New music driven by Nostalgia.

Flesh Krumblez track called "Best". From a #beattape yet to be named.  Currently busy with 2 running side by side, keeping my #soul and its #creative side going along.

This started out as something completely different and turned into a  #welcomememory of #stonecoldsteveaustin and how those generation of #wrestlingfigures just turned our state of mind into that little boys who saw #wwfwrestling in the #80s and was awe inspiring and scary when we saw #theundertaker enter the ring for the first.  True #entertainers and #athletes and the best #promocutters ever.

#beatcreators #random #Beatmaker #beats #mrtrevrepone #fleshkrumblez #instabeats #bedroomproducers #beattapes #beattape 

Mr Trevrep 1ne The Brown Prismatic One - The Legend of

 

As one does in HipHop/hip-hop/Hip Hop, you create many personae, one more outrageous than the other or One that turns things on it's side.

I, as did my peers, felt that as an #Emcee #poet #writer #spokenwordsmith #lyricalmyrical #rapper that we had a #voice that could reach the masses and as I went naively into this, I did not initially figure that besides #knowledgeofself and #streetcred the guys wanted girls.

I  wanted to craft things in a manner that would get my peers to sit-up and say goddamn or that is dope/fly/ill or that's jas.  As things went along, I had the fun Emcee, the Black Power Emcee, the Random Emcee and the Storyteller with my "Public/Social announcements".

This new person I named Mr Trevrep 1ne The Brown Prismatic One, who came onto the scene in 1990/1.  The 1ne/One is a reference to my home address number and the misunderstood reference to numbers that we had as Graf Writers in Cape Town.  We initially believed that the suffix 1 is because you are the 1st, the #original which by then (1991) we had found out that it was related to their street number. 

Mr Trevrep is a mirror turned on society and the perverted nature of it, Trevrep itself, is the word Pervert in reverse.

There's a ton for me to get out there and speak about.  The #artwork is a #concept for an #album which I do have some lyrics for but I have to start pushing myself to record again.

I think the question is should I as an Emcee who is deep into my 40's record Rap, which came be #timeless or do the whole Adult Contemporary Rap scene?

Lost by Flesh Krumblez

Flesh Krumblez - Lost (Memories of dapper dressed thugs).

#beattape #breakbeats #music #samples #sampling #flstudio21 #bedroomproducer #sounds #random #instabeats #fleshkrumblez #mrtrevrepone

The Story of Self (description: Bruin ou, English-speaking, vanilla)

Excerpt from "Bruin ou, English-speaking, vanilla...."

1982 - Westridge 

Pioneer stacked sound system, I didn't know how to spell it, but I definitely knew how to use it.  I still have flashbacks to that receivers face with light blue back-light shining and that darker blue light dead center that lit it up and turning that bass all the way up for it to vibrate the room. 

My first year of school, but also my first year of really bad asthma attacks and bronchitis, but an introduction to my life long love affair. A few years from now I would have an out of body experience, seeing myself struggling to breath and my Old Bird checking on me and me returning to my body. That's some time in the future, now it's 1982 and things are going to get much more interesting musically.

Maybe I should have started off by saying I am an old Soul and my name means gatherer of Wolves.

My early musical choices were shaped by immediate family and my Uncles from Durban who lived with us, but soon I would become my own Selecta and Curator for others.

Our house was filled from early morning with Santana, Andre Crouch, Shadows, Peter Tosh, Bob Marley, Bread, José Feliciano, Clarence Carter, Blondie and Papa, Richard John Smith and that doesn't even cover a tenth of the stuff. Honorable mention would have to go to Millie Jackson that was pulled out after the children were asleep, because the Ballie for shits and giggles wanted to get a reaction to her song Fuck you. It always took a minute or so before they would say "I thought she was singing Bup do".

I spent a chunk of my first year at home either with my asthma or the mumps, but during this time I became friends with a child my age via church, which soon switched to a friendship with his older brother. He saw my keen interest in music and supplied me with cassette tapes (Safeway cassettes) that he got from his cousins living in exile. I would take the tapes home, grab any crappy old tape I could find and copy them.

The first track grabbed me was a Captain Rock track and that, that was it. Well the early rap tapes and the Gladiators. Peter Tosh was an after thought but that was because I was already familiar with Down presser man via my Uncles David and Bubbles from Durbs.

You need to understand my section/Park I grew up in was more sports mad than anything else, but also how can a 6 year old convince another 6 year old, that they found a new sound and that it is going to the music of the future. The older guys though, that was a different case, because some of them heard it, but didn't own a copy of it.

