We’re incredibly proud to announce the release of a very special project with Mikey D — The Paul C Sessions: Mikey D & The L.A. Posse.

This is a project we’ve put a lot of love and care into, and we’re honoured to bring it to you. Available to pre-order now, with shipping planned for late October / early November.

And that’s not all… Mikey D will be here in the UK for a special Meet & Greet at Brixton’s Chip Shop on November 23rd!

It’s your chance to meet the man himself, purchase copies of the project, or bring your own copy along to be signed.

Pre-order now and get ready for something special.

Pre – Order your copies here.

Most people who follow me or this blog will know that I made the documentary about the legendary hip hop producer Paul C McKasty.

Paul C helped shape the sound of hip hop during its golden era. Hailing from Queens, his influence and DNA live on through the artists he mentored, inspired and worked alongside. Names such as Large Professor, Ced Gee, TR Love, Moe Love, Organized Konfusion, Super Lover C & Casanova Rud, and Stezo all crossed paths with Paul. His contributions were instrumental in creating some of the most important and defining records in hip hop history.

While I was in New York filming one of my projects, I arranged an interview with Mikey D—the legendary Queens MC and park jam icon. Mikey played a major role in what I consider one of the defining moments in hip hop: The Battle for World Supremacy at the New Music Seminar, where he defeated old-school pioneer Melle Mel. It was more than just a battle—it symbolised the changing of the guard and the arrival of the new school era. It was an incredibly exciting time for the culture.

That interview turned into something much bigger. We connected instantly, and over the years our friendship grew into a genuine brotherhood. Eventually, Mikey came to the UK to headline my King of the Beats UK Tour, performing the classic Main Source material. We had an incredible time, and I later went on to produce several tracks for him, which were released through Mikey’s own platforms.

As I began building my record label, I always knew I wanted to release music with Mikey. The first project was a collection of rare park jam recordings. They’re incredible—capturing one of the greatest MCs of the golden era at the height of his powers, a perfect snapshot of hip hop culture in its purest form.

The second project was even more special: Mikey’s 1982 demo, featuring Johnny Quest and Rahzel, recorded and produced by Professor KB. Unfortunately, at the time I simply wasn’t in a position to give either project the release they deserved.

Fast forward to July 2026. Mikey got in touch to let me know that he and his partner were planning a trip to the UK. He was looking for live shows, but anyone involved in music here knows it’s a difficult time for promoters and artists alike.

Around the same time, I noticed Mikey posting about reissuing the Mikey D & L.A. Posse album—an important release produced by Paul C. Even more exciting, the project included two previously unreleased tracks recorded during the original sessions, featuring none other than Rahzel, the Godfather of Noise.

I told Mikey I could organise some meet-and-greet events around the release and suggested he bring copies of the record. That’s when he told me there were no plans to press it on vinyl.

There are still plenty of Paul C fans around the world who appreciate his legacy, and I believed a properly produced vinyl edition would not only honour that legacy but also find its audience. I offered to handle the project. The artwork needed redesigning and bringing up to the standard I expect, but I knew it was worth doing properly.

Today, we’ve officially signed off on the artwork, and the project is now heading off for vinyl production.

This will be a limited edition release, available directly from the artists themselves.

Even better, Mikey D will be in the UK this November, where fans will have the opportunity to buy signed copies and meet him in person.

Saturday 28 November
Brixton’s Chip Shop

More details will be announced soon.

It’s quite surreal when I think back. Many years ago I set out to track down Mikey D from the second chapter of Main Source, simply because I wanted to tell part of hip hop’s story. I never imagined that journey would lead to a lifelong friendship—or that years later we’d be working together to bring this important piece of hip hop history back to vinyl.

Sometimes things come full circle.

Join Tha 4Orce for a very special event. He has worked really hard to deliver his first double vinyl release.

One of the the most talented artists out of the UK presents his 5th self funded album. It has been 4 years of releasing one project after another. If you would like to meet the man himself and support his work. Pass through Chip Shop who have always supported our releases for an afternoon of good music and good vibes.

Expect some special guests DJ’s to be announced soon. The event starts 1pm to 7pm. its free entry. Brixtons Chip Shop.

