Why? Part III(Final): Darkset Origin

January 11, 2010

Darkset "Krakkerbashin" Album

This is the last on my series of “Why Seattle Hip-Hop is not on the map.” In part one I covered the main culprits Sir Miss, Shelia E Locke, Dj Nasty Mess, and Glen Boyd as the main conspirators who, in a mission to gain fame, “locked” out artists by manipulation, business, and media. In part II I wrote “What if” certain krews got together, on stage, in the studio, in the board room and so on where Seattle Hip-Hop might be, and came up with that indeed the talent is here, with platinum potential. Now for my final I will give you some of my history, with my own krew “Da Darkset” and the cast of characters that became the real “dark side” of Seattle Hip-Hop. I write this story influenced by my brother Anthony “Dj Pace” Funches, Mike “Dj “ Clark(who found the Samson Spears Sir Miss interview that sparked this.), and Steve Sneed.
Around the late eighties Hip-Hop nationally was beginning to shine. In the greater Seattle area rap krews where multiplying everywhere and the ol’ guard of Rhythm and Blues was falling.
Sir Miss-a-Not was buildin’ steam in the SeaCity. His song “Square Dance Rap” had put him in the National scene by going gold. Many rap krews were on his dick tryin’ to key into his fame…. except one…”Da Darkset.”
Da Darkset began in the Seattle Central Area, at my Grandmother’s house on 19th ave East Union Street. Me and my brother’s recording studio was in the basement. With turntables, Four track recorders, and keyboard sequencers we were bangin’ out rap cuts for our krews and associates. With the rap titles “Frostmaster Chill” and “Dj Pace” we had our own krews respectfully. At the time I was mixin’ for Sir Lover the MC managed by Sam “Sir Jam” Wilson who was a singer for the Rhythm and Blues group “Exposure” which had members like Thaddeus Turner, Mark Smith, Robert Redwine, and lead singer Patrick. “Frostmaster Chill and Sir Lover the MC” soon turned into the group “Ace of Spades” where Sir Luv was the Ace and me bein’ the Spade….
Dj Pace’s group was “The Bomb” managed by Earl Cheatem at the time, who according to Pace also was doing some work with Silver Shadow D. “The Bomb” was LTB(Lyrical Time Bomb), and him, however he also put in work with “Earl tha Pearl”, “Eno E”(Renaldo), “eRush”(Eric Canton), “L Luv”, and the EMP legend Edward “Sugar Bear” Wells. Pace’s first love was bBall, but after a try at a junior College came back to the hood after a year and slowly got into music after me. We were bad Dj, good Dj.
Unlike Sir Miss, we hungered to work with other artists, and if you were half way good at what you did in the rap game you could come down and record for free, like my dude Shawn “KBD” Miller, Rodney Chaney and his krew, Dangerous D, Robert “MC Lerap” Spikes, Greg “Colonel G” Steen, David “Daddy D” Blanchard, Laselle “Duke” Samuels, Kieth ‘Sergio” Samuels, Craig “Jazzy D” Daniels, Steven “Sir Wes” Wesley, Mike “Mellow Mike” Thomas, Mike “Dj Skyy” Simmons(MKS), Eric “Rude Boy” Hatcher, Jimmy “Icey J” Stewart, and Bryan “Big Beezin’” Hatfield and the list is out the fuckin’ door.
Like most katz in the Town we kicked it hard. We had our Clique o’ niggaz that hit Clubs all around the Seattle scene, like “Hollywood Underground” “Skoochies”, “Spectrum”, “Club Broadway”, and Bear’s Club “Encore” in Renton. Sir Luv, Sir Wes, Pace, Shaun “Levi” Livias and sometimes me, would hit up Clubs actin’ a god damn foo’. Sir Luv was the ladies man, shit starter, on the court, on the stage, and the street sometimes, Sir Wes, another playa, who was of the “Silver Chain Gang” was a hot head and dangerous fighter, who looked square as fuck but got down, Pace was the quiet one totally different than me, and Levi was the koo’ pretty boy who fucked anything movin’. I was the all around bad guy, where I went trouble seemed to follow, I didn’t start it but I sho’ didn’t turn down no rec’. Along with my side Valley cohorts, Big Beezin’ a Islander look a like terror, a young well schooled hustla and Sir Skyy a tall lanky shit talkin’ playboy, we went out in search of money, maidens, and mayhem.