Did I mention we had a double tape deck, I know it's implied earlier, but we had one. What this translated to was that I would copy my tapes for them and they would then bring other stuff to me. Soon I was getting into deep shit because I was taking "ownership" of new TDK or Safeway tapes laying around in the house. Eventually I got my own packs of cassettes but it was the cheapest crap, but it worked.

Every now and then we got a glimpse of WHAT the music belonged to, visually, whether it be a boy doing a bit of popping, locking, robot or a windmill. Mind blowing to me as I look back, is how did we manage to get get these things, the music and art etc. during the heart of Apartheid.

I was very aware at a young age, that there was this thing called Apartheid, not only through the adults but my older friends. Here's the thing though, it was not the start or end of Our collective experiences it was part of it and Life and the Struggle continues side by side. Enjoy Life, but fight for Freedom. Also, political satire by Pieter Dirk Uys called Adapt or Dye (Die) released in 1982, was part of our house from 1982 and we would watch that quite often. The question I have though is; How did we have a bootleg then already, in the same year it was made?

Bootleg, such a dirty word, but in 1984 I asked the same question. The question was; "How can we have a copy of Beat Street in 1984 and it was released in 1984?". I asked it, did not give it a second thought and just watched the movie at St John Bosco's Saturday morning movies at church. How did I know it was released in 1984, I read the cover details on the VHS box.

1984 - Westridge, Bishop Lavis, Durban

A mixed bag of experiences '84 held.

Cracked shoulder and hairline fracture ended my dreams of being Lee or Turbo. I think James didn't know how to do a windmill, it was maybe just by luck that he got it right. Maybe it was just dumbass to believe that the guy who taught me how to ride a BMX, could teach me how to "Breakdance".

Break, I did. Come to think of it, he taught me to ride a BMX by pushing me and screaming for me to peddle and that's how I learnt.

1983 Was a dead year, which lead me to formulate the "Even year theory", which I am sure was inspired by the Comics I read. My theory was that all large Pop Culture events took place at 2-year intervals.

State of Emergency was declared in 1983 and again in 1985 or was it always in one?  All I remember about '85 is burning mattresses and tyres in the middle of the "main road" on our way to my Grandparents in Bishop Lavis for our weekend visits. That very night we drove back the same way and were met by stones and bricks.  The next weekend we drove through old Old Crossroads, no drama. 

What does this have to do with Hip-Hop, it has everything to do with it because it formed me. I think that is probably why we ate up Public Enemy, but I am jumping to '88/'89.

I can say that 1984 was a starting point for who I would eventually become.  I found out years later, that there was a World Tour promoting the movie Beat Street and it made sense then why there was an article in Fairlady Magazine about the Culture of Hip Hop, well at least Breakdance and Emceeing.  What a great way to ensure that a So-called sub-sub-culture becomes The Culture. 

Just stop and think about this, Beat Street, Breakin', Flash dance, How to break and then there was that song of Jimmy Spicer (I referred to it as the beep song) and Jam on It that people knew and enjoyed. It was also the year that the Sunday Times magazine tried to say that Hip-Hop would die and the Dance that forms part of it will die sooner, que Breakmachine and their 2 songs that would bless a machine of Apartheid, SABC.

How did they think that Pantsula was far superior to Breaking?

Even though I stopped trying to break, I was still Popping and Locking and including Pantsula moves. I wasn't too fond of the Robot but did it none the less and in later years I found out that the other moves I did was called Tutting!  My section had Skollies in their Tycoon Suites, Gangsters, Sturvy Gangsters, sports crazy, roller-skating, BMX and skateboarding pre-teens and teens, so it wasn't futile grounds for Breakers.  But for that whole year, the handful that was there, made it seem like this would go on forever and the '85 rolled around.

Here's the joke and I can remember it clearly, my friends Marwaan, Lowie and Charlie asking me if I want to join their crew. One of their Aunties was going to make tracksuits, grey with 3 stripes and you get a peak cap with your name embroidered. My first thought was: "Half of you can't even dance and you must be jus to expect me to ask for money when I already had to go to the doctor for my arm and shoulder".

It all didn't matter really because the dominant dance form in my section was the precursor to Boogie and Boogie Burn and my older friends always talked about Club Thriller, Ecstasy, Le Club, Galaxy, Space Odyssey, Fantasy and a list of other clubs where from the sound of things, wasn't places that would welcome us.  My section birthed groups like Brass Monkeys, Oz Boys and the Bubblegummers, so Breakdance lost out a bit but I know that there was a Breaking crew in the area but I did not mix with those guys.  Come to think of it Brass Monkey's did add some Flares and Top rocking as well. 

