Seaspot Spotlight: Khazm
01-17-2005

Building on the Foundation Laid in New York City
by Bobby Spoon

With all of the hoopla and publicity in Hip Hop going to the MCs, rappers winning Grammy's and getting glory and far reaching stardom, people seem to forget the other elements that make up Hip Hop culture. True, we see the DJ at our favorite club and oftentimes laying soundscapes on some of our favorite television programs, but none of this would be possible if it wasn't for a foundation grounded in the love of Hip Hop. The two other elements of Hip Hop are the B-Boy, or Breakdancer, and the always under appreciated, and often persecuted and prosecuted, Graff Writer. Which is why we need to shed some light upon the many talents of Graffmaster Khazm (Khazma247) of The Madness After Dark Krew (M.A.D.K.).

As a World Champion Graffiti Artist (B-Boy Summit Graff Competition), Television Producer (S.C.A.N.'s Hip Hop 101), DVD Producer (M.A.D.K.'s Enter The Madness and Brainstorm Battle DVDs), Show Promoter (Breaking Grounds and with The SHOW, Brainstorm Emcee Battle of the Year), Rap Artist (with group Cyphalliance and his upcoming solo effort Diary of a M.A.D.), Community Leader (Head of Seattle's Chapter of The Universal Zulu Nation and force behind poignant 911Amerika Compilation) and beatmaker, Khazm is one of Seattle Hip Hop's true renaissance men.

Khazm got into Hip Hop in Middle School where he would draw pictures and graffiti-inspired names on paper for his classmates for some of their lunch money and use that dough to pick up tapes of his favorite rap artists, which he remembers fondly at the time were Fat Boys and Run-DMC. Khazm though always felt that he had the "producer's spirit" and remarked that "if I knew I could get a beat machine for $100 back then I would have been making beats back then too."

For years Khazm has worked in the shadows and the trenches, doing the dirty work that needed to get done to help our fledgling Northwest Hip Hop scene develop. For those that know Khazm, not enough could ever be said about his contributions, but he has never been one to seek out the limelight. He would rather play the cut and do his good work and let the world catch on later.

The creation of his solo album is a remarkable feat in and of itself. Bedridden for 8 months with a nearly fatal medical condition, Khazm recorded much of Diary of a M.A.D. in his hospital room at the UW Medical Center with friend and collaborator Gabriel Teodros (of Absynnian Creole) manning the recording gear. "Hip Hop saved my life," explained Khazm with an undeniable glow in his eyes "this album is all about me, just expressing myself and who I am." Seattle underground heads should keep a look out for this record both on CD and vinyl in February.

Also in February Khazm and the rest of the Universal Zulu Nation or UZN are planning a series of events and workshops to celebrate Hip Hop in the Northwest as the 206 Zulu have their One Year Anniversary weekend. Drawing collaborations from underground champions Project Mayhem and also with Festival Sundiata, the event will not only celebrate the anniversary of the Zulu in Seattle but also to remember, through Hip Hop, Black History Month.

The Festivities will be held Feb 17th - 20th. Thursday at Hip Hop 101 (Channel 29 or 77 depending upon your cable provider). Friday at Temple Billiards. Saturday and Sunday at Seattle Center.

Although it is a Black History Month function and the Zulu Nation has their roots in African culture Khazm, an American of Japanese decent, is quick to stress that "In the beginning the practitioners of Hip Hop were primarily black and Latino. But because it was rooted from the spirit of making positive from negative Hip Hop became a universal culture with limitless boundaries that in its purest form crosses all races, religions, colors, languages, and differences and brings people together. It's a cornucopia of lives and cultures that come together as one."

It is in this spirit that Khazm lives his life and carries foreword a new hope for the future of Hip Hop in Seattle.
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