Sir Wes came up with a name for the clique of fools, and called us “Paparazzi” It got wind to me, but I thought it didn’t fuckin’ fit. Who the fuck was we, some snap shot dudes? . So when I was in the Hollywood Underground dancin’ wit’ some hood chick, and tha Bloodz came in, she yelled “That’s my set!” and it clicked in my brain.
The next day I got to thinkin’, and it dawned on my azz. We were submitting tapes to KFOX and other radio stations and Nasty Mess and the rest were like “fuck you niggaz” if you aren’t on Sir Miss’s dick you get no play, and at that time if you wasn’t wit’ Swass you wasn’t getting any airplay or write ups. We could barely get club gigs after Sam “Sir Jam’s” death. We were black balled.
Black balled, or in the dark, and that was the key, dark. Our music was getting more minor, darker, our themes were getting more outrageous. Crack dealin’, gang bangin’, was in full swing, and we were right in the damn middle. Our house parties had g’z everywhere, on Union Street, Lane Street, and we carried guns because other katz carried ‘em. Then I got it. Dark. Da Darkset. That’s when I went to Wes’ and the krew and changed the clique name. It caught on like fire….
We used the name everywhere we went. We considered it a alliance of our black balled krews in the gayties eighties Swass era or error. Instead of wearin’ corny coon hats, gortex boots with tight azz jeans we wore khakis, black Joyner jackets, g’ nikes, Big Bens, loose oversize pants, sometimes converse, long trench coats, shit that would make a kat say, ‘does this muthafucka got a gun?’.
I made songs like “Graveyard” where I repped Union Street, and Sir Luv followed, and soon katz from the hood like Keyatta came up wit’ “Union Street Hustlas” from the influence of kats hustlin’ around 21st and E Union Street. The different sets of kats from CD Family, started getting together and Union made it’s own clique o’ niggaz, which was USH or Union Street Hustlaz. Not a gang so to speak but more of a network of katz who repped the greater Union Street area such as Jerri “jSnake” Jones, his brothers like Shadi, Mike Jackson and the other Spade, Michael Washington who sold me my Four track back then.
We hated Police, and once had a full blown riot that started wit’ Sir Luv(The shit starter.) and niggaz on deuce first and E Union street bein’ fucked wit’ by punk azz cops. (This is mostly on film by CDTV courtesy of Sir Luv.) That came all the way to 19th where dudes busted police cars, stole and spit on cops, and for awhile the whole bunch of blocks was shut the fuck down…. we were there.
We then turned to music. Sugar Bear started commin’ around since he got black balled out of the club Encore for wanting to play more black music, and Keith Olsen the owner wasn’t havin’ it. At first, me and Sugar Bear would see each other in the hood in the early eighties and would knowledge each other, but when we both went to Roosevelt High, (me transferred from Garfield and Sharples Alternative for fuckin’ up in grades and other shit…) we went at it because he didn’t like what he thought was my mixin’ style and thought I was a threat since we were both Djs. We had a very well published battle event that went down at the Club Broadway set up by Keith Olsen and Dj Mike Joyce. They had bet against each other a wager of $500 who would win. I showed up of course, and Steve Sneed the coordinator of Madrona Youth Theater at the time and probably the ex-manger of the Emerald Street Boys who Bear was with pulled me into his office about a week before the battle to talk me out of it. “They are turning two brothers against each other, why are you doing it?” I told him I didn’t start this, they did, which was true. I had only come to Club Encore to ask to spin for my group at the time the “Freeze MCs” which was Daddy D and Cornel G. Again, Bear dissed, along with Keith Olsen’s crazy square azz and later when I left Dj Mike Joyce at Club Broadway pulled me in his candy azz Dj booth to tell me of the challenge, he knew my skills, he helped me learn BPMs, and didn’t like Bear much anyway, so he knew Olsen had some dough, so he decided probably to get some extra weed money by takin’ these Jakes.
