Dj Renegade

In this episode, we talk to Kevin Gopie aka DJ Renegade. Kevin is a so-called “First Generation Street Dancer '' and co-founder of the first European Hip Hop formations. Since the early 80s, he has been a renowned turntablist, break-DJ, breaking judge, mentor and was part of the team to develop a brand new judging system for breaking in the 2018 Youth Olympics. He represents Soul Mavericks & Monsterz Crew, Scratch Perverts and Sons of Noise, from London, UK.

We chat about his upbringing in Guyana and the UK, his contributions to turntablism and the brit-core scene, creating a judging system for breaking in the Olympics, the work that goes into commentating live events, and ways for the hip hop community to grow.

You can find him at:
www.instagram.com/djrenegade_uk/
www.facebook.com/DJ-Renegade-109521389084438/
https://soundcloud.com/dj-renegade-uk
 

Support the show

Episode Transcript

Unknown (00:00):
Yeah, I'm still learning. I'm 51. And I'm still
learning every day. Like, Ididn't stop growing at 12 years
old or 15 years old. You'reconstantly gonna be learning.
Welcome to Souls of Hip Hop, apodcast for hip hop heads that
aims to bring inspiring peopletogether to share their wisdom,

(00:22):
passion and unique stories.
My name is Candy. And I'm DJRazor Cut. And together we are
Soulidarity, connecting soulsorganically.

(00:43):
What's up, fam? Thanks fortuning in. Hi. I'm Kev from
London, aka DJ Renegade. Welcometo our podcast. How would your
parents describe what you do?
Oh, damn. That's a hardquestion. You had to go straight
in, didn't you? Thanks for theinvite. And I'll be seeing ya.

(01:06):
I don't know my parents havealways been supportive. If I'm
completely honest, likewhichever road I decided to
take, they've always beensupportive of me. They did want
me to be an academic when I wasyounger. But I think as I grew
up, they could see that I wasfocused on the things that did
choose to do. And as long as Ihad focused on wasn't all over
the place. They were happy withthat. So they're quite

(01:28):
supportive of what I was doing.
How would they describe it,though? I don't know. I mean,
they're not from thisgeneration. How would they
describe something they don'tunderstand? I don't know. You'd
have to ask. Well, my dad's deadnow. But my mom, you could ask.
Yeah. But like, Mom, how wouldyou describe what I do? Do you
know why I do? Because I thinksometimes I have friends ask her
what I do. And she's like, I'mnot sure. I think he judges but

(01:50):
he's a DJ. And he's something todo with the Olympics now. And
there's stuff on television, andhe's done. She's not she's not
sure. So I'm not sure.
What were you like, as a kid?
Interested. I had lots ofdifferent hobbies when I was a

(02:12):
kid. So I did BMX in, I got intothe roller skating thing. I was
into early computer games,because that's my era, I had a
personal computer at home. So Iwas into programming on that. I
was into maths and science, andI was into anything that came
along music I was into, I wasinterested in dance very early

(02:33):
on, and because of my sister, soI would say as a kid interested.
If you can get in a timecapsule, go back in time and
meet your younger self, whatpiece of advice would you give
your younger self?
Hip Hop is gonna ruin your life?
I don't know, that's a hard one.
Because there's a alternateuniverse where I did go the

(02:55):
academic route. And I don't knowhow that ended up. I'd like to
like take a peek one day and seehow it turned out. But for the
most part, I'm happy with thedecisions I made. Yeah, there
were a few times I could havebeen more focused on a few
things. Because the problemwould have been an interested
child is that you do try to dolots of things at the same time.
So I actually used to drum. Iused to play chess, and all this

(03:19):
other stuff on top of the otherstuff that I was doing, right.
So because now you're bringingback memories, and it's like,
yeah, I play chess for a bit.
Oh, and he used to drum in asteel band group. Yeah, didn't
I? Oh, and I used to play thetrumpet. Yeah, did do that stuff
that you blocked out? Becauseit's like 40 years ago. I'll
probably start dreaming aboutthat stuff again. Oh, my God.
But yeah, I mean, what would Isay to me just be more focused

(03:41):
on time? I guess. That's it.
It's a completely differentinterview, which is good because
I hate answering the samequestions all the time, because
it's very boring.
Yeah, we want to get to knowyou. And and to get to know you,
we need to know about youryounger self, what kind of music
was played in your home when youwere a child?

(04:01):
A mixture, because I was born inthe UK, but my family's actually
from the West Indies, SouthAmerica, right country called
Guyana. It's just above Brazil.
And I spent the first eightyears there. So the environment
I grew up in was like Soca andreggae, and funk and soul, and
jazz and that kind of music thatwas from probably more from my

(04:23):
mom's side. And then my dad'sside, because I'm also a mixed
heritage. So I'm half Indian andhalf black. So from my dad's
side, I've got Indian music. Andhe was really into musicals as
well, for some strange reason.
Right? So I grew up on likeHoward keel, and Rodgers and
Hammerstein and rice and Weberand this kind of stuff. So

(04:45):
musical theater, stroke,classical music, stroke,
whatever that musical stuff isright. So I had like a nice
mixture of music growing up.
That was quite rich. And you gotinto dance through your system.
Yeah. When we were living inGuyana.
She was into ballet. I think I'mjust the right age underneath
her to be interested in whatyour sister's interested in, do

(05:07):
you not I mean, like we weren'tclose enough in age to be
argumentative, or rivals oranything like that. So I was
just under that age. So justlike anything my sister did, I
was just like, I want to try. Ididn't try ballet. But when we
came back to the UK, she kind ofimmediately got involved in like
the jazz funk scene, the boogiescene, and this kind of like,

(05:29):
underground dance scene that washappening in the UK. So anytime
she brought someone round, Iwould see that so have friends
or dance their boyfriend'sdanced. So I was around that
kind of environment really,really early before I was even
that good at dancing myself, Iguess. So I saw like stuff like
the robot and the dances fromsongs like mashed potato and all

(05:50):
this very, very early. Becauseagain, as her younger brother,
any possible suitors would tryto impress me, right, so they
could get closer to her. So ifthey had like a dance that they
could show me and just say, goand practice that in the corner
while I check your sister. Imean, it was that kind of thing.
So yeah, she's the reason I gotinto dance. I reckon, apart from

(06:14):
my own interest, or the reason Ihad a connection to what was
happening in the dance world.
Did she continue dancing? Nah,she, I mean, we're talking about
the times when I was betweeneight and 13. So she would have
been 13 to 17. So just as I wasbecoming good, and the scene was
growing, she was becoming ayoung adult. And dance was like
behind ginetta mean, she had tofind a job and become a grown