I had grown-up, mind you I am still only 8, anyway... I had grown up watching Blaxploitation movies and generally movies that was not meant for me, but there was one that I would watch over and over again purely because I identified with the characters because they looked like me and their situation I could identify with.  The movie, Boulevard Nights. 

My path seems to have moved away from Hip-Hop, but it really hasn't, I still have my cassettes and sometimes you catch glimpses of Breakdancing on TV and I was still making copies of the How to Breakdance VHS and cassette tapes. 

My view has changed slightly though as this is also where I am slowly finding out that my Grandparents and the Timer and siblings were uprooted twice, once out of Goodwood and kicked out of Matroosfontein where they were shoved into and it even got more complex because they were forced to reregister themselves as someone had brought up one of the Aunties roots in the family which called theirs into question. 

It is also a year in which on our way to Durban that I experienced racism for the first time, but also the kindness of the so-called racist (stereotypes).

Hip-Hop is Life.....

1985 - Portlands, Town Centre: The advent of the voetebike

The key to a terrible book or a great Comic book aka Graphic novel is to harp on about something, but 1984, the year Beat Street and Breakin was released and the "How to break dance" video was released, of which I made probably made 20 copies and the year my friends and ran out of house as that scene in Flash dance came on and the next door neighbour walked in my house at that exact moment. 

Can you imagine that, neighbour's used to just walk into other people's homes as if they were family. Well, that's the way I grew up with the family next door. Weird how close we were to the point that my parental units didn't mind if I participated in pray time. 

Beat Street, that stayed fresh in my find for probably 10 years after that. I kept on doing Ramo style pieces in whatever books I had. It was the year as I eluded to that everybody was a Breaker and I nearly broke myself too, but what made it exciting was that all you needed was you. No need to buy anything, no need to envy anyone or beg for anything, you just had to pitch up and show whatever you were practicing and hopefully you land the moves, get a cheer and the come back with something different next time. 

There was a spot, an open so-called Park just off LA Provence Way where the guys used to Break and for years I used to get that spot mixed up with Body Rock because the stories were so intertwined that I just never corrected myself.  Turns out that one of the guys that used to dance there was a guy called Shy. 

1985 Was the death of breaking and all the fully kitted crews, but between roller-skating and the BMX, life seemed to be keeping into Hip-Hop. I had a few sketchbooks, mostly Archie characters dressed up as if they were Breakers. The forms were simple enough to repeat, but in-between I would try different character types, one was an army character. My backstory was that he had a metal cigarette pack stuck to his helmet and that saved his life when they shot at him. 

It just dawned on me that the classroom were I had to go rap in when I got caught tagging in school, which was a Standard 4 class, had a future Zulu family member known as Hoena, who would be part of the Zulu Nation Freestyle Dancers.  But that is a story for another year. 

We are all intertwined, that was the thought.

'85 Was the year of Commando, Goonies, Weird Science, Cocoon, Back to the Future, Teen Wolf, but also Run DMC, Fat Boys and Whodini. There was Kurtis Blow too, but those three for me had great sound.

Movies or rather going to the movies in Town Centre, meant we would walk through Portlands, which meant that we sometimes saw people keeping Breakdancing alive.  It didn't matter that it wasn't the best, it was just exciting to see, must in the way that it was dope to see if we were catching the early morning show and you would see something going on. 

I was the odd one out I suppose, I played sports, watched movies but I still liked the dance form that is Breakdance and I liked rap music. 

Are Hip Hop Headz the outsider's, the outcasts?  Again, All I needed was me, to get to be part of anything within Hip-Hop during those early days was my voetebike. 

My modus operandi, mostly because of being an introvert, was to walk around or pitch at future events and then just leave. No complications I suppose, until 1989/1990 when the M.O. stayed the same, but I went against keeping myself by myself because I drive to get things done (so layout all plans and then try to execute as much as possible) and I moved to join the UZN.

1986 - A strange year

Std 3 and I slipped back into being the weirdo with the weirdo music.

I think that the best thing about the 80's was that we had all these different things going musically and most of us listen to the same things whether it be Anita Baker, Janet Jackson, Crowded House,  Cameo, Europe, Van Halen or The Smiths.  Granted Run DMC seemed like they had come and gone from the mouths and hearts of some of my friends, but that came flooding back for a brief moment when the saw Lionel Ritchie Dancing on the ceiling.

I still had Break machine's 2 videos I had recorded and the snippet from the Flashdance movie, which I would watch so time and again, much in the same way that I watched Beat Street and the Breakdance movies I had bootlegged.

