7's Corner. ("where Subterranean meets Top-40")
- Thread starter 7 Syns
- Start date
Artist: Jeru the Damaja
Source: http://www.sohh.com/thecore/read.php?contentID=7142&highlight=jeru
While prepping his 5th solo LP, Jeru The Damaja took time to chat with SOHH.com. In this exclusive interview, Jeru "comes clean" about touring, fickle-minded fans and Gangstarr.
While Jeru has seemingly disappeared from the mainstream eye, the Brooklyn lyricist has kept his name alive by consistently touring across the U.S. and overseas. The Damaja, who claims he performs roughly 100 shows per year, says overseas heads appreciate authentic Hip-Hop more than U.S. fans.
"I've been touring out there [overseas] for the last 14 years, 13 years. The crowds overseas are not as fickle as the people in the U.S. The people in the U.S., they always trying to keep up with what's going on. It's whatever the flavor of the day is. Out there, a person that's your fan, they're your fan for life," Jeru told SOHH.com. "So I'll go do shows this year, it'll be people that came to my first show 13 years ago with their little brother now. They're 30, they're little brother is 15 or 18 or something like that. It's a loyalty factor. They really wanna know what Hip-Hop is about. They believe what they read. So anything that's new is not a part of Hip-Hop culture to them. It's a fad and they wanna be down with the real culture."
With devoted subterranean fans still following him, Jeru is more than content. According to Ru, his last record, Devine Design has sold well over 100,000 units. With respectable numbers, the Damaja couldn't care less if the "106 & Park" generation doesn't acknowledge his contribution to Hip-Hop.
"They [kids] just don't know the history, but I can't really let that affect me in any way. When you get into this game you gotta know that it's a fickle game. When you hot, you hot and when you're not, you're not. If you let that affect you on any level besides just making your music, you'll be messed up," Jeru explained. "With me, it doesn't matter because eventually they'll know because I'm always gonna keep putting out records. As long as you keep putting out records, kids are gonna know who you are."
Jeru has been putting out records for over a decade now. Nine years removed from his last full-length collaboration with Gangstarr's DJ Premier, fans still wonder about the status of their relationship. Upon being asked if the two parties are still cool, Jeru replied, "Well right now, I don't think there is a Gangstarr right? --from what I'm hearing. But I mean, Premier is cool, Guru is cool. I think it's just… people get sh!t twisted. It be times in life where people have their own differences and opinions. Be it personal, be it musical, whatever. You're gonna just go your separate ways. It's not because you hate each other or because you have any animosity towards each other. There's no story there, everything is cool."
Besides the so-called beef, Jeru also thinks fans get his past records twisted. Though heads are still giving him props for his wordplay, the production of his last two releases has received lukewarm responses. But Ru insists that he always had a hand in producing his records, even the ones Primo crafted.
"What they don't realize is that Premier never just gave me a beat and say write a rhyme. We always sat down and decided what we wanted to do. If you listen to any record that me and Premier did, they don't sound like any other record that he produced," Jeru stated. "I read an interview once where it was like [reviewing] my Supa Human Klik album. They was like, we can definitely hear that Gangstarr Brooklyn influence on the record. But Gangstarr ain't from Brooklyn. You're hearing the Jeru Damaja Brooklyn influence. This is what it is. I'm from East New York."
Jeru The Damaja's 5th untitled solo album is scheduled to hit stores in January 2006.
---
peace.
Source: http://www.sohh.com/thecore/read.php?contentID=7142&highlight=jeru
While prepping his 5th solo LP, Jeru The Damaja took time to chat with SOHH.com. In this exclusive interview, Jeru "comes clean" about touring, fickle-minded fans and Gangstarr.
While Jeru has seemingly disappeared from the mainstream eye, the Brooklyn lyricist has kept his name alive by consistently touring across the U.S. and overseas. The Damaja, who claims he performs roughly 100 shows per year, says overseas heads appreciate authentic Hip-Hop more than U.S. fans.
"I've been touring out there [overseas] for the last 14 years, 13 years. The crowds overseas are not as fickle as the people in the U.S. The people in the U.S., they always trying to keep up with what's going on. It's whatever the flavor of the day is. Out there, a person that's your fan, they're your fan for life," Jeru told SOHH.com. "So I'll go do shows this year, it'll be people that came to my first show 13 years ago with their little brother now. They're 30, they're little brother is 15 or 18 or something like that. It's a loyalty factor. They really wanna know what Hip-Hop is about. They believe what they read. So anything that's new is not a part of Hip-Hop culture to them. It's a fad and they wanna be down with the real culture."
With devoted subterranean fans still following him, Jeru is more than content. According to Ru, his last record, Devine Design has sold well over 100,000 units. With respectable numbers, the Damaja couldn't care less if the "106 & Park" generation doesn't acknowledge his contribution to Hip-Hop.
"They [kids] just don't know the history, but I can't really let that affect me in any way. When you get into this game you gotta know that it's a fickle game. When you hot, you hot and when you're not, you're not. If you let that affect you on any level besides just making your music, you'll be messed up," Jeru explained. "With me, it doesn't matter because eventually they'll know because I'm always gonna keep putting out records. As long as you keep putting out records, kids are gonna know who you are."
Jeru has been putting out records for over a decade now. Nine years removed from his last full-length collaboration with Gangstarr's DJ Premier, fans still wonder about the status of their relationship. Upon being asked if the two parties are still cool, Jeru replied, "Well right now, I don't think there is a Gangstarr right? --from what I'm hearing. But I mean, Premier is cool, Guru is cool. I think it's just… people get sh!t twisted. It be times in life where people have their own differences and opinions. Be it personal, be it musical, whatever. You're gonna just go your separate ways. It's not because you hate each other or because you have any animosity towards each other. There's no story there, everything is cool."
Besides the so-called beef, Jeru also thinks fans get his past records twisted. Though heads are still giving him props for his wordplay, the production of his last two releases has received lukewarm responses. But Ru insists that he always had a hand in producing his records, even the ones Primo crafted.
"What they don't realize is that Premier never just gave me a beat and say write a rhyme. We always sat down and decided what we wanted to do. If you listen to any record that me and Premier did, they don't sound like any other record that he produced," Jeru stated. "I read an interview once where it was like [reviewing] my Supa Human Klik album. They was like, we can definitely hear that Gangstarr Brooklyn influence on the record. But Gangstarr ain't from Brooklyn. You're hearing the Jeru Damaja Brooklyn influence. This is what it is. I'm from East New York."
Jeru The Damaja's 5th untitled solo album is scheduled to hit stores in January 2006.
---
peace.
Artist: D.I.T.C. (EP news)
Source: http://www.ditc.cjb.net/
The D.I.T.C. featured documentary SBX is rumored to be blazing and while DITC HQ haven't checked out the movie yet we've heard some of it's soundtrack via the 6 track EP, currently only available in Japan via Sountable.co.jp and let us tell ya'll, it's hot! Non-japanese fans don't threat since it's (the EP) going to be released in the rest of the world real soon. In the meanwhile, check the trackslisting:
- Inspiration - A.G.
- Don't Know Me - D-Flow
- Everyday - Party Arty
- Ghetto Dwellas - G.D.
- Rematch - Lord Finesse & Percee P
- Rematch - Instrumental
- Little Big Man - A.G.
(All tracks produced by Paul Nice)
---
peace.
Source: http://www.ditc.cjb.net/
The D.I.T.C. featured documentary SBX is rumored to be blazing and while DITC HQ haven't checked out the movie yet we've heard some of it's soundtrack via the 6 track EP, currently only available in Japan via Sountable.co.jp and let us tell ya'll, it's hot! Non-japanese fans don't threat since it's (the EP) going to be released in the rest of the world real soon. In the meanwhile, check the trackslisting:
- Inspiration - A.G.
- Don't Know Me - D-Flow
- Everyday - Party Arty
- Ghetto Dwellas - G.D.
- Rematch - Lord Finesse & Percee P
- Rematch - Instrumental
- Little Big Man - A.G.
(All tracks produced by Paul Nice)
---
peace.
Artist: O.C. (Star Child & Rebel Music)
Source: http://www.thuglifearmy.com/news/?id=1460
There is a lot going on with the D.I.T.C. crew and first some news on the O.C. ‘Starchild’ album from Grit Records:
"Aighh. Here is some news we were not hoping to announce. It is official as of Friday that the O.C. ‘Starchild’ album is internally shelved due to sample clearance issues stemming from 4 tracks from the import album that were going to be included on the re-worked North American version.
O.C. has an album called Rebel Music being released on Heiro that was due to come out in few months after being set up by the U.S. version of ‘Starchild’. Unfortunately, this cannot happen as ‘Starchild’ will never see the light of day in the U.S. in its current state.
Given the inevitable cannibalization of both albums if ‘Starchild’ is released upon immediately clearing these songs, we have opted to shelve the album and rework from the ground up.
Due to this unfortunate set of events we have no choice but to pull the album and allow fans to enjoy Rebel Music and whet their appetite for the eventual re-configured version of ‘Starchild’. The versions that you see being sold online will serve as the very last incarnation of this album.
‘Starchild’ will be reborn with new material and reconstructed with new vocals and beats by Pete Rock. This will be an un-cut version that will be the album we wanted D.I.T.C fans to have featuring production from some authentic underground producers.
I am very disappointed to keep this project on ice even longer. Fans that want the "dope album 2005 never heard of" then head to places like Hiphopsite.com, ughh.com and undergroundhiphop.com. Thanks to all the fans that supported it and showed love” - Grit Records.
---
peace.
Source: http://www.thuglifearmy.com/news/?id=1460
There is a lot going on with the D.I.T.C. crew and first some news on the O.C. ‘Starchild’ album from Grit Records:
"Aighh. Here is some news we were not hoping to announce. It is official as of Friday that the O.C. ‘Starchild’ album is internally shelved due to sample clearance issues stemming from 4 tracks from the import album that were going to be included on the re-worked North American version.
O.C. has an album called Rebel Music being released on Heiro that was due to come out in few months after being set up by the U.S. version of ‘Starchild’. Unfortunately, this cannot happen as ‘Starchild’ will never see the light of day in the U.S. in its current state.
Given the inevitable cannibalization of both albums if ‘Starchild’ is released upon immediately clearing these songs, we have opted to shelve the album and rework from the ground up.
Due to this unfortunate set of events we have no choice but to pull the album and allow fans to enjoy Rebel Music and whet their appetite for the eventual re-configured version of ‘Starchild’. The versions that you see being sold online will serve as the very last incarnation of this album.
‘Starchild’ will be reborn with new material and reconstructed with new vocals and beats by Pete Rock. This will be an un-cut version that will be the album we wanted D.I.T.C fans to have featuring production from some authentic underground producers.
I am very disappointed to keep this project on ice even longer. Fans that want the "dope album 2005 never heard of" then head to places like Hiphopsite.com, ughh.com and undergroundhiphop.com. Thanks to all the fans that supported it and showed love” - Grit Records.
---
peace.
Artist: Kool G Rap (2004 interview)
Source: http://www.hiphop-elements.com/article/read/6/6068/1
T.JONES: "What goes on?"
KOOL G RAP: "Nothing much, keeping busy. That's all. I'm trying to keep busy. I'm doing small work in the studio and sh*t like that."
T.JONES: "Your new album is called 'Click Of Respect'. Tell us about it? Who's producing it? Who is in it?"
KOOL G RAP: "It's a compilation album from my label, Igloo Entertainment. It just happened to turn out to be more of a clique album than a compilation album. It's really a compilation album."
T.JONES: "Do you have a favorite song on the 'Click Of Respect' LP?"
KOOL G RAP: "Ah, man, I got a few. I like the title track. 'Click Of Respect' is dope. 'Pimped Out', 'Breaker Breaker'. 'Blackin Out' and 'Air You Out' along with 'Sick Wit It'."
T.JONES: "How and why did you get involved with Blaze The World Entertainment?"
KOOL G RAP: "We met through a mutual friend at the time. He wanted to do something with G Rap. That was the situation I gave him. I told him that I didn't want to do a Kool G Rap solo project but we could do a compilation album that consists of me and the artists on Igloo Entertainment."
T.JONES: "What is the difference between Click Of Respect and 5 Family?"
KOOL G RAP: "Click Of Respect is just a title of the album or song while 5 Family is the name of the group itself."
T.JONES: "Who is in the Click of Respect?"
KOOL G RAP: "Ma Barker is my wife. 40 Cal Hammerz is her brother. My man, Glory Warz is her cousin. It just came together from being around family."
T.JONES: "Ma Barker is your wife. How did you two meet? How long have you two been together?"
KOOL G RAP: "We've been together like 4 years now. We met through a mutual friend too. She was a female rapper coming up and I was looking for a female rapper. My manager at the time told me about her. I heard her on a tape with some other cat. She was rapping with someone else I knew, named Papoos. We were peoples. We met up and she played more of her stuff for me. I was blown away by her material."
T.JONES: "What is the key to a successful relationship when both of you are in the music industry?"
KOOL G RAP: "We are just real tight. It is not just a husband and wife relationship. We are best friends too. I think that is the key to a successful relationship. Both people have to be best friends too. It can't be just a man and a woman thing. It has to be more than that. We hang out together and everything. I'm not like, 'I'm gonna go hang out with my peoples'. She does not say sh*t like 'I'm going to hang out with my girls'. You know what I'm saying? We do everything together. I can do anything with her. Nobody's minds are wandering somewhere. That's the key to any kind of relationship."
T.JONES: "You have a newcomer producer called C.O.S. doing most of the production work on the new album. Who is he? How did you meet him and why did he do most of the work?"
KOOL G RAP: "C.O.S. and I met about 3 years ago. I was in Sony Studios recording 'The Giancana Story' for Rawkus Records and he was in there doing intern stuff. He gave Ma Barker a production CD. When we got home, we played it and we loved the tracks. That's how C.O.S. came on board and became one of our producers."
T.JONES: "As an emcee, who were some of your major influences?"
KOOL G RAP: "I'm from a whole other era, as far as being inspired by rappers. The cats that inspired G Rap are Melle Mel, Kool Moe Dee, Silver Fox, Grandmaster Caz. They are the dudes who inspired me when I was a young dude, just starting to rhyme, putting my sh*t together and wanting to get out there."
T.JONES: "You have been in the hip-hop world for a very long time. You are a legend. What would you say is the key to maintaining your career for so long?"
KOOL G RAP: "Keeping the love for it. If you keep the love for what you do, you stay competitive at it. I think being competitive can bring the best out of you. In my case, it brings the best out of me lyrically. It keeps G Rap going and a recognizable force."
T.JONES: "What is going on with DJ Polo?"
KOOL G RAP: "I haven't spoken to Polo in a long time. Me and Polo don't talk and all that. I haven't seen him for years. We're cool. There ain't any animosity or anything."
T.JONES: "How did you eventually get into the record industry and record the single 'It's A Demo'?"
KOOL G RAP: "A friend of mine, Eric B, came out with a real hot single called 'Eric B For President' with Rakim. I was cool with Eric B's brother. Since I was cool with his brother, I got to meet Eric. Then, me and Eric B became cool. Eric plugged me in with Polo, trying to put me on, because he thought I was a good rapper. Polo was tight with Marley Marl and brought me to Marley Marl's house. They used to go to high school together or something like that. We went to Marley Marl's house one night and recorded a song. It turned out to be our first single 'It's A Demo'."
T.JONES: "You have seen the hip-hop world change drastically. What is the major difference between then and now?"
KOOL G RAP: "I've seen it change drastically, man. Then, it was just about hip-hop music. It wasn't so political or geared towards a certain audience. There was not a specific direction to receive radio airplay or play from DJs. Hip-hop was not brand new but it was very new. It's uprising was new. People all over supported hip-hop because they loved it, period. Now you have cats who are not doing it because they love it. They are doing it because they see all of that other sh*t that comes along with being successful in the hip-hop industry, as far as the money and the materialistic stuff. They see the cars, the crib, the women, and the touring. To some degree, even earlier rappers did it for that too. A lot of the stuff people are getting now was not even conceivable to n*ggas back in the day. Clothing lines and movies? That kind of sh*t was not conceivable to a lot of cats who started this sh*t and laid the foundation for it."
T.JONES: "Do you go into the studio with pre-written rhymes and themes or do you hear the beat first and write then and there?"
KOOL G RAP: "I like to hear the music first because I like to tailor make my sh*t around the production."
T.JONES: "In one phrase or sentence, how would you describe growing up in Queens?"
KOOL G RAP: "An experience that shaped and molded G Rap as a person, intellectually and character-wise."
T.JONES: "What emcee/group would you like to collaborate with in the future?"
KOOL G RAP: "There may be a couple who I respect what they do lyrically. One of them is Jigga, Jay-Z. Jigga would be at the top of my list."
T.JONES: "Actually, I am seriously surprised you and Jay-Z never worked together."
KOOL G RAP: "No doubt. I am surprised too."
T.JONES: "The work you did with Mobb Deep was incredible. 'The Realest' from 'Murda Muzik' is a classic track. 'Where Ya At' from 'The Giancana Story' was cool too."
KOOL G RAP: "Yeah, I always loved Prodigy."
T.JONES: "What producer would you like to collaborate with in the future?"
KOOL G RAP: "I would love to get something from Kanye West and Just Blaze. To me, they do my kind of tracks. They lay down some real hard sh*t."
T.JONES: "What happened with Rawkus?"