(06:37):
up, there was definitely stopgoing to clubs, and all that
kind of stuff. Whereas I wasstarting to go to clubs more and
more and more. So yeah, she shedropped out a bit long time ago.
But you stuck with it for thenext 40 years, I guess.
It was my decision. And itwasn't my decision. At the same
time. I think I stayed aroundmore because I was valued. As

(07:01):
opposed to anything else. Myvalue here is worth more than my
value somewhere else. And moreuseful in the dance scene than I
am in the tech scene, forexample.
I do see a lot of especially youknow, our students from our
dance school, once they get intothat age between like 18 and 22,
he kind of weeds out to folksthat did it as a hobby or for

(07:25):
fun during you know, theirchildhood or growing up. And
those that really want to turnit into something more. You've
found it so Mavericks crew, andyou've brought multiple
generations through this crew,what do you think the key to
success is to meet the demandsof different generations within
a crew?

(07:46):
I think just to stay up to date,man, like to keep an eye on
what's happening and make surethat you're at the forefront of
what's happening. It doesn'thappen by itself, it takes real
effort to stay connected to thescene that's constantly growing
and changing and moving around,you know, I mean, so I'm very
lucky, because of my DJ side ofwhat I do. I'm constantly at
events, and part of thediscussions, you know the mean,

(08:08):
so I have a lot of access to alot of information. And a lot of
people a lot of times in a lotof places, it's always exciting
to bring back new information ornew ideas to my own crew, you
know, whether it's so Mavericksor monsters or I teach house and
now to people in my kitchen,it's fun to help people go
through that stage that you'retalking about genetic mean,

(08:30):
because as a kid, I alwayswanted someone to like take me
under their wing and train me,but it just never happened. You
know what I mean? So if I cangive that to someone, even until
they're just bored of the newhobby that they found, it's
still fun, you know, like,they're still gonna remember
these days when they're old orwhatever. And they'll probably
turn up at my funeral. Like yousaid, You're, you're constantly

(08:52):
learning. So your students areconstantly learning, whatever
your constant learning, becauseyou're open to sharing that in
real time. I think that's what'sgreat about this ability to
have, you know, mentor, thething about that is that I
actually started to screw withthat idea. So it's not like it
formed organically, like flowwas formed organically at a time

(09:12):
in the 80s. And then it's grownthrough the generations, I
formed this group with that ideain mind, you know, like to
teach. I'd never knew there'd beanother generation after, but I
was prepared for one. So thattransition was very easy to
know, because it wasn't organic.
It was like, Okay, this kidsinterested in joining the crew.
Let's see what you got. Allright, you're on probation for a
year. If you make it then youcan join the crew. So in that

(09:35):
year, they've proven themselvesto myself to the rest of the
crew, and to themselves as well.
The non organic side of thingsactually has a function, they
get to make that leap. insteadof always feeling like an
outsider. I think that'sdeteriorated over the years,
maybe because I'm not asinvolved as I was at the very
beginning. Because I've also gotother projects going on, but

(09:58):
there was definitely thatfeeling as new people
came in, they were welcomed intoa family. I think that was
definitely a big part of it. Oneof the things I really
appreciate you is the way thatyou support the females within
the culture. Can you talk alittle bit more about I've been
doing that since I was young.
Obviously, it was my sister thatgot me into this. Right. So
where I'm from Guyana, right?

(10:22):
There were a lot ofintellectuals from that country,
right in the 70s. And 80s. Andmy family are quite integrated
into that culture. in Guyanaitself. Education was always a
big deal in my family. And weunderstood that you have to
educate the women, for thenation to grow kind of thing,

(10:44):
right? So from very early, Iunderstood the importance of
women in culture, I give them ahard time, because that's just
how I am. But I understand thattheir importance and their role
in a culture, right. So when Icame back to the UK again,
growing up, and my sisterintroduces me to dance, I
understand her position forintegrating me into a new
culture gently, without theroughness of maybe an older

(11:07):
brother would have done it, youknow, to me, it would have been
a completely differentexperience. I've been teaching
women since I was 14 years old.
So one of the first groups I wasin, it was myself, a guy named
Lonestar, who you might know thephotographer guy.
And the rest were women. It wasfor women, right? And we used to
like, mentor and coach them,even though they were older than

(11:28):
me, I was already doing that. Ithink it's an integral part of
what we do. So yeah, teach theyoung boys in a certain way,
which is the rough way. And thento teach the young girls in a
different way, which is more, alittle bit rough, of course,
because they have to provethemselves, but more nurturing?
Yeah, naturally, yes, this isit, get them involved straight

(11:49):
away with the rough side. Butfrom a more nurturing point of
view, what is one of the keythings that it's important for
your students to know, to beauthentic, I think, to
understand the culture, and tobe authentic to yourself inside
the culture, you know, there'sloads of different aspects of
what we do. And you have tochoose your character. Because

(12:11):
it's a wide spectrum ofcharacters. Don't try to be
someone else, be yourselfthrough the lens of the culture.
I think that's super importantfor any dancer, be yourself. If
you're not a battle adult, don'tbattle, right. Maybe you want to
do theater, maybe you want to doart, or whatever, like do that.
I think I came to thatrealization for myself. You

(12:32):
know, I grew up in Switzerland,in a very privileged place. For
me, it was like I always admiredthat will be boy essence, the
aggressiveness, the battlementality. But it wasn't
necessarily what I could relateto when I was dancing. So that's
why I never really got into thecompetitive battling side and

(12:54):
found my role more in the DJingaspect of it. I have a kind of
similar thing, because I wasnever a big battler even when I
was growing up, right? For tworeasons. One, I was too young.
What does that mean when you're13, 14 years old? And secondly,
my ego is not attached to thisstance or this art form. It
doesn't interest me. If Ibattle, and I win, I don't care.