That year I think that Push it and the Holiday rap were probably the 2 constant songs, that one latter because we all loved Madonna, but I think it was more the catchy chorus (we are going on a summer holiday....).  My other favourite was the Smurf Rock song which came out somewhere in 86/87, I know for sure I drove some bonkers with the "La lalala lalala laaaa". 

My drawings had morphed a bit to try and capture faces and facial expressions, but that didn't mean that I had left Archie and Jughead in the archives. I like Jughead because I could draw an oversized crown which would cover his face, so I didn't need to worry about that.

1987

I tried to skip 87, not because it was a fucked up year and things were a bit strange politically, state of mind etc.

I had older friends and they were involved with the UDF, ANC and although I thought for year that it was bullshit, the military wing of the ANC we simply referred to as MK.

There were many episodes involving Caspers and High School students being wanted, students disappeared, stories of students being dropped on a deserted beach road and made to walk barefoot on broken glass and students returning to school on a Monday morning battle-scarred. The latter I remember well, because the guy was a school bully, but no more thereafter. All we got hear eventually, was that he had been with a group of older cousins and that one or two were SRC members and outspoken.

That year was wasted on still trying to be a child and that getting peppered with politics and horror stories of people getting killed and buried on the spot, tyre killings and stories of children disappearing.

It's also the year of strangely enough of the House party/Huis-jol for me and I joined in, hahaha, the shy laaitie enjoying the numbers. My older friends always talked about Le-Club, Ecstacy, Thriller, the Space, the Gala and other spots and had tapes of the evening; now I could jol!!! with reckless abandon. 

I think that I got into Acid, i.e Acid House, that year and what's funny is that I had a cassette which I fucking treated like hold because of the "rare Acid tracks" on there and for years I thought that someone I leant it to for a jol, that he had lost it.  I was pissed off for years, but by then we had rolled into 88 and something else had grabbed and held my attention and had simmered down my hatred to "I don't gran that bra" into an "Ahgggggg mode" only to realise years later that I, yes I had recorded over it myself. 

My new gold was on that tape from 87 rolling into 19 mother fucking 88, was Public Enemy's Yo! Bum rush the show.

How I got it and lost my old gold for my new gold: "Jy!! you mos like that talking over music kak, my cousin left that kak here, but I have stuff that I want you to dub for me first. I don't have a blank for you now and they are coming back tonight, I'll skarrel one for next time". 

YO! BUM RUSH THE SHOW! 

YO! BUM RUSH THE SHOW!

1988

My friendship with a school friend who lived in Bonfoi Road (Westridge) and meeting the seniors of the Burners/Boogie Burners The Dynamos helped me out with two things:

1) A bit more confidence! Why, because we practiced "A sequence" in his driveway.  It also just so happened that a chick I smaaked lived somewhere there and it got me and my buddies (who I convinced to join the Jnr Dynamos) invited to a braai/jol.

2) The Dynamos experience saved me from getting my head dunked in the toilet, on the 1st day of High school.

Rap music was going from strength to strength and my Safeway and BASF cassette collection was getting large.

It's funny what one song can get you and the inroads it can have!  It's strange to think about it now, but that song was released in 1986 and it only seemed to gain momentum in 88 and 89.  What was even stranger or dope, this is based on being a teenager at the time, is that when I got to experience the track in a club.....was that the females were shouting it louder.

Shame, shame on me for playing that on my self created surround sound system at volume 20 with my room windows open...... YEAH, WE WANT SOME P__Y.

But it's okay, the neighbours were scared of me anyway and disliked me and thought that I was Satan personified and lead all the children in the neighborhood astray and I was going to Hell (say it together in your best Vince McMahon voice impersonation).

That song though, lead me to now instead of going to go look for music, the "ouens" (shortened to ou's - but I think that that is more the Durban family influence) now came to me with more and more shit.  I would also buy tapes, but gave that up because I could buy more blanks and other shit with that money BUT because tapes go missing. 

Side note, please don't get ou's mixed up with the gangster kak, 00's.

Rap music got me closer to some older Cats, which was awesome but it also got me closer to Self.

1989

Not sure if it was a blessing or a curse, but MPPS offered Std. 6 that year and I stayed. Had I gone, I think I probably would have been piecing sooner because people kept on telling me that they know people who do graffiti for real and write their names with spray paint not koki's. Turns out it was Muff2 and Falco who I became friends with in 1990 when I started Standard 7 at Westridge High and we then started The Villainous Animators crew. 

