The art of deejaying has evolved over the years since the days that Grandmaster Flash, Afrika Bambaataa and DJ Kool Herc founded hip hop music. Hip hop is a microcosm of society and has always been about creativity and self-expression. Different ethnic groups have impacted and have made positive contributions to hip hop culture.
Filipinos have long been involved with hip hop and have made their imprint on the culture through their contributions mainly in deejaying and b-boying. DJ Rhettmatic is a Filipino hip hop DJ and is widely recognized as being one of the top DJs and turntablists in the world.
iHEARTDilla recently had an opportunity to speak with the Beat Junkie and the Visionaries DJ crew member on his thoughts about Filipino culture as it relates to hip hop and what he thinks about deejaying today.
Ryan: What was it about turntablism that a handful of Filipino DJ’s in the 80′s and 90′s gravitated towards? What drew you to becoming a DJ?
Rhettmatic: Filipinos are more into deejaying because I found that, growing up, Filipinos were not very outspoken. There weren’t a lot of Filipino emcees back then let alone Asian emcees. Filipinos have always been enriched with music and it has been the backbone of Filipino culture. We’ve always been into music. I guess, in many ways, it’s what we all gravitate to.
After having someone like Q-Bert, being the first non-African-American, the first non-Latino; just an Asian and let alone a Filipino to win a major championship and break the mold; I figured that if someone who looks like me can do this, why can’t I do it? That’s why there’s a lot of Filipinos that are into deejaying.
In reality, we didn’t have our own idols or heroes to look up to. Everyone had their own Michael Jordan or Magic Johnson. Most of the time, our heroes were our parents. To have someone in our generation and culture win something prestigious like that…that’s why I think a lot of Filipinos are attracted to deejaying.
Before I was a DJ, I was a popper and a graf artist. Back then, you’d do at least two of the four elements so I was poppin’ and taggin’. I’ve always liked deejaying and was always intrigued by it. I’d see videos and stuff and hear records and tapes. When my man, Curse, a Beat Junkie…he’s one of the original members…when I saw him actually scratch, I figured that’s what I wanted to do.
When I was growing up, it was like “ok that’s the in-thing” to do. Filipinos were just very involved with it period. This is on top of seeing Grandmaster DST on Saturday Night Live with Herbie Hancock and that’s when it stuck with me that’s I wanted to do. As time went by, I found deejaying was part of my calling.
Ryan: Over the last few years, Filipinos have stepped up to the hip hop forefront with producers such as !llmind, Chad Hugo of the Neptunes; dance crews such as the Jabbawockez, and DJ crews such as Invisibl Skratch Piklz and the Beat Junkies. There are some Filipino emcees such as apl.de.ap of the Black Eyed Peas, Bambu, and Geo of Blue Scholars. Why do you think there have not been as many Filipino emcees that have gained mainstream attention?
Rhettmatic: It goes back to what I said earlier, Filipinos aren’t very outspoken. We’re not expressive, but we do express ourselves in other ways. In our culture, we have very talented people, but, unfortunately, we tend to follow trends. We would always do what’s hot right now, but there is never anything to stick out. Filipinos tend to be in a bubble; no one wants to venture out. Just now, in the last couple years, we’re starting to have people break out that shell.
Filipinos are good imitators, but never originators. In the last few years, we started to step out and be ourselves. In hip hop, you have to stand out and be an O.G…be an original. You want to be different from someone else and have your own style.
Ryan: You’ve worked with many talented emcees such as Ras Kass and Buff One. Nowadays the emcee/DJ relationship is not as prominent in music as it was in the ‘80s and ‘90s when emcees would shout out their DJs and DJ would play a prominent role with production. What do you think has caused the disconnect between the two?
Rhettmatic: A couple of things. One, it’s the transition in the industry. The spotlight has been switched from the DJ to the emcee. The industry dictates what’s hot. There was a period in time around ‘89 to ‘92, where the industry switched to DAT players. There wasn’t a need for DJs anymore because the industry was trying to save money. The rappers became stars and they also became the focal point.
Also, the times have changed. Some people just don’t care about the culture. A lot of the younger generation when they were born; hip hop was already starting. It was on the TV screen. To them, their old school is Wu-Tang or The Roots. So, there’s a disconnect at times. Ras and Buff, like you mentioned, grew up in the culture where emcees had a connection with their DJ.