Steve Sneed tried to talk me out of it, and of course I said “Fuck no, I got somethin’ to prove and nuthin’ to lose.” Steve shook his head, he had worked with me many times and even more times after, there was no changing my mind, he knew it. We would come to bump heads many times after that. me and his partna Reco Bembry.
I showed up with tables he barely showed up, said he wasn’t notified, and he did work the Encore that night, he finally came but conceded, I won by default, Sir Luv got on stage to rap to a jam packed crowd, Bear out of spite probably, went to battle him and lost. After it was all said and done Olsen never paid us, even though his lyin’ punk azz said he would.
After that though me and Bear got tight and I even spun for ESB for awhile when they started to turn into the CD players when rCurtis turned Christian and was goin’ through it thinkin’ about joinin’ the army because he life was fucked. Finally the tyranny of Olsen was too much and Bear was out. So we began recording. Pace made him some songs and us three decided to be a production team. Darkset Productions.
We at first didn’t want to be the rappers, we wanted to just produce them, but katz were getting lazy and burnt out. Think about it. For years we put in work but were black balled and couldn’t get anywhere and katz were broke. There was no Internet, no labels, no radio, no nuthin’. The only way out seemed to be NastyMess records, but we said fuck that, rippin’ kats Swass t-shirts off who dared come in the hood, like the nigga Eric “Fig” Newton and even confronted the group “High Performance” when we did shows wit’ them in Yakima after they got dropped from NastyMess records about them still wearin’ that played out Swass shit. They said “Bro’ it’s not like we like them, but this is all we left with.” Sad as fuck huh?
So since rappers would rather chase the brass ring wit’ Sir Miss, Shelia E, Dj Nasty Mess and Jockmaster Glen Void for a fuckin’ chance to get in the studio instead of getting’ wit’ us for free, we decided to step up and prove we could do it without these klowns and do us as the artists.
One dude out the damn blue did come to us. He had worked wit’ Sir Miss before according to him, and helped write his lyrics. He heard about me and just showed up at my doorstep. Shedra “I double L” Manning, the greatest fuckin’ rapper I ever worked with, period. In the Seattle History books I would say he is the best. He could fade anybody. He just showed up, I didn’t know this young nigga from Adam, I did his demo song, “I double L in effect” he was with the great krazy group the “SWAT Team”(Strickly Wicked And Treacherous) and all of them were. The best talented rappers in the Seattle Area pound for pound at the time. M.T.K. and cold lyrist, with a MC Shobee voice, and MC Step a nigga probably better than them all. Another nigga associated with them was Ice J(R.I.P.) a young business g’ who was a top producer in his own right. He died in a shoot out in the Central.
I double or I dub was the talk of our clique, some of the vets like Jaz hated him, he didn’t have quite the voice yet, but in cadence was the rhythmic latest stutter step style, started and perfected by MC Step I knew this kat had potential. Dj Pace took up his apprenticeship because I was still working with Sir Luv, but Sir Luv had begun to fade too. So because he had family troubles I had to let him go, he wasn’t adapting to the new format and at the time his heart was elsewhere.
So after the rest of these kats from the different krews were sluffin’ we did a cold downsizin’ of dudes, and the final rooster was Dj Pace, from Sugar Bear to MC Bear tha Kodiac, I double L, and me, from Frost Chill to Spayde wantin’ to change from my Dj days to a production rapper. Our first hype man was Shan-Dog but due to his funny alliances in certain beefs we had and because he didn’t do shit we cut him also after our first album we began workin’ on…. the first local rap CD….Krakkerbashin.
Strangely enough the idea to finally really do a album came from the dancin’ rappin’ EMP rap livin’ legend James “Cap’n Crunch” Croone of the Emerald Street Boys(also dBlack’s biological father. Em’ Buford’s son of Sportin’ Life Records..). He was commin’ by Bear’s crib listening to some of our tapes, and we even produced him a cut for a minute, but because he was so stuck in the old Kool Moe Dee baritone voice era he gave up the microphone, but wanted to produce. He came up with an idea to produce our first album. Yep, the now super Christian kat came up with executively producing “The Darkest Krew in existence.” Bear didn’t want him to back us because Croone was a tripish type dude. Croone like Sir Luv was a shit startin’ azz nigga, and even worst. when he drank he got real nasty, and was known as a dude to go to war over nothin’ and to have me and this dude together over anything was explosive. We had already been bumpin’ heads before all this.
