By Keegan Hamilton
By Albert Samaha
By Village Voice staff
By Tessa Stuart
By Albert Samaha
By Steve Weinstein
By Devon Maloney
By Tessa Stuart
As both a technician and craftsman, DJ Jam Master Jay (a/k/a Jason William Mizell), who was murdered last Wednesday night at the age of 37 by an assassin's single bullet, will probably be remembered less for the showy innovations and poly-hyphenated tricks that mark the modern "turntablist" arsenal than he will be for a personal style marked by deference and selflessness.
His was a manner uniquely suited to the era that, as a part of the hip-hop supergroup Run-D.M.C., he dominated culturally. The supporting role he performedmaking his vocalists look their absolute best, just as hip-hop, in pursuit of wider audiences, shifted its focus increasingly from the DJ to the MCalso enabled him to act as a global ambassador for the music. He did so in a manner absent of ego, absent of the typical "ugly Americanisms" that frequently mar such contacts. He and rappers Joseph "Run" Simmons and Darryl "D.M.C." McDaniels were the first to perform hip-hop in countless locales across the planet. His was a position that Jam Master Jay served with what many who knew him note as a characteristic form of kindness.
Of course Run-D.M.C. are the most influential crew in hip-hop history, and one of the most influential in the history of popular music. Jay was their instrumental and musical backbone, their melodic voice and rhythmic heart. Like markers dividing time into B.C. and A.D., they literally stand at the nexus of hip-hop's old and new schools: the first artists in the genre to enjoy a career in the style most widely emulated today. Here's the formula: sell African American music by the multimillions to validating Black buyers, but predominantly to relatively empathetic, liquidity-providing white onesthe so-called mainstream. Do so in a manner accentuated by product merchandising, endorsements, radio and music video marketing, and wide national and international touring. Run-D.M.C.'s progeny, thus, are every hip-hop act that has since partaken in any aspect or effect of the aboveand any white musical group that, at the very least, has taken hold of rock and hip-hop's concubinage.
Mizell was killed in the lounge of his Queens studio by one shot to the head from a .40 caliber weapon. News reports said that the large, powerful round left both an entry and an exit wound, and that the killer shot him behind his left ear so close that ignited powder from the blast burned Jay's shirt. In other words, he was not just killed, but slaughtered. Brutally.
In the subsequent investigation, NYPD attention has mainly focused on a revenge motive: possibly for unpaid debts, possibly for Jay's association with hip-hop rabble-rouser 50 Cent, a/k/a Curtis Jackson, whose "gangsta rap"-mocking single, "Wanksta," Jay produced, and who has previously been the victim of gun violence. Though newspaper columnists continue to beat the glue out of the notion, and though a federal probe of rumored organized crime ties within the hip-hop industry is said to be underway, detectives have scoffed at suggestions that the murder is connected to an "East Coast-West Coast rap war." They have also deemed the weekend killing in White Plains of Kenneth Walker, a hip-hop promoter with a criminal record, as having no connection to Jay's murder.
Born in Brooklyn on January 21, 1965, the youngest of three children, to the late Jesse Mizell and Connie Thompson Mizell, Jason was playing drums and singing in the Universal Baptist Church's Young Adult Choir at the age of five. After moving with his family to Hollis in 1975, he discovered DJ'ing at age 13, and began to practice under the name Jazzy Jase. It was while in Hollisattending Jackson High School, playing drums and bass in local bands, and learning to disc-jockeythat he would meet future partners Darryl and Joe. The crew officially joined forces in their late teens, then signed with Profile Records, under the management of Joe's older brother, Russell Simmons, who would later have enormous success of his own as head of Def Jam Recordings. Their first single, "It's Like That/Sucker M.C.'s," came out in 1983.
At the peak of their powers, Run-D.M.C. were like the leading technological edge of an advanced missile program. The sound of their beats alone, compared to what had come beforeSugarhill Records' horn-berserk bridges and choruses, for examplewere the audio equivalent of low-kiloton-yield bunker busting. The titles of their flinty tracks read like chapter headings for an impending apocalypse: "Hard Times." "30 Days." "It's Like That." Even their own name was oddin 1983, amid crews with fluorescent, superhero-style monikers like the Funky Four, the Furious Five, and the Treacherous Three, "Run-D.M.C." sounded less like the name of a group than that of a metallurgical solvent.
How fitting. Because, with the release of their eponymous debut album in 1984, followed by 1985's King of Rock, Run-D.M.C would more surely dissolve and dispense with the previous musical age than any hip-hop artists before or since.
How? Simple: By basically inventing the modern hip-hop music business. It's probably difficult for those born in the age of Run-D.M.C.'s revolutionpretty much anyone under the age of 25to clearly see its effects, so fundamental are they to what we consider popular music today. They possessed the aura that would make the hip-hop industry's growth spurts possible. Much has been made of their long list of firsts: hip-hop's first gold album (Run-D.M.C.); hip-hop's first platinum album (King of Rock); first hip-hop artists to be nominated for a Grammy; first rappers to appear on American Bandstand and on the cover of Rolling Stone.