KOOL G RAP: "Man, Rawkus just fell apart. I think they started out good when they were doing what they were doing at first. They were putting out singles and catering to authentic hip-hop. I think once they got a lot of money and a big situation, they went crazy with it. They didn't really know what they were doing over there. Rawkus did not know what they were doing. They did not take steps to acquire respect from the industry. A lot of people, in turn, did not respect Rawkus Records towards the end."
T.JONES: "Your last solo LP 'The Giancana Story' was pushed back a couple of times. The songs were even changed too. At first, Rawkus was going to put it out but then, Koch Entertainment released it. Were you happy with the end result?"
KOOL G RAP: "Definitely not! No! I recorded it to be promoted and marketed in a major fashion. That didn't happen! If it went through with Rawkus, there would have been Kool G Rap sh*t everywhere! The promotion and marketing campaign would have been tremendous. Rawkus was not a label that was into sticking by who they signed. They signed me as an artist for a certain reason but when it came time to put out material, they wanted me to become a different artist. A lot of labels do that. People want a Ja Rule record or whoever is hot. 50 Cent came out muscular so they wanted The Last Emperor to get all muscular and show off his chest. This is the sh*t I'm talking about. Whoever is out and hot at the time, they hop on their d*ck. This is what they expect from their artists. They couldn't tell me sh*t like that! Nobody can tell me to go to some f*cking gym and tighten up my abs! They knew they couldn't deal with G Rap like that. They could tell other artists what to do but not me. This is where me and Rawkus bumped heads. I'm a grown *ss f*cking n*gga and can't 2 young f*cking punks tell me what to do!"
T.JONES: "You are the godfather of gangsta rap. What do you think of the contemporary gangsta rappers?"
KOOL G RAP: "When I did what I did, it was because I soaked it up growing up in Corona Queens. That was what I absorbed and what I was around. I'm not saying cats aren't from around that. Cats are from some real wild sh*t. The reason why I rap the way I rap was because of that. It was not because I heard someone else doing it. Now, I think it just became a trend so much that people are doing it because it is the thing to do."
T.JONES: "Half-A-Mill recently was shot and killed. Do you have any comments?"
KOOL G RAP: "I did a record with him. 'Thug Ones', produced by The Neptunes with Noreaga. I heard he passed away. We were cool. I didn't know him that well. When he was doing his album, he just had a respect and love for G Rap. He wanted me to do a feature on his album and I was glad to do that, as with any other young rappers coming up. When they pay homage like Half-A-Mill did, I will be more than honored to work with them."
T.JONES: "You worked with many contemporary big name emcees like Noreaga, Mobb Deep, M.O.P. and more. What collaboration are you most proud of?"
KOOL G RAP: "Wow! That's a good question. I really did like the collaboration with Mobb Deep. I liked that song 'The Realest' a lot. Mobb Deep is one of my favorite groups. Working with Mobb Deep was like a honor for me as well. I was really feeling their music. I loved that one and the one with Big Pun. I thought Big Pun was an incredible rapper."
T.JONES: "Since you are older in the hip-hop world (even though you are still very young), do people in the hip-hop world discriminate you for being an older cat?"
KOOL G RAP: "I don't get it to my face. (Laughs). I don't know if it a fear factor or if people think that I am older. Kool G Rap is 35 years old. Some people may get it twisted and think that G Rap is pushing 40. Think about it, I'm not the only 35-year-old rapper in the game. There are a lot of n*ggas in their 30s. As a matter of fact, the top dogs of the game are not young n*ggas! Dr. Dre, Snoop, Jay-Z and LL Cool J are not young *ss n*ggas."
T.JONES: "What was the last incident of racism that you encountered?"
KOOL G RAP: "Personally, I don't know. There's nothing that really stands out. In my case, it was never really obvious. You can just tell when some people act funny whether it is a waitress at a restaurant or something. It was always small sh*t like that. There was nothing outright blatant."
T.JONES: "Where were you on Sept. 11th terrorist attack? How did you deal with it? How do you think it has affected or will affect hip-hop?"
KOOL G RAP: "I just left that morning, coming from the studio. My manager called me and was like, 'Yo dog! You looking at the news?' I was like, 'No, what happened?' He said, 'N*gga! There's a f*cking attack on us, kid!' I think he thought that there was a war going on. World War III. As for hip-hop, it happened, it slowed down everything a lot."
T.JONES: "What LP or CD has been in your turntable or your CD player recently?"
KOOL G RAP: "To be honest with you, I haven't been listening to anything new recently. I have been in my movie mode lately."
T.JONES: "What are some of your favorite movies?"
KOOL G RAP: "Of course there is 'Scarface' and 'The Godfather' movies but I haven't been watching those recently. The last 'Matrix Revolutions' was hot. They made that sh*t official. I saw that remake of 'Texas Chainsaw Massacre'. That was alright too. You know what, I don't think it can touch the original one because of the time the first one came out. Back then, we were younger and horror movies had more of an affect on us. 'The Exorcist' scared the sh*t out of me when I was a young buck. Now, I can still look at 'The Exorcist' and think to myself 'This is an ill movie' but it is not going to scare me. When I was a young kid, that sh*t scared the sh*t out of me."
T.JONES: "Godfather Part I or Godfather Part II?"
KOOL G RAP: "I love them both to death but I would have to say 'Godfather Part I'. That one has Sonny in it, word!"
T.JONES: "Word association time. I'm going to say a name of a group/emcee and you say the first word that pops in your head. So, if I say 'Chuck D', you may say 'Revolution'. If I said 'Flavor Flav', you may say 'Crack' Okay?"
T.JONES: "Gangstarr."
KOOL G RAP: "Underground."
T.JONES: "Snoop Dogg."
KOOL G RAP: "Pimp."
T.JONES: "Eminem."
KOOL G RAP: "Phenomenal."
T.JONES: "C Rayz Walz."
KOOL G RAP: "Who the f*ck is that?"
T.JONES: "Jay-Z."
KOOL G RAP: "Incredible."
T.JONES: "Common."
KOOL G RAP: "Alternative."
T.JONES: "M.O.P."
KOOL G RAP: "Hardcore."
T.JONES: "What are some major misconceptions that you think people have of you?"
KOOL G RAP: "I think a lot of people think that I am more powerful than I really am. I get that a lot. People say, 'Do this!' or 'Do that!' like I can just do anything. Since people think that because the name Kool G Rap is legendary, they think that I have a lot of power to do tons of sh*t. They think I can just call up Def Jam and say, 'Def Jam, I want to make a label with y'all!' (Laughs). Not many people have that misconception but a lot of people I come across in my small circle think I have the power to do wonders."
T.JONES: "What is your favorite part of your live show? How has it evolved?"
KOOL G RAP: "I was never really a person who did a lot of live performances but I feel that my live show has gotten better with age. It is better now than when I first began performing and putting out records."
T.JONES: "What is the biggest mistake you made in your career?"
KOOL G RAP: "Signing with Cold Chillin (laughs)."
T.JONES: "What happened with Cold Chillin records?"
KOOL G RAP: "Cold Chillin' Records just went under. They got to a point where they got real comfortable and were satisfied with little sh*t instead of trying to be a label that was on top of the industry. The cats from Cold Chillin' weren't doing bad."
T.JONES: "Do you want to be buried or cremated?"
KOOL G RAP: "Probably, buried. I don't think it makes too much of a difference. It won't be me no more."
T.JONES: "What advice would you give to an up and coming emcee?"
KOOL G RAP: "Do your thing. Stack your chips. Make investments in other things."
T.JONES: "What other investments do you have?"
KOOL G RAP: "I'm just starting to invest my money in other things. I never had a person to teach me what I should do so, I had to find out on my own. A lot of different things came with age. It's not just the intelligence of investing the money but how you can invest it and that you don't have to be a millionaire to do certain things. I wasn't educated on certain things like I am educated now. Now, I am starting to put investments in other things."
T.JONES: "You have been through many different managers and labels. Why do you think that has happened?"
KOOL G RAP: "I was never the type of person to chase around the hot manager and sh*t like that. I would try to get somebody who had a drive to do it but, they didn't quite cut it."
T.JONES: "What is your favorite solo album, from your collection?"
KOOL G RAP: "I think I may have to go with 'Roots Of Evil'. A lot of people didn't take to the tracks but I had more fun doing that record than any other record because on that record, I just did all out G Rap. I didn't try to do a whole bunch of songs for radio or anything."
T.JONES: "You worked with Buckwild from D.I.T.C. a couple of times. He produced 'Fast Life' with Nas from '4,5,6' and did a track on the 'Click Of Respect' album too. How did you hook up with him and what was it like working with him?"
KOOL G RAP: "Ah, man. Me and Buck just linked a long, long time ago. When I was with Epic, during the '4,5,6' album, he sent some tracks to the A&R up there for me. She was a lady by the name of Wanda Booth. We exchanged numbers and began talking on the phone. I had a little 16-track studio in my house. He hit me with tracks that I was feeling a lot. We did the songs 'Fast Life' and 'Blowing Up In The World'."
T.JONES: "You worked with DJ Premier on a song that was supposed to be on the Rawkus album but didn't make it. What happened? What was it like working with Premier?"
KOOL G RAP: "We did one cut. We didn't even work together. Rawkus jumps on people's d*cks so much. They were sucking Premo's d*ck so much that they let him do a track for G Rap without G Rap even being there. They sent em the track. That's the same sh*t they did with the Snoop record. Snoop didn't even know he had a record with G Rap. He did the record for Hi-Tek. Rawkus took the record from Hi-Tek's album and wanted me to rap over it. Snoop and Devin The Dude were on it. I was against doing it but I didn't want to look like a hard artist to work with. Some things I tried to do in their favor as well as stand firm in other areas. This was one of the times that I bent in their direction."
T.JONES: "What is your next solo LP going to be like?"
KOOL G RAP: "I don't have an idea right now. I don't know what label it will come out."
T.JONES: "Any final words for the people who will be reading this?"
KOOL G RAP: "Look out for the Ma Barker album coming out soon! We don't have a date yet but the Ma Barker album will be coming out soon! Beautiful, man, beautiful! That sounds gangsta to me!"
---
peace.
Source: http://www.hiphop-elements.com/article/read/6/6068/1
T.JONES: "What goes on?"
KOOL G RAP: "Nothing much, keeping busy. That's all. I'm trying to keep busy. I'm doing small work in the studio and sh*t like that."
T.JONES: "Your new album is called 'Click Of Respect'. Tell us about it? Who's producing it? Who is in it?"
KOOL G RAP: "It's a compilation album from my label, Igloo Entertainment. It just happened to turn out to be more of a clique album than a compilation album. It's really a compilation album."
T.JONES: "Do you have a favorite song on the 'Click Of Respect' LP?"
KOOL G RAP: "Ah, man, I got a few. I like the title track. 'Click Of Respect' is dope. 'Pimped Out', 'Breaker Breaker'. 'Blackin Out' and 'Air You Out' along with 'Sick Wit It'."
T.JONES: "How and why did you get involved with Blaze The World Entertainment?"
KOOL G RAP: "We met through a mutual friend at the time. He wanted to do something with G Rap. That was the situation I gave him. I told him that I didn't want to do a Kool G Rap solo project but we could do a compilation album that consists of me and the artists on Igloo Entertainment."
T.JONES: "What is the difference between Click Of Respect and 5 Family?"
KOOL G RAP: "Click Of Respect is just a title of the album or song while 5 Family is the name of the group itself."
T.JONES: "Who is in the Click of Respect?"
KOOL G RAP: "Ma Barker is my wife. 40 Cal Hammerz is her brother. My man, Glory Warz is her cousin. It just came together from being around family."
T.JONES: "Ma Barker is your wife. How did you two meet? How long have you two been together?"
KOOL G RAP: "We've been together like 4 years now. We met through a mutual friend too. She was a female rapper coming up and I was looking for a female rapper. My manager at the time told me about her. I heard her on a tape with some other cat. She was rapping with someone else I knew, named Papoos. We were peoples. We met up and she played more of her stuff for me. I was blown away by her material."
T.JONES: "What is the key to a successful relationship when both of you are in the music industry?"
KOOL G RAP: "We are just real tight. It is not just a husband and wife relationship. We are best friends too. I think that is the key to a successful relationship. Both people have to be best friends too. It can't be just a man and a woman thing. It has to be more than that. We hang out together and everything. I'm not like, 'I'm gonna go hang out with my peoples'. She does not say sh*t like 'I'm going to hang out with my girls'. You know what I'm saying? We do everything together. I can do anything with her. Nobody's minds are wandering somewhere. That's the key to any kind of relationship."
T.JONES: "You have a newcomer producer called C.O.S. doing most of the production work on the new album. Who is he? How did you meet him and why did he do most of the work?"
KOOL G RAP: "C.O.S. and I met about 3 years ago. I was in Sony Studios recording 'The Giancana Story' for Rawkus Records and he was in there doing intern stuff. He gave Ma Barker a production CD. When we got home, we played it and we loved the tracks. That's how C.O.S. came on board and became one of our producers."
T.JONES: "As an emcee, who were some of your major influences?"
KOOL G RAP: "I'm from a whole other era, as far as being inspired by rappers. The cats that inspired G Rap are Melle Mel, Kool Moe Dee, Silver Fox, Grandmaster Caz. They are the dudes who inspired me when I was a young dude, just starting to rhyme, putting my sh*t together and wanting to get out there."
T.JONES: "You have been in the hip-hop world for a very long time. You are a legend. What would you say is the key to maintaining your career for so long?"
KOOL G RAP: "Keeping the love for it. If you keep the love for what you do, you stay competitive at it. I think being competitive can bring the best out of you. In my case, it brings the best out of me lyrically. It keeps G Rap going and a recognizable force."
T.JONES: "What is going on with DJ Polo?"
KOOL G RAP: "I haven't spoken to Polo in a long time. Me and Polo don't talk and all that. I haven't seen him for years. We're cool. There ain't any animosity or anything."
T.JONES: "How did you eventually get into the record industry and record the single 'It's A Demo'?"
KOOL G RAP: "A friend of mine, Eric B, came out with a real hot single called 'Eric B For President' with Rakim. I was cool with Eric B's brother. Since I was cool with his brother, I got to meet Eric. Then, me and Eric B became cool. Eric plugged me in with Polo, trying to put me on, because he thought I was a good rapper. Polo was tight with Marley Marl and brought me to Marley Marl's house. They used to go to high school together or something like that. We went to Marley Marl's house one night and recorded a song. It turned out to be our first single 'It's A Demo'."
T.JONES: "You have seen the hip-hop world change drastically. What is the major difference between then and now?"
KOOL G RAP: "I've seen it change drastically, man. Then, it was just about hip-hop music. It wasn't so political or geared towards a certain audience. There was not a specific direction to receive radio airplay or play from DJs. Hip-hop was not brand new but it was very new. It's uprising was new. People all over supported hip-hop because they loved it, period. Now you have cats who are not doing it because they love it. They are doing it because they see all of that other sh*t that comes along with being successful in the hip-hop industry, as far as the money and the materialistic stuff. They see the cars, the crib, the women, and the touring. To some degree, even earlier rappers did it for that too. A lot of the stuff people are getting now was not even conceivable to n*ggas back in the day. Clothing lines and movies? That kind of sh*t was not conceivable to a lot of cats who started this sh*t and laid the foundation for it."
T.JONES: "Do you go into the studio with pre-written rhymes and themes or do you hear the beat first and write then and there?"
KOOL G RAP: "I like to hear the music first because I like to tailor make my sh*t around the production."
T.JONES: "In one phrase or sentence, how would you describe growing up in Queens?"
KOOL G RAP: "An experience that shaped and molded G Rap as a person, intellectually and character-wise."
T.JONES: "What emcee/group would you like to collaborate with in the future?"
KOOL G RAP: "There may be a couple who I respect what they do lyrically. One of them is Jigga, Jay-Z. Jigga would be at the top of my list."
T.JONES: "Actually, I am seriously surprised you and Jay-Z never worked together."
KOOL G RAP: "No doubt. I am surprised too."
T.JONES: "The work you did with Mobb Deep was incredible. 'The Realest' from 'Murda Muzik' is a classic track. 'Where Ya At' from 'The Giancana Story' was cool too."
KOOL G RAP: "Yeah, I always loved Prodigy."
T.JONES: "What producer would you like to collaborate with in the future?"
KOOL G RAP: "I would love to get something from Kanye West and Just Blaze. To me, they do my kind of tracks. They lay down some real hard sh*t."
T.JONES: "What happened with Rawkus?"
KOOL G RAP: "Man, Rawkus just fell apart. I think they started out good when they were doing what they were doing at first. They were putting out singles and catering to authentic hip-hop. I think once they got a lot of money and a big situation, they went crazy with it. They didn't really know what they were doing over there. Rawkus did not know what they were doing. They did not take steps to acquire respect from the industry. A lot of people, in turn, did not respect Rawkus Records towards the end."
T.JONES: "Your last solo LP 'The Giancana Story' was pushed back a couple of times. The songs were even changed too. At first, Rawkus was going to put it out but then, Koch Entertainment released it. Were you happy with the end result?"
