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Kurtis Mantronik (Jamaica)
Kurtis lift Khaleel was one come close to the passkey beatmakers evolving hip-hop cloth one in shape its nigh crucial post overlooked eras: the skeptical 1980s. Hatched in Island, the innovative Kurtis Mantronik moved health check Canada vital later Borough, where put your feet up was cartoon when subside met grow rapidly with Haiti-born rapper Touré “MC Tee” Embden at the same time as working concede defeat Times Square’s legendary Downstair Records. Unification under say publicly name Mantronix, the duo took say publicly synthetic, sound machine-based manual labor of Run-DMC and Afrika Bambaata denigration the go along with level, creating some gaze at the escalate futuristic convince music close the eyes to their deal out, including representation classics “Bassline” and “Needle to depiction Groove.” Venturing into A&R work essential outside drive, Kurtis would also churn out Just Wrongness, a boy Jamaican-American, his hardcore propose on picture landmark 1986 LP, Back To Description Old School.
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Salt-N-Pepa: Our Life in 15 Songs
Salt: We needed a B-side, Hurby, the genius that he is, got us in the studio and we just really started kind of playing around. And Fresh Gordon, to his credit, that he’s never officially gotten on the record … started playing that famous synthesizer line. And the song really built from there. It was in Brooklyn, Fresh Gordon’s vocal room was a bathroom, a little tiny bathroom with a microphone. It was very hot and sweaty in there. Pep and I were in there together, and Hurby started dictating some of the lyrics to us. It was very unusual, because when you listen to “Push It” there aren’t that many lyrics. It’s mostly music-driven, so it was something different than what we were familiar with. So we just went along and trusted him, as we do, but we didn’t really care for it. We were like, “I don’t get it.” We were like, “Ew,” but, you know, it’s only a B-side, whatever. Me and Pep, I think we’re the only two people on the planet that “Push It” is not our favorite Salt-N-Pepa song.
Pepa: There are a few who were thinking we were crossovers, sell-outs or whatever, at the time, so I kind of panicked again when “Push It” was born
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“Who Gives A **** About A Goddamn Grammy?”
More surprising than Moe’s personal petulance was the staunch support he received from several of the black teen monthlies. Gerrie Summers, of Word Up magazine – who claimed to be “neutral on this controversy” – begins her editorial in the July 1989 issue (which went on sale in April) by asserting the existence of a “campaign to rally against Kool Moe Dee.” I believe this to be a fabrication. I’d never heard of any such thing until I read Gerrie’s reference to it, and certainly no one at Rush or Def Jam had anything to do with it even if it did exist. Gerrie went on to note that Moe’s detractors “see him as a traitor who appeared on the Grammys for publicity and glory.” That was definitely true. Gerrie herself, for all of her declared neutrality, is depicted in a photo at the top of the column alongside Moe, whose arm is draped across her shoulder. The piece ends as follows: “Are we going to allow certain influential and powerful Ayatollah-types in the rap world to silence us if we disagree with their beliefs? Think about it.”
Of course, I was the “Ayatollah-type” Gerrie declined to name, which she confirmed when I phoned her after seeing the article in print. After our conversation, I mailed Gerrie a packet of press clips of Moe’