89 I think that I mentioned already, was an eye-fucking opener because it was the year that I found out that people who I did 1st Holy communion and confirmation with at St John Bosco, were also into Rap and Hip Hop Culture.

Candy and KMD happened to be "Rappers " with a crew called $O$ ($ell-Out $yndicate). They performed at the St. John Bosco Church Bazaar and I had a chat with Shy about becoming a "rapper", which up to that point I did not voice before then.

Then there was Girland, Poenie and Roger as well, who ended up being Zulu's too.

My section of Westridge was really dead in terms of any sort of Hip Hop Culture, all we had was Burners and Boogie Burners like the OZ Boyz, Brass Monkeys, The Bubblegummers, some smaller dance groups.

89 Was the year that my buddy Reezal also started talking about Zulu Nation, which was a big thing at Westridge High, but I didn't care really because I like being on my own.  I did not like being part of a "governed" group, I suppose that's why the whole Boyscouts kak didn't work out.

89, I think was also the point where and when like many you question the world and your place in it, so Big up's to Reezel for pushing me to get myself ready to join something that is greater than the Sum of men.

1990- Voetebike Chronicles Part 1

The year I became a Zulu and then joined 4 different crews too; ZBC (Zulu Bomb Crazy), TVA (The Villainous Animators) and $O$ ($ell-Out-$yndicate), the in-between was Kingz and Queenz and one on the member's was Gogga of the African Hip Hop Movement's girlfriend.

Within the first 15 minutes of stepping foot on Westridge High, my supposed homie Llewelyn tried to "ontgroen" me and with a bit rough housing it eventually stopped and he gave up and I stood next to him and his buddy watching the fucking spectacle unfold.  Next thing I feel a big paw grab me and this tall guy who looks like a rugby player pulls me into the toilet and it's futile me trying to get away, BUT I'm still trying.

He shouts like a drill sergeant "Wie de FOK is jy.  Wies jou mense.  Die toilets is vol kak water, soek d'jy 'n wetlook."  I manage to look him dead in the eye, not sure if that was because he had me by the chest, but I mention the Junior Dynamos dance crew that I joined and he says "Tony's se juniors, alright" leaves me and straightens me out and then shouts "Los die naai, hy's alright."

Thank you Baby Jesus.

I walk out of the toilet and Llewelyn eyeballs me for wet hair, nothing, I take my place again next him and his buddy and he introduces himself as Mervyn and Llewelyn chimes in "Daai's Muff".  Homie for life.

That first day I met another homie for life when I got to my class, Mike Artist Flash: The Reason Rap Rules (MAFR3), also known as Gatsby.

Muff becomes my Writing mentor and is the gateway into meeting Falco, Gee, TMD, Hamma as we are all Zulus and as I wanted to be a Writer it was an in into ZBC.  I would meet Jamo later that week and met Fat and Thin Kippie, would meet my Schwing Buddhist Brother Chris in the corridors when we would Rap and he would provide the Beatbox.

That week I walked from Westridge to Rocklands to Lenteguer to Eastridge to Portlands to Beacon Valley to Woodlands, constantly.  Meeting new homies, practicing Old School lettering which I hated and then going to checkout Breaking now being called BBoying practices and one in particular session I met the thick as thieves partners in Rhyme etc. TMD and Hamma, with TM egging me into rhyming saying "D'jys a Rapper, nou Rap".

1990 - The Voetebike Chronicles Part 2

Then I met Ice.  The immaculate grass outside his house and the 

brown fencing that neatly bordered it was a bit disarming because 

I wasn't sure what to make of it, that is, is the outside a reflection of 

this Ou I was about to meet.

Can't remember who let us in, I just kinda knew to mind my P's and Q's 

and the first thing I see is Bob Marley in blue tones and my fucking mind 

is blown like the first time you light up and get blown. I am sure I asked 

him twice if he did it or maybe I was silent, but I definitely know that I asked 

him about a portrait on his wall, which he either did as a gift or a project for 

Tech, because I knew the person.

That was a pure piece of art because it captured the essence of the person, 

who was my buddy Lionel's sister.  Small world, because that was his cousin 

and instantly humanised him. But, I now truly understood why the rest of 

the Writers feared him and it was justified.

Who would have known that later we would form a collective called 

GraveDiggaProductionz, of which we were 2 of the 4 Founders. That however 

is in 1991/92, back to 1990.

My homie Reezel had a few classmates I would link up with, Archie, Reza, 

Nicky A., Nicky T., Jacky, Debbie, Olive, Marlene and Wanda. All of them 

were into Hip-Hop and we formed a crew for a short while called Kingz and 

Queen, this was outside of me belonging to ZBC and then TVA came later.