An outstanding project delivered by @tha_4orce.  Double vinyl.  Pure quality.  My role was to redeliver the original artwork and redesign it to fit the gapefold format. 

This really is an artist to support.  His 5th self funded independent vinyl release.  Get your copy from the man hinself.

It is interesting how so often he is left out of the conversation when it comes to the topic of who is doing it.  Who is flying the flag when it comes to making grass roots authentic hip hop. 

A producer m.c and dj who has made sure are the elements are represented through his music.

Imagine the only uk artist to be featured in the bbe series featuring J. Dilla, Marley Marl, Pete Rock and Jazzy Jeff to name a few.  This record holds its own. 

No space shoes music ORDER HERE

The Absolute Hip Hop Event is back—touching down at London’s BBE Store on Wednesday 15th April, and it’s set to be something special.

Step into an evening hosted by the one and only DJ Tha 4Orce, with a heavyweight guest stepping in—DJ Devastate of the legendary Demon Boyz and production outfit The Twilight Firm. Expect serious pedigree behind the decks and nothing but authentic energy all night long.

This is a free event running from 6PM to 11PM, just a two-minute walk from London Fields station (quick route from Liverpool Street for those travelling in).

More than just a night out, this is a celebration of Hip Hop in its purest form. From the sounds that laid the foundation to the tracks that shaped generations of DJs and producers, you’ll hear the full spectrum of the culture. It’s all about the music, the history, and the community.

We’re building something bigger here—a space for people who truly love and respect Hip Hop to connect, vibe, and keep the culture alive.

We’re also looking to expand. Birmingham,—if you’ve got a venue that can host the movement, get in touch.

So much has changed over the last 12 months. Finding the motivation to get up and go has been a challenge since my father passed away.

After spending time reflecting, I started thinking about everything I was doing while he was alive and just how much he was part of it. When someone who played such a big role in your life is suddenly gone, it’s easy to lose direction. It becomes very easy to slow down, become comfortable, and lose the drive that once pushed you forward.

At the same time, other big changes have happened in my life. Earlier in the year I got married and have had to adjust to sharing my space and life with a partner. I’ve been incredibly lucky to meet an amazing human being in Cristina. Being married for the second time meant making changes and finding balance that maybe first time round I could of done better.

Looking back, I realised something about the old version of myself. I was so committed to my craft that I completely neglected many of the normal pleasures of life. For over 20 years I never took holidays or weekends away. I’d never been to a beach just for the sake of relaxing. My life was always about the work. If I travelled, it was to film or attend events. When I did take time off, I would go to New York… to film.

One place that brought me real enjoyment over the last five years was the Hockley Social Club. I was a regular DJ there and it became an outlet where I could share the music I truly love. Not just music I played as a DJ, but the records I genuinely enjoy digging for. It allowed me to develop my technical skills and meet a lot of new people.

That chapter ended on New Year’s Eve 2025 when the venue closed. In a short space of time, several places and people that were a big part of my life disappeared.

Now I often find myself sitting in my studio — a space I built a couple of years ago with my classmate Brett Knight. Around me are things my father gave me over the years. Photos of him. Equipment. Records I’ve collected since I was a child.

For years I used to say that I took my work seriously because of friends who once supported me but are no longer here. In some ways I felt like I was living out their dream by continuing the journey. But when my dad passed, I stopped thinking like that for a while.

Eventually I looked around and came to a simple conclusion.

I need to keep going.

But this time, I need to work smarter, not just harder. I have had to accept im not a young person anymore. I lived a life truly working 24-7 on the move and extremely dedicated. That took effort and a toll on me.

I want to finish the things I set out to do, and honour my father who supported me for so many years. At the same time I now have responsibilities — a wife and a mother who will need more support moving forward.

Back in mid-2025 I started a GoFundMe to help purchase some much-needed equipment. I didn’t quite reach the target, but I invested a third of the amount myself to make it happen. That allowed me to buy a high-spec machine capable of handling the huge volume of footage I’ve collected over the years.

A huge thank you to everyone who supported that.

I haven’t yet raised the money needed to cover the AI subscription I was planning to use, but honestly I’m not worried. AI technology is evolving so quickly that by the time I’m ready to use it properly, it will likely be capable of producing far better vintage scene reconstructions than what exists right now.