KOOL G RAP: "Definitely not! No! I recorded it to be promoted and marketed in a major fashion. That didn't happen! If it went through with Rawkus, there would have been Kool G Rap sh*t everywhere! The promotion and marketing campaign would have been tremendous. Rawkus was not a label that was into sticking by who they signed. They signed me as an artist for a certain reason but when it came time to put out material, they wanted me to become a different artist. A lot of labels do that. People want a Ja Rule record or whoever is hot. 50 Cent came out muscular so they wanted The Last Emperor to get all muscular and show off his chest. This is the sh*t I'm talking about. Whoever is out and hot at the time, they hop on their d*ck. This is what they expect from their artists. They couldn't tell me sh*t like that! Nobody can tell me to go to some f*cking gym and tighten up my abs! They knew they couldn't deal with G Rap like that. They could tell other artists what to do but not me. This is where me and Rawkus bumped heads. I'm a grown *ss f*cking n*gga and can't 2 young f*cking punks tell me what to do!"
T.JONES: "You are the godfather of gangsta rap. What do you think of the contemporary gangsta rappers?"
KOOL G RAP: "When I did what I did, it was because I soaked it up growing up in Corona Queens. That was what I absorbed and what I was around. I'm not saying cats aren't from around that. Cats are from some real wild sh*t. The reason why I rap the way I rap was because of that. It was not because I heard someone else doing it. Now, I think it just became a trend so much that people are doing it because it is the thing to do."
T.JONES: "Half-A-Mill recently was shot and killed. Do you have any comments?"
KOOL G RAP: "I did a record with him. 'Thug Ones', produced by The Neptunes with Noreaga. I heard he passed away. We were cool. I didn't know him that well. When he was doing his album, he just had a respect and love for G Rap. He wanted me to do a feature on his album and I was glad to do that, as with any other young rappers coming up. When they pay homage like Half-A-Mill did, I will be more than honored to work with them."
T.JONES: "You worked with many contemporary big name emcees like Noreaga, Mobb Deep, M.O.P. and more. What collaboration are you most proud of?"
KOOL G RAP: "Wow! That's a good question. I really did like the collaboration with Mobb Deep. I liked that song 'The Realest' a lot. Mobb Deep is one of my favorite groups. Working with Mobb Deep was like a honor for me as well. I was really feeling their music. I loved that one and the one with Big Pun. I thought Big Pun was an incredible rapper."
T.JONES: "Since you are older in the hip-hop world (even though you are still very young), do people in the hip-hop world discriminate you for being an older cat?"
KOOL G RAP: "I don't get it to my face. (Laughs). I don't know if it a fear factor or if people think that I am older. Kool G Rap is 35 years old. Some people may get it twisted and think that G Rap is pushing 40. Think about it, I'm not the only 35-year-old rapper in the game. There are a lot of n*ggas in their 30s. As a matter of fact, the top dogs of the game are not young n*ggas! Dr. Dre, Snoop, Jay-Z and LL Cool J are not young *ss n*ggas."
T.JONES: "What was the last incident of racism that you encountered?"
KOOL G RAP: "Personally, I don't know. There's nothing that really stands out. In my case, it was never really obvious. You can just tell when some people act funny whether it is a waitress at a restaurant or something. It was always small sh*t like that. There was nothing outright blatant."
T.JONES: "Where were you on Sept. 11th terrorist attack? How did you deal with it? How do you think it has affected or will affect hip-hop?"
KOOL G RAP: "I just left that morning, coming from the studio. My manager called me and was like, 'Yo dog! You looking at the news?' I was like, 'No, what happened?' He said, 'N*gga! There's a f*cking attack on us, kid!' I think he thought that there was a war going on. World War III. As for hip-hop, it happened, it slowed down everything a lot."
T.JONES: "What LP or CD has been in your turntable or your CD player recently?"
KOOL G RAP: "To be honest with you, I haven't been listening to anything new recently. I have been in my movie mode lately."
T.JONES: "What are some of your favorite movies?"
KOOL G RAP: "Of course there is 'Scarface' and 'The Godfather' movies but I haven't been watching those recently. The last 'Matrix Revolutions' was hot. They made that sh*t official. I saw that remake of 'Texas Chainsaw Massacre'. That was alright too. You know what, I don't think it can touch the original one because of the time the first one came out. Back then, we were younger and horror movies had more of an affect on us. 'The Exorcist' scared the sh*t out of me when I was a young buck. Now, I can still look at 'The Exorcist' and think to myself 'This is an ill movie' but it is not going to scare me. When I was a young kid, that sh*t scared the sh*t out of me."
T.JONES: "Godfather Part I or Godfather Part II?"
KOOL G RAP: "I love them both to death but I would have to say 'Godfather Part I'. That one has Sonny in it, word!"
T.JONES: "Word association time. I'm going to say a name of a group/emcee and you say the first word that pops in your head. So, if I say 'Chuck D', you may say 'Revolution'. If I said 'Flavor Flav', you may say 'Crack' Okay?"
T.JONES: "Gangstarr."
KOOL G RAP: "Underground."
T.JONES: "Snoop Dogg."
KOOL G RAP: "Pimp."
T.JONES: "Eminem."
KOOL G RAP: "Phenomenal."
T.JONES: "C Rayz Walz."
KOOL G RAP: "Who the f*ck is that?"
T.JONES: "Jay-Z."
KOOL G RAP: "Incredible."
T.JONES: "Common."
KOOL G RAP: "Alternative."
T.JONES: "M.O.P."
KOOL G RAP: "Hardcore."
T.JONES: "What are some major misconceptions that you think people have of you?"
KOOL G RAP: "I think a lot of people think that I am more powerful than I really am. I get that a lot. People say, 'Do this!' or 'Do that!' like I can just do anything. Since people think that because the name Kool G Rap is legendary, they think that I have a lot of power to do tons of sh*t. They think I can just call up Def Jam and say, 'Def Jam, I want to make a label with y'all!' (Laughs). Not many people have that misconception but a lot of people I come across in my small circle think I have the power to do wonders."
T.JONES: "What is your favorite part of your live show? How has it evolved?"
KOOL G RAP: "I was never really a person who did a lot of live performances but I feel that my live show has gotten better with age. It is better now than when I first began performing and putting out records."
T.JONES: "What is the biggest mistake you made in your career?"
KOOL G RAP: "Signing with Cold Chillin (laughs)."
T.JONES: "What happened with Cold Chillin records?"
KOOL G RAP: "Cold Chillin' Records just went under. They got to a point where they got real comfortable and were satisfied with little sh*t instead of trying to be a label that was on top of the industry. The cats from Cold Chillin' weren't doing bad."
T.JONES: "Do you want to be buried or cremated?"
KOOL G RAP: "Probably, buried. I don't think it makes too much of a difference. It won't be me no more."
T.JONES: "What advice would you give to an up and coming emcee?"
KOOL G RAP: "Do your thing. Stack your chips. Make investments in other things."
T.JONES: "What other investments do you have?"
KOOL G RAP: "I'm just starting to invest my money in other things. I never had a person to teach me what I should do so, I had to find out on my own. A lot of different things came with age. It's not just the intelligence of investing the money but how you can invest it and that you don't have to be a millionaire to do certain things. I wasn't educated on certain things like I am educated now. Now, I am starting to put investments in other things."
T.JONES: "You have been through many different managers and labels. Why do you think that has happened?"
KOOL G RAP: "I was never the type of person to chase around the hot manager and sh*t like that. I would try to get somebody who had a drive to do it but, they didn't quite cut it."
T.JONES: "What is your favorite solo album, from your collection?"
KOOL G RAP: "I think I may have to go with 'Roots Of Evil'. A lot of people didn't take to the tracks but I had more fun doing that record than any other record because on that record, I just did all out G Rap. I didn't try to do a whole bunch of songs for radio or anything."
T.JONES: "You worked with Buckwild from D.I.T.C. a couple of times. He produced 'Fast Life' with Nas from '4,5,6' and did a track on the 'Click Of Respect' album too. How did you hook up with him and what was it like working with him?"
KOOL G RAP: "Ah, man. Me and Buck just linked a long, long time ago. When I was with Epic, during the '4,5,6' album, he sent some tracks to the A&R up there for me. She was a lady by the name of Wanda Booth. We exchanged numbers and began talking on the phone. I had a little 16-track studio in my house. He hit me with tracks that I was feeling a lot. We did the songs 'Fast Life' and 'Blowing Up In The World'."
T.JONES: "You worked with DJ Premier on a song that was supposed to be on the Rawkus album but didn't make it. What happened? What was it like working with Premier?"
KOOL G RAP: "We did one cut. We didn't even work together. Rawkus jumps on people's d*cks so much. They were sucking Premo's d*ck so much that they let him do a track for G Rap without G Rap even being there. They sent em the track. That's the same sh*t they did with the Snoop record. Snoop didn't even know he had a record with G Rap. He did the record for Hi-Tek. Rawkus took the record from Hi-Tek's album and wanted me to rap over it. Snoop and Devin The Dude were on it. I was against doing it but I didn't want to look like a hard artist to work with. Some things I tried to do in their favor as well as stand firm in other areas. This was one of the times that I bent in their direction."
T.JONES: "What is your next solo LP going to be like?"
KOOL G RAP: "I don't have an idea right now. I don't know what label it will come out."
T.JONES: "Any final words for the people who will be reading this?"
KOOL G RAP: "Look out for the Ma Barker album coming out soon! We don't have a date yet but the Ma Barker album will be coming out soon! Beautiful, man, beautiful! That sounds gangsta to me!"
---
peace.
Artist: Constructive arguement in general (davey d's site)
Link: http://p076.ezboard.com/fpoliticalpalacefrm57.showMessage?topicID=272.topic
Posted by: mrdaveyd
--
Commercial or Underground?: Matters of Life and Death
by RevolutionMary
RevolutionMary@hotmail.com
When the Sugar Hill Gang hit the airwaves in 1979, hip hop as a folk culture came to an end. A few years later, with the explosion of Run DMC onto the scene, new terminology began to emerge to identify—and also codify—the different types of rap music being made. Two decades later, the categories have continued to expand. Most common among rap monikers are the banners of “gangsta” and “conscious”, and the over-debated “commercial” vs. “underground”. However, with the plethora of puzzling and outright problematic issues embedded in rap music today, I wonder is this dichotomy really adequate? After all, can we throw gratuitous violence, consumption, or misogyny into either the ‘commercial’ or ‘underground’ bunch and be done with it, or do these issues require more of us?
I think this binary is quite inadequate in speaking to, or identifying the effect lyrical content has on our collective spirit and consciousness. In fact, I’d say they have a rather passifying effect—or “dumbassifying” as I once heard Chuck D say. The label ‘commercial’ almost automatically disables our analytical radar. Likewise, ‘underground’ raises our lyrical expectation, yet lowers our guard. What I mean is that a commercial song is almost expected to be lyrically sub-par, redundant and empty in content and political value, and backed by a dope beat—which then becomes our “out” for bumpin’ it. On the flip, we excuse the underground if it doesn’t have that platinum-priced sound, expect it to address a wider variety of topics, and uncritically assume it’ll be conscious.
The revelation of the shortcomings of the underground/commercial discourse hit me dead in the face at the last ‘underground’ show I attended. Detailed in an article called “Don’t Let the Name Fool You”, my assumption that the underground is synonymous with conscious or non-misogynist had me ass-out and pissed off, first as I stood on stage while an MC declared he’d be “@#%$ something” that night, and second, when my formerly beloved Kweli stood silently by as his hype man, DeRay, labeled women “shady”, “conniving” and therefore, unworthy of love.
It dawned on me later that night, as I lie awake restless, disappointed, and disturbed, that we’ve been looking at consciousness from the wrong angle. All artists are conscious, I came to realize. They’re conscious of what they’re doing. Kweli has gone on record saying that he’s trying to make money, not make ‘conscious’ music that no one buys. Jay-Z admits that he too “dumbs down for his audience to double his dollars”. It’s called business strategy. Marketing. “We criticize them for it, yet we all yell holla”.
True indeed, we sit back passively, placing all the onus on rappers to be conscious, and responsible in their rhymes, so we can be unaccountable for being conscious listeners or taking more agency upon ourselves to be conscious and responsible consumers. After all, there’s more at stake for the listener than the artist. How so, you might ask? In order for me to explain, imagine with me for a minute…
Let’s take the constant lyric and imagery of thugs and pimps, bitches and hoes, and interrogate them a little deeper. Imagine you are a black person, in your late teens or early twenties. Sure the thug/bitch discourse may not seem so bad. You may use “nigga” and “bitch” as endearing terms for your boys, your girls, or your mate. But let’s jump ten years into the future, when the novelty of one’s rebellious tongue may (or may not) wear off. What’s left?
After years of behaving like a thug because your female peers validate your ‘by any means’ necessary for baller status—and after years of self-disrespect because your male peers validate your video ho behavior—what pool will be left to choose from once you’re ready to settle down, if not a bunch of pimps and hos?
What I fear is that with the narrow, destructive representations of black manhood and womanhood proliferating unbalanced in current hip hop culture, black males and females will find they have nothing but thugs, niggas, bitches and chickenheads to choose from when they’re looking for ‘wifey’ and ‘the mister’. By letting the disrespect of females and the macho posturing of males continue to go unchecked, are we not contributing to the under-development of mature black men and women?
Think I’m wrong? I would further venture to say that this is the very reason for DeRay’s tirade. His rant—and my reaction to it—strikes me as indicative of a much larger issue between (particularly black) men and women. Truth of the matter, girls will be shady, will be conniving, will be bitches and unlovable if their girl-without-a-daddy-syndrome is compounded by men who beat ‘em and cheat ‘em, hit ‘em and quit ‘em night after night. Fellas at some point have to acknowledge their own role in creating a population of the scorned women they proudly distrust.
However, that doesn’t let the ladies off the hook. Women too, must own up to their contribution to the thug/scrub phenomenon by rejecting a brotha just because his rims ain’t spinnin, because he isn’t edgy enough, or kissing him for the thrill of taking what belongs to another woman. There’s no denying that men do what attracts the immediate attention of women, and women do the same.
So here’s my bottom line…It really is bigger than hip hop like dead prez says. It’s not at all about the commercial or the underground. It’s not even about the number of records sold, it’s about the effect they have on your soul. We must honestly ask ourselves, how music, videos, and other trends labeled as “entertainment” affect our consciousness, our self-image, our behavior and our potential? We must drop the bull and also acknowledge that the impact can be both overt and subconscious. Determining whether something is commercial or underground, gangsta or conscious is simply irrelevant because it won’t even begin to address these questions.
For me, the conscious/commercial discussion has exhausted itself. As far as I’m concerned, the only categories that matter in hip hop are life and death. Let’s start talking in terms of “life music” and “death music” as a more complex and more adequate alternative to the labels we’ve been using. Does hip hop feed our souls anymore, or does it just ‘feed on’ our souls? Does music edify our lives or solidify our spiritual death? We should begin to trust our spirits, not Soundscan as the barometer…It’s our last line of defense.
RevolutionMary
-Because we must BE the change we want to SEE.
Send feedback to RevolutionMary@hotmail.com
---
peace.
Link: http://p076.ezboard.com/fpoliticalpalacefrm57.showMessage?topicID=272.topic
Posted by: mrdaveyd
--
Commercial or Underground?: Matters of Life and Death
by RevolutionMary
RevolutionMary@hotmail.com
When the Sugar Hill Gang hit the airwaves in 1979, hip hop as a folk culture came to an end. A few years later, with the explosion of Run DMC onto the scene, new terminology began to emerge to identify—and also codify—the different types of rap music being made. Two decades later, the categories have continued to expand. Most common among rap monikers are the banners of “gangsta” and “conscious”, and the over-debated “commercial” vs. “underground”. However, with the plethora of puzzling and outright problematic issues embedded in rap music today, I wonder is this dichotomy really adequate? After all, can we throw gratuitous violence, consumption, or misogyny into either the ‘commercial’ or ‘underground’ bunch and be done with it, or do these issues require more of us?
I think this binary is quite inadequate in speaking to, or identifying the effect lyrical content has on our collective spirit and consciousness. In fact, I’d say they have a rather passifying effect—or “dumbassifying” as I once heard Chuck D say. The label ‘commercial’ almost automatically disables our analytical radar. Likewise, ‘underground’ raises our lyrical expectation, yet lowers our guard. What I mean is that a commercial song is almost expected to be lyrically sub-par, redundant and empty in content and political value, and backed by a dope beat—which then becomes our “out” for bumpin’ it. On the flip, we excuse the underground if it doesn’t have that platinum-priced sound, expect it to address a wider variety of topics, and uncritically assume it’ll be conscious.
The revelation of the shortcomings of the underground/commercial discourse hit me dead in the face at the last ‘underground’ show I attended. Detailed in an article called “Don’t Let the Name Fool You”, my assumption that the underground is synonymous with conscious or non-misogynist had me ass-out and pissed off, first as I stood on stage while an MC declared he’d be “@#%$ something” that night, and second, when my formerly beloved Kweli stood silently by as his hype man, DeRay, labeled women “shady”, “conniving” and therefore, unworthy of love.
It dawned on me later that night, as I lie awake restless, disappointed, and disturbed, that we’ve been looking at consciousness from the wrong angle. All artists are conscious, I came to realize. They’re conscious of what they’re doing. Kweli has gone on record saying that he’s trying to make money, not make ‘conscious’ music that no one buys. Jay-Z admits that he too “dumbs down for his audience to double his dollars”. It’s called business strategy. Marketing. “We criticize them for it, yet we all yell holla”.
