For many urban blacks, the election of Barack Obama as President of the United States signified the epitome of crossover achievement. The infusion of culturally inclusive African-American style into mainstream popular culture feels like the harbinger of a brand new time. You remember this era’s precedent, a moment best defined by German producer Harold Faltermeyer’s handling of a minor key synth progression making Eddie Murphy into an iconic film legend. Add in some body rolling and questionable fashion choices from 30 years ago? The spotlights of the past meet the floodlights of the present here. Axel F is not just a showcase of music, but possibly one of America’s most ultimate showcases of the universal crossover potential of African-American excellence.
Ex-Washington Post journalist and now full-time deejay Rhome “DJ Stylus” Anderson refers to the party as “a mix of ‘lazer boogie,’ ‘Jheri curl funk’ and ‘champagne soul.’” It’s a celebration of the storm of post-disco crossover R & B, Detroit techno and the Minneapolis sound’s early 80s takeover. Kevin Saunderson, Juan Atkins and Derrick May’s down tempo electro funk was a staple of so many pop radio crossover hits of the era. Furthermore, you can’t tell the story of the 80s without Teena Marie, Prince, Morris Day, Jimmy Jam or Terry Lewis. Stylus continues, “I was hanging out one day with (fellow Axel F resident deejays) Jahsonic and Adrian Loving, and we realized that there were so many classic R & B jams that nobody really played out anymore. We wanted to change that, and for the past year I think we have.”