Tag: Hip Hop

Was Eazy E Hip Hop’s First Skateboarder? (Rare 1989 Photos Surface In New Short Documentary)

Was Eazy E Hip Hop’s First Skateboarder? (Rare 1989 Photos Surface In New Short Documentary)

 

Eazy E & Venice Locals February 24th 1989 (A Historic Day in The Brotherhood of Hip Hop & Skateboarding). All photographs under federal copyright by © Ithaka Darin Pappas — @_ithaka_

 

Eric “Eazy-E” Wright was a hip-hop visionary who never got the credit he deserved for turning rap into an international phenomenon (though 2015’s Straight Outta Compton biopic went a long way toward rehabilitating his legacy). Well, he was a visionary in other ways, too. Decades before it became commonplace for every rapper to have a skateboard or two in his closet, Eazy was practicing kickflips with his young son on the streets of Compton. At a time when skateboarding was dominated by white kids listening to punk – and the hip hop community disregarded anything related to skate or surf, Eazy E paved the way. https://www.latimes.com/entertainment…

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Это был исторический день в отношениях хип-хопа и скейтбординга. Это был первый раз, когда известный рэпер публично одобрил скейтбординг (и даже признался и продемонстрировал, что он был скейтбордистом mesmo). До этого дня скейтбординг был в основном для панков … хип-хоп не был чем-то увлеченным сообществом скейтбордов. Каким-то образом этот день подал зеленый свет между двумя мирами, что было нормально принимать друг друга. Это было начало пожизненного братства, поскольку все мы знаем, что эти две вселенные теперь движутся рука об руку, абсолютно неразделимы. este foi um dia histórico nas relações do hip hop e do skate. Foi a primeira vez que um conhecido rapper endossou publicamente o skate (e até admitiu e demonstrou que era um skatista mesmo). Antes deste dia, o skate era principalmente para punks … O hip hop não era algo abraçado pela comunidade de skate. De alguma forma, este dia serviu uma luz verde entre os dois mundos que era aceitável aceitar um ao outro. Foi o início de uma irmandade ao longo da vida, como todos nós sabemos que esses dois universos agora andam de mãos dadas, totalmente inseparáveis.

これはヒップホップとスケートボードの関係において歴史的な日でした。 有名なラッパーがスケートボーディングを公に承認したのは初めてのことでした(そして彼がスケートボーダーのメスモであることを認め、証明することすらありました)。 この日より前は、スケートボードは主にパンクのためでした…ヒップホップはスケートコミュニティによって受け入れられるものではありませんでした。 どういうわけかこの日は2つの世界の間でお互いを受け入れても大丈夫であるという緑色の光を出しました。 私達全員が今これらの2つの宇宙が手をつないで、絶対に不可分に乗って乗っているのを知っているので、それは生涯の兄弟愛の始まりでした。

Extremely Rare Photo of Eazy E Skateboarding by Ithaka Darin Pappas now on Exhibit at “Contact High” hosted by The Annenberg Space For Photography “Contact High: A Visual History of Hip-Hop,” at the Annenberg Space for Photography. A new group show organized by author Vikki Tobak looks at the work of photographers who chronicled the rise of hip-hop, with famous prints (like the iconic portrait of Biggie Smalls in a crown by Barron Claiborne) as well as unedited contact sheets and other images of key musical figures from the genre, including Eazy-E, Jay-Z and Salt-N-Pepa. Tobak is the author of the bestselling book on which the exhibit is based. Opens Friday and runs through Aug. 18. 2000 Avenue of the Stars, Century City, AnnenbergPhotoSpace.org. #eazye #hiphop #skateboarding #ithakadarinpappas #NWA General Admission Magazine: Tell us about the cover photo and how you got to that point with N.W.A? Ithaka Darin Pappas: At the time I was working for Priority Records. I was their main freelance photographer during this period and I had photographed N.W.A. probably more than any other photographer. This particular day was a shoot for MTV and they were doing a little culture clash unite between this pop group Kris Kross and N.W.A. Kris Kross came down and we all met in Venice. Fab 5 Freddy did the interview, an old-school artist and hip-hopper from New York. After the Kris Kross bailed we all walked down to the skate area down there on the beach at Venice. Eazy grabbed some kid’s skateboard and took off. I’d already been working with this crew for probably almost two years and I’d never even heard the word skate board came out of anybody’s mouth, or surfing, or anything like that. It was a shock to me, and he’d obviously spent some time on a skateboard because he knew what he was doing. General Admission Magazine: He could skate? Ithaka Darin Pappas: Yes. He was confident on it. One thing we’ve learned from this photo is Eazy is a goofyfooter. (Ed’s note: Goofyfoot is the type of stance a surfer or skater is defined by)