(13:18):
And if I lose, I don't care. Ithink it can only really affect
you, if you actually care. Forme. It's just like, okay, you
won. I don't care. My egos moreattached to other things than
dancing. Like, it doesn't makesense to me. It really doesn't
make sense to me, becausethere's no real gain in the real
world from winning a battle,especially as a kid, I did do it

(13:38):
because you end up doing it. Youcould be at an event, and
someone wants to give you acouple of rounds. And you have
to do it. But I wasn't there forthat. And I actually like to
call people out for a couple ofrounds and go a couple of
rounds. I've done it to a fewpeople. But it's just because
I'm just like, yeah, going injust like having a debate with
somebody, or a discussion aboutsomething that you you want to
find out what they think orwhatever, but it's not what

(13:59):
drives me in the culture at all.
What drove you to become a DJ?
Breaking died, as simple asthat. around 1986 and going into
87 it was dead. It was finishedman. globally. The last big
event in the UK at that time wasin 1986. I didn't even go to
that because braking was dying.
I started to go to college. Soof course you're the people that

(14:21):
you hang out with changes. Andyou have different interests.
You know, I was studying maths,physics, statistics and
computing. Like that's the kindof last thing on my mind. But I
was still dancing because Iprobably kept breaking through
Ada properly. But I was in twodifferent worlds. I started
DJing when I was in college, soI was still connected to the
scene, but in a slightlydifferent way. And then I was

(14:43):
still breaking with some guys.
We just wouldn't give up theghost yet because the scene was
dead. But you know, there'salways a few weirdos that try
and stay around a bit longer.
The party's over Guys, can yougo home now and miss a few of us
left. There was maybe five orsix of us in this group and no
oneTo people we're still carrying
on but it was there. So yeah, Istarted DJing. And then I
started traveling with the DJ.

(15:06):
And then the story unfolds in ainteresting ways.
You're probably best known asyou know, a break-DJ, you spin
all the major competitions. Buta lot of people don't really
understand the depth to whichyou have actually mastered
turntablism, that you were partof like the legendary scratch

(15:28):
perverts. I don't think manypeople pay attention to stuff. I
got my name, mainly because Iwas inspired by Prime cut. Can
you tell us a bit about how yougot to know Tony and prime and
how you started that collective?
Well, let's go back to the early90s, or the late 80s. So I was

(15:49):
in a rap group with this guynamed Blade, he was my rapper.
And we were touring in the early90s. Right, we went to
Switzerland a couple of times,la Coupole. And that's where I
met like Crazy. And all theseguys Spartanic and all those
guys. So I already had acelebrity status in that world a
little bit, you know, we werebringing out records, we were
kind of like famous on theunderground circuit or whatever.

(16:12):
So prime cuts, and all thoseguys, they knew of me before I
knew of them. So they alreadyknew who I was because of the
scratching on records orwhatever. So in 96, Tony was
thinking of starting a crew ofDJs. And these were the guys
milling around at the time, likeprime cuts and first rate, and

(16:34):
Harry was building a name forhimself at the time. And Mr.
thing had a little bit of a nameat the time. So he wanted to put
together collective. So he askedme if I was down, you know, so I
was just like, Yeah, why not? Hewas drunk when he did it. And I
was just like, Yeah, why not?
You're not gonna do anything.
And then we built the crew,basically. So I already knew

(16:54):
those guys, they already kind oflooked up to me a little bit. So
it was easy to get them on boardwith the project. And I like to
call these things projects,because they're not organic. And
it's like, you have an idea of athing that you want to do. And
that's how projects work.
janetta mean, and then they,they turn into an organic thing
later. But initially, it's like,I want to do this. Who's down?
And that's the project. Tony waslike, do you want to form a

(17:15):
group? Yeah, cool. Let's go. Whocan we get these guys? They're
down. Okay.And then we becamescratch perverts.
Have you became super successfulwith that, but I do need to nerd
out a little more on that topic.
Yeah. When I started breaking mymentor at the time introduced me

(17:36):
to what here was calledbrit-core. I was, you know, put
on to hijack and silver bulletand gunshot and Killa Instinct,
and you name it. Yeah, I feellike Germany, and Switzerland
was very into that, especiallyif you were part of the breaking
scene, like we admired the hellout of it.

(17:58):
Actually Storm said to me oncethat one of the reasons they
kept breaking was the music thatwe did, because obviously New
York hip hop went really slow.
So it wasn't breaking musicanymore. And us in the brick
core scene, we kept the music at120 beats per minute, you know,
the mean, right? We break beatsunderneath. So that still
encourages people to break.

(18:18):
Without the music, you've gotnothing. And nobody was playing
breaks. At that time. That musickind of influenced the scene
again, this happens, you don'teven know why you're out. But
yeah, I was part of thatbrit-core explosion in the late
80s, early 90s. And that isprobably why you heard of us. I

(18:38):
believe I saw recent posts ofyours that you're going to put
out some new music with signs ofnoise. Is that right? Yeah,
we've been doing stuff for abit, the rapper wanted to do
some more stuff. So we've beendoing stuff. We've been
releasing stuff for the lastthree, four years or something.
And I'm still involved. I stilldo cuts in that. But I'm in a
slightly different world aswell, you know, and this world

(18:59):
is more my focus than thatworld. I'm not interested in
being like a in a rap group likethat anymore. Oh, assist. That's
not where my focus is right now.
At the time, were you able toconnect with a lot of the other
DJs of that scene? Like, DjGeta, Dj Undercover? Yeah, yeah,
we came up the same time withthese guys, you know, which we

(19:21):
do jams and we'd all be theretogether. You know, wherever it
was grass up from Belgium or theguys from Two Tone committee in,
in Scotland, or def Tex. Like wealways met up with people. Star
era, Style Wars from Germany.
You know, like all of thesegroups had DJs one or two DJs
you know, so we would just meetup and we'd have like cat

(19:45):
sessions or whatever and we willbe weird.
With scratches, you know, to me.
Like that was the era man. Itwas it was good times good
times. So I want to switch it upa little bit.
You said you were focused onsome other things. What do you
focus on? The things I'm focusedon is bloody getting judging. So

(20:07):
it out in a stupid scene. Thisis super important for me, you
know, I've been dragging onabout it for years now. And
that's really where my focus is.
It's somehow tied into the wholeOlympic thing that's going on
right now. But really, for me,it's about fair judging. You
know, I've been judgingcompetitions for 20 years now
over 20 years. And it's been aterrible journey, watching the

(20:28):
corruption, whether it'sintentional or not, yeah, just
has to change. We need tochange. We need to mature I've
seen it needs to grow up. And Ithink that that's part of the
process. I read the rules ofregulations for the Youth
Olympics that we used. And itwas very impressive, and very
mindful for the amount of timethat you had to get that

(20:54):
together. I mean, I gave you abunch of props. Yeah, it was it
was hard work, man. I mean, tobe fair, we had a head start.
Because as you know, we've beenworking together for a long
time, we started this undisputedgroup in 2007, which was like
the big events getting togetherand working together. And around
2012, I think we started to talkabout a unified judging system