We voted on it, and decided to do it. With the help of Kevin “KG” Gardner we knew we could pull it off at his studio, since I worked with Kev’ so long it was all good. I was the first kat to record at KG’s “Sound Garden” Studios in the eighties and helped him get his signature sound, and he helped me learn music.
Making the album was a nightmare, Croone was a slave driver, Bear partied with Croone getting’ drunk wit’ nasty fat bitches (the cut 50 ways on the album influence….) I double L was a banger and stayed in some shit more than me, Pace was bein’ ruled by his breezee, but still managed to bust out hundreds of instrumentals, the problem was he hated song modes so I had to help him with that. Croone would give me time schedules of when shit had to be done, and I had to comply because he was the main money guy. I had hella pre-studio work I had to do in KG’s studio. KG was a drunk too, so imagine me schedulin’ with this dude and still havin’ to get the rest of my dysfunctional krew together? Sick azz games.
We still had to do post production that was gonna cost, so me and Croone get together and start slangin’ for extra dough, Croone was more experienced than me at the time and had the connections, but I was learnin’ quick and hit the grind better. I was burnt the fuck out. The recording, the parties, the wars, the politics, the hustllin’, the nasty hoz….I was a mess, and most of my krew was too…
We pulled it off, we were recording the last of our project on the Audiophile at the Music Source, after me and Croone, me and Bear, bumped heads we did it, it was done. Then krazy shit happened again, Croone was gonna shop it to a distrubution center in Kali and I think had it set up, but like a idiot, on the day of pressing he didn’t bring us to make sure the final mastering was right, instead he brought the less experienced young Ryan “RC” Croone who he was prepping for Squeek Nutty Bug’s album production. Croone got the album mastered at a low volume. Fucked off the Churches money. Then when the distrubution deal didn’t finalize he gave up. He kept the albums for himself and sold them off to second hand stores after sitting on them when he started going broke before he went back to slangin’ weed to get his feet back again.
We beefed, in the long run Bear was right, we probably should not have got in business with Croone, We faced off at the Mecca and Hip-hop spot on 23rd and E Union Street. Instead of having a shoot out there (me and him.) we decided to meet near Capitol Hill near Miller Playground since hella kats were around and someone had a camera filmin’ the whole fuckin’ thang. I showed up. Croone never did.
We decided after that to split up with Croone’s “CD Raised” records, and to start are own “Dark Label” Records. I was in full hustle mode now and paypa was not a problem no more. Our recording technology had hella upgrades, Bear was now hustlin’ good makin’ connections, and I double and Dj Pace were puttin’ in major studio tracks. So we all got together Croone free to do our next album, and maybe our best that never got released….”Seven Deadly Sins”
This time it wasn’t as bad, no time restraints from Croone, no politics, no real lack of bread, no major headache. Katz knew they’re position and played it well. Bear was more focused, after Big Beezin’ got outta the Joint for his major “Weed and Seed” beef, they hooked up and got some computer shit goin’. Bear was probably the frist local kat on PC to do a local album sequenced all on a home PC. This was about ’95-’96. KG’s studio was bein’ preoccupied by recording Bay area artists but we got a discounted referral to Sam Stephen’s(R.I.P.) Studio at his house. Sam was my nigga. At the time he was more together than the younger KG. This is the realest nigga I think I ever met, and one of the funniest. He helped engineer most of the stuff, I was lead engineer for the whole album. He stayed smokin’ and drankin’ wit’ Bear and I double while I recorded most of the vocals for niggaz and helped set up the album sequence for Bear to finalize in the computer mastering almost like we did at the Music Source with the now outdated Audiophile. We involved hella more kats wit’ this album, like Art of Art of Skill, Trina B, Juliann Bruce ex-owner of the Matrix(at the time I double L’s breezee/ babies moma.), Redwine, KG, Big B, Sir Wes, Sam Stephens himself and Ltray..