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Eazy E Skateboarding! Rare Photograph by Ithaka Darin Pappas to be exhibited at Annenberg Space for Photography exhibit

Eazy E Skateboarding! Rare Photograph by Ithaka Darin Pappas to be exhibited at Annenberg Space for Photography exhibit

An ultra rare 1989 photograph of deceased rap superstar Eazy E (Eric Wright 1964-1995) by artist/photographer Ithaka Darin Pappas will soon be exhibited to the public at The Anneberg Space For Photography in Century City (Los Angeles). The exhibit Contact High: A Visual History Of Hip Hop created and curated by Vikki Tobak, with creative direction by hip hop founding father, Fab 5 Freddy.

Contact High includes 140 works from 60 photographers, with over 75 original, unedited contact sheets—from Barron Claiborne’s iconic Notorious B.I.G. portraits and early images of Jay-Z, Kendrick Lamar, and Kanye West as they first came on the the scene, to Janette Beckman’s defining photos of Salt-N-Pepa, Jamel Shabazz and Gordon Parks documenting hip-hop culture and the aforementioned images by Ithaka Darin Pappas.

Source: Newsweek

https://www.newsweek.com/history-hip-hop-1383856

A história por trás de “So Get Up”, a música mais samplado da história musical.

A história por trás de “So Get Up”, a música mais samplado da história musical.

O “Americano Feio”?

Jorge Dias – (PÚBLICO/ Pop-Rock) Quinta-feira 10 Abril 1996

O greco-americano Ithaka Darin Pappas participou em “So Get Up” dos USL e assinou o album, “Flowers And The Color Of Paint”. Estão certamente entre os projectos mais fortes da música de dança feita em Portugal nos anos 90s. Entretanto, Ithaka viajou pelos Estados Unidos e o seu nome ficou um pouco esquecido. Até agora quando regressa a Lisboa para pôr em causa as sua antigas ligações.

Pappas “versus” USL-Kaos

Ithaka Darin Pappas passou alguns meses em Los Angeles, cidade de onde é natural e onde fez algums contactos para conseguir um “manager” e um advogado. “Fui aos Estados Unidos porque havia uma séria de problemas a resolver aqui. Um deles foi que fiz un disco em 1994 com os Underground Sound of Lisbon [USL] e, quando o gravámos, foi uma coisa entre amigos, estavamos a fazer arte em conjunto e foi uma coisa boa. Fiz um acordo verbal com eles segundo o qual receberia 25 mil escudos (approx. 120 €) por mil discos que fossem lançados em Portugal. Nunca se falou de contratos nem de distribuição no estangeiro.”

Desde então, “So Get Up” – que era originalmente o lado B do maxi que tería por tema principal “Dance With Me” – fez furor nos Estados Unidos, para onde o disco foi enviado, transformando os USL, de que fazem parte Rua da Silva (Doctor J) e Tó Pereira (DJ Vibe), no projecto de “dance music” nacional mais aclamado a nivel internacional.

 

“O tema entrou para as ‘charts’ e foi lançado em muitos paises, mas eles não reconheceram a minha participação. Apesar de muitas das remisturas que foram feitas – principalmente as de Danny Tenaglia e Junior Vasquez, as mais populares- practicamente só reterem as minhas palavras e a minha voz. Nessa ponto é questionável quem é realmente o artista. É o Ithaka? Ou são os USL? Quando se ‘descartaa a musica original e faz outra é questionável. É que não sou membro dos USL….?”, diz Ithaka. E acrescento: “Pode perguntar-se a quem se quiser, nos Estados Unidos ou em Portugal, o que é que indentifica a canção: são as palavras. Neste tipo de música, que há numeras versões diferentes, a etiqueta são as palavras. A canção é o poema.”