(21:16):
across our events. And then itwas just like, you talk on the
phone, or a flight to Germany orstonewood flight to mine, and we
talk about it, bla bla, bla, blabla, so we're already building
something. When the OlympicsGames think comes around, it's
just like, okay, we have to movefrom small scale testing to this
is going to be looked at withproper scrutiny now. janetta

(21:38):
mean, like writing a rule book,and all this kind of stuff. It's
different from posting Facebookstatuses, there's so many things
involves when there's a sportadded to the Olympics, can you
give us just a little bit ofwhat you've learned, and being a
part of the process ofpreparing, breaking to be on
this platform? It's long, man,it's not easy. No judging

(22:01):
system, no Olympics. Again, it'sthat important, it's that much
of a serious part of what you'redoing. Because the IOC, the
International Olympic Committee,they have to make sure that
they're covered from any typesof litigation, or claims of
cheating, or non transparency oranything, right. So they have to
make sure that the system thatthey use, has no housing, so

(22:23):
they're going to really look atit, because they're for the
chopping board, not us. I mean,we provide the system. And then
if it's wrong, they're the onesthat are going to get attacked
by whoever, like watching thatunfold, and meetings and back
and forwards and discussions.
And it's long, man, it's long,people don't really understand

(22:47):
which bits are important. Peopleare interested in who's judging,
it's got to be this person thatbut this is not important, man.
Really, no one cares about thatstuff in the real world. Does
the system work is what theycare about. You can worry about
who's judging some of time andthis system work in these
conditions? does it provide thisinformation? We have these

(23:10):
requirements? Does the systemfulfill those requirements?
Done, everything else, the musicand all this stuff? It's not
important, these considerationswill be taken care of the
judging system is like probablythe most important part of
getting into something like theOlympics. Really? What was your
initial reaction, when you heardthe news that breaking was going

(23:32):
to be added to the 2024 ParisOlympics. I know, I knew
already. I knew in 2018, I wasthere in Argentina. And I looked
around and I was just like, thisis done. This is done do the
amount of people that werethere. The amount of excitement
on site, the amount of media, wegot all of this stuff. I was
just like, if they don't do thisis stupid. It was that simple to

(23:56):
me. In fact, I was a little bitdisappointed, because anybody
with a brain would have seenit's going to happen and would
have spent the last two yearspreparing for that eventuality
like the producers and all this,their music should be ready now
to be tested for the next twoyears. So we have something to
work with, you know, instead ofpeople sitting on their hands,

(24:19):
this is like that two years isthe last time you're gonna get a
break. And what about theindividual countries? Is there
anything you can share abouthelping, uniting breaking within
your country? How can people dothat form Federation, membership
has to be open to everybody.
There needs to be regulationsand terms and conditions. All
the stuff that's serious grownupstuff, we have to start learning

(24:41):
because there are people in ourscene that have these skills
that are not being used. So wedo have even in my crew, we have
a physiotherapist and you know,like there's lawyers out there.
There's people that know aboutproducing music. There's people
that know about fitness.
Nutrition, all of this stuff,your skills, and now they now

(25:03):
need it we're forming, I'll usethe analogy of a nation, right?
We're forming it now, it wasn'tthere before. Before, it was
just a bunch of tribes in thewilderness, right. And now we're
forming a nation. And these arethe requirements of a nation, we
need soldiers, we need warriors,we need philosophers, we need
poets, we need artisans, we needthis stuff. Now, musicians, all

(25:25):
of this stuff is the forming ofthe nation, right. And that's
when things get serious withthis move from a pre culture to
a real culture, when the tribesform into a nation. And that's
kind of the analogy we have tolook at. And these skills need
to start being implemented, andused and advised on people

(25:46):
brought through to do these jobsthat they're good for. And in
the forming of a nation, there'sno pay at the beginning, when we
were doing the judge's system,pretty undisputed, we weren't
getting paid, there's no pay.
Obviously, when we startedworking with the WDSF, you start
getting paid. But we'd alreadydone six years of work or
something like you're, you'redoing this stuff, because you,
you know, it needs to be done.

(26:07):
And eventually, maybe you'll getsomething for it. So if you
produce music, for example,don't produce music with the
intention of making money fromit, we're not there yet. build
your reputation and your name asa producer. So that when it
comes time, those people willcontact you, and then they'll
have to pay. But you can't go inthere thinking, I'm gonna do

(26:29):
this. For the money of this,this doesn't work like this. You
know, I made a joke the otherday, like I was judging, before
judging was paid. Now, peoplewant to have a go, but it's just
like, yo, where were you when Iwas judging for 20 pounds, he
wasn't interested. I paid formyself to go to an event. And
the organizer asked me if I canjudge because he knows who I am
or whatever. And I'm sorry,yeah, whatever. You don't go

(26:51):
there to get paid at the in thefirst five years or something
like that. It's just doesn'twork like that.
You go there, just because itneeds to be done. You need to
judge Okay, I'm down, whatever.
Yeah, of course, I get the bestseat in the house, which is
great, right? But you don't gothere for that reason. And then
you start off, and it's justlike, oh, I'll give you 50
pounds or 50 euros to judge andget some food with that,

(27:12):
whatever. And then people willstart offering to fly you into
jet. And then people startoffering to fly you in, pay us
some money, etc, etc, to judgeand then it becomes a job. And
then other people profit off ofthat infrastructure that you've
been part of making. It doesn'tstart off with money. It never
does. I totally agree with that.

(27:33):
I think most don't understandthe complexity that goes into
actually establishing astructure, building something,
as you say, that is soundproofthinking of all the complexities
that come along with it, theParalympics, or the gender
categorization. The thing isthat those things are gonna
break before they get fixed.
ginetta mean, so the genderthing, the Paralympics thing,

(27:56):
they're always going to gowrong? Because there's no simple
answer to these questions,right? Even without breaking
thing, we get into 2024. Andpeople think, Oh, we've made it.
No, no, that's step one. If itworks, then we can talk about
2028, then you can say you made2024 is just the touch. Are you
ready for this? Are you readyfor the big time? If we turn up

(28:18):
and we look like idiots? It's awrap. People are already
planning their future careers.
It's just like, stop.
Stop it. That the judging thingagain, with the bloody judge, if
you want to be known as a judgein the Olympics, nobody cares.
These people think they're goingto be famous. Nobody cares. You