We’re already seeing people create entire films using these tools.

Which brings me to the next step.

I have a film to finish.

Thanks to my current day role working in education, I now have something I didn’t have before — time during half terms to focus and be productive. The role pays less than my previous work, which means I need to be careful with spending. But it also forces me to invest my time and energy wisely to create something meaningful.

The goal is simple: to build something sustainable and produce work with integrity — projects that genuinely represent the culture and the truth.

On the music side, over the years myself and 4Orce have built a strong relationship with a pressing plant. They now allow us to pay half upfront and the rest on delivery, which wasn’t always the case.

Looking ahead at the label, I think a realistic goal would be to aim for three releases a year.

If we could find around 300 dedicated supporters who buy and back each release, that income could go directly into funding new equipment and covering the production costs of the films.

Since Setting Standards 1 by 4Orce, we’ve made a conscious effort to make every release feel like a complete package. We want people to feel they are getting real value for their money — especially knowing that buying records isn’t everyone’s priority right now during difficult times.

My feeling is that we’re not always reaching the right audience.

There are a lot of people who claim they want to support artists but are really just looking for free records. In the long run that hurts artists far more than it helps them. So moving forward, we have to be more careful about who we work with and how those collaborations actually benefit the project.

We need to focus on finding and reaching our audience.

Over the last few months both myself and 4Orce have been working on improving our websites. He’s building a new one, while I’ve been fixing bugs and dealing with hacking issues I experienced last year.

And I want to say thanks to Igi for being someone I could talk through those issues with when things got frustrating.

Over the last few days I’ve taken some time to sit down and really think. Pen to paper. Setting out some goals, some targets — things that are realistic and achievable.

But there’s also a question I want to put out to the people who’ve been following our journey:

Are we wasting our time… or do we have something substantial here that’s worth building?

Everything we do comes from a genuine love for the culture. That’s the foundation. Documenting it, preserving it, and creating new pieces of our own within it.

As many of you know, manufacturing vinyl isn’t cheap. Hip Hop culture has shifted over the years. Vinyl sales were once heavily supported by a strong DJ culture — DJs needed the records, they played them, they broke them. Collectors existed, of course, but today the majority of buyers seem to be collectors rather than DJs actively using the music.

At the same time, there are far fewer magazines, journalists, and platforms actively pushing and supporting the scene. Artists now have to make their own noise. I thought we were doing a decent job of that, but clearly there’s more we need to rethink. We need to find better ways to reach people and communicate what we’re doing.

One project that really disappointed me in terms of response was the Shaw Theatre Project. Here was a record with real cultural significance — carefully packaged with a book, poster, and original artwork from the Artful Dodger. A product with real integrity and historical value. Yet the sales didn’t reflect what I genuinely believe is an important document in UK Hip Hop history.

So with all that in mind, I’ve mapped out a rough plan and vision moving forward. One thing is clear: we need to improve our communication and marketing. We need to engage more, connect more, and build stronger relationships with the community.

Here’s where my head is at:

1. Absolute Hip Hop at BBE
4orce has started the Absolute Hip Hop night at BBE — a prestigious spot in London. The aim is to build a community space where people can not only support what we do but also share their own creations and their love for the culture. We’ve already seen some great artists and DJs come through just to hang out and enjoy the vibe. That’s a good sign. The question now is: can we grow this further? And maybe even find a home for it in Birmingham?

2. Three releases per year on the label
This is the biggest financial commitment. Ideally, we need to build a dedicated audience of around 300 people who consistently support the releases. Could that look like some form of subscription? In the past I chose to handle distribution ourselves and keep things direct. Now I’m considering working with distributors to improve placement and reach. Manufacturing is something we’ve got locked down — but pricing is another conversation. I’ve always tried to keep prices fair while competing with labels that have much larger buying power. I’d genuinely like to hear people’s thoughts on that.

3. Events and collaborations
I’d like to be in a position where we can present releases properly and tie them into small events — especially if artists featured on the records happen to be touring the UK. I mentioned previously about putting on an event, and that idea partly came from last year’s B.Sides Festival. One long-term goal would also be to sit down and have a meeting with Mass Appeal.