True indeed, we sit back passively, placing all the onus on rappers to be conscious, and responsible in their rhymes, so we can be unaccountable for being conscious listeners or taking more agency upon ourselves to be conscious and responsible consumers. After all, there’s more at stake for the listener than the artist. How so, you might ask? In order for me to explain, imagine with me for a minute…
Let’s take the constant lyric and imagery of thugs and pimps, bitches and hoes, and interrogate them a little deeper. Imagine you are a black person, in your late teens or early twenties. Sure the thug/bitch discourse may not seem so bad. You may use “nigga” and “bitch” as endearing terms for your boys, your girls, or your mate. But let’s jump ten years into the future, when the novelty of one’s rebellious tongue may (or may not) wear off. What’s left?
After years of behaving like a thug because your female peers validate your ‘by any means’ necessary for baller status—and after years of self-disrespect because your male peers validate your video ho behavior—what pool will be left to choose from once you’re ready to settle down, if not a bunch of pimps and hos?
What I fear is that with the narrow, destructive representations of black manhood and womanhood proliferating unbalanced in current hip hop culture, black males and females will find they have nothing but thugs, niggas, bitches and chickenheads to choose from when they’re looking for ‘wifey’ and ‘the mister’. By letting the disrespect of females and the macho posturing of males continue to go unchecked, are we not contributing to the under-development of mature black men and women?
Think I’m wrong? I would further venture to say that this is the very reason for DeRay’s tirade. His rant—and my reaction to it—strikes me as indicative of a much larger issue between (particularly black) men and women. Truth of the matter, girls will be shady, will be conniving, will be bitches and unlovable if their girl-without-a-daddy-syndrome is compounded by men who beat ‘em and cheat ‘em, hit ‘em and quit ‘em night after night. Fellas at some point have to acknowledge their own role in creating a population of the scorned women they proudly distrust.
However, that doesn’t let the ladies off the hook. Women too, must own up to their contribution to the thug/scrub phenomenon by rejecting a brotha just because his rims ain’t spinnin, because he isn’t edgy enough, or kissing him for the thrill of taking what belongs to another woman. There’s no denying that men do what attracts the immediate attention of women, and women do the same.
So here’s my bottom line…It really is bigger than hip hop like dead prez says. It’s not at all about the commercial or the underground. It’s not even about the number of records sold, it’s about the effect they have on your soul. We must honestly ask ourselves, how music, videos, and other trends labeled as “entertainment” affect our consciousness, our self-image, our behavior and our potential? We must drop the bull and also acknowledge that the impact can be both overt and subconscious. Determining whether something is commercial or underground, gangsta or conscious is simply irrelevant because it won’t even begin to address these questions.
For me, the conscious/commercial discussion has exhausted itself. As far as I’m concerned, the only categories that matter in hip hop are life and death. Let’s start talking in terms of “life music” and “death music” as a more complex and more adequate alternative to the labels we’ve been using. Does hip hop feed our souls anymore, or does it just ‘feed on’ our souls? Does music edify our lives or solidify our spiritual death? We should begin to trust our spirits, not Soundscan as the barometer…It’s our last line of defense.
RevolutionMary
-Because we must BE the change we want to SEE.
Send feedback to RevolutionMary@hotmail.com
---
peace.
Artist: MF Grimm (www.cellarnoise.com interview)
Source: http://www.cellarnoise.com/mfgrimmint.htm & http://www.cellarnoise.com/mfgrimmint2.htm
MF Grimm: Confined to prison and a wheelchair this cat still has the strength and will power to run a label and put out a new album with the help of his right hand man DJ Fisher. The Cellar Staff did the interview with Grimm through postal mail. The Interview was done with David Medina (DM) and MeatMark (MM) from the CellarNoise Staff.
1. Cellar Noise (CN)- Meat Mark (MM) - What do you think of the state of Hip-Hop today? Do you see a difference between Hip-Hop culture and what you hear on the radio? Cellar Noise (CN) - Dave Medina (DM) -What is your evaluation of Hip-Hop these days?
MF Grimm - I think Hip-Hop is in the state of chaos; order is needed and we're not getting it from the so called "Leader of Rap" "Greatest of All Time" "Best in Rap" The "Nas, Jay-Z, 50 Cent, Mobb Deep, Lox, Cash Money, Ja Rule, DMX, Snoop Dogg, Murder inc, Roc-a-fella, Ill Will, Bad Boy etc.... in my opinion they need to stop this bullshit and focus on the babies that listen to them and adore them and want to be like them. The children who listen to them need to hear more than what type of fucking rims are in "23's", whatever!! You got kids out there selling drugs and shit trying to acquire materialistic items that they here about and think they "need" but are only "wants" and need to learn from successful Hip-Hop artists like the ones I named above. How to invest in stocks, bonds, The importance of education, family, the importance of learning the constitution of the United States;
The importance of learning the constitution of THE State they live in, the importance of learning the law. I'm proud of the artist that I mentioned because they show us all it can be done; but with that notability comes responsibility and they should stop acting like small countries who just got nuclear weapons and constantly threatening each other and "the Hip-Hop world;" combined the names I mentioned are generating billions of dollars for "Majors" and they (The Majors), sit back and laugh at us for not advancing as a culture (Hip-Hop and view as a only a tool for their benefit (a slave). They need to get together and start distribution companies; film companies, schools for children; hospitals; wyclef has been in every magazine about his fucking cars that cost 1.8 million, $1,800,000 that's cool; but I want to see and read articles on Wyclef spending that 1.8 on a hospital in Haiti or America or a school, cancer research, AIDS research. 20 million on cars?; with 20 million I'd start a revolution.
There is a big difference from hip-hop culture and what you hear on the radio. Hip-Hop culture is "Freedom" the stuff I hear on the radio is domesticated like "Animals in a circus." Everything is routine. As for my evaluation of Hip-Hop these days I say "The World" lost respect for American Hip-Hop; It use to be about the struggle seem to be "which platinum chain should I wear to this photo shoot?" Do your homework the only reason for platinum was for an alchemy purpose of transmutation in gold. Most platinum is ill bred and combined with iridium, anyway just like the "colored gold" and "white gold" that's mixed (alloyed with nickel and other shit) and so many Africans were killed and tortured in the mines in Africa for Diamonds it should be a fucking sin to wear them; yet profit wise the Africans got nothing, but bloodshed. Right now I'm focused on my Hip-Hop brothers and Sisters in Brazil.
Hip-Hop is strong in Sao Paulo and Rio de Janeiro (the Favelas) rap is about survival out there. They lost respect for us and I can't blame them, but I want to change that we are brothers n the same struggle. Brazil, like a lot of countries feel we don't give a fuck about them. I would like them to know that's not true; We care "I Care". I'm studying the presidential election in Brazil; Since Brazil is the fourth largest democracy your talking about 170 million Brazilians. This election really matters. It seems like Luiz inacio Lula DA Silva (a former metal worker) will win the election and possibly be the key to save brazil's faltering economy. Brazil was ruled by generals or grandees "Lula" came from a poor family; he worked as a lathe operator in Sao Paulo, then a trade unionist; led strikes that help weaken Brazil's 1964-1985 military dictatorship. The president of the last 8 years (Fernando Henrique Cardoso) has ended three decades of inflation, and did a lot to sort out chaotic public finances but I am concerned about the $30 billion dollar IMF (International Monetary Fund) loan the IMF leaves no room for growth for Brazil and I studied how it hurt Jamaica by taking away Jamaica's Self-sufficiency and not even allow Jamaican's native farmers to be competitive to American Companies "in Jamaica". causing them to go out of business and be come dependent on American Companies and Goods which in return destroys the hear of the Country. Self-sufficiency is everything to a nation.
The IMF are working on two reform ideas they have like 6 months to come up with a proposal for how to craft a statutory frame work for bankruptcy by amending the fund's articles of agreement trying to add collective - action clauses" in Sovereign bond contracts. But rich countries like United States are not willing to change International law and are just using the Sovereign Debt restructuring Mechanisu (SDRM) as a threat to except "collective action clauses" many bonds are issued under New York law which means that any individual bond holder has the right to sue and demand full payment. Please let my brothers and sisters in Brazil know "I love them" Brazil's "MV Bill", Mano Brown, D.J. Paulo Brown, Primo Preto, Mr. Cantra, Members of CV (Red Command) Rocionais MC's, Jovem Cerebral, get in contact with me. Let's get organized. Let's do what American hip-hop was supposed to do. Marcio VP get in contact with "your American Brother in Hip-Hop" I'm willing to die for our struggle; to make sure hip-hop lives for ever.
2. (CN -DM) How would you describe your style?
MF Grimm - My style? Shape shifter I adapt to anything, any beat, any speed.
3. (CN - MM) - Who, of the people you have worked with, did you have the most chemistry with?
MF Grimm - Kool G Rap, but I look forward to working with the Outlawz (Outlaw Immortals) I am a out law Immortal, not CM not monsta Island CZAR, M.F. Grimm is " a OutLaw Immortal" please let that be know.
4. (CN - MM) - Who were your major influences growing up, both as an artist and a person?
MF Grimm - A lot of my brothers who were killed in our "Wars" I miss them I look forward to seeing them soon. Life is short, death is long. They were influences on me; also my mom. She's a thug she knows education is important and doing positive things, but she respects when her son has to lay his gangster game down and for those who don't know "I am a gangster" I'm just tired of being part of the problem "chop trees plant seeds."
5. (CN - MM) - Now I gotta ask you this: What fine female celebrity is Grimm geelin' at this moment? What draw's you in about here?
MF Grimm - I'm really attached to females who work as a Journalist, School teachers, mentally stimulating employment; the mind is the sexiest thing about a real women to me; but I'm attracted to a singer named Kelis. Her look and her voice draws me in; I feel her pain. I would love to sit down and talk to her ( I feel we have a lot in common) also she's from Manhattan, I'm from Manhattan. We would make a nice couple in the tabloids, Star, National Inquirer, Post, Daily News - Shit like that.
6. (CN - MM) - Considering that you lived what most MC's only talk about, what are your feelings on frontin' MC's?
MF Grimm - I don't know how to answer that anymore; that's something the individual has to live with. As for me I don't sleep any better knowing I lived what most MC's talk about; I sleep less I'm haunted spirits circle my bed day and night, trying to choke me; but it's not time yet; I except my fate; and come to terms with the possibilities of going to the hell fire for pas actions. I just try to do as much good as possible so I can get a cup of ice water if I go there. As for MC's who never lived the life; I hope they never have to and if they profit from it "Teach the Babies". How to do things the right way, that's all I ask for. (Chop trees plant Seeds)
7. (CN - MM) - How was being a writer different from being an MC? Obviously you had a lot more freedom when writing lyrics for yourself than for a magazine, but did you draw the same inspiration when writing a piece you really had an interest in?
MF Grimm - Yes. It's the same as being an MC; because you want to put your all into it so the world can appreciate it the way you do. I think it's harder being a Journalist than a MC.
8. (CN - DM) - With Day by Day Entertainment you have established something viable, what is it about Day by Day that makes it different from other independents trying to do their thing?
MF Grimm - Day by Day has an advantage. We have Mr. D.J. Fisher
9. (CN - DM) - What can we expect on the album?
MF Grimm - I'm not sure. Everyone has a different perspective ( I just hope people like it)
10. (CN - MM) - In What Direction do you plan to take your music to?
MF Grimm - Direction of Evolution
11. (CN - DM) - What do you see Day by Day accomplishing in the near future?
MF Grimm - Many things. Day by Day is focused; Please let Mr. Fisher answer that question. Wait till the new M.F. Grimm album drop. Summer of 2003 it will shake the globe. I will not release the name. " My the Lost files" which I had for years now, Sounds like NAS "the lost tapes". So I will protect it.
12. (CN - DM) - After the incident that place you in a wheelchair, what gave you the strength and inspiration to keep going and live?
MF Grimm - To show the World IT CAN BE DONE!!! Never Give UP!!
13. (CN - MM) - How has your tragic accident changed your life, besides the obvious? Do you feel it has driven you to become more of a street poet, or has it had no major effect?
MF Grimm - It made me dig deep and find myself; my true self and tap into a natural energy resource that I found by being paralyzed. I lost certain abilities and in return I was granted even greater ones.
14. (CN - DM) - How is your life going to be different when you leave prison? Or is it going to be different?
MF Grimm - I will contribute to society by paying my taxes (give to caesar what belongs to Caesar) but study my lines as "brutus" in the play.
---
peace.
Source: http://www.cellarnoise.com/mfgrimmint.htm & http://www.cellarnoise.com/mfgrimmint2.htm
MF Grimm: Confined to prison and a wheelchair this cat still has the strength and will power to run a label and put out a new album with the help of his right hand man DJ Fisher. The Cellar Staff did the interview with Grimm through postal mail. The Interview was done with David Medina (DM) and MeatMark (MM) from the CellarNoise Staff.
1. Cellar Noise (CN)- Meat Mark (MM) - What do you think of the state of Hip-Hop today? Do you see a difference between Hip-Hop culture and what you hear on the radio? Cellar Noise (CN) - Dave Medina (DM) -What is your evaluation of Hip-Hop these days?
MF Grimm - I think Hip-Hop is in the state of chaos; order is needed and we're not getting it from the so called "Leader of Rap" "Greatest of All Time" "Best in Rap" The "Nas, Jay-Z, 50 Cent, Mobb Deep, Lox, Cash Money, Ja Rule, DMX, Snoop Dogg, Murder inc, Roc-a-fella, Ill Will, Bad Boy etc.... in my opinion they need to stop this bullshit and focus on the babies that listen to them and adore them and want to be like them. The children who listen to them need to hear more than what type of fucking rims are in "23's", whatever!! You got kids out there selling drugs and shit trying to acquire materialistic items that they here about and think they "need" but are only "wants" and need to learn from successful Hip-Hop artists like the ones I named above. How to invest in stocks, bonds, The importance of education, family, the importance of learning the constitution of the United States;
The importance of learning the constitution of THE State they live in, the importance of learning the law. I'm proud of the artist that I mentioned because they show us all it can be done; but with that notability comes responsibility and they should stop acting like small countries who just got nuclear weapons and constantly threatening each other and "the Hip-Hop world;" combined the names I mentioned are generating billions of dollars for "Majors" and they (The Majors), sit back and laugh at us for not advancing as a culture (Hip-Hop and view as a only a tool for their benefit (a slave). They need to get together and start distribution companies; film companies, schools for children; hospitals; wyclef has been in every magazine about his fucking cars that cost 1.8 million, $1,800,000 that's cool; but I want to see and read articles on Wyclef spending that 1.8 on a hospital in Haiti or America or a school, cancer research, AIDS research. 20 million on cars?; with 20 million I'd start a revolution.
There is a big difference from hip-hop culture and what you hear on the radio. Hip-Hop culture is "Freedom" the stuff I hear on the radio is domesticated like "Animals in a circus." Everything is routine. As for my evaluation of Hip-Hop these days I say "The World" lost respect for American Hip-Hop; It use to be about the struggle seem to be "which platinum chain should I wear to this photo shoot?" Do your homework the only reason for platinum was for an alchemy purpose of transmutation in gold. Most platinum is ill bred and combined with iridium, anyway just like the "colored gold" and "white gold" that's mixed (alloyed with nickel and other shit) and so many Africans were killed and tortured in the mines in Africa for Diamonds it should be a fucking sin to wear them; yet profit wise the Africans got nothing, but bloodshed. Right now I'm focused on my Hip-Hop brothers and Sisters in Brazil.
Hip-Hop is strong in Sao Paulo and Rio de Janeiro (the Favelas) rap is about survival out there. They lost respect for us and I can't blame them, but I want to change that we are brothers n the same struggle. Brazil, like a lot of countries feel we don't give a fuck about them. I would like them to know that's not true; We care "I Care". I'm studying the presidential election in Brazil; Since Brazil is the fourth largest democracy your talking about 170 million Brazilians. This election really matters. It seems like Luiz inacio Lula DA Silva (a former metal worker) will win the election and possibly be the key to save brazil's faltering economy. Brazil was ruled by generals or grandees "Lula" came from a poor family; he worked as a lathe operator in Sao Paulo, then a trade unionist; led strikes that help weaken Brazil's 1964-1985 military dictatorship. The president of the last 8 years (Fernando Henrique Cardoso) has ended three decades of inflation, and did a lot to sort out chaotic public finances but I am concerned about the $30 billion dollar IMF (International Monetary Fund) loan the IMF leaves no room for growth for Brazil and I studied how it hurt Jamaica by taking away Jamaica's Self-sufficiency and not even allow Jamaican's native farmers to be competitive to American Companies "in Jamaica". causing them to go out of business and be come dependent on American Companies and Goods which in return destroys the hear of the Country. Self-sufficiency is everything to a nation.
The IMF are working on two reform ideas they have like 6 months to come up with a proposal for how to craft a statutory frame work for bankruptcy by amending the fund's articles of agreement trying to add collective - action clauses" in Sovereign bond contracts. But rich countries like United States are not willing to change International law and are just using the Sovereign Debt restructuring Mechanisu (SDRM) as a threat to except "collective action clauses" many bonds are issued under New York law which means that any individual bond holder has the right to sue and demand full payment. Please let my brothers and sisters in Brazil know "I love them" Brazil's "MV Bill", Mano Brown, D.J. Paulo Brown, Primo Preto, Mr. Cantra, Members of CV (Red Command) Rocionais MC's, Jovem Cerebral, get in contact with me. Let's get organized. Let's do what American hip-hop was supposed to do. Marcio VP get in contact with "your American Brother in Hip-Hop" I'm willing to die for our struggle; to make sure hip-hop lives for ever.