We mastered it perfect for the time. We had one of the best soundin’ albums locally. Sir Miss even heard part of “Snitch Nigga” through eDawg and according to him said he wanted to produce me because of my voice. I told him “Nigga if he ain’t gonna produce yo’ azz, how tha fuck he gon’ produce me??? That would kill my image anyway, fuck ‘em.” I double L hated eDawg and he told me they were cousins. Imagine that.
The album was done but a feud in my krew began when Sir Wes’ who came back from Dtown was gonna help finance the disc. I had caught a dope case, before I could bail out Sir Wes, Bear and Shan Dog had hooked back up. They had beef before over a bitch and stolen money but patched it up. So then I got out I stayed with Wes’ for awhile, while he was gone I let Shan and Bear in, a diamond ring ended up missing, now at the time Wes’ put in for our discs for the album to be made, when that happened it killed the deal and the discs stayed at the plant. No release.
Over a decade later I set a alert on these discs, awhile later one pops up on Ebay for sale. I bid on my own shit. I was outbid. It sold for about $700 bucks, no shit, and real talk, I put that on my life.
After bangin’ my head more wit’ the punk azz Law wit’ the State and the Feds I went back to record wit’ my brother Pace and when Bear gets out he’ll also get back in the fray, I did one cut wit’ I double but I have to track his azz down once again. The next albums will be “Klokkwerk Blacc”(a tho’back album of the stuff that didn’t make it back then…) and “gDom” the fresher shit with our updated game.
Finally, we hope to have a part in the Hip-hop documentary but it probably is not going to happen, due to the biasness of the history of the Cool Out Network we may have to pass, we figure because of the associations that these guys Gorgio, Kitty Wu, Mike Clark have with our rivals Sir Miss, Shelia E Locke, Nasty Mess, Jockmaster Glen Void, and the Grimeinal Nation (in the past with the First Bitch.) that they might undermine us for the sake of politics for NastyMess records or Slime Kartel to have a resurgence. We will not let this happen, we have made a proposal to them to keep this thang honest and to hold this Seattle Hip-hop thang true to historical fact instead of slanders and lies that folks like Sir Miss and his krew have spread over decades. Not to mention the black balling. If you wish to help us in our plight to get the real story of Seattle Hip-hoppers and not the Hip-Notters email these katz Kitty Wu, and Mike Clark on Facebook and let them know, no biasness to Sir Miss and NastyMess, get the whole story, not the quarter story…. this ends my series. This is dedicated to my friends and enemies….

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Why Seattle Hip-Hop is not on the Map? Part II: What If?

January 11, 2010

Why Seattle Hip-Hop is not on the Map?
Part II: What If?

On my previous post I put out who was responsible in part for the reason Seattle Hip-Hop is not on the map like New York, LA, and Atlanta, now I’m gonna dive into a hypothetical. What if certain krews got together, rapped together, what if certain agents and promoters, Dee-jays and the Club Owners would have took a jump at makin’ shit work.
Sometime around 1979 after the release of the Sugarhill Gang’s hit ‘Rapper’s Delight’ a young 15 year old named Mike ‘Mellow Mike’ Thomas came to me and asked for help to do a ‘Rap’ which at that time was alien to most folks, since I was already kind of a writer and remembered tryin’ to rhyme when a old program called ‘Zoom’ was on, we began to write Raps.
Later krews would pop up like the Southside Three, Westcoast Funk Brigade, Snap, crackle, Pop, Jam Delight, and finally the one that shined the most at the performance of the Black Community Festival, The Emerald Street Boys.
The Emerald Street Boys roster at this time was Edward ‘Sugar Bear’ Wells, a street type rapper and dancer who’s signature move was the ‘Strobe’ done in ‘Poppin’ or ‘Electric Boogie’. He was also a young Dj who did early mixes. Robert ‘Sweet J’ Jamison or now Rcurtis who I insultingly call Rbitches because of him sendin’ me a crazy email. Sweet J was a smooth baritone rapper. The last was James ‘Captian Crunch’ Croone, another ‘Popper’ known for battlin’ every fuckin’ where. ESB first managers were Sneco productions or Steve Sneed and Reco Bembry. Steve had done theatre and managed the Madrona Youth Theatre and Langston Hughes later, Reco Bembry did music production schooled at Cornish, both were percussion players.