4. Completing the photography book
In 2025 Brim offered me the opportunity to publish a photography-led book. I started it and was really active with it, but everything stopped when my father became sick and sadly passed away. I need to get back to it. It’s important to me that it gets finished.

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5. Growing the Diggers Clothing brand
The custom pieces we were doing became very time consuming, so I want to streamline things and focus on what the brand actually represents. No matter the genre, the Diggers symbol stands for those who have a passion for searching, discovering, and preserving music.

6. Using photography and film to support the projects
If I can monetise some of my photography and film work by helping others with their projects, it could generate funds that can be reinvested back into everything we’re building.

At the end of the day, I truly believe in what we’re doing. We’re far from culture vultures. Everyone involved in this journey has deep roots in this culture — decades of experience and a lifetime of love for it.

I want this to grow into something meaningful. Not just a platform for ourselves, but a platform and community that supports others too — whether they’re artists, DJs, or simply people who share the same passion for the culture.

I can only wish that those close to me understand that to be successful and achieve these goals  requires hardwork a lot of effort and dedication.  I fully understand that I need to manage my time and also give time to my wife and family.  Years before I met Crisitna I started the studio build to build that space to have some separation in my home.  I only hope and wish that my wife as supportive as she has been can maintain support when the work really needs to start. 

I do hope to leave somewhat of a legacy and have for the last 30 years been working diligently towards that.

For me to succeed and truly achieve the goals I’ve set, it takes more than just ambition. It requires hard work, persistence, and an immense amount of dedication. I can only hope that those closest to me understand the depth of that commitment.

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At the same time, I’m fully aware of the importance of balance. My time and energy cannot belong solely to my work—I must also give meaningful time to my wife and my family. Long before I met Cristina, I began building the studio as a way to create some separation within my home, a space where I could focus while still keeping that balance.

My hope is that the support my wife has always shown continues, especially as the real work begins and the demands grow greater. Her belief in me has meant a great deal, and I know how important that support will be moving forward.

For more than thirty years, I’ve been working diligently toward something meaningful. In the end, I hope that effort leaves behind more than just work—I hope it leaves a legacy.

Almost 20 years ago the 4Orce released his album on BBE as part of their Beat Generation Series. The only UK artist to be featured as part of that project.

The series featured the likes of Dilla, Pete Rock, Marley Marl, Jazzy Jeff to name a few.

20 years later he returns with this very special anniversary project. Here is the first single from the project.

ONLY AVALIBELE AT HYPERLINK “http://www.tha4orce.bandcamp.com” www.tha4orce.bandcamp.com PLEASE SUPPORT INDEPENDENT ARTISTS

Some years back before the pandemic myself and 4orce started an event in Birmingham at the venue Alfie Birds which was once the Medicine Bar a very influential location throughout the 90s. We were also joined by DJ Spara former DMC champion and others.  

4orce had previously been working very closely with Creator Leke Adesaye (RIP) the man behind the Junglist Movement brand.  Together they created the HIP HOP Movement brand a spinoff of the Junglist one.  At a point Force wanted to put together a event / club night where we just get to play the music taking into account our roots and skills and abilities on the turntables. 

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Both of us love to digging for records, we both love traditional styles of DJing, cutting up doubles and scratching, both of us have produced records, 4orce is a very accomplished producer.  I had my brand ‘king of the beats’ which is very rooted in all of the above.  We have been doing this since we were children.  Together we agreed to come up with a new name and identity for the events and 4orce came with the name Absolute Hip Hop which was based on the Absolute Vodka brand.  The idea being was to aim for a sponsorship or collaboration in the future.  The name itself highlighted our passion for everything that makes hip hop all the music the influenced the culture. 

Individually we are influenced by many very different types of music but through the medium of hip hop and the way the traditional hip hop dj plays music very easily we are able to fuse the sounds to create in my eyes a very brilliant and individual soundscape.  

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We do not follow trends pay attention to what other djs are playing.  We go with our truths and personal feelings giving the listener a journey into music through from our personal pallet or crates you may say. 

When Alfie Birds closed, we then did a few pop up events at the records store ‘The Diskery’ and one or 2 events at the Hockley Social Club.

