DJ Jazzy Jeff

DJ Jazzy Jeff, known to his mother as Jeffrey Townes, is a legend in hiphop. He, along with partner in crime Will Smith aka the Fresh Prince, are counted amongst hiphop’s first “superstars”. Their tunes Girls Ain’t Nothing But Trouble and Parent’s Just Don’t Understand are absolute classics. Many people may think of Townes as the lesser of the duo, because he is not in the spotlight as much as Smith, but he hasn’t been sitting back on his fat mountain of bling bling from selling over 10 million records doing nothing. He is the founder and head of A TOUCH OF JAZZ, nurturing the careers of a roster of young producers, writers and artists, including the wonderful Jill Scott, and houses them all in a studio complex in the downtown area of Philadelphia.

He is famous for getting his start as a bathroom DJ. “Basically that’s the guy that really gets to play no records or does nothing pertaining to DJing until the main DJ has to go to the bathroom”, he laughs. “Then he gets to put a record on, and make sure that the record the main DJ put on doesn’t finish. I was just hoping those guys would stay in the toilet a lot. I used to give them a lot of drinks, lots of water to keep their bladder active.” His skill quickly developed and got him noticed at parties, and it was at one such party he teamed with Smith. “The guy who was my usual MC didn’t show up, and Will came in, and we knew each other from previous parties, and he just grabbed a mic and things went from there.”

DJ Jazzy Jeff and the Fresh Prince were well known for using samples of cartoons and old TV shows, such as I Dream of Genie. “We got in trouble for a couple of the samples that we used,” he laughs. “That was early hiphop days when nobody really understood the sampling laws and what we had to do. But it got to a point where after we got into trouble you start to become wise, and you start to compensate whoever you use”. Yet some people in the rap game weren’t appreciative of the sounds the duo employed, or the less aggressive take on rap they used, calling them ‘soft’ and equally dismissive names. “It was when hiphop started to become multi-dimensional, and just because Will and I chose not to do Gangsta records, or really curse in our records, and talk about shooting and killing anybody, we got criticised, because at the time that [Gangsta] was what was most popular. Now you look at hiphop and it’s grown in so many ways… it didn’t really bother me because people didn’t understand how big hiphop really was.”

For someone who is a “superstar”, Townes is quite unpretentious about his work. “I never look at that,” he says of the accolades and so on from his early days. “I think because I’m so active in what I’m doing now I don’t think I’ve ever look at the contribution or the credit we’ve got in the past, and I think it keeps me grounded.” Even being on a high rating TV show doesn’t seem to have overblown his ego. “The exposure was incredible. I’m more recognised by what I’ve done on the TV show than what I’ve done in music,” he says. “But it doesn’t matter what you’re recognised for, I try to bring people into what I do, just use that exposure as positive energy”.

Exposure is what his record label A Touch of Jazz is all about. “My issues right now have more to do with not about what is in hiphop, but what’s not in hiphop. I don’t understand how you can get radio stations that play the same 25 records over and over again, and there’s a hundred thousand records out! I think it’s more important, to me, to give everybody a chance, because that only benefits the music and culture of hiphop, instead of narrowing it down to what someone deems important,” he says of the current state of hiphop. “That’s the main reason I set up A Touch of Jazz. Just to have a little more musical freedom and creativity to do what I want to do, and to put records out for music lovers. The beauty of a lot of the stuff I do is there is no great expectation to sell millions and millions of copies of records; we put records out for people who love good music. If you love it and support us we’re very grateful, and if you don’t then hopefully one day we can make something you’ll love and start to support us. That’s the main reason why I do it. It’s not so much we have to do what’s popular, or what people deem is popular, or top 40, you’re making music because you love it.”

Townes love of music can be easily heard in his voice when he talks about it, whether it’s talking about the latest releases on his label, or his upcoming tour. “The fact that two turntables and a mixer and some records has taken me completely around the globe – especially now – I am so grateful for that. It’s a joy for me just to spread the love of music. We’re all linked together through music, and for me to be able to come and play music for people who love it and enjoy it… you know I probably enjoy it more than the people I’m playing for!” he laughs, “and I’m so grateful for that.”

Soon Adelaide gets a chance to witness Jazzy Jeff in action. “I play very high impact, high energy. In a period of about an hour and a half I may play about 200 records”, he says nonchalantly. “I like to take people on a journey through music, not just hiphop. I play hiphop, I play classics, I play breakbeat, I play house, I’ll play pretty much anything! It’s more about the excitement of the night, and the more energy I get from the crowd, the more I give back. Just tell people to watch out because you’re gonna have a great time!”

