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How the Smokin’ Grooves Tour Brought Rap to the Masses

With a lineup featuring the Fugees, Cypress Hill, Ziggy Marley, A Tribe Called Quest, Busta Rhymes, and Spearhead, Smokin’ Grooves debuted throughout North America in 1996, appearing in cities like Columbus, Ohio; Park City, Utah; and St. Paul, Minnesota—none of which were known for having any kind of hip-hop scene in those days. Perry Farrell’s alterna-topia Lollapalooza had spent the first half of the decade popularizing the summertime concert package tour for a new generation, but its lineup usually featured few rap acts. Smokin’ Grooves was the first amphitheater tour where nearly all the performers were rooted in hip-hop.

Put together by Kevin Morrow of the House of Blues and Cara Lewis, the booking agent who was famously name-checked in Eric B. & Rakim’s 1987 track “ Paid in Full ,” Smokin’ Grooves aimed to prove hip-hop’s potential as a commercial force in the concert world—and was marketed to show a more positive side of the genre. In the New York Times review of the inaugural tour’s New Jersey stop, writer Jon Pareles was sure to note, “Most of the lineup represents an alternative to the sexism and macho violence of best-selling hip-hop.” As future editions went on to include artists like OutKast, Gang Starr, the Roots, Foxy Brown, Public Enemy, and the Pharcyde, that idea was returned to again and again.

Smokin’ Grooves’ initial three-year run ended in 1998, though it returned briefly, in 2002, for a shorter, 15-date trek featuring a solo Lauryn Hill, Jurassic 5, Cee-Lo Green, and Truth Hurts. And now, 16 years later, Smokin’ Grooves is back as a one-day festival organized by Lewis and Goldenvoice, the Southern California-based concert promoters behind Coachella. On June 16, 38 acts will play the sold-out concert aboard the Queen Mary, a historic ocean liner, in Long Beach, California. The lineup includes festival veterans Erykah Badu and the Roots but it’s mostly filled with younger rap and soul groups like Miguel, Smino, and Ravyn Lenae. If all goes according to plan, this latest Smokin’ Grooves reboot could be more than a one-off: Lewis says she hopes it will return to its touring incarnation next year.

To understand the impact of Smokin’ Grooves on hip-hop, and how it reflected the genre’s commercial and cultural growth, we spoke to the artists, road managers, and behind-the-scenes figures who made it happen.

Vintage Smokin’ Grooves posters from the tour’s initial run in the ’90s.

MICHAEL FRANTI [ Spearhead ]: Back then, hip-hop was known for having notoriously bad shows compared to other styles of music. That wasn’t the truth, but that’s what the prevailing attitude was amongst promoters and fans too, because hip-hop artists weren’t really touring.

CARA LEWIS [ longtime booking agent, original Smokin’ Grooves organizer ]: At the time, most people considered hip-hop a phase. Urban acts were having a hard time getting booked in large venues. There was confusion among promoters and consumers, and issues with gangster rap.

KEVIN MORROW [ former House of Blues executive, original Smokin’ Grooves organizer ]: All of these genres start out as the Wild West—whether it’s hip-hop or early rock’n’roll—and Cara was the one who helped morph it into a business. I can’t remember if it was me or her who said, “Hey, we should do something,” but we recognized how this music was going to become a lifestyle. It was more than just music. So we went for it.

CARA LEWIS : The first Smokin’ Grooves tour was created as a response to Lollapalooza, which had a rock-heavy lineup. I wanted to create a tour that could act as a conduit for soul, hip-hop, funk, R&B, and reggae to come together. Kevin understood the change we could create by putting a festival on tour that would combat any fears of this genre of music and play venues with capacities of 12,000-plus. He and House of Blues provided partnership, financial backing, and sponsors to underwrite some of the costs to keep the ticket prices reasonable. We also had an advantage in packaging the tour, as 95 percent of the talent came from within my own roster.

Michael Franti (right) during the first Smokin’ Grooves tour in 1996. Photo by Jeff Kravitz/FilmMagic, Inc.

IMANI [ The Pharcyde ]: We made a name for ourselves on the second stage [of Lollapalooza in 1994]. It wasn’t because we were famous, it was because the audience wanted to hear this new group. It was a different kind of energy.

BOOTIE BROWN [ The Pharcyde ]: When we did Smokin’ Grooves in 1997, it was more of a—I don’t want to say introducing us to the black crowd, but it gave us that stamp of approval where we could cross on both sides of the fence. We didn’t just have to play to the alternative, mostly white audiences.

SLIMKID3 [ The Pharcyde ]: It was good to be among peers.

DJ NU-MARK [ Jurassic 5 ]: We were always being invited on these rock tours that had this hip-hop crossover thing. It didn’t bother us one bit. We understood the demographic. But Smokin’ Grooves was different.

MICHAEL FRANTI : When the tour was first being conceived, it was like, “This is going to be alternative hip-hop.” But everybody who was on the tour was like, “We don’t want to be the alternative to something, we just want to be great music.” But a lot of it was convincing the promoters that this could be a real show and not a DJ up there that the people in the lawn seats wouldn’t be able to see.

GARY BONGIOVANNI [ founder of concert trade magazine Pollstar ]: People knew the audience was there because you could sell tickets to the shows, but the problems were with actually producing the event. It wasn’t being done with the proper seriousness to be a large business.

KEVIN MORROW : There were earlier hip-hop tours, but they were marred by violence.

GARY BONGIOVANNI : Smokin’ Grooves really was a landmark tour, but not so much because of the artists on the bill, but for the way it was run. At the time, there were a lot of problems with rap tours, and a lot of the mainstream concert promoters didn’t want to have anything to do with them. And a lot of it was self-induced by the artists and their entourages—having fights backstage and all of that kind of stuff. Smokin’ Grooves brought a much more solid perspective: It was not just a mobile party, it was work. You came to the event, and you didn’t come with a gun, you didn’t get into fights. You did your show, and then you went on to the next one.

Cypress Hill’s B-Real performs on the last day of the inaugural Smokin’ Grooves tour in 1996. Photo by Alex Garcia/Los Angeles Times via Getty Images.

MICHAEL FRANTI : The prevailing attitude was that hip-hop couldn’t play in large venues, and hip-hop audiences were too dangerous. There was fear that there would be shootings. So when we started the Smokin’ Grooves tour, they had security that all the artists had to go through backstage.

CHUCK D [ Public Enemy ]: The violence didn’t exist. It was all hype.

MICHAEL FRANTI : A lot of artists were having issues with the law, and there had been a few shootings at some concerts, but in my opinion it was overblown. There was a fear of bringing together large black audiences. In the end, Smokin’ Grooves showed promoters that hip-hop was for kids from all different walks of life.

KEVIN MORROW : We wanted to be able to tell the promoters that it was secure in a way that nothing could go wrong. I mean, let’s face it, artists have issues as well. It’s not always just the fans. I walked on a couple of the tour buses and talked to artists. We had those talks. We had to make sure that it was going to work on both sides—with the artists and the audience.

SLIMKID3 : It seemed like they put that type of pressure on every rap concert, but they’d never put that pressure on rock dudes. It was only black things. It sucks that things have been that way, and are that way.

ESTEVAN ORIOL [ tour manager for Cypress Hill ]: The promoters were all scared, and we would reassure them; we were easy to get along with. They were scared of rap and that we were going to smoke weed, and the cops would come and shut us down. But once they met us, we had that professionalism. We could smooth it out and let them know that everything was going to be safe, and everybody was going to make money. Nobody was going to get shot at the show, and the FBI wasn’t going to raid the venue.

MICHAEL FRANTI : The whole tour was peaceful. There was one time when a little fight broke out backstage because a guest of one of the bands had taken a bowl of ice cream without asking, I guess. It was enough to have him thrown out, but that’s the only thing I remember happening in terms of any kind of altercation.

ESTEVAN ORIOL : I would have a meeting with all the security and say, “Hey guys, I know everybody is scared of the rap shows, but don’t worry, our fans smoke weed. They’re more laidback, they’re cool, they’re just having a good time. So whatever you do, don’t choke motherfuckers out.”