(28:38):
can't name me one judge from theOlympics, man. No one in any
sport. I hope they do that withus, I hope that judging becomes
an anonymous job. because toomany people that want it for the
celebrity status, instead of fordoing the actual job properly.
And this is holding us back. Wewant people who want to engage
their intellect to do the jobproperly. Not to do adult judges

(29:02):
Solo is irrelevant, man, it'scompletely irrelevant. How many
airplanes you can do in yourjudges solo? What are you
talking about man? Like, we needto change that whole concept.
The other way around. We wantcompetent people to sit in those
seats, not people that you thinkare dope, not people who are
famous when I don't care aboutthis stuff, you know, so

(29:23):
hopefully, the Olympics willwake people up. And you'll only
get people who really want tojudge judging, not people who
think, Oh, I want to be therebecause I'm gonna be sitting in
the seat and the media's gonnacome and see me. No, get out of
here. We need to get rid of thisstraight. All those things come
with a fee. There's regulationsand rules and exams and

(29:47):
protocols. And most of thoseinclude fees that if you want to
be given this job, you actuallyhave to pay for the training for
it. You have to pay to playanything but if you break the
rules, you'll be finedI hope you're ready. I started
judging, you know, I judged thevery first outbreak. And it was
for free. And I was the onlyfemale and it was crazy event.

(30:07):
And it was his first event. Andsuddenly I found myself, you
know, adding judge to list ofthings that I can do to help the
community. But I do feel it isimportant to have some kind of
standard, because what happensis that, then there becomes more
standards within the actualbecause now you've taken a

(30:28):
competition, and now it's anorganized competition. So
there's all these things for itto grow and to have more
opportunities. Absolutely. Andyou said something super
important. They're like anotherthing that you did to help the
community, nobody starts judgingfor these other reasons that
people try to imply the jobneeds to be done. And the person

(30:49):
that asks you usually theorganizer, they believe that
you're capable, the dancersbelieve you're capable. It's
only the later generations thatmake a noise, because they don't
know how we even got where weare right? And you believe
you're capable. So then you dothe job. And if you suck, no
one's gonna bring you back ever.

(31:10):
You're gonna get a badreputation, you'll never work
again. Right? A lot of peoplethat don't get judged in jobs,
they think that is a conspiracy.
There's no conspiracy, youprobably suck at judging.
I'm being serious, man. Like,it's true. I know, a lot of
people don't know thediscussions that the dancers
have. The only criticism I everget is that I wasn't a high

(31:33):
level B boy, I can live withthat. No one's ever said I suck
at judging. When they say that,then I'll step off. Yeah, okay,
I'm good. It's because I wasn'ta high level B boy, you've never
said I suck at judging. Like,really think about that. And if
you're not being cold, it's notbecause people don't like you.
Nobody cares. And that kind oflevel. It's either you

(31:53):
misbehaved or you suck atjudging, have a word with
yourself, as we say, in English,like, sit down and be like,
Okay, what is it? In fact, callsomebody and say, Okay, what is
it, stop trying to blame themfor not getting you when really
the problem is closer to homethan you think. And that's just
from speaking to organizers, anddances and knowing the scene. I

(32:17):
know why some of these thingshappen, that people think are
conspiracies, and they're not.
What do you think are the sometop criteria for someone that's
saying I want to judge this iswhat they should be looking for.
Because a lot of times, it'svery subjective. I think for the
grown ups in the scene, we'vegone past that stage now.
Because as you grow up, and youhave more discussions with

(32:38):
people, you realize it's notsubjective, in that way, is
subjective in that you're makingan interpretation of what you're
seeing. But you still haveobjective criteria. So it's not
just like, Oh, I like this guy,or I know this guy or whatever.
It's not this anymore. We havewe've moved way beyond that way,
way, way beyond that. Right, ofcourse, when you first see

(33:00):
something you're processing ofit is at one bit, like, Oh, this
guy is incredible thing, I'mgonna vote for him. And then as
you grow, then it becomes toobit, then four bit and eight bit
and 16 bit 64 bit, andeventually, you can see all the
colors, you know, this is how itis. And if you haven't grown
with that process, you shouldn'tbe judging. Everyone needs to be

(33:21):
taught how to judge. I know itsounds very strange, but the act
and art of judging is not justyour opinion, we're way past
that. Now. There's so manythings going on. There's so many
different elements to throw downnow. And if you can't process
most of those elements, younever gonna get old, then you
can't do the job. Sorry, not atthe level we're talking about,

(33:44):
of course, in some local Germanchurch, who cares, right? But
when I'm talking about eliteclass events, and above, we have
to be completely different.
Yeah, that's a whole other levelof sophistication. What I got
out of consistently judgingdifferent events was the aspect
of when I was put in a positionto commentate breaking events, I

(34:07):
felt a little more prepared toto educate. You've been also
commenting breaking events.
time, I was the first exactlywhat was the first event? The
first commentary I did was 2003,I think. And it was it was
actually for a DVD for an eventthat I was a judge. The DVD guy,
Producer Director, I don't know,he wanted me to do a commentary

(34:31):
and explain to people who didn'tknow what braking was, what they
were watching. So from thatfirst experience, because he
gave me a brief, I understoodhow commentary should be. It's
not just going, whoa, Wow, lookat that. It's beyond that.
Right? You have to explain whopeople are. Maybe what they
brought to the table. Why theybreak in a certain way. Right.

(34:54):
If you look at that DVD, I put alot of information out like I
mentioned that runThose guys are from Las Vegas.
And they have a different style.
These guys come from thiscountry, because you need to
know this stuff. It can't justbe Oh, there's a B boy breaking.
Whoa, great move. No, you needto be able to break it down. Oh,
he's from Switzerland, you know,scrambling feet, we're in this

(35:16):
competition. Yu-Seng was a baby,He was like maybe 13 or 14 years
old when he was in thiscompetition. You need to
approach you don't need to.
That's just my opinion, right?
But you need to approach it froma zoomed out position. Who are
these people? What exactly arethey doing? What is that move,
but don't go to detail. Oh, he'sdone a baby mil into a flare
into like, this is meaninglessto my to my mom or my grandma.

(35:39):
But you know, like, What isthis, but you may comment on the
exceptional ideas behind thetransition, or the combination
or whatever. Like, don't justcall out names, because your
call, you know, I got into thatwhen I started doing the Red
Bull commentary. I lost my way alittle bit. Because what happens
is you start commentating, andthen people start giving you

(36:00):
advice. And sometimes you haveto block the noise out. So
they'll give you advice on howyou should do it. When really
you should just follow what youthink is the right thing.
Because you'll mess up doingwhat they think you should do.
You know, like naming names andstuff like this naming moves.
It's not useful, I mean, youhave to zoom out and think,

(36:21):
okay, my mom is watching this,what does she need to know about
what she's watching? You know,what's so good about that move?
And why does the move that shethink is good, not valued as
much? And the thing that wethink is good? she did, she
didn't even see. So you want tocomment on like our comment on
Uzi rock or something and talkabout his storytelling ability.