2. (CN -DM) How would you describe your style?
MF Grimm - My style? Shape shifter I adapt to anything, any beat, any speed.
3. (CN - MM) - Who, of the people you have worked with, did you have the most chemistry with?
MF Grimm - Kool G Rap, but I look forward to working with the Outlawz (Outlaw Immortals) I am a out law Immortal, not CM not monsta Island CZAR, M.F. Grimm is " a OutLaw Immortal" please let that be know.
4. (CN - MM) - Who were your major influences growing up, both as an artist and a person?
MF Grimm - A lot of my brothers who were killed in our "Wars" I miss them I look forward to seeing them soon. Life is short, death is long. They were influences on me; also my mom. She's a thug she knows education is important and doing positive things, but she respects when her son has to lay his gangster game down and for those who don't know "I am a gangster" I'm just tired of being part of the problem "chop trees plant seeds."
5. (CN - MM) - Now I gotta ask you this: What fine female celebrity is Grimm geelin' at this moment? What draw's you in about here?
MF Grimm - I'm really attached to females who work as a Journalist, School teachers, mentally stimulating employment; the mind is the sexiest thing about a real women to me; but I'm attracted to a singer named Kelis. Her look and her voice draws me in; I feel her pain. I would love to sit down and talk to her ( I feel we have a lot in common) also she's from Manhattan, I'm from Manhattan. We would make a nice couple in the tabloids, Star, National Inquirer, Post, Daily News - Shit like that.
6. (CN - MM) - Considering that you lived what most MC's only talk about, what are your feelings on frontin' MC's?
MF Grimm - I don't know how to answer that anymore; that's something the individual has to live with. As for me I don't sleep any better knowing I lived what most MC's talk about; I sleep less I'm haunted spirits circle my bed day and night, trying to choke me; but it's not time yet; I except my fate; and come to terms with the possibilities of going to the hell fire for pas actions. I just try to do as much good as possible so I can get a cup of ice water if I go there. As for MC's who never lived the life; I hope they never have to and if they profit from it "Teach the Babies". How to do things the right way, that's all I ask for. (Chop trees plant Seeds)
7. (CN - MM) - How was being a writer different from being an MC? Obviously you had a lot more freedom when writing lyrics for yourself than for a magazine, but did you draw the same inspiration when writing a piece you really had an interest in?
MF Grimm - Yes. It's the same as being an MC; because you want to put your all into it so the world can appreciate it the way you do. I think it's harder being a Journalist than a MC.
8. (CN - DM) - With Day by Day Entertainment you have established something viable, what is it about Day by Day that makes it different from other independents trying to do their thing?
MF Grimm - Day by Day has an advantage. We have Mr. D.J. Fisher
9. (CN - DM) - What can we expect on the album?
MF Grimm - I'm not sure. Everyone has a different perspective ( I just hope people like it)
10. (CN - MM) - In What Direction do you plan to take your music to?
MF Grimm - Direction of Evolution
11. (CN - DM) - What do you see Day by Day accomplishing in the near future?
MF Grimm - Many things. Day by Day is focused; Please let Mr. Fisher answer that question. Wait till the new M.F. Grimm album drop. Summer of 2003 it will shake the globe. I will not release the name. " My the Lost files" which I had for years now, Sounds like NAS "the lost tapes". So I will protect it.
12. (CN - DM) - After the incident that place you in a wheelchair, what gave you the strength and inspiration to keep going and live?
MF Grimm - To show the World IT CAN BE DONE!!! Never Give UP!!
13. (CN - MM) - How has your tragic accident changed your life, besides the obvious? Do you feel it has driven you to become more of a street poet, or has it had no major effect?
MF Grimm - It made me dig deep and find myself; my true self and tap into a natural energy resource that I found by being paralyzed. I lost certain abilities and in return I was granted even greater ones.
14. (CN - DM) - How is your life going to be different when you leave prison? Or is it going to be different?
MF Grimm - I will contribute to society by paying my taxes (give to caesar what belongs to Caesar) but study my lines as "brutus" in the play.
---
peace.
For those who read that: Grimm is out of jail now. He was initially sentenced to life in parole, but he started reading in jail and got his sentence whittled down bit by bit until he managed to see daylight again. He's also no longer beefing with Doom - Doom even brought him on stage at a show a while back, and Grimm performed from his wheelchair.
He's working on a new solo album, American Hunger (he always has the best album titles, if nothing else), and supposedly another album with Doom.
7, these posts are cool and all, but so far you haven't discussed anyone in them that you haven't talked about extensively on this board already. A lot of people on this board look at you as one of the most enthusiastic heads here, it'd be nice to see what else you find interesting in hip-hop today besides what you've covered in the past.
He's working on a new solo album, American Hunger (he always has the best album titles, if nothing else), and supposedly another album with Doom.
7, these posts are cool and all, but so far you haven't discussed anyone in them that you haven't talked about extensively on this board already. A lot of people on this board look at you as one of the most enthusiastic heads here, it'd be nice to see what else you find interesting in hip-hop today besides what you've covered in the past.
roaches, I feel ya. It's not that I don't want to go more in-depth or try reach newer pages in here. Ive got a believe that if people are gonna get into someones music, by nature they'll always wanna research into that artists pasttime. Be it musical or in-general, some posts in here for example this 'Grimm' interview is basically that. But I will start dropping my opinions and thoughts here and there when something really strikes out at me and is fairly new. I shouldve done it on the very first reply, the 'Jeru' news.
On a side note, I did hear about a new 'Grimm/Doom' project but not from internet sources. It was from a record store clerk all the way down here, I didn't think it was a solid enough source to run with and post it up. But knowing this dude like I do, I thoroughly believe him. And yeh I am kind of excited, look 'Doom' ain't bad at all. My biggest problem was his production which I couldn't get into, the samples he used or Madlib used were just too stretched for me at first. After replay and replay of his music, their music. I learnt to appreciate it more, and more as time passed by.
And yes, 'Grimm's' titles are pretty nice. Ibylis a Hip-Hop opera, lol classic. Creative too.
I'm gonna ask some questions next post, keep in tune y'all. And again feel free to drop your own posts regarding well anything hip-hop related. Though it's called '7's Corner' it ain't all about me baby.
peace.
On a side note, I did hear about a new 'Grimm/Doom' project but not from internet sources. It was from a record store clerk all the way down here, I didn't think it was a solid enough source to run with and post it up. But knowing this dude like I do, I thoroughly believe him. And yeh I am kind of excited, look 'Doom' ain't bad at all. My biggest problem was his production which I couldn't get into, the samples he used or Madlib used were just too stretched for me at first. After replay and replay of his music, their music. I learnt to appreciate it more, and more as time passed by.
And yes, 'Grimm's' titles are pretty nice. Ibylis a Hip-Hop opera, lol classic. Creative too.
I'm gonna ask some questions next post, keep in tune y'all. And again feel free to drop your own posts regarding well anything hip-hop related. Though it's called '7's Corner' it ain't all about me baby.
peace.
Artist: random AHH poster, username: bx_representer
Source: http://community.allhiphop.com/showthread.php?t=130247
I found this interesting, hope y'all read anf give a reply. I wanna see where people head with this before I have a personal say,
---
peace.
Source: http://community.allhiphop.com/showthread.php?t=130247
I found this interesting, hope y'all read anf give a reply. I wanna see where people head with this before I have a personal say,
---
peace.
1. The hip-hop audience is smaller than the rock audience.
2. Hip-hop fans are fans of good music, not of bands. We don't worship idols, and we respect what's dope.
3. A Furious Five tour isn't comparable to the Rolling Stones. But on that note, how well were rock fans supporting Bo Diddley, Buddy Holl, and Chuck Berry at the end? Grandmaster Flash is pretty well off from DJing - the last anyone heard of Sly Stone, he was a fiend in Hawaii playing piano at a bar for tips and drugs.
4. Country acts do 5 mil everytime out... complete bullshit. The overwhelming majority of ALL records released in a year aren't commercial blockbsuters. Period. No gold plaques, nothing.
5. A Tribe Called Quest, after having not put out any music in over half a decade (a lifetime by hip-hop standards, I'm sure the guy behind that rant would agree), and no GOOD music in over a decade, reunited for a tour and had nothing but sellout crowds who knew every word to every song.
6. Fuck comparing hip-hop to other forms of music in general. We developed in a different way, and according to different rules. The only time hip-hop should concern itself with the fucking Rolling Stones (who must be borrowing on their unborn great-grandchildren's souls at this point, what with the way their tours work) is if somebody needs one of their records so they can sample it.
2. Hip-hop fans are fans of good music, not of bands. We don't worship idols, and we respect what's dope.
3. A Furious Five tour isn't comparable to the Rolling Stones. But on that note, how well were rock fans supporting Bo Diddley, Buddy Holl, and Chuck Berry at the end? Grandmaster Flash is pretty well off from DJing - the last anyone heard of Sly Stone, he was a fiend in Hawaii playing piano at a bar for tips and drugs.
4. Country acts do 5 mil everytime out... complete bullshit. The overwhelming majority of ALL records released in a year aren't commercial blockbsuters. Period. No gold plaques, nothing.
5. A Tribe Called Quest, after having not put out any music in over half a decade (a lifetime by hip-hop standards, I'm sure the guy behind that rant would agree), and no GOOD music in over a decade, reunited for a tour and had nothing but sellout crowds who knew every word to every song.
6. Fuck comparing hip-hop to other forms of music in general. We developed in a different way, and according to different rules. The only time hip-hop should concern itself with the fucking Rolling Stones (who must be borrowing on their unborn great-grandchildren's souls at this point, what with the way their tours work) is if somebody needs one of their records so they can sample it.
You talk about loyalty from the fan to the band, what about from the band/artist to the fan? People like 50 Cent absolutely SHIT on their fans. They'll hit a concert, do a 20 minute set, grab their 50 g's and fuckin leave. And they make no point to cover it up, either...they make it clear that they are only about the money, and that's it. When was the last time you heard James Taylor, the Rolling Stones, or U2 say they're in it to "Get Rich or Die Tryin"?
I haven't posted here for awhile but I thought I'd leave some food for thought for y'all. Ever since the success of 50 Cent two years past, it seems the whole atmosphere in which hip-hop internet forums revolves around has changed. Before the mega successful "Get Rich or Die Tryin'" shut down the industry for those few months, the ratio of bullshit threads to quality threads about pretty much any topic under the hip-hop sun has been 10:1. To the bullshit.
That's somewhat disturbing because even though alot of threads are created in fact by the younger generation, over a 2 year span it hasn't slowed down. Fans keep talking the same repeatitive balony which is almost always about "the sales", "the disses", "the hype". All in all, great records have completely gone under the radar and even though so many salute "I am a true hip-hop head" I'm starting to believe that they don't know hip-hop music from a chickens anus.
This is no longer a hip-hop heads forum, rather a "guess who just disses who"/"this dude sold this much". What a shame, at the time when people scream "when the fucks Ra gonna finally drop" I can almost guarantee that hardly no one would actually support the legend if his record came out say next week. Promoted or not.
Threads seem to have little logic, little thought and Ive seen quality members from many-a-board try to reach to preach knowledge with so little avail. It's not there fault that the ignorant in the 21st century are getting even more igny. But perhap's we, mod's gotta start placing simple tests before someone can join. A ten, five, three question test with 90%-100% correct rate enabling successful memberships being handed. Tests questioning the history of hip-hop from a 20year, 30year backdrop of the genre.
It may sound dumb, but the lack of quality threads I believe is due to the lack of knowledge. Without history there cannot be progress, without progress there can't be relevance. I don't have the powers to re-shape this board or other's to my perfect plan and I guess thats a good thing in the end ha.
So to end this rumbling, i'm just gonna say. Step your thread game up, step your knowledge up and most of important of all step your good damn minds up. Expand 'em vato's.
My thoughts.
peace.
That's somewhat disturbing because even though alot of threads are created in fact by the younger generation, over a 2 year span it hasn't slowed down. Fans keep talking the same repeatitive balony which is almost always about "the sales", "the disses", "the hype". All in all, great records have completely gone under the radar and even though so many salute "I am a true hip-hop head" I'm starting to believe that they don't know hip-hop music from a chickens anus.
This is no longer a hip-hop heads forum, rather a "guess who just disses who"/"this dude sold this much". What a shame, at the time when people scream "when the fucks Ra gonna finally drop" I can almost guarantee that hardly no one would actually support the legend if his record came out say next week. Promoted or not.
Threads seem to have little logic, little thought and Ive seen quality members from many-a-board try to reach to preach knowledge with so little avail. It's not there fault that the ignorant in the 21st century are getting even more igny. But perhap's we, mod's gotta start placing simple tests before someone can join. A ten, five, three question test with 90%-100% correct rate enabling successful memberships being handed. Tests questioning the history of hip-hop from a 20year, 30year backdrop of the genre.
It may sound dumb, but the lack of quality threads I believe is due to the lack of knowledge. Without history there cannot be progress, without progress there can't be relevance. I don't have the powers to re-shape this board or other's to my perfect plan and I guess thats a good thing in the end ha.
So to end this rumbling, i'm just gonna say. Step your thread game up, step your knowledge up and most of important of all step your good damn minds up. Expand 'em vato's.
My thoughts.
peace.
Artist: O.C.
Source: me.
Without a doubt I believe OC is a living hip-hop legend. After being introduced to his music in late 1995, post "Time's Up" was jamming the boombox. Ive grown steadily into being a huge fan of his music, Ive got to say that the first real song which blew me away was "Born To Live" off 'Word..Life'. The rhymes were vivid as they get, the realness and genereally what he was reaching on that song was the start to what I believe is a almost flawless career. From a rockin' the mic point of view.
Here are some parts from Born 2 Live, read them. Though you'd have to hear the song itself to feel it's true essence entirely.
Born 2 Live,
"... As kids, you're overlookin death
It didn't seem important or serious, it just seems curious
It was about, wakin to a bowl of cereal
Cartoons on Saturday's, karate flicks, and like
ridin your skateboard, or bicycle. .."
".. Now when somebody is gone,
that's when you realize how close you was
how close you are.. like a star
Real deep it takes time to heal
And still from time to time you wish you could find the way to forgive
and let him know you forgave
But they can't feel six feet deep inside the grave
What's left, but attend his wake, believin if it was you
he'd do it for old time's sake, damn. .."
".. One of my childhood pals hit the road
When you take, to the streets, then you die, by the code
But in this case, who knows what went down?
Bottom line is wishin that he still was around
Now he found a spot in my heart, or should I say lobotomy
Mike, know you're trapped inside of me. .."
and the chorus which is just awesome.
"We're born to live, a life to die
Life's so damn short and I wonder why".
Ofcourse one song cannot make you a legend in this game, even though some would claim it to do so. The 2nd track which I came across was "Point O-Viewz". I won't take rhymes incerptions from it but take my word that it's pure greatness. Hip-hop at its finest.
Here below is a full review on his debut "Word.. Life". Read it at will. Link to it directly: http://www.epinions.com/content_119055486596
..
After swallowing "Word.. Life", I to came to the conclusion that it was a classic. A lost classic, which people seem to forget. It could due that it dropped in the infamous year of 1994. Infamous because all the major records that year just so happened to be mind blowing. Illmatic to Ready To Die, Southernplayalisticaddilacmuzik to Dare Iz A Darkside, Stress: Extinction Level to Tical.. and so forth.
So my next OC journey took me to the debatable great/disappointing "Jewels". Personally I love it, I thought the beats were better. The flows he used were better, the rhymes were better and perhaps the only lacking substance was the substance itself. Not to say it was bad, it just wasn't as personally deep or introspective as "Word.. Life". At the same time, saying that he lyrically stepped up. To put it short, had say Nas followed up Illmatic with a similar record to "Jewelz" i'd say he'd be a fulltime g.o.a.t. contender on most peoples lists. Thats just my opinion however.
The one track which made me go "holy goddamn this is amazing" from his second Lp was without a doubt "Can't Go Wrong". The beat and the feeling made me play it some 20 times in a row for some 4 straight days. The Big L featured "Dangerous" was also correct. The Organized Konfusion featured "War Games" was nice, I felt they moulded beautifully for what was another collaboration between the three. Then there's the song "Burn Me Slow" which uses the same sample Nas' "These Are Our Hero's". That's also up there with my favorites from the record. Below is another review, this time of "Jewelz". Link: http://www.audiorevolution.com/music/revs/oc.html
Then there's "Bon Appetit" and the mighty stumble and fall. I congradulate him on trying something different, but that juggy shit shouldve been left for '97-'99 circa Jay-Z whom makes an appereance on ths album. The track "Bonified". Like Rakim with The Master, Kool G Rap with The Giacana Story and Kane with that chocolate album. Another veteran stumbles with what seems a rushed and perhaps slightly less effort-put-in record.
Truthfully it isn't as bad as Im making it to be, compared to say another record of the past 5 years minus the standouts ofcourse it's superior in every was expect perhaps some beats. But OC tried to cater for a new generation of fans, which inevitably left his hardcore underground fans starving. He shows glimpses of his ver best, far from thought but the glimpses are there on ""Doin Dirt" and "Respect The Drop". Here's a review of it, link: http://www.mvremix.com/urban/reviews/2002/bonap.shtml
And then like a phoenix rising from the ashes, OC returns. The year is late 2004/early 2005. Unreleased in the US, released everywhere else. (IMPORT IT, fellow US hiphop heads.) "Starchild" is a celebration of beautifull crafted music in a new era with new emcee's reigning the charts.