Cypress Hill perform “How I Could Just Kill a Man” and “Insane in the Brain” during the 1996 Smokin’ Grooves tour.

CARA LEWIS : Cypress Hill performed every year. They considered it their summer camp. They were the tour’s defining act.

SLIMKID3 : B-Real from Cypress is like our big brother. On Smokin’ Grooves, I learned a lot from him. Every time I see him, he gives us another jewel to move forward in our career—as a team, as a band, and as an individual too. He taught us about taking care of your fan base. Basically, it’s about always having your shit together and being able to do this without having an attitude. He let us know that people go through things, but you still have to come together and do this for the people.

CHUCK D : One of the richest experiences of that tour was seeing the commitment and dedication of Cypress Hill to their own fans. That’s what me and B-Real built a friendship on. Cypress Hill came the closest to what Public Enemy had done for years. They would perform at the show and then be out in the audience signing autographs, really being proactive in what the experience between hip-hop fans and artists should’ve been about.

MICHAEL FRANTI : When Smokin’ Grooves started, it was right when “ Killing Me Softly ” broke, and the Fugees turned into this band that could sell out huge places. It was interesting, because Ziggy [Marley] was closing the show; to the promoters, he was known as the one who could sell tickets. The Fugees were third on the bill, but they had this song that was near the top of the charts for the entire summer. They breathed a lot of wind into the sails, and without that timing, there might not have been another tour to go out like that; had it not been a success, promoters wouldn’t have thought to do it the next year.

CARA LEWIS : We were capturing the exact moment when urban music was beginning its takeover of mainstream radio and MTV.

The Fugees perform their hit “Killing Me Softly” at Smokin’ Grooves in 1996.

CHUCK D : We headlined Smokin’ Grooves in 1998. At that time, we had a legitimate résumé of sheds, areas, and big enough facilities for a tour. Although you had acts that were selling records, they were considered insurance hazards, so they had to get a headliner that was able to be liable for it, as well as responsible for a tour that would start great and end great.

WILL.I.AM [ Black Eyed Peas ]: It was life-changing. You’re from the projects, you’re poor. You have a dream about doing music. No one believes in you. You start a buzz. You’re playing all up and down California, at all the colleges. And then Cara Lewis becomes your booking agent. And you start dreaming out loud. And then it all comes true. And then you go on tour opening for Public Enemy, Cypress Hill, Busta Rhymes, Gang Starr. It was the best way to grow as a group.

And that’s why Black Eyed Peas have had sustained success. If you just have a big hit out the box, you can’t sustain that. From the bottom to top, from the top to space, that’s what we did. And it was Smokin’ Grooves that showed us how big it potentially could be, and gave us the aspirations and the gall to dream it even bigger—that experience of seeing the world with your heroes. We were just a circus of inner city art, watchin’ culture, being a part of culture. Pulling into Raleigh, North Carolina during a hurricane. Pulling into New Orleans in the humid, hot heat. Pulling into Kansas, like, “Yo, we’re in Kansas bro!” You’re seeing America.

Jurassic 5 performing at the Smokin’ Grooves tour in 2002. Photo by Tim Mosenfelder/Getty Images.

GARY BONGIOVANNI : Smokin’ Grooves also invested in the stage sets and production, it wasn’t just a guy talking into a microphone.

DJ NU-MARK : Way back in the day in the ’80s, I always loved seeing LL Cool J come out of a boombox on stage, and the crowd would go crazy. So, for Smokin’ Grooves, I said, “Let’s come out of gigantic turntable.” So we had this huge Technics 1200 turntable that would open up and then the MCs would come out of it on the first song and kick their lines. I don’t know if it was Andre 3000 or Big Boi, but one of them was yelling at their tour manager, like, “These guys are coming out of a gigantic turntable, and all we’ve got is this backdrop!”

CHUCK D : Wyclef Jean brought out Canibus rapping against a lion. They brought a lion on stage—a living, breathing lion. And Canibus spit verses at the lion. The lion was heavily sedated, but me and B-Real laugh about this all the time. I don’t think anything as bizarre has ever been on a rap stage.

Wyclef and Canibus bring out a damn lion (!) at a Smokin’ Grooves stop in 1998.

DJ NU-MARK : I was really tripping out on Lauryn Hill’s solo set. She had her guitar up there, and I personally enjoyed watching her reveal herself completely without a full entourage, or a drum machine, or a DJ behind her. It was like looking into her soul.

TRUTH HURTS [ singer, onetime Dr. Dre protégé ]: Prince was my favorite of all time since I was a little girl, and I even dyed my hair purple when I was in high school and made people call me Princess. I heard he was in the audience [in Minneapolis] and I almost lost it. I said, “I gotta go out there and see this man.” Walking up to him, I was like, “Hi, I’ve gotta be your biggest fan. My name is Shari, aka Truth Hurts.” And he looked at me and gave me this whole Prince vibe and said, “OK, I’m here to see Lauryn Hill.” I almost died. But it was amazing just to come face-to-face with him at that moment.

The Fugees at Smokin’ Grooves in 1996, just as their career was starting to explode. Photo by Tim Mosenfelder/Getty Images.

WILL.I.AM : It may be a bill of a whole bunch of different bands, but when you’re on Smokin’ Grooves, the band is Smokin’ Grooves.

CHUCK D : Because Smokin’ Grooves 1998, as an all-rap tour, was successful, it opened up the gates for [JAY-Z and DMX’s] Hard Knock Life tour and the Up in Smoke tour with Dr. Dre and Eminem. Those tours wouldn’t have been possible if it wasn’t for Smokin’ Grooves.

CARA LEWIS : Like many festivals that created something from nothing for underserved audiences, the acts on the bill became able to carry their own headline tours and were thus too expensive to support the Smokin’ Grooves business model.

KEVIN MORROW : Artists didn’t want to be a part of something where the brand outshined the individual. Why would Lil Wayne want to go out on something if Lil Wayne could sell out the whole thing himself?

CHUCK D : In ’98, our whole thing was that the older groups needed to bring the younger ones around, and that’s why we were proud to be part of it. I think the thing that has knocked hip-hop off the tracks the last 15 years is that the older groups have shunned that responsibility.

GARY BONGIOVANNI : At this point, you see rap and hip-hop at Coachella or any of the mainstream rock festivals. Some years, like this year, it’s really pronounced.

CARA LEWIS : The timing felt right to reintroduce the brand as a one-day festival to set up a 15-city tour in 2019.

ALINA BARAZ [ 24-year-old singer, performer on Smokin’ Grooves 2018 ]: I love festivals in general, but this one is the coolest lineup I’ve seen in a minute. It’s so many people I personally listen to. This is my entire Spotify playlist.

Live Report: Smokin’ Grooves

By Brian Musich

Brian Musich

You know hip-hop’s assault on mainstream culture is complete when ultra-hip, white high-school girls define the demographic of an all-rap festival date. At this year’s Smokin’ Grooves tour, now wending its way through thirty dates of a jaunt across the U.S., such was the scenario. (Yes, folks, that is your thirteen-year old daughter smoking a blunt and yelling “Go motherf—–!”)

As the cross-over popularity of the Smokin’ Grooves tour shows, hip-hop reigns supreme. But like every good kingdom, this hip-hop revolution needs a king. With a buffet of some of hip-hop’s most recognizable names, including Public Enemy, Busta Rhymes and Cypress Hill, this year’s’ Smokin’ Grooves tour makes one thing clear: Wyclef Jean wears the royal crown.

There are few hip-hop acts basking in more mainstream appeal than Wyclef and his Refugee All-Stars, but when it comes to blending innovation and entertainment, nobody does it better than Haiti’s favorite son. Jamming on his guitar, beat-boxing, back-flipping across the stage-Wyclef does it all.

Rather than seize his share of the limelight to promote himself and his Refugee Camp, Wyclef made a point of celebrating hip-hop’s breadth. Mixing a little Cypress Hill and a crowd-pleasing guitar rendition of Wu-Tang Clan’s”Wu-Tang Clan Ain’t Nuthing ta F’ Wit” in with his hits like “We’re Trying to Stay Alive,” “Gone ‘Till November” and “Guantanamera,” Wyclef got the crowd dancing and played the role of hip-hop ambassador to all ages and races.