 

Dai que Ithaka reclame direitos de interpretação – “royalties”, uma vez que os direitos de autor lhe pertencem por direito – sobre os lucros com “So Get Up”. É que o poema a que Ithaka dá voz no “intro” do tema tinha sido escrito seis meses antes de ser convidado para juntar-se aos USL, depois de estes o terem ouvido numa emissão do programa Quatro Bairro, da Rádio Comerical. Segundo António Cunha, da Kaos, editora dos USL – e depois de o PÚBLICO ter marcada uma entrevista com Rui da Silva que acabou por não acontecer-, “o que passa é a velha história de negócio da música: quando as coisas têm sucesso há sempre alguema tentar aproveitar-se”.

Songwriter Ithaka Darin Pappas holds Guinness World Record  For Most Remixed Vocal Acapella (song: “So Get Up”)

Songwriter Ithaka Darin Pappas holds Guinness World Record For Most Remixed Vocal Acapella (song: “So Get Up”)

In 2016, with at least 1029 documented remixes to its credit
“So Get Up” a vocal spoken-word poem written and recorded by
Californian artist and songwriter Ithaka (Ithaka Darin Pappas)
was the Guinness World Record holder for
“Most Musical Remixes Created From Single Acapella”

Ithaka initially penned “So Get Up”,
(first titled, The End Of The Earth Is Upon Us)
in mid-1993 for a daily segment of a program he regularly hosted
on Rádio Comerical Lisbon called “Bairro Quatro”.
It was recited the first time live on-air
just an hour or two after it was written.

In 1994, also in Portugal, he re-recorded it with
a house music duo called Underground Sound Of Lisbon.
It was distributed nationally and later on Tribal Records (NY)
with an a capella version, incredulously without a vocal credit.

It is this a capella that has been remixed, robbed, sampled, remade
and covered to a degree unseen in the history of modern music.

In 2016, at last count there were 1029 released remixes
of the vocal “So Get Up” (often under different titles such as;
The End Of The Earth, Get Up Go Insane, Forget The Past, etc).
Guinness World Record now recognizes the SO Get Up vocal poem
as holding the title for “Most Musical Remixes Created From Single A Capella”
bypassing #2, Turkish pop-vocalist Evrim Tuzun, by more than 800 mixes.

Because the first release of So Get Up was not vocally credited,
this seemed to green-light all other remix users
of the acapella to not credit it as well (most producers
thought the vocal and lyrics were public domain, perhaps from an old film).

Although some mixes were legally licensed,
many EDM artists simply made their own electronic music tracks
and place Ithaka’s vocals and lyrics on top of it,
and called it entirely their own without requesting permission
or paying royalties.

Among the more known mixes of “So Get Up” there are versions by such all-star groups/producers as; Cosmic Gate (Germany), Danny Tenaglia (USA), Junior Vazquez (USA), DJ Vibe (Portugal), Mert Yücel (Turkey), Eric Kupper (USA), Fatboy Slim (UK) and Miss Kittin (France).

An incomplete list of DJ/producers who have remixed, reworked, covered or sampled the vocal poem “So Get Up” by Ithaka Darin Pappas since its first recording in 1993 include: Cosmic Gate (Germany), Danny Tenaglia (USA), Junior Vazquez (USA), DJ Vibe (Portugal), Mert Yücel (Turkey), Eric Kupper (USA), Fatboy Slim (UK) and Miss Kittin (France), Pelarli, Alex Di Stefano, Public Domain (Holland), Pagano (Italy), Mirabeau (UK), Damaged People (UK), Mowree (Italy), Stretch & Verne (UK), Sarasite, Orion’s Voice, Bob Ray & Van Dyuk, Igor Carmo, JJ Mullor, Dani Sber, Swing Kings, Atlantis IT, Ben Gold, Nixu Zsun (France), Ricardo Diaz, Peter Bailey (USA), DJ Kingsize, FuturePlays (Mexico), Derek Marin, Oxia (France), Domino, DJ Diego Mendonça, Mauro Ferno, Maik Ibane, Ce Ce Lee (Italy), Dj Kryst-Off Aka Zornéus (France), FRANKYEFFE (Italy), Branko & Club Atlas (members of Buraka Som Sistema), Alex Page (Portugal), Nell Silva (Portugal), Alex Farolfi, Fargetta, GianLuca Mens, The Ventura 87, Dimas Carbajo, Christo Z (Greece), Ronni King,Terry Lee Brown JR., DJ Theo V (Greece), Djz Rom (Cambodia), DJ Beg, Lexicon Avenue, DJ Screw (Thailand) etc etc.