"Ya Don't Stop" is OC at his best on this standout cut, on this record. On this album he sounds hungry, he sounds slightly angry and his skills are on. Like a light switch, he switches his shit on as simple as that. Quite amazing considering not many emcee's could rebound from one lackluster effort to making one of the best this year. I guess his fans must of been nagging and bugging him to return to that original essence. Here is a review, from allhiphop link: http://www.allhiphop.com/reviews/index.asp?ID=521
---
O.C., is he an elite emcee? One of the best? Top 20? 15? 10? I think so. But don't take my word, just go cop his albums and judge yourself.
peace.
Source: me.
Without a doubt I believe OC is a living hip-hop legend. After being introduced to his music in late 1995, post "Time's Up" was jamming the boombox. Ive grown steadily into being a huge fan of his music, Ive got to say that the first real song which blew me away was "Born To Live" off 'Word..Life'. The rhymes were vivid as they get, the realness and genereally what he was reaching on that song was the start to what I believe is a almost flawless career. From a rockin' the mic point of view.
Here are some parts from Born 2 Live, read them. Though you'd have to hear the song itself to feel it's true essence entirely.
Born 2 Live,
"... As kids, you're overlookin death
It didn't seem important or serious, it just seems curious
It was about, wakin to a bowl of cereal
Cartoons on Saturday's, karate flicks, and like
ridin your skateboard, or bicycle. .."
".. Now when somebody is gone,
that's when you realize how close you was
how close you are.. like a star
Real deep it takes time to heal
And still from time to time you wish you could find the way to forgive
and let him know you forgave
But they can't feel six feet deep inside the grave
What's left, but attend his wake, believin if it was you
he'd do it for old time's sake, damn. .."
".. One of my childhood pals hit the road
When you take, to the streets, then you die, by the code
But in this case, who knows what went down?
Bottom line is wishin that he still was around
Now he found a spot in my heart, or should I say lobotomy
Mike, know you're trapped inside of me. .."
and the chorus which is just awesome.
"We're born to live, a life to die
Life's so damn short and I wonder why".
Ofcourse one song cannot make you a legend in this game, even though some would claim it to do so. The 2nd track which I came across was "Point O-Viewz". I won't take rhymes incerptions from it but take my word that it's pure greatness. Hip-hop at its finest.
Here below is a full review on his debut "Word.. Life". Read it at will. Link to it directly: http://www.epinions.com/content_119055486596
..
After swallowing "Word.. Life", I to came to the conclusion that it was a classic. A lost classic, which people seem to forget. It could due that it dropped in the infamous year of 1994. Infamous because all the major records that year just so happened to be mind blowing. Illmatic to Ready To Die, Southernplayalisticaddilacmuzik to Dare Iz A Darkside, Stress: Extinction Level to Tical.. and so forth.
So my next OC journey took me to the debatable great/disappointing "Jewels". Personally I love it, I thought the beats were better. The flows he used were better, the rhymes were better and perhaps the only lacking substance was the substance itself. Not to say it was bad, it just wasn't as personally deep or introspective as "Word.. Life". At the same time, saying that he lyrically stepped up. To put it short, had say Nas followed up Illmatic with a similar record to "Jewelz" i'd say he'd be a fulltime g.o.a.t. contender on most peoples lists. Thats just my opinion however.
The one track which made me go "holy goddamn this is amazing" from his second Lp was without a doubt "Can't Go Wrong". The beat and the feeling made me play it some 20 times in a row for some 4 straight days. The Big L featured "Dangerous" was also correct. The Organized Konfusion featured "War Games" was nice, I felt they moulded beautifully for what was another collaboration between the three. Then there's the song "Burn Me Slow" which uses the same sample Nas' "These Are Our Hero's". That's also up there with my favorites from the record. Below is another review, this time of "Jewelz". Link: http://www.audiorevolution.com/music/revs/oc.html
Then there's "Bon Appetit" and the mighty stumble and fall. I congradulate him on trying something different, but that juggy shit shouldve been left for '97-'99 circa Jay-Z whom makes an appereance on ths album. The track "Bonified". Like Rakim with The Master, Kool G Rap with The Giacana Story and Kane with that chocolate album. Another veteran stumbles with what seems a rushed and perhaps slightly less effort-put-in record.
Truthfully it isn't as bad as Im making it to be, compared to say another record of the past 5 years minus the standouts ofcourse it's superior in every was expect perhaps some beats. But OC tried to cater for a new generation of fans, which inevitably left his hardcore underground fans starving. He shows glimpses of his ver best, far from thought but the glimpses are there on ""Doin Dirt" and "Respect The Drop". Here's a review of it, link: http://www.mvremix.com/urban/reviews/2002/bonap.shtml
And then like a phoenix rising from the ashes, OC returns. The year is late 2004/early 2005. Unreleased in the US, released everywhere else. (IMPORT IT, fellow US hiphop heads.) "Starchild" is a celebration of beautifull crafted music in a new era with new emcee's reigning the charts.
"Ya Don't Stop" is OC at his best on this standout cut, on this record. On this album he sounds hungry, he sounds slightly angry and his skills are on. Like a light switch, he switches his shit on as simple as that. Quite amazing considering not many emcee's could rebound from one lackluster effort to making one of the best this year. I guess his fans must of been nagging and bugging him to return to that original essence. Here is a review, from allhiphop link: http://www.allhiphop.com/reviews/index.asp?ID=521
---
O.C., is he an elite emcee? One of the best? Top 20? 15? 10? I think so. But don't take my word, just go cop his albums and judge yourself.
peace.
Artist: AZ (new album news, tracklisting)
Source: http://www.allhiphop.com/hiphopnews/?ID=4582
East New York native AZ was last heard in 2002 when he dropped his critically-acclaimed album AZiatic. Now, three years later, the only guest on Nas’ classic Illmatic is back once again withA.W.O.L.
Being released through AZ’s Quiet Money label in conjunction with Fastlife Music, A.W.O.L. is being hailed as another stellar chapter in AZ’s already impressive catalogue.
The first single and video is the DJ Premier laced “The Come up.” The album cuts “AZ’s Chillin” and “Never Change” have already been leaked to the streets and are being rotated by respected DJ’s like Kay Slay and Funk Flex.
Look for A.W.O.L. in record stores on August 23rd.
The complete track listing for A.W.O.L. is as follows (subject to change):
1. Intro (Produced by Heatmakerz)
2. Omega (Produced by Tone Mason)
3. The Come Up (Produced by DJ Premier)
4. Magic Hour feat. CL Smooth (Produced by Tone Mason)
5. No Strings (Produced by Baby Paul/BpZy)
6. Never Change (Produced by Heatmakerz)
7. A.W.O.L. (Produced by Vinny Idol)
8. AZ's Chillin (Produced by Fizzy Womack)
9. Envious feat. Bounty Killer (Produced by MoSS)
10. Can't Stop Won't Stop (Produced by Frado)
11. Live Wire (Produced by Buckwild)
12. New York feat. Ghostface (Produced by Emile)
13. The Truth (Produced by DJ Absolut & Young Calvin)
14. Bedtime Story feat. Slick Rick (Produced by Jimmy Kendrixx & Baby Paul/BpZy)
15. So Sincere (Produced by Heatmakerz)
16. City Of Gods (Produced by Disco D)
---
peace.
Source: http://www.allhiphop.com/hiphopnews/?ID=4582
East New York native AZ was last heard in 2002 when he dropped his critically-acclaimed album AZiatic. Now, three years later, the only guest on Nas’ classic Illmatic is back once again withA.W.O.L.
Being released through AZ’s Quiet Money label in conjunction with Fastlife Music, A.W.O.L. is being hailed as another stellar chapter in AZ’s already impressive catalogue.
The first single and video is the DJ Premier laced “The Come up.” The album cuts “AZ’s Chillin” and “Never Change” have already been leaked to the streets and are being rotated by respected DJ’s like Kay Slay and Funk Flex.
Look for A.W.O.L. in record stores on August 23rd.
The complete track listing for A.W.O.L. is as follows (subject to change):
1. Intro (Produced by Heatmakerz)
2. Omega (Produced by Tone Mason)
3. The Come Up (Produced by DJ Premier)
4. Magic Hour feat. CL Smooth (Produced by Tone Mason)
5. No Strings (Produced by Baby Paul/BpZy)
6. Never Change (Produced by Heatmakerz)
7. A.W.O.L. (Produced by Vinny Idol)
8. AZ's Chillin (Produced by Fizzy Womack)
9. Envious feat. Bounty Killer (Produced by MoSS)
10. Can't Stop Won't Stop (Produced by Frado)
11. Live Wire (Produced by Buckwild)
12. New York feat. Ghostface (Produced by Emile)
13. The Truth (Produced by DJ Absolut & Young Calvin)
14. Bedtime Story feat. Slick Rick (Produced by Jimmy Kendrixx & Baby Paul/BpZy)
15. So Sincere (Produced by Heatmakerz)
16. City Of Gods (Produced by Disco D)
---
peace.
Artist: Cormega (interview)
Source: http://www.rapreviews.com/interview/cormega.html
Is the music industry trying to hold Cormega down? Despite his success independently, one can't help but wonder if there is a conspiracy to keep the gifted emcee from reaching the masses. Def Jam had the audacity to hold the man's work hostage for seven years, delaying the release of what was meant to be his debut album. Thankfully, Cormega doesn't let all the bullshit affect him. "The Testament" finally saw the light of day on February 22 of this year, and with its release Mega's ready to start a new chapter in his career. With a DVD and soundtrack scheduled for the fall and his new and self-proclaimed best album, "Urban Legend," following, problems from the past are the last thing on Cormega's mind. Mega's positive outlook was ever-present as he shared his plans for the future, views on the industry, and what being real is all about.
--------------------------------------------------------------------------------
Pedro Hernandez (PH): I know you just released "The Testament" after a very long wait and I was wondering if you could give some background info on the album and the process of releasing the album for people who don't know the story.
Mega: I mean, the process was basically, the people who don't know, it's an album that originally was recorded when I was on Violator/Def Jam and it was never released. You know what I mean, being on the shelves and me having been released from the label. So, as years and years went on, you know, it became an obstacle, the album became an obstacle. So I decided I didn't even want it, I didn't want the album anymore. I didn't really care about it. You know, I just made "The Realness" and "The True Meaning" But through all those years my fans kept asking about that particular album, "The Testament," so we decided we were gonna put it out 2005, so 2005 is upon us so we just put it out. I mean, everything, everything that we do there's a reason and there's a message behind it. Like we're doing that basically just to let people know, like that's just justification saying that this album should have never been shelved. Like we're letting the people decide for themselves whether or not is should have been shelved, you know what I'm saying.
PH: As a person and as an artist how did it feel to finally reclaim your own work, and regain control over your own words.
"...it would have been more significant or it would have felt better if I got it out when the album was more relevant..."
Mega: I mean, I don't know how to really describe it, it felt good but it's like, I guess it's a bittersweet justice because it would have been more significant or it would have felt better if I got it out when the album was more relevant, you know what I'm saying. Like right now, the album is like a retro album as opposed to if I had, if they had gave it to me when I really intended on releasing it or if they had not had it on the shelf it would have been more better because it would have been more relevant. Right now it's just like a retro album. So it's bittersweet. You know what it's like? It's like somebody who has been in jail for a whole bunch of years and then he got found innocent and they finally let him out. But you still can't take those years back that was lost, you know what I'm saying. You can't get those back so it's a good thing but I don't know…
PH: Moving on to the newer stuff, I know you have a DVD coming out, are there any new albums or other releases from Legal Hustle?
Mega: Oh yeah, Cormega, the Cormega solo album is about to come out called "Urban Legend.." What else, Dona is coming out, my female artist. And, what else we got, we got the DVD coming out like August, then we got Dona coming out like October, And then after Dona I'm a come with the Cormega album.
PH: The DVD, what is that going to be like?
Mega: DVD's gonna be like a documentary. It's like a documentary but it's also like following my life during the last, you know what it is? It's like life after "The Testament," like everything after "The Testament." Those years when I started recording "The Realness" and "True Meaning" and all of that, everything is on there, like studio sessions, you name it, show footage, exclusive videos that I recorded. And my whole reason for doing so was I was telling a friend, cuz he was like " Why are you doing videos?," cause you know it's a political thing to get your videos played, and all that. So I said that's even more incentive for me to do a video because my fans that don't get to see me on BET or whatever they'll get to see me when they buy my DVD. So on the DVD you're gonna have videos, you'll have behind the scenes footage, you know what I'm saying. It's crazy dope, I guarantee you it's like nothing you've ever seen before because I already got like newspapers and people like that already calling me, they've seen the trailer and they were blown away by it. And actually somebody tried to get me to put it in the Sundance film festival, like that's how dope it is. And as you go, as the video goes on, like say you were with me during the making of the documentary, so they'll know "Okay that's Pedro," you know what I'm saying, so they'll know who he is. So the people will be relating with you because they'll see you in the video chilling with me or they'll see you in the streets, and such and such and such and as the video goes they'll follow you. To make a long story short, one of my closest friends , his name was Floyd Quinones, he was killed by the police a couple of years ago in New York City. It was a big shooting, it was a big thing, it was on the news and everything. So he's all in my DVD, like he's at my videos, he's at my baby shower, he's just on the regular scene chilling. So when he got killed, initially, everybody had their side of the story. Like people in the streets said it was wrong, the police, they said that it was justified what they did. So everybody had their side of the story, but the fly shit is after my man died we went to his wake and after the wake we're all chilling. You know usually people get together and they have drinks, you know. So we all standing in Brooklyn in the projects and no exaggeration 100 cops came and they had sticks, they had shields, and they had helmets on. Now, I'm familiar with the police and I've been living with them my whole life, police never roll like that unless they ready to do, they were ready to do, basically fuck people up. Only reason they didn't do it cuz we had it film guy there and the guy was white and they didn't know who he was because that was a whole high profile situation like the news crews and everybody, they were coming around all the time. So, we actually captured it on film when the police came like a hundred deep, and you're gonna see the reaction of the people that's in the streets, you're gonna hear the scattering feet. Cuz, like I said, everybody was cool with the guy, Floyd Quinones, like you're gonna see little girls there , grown ladies, old men, old ladies, like everybody, you know what I'm saying. People, we're just there, people just standing there, they're burning candles, they got his pictures, nobody is doing anything bad or anything , but the cops came 100 deep they was ready to fuck us up. Only reason they didn't do that cuz we had a film guy. But to be actually, to be actually there was shocking, cuz I was shocked when I was there. But when you see it on footage, my friend, Jordan, his father's white, his father is probably in his 50s, he seen the footage he said "Oh My God." He showed Jordan his arms, the hair on his arms was standing up. And this was before I even seen the footage, by the time I seen the footage, the shit made me wanna cry. Cuz it reminded me of the civil rights shit, like I never seen no shit like that ever in my real life, you know what I'm saying, maybe on TV. But watch, when you see the DVD you're gonna bug out it's crazy. … When I seen the footage I almost started crying, you're gonna see grown ladies, you're gonna see little girls like "Why don't ya'll just leave us alone" telling the police that. You're gonna see another lady, she's the mother of two children, "What are ya'll doing? We not doing nothing, ya'll just wanna kill us." I've never seen like just ghetto passion like that captured on film. And it's not a movie or anything it's actually real, that's what makes the shit so crazy. When I was there I was just there shocked I could not believe it. But when I seen the footage when I got home I was like "Oh Shit." Like I said, there's people like old music guys seen the trailer, they went crazy, they asked me "As soon as you get done with that let me see that." I think L.A. Times' people liked the shit, a lot of people seen the footage and they bugging out over it.
PH: That footage ties in with another question I was going to ask you, since you've been doing music I've noticed your music has a real social message behind it, it's more than your average "shoot 'em up, bang bang" rap. So I was going to ask, since you've been putting out records do you feel there's been a social change?
Mega: What do you mean? As far as my contribution?
PH: Yeah, as far as your contribution, when you go back to Queens?
"We have to take responsibility so I'm proud that I took responsibility with my music."
Mega: As far as my music, I know one thing I know I changed, once I made "The Realness" I know I changed the soundscape of Queensbridge. Because if you listen to everybody's album that came out since "The Realness" people don't really talk, like a lot of people, you know what I'm saying, they had to change and tone it down so they had to really, you know what I'm saying, check what they was saying. Because I wasn't overexploiting the hood, you know what I'm saying, and I wasn't glorifying the drama and the bullshit that was going on, I was telling you about the pitfalls of it and basically "The Realness" is just realistic. It ain't no made up rhymes. Ever since then I know it's a lot of people, they don't talk about guns as much and they try to get social, some of the other artists. I think that's a good thing about it. And another thing. Another good thing is that I think like as far as "The Realness" and "The True Meaning" has gained, like I got a lot of respect from my peers, like the media, etcetera etcetera. People that always had question marks next to my name, they started giving me my props. I got the first ever Source Award for independent album, I got the Impact Award at the Underground Music Awards, you know what I'm saying. And you know, my words, I get fan mail telling me that my words, like "Yo Mega, I was going through some hard times in my life and your music really helped me come through it," so stuff like that it really, you know what I'm saying, that stuff like that it really hits me the hardest. It makes me want to take more responsibility with what I write. Because I don't want to be that dude that's just writing about "shoot em up bang bang" and indoctrinating the young dudes that want to do that. Whether rappers know it or not, what we do is influential, like the clothes we wear, the cars we talk about, everything we do they want to do that. So if we're talking bout we're robbing and we're doing this and we gun-ho, just makes you wonder why 15 and 16 year-olds are running around with guns trying emulate a rapper, you know what I'm saying. We have to take responsibility so I'm proud that I took responsibility with my music.