And what would a king be without a court. Wyclef’s own knights of the turntables-Pras, John Forte and Canibus, officially known as the Refugee Navy Seals-provide enough entertainment for three separate shows. From Pras’ mega-hit “Ghetto Superstar” to Canibus’ stage diving into the frenzied crowd, these loyal sidemen showed exactly why the Refugee Camp is hip-hop’s first family when it comes to showmanship and talent.

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As for the rest of the day (with notable exception of openers Black Eyed Peas and Gang Starr), cross-over pop hits like Cypress Hill’s “Hand On the Pump” and Busta Rhymes’ “Put Your Hands Where My Eyes Could See” ruled. On the other hand, this rather routine display filled with six hours of “throw your hands in the air blah blah blah go, Jersey, go,” made one miss the Ziggy Marley/P Funk kind of variety of the past two Smokin’ Grooves tours.

Rhymes successfully pumped up the crowd with wild kung-fu moves and striptease antics, but his heavy-handed promotion of the Flipmode Squad and their upcoming album grew tiresome. Cypress Hill, stuck on repeat since 1993, served up their usual hits like “How I Could Just Kill a Man” and “Hits From the Bong.” And although it’s always amusing to see Flava Flav get stoopid with “911 Is A Joke,” Public Enemy’s politics don’t quite hit the mark with the new pre-teen, hip-hop fans from suburbia. Sorry, B-Real and Chuck D, but the new school has arrived-and sorry, Puffy, but you can call Wyclef sire.

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I Was There: Smokin’ Grooves ’98

• Post author By Christopher Pierznik
• Post date April 21, 2016
• 3 Comments on I Was There: Smokin’ Grooves ’98

Unlike many of my fellow suburban high school students, I didn’t attend concerts.

There were several reasons for this, but it was largely because the only music I liked was hip-hop and the closest shows were at least an hour away and everything I ever heard about rap shows were that they sucked, so I had very little interest in attending. I was right. Many hip-hop shows, especially back then, began two hours late and consisted of deafening bass that distorted the speakers while a probably-not-sober rapper rhymed along to his backing track as two hundred of his closest friends loitered around the stage.

Even the doomed Wu-Tang /Rage Against the Machine tour didn’t intrigue me much, probably because I liked to experience music by myself back then. I would talk and debate albums and artists, but I preferred to listen to it in my earbuds. That’s probably why I never had a system with subwoofers like 85% of my high school.

In the spring of 1998, shortly before I graduated, my friend said he wanted to attend the third iteration of Smokin’ Grooves, the traveling hip-hop festival, when it came to the then-Tweeter Center in Camden. I wasn’t too interested until I saw the lineup.

At that point, I was in.

This was the early days of the internet, so we still bought our tickets in person. At the mall. At Macy’s. They went on sale on a Saturday morning and we went and stood in line. The rest of the people waiting were all women in their 40’s, most wearing mom jeans and rocking perms. Were they huge rap fans? Nope. Turns out, Rod Stewart tickets went on sale that day too.

When we received our tickets, I noticed that we were second row center. Niiiiice.

Compared to today, when everything is photographed, recorded, shared, blogged, and dissected, it’s so weird to see how little content remains from that tour. There are a few MTV News articles and some passing references and that’s it. There were no camera phones and I had not yet developed my affinity for carrying around my camera, so once the show was over, that was it.For me, it was kind of like Broadway in that sense.

We arrived early and sat in our seats, the venue maybe 1/100th full. And onto the stage came a group that I had heard of but to whom I had never really paid much attention. They were known as The Black Eyed Peas.

This was before Fergie and “Let’s Get It Started.” They were the opening act. They ran on stage, hopping and dancing, their energy infectious, even though most seats were empty. I remember will.i.am at one point exhorting, “ Come on! All twenty of you get on your feet! ” In his autobiography, Fallin’ Up , Taboo remembered that tour :

“As the first act on stage, the grass fields and sun-scorched knolls were always only half full as we began our set. The challenge was to turn the ‘Who the fuck are these guys?’ into ‘Wow – these guys are fresh!'”

BEP has never been my preference, but I was impressed by their performance that day. They had an undeniable energy and made the most of their opportunity.

Next up was the lovely Mýa.

Not yet 19, she was an emerging star, her debut album having dropped a few months earlier and while I’ve never been into R&B, I was infatuated with her. When she winked at me, I was so in love that I would’ve murdered my siblings if she asked to do so.

There was another reason I was so excited. After her set, it was time for Gang Starr. And I was hyped. Just like Mýa, they had released an album that spring, the stellar Moment of Truth , and this was a group I had wanted to see for years.

Sadly, it was disappointing.

I love Guru, I think he is one of the greatest to ever spit a verse , but the downside for a cerebral rapper with a monotone voice and methodical flow is that his music doesn’t translate to a live summer show at an amphitheater. DJ Premier was behind the turntables and ran the set from there, but while I was hoping for some live scratching, it didn’t happen. I’m sure Gang Starr was a great show in a small, dark, tight venue, but Smokin’ Grooves wasn’t a good fit for them. Still, I’m happy I was able to see them.

The next act to hit the stage was the complete opposite of Guru: Busta Rhymes.

The human cartoon character rushed the stage with his Flipmode Squad, all in matching velour track suits, and the place went insane. The most energetic – and among the best – performance I’ve ever witnessed, Busta ripped it, running through his hits “Wooo-Hah!! Got You All In Check,” “Dangerous,” “Put Your Hands Where My Eyes Could See,” and the Knight Rider-jacking, “Turn It Up” Remix. Flipmode was never the greatest group lyrically, but their energy matched that of their leader, and kept it going. Rah Digga pouring water all over herself was a nice touch, too.

While no one could match Busta’s energy, Wyclef Jean, at the peak of his popularity off The Score and The Carnival , came out with his guitar and his Refugee All-Stars. Wyclef’s biggest songs were group efforts and he was happy to share the stage.  John Forte , who appears on “We Trying to Stay Alive,” performed his (now largely forgotten) single, “Ninety-Nine (Flash the Message),” followed by Pras, who brought Mýa back out for “Ghetto Supastar (That Is What You Are),” a top-20 hit and one of the biggest songs of that summer, before he and ‘Clef rocked “Fu-Gee-La.” Then, Canibus, at the time one of the most anticipated hip-hop artists in history , ran out for his guest spot “Gone Till November,” and stuck around to perform his vicious LL Cool J diss, “Second Round K.O.”

Following those two high-octane sets, Cypress Hill was a bit of a let down. They’re a great group and they unleashed their classics, including “How I Could Just Kill a Man” and “Insane in the Membrane,” but they didn’t have the greatest stage presence. Plus, B-Real’s extended monologue about weed and how every concert should have it falling from the rafters like snow didn’t excite me as much as others. They also passed out rolling papers, which I gave to the very grateful people behind us.

Finally came the headliners.

Public Enemy.

After several years of discord and tension, the entire posse – Chuck D and Flavor Flav, Terminator X, Professor Griff and, of course, the S1W’s – were back together. They hit the stage hard, X behind the turntables and Chuck D’s voice booming throughout the arena while Flavor Flav emerged on stage riding a bike as the set design itself almost became a character.

The classics were performed – “Welcome to the Terrordome,” “911 Is a Joke,” “By the Time I Get to Arizona,” and “Fight the Power” – along with their latest, the  Buffalo Springfield “For What It’s Worth”-inspired, “He Got Game.” For a group that I had been listening to for a decade – more than half my life – and were living legends, they not only met expectations, they exceeded them.

Chuck D threw his water bottle into the crowd. I caught it. And I kept it. For years, it sat on my shelf, in my bedroom. I went away to college and when I came home, it would be there. There was nothing special about it. No markings or logos. It was like any other half-consumed water bottle. Except I knew that there was something special. It had belonged to Chuck D, a rap legend, and he had thrown it to me.

It was my only souvenir from my first concert.

Christopher Pierznik is the author of eight books,  all of which can be purchased in paperback and Kindle . H is work has appeared on XXL, Cuepoint , Business Insider , The Cauldron , Medium, a nd many more. Subscribe to his monthly reading review newsletter or follow him on Facebook or Twitter .

