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Krush Groove - Classic Tags: krush groove movies television classic word life production feature blog

Krush Groove is a 1985 Warner Bros. film, written by Ralph Farquhar and directed by Michael Schultz (who also produced the movie, along with George Jackson and Doug McHenry). This film is based on the early days of Def Jam Recordings and up-and-coming record producer Russell Simmons (renamed Russell Walker in the film), portrayed by Blair Underwood in his feature film debut. Russell Simmons was the film's co-producer and story consultant; he also had a cameo role in the film as a club owner named Crocket.

In the movie, Russell Walker has signed all of the hottest acts to his Krush Groove record label, including Run-D.M.C., Dr. Jeckyll & Mr. Hyde (Alonzo Brown), and Kurtis Blow. Rick Rubin produces their records. When Run-D.M.C. has a hit record and Russell doesn't have the money to press records, he borrows money from a street hustler. At the same time, Russell and his brother Run are both competing for the heart of R&B singer-percussionist Sheila E. Also appearing in the film are LL Cool J, the Beastie Boys, New Edition, the Fat Boys and some of their songs, as well as others from the likes of Chaka Khan, Debbie Harry, and the Gap Band. Members of the R&B group Full Force also make a cameo in the film as bodyguards.

Differences between the film and reality

Krush Groove is based on the inception of the Def Jam Recordings label and the hardships that artists Run-D.M.C. and Russell Simmons faced to become successful. Simmons began his career trying to get his company Rush Management up and running. However, in the movie, he is shown as already being teamed up with producer Rick Rubin to form Def Jam, referred to as Krush Groove records in the film. The label was originally started by Rick Rubin back in 1984 in his college dorm at New York University.

The movie starts off with Run-D.M.C. and Kurtis Blow, known as the King of Rap, as two of the first artists to sign with the label, with both Kurtis Blow and Run-D.M.C. as both artist and song producers-writers.

The beginning of the movie opens with Run-D.M.C. in the studio performing "King of Rock" for Russell, Rick, and Kurtis Blow. However, the group was not always involved in the Def Jam scene as shown in the movie, and Rick Rubin was not the producer of "King of Rock." Run and D had to persuade both Russell and their original producer and bass player, Larry Smith, to give them a chance to record a demo.[2] With the lyrics that Larry Smith had once bought off of Run for $100, the group's first demo, "It's Like That," was created.

In the movie, the group also performs its track “My Adidas” from the album Raising Hell, which was created later after the success of the label, "Can You Rock it Like This", and "You're Blind". Run-D.M.C. was the first known hip hop act to produce cohesive, fully realized albums. With its new style in music, Run-D.M.C. was said to have created a new era of music, an era, which according to them, would not have been created without Larry Smith.[4] Larry Smith was the producer of Run-D.M.C.’s first two albums, which were falsely credited to Rick Rubin, who produced the group's third album, Raising Hell. However, in the movie, Larry Smith's role is not portrayed at all.

Later on, the team was joined by its first popular teen sensation, LL Cool J, who plays a very small role in the movie at the age of 17.Playing himself, LL Cool J, is discovered through his piece "I Can’t Live without My Radio," which is performed at an audition in front of Russell, Kurtis Blow, and Rick in the latter's apartment. In reality, LL Cool J was discovered in Rick’s apartment but not through an audition. While going through a box of demos, Beastie Boy Ad-Rock stumbled across LL’s demo tape. With this, he produced a beat and co-wrote "I Need a Beat" with LL and Rick, which launched both of their careers, which allowed the Def Jam label to take off. The song "I Can't Live without My Radio" was conveniently made for the movie as a way for LL Cool J to star in it. However, this song was also one of the hit songs on the album Radio, which was the title of LL's first debut album, which was released November 18, 1985.

Other artists that were a part of the Rush Management roster but did not have a major role in the film included Beastie Boys, Dr. Jekyll & Mr. Hyde, and Whodini. Characters that were not part of Rush Management but greatly contributed to this new era were the Fat Boys, Sheila E, and New Edition. In the movie, there is a particular focus on Sheila E. and the Fat Boys that outshines the small amount of attention focused on New Edition.

The Fat Boys were the first group to show case a human beat box while rhyming. In the movie, the group originally referred to itself as the Disco Three. It was not until a scene in an Italian Buffet, where the three boys took the phrase all you can eat to the next level by eating everything. When the grouped realized that it was really fat, it decided to give themselves the name Fat Boys. In reality, the name Fat Boys was suggested by the group's manager when he received a bill of $350 hotel bill for extra breakfast ordered by the boys on their European tour. As portrayed in the movie, the group was discovered through the Coca-Cola and Tin Pan Apple hip hop contest at Radio City Music Hall, where the trio won the grand prize—a recording contract—but had entered the contest to win the second-place prize, a stereo set. The group perform its songs "Don't You Dog Me," "All You Can Eat," "Fat Boys," and "Pump it Up."

Throughout the movie, Sheila E. and Russell are romantically involved, which discouraged Run, who was always interested in her. In reality, Run did not like the concept of being disloyal to his brother, and the romance between Russell and Sheila was made up. Sheila E. made it into the film simply because they wanted a love interest, like in most films, and she recorded for Warner Bros. Records, the sister company of the film's distributor. In the movie. Sheila plays herself, a drummer and percussionist, in which she performs her songs “Holly Rock” and “Love Bizarre”. In addition, all the money issues that Russell faced in funding the label by borrowing from loan sharks and friends is also false.

The movie was not made the way the artists desired, but with all the talent of that time and most of the members of the Def Jam and Rush Management family, the purpose of the movie, according to Russell Simmons, was to showcase the array of young talent emerging from New York's Black music scene and depict its vibrancy.