Force has always had a relationship with the label BBE long before he met me.  He was the only UK artist to be featured as part of their ‘Beat Generation’  sharing the stage with artists such as Dilla, Marley Marl, Jazzy Jeff and Pete Rock to name a few.  

Together we did two record release events at the BBE stores.  The original location and the new one.  Since those times 40rce has maintained his relationship with the BBE team. 

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This is a our passion, we are motivated and driven not just by music but everything that surrounds it the creativity the culture and the community and family built over years meeting people who have a similar mindset or compelled and gravitate to our energy.  This has been formed over years of activity.  

So when 4orce approached the BBE Store to put on an event they agreed.  Although midweek for now dedicated hip hop nights are not what they do, even though a lot of hip hop DJs do and have played there.

For those that don’t know too much about BBE and what it means to play there.  I would say from someone living outside of London that its really a very prestigious place to play. Some of the most respected DJs in black origin music play there.  It’s a hugely respected internationally known location.  As a label they have been behind close to 500 releases.   That’s a mammoth amount considering they are a indie label.  They don’t let anyone just play there. 

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Although we have done events previously at BBE.  What we are doing as Absolute Hip Hop this was our second event in the last 5 months.  Our first event London DJ both Mr Higgs and Mr Parker played.  Both of them have been actively djing in London for decades and are considered family. Check out their regular events at Brixtons Chip Shop. This goes back to what I said earlier in  regards to building a community over years.  Both of them are outstanding DJs who should be followed and checked out.  What can I say about the events.  Although we have been involved in a lot of projects and have a lot of output we are not part of the trendy community.  We exist on actual skills and ability and truth.

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We have had some truly incredible DJS who have taken the time out to join us for our events just to come and listen and relax, a nice night off for them,  that’s been for me very motivating and shows the love and deeper respect shared between us all as a community.  Some great artists have passed through.  Huge respect to 4Orces family that join us.  There is a small crew of dedicated people who make the effort to come out on a midweek evening who Im pleased to know that they enjey what we do. 

What we are aiming to build and grow here is an event where guests can be truly free to showcase their passion for music through the hip hop landscape of music and turntable skills. To be clear we do not get paid to do this event or charge anyone on the door.  This event has given us the opportunity to replant some seeds and help rebuild a community rooted in some very primitive and simple values.  As a label we are able to bring some of records and sell them to help get our music out there. 

At our last event Normski passed through.  He and 4orce have been friends since the early days.  This is a man who played a massive, monumental role in our music and culture.  One of the greatest photographers of our genre.  Influenced me for sure.  This is what we are seeing.  Truly great influential artists and DJs joining us for a night off.  I only wish that people can catch on to what we are doing and join us.  Don’t expect the rap top 20 always played records.  We are very aware of the BBE brand and what we do might be a little bit different, but we are about playing records in a way that we have seen that old formula passed on by the likes of Jazzy Jay and others works. 

We are grateful and thankful to all those that have been to our events and have supported us. 

If there is a Birmingham venue that would be interested in working with us to bring the Absolute Hip Hop Experience to their location. Get in touch.

Big thanks to Cristina Kalsi for the photographs

My Vision If Funded

I have long held a vision of creating an event with real substance and meaning—one that is conceived, shaped, and delivered from within the culture itself. If given access to funding and the opportunity to lead such a project, my aim would be to produce something authentic, intentional, and impactful.

Recently, I have been approached about the possibility of being involved in an initiative of this nature. While the opportunity is compelling, I approach it with caution. Past experiences—where I have contributed significant creative support to events only to later be excluded from recognition or decision-making—have understandably led to a degree of mistrust.

This document has been prepared as both a statement of intent and a practical blueprint. It outlines my vision, values, and the framework through which I would seek to develop and deliver an event that is culturally rooted, ethically led, and creatively respected.

King of the Beats is more than an event — it is one of the first organised beat battles globally to truly spotlight the art, discipline, identity and knowledge of the hip-hop producer.

Created by Pritt Kalsi in the late 90s, the concept was born from the emergence of a new wave of UK hip-hop producers who were shaping an exciting new chapter in the culture. This was a time when digging for samples was at its peak. Finding music wasn’t instant or digital — it was a physical experience. You had to go out, search, listen, discover, and connect. Each producer’s sound was rooted in their own personal passion expressed by music, their influences, and the records they felt emotionally tied to.