Labels that have released “So Get Up” mixes include: Tribal (USA-UK), Twisted (USA-UK), Forensic, Kaos (Portugal), Plastic City, Bosphorus Underground Recording (Turkey)

Controversial N.W.A. Manager, JERRY HELLER, Dies (September 2nd , 2016) At Age 75 in California.

Controversial N.W.A. Manager, JERRY HELLER, Dies (September 2nd , 2016) At Age 75 in California.

Many things can be said about the controversial music manager Jerry Heller who launched Eazy E and NWA on a meteoric rise to the top of the hip hop world, but the fact remains…The man was an absolute marketing genius and a real Business All Star.

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Jerry Heller, who served as N.W.A.’s original manager, died of a heart attack on Friday, September 2, at Los Robles Hospital in Thousand Oaks, California. He was 75.Heller was involved in a car accident on Friday morning and was taken to the hospital with serious injuries shortly before his death.
Heller was best known for kicking off N.W.A.’s highly successful career in the ’80s after teaming up with band member Eazy-E to launch Ruthless Records. The record label also launched the careers of several R&B and hip-hop stars such as J. J. Fad, Michel’le and the D.O.C.

Heller had a contentious relationship with N.W.A. member Ice Cube, who left the group in 1989 over a royalty dispute. Ice Cube, now 47, later released a diss track against his former manager titled “No Vaseline,” on which he rapped, “N.W.A. ain’t s–t without Ice Cube!” (Dr. Dre also left the group in 1991, citing similar monetary issues.)

Source: http://www.usmagazine.com/celebrity-news/news/jerry-heller-dead-former-nwa-manager-dies-at-75-w437938

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Jerry Heller
Jerry Heller
Born October 6, 1940
Cleveland, Ohio, U.S.
Died September 2, 2016 (aged 75)
Thousand Oaks, California,U.S.
Nationality American
Occupation Music manager
Years active 1960–2016
Net worth US$20 million (2016)[1]
Gerald E. “Jerry” Heller (October 6, 1940 – September 2, 2016) was an American music manager and businessman. He was best known for managing west coast rap supergroup and gangsta rap pioneers N.W.A and Eazy-E. He rose to prominence in the 1960s and ’70s, importing Elton John and Pink Floyd for their first major American tours, and representing Journey, Marvin Gaye, Joan Armatrading, Van Morrison, War, Average White Band, ELO, Eric Burdon, Crosby Stills and Nash, Ike & Tina Turner, Creedence Clearwater Revival, Otis Redding, The Who, Grand Funk Railroad, Black Sabbath, Humble Pie, Styx, REO Speedwagon, Four Tops, Dr. John, Jose Feliciano, The Grass Roots, and The Standells, among many others.
In the mid-1980s he worked with R&B and hip hop acts like Michel’le, World Class Wreckin’ Cru, J.J. Fad, The D.O.C., Egyptian Lover and L.A. Dream Team.
Heller played a role in the emergence of West Coast rap music when he cofounded Ruthless Records with Eazy-E and discovered, signed, or managed the likes of N.W.A, The Black Eyed Peas, Above the Law, The D.O.C., and Bone Thugs-N-Harmony.
Heller died on September 2, 2016 due to unknown causes

https://en.wikipedia.org/wiki/Jerry_Heller
http://nwafotosbyithakadarinpappas.blogspot.com/2016/09/nwa-manager-jerry-heller-dead-at-age-75.html