What made the K&Q crew interesting was that I was a Zulu and the ladies 

were AHHM members. I was blindly lead by Hip-Hop and my testicles.

The Base.

I heard of The Base, but up till then all I heard was that it was a Punk club, 

nothing else, my female crew members were about to teach me that 1, it's 

a venue that has a Rap and Hip Hop Culture that is driven at their Saturday 

matinées and 2; How to steal train. I met up with ladies, which some of my 

Base buddies referred to as "The kinnes from Westridge", but not at their 

homes because none of their parents knew that they were going to The 

Base, they were "ladies" and in Matric so all they could do that year was study.

Their story I came to findout, was always that they were "studying" on a Saturday. 

We went religiously to but that stop for their exams and then one final time when 

we saw some being pulled under by the train.

I continued to go on my own, meeting up with other Headz, even catching a 

train ride with Gogga from Lenteguer Station, as I had to turn around at Town Centre's 

train Station and walk to that station because the gaatjies were still on duty.  

Going back home I used make sure that I look out for Headz or full cars, because of 

the characters that would rob people.  My last night of going on my own was a nightmare, 

frozen in fear while seeing someone stabbed multiple times for a fucking jacket at Netreg 

and then watching his friends taking him out of the car to the hospital at the next stop. 

All I could think was that I just saw someone die again and was wondering if it was ever 

worth it to go to The Base, with not a Soul knowing where I went.  I didn't go for a few 

months and went one last time after that, but it didn't feel like I should anymore.

That last night, when the car filled up with people and I looked across the sea of people 

I saw my cousin and her long-ass jaw dropping as she saw me.  I took a slow stroll from 

Town Centre at 7 or 8 that night among the whistles I could hear in the distance and just

took in the last few months and started thinking about the shit-storm at home waiting for me.

I think that I went to The Base via taxi and with a lift maybe twice or thrice thereafter for a 

24-hour or something, but there was this cloud that loomed over it ever so slightly.  But the 

memories of the great feeling of family and community was there and a random phone call 

from a chick that saw me at The Base, did comfort me for a while.

In between all of these things and moving from age 13 into 14, when your second spurt of 

Mind development occurs, NO not the wanting to get girls but the bit where you question 

everything again (like when you are a 3 year old) but with more vigor and angst.  You read 

more and now throw in SRC's and teachers who are UDF and ANC members and everyone 

including INFORMATION is the ENEMY.

We read as much books as possible and passed around, among those were books and 

information about Steve Biko and Malcolm X.  Malcom X was the one that pulled most of 

us in, I suppose it was the change from the ruffian into a Fruit of Islam as a Nation Of Islam 

member and then the Great leader and everything that goes along with that being the wealth 

of knowledge and being a great orator.  Great orators have the capacity to inspire and inhabit 

minds and hearts and I came across 2 during 1990, the one being Brian X and the other 

Shamiel X.  The latter I meet along the road in my further Hip-Hop travels.  The former, I saw 

twice, the first was at a Nation Of Islam meeting and the second I don't want to talk about.  

He started off great but during the cause of the meeting, I felt inspired and uplifted but then 

he started picking on things such as Self-worth and Self-image that was picking on the way 

we as a group in particular my gel in hair that just lost me and lost the plot and it became 

apparent to me that this was a form of break down and control and I had no time for that. 

Give me knowledge and I will change the Inner SELF, the outer comes with time (and money).

1990 was also significant in the form of Mandela being released, a few days before my 

14th birthday, and we finally got see the Man in person, well depending who you talk to and 

there is also the conspiracy about his death in prison.  

But, let me say that I never saw so many hardened SRC members and ANC Party members cry. 

1990 - The Voetebike Chronicles Part 3

One man, many names. One man, many crews.

I am a loner, with the worst name and responsibility bestowed on me.  

The meaning of it is roughly "Gatherer of Wolves", "Wolf counsel" and if I have the Hebrew correct, 

then it is "Friend of God".

In this year I meet a lifelong friend, mentor and spiritual leader for an extended period, Sparrow X. 

His chosen street-name I felt fit well with my given name, as it means "Gatherer of Souls". 

My nickname, since the age of 4, was Smokey.  The short story is that I had laryngitis, but my 

older friends in the Park/section I grew up in said I was smoking cigarettes. Believe who you want to, 

all I can is I made and drank coffee from the age of 4 (I used to climb up on a bench, switch the kettle on 

and Bob's your uncle). 

At the start of my journey I decided to keep the Smokey and morphed it into SMD, which had 2 meanings. 