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• Tags Black Eyed Peas , Busta Rhymes , Canibus , Cypress Hill , Flipmode Squad , Fugees , Gang Starr , Guru , Mya , Pras , Public Enemy , Wyclef

By Christopher Pierznik

Christopher Pierznik is the author of 9 books and has contributed to numerous websites on a variety of topics including music, sports, movies, TV, personal finance, and life. He works in corporate finance and lives in northern New Jersey with his family. His dream is to one day be a member of the Wu-Tang Clan.

3 replies on “I Was There: Smokin’ Grooves ’98”

Thanks so much for the recap. I went with a friend to the exact concert but in St. Louis Missouri at The Riverport Amphitheater in Maryland Heights Missouri.

I love your DESCRIPTION. From the way I bought our tickets at Macy’s (Famous Barr It Was Called In St Louis before Macy’s bought them mid 2000’s). To all the acts.

I remember 2 special events from my show. 1st : Guru Sat Down Directly In Front Of Me in the 3rd Row and watched Wycleff’s Set & Cypress Hill’s Set with 2 BEAUTIFUL Women and sparked up a huge blunt and actually passed it back to me because I flipped out when he sat down because it was my 1st superstar I ever met. He probably was scared of me. Lol.

2nd : The seats were almost empty so we had a AWESOME view. During Public Enemy’s Set, Chuck D was hyping the crowd up and leaned over the crowd and simeone snatched his Microphone. HE FLIPPED THE FUCK OUT AND THREATENED THE MAN WHO TOOK IT. He got it back after a long 2 minutes of him flipping out. He lost interest in his set and I think he walked off early.

It was one of my favorite shows. It was truly the 1st real rap show I got to see because back then, rap groups or rappers rarely came to St Louis. I was 19 at the time. Thanks for walking me down Memory Lane.

I know you wrote this 8 years ago, but thank you for it! Smoking Grooves ‘98 in Camden was my first concert as well. I bought a bootleg tshirt outside the venue, which was lost long ago, so reading this gave me tremendous nostalgia! It’s still weird to think that Black Eyed Peas was brand new at that point. Anyway, I really enjoyed the read, thanks again!

Smoking Grooves “98” in Camden, N.J. was also my very first concert. Can’t believe that was over 26 years ago already.

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Wooo-Haaa! Smokin` Grooves live hip-hop tour rocks Polaris

• October 3, 1998
• Dorian S. Ham

Hip-hop/rap music tours are as rare as a boxing match without Don King`s involvement. Sure, it happens but those times are far and in between.Thank heavens or more accurately thank the House of Blues restaurant/club/bar chain. In its third year the organizers of the House of Blues Smokin` Grooves tour have putting together, arguably, the hottest tour this season. This year`s line-up, in the words of Chuck D featured “old-school, new school and next school.”Sunday`s Smokin` Grooves show at Polaris Amphitheater included Black Eyed Peas, Mya, GangStarr, Busta Rhymes, Wyclef Jean and the Refugee Camp All-Stars, Cypress Hill and Public Enemy.After missing the two opening sets by Black Eyed Peas and Mya next up was GangStarr. Guru and DJ Premier have no gimmicks, only two turntables and a microphone. They ran through their catalog, including past hits “Manifest” to their current single “Royalty.” With guess appearances by M.O.P (Mash Out Posse) GangStarr turned in a solid performance but failed to move the crowd.The low point of the day was that the crowd couldn`t maintain the energy level throughout. Maybe it was prolonged MTV viewing that has dulled the crowd`s participatory genes.Next up was the man who took the music back to it`s party roots and tore the roof off the mutha. Busta Rhymes and his Flipmode Squad would easily win the MVP awards of Smokin` Grooves. The only way to describe Busta Rhymes is to imagine a cartoon in human form.Busta and his sidekick Spliff Star made faces like Bill Cosby, danced like drunk sailors on Jell-O and worked the crowd like Sinatra in Vegas. Pulling hit after hit from his two albums, including “Dangerous, “Wooo-Haa (Got You All In Check.)” Busta stopped at nothing to please the crowd including dropping his trousers. Busta raised the energy level of Polaris like megaton bomb.For all the talk about Puff Daddy, it seems that people have missed the fact that Wyclef Jean, of Fugees fame, is currently on 50 percent of all recorded music. This isn`t a joke. Jean and his Refugee Camp All-Stars have a stranglehold on the charts. Camp member John Forte started the set with his current hit “Ninety-Nine (Flash The Message).” He alternated between hardcore raps and reggae style crooning. This set up “Ghetto Supastar” featuring Pras and a reappearance of Mya. By this point the crowd was primed for the appearance of Jean. Then he appeared and left. And appeared again. Finally Jean kicked out the jams. Then he stopped again. The frustrating part of his set that when the momentum would build, Jean would stop the proceedings. Still the highlights were many. Inspired reworkings of “Gone Till November,” a powerful version of “Fugee-La” and a impromptu versions of “Wu-Tang (Ain`t Nothing To F#*k Wit).” The best part of set was when a local fellow battle danced against on of the Refugee Camp crew. The defining moment was when the hometown boy, mock dog urinated on Jean`s dancer. Hands down our local boy made the show. By the time the All-Stars and Canibus hit “Second Round Knockout,” after all the starts and stops the energy had left the set.Cypress Hill was Cypress Hill. You seen them once you know the routine. Lots of songs about pot and guns. Energetic but not that mind-blowing.Closing the show was the legendary Public Enemy (P.E.) This tour marks the reunion of P.E. and their return to the concert stage. Mind-blowing. Chuck D., Terminator X, Flavor Flav, Professor Griff and the S1W`s tied Busta Rhymes for energy. As far as rap is concerned P.E. are the Rolling Stones. Veterans who know how to give the crowd what they want. They pulled from the vault and made classic songs sound as relevant as if they were recorded yesterday. Brilliant.Overall the House of Blues Smokin` Grooves tour continues to silence critics who believe that hip-hop can`t cut it live.

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IN THE NEWS:

Smokin’

By Daily Bruin Staff

Aug. 16, 1998 9:00 p.m..

Monday, August 17, 1998

MUSIC: The third-annual Smokin’ Grooves Tour showed

its staying power with a line-up that brought the funk back to Los Angeles’ Universal Amphitheatre

By Tenoch Flores

Daily Bruin Contributor

"Three generations of hip-hop under one roof!"

These words coming from Public Enemy’s Chuck D lent a perfect description to the third-annual Smokin’ Grooves Tour last Thursday.

Sponsored in part by the House of Blues, the traveling festival has become the premier annual hip-hop concert, featuring such names in the past as A Tribe Called Quest, The Roots and the Brand New Heavies.

By 7:15 p.m., an eager, diverse fan population gathered outside the Universal Amphitheater, eager to see some of hip-hop’s biggest names: Gang Starr, Busta Rhymes, Wyclef Jean, Cypress Hill and Public Enemy, among others.

Newcomer and local group Black Eyed Peas opened the show with its festive live-rap performance, displaying one of the reasons why it has attracted a strong following as of late. Serving as an ideal opening act, Black Eyed Peas got the crowd hyped up early, leaving the audience very satisfied.

Soon afterward, R&B songstress-in-the-making and "special guest" Mya came on stage, singing the chorus to her hit song "Ghetto Superstar." An energetic performance, Mya’s set was well received by the crowd, especially the well-choreographed dance sequences.

The audience was full of anticipation by the time Gang Starr took the stage. Making some of the best hip-hop for about 10 years, the group only recently achieved mainstream attention when their fifth album, "Moment of Truth," went gold (500,000 or more copies sold). Consisting of Guru and the world-renowned DJ Premier, Gang Starr was one of the acts people really came to see.

Before Guru took the stage, DJ Premier treated the audience to a turn-table-tuning performance, one of the most beautiful sounds in all of hip-hop.

After performing the songs "Manifest" and "Code of the Streets," the group went into songs from "Moment of Truth," starting with "Work" and the smooth "Royalty." Freddie Foxx took the stage for his much acclaimed verse in the song, "The Militia." The crowd reacted wildly as they were sprayed with a 3-foot water gun. Ending their show with "You Know My Steez", Gang Starr offered one of the nights best and easily most consistent performances.