PH: On the same note, how do you feel about hip-hop right now? Because it seems like right now everybody is either obsessed with cars, clothes, money-type things or everybody's trying to see who's the hardest , who's the most violent, or there's beef popping up every two seconds when someone looks at somebody else wrong. You think that's giving a bad image of what the hood is really like? One of my boys was talking to me and he's like "People have the wrong idea about what it's like growing up in the hood because not everybody is doing what you hear in rap music. Most people are just trying to get by trying to make a living."
Mega: Exactly. That's why I try to tone it down in my music. As far as rappers, rappers are the bottom of the food chain when it comes to the hood. Like no rapper is hood anymore, once you're a rapper you're not hood no more. Like I did more shit in the streets than probably any rapper in Queensbridge. But I don't exploit, I did more shit than anybody, not just violence, I'm talking bout drugs. Like nobody from Queens has sold more drugs than me. They probably people that was in the streets more or mighta been wilder than me or whatever or whatever, but nobody sold more drugs than me. But, you know what I'm saying. Yet I don't scream QB in all my rhymes because I'm not trying to exploit the hood cuz I'm not in the hood no more. I don't know about the pain that's going on in the hood right now, this second. Because right now this second I'm at my house talking to you on the phone, you know what I'm saying. So I think a lot of rappers, like from my hood in particular, they front, they exploit the hood but they don't know the pain that's going on the hood cuz they not there, you know what I'm saying. And another thing, there's other people that keep it realer than rappers. Like everybody talking bout they a real nigga, nah, the realest ma'fuckas in New York, and everybody wanna be the king of New York, the realest niggas in New York is the New York motherfucking Fire Department. Because it takes a real motherfucker to run up in the World Trade Center, you know what I'm saying, when there's a good chance. When you're a fire man you can evaluate the situation, you can look at it and say "The likelihood of me coming out of here is such and such percent," you know what I'm saying. Anybody that seen the World Trade Center Building that was a fireman knew the likelihood of them coming out of that building was slim to none, yet they still did it. That's Real! You know what I'm saying, standing in the projects talking bout you wild or cuz you got a gun or cuz you sell drugs, that's not real. Cuz even when I did sell drugs, I wasn't proud enough to go to my grandfather and say "Grandpa, I sell drugs." I was ashamed. So basically, if you do something and you're ashamed of it in some aspect, then that's not real, you know what I'm saying. So that's what a lot of rappers need to do, keeping it real is keeping true to your self. Like the people who work for housing that help clean up the projects, they keeping it real cuz they keeping the projects looking like something, instead of making it look like a desolate place and just bring, you know what I'm saying, gloom. And the fire department, those are some real motherfuckas. And the old people that, you know what I'm saying, that stay in Queensbridge, that stay in all the projects that's wild because they really love the place, you know what I'm saying, and they try to make changes, those are the realest people. All these rappers talking bout what they do, half of them, not even half, more than half of these niggas is frontin. Like my hood in particular, all these niggas screaming Queensbridge, they don't even come to Queens.
PH: Still talking about Queens, you came up at a time when a lot of acts were blowing out of Queens, like Mobb Deep and Nas, and I was wondering what was it like back then. What was the scene like, what was it like to be there?
"When they first started blowing up, I was in jail actually. So when that shit was happening I was proud of them niggas..."
Mega: When they first started blowing up, I was in jail actually. So when that shit was happening I was proud of them niggas cuz I was like "Oh Shit." Cuz it's a reflection of the hood, you know, they was representing the hood, and that was a good look for me. Cuz I'm sitting in jail watching dudes that I grew up with on TV. That's big. As opposed to me watching on the news talking about they about to go to jail or something stupid like that. I was proud for them niggas, you know what I'm saying. So that was big, that means Queensbridge was good, you know what I'm saying, especially after all those years of Queensbridge being shut down after the KRS-One/ Shan situation. So it was dope and it was big, like when I came home it was dope. I felt dope that I was a part of it. So when I cam home I was just proud to be a part of it, you know what I'm saying, being from Queens is like being on the Yankees man, you know what I'm saying. It was like everybody was doing they thing, we had a lot of props from the industry, it was dope when I came home. I wasn't even home two days, Mobb Deep had a big show and they put me on stage, you know what I'm saying. Then Nas came and scooped me up, you know what I'm saying. It was like a dream for me, not for me but like for a rap fan it was like a dream. Like my life when I came home from jail was like a rap fan's dream. Like you come home from jail up state from Albany, next day you with Nas, next day you at Marley Marl's house, you know what I'm saying. And within the next few weeks you meeting Foxy Brown and AZ, and shit like that so it was crazy. I met Ghostface, all these niggas around that time, everybody embraced me. I met Biggie Smalls, nigga gave me, Biggie Smalls one of the most humble dudes I've ever met. I mean here he is double platinum artist, every ten minutes his song is on the radio. This nigga hugs me and shit, he like "Yo, I heard a lot of good things about you, man" and I was like "Thanks man, I heard a lot of good things about you too," you know what I'm saying. He was madd cool, so that was a good experience for me. You know what I'm saying, I met Pun. Me and Pun, Pun is like somebody I could actually say was a good dude, like a good friend of mine, you know what I'm saying. Like if I could just quit rap right now, like if I was to never rap again, or let's just say I have move away to fucking the north pole or something and I never could do rap or nothing again, I still lived a good life. Even though I never came out on a major label or something , I did so much. Like I performed on "The Apollo" when Steve Harvey was hosting with The Firm, you know what I'm saying. I did "Soul Train" when Don Cornelius was the host. I fucking opened up for Eric B. and Rakim at The Apollo. I was on Nas' second album , his most successful album ever, I was on Mobb Deep's most successful album ever. You know what I'm saying, I did so much in my time that's why I can't be bitter. Like a lot of underground and independent artists, it's like they got some kind of grudge against the mainstream, I don't got a grudge against the mainstream. I feel sorry for the mainstream cuz the artists are getting pimped and then the people with the power they're destroying the art. So I really feel sorry for them, but other than that I lived a good life, you know what I'm saying, I've seen a lot and I did a lot.
PH: Going back to the "Legal Hustle" album, I had a question I always wondered about. You had a song on there, one of my favorites from the album, called "More Crime" with a West Coast cat called Jacka, how did that collaboration come about?
Mega: Okay, Jacka is one of my friends, like Jacka is another artist, like you know some artists you just cool with, but Jacka is one of my friends, you know what I'm saying. Jacka is like my little cousin and shit. Like I met Jacka years and years ago and he wanted to do a song with me, so I did a song with him, you know what I'm saying, so I did a couple of songs with him, you know what I'm saying. They flew me out to California and they broke me off with some bread and I did a song for em. But after I was in California, I learned so much. Like Jacka and 'em taught me so much about the culture and about a lot of other things. Because New York is just another society, and we stuck in our own ways. Like I never new about muscle cars and all that. Like people on the west coast with '64s and all that I always thought that they was broke or something, you know. Cuz New York, we tend to be more like Benzes and, you know, you know how New York is. So I learned from them that those cars, you might have a '64 that cost more than a Benz. Or I learned about their culture, how they lived and that they real just like us and that they go through the same thing we go through. Like when I first went out to the Bay Area, California - within one hour of me getting off the plane I was face down looking at the floor, police had me on the floor, me, Huss - Hussla from the Mob Figaz, you know what I'm saying, so that right there just woke me up, the whole world go through the same shit. Like I don't give a fuck where you from: Cali, Chicago, wherever, East Coast, West Coast - we all go through the same shit. Everybody trying to survive and the police fuck with everybody. You know what I'm saying, they taught me that. Then I went to the studio with them to listen to they tracks, we knocked shit out, and then ever since then we've been cool. Like you know we had a bond, like he came to New York, like he showed me how he live in California, like they showed me a '69 Malibu, you know what I'm saying, they put me on to those shits and '64s and all those type of cars. They fucked up my mind so much I came home and bought a '64, you know what I'm saying. And then after that we started just communicating, like throughout the years we always stayed in touch. Then Jacka came to New York, yo, he come to New York he didn't even stay in his hotel, the nigga was with me half the time. Like he spend the night in the hotel, like I had my own hotel room he stayed with me. Like I took him to Queensbridge and let him see how I lived. You know, cuz a lot of rappers will say they this and that, but then they won't go to their own hood. So Jacka and all of them niggas from Cali, they know how I am, they came to Queensbridge and they was in the, you know we ain't have no security, they was in the hood. So, you know what I'm saying, he chilled out there all my niggas came out, and it was dope. So ever since then we always been cool. I put him on "Legal Hustle" cuz he don't really got fans in New York, people don't really know him. So I said "Niggas need to know him" cuz his shit be dope and this is some different shit. Cuz you know, I wanted "Legal Hustle" to be, you know, like when I made "Legal Hustle" I wanted it to be like when Dr. Dre made "The Chronic." Like he introduced the world to a lot of people and it was a dope compilation album. So that's basically what I was trying to do. I was trying to make something different and I was trying to hold people down cuz I didn't have a solo album ready. So I wanted to make something dope that people could relate to and I wanted to introduce the world to like, like you got Maino. Maino got a deal right now, the first album that Maino was on was "Legal Hustle." He has the song "Rumors" out right now, but prior to that the first thing he was on was "Legal Hustle." And I introduced Jacka on there, and I introduced Dona, my artist was on there. Lake was on there, you know he's been on something else. And you know I tried to reach out my hand, I didn't want it to be looked at as a Queensbridge or New York I wanted people from all, like I wanted to put DMP on there from Virginia but the track came too late. All the people that wasn't on "Legal Hustle" that should have been on there are going to be on the soundtrack to my DVD, so that's going to be like "Legal Hustle Vol. 2."
PH: I've been listening to Mob Figaz for a while, probably since their first CD came out, but I didn't realize that was Jacka on their til he dropped his album.
Mega: Jacka would be the easiest artist from the Mob Figaz for New York to adapt to.
"I mean if you don't smoke weed and stay with Jacka I promise you're gonna be high by the time you get to your room just from contact."
PH: Defintely. I've been listening to his new album that he just dropped and it's just good music, it's not really West Coast, it's just good music overall.
Mega: Exactly. And the nigga Hussla, you know, Mob Figaz is nice matter of fact they got a lot of ma'fuckers. You know what's dope about Mob Figaz, Mob Figaz is like how Wu-Tang is. Like they got their own personas, like Jacka reminds me, his demeanor, like Jadakiss. He's like a laid back nigga and Jacka smoke weed all day. Like when I say smoke weed all day, I mean if you don't smoke weed and stay with Jacka I promise you you're gonna be high by the time you get to your room, just from contact. And he smoke like the best shit, like he smoke weed like you never heard of. Like Redman and them would love Jacka. Fucking Hussla, Hussla, he's the fucking personality of the crew, he's the motherfucker, he has personality, he's the Method Man of the crew. He's the one that got the ill personality, mad humorous, but he's a real nigga too. Like he's a straight, real gangsta nigga. So, you know what I'm saying, they all got their own demeanor. The nigga Feddi, all them niggas is real, that's why I fuck with them.
PH: Outside of Mob Figaz, what do you listen to on your spare time? What's in your CD deck right now?
Mega: Lately, what I've been trying to do lately is I'm trying to push myself the way like a basketball player would when he's trying to emulate a great. Like lately I've been listening to Rakim, I listen to Rak,im's first three albums. The last few days I've been listening to Rakim's first three albums. So basically you could say I'm studying, that's what I've been doing, you know what I'm saying. Like the way Kobe be studying Micheal Jordan's film, I'm studying Rakim right now. And I listen to some of Big Daddy Kane recently. Like basically I've been listening to the trendsetters, like the pioneers and shit. I don't wanna call em old school cuz I hate that word, like the golden era rappers, I listen to that a lot. I don't really listen to the new stuff that's out but I listen to John Legend's stuff, a little bit of that. Alicia Keys' album, that blew me away last year, Sister Nancy, reggae, Bob Marley, stuff like that. I listen to various different kinds of shit. Even Guns N Roses sometimes, depends if I'm in the mood.
PH: Do you think there's anybody that's next to blow? Any up and coming artist who's going to be the next big thing in the game?
Mega: Ehhhh, I don't see nobody that's really, I don't. You know who I think could blow right now? If niggas, you know, you know who I think has a little buzz right now as of lately, the nigga Big Daddy Kane. Like he did a show recently at S.O.B.'s and everybody was talking about it and then ever since then a lot of people doing songs with him. So if somebody step up, like somebody big, and put some shit behind him, he might promote some music. But as far as the new artists, I see the same shit. Cuz if you listen to a lot of these new artists they all sound the same. Like everybody got that, half these ma'fuckers got that Jay-Z flow, they sound like they trying, the same way I said I was studying Rakim , it's like they students of Jay or they trying to mimic him. They after everything, you know what I'm saying. So I don't really hear anybody that's differentiating themselves from the pack, you know what I'm saying. I wanna hear somebody that does. You know who I'm interested in hearing? Little Brother, out of North Carolina, I've heard a lot of good stuff about them.
PH: You mentioned Kane and Rakim, are those your main influences, or who are your main influences as an Emcee?
"... he never gets his credit. And he's one of those niggas that helped elevate the game is fucking T La Rock."
Mega: No, you know who? One of my biggest influences ever is somebody that like I feel is like the Bernard King or Dominique Wilkins of rap. I can't even say Bernard or Dominique cuz he didn't play as long as them but he is somebody that is so dope and better than so many artists yet he never gets his credit. And he's one of those niggas that helped elevate the game is fucking T La Rock. Like he was using those complex words and infrastructures when niggas was still talking about "chicken and collard greens" and that simple bubble gum rap, you know what I'm saying. When I heard T La Rock, when I first heard him I was like "Oh Shit." And then LL, you can tell LL and KRS-One and people like that study from him. So he was one of my earliest influences. MC Shan was like my fucking idol, like you know what I'm saying, I wanted to be like Shan. Then fucking Rakim of course, Slick Rick for the way he tells a story. The way Slick Rick tells a story and his aura, like the way he commands, the magesty of him is irreplaceable. So it's like Slick Rick, Rakim, Shan, Kane, Kool G Rap of course, Grand Puba, KRS- One. Actually half the motherfuckers that inspired me on one way or another, it's dope , are going to be on a song on my next album, "Urban Legend." I got a whole bunch of them to do a song with my on "Urban Legend," it's gonna be dope, you know what I'm saying.
PH: I noticed you do production on your albums, do you do anything outside of your stuff?
Mega: Oh yeah, "QBs Finest" I got co-production credits for that, though it should have said "Produced by Cormega," but whatever at least they tried, you know what I'm saying. I did shit on "Legal Hustle," "Realness," and Dona's new album. I did a lot of other shit, MC Shan's verse on "Bridge 2001." Matter of fact niggas didn't even want Shan on it, and I was infuriated. How you gonna remake a man's song and not even ask him to be on it? Niggas didn't think Shan could come with it, and I was like "That's the point." We got a group of elite rappers, we can help Shan. So I said "Fuck it," wrote the verse and coached Shan on how to do it, you know what I'm saying. When it was done, niggas was blown away cuz Shan really brought it.
PH: For those out there who are interested in production, what's your production style? What do you use, are you a crate digger?
Mega: I'm a crate digger like a motherfucker. Actually, I just started buying vinyl again. A lot of soul records, shit like that. Last piece I picked up was "Move The Crowd." I also found a copy of "Hawaiian Sophie," you know I had to pick that up. I buy a lot of soul records and try to create intricate sound from 'em. When I find something that I'm feeling, you know what I'm saying, as opposed to looping I get people to play it all over again. Like, on "Beautiful Mind" that was played all over again, I had someone play the entire thing all over again. I just wanted to recreate it as opposed to just looping, you know what I'm saying. A lot of producers got the same beats, they don't do nothing innovative. I guess they just say "Fuck it," let me just loop some shit and get some money. I got an ear for beats, you know what I'm saying, people actually be jacking some of my shit. Like the beat for "Dead Man Walking," Jay-Z used it for that song on "The Blueprint," "Lyrical Exercise?" No, wait, how does it go? Either way, Jay used that for one of his songs. Saigon just used the same beat from "62 Pick Ups," that was done in 1998, so you know, who's first? What else? Saigon used some shit from "True Meaning" and that came out, what? Two years ago. In a way it's flattering, you know what I'm saying? Fuck it, it's like "Shit, I'm on top of my job," you know? Next album I'm telling you son. I can't explain it, it's going to be crazy dope. I'm glad I took my time on it, because I never took my time on my albums before. "The Realness" I did that in like 3 months, "True Meaning" was done in three months too. I had never taken that much time for an album. The next album, "Urban Legend" the songs are gonna be crazy.
PH: How do you feel about technology making it so easy for people to make music? Like, how anyone can just make a record and release it?
Mega: You mean like computers?
PH: Yeah, like how all you need is a computer to make a record nowadays.
"...fuck it, get on the internet, download my shit and take it at the push of a button and then critique my shit."
