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.