 track CD sampler of some rare library cuts. Check out some of the covers:




Master Won also threw me a copy of Luke Vibert's "Nuggets" CD which is a collection of his favorite library jams. Here's a small sampling of tunes from both these discs:

Richard Demaria - Next Episode

Midas Touch - Intimations

David Holland - Zouche Drums 3

Raymond Guiot & Guy Pederson - Flutes Ad Libitum

Jean-Jaques Debout - Pop Bazaar

Guy Pederson - Kermesse Non Heroique

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Bonus for latecomers (when do you ever see that?), complete rips:

NUGGETS

THE LIBRARY MUSIC

KNOWLEDGE ME

Steven Hager is probably not the first name that comes to mind when you think of old school hip hop and I'll admit that I didn't even know who dude was until I read this interview with him on Jayquan's The Foundation website. Hager was the written equivalent to Henry Chalfant and Martha Cooper. In a perfect world, Hager's classic Village Voice article on the roots of hip hop would be revered by every wannabe MC and DJ just like every aspiring toy sleeps with copies of Subway Art and Spraycan Art under their pillows during their formative years. Another mind blowing read is Hager's essay here about how his movie script for a film entitled "The Perfect Beat" was scraped of all it's realistic griminess and polished up into the the squeaky clean flick we all know as "Beat Street".

Hager's book Hip Hop: The Illustrated History of Breakdancing, Rap Music and Graffiti (St. Martin's Press, 1984) is unfortunately out of print (WHY??), but you should definitely pick up his other book, Adventures in the Counterculture: From Hip Hop to High Times (High Times Books, 2002), which reprints the aforementioned early 80's Village Voice article where he was the first to use the phrase "hip hop" in print. Hager goes back, way back, back to the Bronx in 1955 and traces the formation of hip hop from it's earliest squeaks, scrawls and pops up until the release of "The Message". Although his hip hop piece only makes up 55 pages of 247 page book, this thing is a must own (shit, you can cop it used on Amazon for under $1!). Just ask Jeff Chang who refers to it as one of the two foundational texts on hip hop (along with Toop's Rap Attack). The rest of the book is filled with some other great essays - how an ex-junkie becomes one of the world's top marijuana seed dealers, the story of seriously mentally ill cop who shoots a man at point blank range for transporting a few plants, the conspiracies surrounding JFK's assassination and the ATF's failure at Waco, TX. and a lengthy history of CBGB's and the punk, no wave and art scenes surrounding it. Ill shit. My only complaint is that the original publication dates or sources of these articles are not listed anywhere.
When I was reading Hager's article the one thing that really struck me is how much emphasis he put on the gang lifestyle that predated hip hop. Other hip hop books tell you that Bam was in the Black Spades and eventually formed the Zulu Nation and act like that's all you need to know. Hager delves much deeper into the gang aspect and shows that long before the term "gangsta rap" even existed, gangsterism was the lost 5th element of hip hop. It reminded me of a book I read early last year by cult sci-fi author Harlan Ellison entitled Memos From Purgatory (1961, Jove/HBJ) which is based on Ellison's own experience joining a gang in Redhook, Brooklyn in 1954. Ellison assumed the name "Cheech" Beldone and infiltrated a gang called The Barons. While it really has no relation to hip hop at all, Ellison's book is a realistic portrayal of teenage gang initiation, recreation and warfare. Back then it was all about switchblades, razors and homemade zip guns. Though the Barons were a gang made up of mainly white kids, when reading Hager's article I couldn't help but draw parallels between the two based on what both groups of kids went through.

No music this time. Go read a fucking book!

YOUR BEST BET IS TO INVEST IN TECS

In 1996 when BBO Enterprises advised us all to invest in heavy metals, I'm sure they had no idea that 10 years later the very piece of wax that contained this financial wisdom would end up becoming a nice investment IN itself. At least according to this guy.

See, ever since I first heard BBO's "Pose A Threat" on DJ S&S and Craig G's "Niggaz Don't Give A Fuck" mixtape it's become one of those records that consistently eludes me. I picked the tape up at a short lived record shop that used to be on Market St. near 6th in SF (anyone remember the name of that joint?). They had a small selection of wax but the main draw for me was the bulging binder on the counter crammed full of NY mixtape covers and tracklistings. It was the only place in the Bay I knew of at the time where you could find all the latest Tapekings related releases. Of course, they were all bootlegs and the cover of my copy of NDGAF looks like it was copied on a fax machine, but it was awesome to have all the tapes I read about classifieds in the Source right there at my fingertips for $10 a shot. It was through all the 5th generation tape hiss that I discovered BBO Niggaz' (as they are listed on the tape) "Pose A Threat" which was the only song on the tape I was unfamiliar with at the time. The beat was like the retarded son of a Rza and Havoc production complete with ear piercing strings, a random female voice sample and textbook Mobb drumms. Just the type of shit I've always been a sucker for. While I'm not sure who all the MC's are, the flows are decent and follow in the foot steps of that late 90's money, thugs agenda.

I'm sure very few copies made it out to the West Coast and most if not all of those came by way of record pools for college radio. In fact, I did find an old playlist for a 1996 Beni B show where he drops the cut in question. There's no listing for this record on discogs.com and the few times I've checked for it on the eBay machine the only copy I've seen is from that Dutch gou....uh, dealer. I haven't even heard any of the other tracks and I'm thinking since this track is tucked in at the end of the B-side it has to be the grimiest of the three.

I'm sure everyone has these ridiculous grails where even though your not putting a ton of effort into it, the chase has been too long and unfulfilled. Why do I want this record so bad? Because it's an obscure piece of late 90's grime that puts me one step closer to completing the puzzle or because it's just been so damn hard for me to find? Sometimes it's best that tracks like these remain stuck to magnetic tape, buried in hiss, surrounded by obnoxious DJ drops or college radio station ID's. It just feels better that way.

B.B.O. Enterprises "Pose A Threat" (excerpt from DJ S&S' "Niggaz Don't Give A Fuck" mixtape)