Some of the kids now DO go back and study and learn about the culture. They want to learn why they have such timeless work.
Ryan: The Serato is popular and widely used among DJs today. Many of today’s younger generation have learned to deejay on Serato instead of coming up and first using classic vinyl and the turntable. What’s your take on that?
Rhettmatic: All I can say is that it’s technology nowadays. It’s a different generation. I’m a purist, but I learned how to go with the times. I still buy records, but I love Serato. I’m from the generation that still buys records. The younger cats, understandably, wonder why do I have to buy all these records when it’s right under my fingertips. I can’t fault them for that because that’s all they know. At the same time, I would always say learn your history. Find what made DJs great.
I embrace technology. I use what I’ve learned over the years and apply it to today’s standards. If you don’t keep up, you’ll be left behind. It’s important to keep up with the times. You’ve got to learn how to embrace technology. Also, learn to preserve your culture or else it’s gone
Ryan: How large is your record collection?
Rhettmatic: OH…I lost count. Let’s see…I have a garage and a storage. I’ve been deejaying for 20 plus years. I’ve been deejaying since ’84. I know there are people who have more records than I do, but I’d like to think I have a decent amount of records.
Ryan: Do you stay connected with the hip hop scene in the Philippines and keep tabs on talented, rising acts there?
Rhettmatic: Ironically, this past summer was the first time I deejayed in the Philippines. I know there’s Filipino acts over there. A lot of the DJs who go over there deejay at the bigger clubs. The hip hop scene in the Philippines is small and minute compared to other Asian countries like Japan. Compared to other Asian countries, Japan is the mecca. Then, there’s other countries like South Korea on the come up. Hip hop in the Philippines is growing. Shortcut has deeyjayed there many times. Babu and myself are the only Filipino DJs that never deejayed in the Philippines…or at least until now so I can cross that off my list. DJ Neil Armstrong, Q-Bert, Mixmaster Mike… they’ve all deejayed there.
I still need to learn more about the scene over there. In terms of personal achievement, I got a chance to deeyjay where my parents are from.
Ryan: Can you briefly talk about the interaction between Filipino hip hoppers within the industry? Do many of the Filipinos speak about working with other Filipinos in the industry like Bambu and !llmind?
Rhettmatic: Those are the homies! Even for hip hop production, the only ones I knew at the time were Babu and myself. When I heard of !llmind, I’m like WORD! I met Chad Hugo on a Black Eyed Peas video set. Chad Hugo is a hip hop head. He knew me! He knew about the X-Men and the Junkies! He’s a hip hop head. At first, I didn’t even know he was Filipino.
When I heard of !llmind, I heard he was a Filipino kid. I heard his stuff and thought he was dope. I can’t deny his skills. I got a chance to meet !llmind. He’s one of the coolest cats. That’s my man! Whatever he does now, I’m supporting him. What I’ve learned is that as long as they have heart and skills, I’m supporting them.
Same thing with Bambu. I learned about him when I heard of Native Guns. They were coming at it from a conscious standpoint. I wanted to see their skills. Bambu’s ex-partner, Kiwi, of Native Guns…they all have skills.
Our people are very talented. We’re starting to find our own niche and our own voice. I can’t even keep up with our people anymore. I used to just be able to count them on my fingers. We’re very talented. We have a lot of dance crews that are making their mark.
Ryan: Do you have upcoming projects?
Rhettmatic: I contributed some stuff to Ras’s new album. I’m about to put out this mixtape EP with my man, Eric Bobo from Cypress Hill. It’s this DJ/percussion outfit. We did a mixtape last year, but we’re about to put out a new one. In simple terms, it’s like DJ AM and Travis Barker but on some hip hop/percussion stuff.
I’ve submitted some beats to Brown Bag AllStars. Right now, I’m just producing some cuts for different people’s album and projects.
Next year, we have the Beat Junkies 20 Year Anniversary so I’ve been working on that. We’re trying to take this on the road. Go to some parts of the United States, Europe and Asia.
Ryan: Thank you Rhettmatic for taking time out to speak with iHEARTDilla! I really appreciate it. It’s been real.
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