DJ Debris

Adelaide has a unique hiphop scene that’s fuelled by the love and dedication of its fans and practitioners. Although we seem to miss all the larger acts that tour our fair brown land, the scene is still pretty large and healthy for a small town. Maybe it’s because the DJs and Acts we have here are as good as those that tour. One such act is the Hilltop Hoods, who have been lauded in international as well as local press. With 3 albums and a following from Gawler to Mt Gambier, they’re about to embark on a national tour with the 2003 DMC Technics World DJ Championship Heats, performing and judging. We spoke to DJ Debris (Barry Francis) about the state of hiphop and a few other things as well.

“Deep down I always had a notion that we’re going to get somewhere”, Debris begins, “because of the skill and dedication of the people I work with”. The Hilltop Hoods formed about 8 years ago, as most groups form, by someone hooking someone else up with common interests. This common interest centred on hiphop, and out of the South came three young hoods who knew how to rock a mic. “I think we’ve grown out of the Hood attitude, as has our music, although we try and make music for the ‘street’ that appeals to the Average B Boy,” Debris says.

With regard to the local scene, Debris has nothing but praise. “The hiphop scene in Australia has come a long way, a very long way, from where it was when I first entered the scene. It was very fragmented between state to state. There wasn’t very much communication between the states,” he says. “Now it’s very collaborative, mainly due to the internet and online community. Plus the availability of home studios… everyone seems to have one. There’s probably been a 20 fold increase in terms of local releases. I think dedicated followers of hiphop want to see hiphop remain underground, at the street level. And I don’t think Aussie hiphop and the Aussie accent will ever get accepted to the level of US stuff,” Debris muses. “If people live in Australia, and people know that its where they are from, and they’re rapping about guns and American issues rather than local issues, your average hiphop punter will see it as a load of crap really.”

The Hilltop hoods are fiercely independent. “We always want to keep it independent. We’ve never aimed to go commercial. We make music for ourselves, and our friends, and the people who like us.” It’s this kind of attitude that keeps Aussie hiphop ‘real’ and stops it sliding off the rails, like it seems to have done in the US. On this topic, I asked if there could ever be a dance remix of Hilltop Hoods. “We’re dedicated to hiphop, no disrespect to other forms of music, but that’s what we do. I don’t think we’d ever make a dance track. Maybe an instrumental track for a movie, that’s more our niche,” Debris says.

“We used to do a lot of collaborations with people in the past, but we’ve backed away from it with this album, tried to focus on ourselves and try to get our own sound without having too many people with their hands in the pie,” Debris says of their forthcoming album, ‘The Calling’, which should be out Mid-September. “But we’re always open to collaborations, we’d like to work more with Pegasus from Melbourne, Regent, Downsyde, Hijack & Bones, people we have in the past”.

DJ Bones will also be present at the DMCs, and I wondered how they go about judging such a competition. “I’ll be looking at Originality, skill, ability to beat juggle and scratch, variation, the ability to master of all DJ techniques,” Debris says. “Usually at a competition there’s someone who really stands out, who gets the crowds reaction”. The DMCs have been running for 17 years and cover 30 countries, with many currently well-known DJs and producers having performed in the comp, including Adelaide’s Groove Terminator and Brendon, EK, Ransom, plus overseas acts like Carl Cox and the late Tony de Vit. In 2000 Australia’s best ever placing was achieved by DJ Dexter from The Avalanches, who finished 2nd, which is no easy feat. Could this year be the year a South Aussie makes it all the way to the UK Finals? Find out by checking out the skills of the Hilltop Hoods, DJ Next and DJ Bones, as well as a heap of hopefuls who will surely tear the place up!

Yumi Stynes

Yumi Stynes is the lucky “hostess with the mostest” of Channel [V]’s Room 208. Juggling a career in television and a young child, this cute, happy, energetic young woman’s story is the stuff of legends. One day she’s making sandwiches in a Melbourne takeaway – the next moment she’s being kissed by Robbie Williams live on national television. Now hosting TXTr, Australia’s first live SMS request show, and Room 208, which is going on the road with an all-ages event, we talked to her about her career and the show.