(36:42):
And then I could link in otherpeople with good storytelling
ability, like stump maps, if youwere interested in breaking, you
might go and find out who he is.
You tried to link it to otherthings that people can, if
they're interested, they canlook at and if they're not
interested, they can justappreciate what they're looking
at. You're trying to operate atmultiple levels at the same
time, and not just go Whoa,amazing. I'm not the host, the

(37:03):
host does that joke. He givesthe oohs and ahhs and women to
give the information to viewers.
That's not joke, you know. Imean, it takes a lot of
preparation. If you know thatthat's what you're supposed to
do. I mean, when I got honoredto do the commentating for the
silverback open. Yeah, Susie andI were super excited. And we

(37:26):
spent days to research, this alot of work. It's a lot of work.
And make sure that we kneweveryone
knows where they're from, youknow, yeah, it's real jump, man.
People don't appreciate theythink you're just sitting in the
room and just waffling. It's notthat man, you have to know the

(37:46):
people. I actually had a Redbullpaid for me to have a course
with a professional commentator.
And I met this guy two times, Ithink for like two hours or some
shit, right? This was like whenI was willing to commentate. And
so I was building my style,right? And the first thing he
said to me is, are you a fan? Orare you a commentator? decide
which one you're going to be?

(38:09):
Because they're two completelydifferent jobs. As a
commentator, you need to provideone thing. And if you're a fan,
well, what are you even doinghere? Your job as a commentator
needs to be that you bring valueto the job of commentating not
that you're a fan of somebreakers or whatever, or some
footballers or some hockeyplayers or whatever, right? You

(38:30):
have to provide value thatnobody else can provide. What is
it that you know about thesepeople that nobody else knows,
you know, these dancerspersonally, we know them
personally, right? We can hitthem up, we can talk to them. We
see him at events all the time.
We know if they've developed sowe're not just giving
information. In that moment.
We're also giving information ofhow they got there. It's very

(38:53):
important, this commentary job,it's work, man, it's really
work. It's a lot of work, a lotof preparation, but it also it's
helpful, because these are theconnection between someone that
may not just be browsing throughand jumping on, it gives that
opportunity to educate. And Ithink that's the one of the
biggest things about keeping itclose to what hip hop is. And

(39:16):
what we do is like making surethat knowledge is always dropped
at any time.
Oh boy, always I used to call itedutainment because KRS did that
album whenever it was right. Forme. It is edutainment, you're
trying to educate them, and dropa few jokes and a few in jokes,
right. So that the people thatare into breaking, they get you

(39:37):
and the people who are not intobreaking, they understand what
they're watching. Right. Andthis is a super hard balance to
keep. Right before we leave theOlympic topic. I just want to
know Are there any dancers thatpeople should be looking out
for? There's so many men likethe scene is so healthy right
now. I think this break has donea good thing. But some of the
people I've seen that I'm reallyimpressed with of course like

(39:59):
thisZeku from the States, they're on
their shit, for wizards is onhis shit, Sunny Tao feek lilu
from the rockets, who's nowcalled himself Lee, Lorenzo. So
that's Holland. Insane. Ofcourse, men. Now, when you go to
Eastern Europe, any of theRussian is any of

(40:22):
this, whatever any of them isgonna be credible. The levels
it's just too many like zip rockand Robin and Alcolil and of
course, Bumblebee, and Grom. AndI could keep going forever,
right. In Asia, of course, we'vegot Japan we have Shigekix,
we've got shell say we gotHorry, these kids are going to

(40:43):
be insane Suki, China is goingto be a Dark Horse Show. Because
if you know China, you know thatthey're going to start flying in
people to train their athletes.
And they're going to go homewith some goals, right? That's
just China, just be prepared.
And then of course, the othercountries around Europe, the

(41:04):
young kids are insane. Belgium'sgot some insane kids. And I
think the future is bright, ifwe can get the infrastructure,
right, the Olympics are going tolove us, because we've
definitely got the most excitingthing that's going to be at the
Olympics, that's the fact we'regoing to get the best optics,
the media are going to be allover us, we just have to make
sure that it's done right. Soinfrastructure needs to be

(41:26):
right. We don't need to worryabout that athletes, they're
going to be insane, they'regonna be incredible. There are
going to be a lot of differenttypes of jobs, you know, that
are going to be necessaryhundreds to get the
infrastructure in place. And onething is coding. And recently,
you've been offering to teachcoding, can you tell us a bit

(41:47):
more about that? I've beenteaching it now for three
months. So this is my situation,right? I take some
responsibility for the pandemic.
I've needed a year off for like20 years. You know, we live in a
simulation, right? This universeis a simulation. I'll give you
some evidence if you ever wantit, right. So I prayed to the
simulation gods to give me ayear off. Because you can't take

(42:11):
a year off or you're done inthis world, right? You take a
year off, people forget you in asecond, people probably even
forget idj. They think I'm justthe judge guy. But I needed a
year off. So the simulation Godsprogrammed a pandemic so we can
have some time off? Well, I canhave some time off. And the rest
of you had to have time off aswell. Right. Okay. So getting

(42:32):
back to your question, thispandemic has been zero problem
for me. I've loved every momentof it. And maybe one of the only
people on the planet that hasreally appreciated this time
off, just to get myself back.
Because you know, when you'retraveling all the time, and all
this stuff, I was more stressedwith that lifestyle than with

(42:54):
this break. Not everybody'shandling it, and I sympathize
with them, right. But most ofthe problem is that they are
distracted by the noise ofsocial media, of the media, and
all of this stuff, right? So I'mseeing people just going deeper
and deeper into holes thatthey're creating for themselves.
One of the things that can getyou or keep you out of the hole

(43:14):
is to be distracted. There's noevents, and there's no
distraction. The only thingthat's distracting right now is
the amount of noise. So you'reattracted to the noise. So I
figured that if I started acourse of coding, people want to
know about computers and allthis sort of stuff, then maybe I
can distract a few people fromthe noise and all the nonsense
posts that they put up. That wasthe intention. I had to make

(43:36):
sure it was free. Because peopleare feeling the pain right now.
They can't afford to pay forjack shit. Right? And, and I
don't need the money. So I'll doit for free. Yeah, it costs me
time. But sometimes you have totake it on the chin so that
other people can prosper,Jeanette, I mean, that's just
how life is. I started thecourse 100 people were
interested, I was very surprisedat that. I thought it'd be like

(43:57):
20 people, I started coding,some people dropped off because
it's very, very hard. Even at alow level, it's very hard. But
some people dropped off becauselife takes over. I think I'm
left with 20 people that turn upand maybe 10 that watched it
don't come because it doesn'tfit with a one everyone's
lifestyle. So they watch thevideo. So I upload the videos.