Busta Rhymes, formerly of New York’s rap group Leaders of the New School, took the stage next and delivered one of his trademark hyperactive performances. Joined by his group Flipmode Squad, Busta performed the hit "Dangerous" and the party cut "Put Your Hands Where My Eyes Can See." Maintaining a consistent, high-octane show for about 30 minutes, Busta left the worn-out crowd to Wyclef and Canibus.

It took Wyclef no time at all to get the crowd re-energized with his onstage antics and ad-libbed renditions of songs such as "Stand By Me." The captivated crowd reacted with approval as Wyclef performed hits like "Gone ‘Til November" and "We Are Just Tryin’ To Stay Alive."

Much to the audience’s astonishment, Canibus took the stage with a real lion at his side, and performed "Second Round K.O.," a stinging response to LL Cool J’s song "4,3,2,1." The crowd egged Canibus on as he lyrically slaughtered LL Cool J (the antagonist of the two rappers’ feud) to an eerie, monotonous beat.

The only drawback to Wyclef’s performance was its lack of consistency. At times, as soon as the audience recognized what Wyclef was performing, he would abruptly stop at mid-song, despite overwhelming crowd approval.

By the time Smokin’ Grooves veteran Cypress Hill took the stage, the atmosphere had gradually shifted to coincide with the group’s dark melodies. B-Real joined Sen Dog, who had taken a hiatus but never seemed to have left the group, as the two rappers exhibited the old Cypress Hill chemistry that made their first two albums a success. Adding to the dark ambiance with his hypnotic scratches, DJ Muggs was accompanied by percussionist Bobo, who relentlessly thumped on the congo drums whenever called for.

Cypress Hill later shifted the mood by playing some of their "happier" songs, mainly the ones that deal with marijuana and its effect on the human condition. The crowd chimed in on songs like "Hits From The Bong," and was on their feet, seemingly inebriated with Cypress Hill’s rhythm. The group put together one of the best performances of the night, giving their core audience what they had came to see as well as exciting the rest of the crowd.

The headliners of the show, Public Enemy, needed no introduction. The audience’s reaction, however, was lukewarm at best. Playing in Los Angeles for the first time in four years, Public Enemy performed all the songs which made them rap legends, such as "Fight the Power," "Can’t Truss It" and the more recent "He Got Game," among others. Flavor Flav was up to his old antics, entering the stage on an orange bicycle which matched his signature, outrageous outfit. At one point, he had the stage all to himself and performed "911 Is A Joke." Although Public Enemy delivered an enthusiastic performance reminiscent of the group in its prime, the crowd never immersed itself in the show, a disturbing observation considering Public Enemy is one of the most important groups in the history of hip-hop.

Smokin’ Grooves ’98 proved to be a success, without a single disappointing performance. All of the artists who participated put forth great efforts, with Wyclef and Cypress Hill gaining the highest fan approval for their performances. In the end, Chuck D summed the night up best when he stated that "the old school, new school and the next school" were all represented at this year’s concert. Photos by DERRICK KUDO/Daily Bruin

Busta Rhymes brought in the noise with his energetic set at the Smokin’ Grooves tour.

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SMOKIN’ GROOVES HEATS UP MEADOWS

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That’s what makes Smokin’ Grooves so special. The House of Blues-sponsored package tour has, in its past two years, mixed R&B; with rap. In the 1998 version, which played at the Meadows Music Theatre Saturday, it’s all rappers — including many of the best around.

The classic group Public Enemy, on the road for the first time in five years with its original crew (including the once deposed Professor Griff), headlined. Cypress Hill, back for its third Smokin’ Grooves tour and a veteran of several other package tours in the past, including Lollapalooza, had its own strong show at the end of the five-hour, six-act show.

The hit of the current tour, though, must be the freewheeling Wyclef Jean and his Refugee Allstars, which on Saturday included his fellow hitmakers Pras and John Forte, hard-hitting new rapper Canibus and even a real lion, the most eye-popping prop for any package concert tour.

Jean, who as a member of Fugees, played the first Smokin’ Grooves tour, showed his versatility and ability to create a party by shifting gears as the mood stuck him Saturday, with a three-piece band and deejay. He entered the stage under the guise of a bootleg cameraman and set the physical standard for the show by doing five consecutive backflips. He played a little rock ‘n’ roll guitar (with his teeth) before going into his hit “Gone Til November,” which he felt he never got right in any of the versions he tried. So out came Canibus, who made an impression in ending the set, not only by being accompanied by the lion, but by doing his controversial lashing of rapper L.L. Cool J, “Second Round Knockout.”

He wasn’t the only guest hitmaker in the Wyclef set. Pras, who is also a member of the Fugees, can boast his own hit with “Ghetto Superstar” from the movie “Bulworth.” Unfortunately, another singer on the song, Mya, who was originally scheduled to appear, did not.

MTV was on hand to tape the proceedings for a special it’s running next week and added some excitement as performers played to cameras on stage as VJ Bill Bellamy kept popping up in the audience.

It was Busta Rhymes, in his second Hartford show in two months, who really got the crowd going with a high-energy set that still included his needless pants-dropping routine.

The few earlygoers got to see promising newcomers Black-Eyed Peas and the old school Gang Starr collective, which boasted its own guest star in M.O.P.

Cypress Hill came with its huge blow-up props and marijuana decriminalization agenda. On a tour named Smokin’ Grooves, their set was like Cheech and Chong to a backbeat, with B-Real’s distinctive nasally whine getting old quickly.

Public Enemy showed a lot of sheer energy on stage as well, though its set seemed to sloppily skip through its roster of groundbreaking hip-hop, from “Bring the Noise” and “Fight the Power” to strong cuts from the latest “He Got Game” soundtrack, the title song of which provided a closing all-star rap-along.

Perhaps because it’s easier for its deejay, Terminator X, Public Enemy raps along to its own records, so you can hear two Chuck D voices, sometimes out of sync. Flavor Flav, out to promote an upcoming solo disc, in his day-glow costume, sometimes seemed to just mouth along to the pre-recorded track.

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`Smokin' Grooves' Needed A Dance Floor

------------------------------- Concert review

"Smokin' Grooves Tour '98" with Public Enemy, Cypress Hill, Wyclef Jean & the Refugee All-Stars, Canibus, Gang Starr and Black Eyed Peas, Tuesday at KeyArena, Seattle. -------------------------------

Memo to "Smokin' Grooves": If you're going to put on a five-hour show of hip-hop dance music, ya gotta have a dance floor!

All those seats on the floor of KeyArena just got in the way of fans who wanted to move to the intense, almost nonstop rhythms. Of course, people found a way to shake it in their own confined little space, but the show would have been a lot more fun if there had been room for everybody to really express themselves.

Just last month, the Beastie Boys showed how to do it right with their in-the-round KeyArena show, with no seats on the floor. That hip-hop show turned into a dance frenzy that was loads of fun.

"Smokin' Grooves" was aptly named. The first thing you noticed coming in to the arena was the strong odor of pot smoke. Several of the acts urged concert-goers to light up, and many in the crowd did. During Cypress Hill's funny, entertaining set, the band urged fans to throw marijuana joints onto the stage. They lit some up and packed others into a giant bong, which they smoked onstage.

How many times were variations of the f-word used in the show? Only about a million. It's hard to believe swear words still get a rise out of young audiences, but they do.

So does the old "you're the best audience on the tour" line. Several of the acts used it, and the crowd - less than a third capacity - fell for it.

The evening lost some of its zip when it was announced that Busta Rhymes, one of the wildest, most entertaining figures in hip-hop, had to cancel. He supposedly will be bringing his own tour here later this year.

Headliners Public Enemy, the greatest force in hip-hop a decade ago, brought a lot of flash and energy to the stage, but seemed to be going through the motions. It was a mechanical, 45-minute "greatest hits" set, reprising such familiar raps as "Don't Believe the Hype," "911 Is a Joke" and "Fight the Power." Chuck D's bullhorn voice was intact, and he never stopped moving. Thankfully, he didn't lecture much, although he did trot out his old, mean-spirited (and wrong-headed) attacks on Elvis Presley and John Wayne. And, of course, he had something to say about Bill Clinton: "I woulda lied."

