CHANGES TUPAC AND TALENT ACCAPELLA HOW TO
CHANGES TUPAC AND TALENT ACCAPELLA FULL
CHANGES TUPAC AND TALENT ACCAPELLA TV

Although, unlike France, there is no quota for German music that has to be met on German radio. MTV played the videos, some radio stations played strictly urban/hip-hop. It was that rainbow thing, the good old 90’s. Artists from all over the country made it big with quite individual appeal. Throughout the 90’s German hip-hop was diverse. Groups like Die Fantastischen Vier-The Fantastic Four-go back to the mid 80s. Jeneez started out at a time when German rap was already established and already on it’s second or third generation. Although we sometimes still used it for live gigs.

Yup, until we heard them do it in their songs. Back in 2004 we used to play around and repeat the first sound: J-J-J…in German it sounds just like the G-G-G in G-Unit. And, written down it looked edgy, at least that’s how we felt. Sounded out, it sounds like genius, in its plural version. I called her up, the three of us met in my living room and it just clicked. I had known Roxy from a studio session way back when.

CHANGES TUPAC AND TALENT ACCAPELLA FULL

‘Let’s connect, let’s build something, let’s do this-together!’ She was full of ideas and energy and I was sold. Half Japanese, half German and the baddest rap talent to my ears. About nine female rappers working together on a hymn about our hometown Berlin. I was recording with a bunch of girls at a studio one day. And with that, I realised-I had been waiting for a crew all along, all along.

CHANGES TUPAC AND TALENT ACCAPELLA HOW TO

But how to go about it? And that was when Jeneez came to be. All I knew is that I wanted to be a rapper. Then I got married, gave birth to my eldest daughter, and enrolled at a German University for my masters program.

CHANGES TUPAC AND TALENT ACCAPELLA TV

But I was working at a TV Station at that time, and I took that month off. I didn’t do it for money, there was no money. As a featured artist, for a couple of songs a night with a group of guys called Die Analphabeten, The Illiterates. I met some people, and eventually a couple of years into being back home, I went on tour. I took up the mic, recorded my first tape full of baby-rhymes, with a cheap mic hooked to my boom box at home. I wanted to rap, I wanted to be a rap artist. Growing from the roots up, still young, still hungry. There was this vibe, this ground movement.

No stars (at least not any Jay Z types), just star dreams. (In Germany, hip-hop fans come from all backgrounds, incomes and ethnicities). Everybody seemed to be rapping, young people, a diverse urban crowd. And anywhere I would go there was an open mic, spontaneous freestyle battles, a sort of acapella cypher. I was twenty-one, with not a care in the world. I loved it, although I was super shy.īut me, a rapper? That thought never crossed my mind.Īnd then Berlin happened. I played hip-hop-my favorite records, no scratching skills but at least smooth transitions. I DJed at WPTS-my university’s radio station, once a week for a couple of hours. I didn’t know any rappers, none of my friends rapped.īut I was a fan. The Notorious BIG, Jay-Z, Tupac-multi-platinum megastars, major talents, idols. First in Virginia, then onto Pittsburgh, PA. 1993 to 1998, those were my years in the US. I was still figuring out who I really was when hip-hop happened to me. After all, I had left Germany when I had just turned seventeen. Coming back from the States, I had expected a cultural shock of some sort. I had just come back to Berlin after five years away at college in the U.S.

Changes tupac and talent accapella