Back then, even the way music was released felt special. Record labels were modelling their approach on the U.S. format — paying attention to the artwork, the stickers, the plastic wrap, and the presentation of the product, the quality of the vinyl. Things people take for granted now carried real weight at the time. Music felt tangible.

King of the Beats was built as a challenge. Producers were put to the test with a strict £20 budget — they had to go out, buy records to sample, and create music to present at a live event. The full process was filmed, giving people a rare insight into how producers worked, what equipment they used and how they got the best out of it, what inspired them, and the journey behind the final beat. The films were narrated by the artists themselves.

At its core, my aim was always to keep the culture alive — to preserve an approach and ideology that meant a great deal to me personally. I’m a lifelong record collector and someone who has dedicated years to producing and documenting this culture.

What began as a film concept grew into a live event — with showcases across the UK, Europe, the USA and Japan. It didn’t take long before a real community formed: an international family of producers, both established and emerging, sharing the same stage and platform.

In European events Maurizio should first consideration for judge

Hip-hop as a culture came from nothing — it took everyday objects and reinvented them completely. Spray cans were never intended to create murals. Records were never meant to be cut up, scratched, and reimagined. Machines like the SP12 were never designed to become the foundation of hip-hop and house music. That genius came from young people exploring what was around them and turning limitations into innovation.

For many, hip-hop became more than expression — it became survival, opportunity, and a way to put food on the table. It went on to influence entire industries, from fashion to technology, and became the catalyst for brands and businesses built directly from the culture.

King of the Beats was about stripping away the bells and whistles and focusing on the art.
There were no sponsors presenting prizes. No one donated equipment. Although Akai supported the movement at one point, the platform was never built on commercial incentives — it was built on culture.

The inspiration also came from the stories I heard while working on my long-running documentary project Men & Their Music, where key figures spoke about the early days of battles in New York — where crews would compete and the loser might lose their records or equipment. That idea shaped the King of the Beats live format and the tagline:

“Who’s gonna take the crate?”
A direct nod to the Gang Starr record.

Every producer entering had to bring the records they purchased to sample and place them into the crate at the live event. The winner took the entire crate — every record. It made the battle real. It made it meaningful.

As the events progressed, I reinvested everything into building a record label — pressing music from winners of the battles. The goal was to turn the experience into something lasting: a tangible product that could live beyond the night of the event.

Over time, the live events became extremely time-consuming and draining, which led to me stepping back and focusing more on the record label and films. But I’ve always believed that with the right backing, King of the Beats could return — repackaged and presented as a true cultural event.

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How I Would Deliver This If Funded

With funding, I would relaunch King of the Beats in the UK with a strong, credible foundation — building a team of respected judges and ambassadors, starting with Sparkii Ski (Japan).

The judging and ambassador lineup would include key figures such as:

• Tha 4orce
• DJ Devastate (Twilight Firm)
• Mr Thing
• Si Spex
• Cutmaster Swift
• Brad / Shiver Unsung Heroes
• Billy Biznezz
• P Brothers

I would also actively involve the next generation of producers — artists who have carved their own lane, contributed heavily to the UK scene and beyond, and now lead the current wave, including:

• Micall Parknsun
• Giallo Point
• Myke Forte

I believe the lack of support and attendance at many hip-hop events today isn’t due to a lack of interest — it’s often due to the undervaluing of the culture and the experience. Too many events are placed in venues that are not suitable, not equipped, and not presented at the level the culture deserves. That limits the reach, the impact, and the appeal of what could be a powerful experience for artists and audiences alike.

With proper support and investment, these issues can be solved — and the results can be significant. We’ve seen this already through cultural moments like the Henry Chalfont exhibition in Birmingham, which was a major success not just for hip-hop, but for the city itself.

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Why This Matters Now

Birmingham has always been a working-class city — constantly overlooked, even while producing incredible talent and creativity. In recent years, moments like the passing of Ozzy Osbourne, a native Brummie, reminded the world of Birmingham’s cultural importance. But there are countless artists in this city who work tirelessly, often without recognition, regardless of how gifted they are.

We’ve also lost people from within hip-hop itself — individuals who lived and breathed the culture, but whose stories remain unknown outside of their circles.