At first this was a good alliance, but later went sour because of internal disputes over personnel and creative difference. The problem was there was no guide lines for Rap. It was new. Sneco was use to the old Rhythm and Blues way. ESB wanted somethin’ new. Had they teamed up with me, (at the time Frostmaster Chill) they would have probably had it, with Sir Mix-A-Lot as the engineer because of his at time high tech studio you would have had a great boost to the career of the ESB. This is what they lacked was top production at the time. If Sneco, (with the aid of Carol Wells Ed Wells mom.) had handled more of the business and just the business of contracts and touring, I’m sure ESB would have had a good or at least fair string of records. ESB’s shows were dangerous, they had the full package of dancing as well as rapping, which was unheard of back then. With the street cred’ sound coming from Chill, the high tech recording coming from Mix, ESB would have laid it down. It almost happened in part, except for the block of one Shelia E, who stopped working with ESB as a promoter after a botched Gap Band concert. Shelia E Locke(at the time Ed Locke) took a loss and blamed ESB. This cut the ties between the two, and so Shelia went to Sir Mix….
Sir Mix went on to record a lotta diss tapes which created controversy and got with Shelia E to record ‘Square Dance Rap’ a country twisted rap song with Newcleus cartoon vocals. Mix went on to make other songs but soon died out because his sound became dated as well as his ideas.
Mix had a pretty deep camp, had he put forth effort in producing he would have secured his legacy without question, and had a constant meal ticket to pay for his Testarosa bill. Mix worked with a fairly good amount of talent such as KC, who was a master freestylist. He was known to make up raps on the whim.
Then there was the great lyricist and rap vocal war lord Craig ‘Funky Fresh Jazz’’ or when he was with the ‘Silver Chain Gang’ ‘Jazzy D’ or maybe now ‘Craig D’. Jaz’ had street cred’ and true bBoy sound that none of his camp had. Mix even made demos with this kat, that were on stat’!!! Better than his own shit, period!! But they were still stuck in the ‘Egyptian Lover’ ‘World Klass Wreckin’ Kru’’ phase with kats like ‘Desert Shiek’ and ‘Maharaji’ and even the ‘Wicked Angel’. Even at that time if he even put those guys out, he would have made somethin’. Not much, because it had been done, but somethin’.
Had he drafted Jaz’ and then had ‘Dj Sergio LaCore’ to back him on the Wheels of Steel, there would have been instant gold in that combo. Serg’ was a top pro’ mixologist as well as a great cutter putting him as one of the best Dj’s in Seattle at the time. This was a dangerous krew, wit’ money written all over it.
Then there was still the ‘Art of Skill’ with Dj Skill and Art Nelson. Art had the most street cred’ out of all the Swass camp ever, a known g’ with ties to concrete profoundly. He had skills of a great rapper in the studio and live, with Skill adding production, Mix didn’t even have to touch this krew, they were self made. All he had to do was sign his name as Executive Producer and it was on. These guys made smokin’ tapes.
Then last in this is eDawg, who also was a master freestylist with vocal power that was crazy. He was a updated Funky Fresh Jaz’ g style. He also gave Swass more street credit, and would have helped Mix go on to rival maybe even Doctor Dre.
EDawg however could not break into Mixes good graces beyond a sorry azz compilation like others. However, if he would have went on his own and got picked up by Kevin ‘KG’ Gardner to do his production he could have went solo and even teamed up wit’ Art and Skill! To top it off if they would have added the notorious ‘Big Beezin’ who later teamed up with Art to form ‘Double X Dogs’ who in the town could touch that krew? Beezin’ was a great Dj cutter himself but even got deep with lyrics and a touch of singin’ and production from his ‘J.O.C.’ days. These guys had platinum in their bones, and royalty checks for every fuckin’ body!!!
Think about it…no goin’ to the Pen for some of these kats, no sellin’ work, no gun shot wounds or death…no bankruptcy, just studio work and concerts(well, maybe some gun play and addiction, but shit, at least they would have been stars doin’ it.)