Wyclef Jean was a contrast to the other dance-oriented acts, with more melodic, socially concerned material, emphasizing spiritualism, racial harmony and unity.

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Smokin’ Grooves

This year's edition of the Smokin' Grooves Tour (the first since 1998) makes clear that the more entrepreneurial of hip-hop musicians have taken the relationship further, organizing their acts along the lines of pro teams.

By Steven Mirkin

Steven Mirkin

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Hip-hop has the strongest ties to professional sports of just about any style of music — all-stars such as Shaq and Allen Iverson have cut rap albums, and rappers often appear in the uniform shirts of their favorite players and boast about their prowess on the playground. This year’s edition of the Smokin’ Grooves Tour (the first since 1998) makes clear that the more entrepreneurial of hip-hop musicians have taken the relationship further, organizing their acts along the lines of pro teams.

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These days, being a fan of a hip-hop act feels like rooting for a team, and by extension, an entire town. The headliners at Universal Amphitheater — Outkast, the Roots and Jurassic 5 — represent Atlanta, Philadelphia and Los Angeles, respectively (if the lineup had included Nelly and his cadre of St. Lunatics, all three divisions of National League baseball would have been present). In the case of Outkast and the Roots, they used the occasion to introduce proteges or associates called up from the minors, hoping the rookies have what it takes to make it in “the show.”

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Jurassic 5 had the home field advantage and was the most enthusiastically received act on the bill. The youngest of the three headliners, it was both the freshest and the most classic of the acts, as well as the most musical — even though there were no traditional instruments onstage. With four rappers (their voices arrayed as in a choir) either chanting in unison or working in dazzling counterpoint, they pledge their allegiance to the turntable; an oversized, silvery Technics deck forms the centerpiece of their set; they enter and exit the stage through the platter. DJs Cut Chemist and Nu-Mark make their work behind the wheels viscerally exciting, with Chemist at one point strapping on a turntable as he would a guitar and stepping out front for a solo.

If Jurassic 5 made turntables sound like a band, the musicians in the Roots, when they were cooking, took their cues from the turntablists. Anchored by Ahmir “?uestlove” Thompson, the band plays short circular vamps. With choked guitars and staccato keyboards, the sound draws from the Philly soul of Gamble and Huff, only played with a hip-hop sense of space.

The deep grooves, with their implied notes, give the rappers plenty of room to maneuver, but previewing songs from the Roots’ upcoming album “Phrenology” (Okay Player/MCA), lead rapper Black Thought seemed restrained. He was overshadowed by their guests, including Cody Chestnutt’s Curtis Mayfield-styled turn and a show-stopping barn burner of a performance from Jaguar Wright, who brought the audience to its feet with her gospel passion.

Restrained is not a word you would associate with Outkast’s Big Boi and Dre.

Charismatic and, in Dre’s case, sexually charged, they combine the loopiness and bouncy rhythms of George Clinton’s P-Funk with hip-hop sinew. Constantly moving, with three energetic backing vocalists and a crew of dancers in workout suits, Dre and Big Boi never paused to take a breath. But touring in support of a greatest-hits collection, “Big Boi & Dre Present” (LaFace/Arista), the show is basically a smaller-scale retread of last year’s “Stankonia” tour, with a circus theme replacing the sci-fi elements.

Only the whiplash speed of the techno-inspired “Land of a Million Drums,” from the soundtrack to “Scooby-Doo,” with Killer Mike and opening act Cee-Lo Green joining in, gave some idea of Outkast’s next step.

Cee-Lo, with a voice that sounds like he gargles with broken glass that’s been marinated in battery acid, gamely played an energetic set to a small, inattentive crowd. Truth Hurts, whose debut album “Truthfully Speaking” was released on Dr. Dre’s Aftermath label, has a fine voice and spunky stage presence, but her material is undistinguished and didn’t make much of an impression until Rakim joined her for the hit single “Addictive.”

Universal Amphitheater; 6,250 seats; $70 top

• Production: Presented by House of Blues Concerts and MTV2. Reviewed July 19, 2002.
• Cast: Bands: Outkast, the Roots, Jurassic 5, Truth Hurts, Cee-Lo.

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Novokuznetsk

Demographics, city administration, administrative and municipal status, administrative bodies, transportation, twin towns and sister cities, notable people, external links.

It was previously known as Kuznetsk until 1931, and as Stalinsk until 1961.

Founded in 1618 by men from Tomsk as a Cossack ostrog (fort) on the Tom River , it was initially called Kuznetsky ostrog ( Кузне́цкий острог ). [2] It became the seat of Kuznetsky Uyezd in 1622. [3] Kuznetsk ( Кузне́цк ) was granted town status in 1689. [3] It was here that Fyodor Dostoevsky married his first wife, Maria Isayeva in 1857. [13] Joseph Stalin 's rapid industrialization of the Soviet Union transformed the sleepy town into a major coal mining and industrial center in the 1930s. It merged with Sad Gorod in 1931. From 1931 to 1932, the city was known as Novokuznetsk and between 1932 and 1961 as Stalinsk ( Ста́линск ), after Stalin. As a result of de-Stalinization , it was renamed back to Novokuznetsk .

As of the 2021 Census , the ethnic composition of Novokuznetsk was: [14]

Within the framework of administrative divisions , Novokuznetsk serves as the administrative center of Novokuznetsky District , even though it is not a part of it. [1] As an administrative division, it is incorporated separately as the Novokuznetsk City Under Oblast Jurisdiction —an administrative unit with the status equal to that of the districts . [15] As a municipal division , Novokuznetsk City Under Oblast Jurisdiction is incorporated as the Novokuznetsky Urban Okrug . [15] [16]

The city consists of six non-municipal intra-city districts : [16]

On 7 December 2009, by a resolution of the Novokuznetsk City Council of People's Deputies, a new version of the City Charter was approved, [16] according to which the authorities consist of:

• Novokuznetsk City Council of People's Deputies (representative authority),
• Mayors of the city of Novokuznetsk,
• Administration of the City of Novokuznetsk (executive and administrative authority),
• City Control Committee (permanent body of financial control),
• Judicial institutions: district courts, courts of general jurisdiction, the Russian Agency for Legal and Judicial Information, the permanent judicial presence of the Kemerovo Oblast Court, judicial divisions of magistrates, and others. [18]

The Novokuznetsk City Council of People's Deputies is a representative body of power and consists of 18 deputies elected in 18 single-mandate constituencies and 18 deputies elected on party lists. The term of office of deputies is five years.

In September 2021, elections were held for the Council of People's Deputies, following which the seats in the council were distributed as follows: 27 - United Russia , 2 - Liberal Democratic Party , 2 - A Just Russia , 2 - Communist Party . The representative of United Russia, Alexandra Shelkovnikova, was elected chairman.

The Youth Parliament of the city operates under the City Council of People's Deputies. [19]

A whole network of bodies of territorial public self-government has been created in Novokuznetsk; [20] in total, 60 of them have been created in the city: in the Zavodskoy District - 7, Kuznetsky - 6, Kuibyshevsky - 13, [21] [22] [23] Novoilyinsky - 6, Ordzhonikidzevsky - 9, Central - 16.

• Siberian State Industrial University
• Novokuznetsk branch of Kemerovo State University
• State Institute for Physicians Postgraduate Training (also known as Novokuznetsk Postgraduate Physician Institute), Russian Ministry of Health
• Novokuznetsk Scientific Center of Medicosocial Expert Evaluation and Rehabilitation of Invalids, Federal Agency for Public Health and Social welfare
• Institute of General Problems of Hygiene and Occupational Diseases, Russian Academy of Medical Sciences
• Kuzbass institute Federal Penitentiary Service

Novokuznetsk is a heavily industrial city and is located in the heart of the Kuzbass region . Factories in the city include:

• West-Siberian Metal Plant
• Novokuznetsk Iron and Steel Plant
• Kuznetsk Ferroalloys   [ ru ]
• Novokuznetsk aluminium factory   [ ru ]

Metallurg Novokuznetsk is an ice hockey team based in Novokuznetsk. Formerly a member of the Kontinental Hockey League , the team is currently a member of the Supreme Hockey League . The football team of the same name was recently promoted to the Russian first division below the premier.