Stynes had some idea of what she was going to be in for when she was picked in Channel [V]’s “search for a reporter” contest. “I used to host radio shows for 4 years while at uni, and worked at a radio station in the Torres Strait Islands for about a year. And I used to do other things here and there like make music videos for friends and stuff,” she says. Her first time on air was “pretty scary… I can’t really remember it. I remember that I thought that all I could do was try my absolute hardest, or I’d hate myself if I didn’t give it my all… I know it sounds pretty wanky, but that’s how I felt. I had to completely lose myself, forget about being inhibited and being coy, just grab it by the balls and have a laugh doing it.”

Losing herself is something she’s become adept at, judging by her on air escapades. “I’m kind of immune to embarrassment now,” she laughs. “I got hypnotised once. That was pretty bizarre. I ended up dancing pretending like I was Madonna.” Another time the camera zoomed out to find her on top of someone’s shoulders at the Big Day Out. “He was just some guy I asked ‘can I sit on your shoulders?’” she giggles. “Covering the Big Day Out this year was pretty awesome. We had free range of the venue, and we had technology that meant as long as we could see the broadcast van, which was on top of a hill, we could broadcast from anywhere in the festival”, she says. “And it was just the most exciting thing to know there were thousands of people watching, and we were bringing them something you don’t really see very often – that really raw, high energy you get within a rock festival”.

Sometimes when people get positions in TV by winning contests, there’s a certain animosity towards them. Not at Channel [V]. “Most of the people who work at V aren’t frustrated presenters, they’re there because they want to be,” she says. “It was really a massive thing for every one at the channel. It was a huge endeavour that everyone had to pitch in with, so they were all invested in it, and when James (Mathison) and I got the job they all thought that we were their ‘babies’”, she says, laughing.

Stynes hosts the show TXTr, Australia’s first live SMS show. “We get great SMS’s on the show TXTr. They’re always really, really clever. We did a Father’s Day special, and we were asking what advice their father’s gave them, which was kind of an open topic – people could take it how they wanted. There were a lot of straight forward responses, but heaps of really black ones, like “my dad was always too drunk to give me advice”, and “Fuck you Dad, happy Fuckers day!” You get the whole gamut of intelligence and age groups and seriousness,” she adds. “My favourite one was one after Enrique Englasius got his mole cut off, and as a TXTr topic we had “What did Enrique do with his mole?” People who texted us had hilarious answers, like ‘it was going to be the major prize on the next big brother’, and another one was ‘he chopped it up and made guacamole with it’” she giggles.

Her other hosting job is Room 208, which got it’s name from one of those corporate ‘brainstorm’ weekends. “Well, with Channel [V] everyone just parties, plays loud music and gets silly”, she says. “At this conference, everyone went back to Jabba’s room. People were flicking the lights and having fun dancing to loud music, and someone came up with the idea that we should do a show that was “just like that”. It sounds like one of those ridiculous ideas that never goes anywhere, but somebody remembered it the next day…” And Jabba’s room number was of course, Room 208.

If you’ve never seen the show, it’s kind of like Soul Train for the chemical generation, and it’s quite funny to watch. Stynes describes it as “it’s like a party on TV, but there’s a competitive element where the best dancer takes home $1000”. Stynes thinks the Karaoke segment is the funniest, and says, “There’s times we can’t talk on air because we’re laughing so much. We like it because it gets played back pretty soon after filming, so we can kick back without being sweaty and hot and crazy and watch it and laugh. But at the same time we’re there with them. The people at home do have that distance so they can take the piss.”

There have been times in the past where off handed remarks can cause trouble, as Stynes discovered. “There was this large girl dancing, and Mike (Kerry) says to me ‘What would you call that move?’ and I said ‘I think that’s the horny lesbian,’” she giggles nervously. “But even before the show was over, the girl comes up to me with tears in her eyes and says ‘I’ve got family members watching – I come from a Greek Orthodox family… do you have any idea what you have just done?’ and I was like ‘Awwww… Fuck!’ It was awful – I didn’t mean for it to be taken badly”.

Last time Room 208 toured, they shot the footage and edited it back in the studio, but this time it’s being filmed and mixed live. “We’re trying to get the essence of each city we visit”, Stynes says, “and it’s going to be massive. The studio is smaller than it appears; it’s really the size of a large bedroom, and the clubs we’re visiting have quadruple the capacity,” Stynes says excitedly. “Adelaide was one of the most successful dates on the last tour. The people were just mad for it,” she says, “Absolutely hyped!” and she hopes this time people will be just as keen.