As a youngster in the game Derrick ‘Silver Shadow D’ made waves after getting’ outta the krew ‘Duracell’ and came out with fire as a solo dude with southend roots if my history is correct. He had a followin’ and got noticed fast by even some of the top Ogz of the game. The problem he lacked was top production to match with his style of fire. What better krew to match it than my krew at the time the ‘Darkset’. Niggaz known for goin’ over the top every single time and wantin’ the grimest katz available. With the combo of g’ knowledge, hustla focus, black nationism, and just plain not give a fuckness this combo is a underground time bomb.
Another kat Darkset should have worked with was Wojack and Criminal Nation. Again, you have similar type krews just from different areas. If they would have got beyond the ‘Fuck Tacoma’ ‘Fuck Seattle’ type mentality and beyond Swass love, Swass hate shit, these guys could have done damage. Imagine the concerts! People would have had to notice two of the craziest krews together with top flight production and lyrical dominance.
Sneco Productions could have worked with NastyMix and brokered all sort of talent. With the knowledge these folks had of the industry they would have been the new Ruthless Records. The Seattle Def Jam. Sneco could have maybe bridged they way to the Indie Label ‘SubPop’ with Bruce Pavitt who helped the Grunge scene go down. SubPop loved the combo of rock and rap and Bruce was interested. Sneco could have incorporated old and new Funk and Jazz musicians as well as NastyMix, and SubPop could have got the Heavy Metal, Rock, and Grunge guys. Maybe even some of the computer programming software could have been developed with help of Microsoft to aid in the studios of the Music Source and the like.
Dj Nasty Nes could have teamed up with Gordon Curvey for a local video cable show, with on live shots from the Cool Out Network and even hosted by Nasty Rock and his krew.
Another good combo krew would have been Incredicrew and High Preformace. Incredicrew with Danny DeeRock spinnin’ and Shelly Shell rappin’ would have popped off with High Preformace dancin’ and rappin’.

Why Seattle Hip-Hop is not on the map….Part 1

January 11, 2010
Atlanta, LA, New York, Huston, Oakland, and more. These cities have strong holds in the world of Hip-Hop, but Seattle does not. Ever wonder why? I’m sure you have. What I am about to expose is a truth that a lotta katz don’t wanna face. The magor reason why a city that has famous folks, such as, Bill Gates, Jimi Hendrix, Quincy Jones, Kurt Cobain, and more doesn’t have the foot hold in the Rap game is all because of one krew who dealt in selfish skull dugery and traitorist greed. Bet you can guess who since it’s commin’ from me. Yep, you win the gPrize homie, the entity known as Swass or NastyMix Records.
Really, they, among others of their artist rooster, are misnamed. The real name of this Label should have been NastyMess, because that’s what they truly ended up to be. Thanks to the main greedy bitch azz culprits, Shelia E Locke, and Sir Mix-a-Not. Two so greedy and selfish klownz that got so into thier pocket books and ego so bad, they not only fucked others, and each other, but themselves, which is the biggest irony of all.
Look at the Artist birth order of LA….from Lonzo and the World Klass Wreckin’ Krew came Dre and NWA, from that came CIA, from CIA came Ice Cube, from Ice Cube came Yo-yo, from NWA came Eazy E, from E came Bone Thugs, from Ice Cube also came WC and the Mad Circle, Westside Connection, Mack 10, R from the I, Commrades, and more….not to mention Dr. Dre, came DOC, Michelle Ley, Eminem, The Game, and the list is super crazy…
Now back in the eighties Sir Mix could have been right at the epicenter of Seattle HipHop, and even though he wouldn’t have lasted as a artist(maybe) he would have banked in profit from a good grip of artist and had a almost unblemished rep’ in real Seattle Hip-Hop history. This is not the reality though, reality is he went for total self, he couldn’t stand that rap was here to stay, his original purpose was to merge to soul techno and then to be a ‘real’ artist. He was totally wrong though. It didn’t matter to Sir Miss though, he lucked up finally on a gold hit (written in part by Shedra ‘I double L’ Manning according to him.) known as Square Dance Rap. He had bit redoing songs by bands such as UTFO and Newcleus, and now had a small club hit. That’s all he needed.