(44:17):
And then you can ask questionsor whatever. So I reckon is
still 30 people on the course.
And I'll just keep going untilthey burn out or I burn out.
That was why I did it to stopthe noise for people because
they're suffering. And I'm notsuffering so I can if I can
carry people, then I'll carrythem genetic saying, like, if
it's no stretch for me to carrysomeone, I'll carry you. But if
you're trying to reach for thestars, I will bust my ass to

(44:40):
help you. For sure. How do yousustain your health both
physically and mentally?
Physically, I did martial artsfor 40 years. So I understand
how the body works. I understanda little bit about that kind of
stuff. I guess about four yearsago I really started getting
into the nutrition stuff,understanding nutrition,

(45:03):
following the different papertrails that make you end up in
completely strange places. I'vetried a bunch of stuff. And what
works for me is steak and eggs.
No veggies. As long as youmanage it. Everything's cool. As
long as you understand whatyou're doing, everything's fine.
So that's the physical side ofme. I wrote about discovery

(45:25):
about knees over toes, guys. Idon't know if you've seen that.
Yeah, I follow him. Yeah, so myknees were giving me trouble.
And then I signed up to hiscourse. And my knees are perfect
now and I can jump and I candunk again. Right? It's just
like, I don't know what he'sfound. But it works. On the
mental side. no issueswhatsoever. How do I stay

(45:47):
inspired, I'm doing a millionthings at once, really. So with
the coding, I've never taughtcoding before. I've actually
never programmed in Pythonbefore. So I spent a week
learning Python. And then Istarted teaching it, I got a
brain that works like this. Ican forget anything, this Leave
me alone. And I can figure itout. It's just one of those

(46:09):
things. Again, don't thank me,or blame me just understand that
certain things work in a certainway. And that's just how it is.
I'm not a genius by any means.
But I can figure it out. I cantake things apart, I can put
them back together, put me on adesert island. And I'll make it
put me in a in NASA and I couldmake it genetic mean, like I've
got a good range of skills thatI spent my lifetime building,

(46:31):
while other people werepartying, getting drunk taking
drugs and all this stuff. Inever did any of this stuff. So
I have a lot of spare time thatI used to make me into me. I
think one of the things I reallyadmire about you, Kev, is that
public leaders always have anice I noticed within our
community community that you'realways sort of getting attacked
in some way. And you handle itreally well. No, it's nice, man.

(46:55):
The thing is candy, right? Idon't rate these people. Nothing
I said bothers me. Like, if itaffects me, because I'll be
honest, I have lost some workbecause of the noise. Because
immature organizers or whateverthey don't want nice to know
there was a time when a flyerwould go up with my name on and
people would be in the commentsjust gunning it. So I can

(47:17):
imagine if you're an organizer,that's a lot of stress for you.
You know, like, Yeah, I don'treally need that heat. You know,
I'm saying and I get that. Butapart from that, I don't think
these people, and often they'resmart. I don't think they're
useful. I don't think they'reuseful humans. Anyone that's
concentrated on bringing someoneelse down? I don't think they're
useful. So it doesn't bother me.

(47:39):
What are you doing? That's all Icare about? What do you do it to
bring it full circle. Kev isalso a son of noise. Hey,
I have nice dad jokes. I lovethat. That was a real bad joke
right there.
But I think the things that areyou bringing up are a lot of
things that need to be changedon a fundamental level, the

(48:02):
social change aspect, it's notjust you're gunning for this
person personally, now, it'slike, these are continuous
issues that have been going onin it for years. And now it's
that's got to stop. And peopleare being you know, held
accountable. It has to if wewere to move forward as a
community medical, then it hasto stop the cyber bullying has

(48:24):
to stop the whole kind of likefeeding into the negativity, all
of these things have to stop.
None of us are perfect. We'regonna slip sometimes, but the
continuous nature of it all thishas to stop. And people in the
culture so called culture, theyhave to start calling it out,
they have to say this is notacceptable. Gentlemen, I've been
very disappointed with some ofour so called Oh, geez, that
have nothing to say useful aboutreal issues. If you call it a

(48:48):
move by the wrong name, they'requick in the comments. But when
there's real issues that arenowhere to be seen, I don't
write this. I don't read this atall. And I will speak on it and
it's gonna get me more, morenoise and more hate. But so be
it. Right? These things have tochange. If you're an elder in a
community where I'm from themwhen shit happens, you speak up.

(49:09):
That's where I'm from. That'sthe community that I grew up in,
in South America. And when wecame back to the UK, if there's
any violations, the eldest speakfirst, you don't even have to
speak. The elders speak and saythat is not right. And our
elders are useless. There's beena big movement in the US with
the female elders, they'vecreated groups they've created

(49:32):
Women Against nations thatsupport groups PSA. So coming
out, one of the guys gonna dothis shit like never. This is
unacceptable as a community.
Places need to be safe foreveryone inclusive. United,
yeah, we're not in we're not inthe hood anymore. We're not in
that environment, if you wantthat environment and have that

(49:55):
environment, but the rest of usare moving women forward. You
know The way across the BeringStrait, some people stopped off
along the way.
And their bones are in theground, right? They built
nothing. And that is exactlywhat's gonna happen. I, I give a
warning to all of the oldschoolers and elders like be
useful. Because the nextgeneration have no place for

(50:19):
you. If you're not useful,really, you'll be forgotten real
quick, man really, really quick,what excites you to keep going
my usefulness if I'm useful,right? If I have no function, I
can't operate, then I'm notinterested. You know, I mean,
even when it was scratched,perverts time, like, my function
was being an integral part of agroup that was changing the

(50:40):
world. And we knew it the samebefore that would son of nice,
like, the brick core movement,we were preserving a style of
rap that was dead, for the mostpart, right? So we had a
function, we were providingsomething that was dead or
dying. When I started soMavericks, it's like the UK
scene was trashed To me, that'sjust my opinion. How are we