Last year, Birmingham lost Bunny Bread (originally from London but made Birmingham his home)— a talented creative, a close friend, and a true part of UK hip-hop history. He was one of the first generation of graffiti practitioners in the culture, a highly competent DJ with deep musical knowledge, and someone who inspired and supported younger generations to follow their path.

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We are losing people who helped shape this culture — and if we don’t preserve their stories, platforms, and contributions, we lose more than just individuals. We lose history.

As Grandmaster Caz said:

“Hip-hop didn’t invent anything. Hip-hop reinvented everything.”

And it’s true. Hip-hop has impacted most modern culture in some way — and King of the Beats is one way of honouring that legacy, protecting its foundations, and giving the next generation a platform rooted in authenticity.

Over many years, I have built a strong professional network and established trusted relationships with a wide range of artists I have worked with, spanning both the United States and the UK. If funding were secured, I am confident that I could draw on these relationships to engage a high-profile artist—such as Jazzy Jay, Diamond D, Lord Finesse, Johnny Juice, Breakbeat Lou, Marley Marl, TR Love, Mr Walt, Les (Beatnuts) or Large Professor – Mikey D K-Kut, Ray West—to headline or appear as a special guest at the event. These artists, among many others within my network, are pioneering figures whose influence fundamentally shaped the musical landscape as we know it today. Importantly, they remain active, innovative, and committed to pushing creative boundaries.

All of the artists mentioned are active DJs who tour Europe regularly. A sponsored event could therefore be aligned with an existing or planned tour schedule, creating mutual benefit for artists, sponsors, and audiences alike.

Event Concept and Format

The proposed event would be multi-layered, combining performance, education, film, discussion, and exhibition. One core element would be “King of the Beats”, a challenge that has historically used local independent record stores as the starting point for the day’s activities. Supporting independent businesses has always been central to Pritt’s mission, and in light of forthcoming government changes that are expected to disproportionately impact small businesses, it is more important than ever to help promote and protect them.

I would like the guest artist to actively participate in the record-store experience—joining producers not only to oversee record digging, but also to offer guidance, commentary, and storytelling. Artists could select records and share personal histories or cultural significance tied to those records, creating a meaningful and immersive experience for participants and audiences alike.

This would lead into the main daytime event, where a selected panel of judges would choose a winner. The judging could be paired with a Q&A session or a TED-Talk-style discussion. I have long wanted to develop a series of TED-Talk-themed cultural events, and the most compelling recent example of this format is the work produced by Charlie Dark at The Vinyl Factory.

Many of the producers involved travel with records and have deep knowledge of the equipment they have used throughout their careers. This presents opportunities for partnerships with brands such as Akai or Rossum (SP12), who could support or participate in discussions around production tools, technology, and creative evolution. We can also invite owners of record stores and pressing plants to explore their journeys and ideas.

Liam from the Diskery (Birmingham) who has worked in the store for over 50 years, who has been supplying many people generation after generation with records.

Kevin Da Costa – vinyl manufacturing consultant who has been involved with hundreds of pressing plants all over the world.  From Maintaining to building them Kevin is very knowledgeable about the industry.  

Micky Blue Eyes and Tony Spreadlove – Promotors who have been dedicated to delivering amazing cultural events that led to many people being able to collaborate.

Film Screening and Q&A

I am also the creator of an award-winning film that could be screened as part of the programme, followed by a live Q&A. The film offers an in-depth exploration of hip-hop culture, with a particular focus on record digging and music production. It is composed of over 25 years of interviews and footage captured by Pritt Kalsi.

The film traces the journeys of some of the most influential producers of our time, set against the backdrop of late-1970s through into the 90s New York City. It examines how inner-city youth, often with limited opportunities, forged an entirely new movement by repurposing equipment in ways never originally intended. The impact of this movement—from the 1990s through to the present day—has led to thousands of records being reissued, reintroducing new generations to artists and sounds from earlier eras.

There is also a film about Legendary Producer Paul C that I filmed and directed that Artists such as CJ Moore, Large Pro, Ced Gee, Casanova Rud Cool V and Break Beat Lou could chair.