His gay cohort(and not in the sexual sense, but it would apply…) Shelia E or then known as Ed Locke played hand in hand with Sir Miss and from the business side put forth a machiavellian strong hold against potential artist that might off set his cash cow. He would seek out other artists and then report to his main breezee, Sir Miss, about the status of them, and if they were a threat. As the future would hold though, Shelia E would be drummin’ to a different beat than his partna in grime. While Sir Miss jollied in his fame and name, Shelia would dabble in his pocket wit’ game. Now that’s Swass for that azz.
Why share the pie? Dj Nasty Mess is a cluck anyway stuck on lil’ galz and nose candy, Greg Jones is just a wanna be white guy, he doesn’t need the money anyway, and the rest??? Jerry Heller there azz up outta the Mix.
Sir Miss went on in his lyrics that him and Larry ‘The White Guy’ had hella Real Estate, untold fortunes, and could buy Tesses in different fuckin’ colors. What did it matter? He could have any gal from any fuckin’ High School and Middle School he wanted with a gang of Dick’s Burgers. He’d promise them recordin’ contracts he knew he wouldn’t get down wit’. Then fuck ’em.
When his street cred’ ran low, no problem, draft the simple minded street dude and promise him or her shit, meanwhile never do it, like Art, or Maharaji, eDawg, Wojack and Eugenuis. A great plan him and Shelia E thought, but flawed for the god damn long term.
Had these cohorts really thought they would have at least tried to do like Easy E and go str8 for the business side and say fuck the fame. Shelia E knew this in part, but probably was dumb founded by Sir Misses missin’ azz. So instead of fightin’ it wit’ his bitch azz, he went wit’ it. Fifty-fifty in the contract…’That’s what I’m not gon’ do…’ Shelia probably thought, and let the deflection go on to Sir Miss.
Easy E died from Aids, but died wit’ money. He cared not about fame, he was already ghetto rich, he didn’t even want to rap, Dre and Cube coached him into doin’ that. He just wanted the money. He cared less who was on the credits, but Sir Miss did. So when talent came out, he attacked it, wit’ songs dissin’ they’re charactor, and he sometimes never even met the people he dissed. As time would tell, then he would be the one under attack by Gary Jam, Frostmaster Chill, Sugar Bear Wells, Sir Lover the MC, Silver Shadow D, and the list goes on….he knew it was commin’. He just didn’t think it would be that bad….
The Hip-Hop community of Seattle and Tacoma was dumb founded. Now this kat really doesn’t think he can hold it all on his own does he? Surely he’ll produce SOMEONE!!! Kid Sensation, SSD, Desert Shiek, hell, somebody!!! Slowly, even PLB ‘Pretty Lil’ Bitch’ even got it….hell fuckin’ no! It’s Miss today, Miss tommorow, Miss forevaaaaaa!
KUBE even got tired of his shit. Eric Powers was like ‘dude….we gonna roll wit’ eDawg, yer fuckin’ played, but look, we’ll give yo’ fat azz a job, I see the Tax man took your ride, so work for Kube and shut your big Burger King azz up!’
Shelia E got so scandalous she backed Cold Rock Records to profit, shelve artists even more, hell, it worked for High Preformance, and since everybodies azz hole is mostly protected now after SSD and them got fucked, let’s start a new one. Cold Jock Records and stick mo’ dick in artist wit’ a different swipe. That bitch azz tranny never learned.
Sir Miss did finally that while he was a perp on a missin’ jerk that his own azz was bein’ voilated, Swass style by a two piece Princess named Shelia E. Time to go to court on the cohort, one mill’, one milli’, one milli’….and probably Shelia E laughed all the way to the bank….she knew she got mo’ than that from this fat trick kat.
Now all this dude can do is a record with the ‘Presidents of the United States’? Sad, but karma is a mothafucka, in this case a Shelia fucka….had these two klownz looked to the long term, katz like eDawg, SSD, High Preformance, Emerald Street Boys, Darkset, might have been bangin’ wit’ tha big boys, and the saddest part of all folks, my city doesn’t even realize how they missed the boat, so, it might happen again….and the NastyMess sniffs on…all Glen Boyded out…..

Shelia E Locke Sir Miss-a-not(on crack) Nasty Mess

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January 11, 2010

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