Long Island hip-hop artists celebrate the genre’s 50th anniversary
Many who visited the Long Island Music and Entertainment Hall of Fame in Stony Brook Sunday, June 11, may have thought they stumbled upon a family reunion. In a way they did, as Long Island hip-hop artists were on hand to celebrate the 50th anniversary of the genre at an event hosted by the museum and venue.
The Sunday afternoon event started with a “knock out” presentation as the museum unveiled a statue of LL Cool J, born James Todd Smith in Bay Shore. The actor, rapper, songwriter and music producer’s successes include the hit “Mama Said Knock You Out” (1990) and his role on “NCIS: Los Angeles.”
The statue, known as The G.O.A.T. Monument, is officially titled “Going Back to The Meadows, A Tribute to LL COOL J and Performance at FMCP” and was created in 2021 by artist Sherwin Banfield. During the unveiling ceremony, Banfield pointed out different accents he included on the 8 1/2-feet tall, 600-pound statue, including a boom box with a cassette tape of the rapper’s debut album “Radio” (1985). Banfield also played homage on the piece to what he called “the determination pin.” The rapper’s right arm was paralyzed when he was younger, and his mother would pin his right sleeve to the mattress to inspire movement.
Composed of bronze, stainless steel, steel, winter stone, resin, cement and wood, the statue was displayed in Flushing Meadows-Corona Park for a year. It includes a solar panel that powers an audio system.
Blasts from the past
Visitors were treated to performances as well as a Q&A panel where the artists shared stories from the early days of their careers, many of them knowing each other since they were younger.
Before the performances featuring DJ Jazzy Jay (John Bayas), DJ Johnny Juice Rosado, AJ Rok (AJ Woodson) of JVC Force, MC Glamorous (Chaplain Jamillah), Dinco D (James Jackson) of Leaders of the New School and the group Son of Bazerk, the artists participated in the Q&A panel along with Keith Shocklee of the producing team The Bomb Squad and an original member of Public Enemy as well as video jockey and director Ralph McDaniels. The panel members were happy to share the history of hip-hop on Long Island stories with attendees.
Shocklee, who was born in Roosevelt, said he, along with his brother and friends, started DJing by playing in his family’s basement in the 1970s. They then began to play at local youth centers around the Island and throw parties in friends’ basements and backyards. Soon they were DJing at the local parks. While others would go to Centennial Park in Roosevelt to play basketball, other young people would go to play music, Shocklee said.
“It’s something we did to stay off the streets of Long Island,” he said. “It wasn’t as dangerous as the Bronx or Brooklyn, but you had your stick-up kids.”
MC Glamorous, originally from Freeport, said events such as Roosevelt Day, Freeport Day and Wyandanch Day gave the communities something to look forward to and the artists a chance to perform.
“It brought people together, and we got a day to shine also with those jams,” she said.
Shocklee said Long Island hip-hop artists in the 1970s were aware the Bronx was the epicenter of hip-hop, where he said the DJ technique scratch, MCs, hip-hop culture and breakdancing were born and developed.
McDaniels said the hip-hop culture on Long Island was different from what was happening in the Bronx, Queens, Brooklyn and parts of New Jersey. He said when he hosted “Video Music Box” he was able to compare music scenes.
“There was something going on in Long Island that was different,” he said. “When I heard Public Enemy, when I heard EPMD [from Brentwood], I was like, ‘This is different.’ This is not what the rest of the city or the rest of the country sounds like, and I think that’s what makes Long Island its own — or Strong Island — its own unique sound, because we weren’t as thirsty. We had homes. Some of us had parents. Some of us went to college. We were relaxed.”
McDaniels reference to “Strong Island” was a song recorded in 1988 by JVC Force sampling a phrase that Public Enemy’s Chuck D used while working as a DJ at Adelphi University’s radio station, WBAU.
Woodson, who spent several of his younger years in Central Islip, said the reason the group recorded the song “Strong Island” was because “you literally had to be from the five boroughs to get respect.”
Bayas, who was part of the development of Def Jam Recordings, remembered when he would come down from the Bronx to play in Amityville, and the first time he said, “We’re going out to the country.”
During those visits to the Island, he said he met hip-hop artists Biz Markie, Erick Sermon and Parrish Smith — the latter two from EPMD — when they were children. Bayas said before hip-hop, if someone didn’t know how to play an instrument, they weren’t considered a musician. For that reason, he learned to play the drums and, as a DJ, he said he and others were always searching for the rare group to play at the parties.
“Hip-hop allowed us to be musicians because we have something to offer, because we know what music to play,” Bayas said.
The LIMEHOF received a surprise visit toward the end of the event from rapper Keith Murray who grew up in Central Islip. The venue had to postpone its induction of The Fat Boys, from Brooklyn, as surviving member Kool Rock-Ski (Damon Wimbley) was unable to attend at the last minute.