Q&A sessions could feature artists from both the US and the UK, further reinforcing the transatlantic nature of the culture. If possible on avialablity Blade can host some Q@A

Exhibition and Visual Arts

Alongside the music and film programme, an exhibition could be presented featuring work by Pritt as a photographer and visual artist, alongside contributions from The Original Artful Dodger and respected UK photographers such as Xhibit Black, Normski, and David Corio. Normski and Corio were instrumental figures in the early days of UK hip hop and remain highly active today.

If the event were held in London, I would propose hiring All City Steve’s Taxi as part of the exhibition experience—taking attendees on curated journeys and documenting audience feedback as a living archive of the event.

Graffiti, Legacy, and Wider Cultural Reach

In recent years, I have had the pleasure of meeting Brim of TATS Crew, a globally influential graffiti artist who played a key role in introducing hip-hop culture worldwide. The film Bombin’ documented his journey in the UK, including his meeting with a young Goldie in Wolverhampton—a moment that helped propel Goldie to the international prominence he holds today. In 2024, Brim returned to the UK alongside Goldie to reflect on the film and its lasting influence on a generation of UK graffiti artists.

Following our discussions, Brim expressed interest in collaborating on future projects aimed at reaching wider audiences and creating sustainable platforms for selling and exhibiting art. Through Birmingham-based artist Gent—now widely regarded as one of the most respected contemporary artists, with work visible throughout the city—I was introduced to The Bench 504, an organisation that has delivered outstanding graffiti events. They also operate a large gallery and events space in the heart of Birmingham, offering significant potential for collaboration.

In cities like Nottingham we have great people like Joe Budda who is very active in events and hosting who has invested a life time to preserving this culture,  He would be an ideal person to collaborate and partner up with.  

Conclusion

There is substantial scope to deliver meaningful, high-quality cultural programming through this project, drawing on the expertise and lived experience of exceptional UK and international artists—individuals who have dedicated their lives to their craft and continue to shape culture today.

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If I was no longer here, and anyone wished to put on the event.  An Agreement must be made agreeing to move forward.   This must be made by Cristina Kalsi, Andy Higgs, Kev Da Costa, 4Orce and A.Dee all in agreement how to best deliver something of quality.

Jazzy Jay, Lord finesse should always be kept in the loop.

This is something that I never thought I would be doing. I have been making films and documenting the culture for almost 30 years now, maybe even longer. Over 25 years ago I set out to make a movie called ‘the Men and Their Music’ a spin on the BDP album title, this morphed into Looking for the perfect beat.

I have been working on this for a long time. In between I had made a few other films, directed videos and stayed creative. Some of you who follow me may of known about my computers I worked on suffered some damage a couple of years ago. I did Get them repaired. How ever 6 months ago they died a death.

I went for a development grant from a well known arts funder but was refused. At the time I had been making films and funding them my self through my job at UK NSI. After winning awards in film making, photography and music production all in the same year I put it to them who are they meant to be funding. There is a lot of corruption in that world. For the last 2.5 years I had been fighting courts my self here and abroad to get my wife here. I could not afford the solicitor fees I did the case myself.

It’s been a real struggle I can tell you. I often get asked what happened to your film. A film that’s never been leaked. I held onto it very preciously and been very protective of it as I firmly believe In it. I work in education as support staff and anyone that knows this industry its not the best paid.

Speaking to my friend the Artful Dodger he recommended me to take this route. His point was this platform is there to really help people, yet a lot of celebs and A list recording artists who don’t need the help use this platform. You need it. My aim is to replace my machine to something that can handle the size and volume of these projects.

I am looking to use the money to invest in a Mac mini 1TB 64GB Ram and monitor to give me the power to create. Other money would go towards AI software to create stock footage.

There has been a movement by media companies buying up stock footage and holding really Indi film makers to ransom when it comes to putting their films out.

I know I was approached by them. If you follow me and know my work. If you can support a real artist much appreciated. If it’s not for you, it’s ok. If you are part of the scene and can support by even sharing or spreading the word. speak up. https://www.gofundme.com/…/update-equipment-to-finish…

If you do not wish to use Go Fund Me. If you wish to support you can make a donation to my PayPal : nuskratch@hotmail.co.uk. Please mark as gift so that no one looses any thing to charges.