I wanted to be an Emcee, so in that Form of the Elements I was known as Smokey the Mic Dominator and 

for Writing, it was simply SMD or Suck My D___.

I had way too many street names which stemmed from tagging my name in areas where I knew Zulu's 

had been given up hill and these guys knew "who is who" by their tags and knew their "government names". 

Having different alter-egos helped with shielding me from that but also with handstyle and eventually 

settling on a name after I killed off ALL alter-egos.

So, let's begin:

First Under Suspicion). The origin, the parents in the neighbourhood thought I was pure evil and an influencer.  If 

anything went wrong in the section, then it must be me. Okay, I did rack/steal a Soul II Soul cassette at OK in 

Town Centre. 

BABA X. Zip guns making that sound, with bullets flying into Unknowns (Unknown = X). Is was also Sir Ra X, then 

Sirius X.

Mr Trevrep The Brown Prismatic One.  Trevrep is the reflection of Man unto himself.  It is the mirror image of the word 

Pervert as Man in  its actions is a perversion of Nature and HUMANity and I wanted to reflect the true evilness of 

manKIND.

BBoyZuluRa which morphed into ZuluRa.  This is a breakdown of my History in Hip-Hop Culture; starting in 84' as a 

Breaker/Breakdancer/BBoy, joining the Zulu Nation and moving closer to True Self and RA stemming not only from 

the first letters of my name but from Amun RA, the Hidden or Concealed One, as that was the way I have gone 

through Life.

I became Amun RaSoul and then eventually morphed fully into Flesh Krumblez. 

How funny is it that in 84' I said fuck off when I was asked to join a crew, but that changed in 1990 and I belonged to 

no less than 5.

I was a member of Kings & Queens Crew, ZBC, Kings of Down Under (lasted a week, the other 2 were pussies who 

were afraid to rack cans and tag and destroy destroy destroy), TVA and $ell-Out-$yndicate.

All the crews I joined was through school friends, $O$ however was outside of that.  Yeah I knew KCD and Candy from

 church, but outside of that, we never chilled.  It was funny years later though to realise that St John Bosco was a link 

in the chain, from meeting Shy there, to finding out that my Old Bird was friends with and knew the mothers or parents 

of KCD, Candy, Girland aka Flex aka Deemo, Poenie, Rot, Thin Kippie and Sparrow.

How I got to $O$ was purely through Hip-Hop politics. Shy gave up his "Kingdom" and dual purpose of Scribe for the 

UZN Westridge Chapter and stated that if anyone wants to rock with him, to meet him at his house and I fucking 

jumped at it. I blocked out the last bit of what he said, because my nerves said "FUCK OFF"......."those who want to 

join the Crew, must audition". 

I pitched up and so did a handful of other cats like TMD, who I focused my attention on in order to get through it.   

They had set up chairs in Shy's lounge and the existing crew members sat facing me and Shy says the dreaded words

 "Now spit a rhyme". 

I start off good but then start speeding up in order to get through this close-up ordeal, but Shy stops me and says that I

should chill and not be so nervous, my response "how the fuck can I not be nervous, you guys actually do what I want 

to".  I start over and it goes better, but I think that that wasn't good enough, BUT what do I know, I'm in. 

Shit and just like, I am on my way and decide to save myself from continuing to be a Toy and cut my ties with TVA, not 

before ending up in jail with the Crew (Muff2, Falco, Chromo, Foxy L and me of course) for a "legal" piece we decided 

to do on a Friday night in order avoid people coming to ogle us if done in broad daylight. 

With almost immediate effect I am in the fold of $O$.  One Saturday we head off to Kratoa Studios in Vredehoek I 

believe.  We are fetching a track mastered by Caramel and Whiteboy, Caramel had opened the door and Shy had gone

into another section of the flat and they are chatting.  Sparrow, KCD and I are left with Whiteboy and starts talking 

about what they do and samples and the art of sampling. 

He puts Earth, Wind and Fire's track on, a live version of Devotion and shows us how he selects the sample or portion 

of the track he would like to loop and without breaking a sweat, he has a perfect loop. It's a dope moment and although

I do realise that I would never be able to afford the equipment, I do make a promise to myself that somehow I will make

my own tracks, which thanks to a group of resourceful individuals I end up with early editions of Sonic Foundry and 

Fruity Loops and a ton of other software.

From this encounter I get to meet Steve Gordon and Christopher De Vries of Making Music, who have been around the

industry and are great characters I will see throughout the early 90's.  It somehow seems like the connections to the 

music industry are in the areas Salt River, Woodstock rolling into Town.  The talent however is all on the Cape Flats.