(51:02):
going to change this? Nobodyelse looks like they want to
change it, okay, then I guessit's gonna have to be me. You
take on that responsibility, andyou have a function. Let's say I
was completely wrong, and thescene was healthy. But my reason
for doing it is still valid. Iwant to put UK back on the
global map. Nobody else is doingthat. You can't name any groups
from that time from the UK. Idare you. The last people you

(51:25):
could name is probably second tonone. And then there's like a 20
year gap. And then the soulMavericks, let's be fucking
honest right now, right. So myfunction, whether it was self
created, or made up in my ownmind, or whatever, I fulfill
that function, which was to putUK back on the international map
in the braking scene, Icompletely did that. I did the

(51:45):
same thing with monstersafterwards, the poppin crew. Of
course, there were people goingout there, but there was no
collective doing that. That ismy function to try to elevate,
firstly, the UK where we'regoing, but ultimately, the
culture is going to benefit fromthat the culture is going to
benefit from going to theOlympics or whatever, right. And
I'm going to be part of thatprocess. I have been part of
that process. So as long as Ihave something, as long as you

(52:08):
guys have got something for meto do, I'll be here. The second
is like, yeah, you know, thanksfor your service. Here's the
gold watch. I'm done. I'm done.
When I have no more use, I'mdone. I can't see that
happening. We've got so muchwork to do.
Oh, boy, what is your favoritequote or motto? I have like a

(52:30):
crew, one, which is adedication, determination and
discipline. And I think thatthat kind of sums up what I'm
really about. It's like the crewmotto, but it's really my motto
in it. Because I made the crewthat was constantly trying to
kill you. You know, yeah, reallyconstantly. So you have to be
disciplined. You have to keepyour eyes on everything. To stay

(52:52):
ahead of the game, to listen tothe wind and to smell the rain,
you have to know you have toknow. complacency is murder that
now's the time to work. Now'sthe time to put in extra work. I
wrote about it on Facebook, andit's just like the year off,
you're never gonna get again inthis lifetime. I mean, yeah,
it's been extended now mightlast two years. But that may

(53:13):
never happen again, in this inyour lifetime, ever. Now's the
time to increase some ability toeducate yourself to get involved
in things that are going to popoff as soon as this is over. So
that you're prepared, yourleverage is ready. You're ready
to strike. You're ready to leapinto position. If you just sit
there complaining about life ishorrible. Yeah. Do

(53:39):
you constantly be waiting forsomeone to help you out? Or to?
Can you do this love? No, no,no, no, no. Now's the time.
Now's the time to make thenetwork connections. How can we
work after this is done? Whatcan we do? After this is done?
Don't worry about now the now'sgone. Alright. Think about
what's coming and how you'reprepared, positioned for that,

(54:00):
that time. That's it. When youhave these maybe unforeseen
circumstances or limitations.
That's also a main driver forinnovation every time every time
and you have to make sure thatyou're one of the ones near the
front. Because if you're at theback, you got no chance. Where
are you? And how do you increaseyour visibility and your

(54:20):
leverage? survival is war. Andyou can treat war in two ways.
You can be competitive or youcan be competitive, and you have
to know when to do which bit. Isee people making enemies now in
the middle of a pandemic. I'mlike, Yo, this is not because
when this is done, people gonnaremember, now's the time to fix
damage, not to create damage.

(54:44):
It's insane. Some of the thingsI see online, I'm just like, Who
does that?
We always like to close out ourinterviews with the question,
what is hip hop to you? Okay,can I say two ways. Hip Hop is
potential, the actual sucks,right? The reality of hip hop

(55:04):
sucks, as we can see recentlyfrom the fall of some of our
heroes and stuff like that, butthe potential, its potential is
unlimited, for sure. And we haveto move from the actual to the
potential make the potentialactual. For me, hip hop is
supposed to be not supposed tobe because there was no plan.
But I think that these thingsform to assist us, just like

(55:27):
cultures form in general, thearts form, the sciences form or
whatever, right? hip hop issupposed to uplift. And it's
supposed to help you to developto become a stronger, better,
faster, smarter person. That waswhat I was told that it was
knowledge and wisdom,understanding and all of this
stuff, and it hasn't turned outto be that so we have to be the

(55:50):
driver to make it become what itpromised to be. And I think that
that's our job as a communityright, is to become what it
promised is far, far, far from.
Thank you so much to our guest,DJ Renegade for taking the time
and being so open while sharingyour perspective with us.

(56:13):
some of the gems we took awayfrom this interview were:
Where are you adding the mostvalue? leadership is not about
executive position or title. Itis about connection and
influence. At its highest,leadership is all about adding
value to the world and blessinglives through the work you do.
Some jobs require you to put inwork before you see a return.

(56:36):
Your selfless intention tofulfill an unmet need must be
the motive for your action. Knowthat your gift will be returned
in some way down the road.
We have to be the driver to makehip hop become what it promised
to be. That is our job as acommunity.
Our theme music was beatboxed byDenis the Menace and produced by

(56:57):
Zede, a big shout out to thebrothers from Switzerland.
The background music wasproduced by Taki Brano. And a
big thank you to our broski fromProvidence.
Much love to Carla A.
Silveira-Hernandez aka C.A.S.H.
for including us in your awesomemusic video "you and me" -
cheers to all the amazing hiphop love stories.

(57:20):
Our podcast basically runs oncoffee. To keep our show running
you can support by buying us acoffee through the link in our
show notes. A huge thank you toB boy No Centss, B-Boy Wealthy,
B-boy Stuntman, Peter Chang andBrooke Walsh for buying us
coffee.
We would love to get yourfeedback questions and any
suggestions you might have. Youcan reach out to us on Instagram

(57:44):
Twitter or Facebook@SoulidarityLLC or via email
[e-mail] if youlike today's show, please tell a
friend about our podcast.

Or as Phife Dawg would say (57:57):
Tell your mother, tell your father,
send a telegram.
In our next episode we haveEmily Alvarez aka Evar After and
Louis Toledo aka b-boy Prevail.
Emily is a vocalist, songwriter,dancer and producer from Basalt.
Colorado. Prevail is a b-boy,igital marketer and graphic and

(58:17):
eb designer from Long Island,ew York. He represents MZK,
eady to Rock and Fresdescendents
Don't forget to subscribe to theshow and leave a rating and
review. See you on our nextepisode. Thank you for listening
to our podcast. Now Seriouslythough, thank you. I am Candy.

(58:39):
I'm DJ Razor Cut. And this is suls of hip