RC Novokuznetsk compete in the Professional Rugby League , the highest division of rugby union in Russia.

Florida Panthers goaltender Sergei Bobrovsky , Carolina Hurricanes defenseman Dmitry Orlov and Minnesota Wild winger Kirill Kaprizov were all born in Novokuznetsk and began their pro careers with Metallurg Novokuznetsk.

Novokuznetsk is also the birthplace of US chess Grandmaster Gata Kamsky .

The main airport is the Spichenkovo Airport . The city is also a major railway junction with both local and long-distance trains. Local public transport is provided by trams , buses, and trolleybuses.

Novokuznetsk has a fairly typical southwest Siberian humid continental climate ( Köppen climate classification : Dfb ) with warm summers during which most of the precipitation occurs, and severe, generally dry winters. Snowfall is very frequent during the winter, but its water content is generally very low due to the cold temperatures.

Novokuznetsk is twinned with:

• Sergei Abramov , ice hockey player
• Sergei Bobrovsky (born 1988), ice hockey player
• Margarita Chernousova (born 1996), a sport shooter
• Maksim Chevelev (born 1990), professional football player
• Evgeny Chigishev (born 1979), a former weightlifter and Olympic silver medalist
• Andrey Dementyev (born 1970), a former professional football player
• Kirill Kaprizov (born 1997), ice hockey player
• Maxim Kitsyn (born 1991), a professional ice hockey player
• Ana Kriégel , Russian-born Irish murder victim
• Anna Litvinova (1983–2013), a fashion model and beauty pageant title holder
• Aleksandr Melikhov (born 1998), a professional football player
• Kostyantyn Milyayev (born 1987), a Ukrainian Olympic platform diver
• Vadim Mitryakov (born 1991), a professional ice hockey player
• Nikita Morgunov (born 1975), a former professional basketball player
• Albert Nasibulin (born 1972), a material scientist
• Dmitry Orlov (born 1991), ice hockey player
• Maksim Pichugin (born 1974), a Winter Olympic cross-country skier
• Anton Rekhtin (born 1989), a professional ice hockey player
• Artyom Sapozhkov (born 1990), a former professional football player
• Stanislav Sel'skiy (born 1991), a rugby union player
• Denis Simplikevich (born 1991), a rugby union player
• Kirill Skachkov (born 1987), an Olympic table tennis player
• Denis Stasyuk (born 1985), ice hockey player
• Daniil Tarasov (born 1999), ice hockey player
• Ivan Telegin (born 1992), ice hockey player and Winter Olympic gold medalist
• Arkady Vainshtein (born 1942), a Russian-American theoretical physicist
• Vladimir Vilisov (born 1976), a Winter Olympic cross-country skier
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Prokopyevsk is a city in Kemerovo Oblast, Russia. Population: 210,130 (2010 Russian census) ; 224,597 (2002 Census) ; 273,838 (1989 Soviet census) .

Osinniki , known until 1938 as Osinovka , is a town in Kemerovo Oblast, Russia. Population: 46,001 (2010 Russian census) ; 51,057 (2002 Census) ; 62,687 (1989 Soviet census) .

Mariinsk is a town in Kemerovo Oblast, Russia, where the Trans-Siberian Railway crosses the Kiya River, 180 kilometers (110 mi) northeast of Kemerovo, the administrative center of the oblast. Population: 40,526 (2010 Russian census) ; 42,977 (2002 Census) ; 40,956 (1989 Soviet census) ; 39,700 (1972).

Anzhero-Sudzhensk is a town in the Kuznetsk Basin in Kemerovo Oblast, Russia, located to the north of the oblast's administrative center of Kemerovo and to the east of the Tom River, on the route of the Trans-Siberian Railway. Population: 76,646 (2010 Russian census) ; 86,480 (2002 Census) ; 107,951 (1989 Soviet census) .

Leninsk-Kuznetsky , known as Kolchugino until 1925, is a city in Kemerovo Oblast, Russia, located on both banks of the Inya River. Population: 101,666 (2010 Russian census) ; 112,253 (2002 Census) ; 165,487 (1989 Soviet census) ; 128,000 (1972); 83,000 (1939); 20,000 (1926).

Guryevsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Guryevsky Municipal District . It is located in the west of the oblast and borders with Prokopyevsky, Belovsky, and Leninsk-Kuznetsky Districts of Kemerovo Oblast and with Altai Krai and Novosibirsk Oblast in the west. The area of the district is 2,180 square kilometers (840 sq mi). Its administrative center is the town of Guryevsk. Population: 10,617 (2010 Russian census) ; 12,057 ; 20,816 (1989 Soviet census) .

Yurga is a town in Kemerovo Oblast, Russia, located on the Tom River and the Trans-Siberian Railway. Population: 81,533 (2010 Russian census) ; 85,555 (2002 Census) ; 93,202 (1989 Soviet census) .

Tashtagol is a town in Kemerovo Oblast, Russia, located on the Kondoma River 511 kilometers (318 mi) south of Kemerovo, the administrative center of the oblast.

Topki is a town in Kemerovo Oblast, Russia, located 38 kilometers (24 mi) west of Kemerovo, the administrative center of the oblast. Population: 28,641 (2010 Russian census) ; 31,004 (2002 Census) ; 33,574 (1989 Soviet census) .

Beryozovsky is a town in Kemerovo Oblast, Russia, located between the Barzas and Shurap Rivers, 27 kilometers (17 mi) north of Kemerovo, the administrative center of the oblast. Population: 47,279 (2010 Russian census) ; 48,299 (2002 Census) ; 51,250 (1989 Soviet census) .

Belovsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Belovsky Municipal District . It is located in the center of the oblast. The area of the district is 3,400 square kilometers (1,300 sq mi). Its administrative center is the rural locality of Vishnevka. Population: 30,204 (2010 Russian census) ; 33,382 ; 25,815 (1989 Soviet census) .

Chebulinsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Chebulinsky Municipal District . It is located in the north of the oblast. The area of the district is 3,780 square kilometers (1,460 sq mi). Its administrative center is the urban locality of Verkh-Chebula. Population: 16,348 (2010 Russian census) ; 17,971 ; 17,723 (1989 Soviet census) . The population of Verkh-Chebula accounts for 31.0% of the district's total population.

Leninsk-Kuznetsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Leninsk-Kuznetsky Municipal District . It is located in the west of the oblast. The area of the district is 2,356 square kilometers (910 sq mi). Its administrative center is the city of Leninsk-Kuznetsky. Population: 23,760 (2010 Russian census) ; 27,825 ; 29,752 (1989 Soviet census) .

Novokuznetsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Novokuznetsky Municipal District . It is located in the center of the oblast and spans it from border to border in the southwest-northeast direction. The area of the district is 13,039.5989 square kilometers (5,034.6173 sq mi). Its administrative center is the city of Novokuznetsk. As of the 2010 Census, the total population of the district was 50,681.

Prokopyevsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Prokopyevsky Municipal District . It is located in the center of the oblast. The area of the district is 3,450 square kilometers (1,330 sq mi). Its administrative center is the city of Prokopyevsk. Population: 31,442 (2010 Russian census) ; 33,705 ; 35,657 (1989 Soviet census) .

Promyshlennovsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Promyshlennovsky Municipal District . It is located in the west of the oblast. The area of the district is 3,083 square kilometers (1,190 sq mi). Its administrative center is the urban locality of Promyshlennaya. Population: 50,106 (2010 Russian census) ; 50,125 ; 47,150 (1989 Soviet census) . The population of Promyshlennaya accounts for 36.0% of the district's total population.

Topkinsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Topkinsky Municipal District . It is located in the northwest of the oblast. The area of the district is 2,774 square kilometers (1,071 sq mi). Its administrative center is the town of Topki. Population: 16,246 (2010 Russian census) ; 18,077 ; 19,018 (1989 Soviet census) .