Saturday morning's were no longer for me to sleep late and wonder around aimlessly, not that searching for takkies at 

Oriental Plaza or Armiens or browsing for vinyl was aimless or fruitless, I had to make sure I was sorted because 

Labamba (The bitch with an itch) could be parked outside and that high-pitched hooter of hers could go off between 8 

and 10.  

Labamba was the name Shy gave to his orange Ferenza, reminded me of a turtle shell. This Saturday, it's just the 2 of 

us and we make a few pitstops, one was to drop off vinyl we got from Athlone library which was picked for samples and

the last was a stop off at this guy Shamiel Adam's house.  I got to know him as Shamiel X later, but knew him as Bob 

already.  A fucking colourful character, who I learnt was a Boogie Burner back in the 80's.

During our chat he moves over to what he has in mind or is busy with already and says that it's a radio station, but an 

all inclusive one.  He swivels around a few times, I see that he has taken out his false teeth as he is swiveling and 

stops.....looks through us and says "det wasss song by Basssil, 'n lekker numbertjie to get you in da mood" and rattles 

a whole lot of other things and then next thing his teeth are back in and he says that this will be different and all 

inclusive.

All inclusive was not just some bull he spewed because a few years later friends of mine with no prior knowledge of 

radio, was on the air for 3 hours, playing cds they lent from me that very day.  These sisters were not Plat by no 

means, but did not put on airs, graces or accents for radio. 

For the people...... 

The next time I spoke to Shamiel, proper chat not Hello Howzit, was at Bush Radio for Headwarmers and I reminded 

him of the conversation he had with Shy and myself... 

.......Radio for the people, by the People.

My Pioneer weighs a ton.

 My Pioneer weighs a ton

This piece of equipment is linked to my soul.  Music is music, until, you feel what you are hearing.  The hunting and gathering of music, the joy the surprise, that feeling of finding a new sound, that, that I link to this. Times have changed and we have moved from rack systems to our phones and downloads have replaced hard copies of music (choose your format).

I attempted, like many, to scratch and failed but I have it on cassettes and I actually sampled one of those scratches and used it for a beat.

I also taught of my peers how to appreciate music by using their rack systems for particular genres of music and in doing so, it fed my Soul's musical side.

I think one day when I grow up, I will get a rack system going and maybe, just maybe that portion of my Soul will jump around like my 80's version hearing Public Enemy and Tuff Crew for the first time.

The Matrix has always been there, this was my favourite part of my Matrix I suppose.  Play, Pause, Rewind, Fast Forward and Record, were those my first words, probably not BUT it is a fun thought.  I do know that a chunk of life from probably age 4 up to my early 20's definitely was.

I think society is missing out on that warmth of vinyl, but who am I with the galaxy of sound and experience of sounds.  Play, Pause, Rewind, Fast Forward and Record............

#music #sound #life #art #musicalescape 

Flesh Krumblez- Tons

 

The idea is to take tracks and concepts that are deemed to be Sacred Cows and do my own thing and/or Beat exercises.

Flesh Krumblez is a split from my former character Mr Trevrep One, The Brown Prismatic One who grew into/out of BBoyZuluRa and AmunRa Soul into ZuluRa.

Still writing lyrics as the beats are created but never recording it, only reciting internally when the tracks are played and experienced.

#Beatmaker #beattape #beatz #beats #fleshkrumblez #hiphop #bedroomproducer #beatcreator #music #beattapes #sample #random #instabeats #samples #sampling #808 #sacredsamples  #sacredcowsthebeattape

Dear Tom Jones in a previous life

Stop it!  Hi AI, I think Tom Jones was a Samurai in a previous life.  Please generate.....

#ai #aigenerated #random #tomjones #welshroyalty

Black Noise interview

I really cannot remember what year this is but the most important part is that this interview took place in and around Mitchell's Plain and that the crew known as Black Noise was being interviewed.  Hip Hop is tackled by Emile and TMD of the then incarnation of Black Noise.

Not to take away from the interview but the setting of the segments took place in 2 important spots; the one being Westridge City and the other being The Farm.

The Westridge City was a club in Westridge, Mitchell's Plain where we as Universal Zulu Nation members would gather on Saturdays at the matinee and wait for that section of afternoon when the DJ would play some Rap music and we would get lost in the music.

The Farm! The Farm is actually where I met Black Noise outside of the performance setting back in 1990/1991, but it also years later it would be the setting of a great #graffiti competition which was where we forged lifelong friendships with #writers from all over the world.

#mitchellsplainhiphop #capetownhiphop #southafricanhiphop #africanhiphop