Production

Krush Groove was filmed in the Bronx, New York (including at least one scene in the Marble Hill projects). Among the locations where the movie was shot was the famous Disco Fever, a popular club during the embryonic stages of hip hop that, by the time of the film, had fallen on some hard times. Disco Fever owner Sal Abbatiello expected the movie not only to turn the spotlight on the burgeoning hip-hop movement but also to "bring attention [back] to the club"[citation needed] and so agreed to have scenes shot there. Unfortunately, the attention surrounding the filming brought the scrutiny of the local authorities, who shut the club down for good on the last day of shooting for not having all the proper licenses and permits. There was also a scene shot in Shepard Hall of the historic City College of New York.

During an interview to celebrate the 25th anniversary of the film, Russell Simmons reflected on the legacy of Krush Groove and its position in hip-hop culture history. The film, Simmons said, is still recognizable not only for having brought together so many Def Jam stars at the time, but for also introducing new talent, such as LL Cool J. Cool J was so persistent during filming, showing up to shooting locations and performing freestyles, that producers ended up putting him in the final cut. This backdoor auditioning process became a staple of the production. “Other cats weren’t so lucky,” Simmons said. “We had this one cat who tried to be like LL, and we just couldn’t understand what his gig was. Dude was a total clown. He was wearing a clock around his neck way before Flav. Neon jumpsuits, everything. Of course our whole thing was black leather and adidas. That was the thing in rap at that time. He came in speaking some sort of pidgin English and just kept groping our female set workers. We called him ‘Hands’ at first cause we didn’t know what else to call him.” Simmons went out to explain that, after some time, they crew realized ‘Hands’ was actually speaking siSwati, a sister tongue to siZulu. “That’s when we called in Afrika Bambaataa, you know, cause this is ’84, right. The Zulu Nation was hot at that time, working that African infusion into everything, breakbeats, graffiti, peace in communities. We thought Afrika could translate. Nah, son. Ends up that dude doesn’t know a word of zulu.” As former crew members tells it, the rapper referred to himself as ‘Lishisa Lizambane’, siSwati for ‘Hot Potato’. Run of Run-DMC recalls “We didn’t know how he got to the Bronx, but apparently cat was from Africa. Like real Africa. As in, middle-of-nowhere Swaziland Africa.” ‘Hot Potato’ was a self-dubbed name, due to his penchant for passing himself around amongst ladies, not unlike the action of a real hot potato. As for his freestyles, Simmons claims he “had no idea what was happening, cause it was all jumbled up siSwati and English. He wouldn’t perform without a stick in his hand, occasionally made bird whistles, and randomly did high leg kicks for no reason. I remember thinking he was rappin’ about police, police, police. Come to find out, he just kept using this word ‘liphalishi’ which is some sort of a staple meal where he comes from. I kept thinking this clown was hard, but apparently he just kept rapping about food.” Due to the absurd nature of this unknown, producers couldn’t justify including one his performances in the final cut, out of fear of alienating their core audience. “We actually tried to film him in a scene once,” remembers Kurtis Blow, “but he kept putting his mug all up on Sheila E.” After filming, ‘Hot Potato’ was never heard from again, although speculation is that he returned to native Swaziland. “Thats unfortunate,” says Simmons, “cause once Public Enemy came out we realized just how ahead of the game ‘Hands’... excuse me... ‘Hot Potato’ really was.”

The movie was released on DVD in 2003. Among the special extras included on the DVD are commentary from Underwood, Schultz, and The Source magazine Senior Editor Brett Johnson, a theatrical trailer for the movie, and the Krush Groove All-Stars video "Krush Groovin'."

Victor Iglesias appeared as an unaccredited contestant in the film. Chris Rock appeared uncredited as a man standing next to phone during the fight in the club. Kara Vallow appeared uncredited as a Hip Hop Dancer. Coati Mundi was seen as a record shop owner.

Source: Wikipedia

NOTHING LIKE SMOOTH JAZZ MUSIC FROM GROOVE:55 Tags: groove 55 quebec montreal jazz music featured artist word life production

Groove:55 is an up-tempo Smooth Jazz group, where the groove comes first. Groove 55 presents its new release “En Route”, an up-tempo smooth jazz album, foot-tapping, rhythm blended & steeped in rich harmonic original melodies!

Collectively, the four band members bring decades of music experience to the project having worked with Oliver Jones, Gregory Charles, & Zachary Richard to name but a few. So it seems almost fitting that they would come together as a unified collective to share in their many years of creative experience and knowledge to create “En Route”.

The Groove:55 members, all very talented esteemed musicians, are Yves Adam (alto, tenor & soprano sax) a graduate of McGill’s music faculty in jazz performance as well as teaching saxophone at The Montreal International Jazz festival Blues Camp; Jacques Mignault (Rhodes, piano, clavinet, synths)studied alongside Art Roberts at Montreal’s Concordia University, he would later go on to win the inaugural grand prize of the Roland Synthesizer music contest among hundreds of entrants spanning over 22 countries that was judged by the late great Oscar Peterson; Yves Nadeau (bass) is a veteran of the Montreal Jazz scene, having played hundreds of shows on stages all over Quebec with his bands Solstice & Espresso. Rounding out the Montreal quartet is Jacques Gagne (drums) he himself well known and ensconced early on with some of the biggest TV shows in Quebec and on the touring scene. Together they make up Groove:55, a number that has the remarkable property of being the 10th number of the Fibonacci suite and is the sum of the numbers 1 to 10... The most important part is its groove and this band has it in spades with their new release “EnRoute”!  http://www.groove55.com

  

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