Tyazhinsky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Tyazhinsky Municipal District . It is located in the northeast of the oblast. The area of the district is 3,531 square kilometers (1,363 sq mi). Its administrative center is the urban locality of Tyazhinsky. Population: 25,597 (2010 Russian census) ; 32,782 ; 32,574 (1989 Soviet census) . The population of the administrative center accounts for 43.4% of the district's total population.

Yaysky District is an administrative district (raion), one of the nineteen in Kemerovo Oblast, Russia. As a municipal division, it is incorporated as Yaysky Municipal District . It is located in the north of the oblast. The area of the district is 2,669 square kilometers (1,031 sq mi). Its administrative center is the urban locality of Yaya. Population: 20,383 (2010 Russian census) ; 24,982 ; 26,759 (1989 Soviet census) . The population of Yaya accounts for 57.3% of the district's total population.

Krasnobrodsky is an urban locality in Kemerovo Oblast, Russia. Population: 11,919 (2010 Russian census) ; 11,859 (2002 Census) ; 12,663 (1989 Soviet census) .

• 1 2 3 4 5 6 Law #215-OZ
• 1 2 3 "Review of City History" . Official site of Novokuznetsk municipal administration (in Russian). admnkz.ru. Archived from the original on March 28, 2017 . Retrieved October 5, 2012 .
• ↑ http://www.kem.kp.ru/daily/26136.7/3026076/Сергей%5B%5D Кузнецов вступает в должность главы Новокузнецка
• ↑ Russian Federal State Statistics Service (2011). Всероссийская перепись населения 2010 года. Том   1 [ 2010 All-Russian Population Census, vol.   1 ] . Всероссийская перепись населения 2010   года [2010 All-Russia Population Census] (in Russian). Federal State Statistics Service .
• 1 2 3 Law #104-OZ
• ↑ "Об исчислении времени" . Официальный интернет-портал правовой информации (in Russian). June 3, 2011 . Retrieved January 19, 2019 .
• ↑ Почта России. Информационно-вычислительный центр ОАСУ РПО. ( Russian Post ). Поиск объектов почтовой связи ( Postal Objects Search ) (in Russian)
• ↑ Russian Federal State Statistics Service. Всероссийская перепись населения 2020 года. Том 1 [ 2020 All-Russian Population Census, vol. 1 ] (XLS) (in Russian). Federal State Statistics Service .
• ↑ Federal State Statistics Service (May 21, 2004). Численность населения России, субъектов Российской Федерации в составе федеральных округов, районов, городских поселений, сельских населённых пунктов   – районных центров и сельских населённых пунктов с населением 3   тысячи и более человек [ Population of Russia, Its Federal Districts, Federal Subjects, Districts, Urban Localities, Rural Localities—Administrative Centers, and Rural Localities with Population of Over 3,000 ] (XLS) . Всероссийская перепись населения 2002   года [All-Russia Population Census of 2002] (in Russian).
• ↑ Всесоюзная перепись населения 1989   г. Численность наличного населения союзных и автономных республик, автономных областей и округов, краёв, областей, районов, городских поселений и сёл-райцентров [ All Union Population Census of 1989: Present Population of Union and Autonomous Republics, Autonomous Oblasts and Okrugs, Krais, Oblasts, Districts, Urban Settlements, and Villages Serving as District Administrative Centers ] . Всесоюзная перепись населения 1989   года [All-Union Population Census of 1989] (in Russian). Институт демографии Национального исследовательского университета: Высшая школа экономики [Institute of Demography at the National Research University: Higher School of Economics]. 1989 – via Demoscope Weekly .
• ↑ "F. M. Dostoevsky Literary-Memorial Museum in Novokuznetsk" . Fyodor Dostoevsky Literary Memorial Museum. Archived from the original on March 3, 2016 . Retrieved October 17, 2012 .
• ↑ "Территориальный орган Федеральной службы государственной статистики по Кемеровской области - Кузбассу" . Retrieved May 24, 2023 .
• 1 2 "ОБ АДМИНИСТРАТИВНО-ТЕРРИТОРИАЛЬНОМ УСТРОЙСТВЕ КЕМЕРОВСКОЙ ОБЛАСТИ (с изменениями на: 29.03.2017), Закон Кемеровской области от 27 декабря 2007 года №215-ОЗ" [ ON THE ADMINISTRATIVE AND TERRITORIAL STRUCTURE OF THE KEMEROV OBLAST (as amended on: 29/03/2017), Law of the Kemerovo Oblast dated 27 December 2007 No. 215-OZ ] (in Russian). docs.cntd.ru. Archived from the original on June 24, 2019 . Retrieved August 1, 2019 .
• 1 2 3 "Устав города Новокузнецка" [ Charter of the city of Novokuznetsk ] (in Russian). Official website of the administration of Novokuznetsk (admnkz.ru). Archived from the original on October 17, 2012 . Retrieved January 4, 2013 .
• ↑ "О внесении изменений и дополнений в Устав Новокузнецкого городского округа" [ About modification and additions in the Charter of the Novokuznetsk city district ] . gigabaza.ru/ (in Russian). April 29, 2016. Archived from the original on August 1, 2019 . Retrieved August 1, 2019 .
• ↑ "Cправочник организаций Новокузнецка" [ Directory of Novokuznetsk organizations ] . novokuznetsk.jsprav.ru (in Russian). Archived from the original on August 1, 2019 . Retrieved August 1, 2019 .
• ↑ "Молодёжный парламент города Новокузнецка — общая информация" [ Youth Parliament of the city of Novokuznetsk - general information ] (in Russian). newparlament.ru. Archived from the original on July 13, 2013 . Retrieved July 13, 2013 .
• ↑ "Избранные депутаты и глава получили от населения лишь часть полномочий" [ Elected deputies and the head received only part of the powers from the population ] (in Russian). i2n.ru. October 25, 2010. Archived from the original on July 13, 2014 . Retrieved January 4, 2013 .
• ↑ Kuznetsky Rabochy , 2008, № 148
• ↑ Kuznetsky Rabochy , 2009, № 16
• ↑ Kuznetsky Rabochy , 2009, № 59
• ↑ Климат Новокузнецка (in Russian). Погода и климат. Archived from the original on January 6, 2019 . Retrieved November 5, 2021 .
• Совет народных депутатов Кемеровской области.   Закон   №215-ОЗ   от   27 декабря 2007 г. «Об административно-территориальном устройстве Кемеровской области», в ред. Закона №131-ОЗ от   22 декабря 2014 г.   «О внесении изменений в Закон Кемеровской области "О статусе и границах муниципальных образований" и Закон Кемеровской области "Об административно-территориальном устройстве Кемеровской области"». Вступил в силу   в день, следующий за днём официального опубликования. Опубликован: "Кузбасс", №243, 28 декабря 2007 г. (Council of People's Deputies of Kemerovo Oblast.   Law   # 215-OZ   of   December   27, 2007 On the Administrative-Territorial Structure of Kemerovo Oblast , as amended by the Law   # 131-OZ of   December   22, 2014 On Amending the Law of Kemerovo Oblast "On the Status and the Borders of the Municipal Formations" and the Law of Kemerovo Oblast "On the Administrative-Territorial Structure of Kemerovo Oblast" . Effective as of   the day following the official publication date.).
• Совет народных депутатов Кемеровской области.   Закон   №104-ОЗ   от   17 декабря 2004 г. «О статусе и границах муниципальных образований», в ред. Закона №123-ОЗ от   22 декабря 2015 г.   «О внесении изменений в Закон Кемеровской области "О статусе и границах муниципальных образований"». Вступил в силу   со дня официального опубликования. Опубликован: "Кузбасс", №242, 24 декабря 2004 г. (Council of People's Deputies of Chelyabinsk Oblast.   Law   # 104-OZ   of   December   17, 2004 On the Status and the Borders of the Municipal Formations , as amended by the Law   # 123-OZ of   December   22, 2015 On Amending the Law of Kemerovo Oblast "On the Status and the Borders of the Municipal Formations" . Effective as of   the official publication date.).

• (in Russian) Official website of Novokuznetsk
• Siberian State Industrial University (SIBSIU)
• (in Russian) Life in Novokuznetsk
• (in Russian) Informational website of Novokuznetsk