Mega: To each his own, I really don't care, you know? If it's dope who can complain? I mean, let me ask you this, if Lauryn Hill had made "The Miseducation of Lauryn Hill" on a computer could we be mad? The only thing I don't like is that people can say "Fuck It," get on the internet, download my shit and take it at the push of a button and then critique my shit. People rob it and then critique it, I hate niggas who download. I mean some people tell me that they'll download a song and listen to it and if they like it they go ahead and buy the album, I guess that's okay. But shit is repulsive, you know what I'm saying. It's affecting people when they do that, it's affecting niggas' work and niggas' livelihood. You know, we eat off of this and we live off of this, and people just go on there and basically steal our shit, you know what I'm saying.
PH: Do you have any advice for people trying to make it in the industry?
Mega: Stay true to yourself and don't send demos to record companies. If you're gonna play something for a label, go there and take your shit with you when you leave, don't leave it with them. People will jack your idea and shit. Stay true to your self, don't let anyone change your view. Don't try to emulate a style or a fad, what if it dies? You're gonna be like that style and die with it. Go to every convention you can go to and politic, that's very important, it's a must to get out there. And don't bother niggas at every in-store or whatever. Don't give him your CD, you're just flooding him, it's tacky.
PH: I know what you mean, I was at a convention where Russell Simmons was speaking and right after he was done, everybody flooded him trying to get a foot in you know? I as thinking, the man is here to speak and he's busy, anything you do afterwards he's not gonna remember or pay too much mind to you.
"So if you're up and coming, don't flood people with shit, you just decrease the likelihood of getting heard..."
Mega: Exactly, it's tacky. If it's a one on one and you're kicking it or whatever your gonna have a much better chance to catch someone's attention and get a break. The likelihood that someone's gonna listen to your shit if you flood 'em is close to zero. Sometimes I get done with something and go and find 15 or 16 CDs on my car, no one's got that kind of time, we're busy. Shit, I have to listen to my own beats, I don't have time to listen to all that. So if you're up and coming, don't flood people with shit, you just decrease the likelihood of getting heard when you do that, you know what I'm saying.
PH: Any parting words for your fans?
Mega: Thanks for the love, thanks for all the support throughout the years.
--
peace
Source: http://www.rapreviews.com/interview/cormega.html
Is the music industry trying to hold Cormega down? Despite his success independently, one can't help but wonder if there is a conspiracy to keep the gifted emcee from reaching the masses. Def Jam had the audacity to hold the man's work hostage for seven years, delaying the release of what was meant to be his debut album. Thankfully, Cormega doesn't let all the bullshit affect him. "The Testament" finally saw the light of day on February 22 of this year, and with its release Mega's ready to start a new chapter in his career. With a DVD and soundtrack scheduled for the fall and his new and self-proclaimed best album, "Urban Legend," following, problems from the past are the last thing on Cormega's mind. Mega's positive outlook was ever-present as he shared his plans for the future, views on the industry, and what being real is all about.
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Pedro Hernandez (PH): I know you just released "The Testament" after a very long wait and I was wondering if you could give some background info on the album and the process of releasing the album for people who don't know the story.
Mega: I mean, the process was basically, the people who don't know, it's an album that originally was recorded when I was on Violator/Def Jam and it was never released. You know what I mean, being on the shelves and me having been released from the label. So, as years and years went on, you know, it became an obstacle, the album became an obstacle. So I decided I didn't even want it, I didn't want the album anymore. I didn't really care about it. You know, I just made "The Realness" and "The True Meaning" But through all those years my fans kept asking about that particular album, "The Testament," so we decided we were gonna put it out 2005, so 2005 is upon us so we just put it out. I mean, everything, everything that we do there's a reason and there's a message behind it. Like we're doing that basically just to let people know, like that's just justification saying that this album should have never been shelved. Like we're letting the people decide for themselves whether or not is should have been shelved, you know what I'm saying.
PH: As a person and as an artist how did it feel to finally reclaim your own work, and regain control over your own words.
"...it would have been more significant or it would have felt better if I got it out when the album was more relevant..."
Mega: I mean, I don't know how to really describe it, it felt good but it's like, I guess it's a bittersweet justice because it would have been more significant or it would have felt better if I got it out when the album was more relevant, you know what I'm saying. Like right now, the album is like a retro album as opposed to if I had, if they had gave it to me when I really intended on releasing it or if they had not had it on the shelf it would have been more better because it would have been more relevant. Right now it's just like a retro album. So it's bittersweet. You know what it's like? It's like somebody who has been in jail for a whole bunch of years and then he got found innocent and they finally let him out. But you still can't take those years back that was lost, you know what I'm saying. You can't get those back so it's a good thing but I don't know…
PH: Moving on to the newer stuff, I know you have a DVD coming out, are there any new albums or other releases from Legal Hustle?
Mega: Oh yeah, Cormega, the Cormega solo album is about to come out called "Urban Legend.." What else, Dona is coming out, my female artist. And, what else we got, we got the DVD coming out like August, then we got Dona coming out like October, And then after Dona I'm a come with the Cormega album.
PH: The DVD, what is that going to be like?
Mega: DVD's gonna be like a documentary. It's like a documentary but it's also like following my life during the last, you know what it is? It's like life after "The Testament," like everything after "The Testament." Those years when I started recording "The Realness" and "True Meaning" and all of that, everything is on there, like studio sessions, you name it, show footage, exclusive videos that I recorded. And my whole reason for doing so was I was telling a friend, cuz he was like " Why are you doing videos?," cause you know it's a political thing to get your videos played, and all that. So I said that's even more incentive for me to do a video because my fans that don't get to see me on BET or whatever they'll get to see me when they buy my DVD. So on the DVD you're gonna have videos, you'll have behind the scenes footage, you know what I'm saying. It's crazy dope, I guarantee you it's like nothing you've ever seen before because I already got like newspapers and people like that already calling me, they've seen the trailer and they were blown away by it. And actually somebody tried to get me to put it in the Sundance film festival, like that's how dope it is. And as you go, as the video goes on, like say you were with me during the making of the documentary, so they'll know "Okay that's Pedro," you know what I'm saying, so they'll know who he is. So the people will be relating with you because they'll see you in the video chilling with me or they'll see you in the streets, and such and such and such and as the video goes they'll follow you. To make a long story short, one of my closest friends , his name was Floyd Quinones, he was killed by the police a couple of years ago in New York City. It was a big shooting, it was a big thing, it was on the news and everything. So he's all in my DVD, like he's at my videos, he's at my baby shower, he's just on the regular scene chilling. So when he got killed, initially, everybody had their side of the story. Like people in the streets said it was wrong, the police, they said that it was justified what they did. So everybody had their side of the story, but the fly shit is after my man died we went to his wake and after the wake we're all chilling. You know usually people get together and they have drinks, you know. So we all standing in Brooklyn in the projects and no exaggeration 100 cops came and they had sticks, they had shields, and they had helmets on. Now, I'm familiar with the police and I've been living with them my whole life, police never roll like that unless they ready to do, they were ready to do, basically fuck people up. Only reason they didn't do it cuz we had it film guy there and the guy was white and they didn't know who he was because that was a whole high profile situation like the news crews and everybody, they were coming around all the time. So, we actually captured it on film when the police came like a hundred deep, and you're gonna see the reaction of the people that's in the streets, you're gonna hear the scattering feet. Cuz, like I said, everybody was cool with the guy, Floyd Quinones, like you're gonna see little girls there , grown ladies, old men, old ladies, like everybody, you know what I'm saying. People, we're just there, people just standing there, they're burning candles, they got his pictures, nobody is doing anything bad or anything , but the cops came 100 deep they was ready to fuck us up. Only reason they didn't do that cuz we had a film guy. But to be actually, to be actually there was shocking, cuz I was shocked when I was there. But when you see it on footage, my friend, Jordan, his father's white, his father is probably in his 50s, he seen the footage he said "Oh My God." He showed Jordan his arms, the hair on his arms was standing up. And this was before I even seen the footage, by the time I seen the footage, the shit made me wanna cry. Cuz it reminded me of the civil rights shit, like I never seen no shit like that ever in my real life, you know what I'm saying, maybe on TV. But watch, when you see the DVD you're gonna bug out it's crazy. … When I seen the footage I almost started crying, you're gonna see grown ladies, you're gonna see little girls like "Why don't ya'll just leave us alone" telling the police that. You're gonna see another lady, she's the mother of two children, "What are ya'll doing? We not doing nothing, ya'll just wanna kill us." I've never seen like just ghetto passion like that captured on film. And it's not a movie or anything it's actually real, that's what makes the shit so crazy. When I was there I was just there shocked I could not believe it. But when I seen the footage when I got home I was like "Oh Shit." Like I said, there's people like old music guys seen the trailer, they went crazy, they asked me "As soon as you get done with that let me see that." I think L.A. Times' people liked the shit, a lot of people seen the footage and they bugging out over it.
PH: That footage ties in with another question I was going to ask you, since you've been doing music I've noticed your music has a real social message behind it, it's more than your average "shoot 'em up, bang bang" rap. So I was going to ask, since you've been putting out records do you feel there's been a social change?
Mega: What do you mean? As far as my contribution?
PH: Yeah, as far as your contribution, when you go back to Queens?
"We have to take responsibility so I'm proud that I took responsibility with my music."
Mega: As far as my music, I know one thing I know I changed, once I made "The Realness" I know I changed the soundscape of Queensbridge. Because if you listen to everybody's album that came out since "The Realness" people don't really talk, like a lot of people, you know what I'm saying, they had to change and tone it down so they had to really, you know what I'm saying, check what they was saying. Because I wasn't overexploiting the hood, you know what I'm saying, and I wasn't glorifying the drama and the bullshit that was going on, I was telling you about the pitfalls of it and basically "The Realness" is just realistic. It ain't no made up rhymes. Ever since then I know it's a lot of people, they don't talk about guns as much and they try to get social, some of the other artists. I think that's a good thing about it. And another thing. Another good thing is that I think like as far as "The Realness" and "The True Meaning" has gained, like I got a lot of respect from my peers, like the media, etcetera etcetera. People that always had question marks next to my name, they started giving me my props. I got the first ever Source Award for independent album, I got the Impact Award at the Underground Music Awards, you know what I'm saying. And you know, my words, I get fan mail telling me that my words, like "Yo Mega, I was going through some hard times in my life and your music really helped me come through it," so stuff like that it really, you know what I'm saying, that stuff like that it really hits me the hardest. It makes me want to take more responsibility with what I write. Because I don't want to be that dude that's just writing about "shoot em up bang bang" and indoctrinating the young dudes that want to do that. Whether rappers know it or not, what we do is influential, like the clothes we wear, the cars we talk about, everything we do they want to do that. So if we're talking bout we're robbing and we're doing this and we gun-ho, just makes you wonder why 15 and 16 year-olds are running around with guns trying emulate a rapper, you know what I'm saying. We have to take responsibility so I'm proud that I took responsibility with my music.
PH: On the same note, how do you feel about hip-hop right now? Because it seems like right now everybody is either obsessed with cars, clothes, money-type things or everybody's trying to see who's the hardest , who's the most violent, or there's beef popping up every two seconds when someone looks at somebody else wrong. You think that's giving a bad image of what the hood is really like? One of my boys was talking to me and he's like "People have the wrong idea about what it's like growing up in the hood because not everybody is doing what you hear in rap music. Most people are just trying to get by trying to make a living."
Mega: Exactly. That's why I try to tone it down in my music. As far as rappers, rappers are the bottom of the food chain when it comes to the hood. Like no rapper is hood anymore, once you're a rapper you're not hood no more. Like I did more shit in the streets than probably any rapper in Queensbridge. But I don't exploit, I did more shit than anybody, not just violence, I'm talking bout drugs. Like nobody from Queens has sold more drugs than me. They probably people that was in the streets more or mighta been wilder than me or whatever or whatever, but nobody sold more drugs than me. But, you know what I'm saying. Yet I don't scream QB in all my rhymes because I'm not trying to exploit the hood cuz I'm not in the hood no more. I don't know about the pain that's going on in the hood right now, this second. Because right now this second I'm at my house talking to you on the phone, you know what I'm saying. So I think a lot of rappers, like from my hood in particular, they front, they exploit the hood but they don't know the pain that's going on the hood cuz they not there, you know what I'm saying. And another thing, there's other people that keep it realer than rappers. Like everybody talking bout they a real nigga, nah, the realest ma'fuckas in New York, and everybody wanna be the king of New York, the realest niggas in New York is the New York motherfucking Fire Department. Because it takes a real motherfucker to run up in the World Trade Center, you know what I'm saying, when there's a good chance. When you're a fire man you can evaluate the situation, you can look at it and say "The likelihood of me coming out of here is such and such percent," you know what I'm saying. Anybody that seen the World Trade Center Building that was a fireman knew the likelihood of them coming out of that building was slim to none, yet they still did it. That's Real! You know what I'm saying, standing in the projects talking bout you wild or cuz you got a gun or cuz you sell drugs, that's not real. Cuz even when I did sell drugs, I wasn't proud enough to go to my grandfather and say "Grandpa, I sell drugs." I was ashamed. So basically, if you do something and you're ashamed of it in some aspect, then that's not real, you know what I'm saying. So that's what a lot of rappers need to do, keeping it real is keeping true to your self. Like the people who work for housing that help clean up the projects, they keeping it real cuz they keeping the projects looking like something, instead of making it look like a desolate place and just bring, you know what I'm saying, gloom. And the fire department, those are some real motherfuckas. And the old people that, you know what I'm saying, that stay in Queensbridge, that stay in all the projects that's wild because they really love the place, you know what I'm saying, and they try to make changes, those are the realest people. All these rappers talking bout what they do, half of them, not even half, more than half of these niggas is frontin. Like my hood in particular, all these niggas screaming Queensbridge, they don't even come to Queens.
PH: Still talking about Queens, you came up at a time when a lot of acts were blowing out of Queens, like Mobb Deep and Nas, and I was wondering what was it like back then. What was the scene like, what was it like to be there?
"When they first started blowing up, I was in jail actually. So when that shit was happening I was proud of them niggas..."
Mega: When they first started blowing up, I was in jail actually. So when that shit was happening I was proud of them niggas cuz I was like "Oh Shit." Cuz it's a reflection of the hood, you know, they was representing the hood, and that was a good look for me. Cuz I'm sitting in jail watching dudes that I grew up with on TV. That's big. As opposed to me watching on the news talking about they about to go to jail or something stupid like that. I was proud for them niggas, you know what I'm saying. So that was big, that means Queensbridge was good, you know what I'm saying, especially after all those years of Queensbridge being shut down after the KRS-One/ Shan situation. So it was dope and it was big, like when I came home it was dope. I felt dope that I was a part of it. So when I cam home I was just proud to be a part of it, you know what I'm saying, being from Queens is like being on the Yankees man, you know what I'm saying. It was like everybody was doing they thing, we had a lot of props from the industry, it was dope when I came home. I wasn't even home two days, Mobb Deep had a big show and they put me on stage, you know what I'm saying. Then Nas came and scooped me up, you know what I'm saying. It was like a dream for me, not for me but like for a rap fan it was like a dream. Like my life when I came home from jail was like a rap fan's dream. Like you come home from jail up state from Albany, next day you with Nas, next day you at Marley Marl's house, you know what I'm saying. And within the next few weeks you meeting Foxy Brown and AZ, and shit like that so it was crazy. I met Ghostface, all these niggas around that time, everybody embraced me. I met Biggie Smalls, nigga gave me, Biggie Smalls one of the most humble dudes I've ever met. I mean here he is double platinum artist, every ten minutes his song is on the radio. This nigga hugs me and shit, he like "Yo, I heard a lot of good things about you, man" and I was like "Thanks man, I heard a lot of good things about you too," you know what I'm saying. He was madd cool, so that was a good experience for me. You know what I'm saying, I met Pun. Me and Pun, Pun is like somebody I could actually say was a good dude, like a good friend of mine, you know what I'm saying. Like if I could just quit rap right now, like if I was to never rap again, or let's just say I have move away to fucking the north pole or something and I never could do rap or nothing again, I still lived a good life. Even though I never came out on a major label or something , I did so much. Like I performed on "The Apollo" when Steve Harvey was hosting with The Firm, you know what I'm saying. I did "Soul Train" when Don Cornelius was the host. I fucking opened up for Eric B. and Rakim at The Apollo. I was on Nas' second album , his most successful album ever, I was on Mobb Deep's most successful album ever. You know what I'm saying, I did so much in my time that's why I can't be bitter. Like a lot of underground and independent artists, it's like they got some kind of grudge against the mainstream, I don't got a grudge against the mainstream. I feel sorry for the mainstream cuz the artists are getting pimped and then the people with the power they're destroying the art. So I really feel sorry for them, but other than that I lived a good life, you know what I'm saying, I've seen a lot and I did a lot.
PH: Going back to the "Legal Hustle" album, I had a question I always wondered about. You had a song on there, one of my favorites from the album, called "More Crime" with a West Coast cat called Jacka, how did that collaboration come about?
Mega: Okay, Jacka is one of my friends, like Jacka is another artist, like you know some artists you just cool with, but Jacka is one of my friends, you know what I'm saying. Jacka is like my little cousin and shit. Like I met Jacka years and years ago and he wanted to do a song with me, so I did a song with him, you know what I'm saying, so I did a couple of songs with him, you know what I'm saying. They flew me out to California and they broke me off with some bread and I did a song for em. But after I was in California, I learned so much. Like Jacka and 'em taught me so much about the culture and about a lot of other things. Because New York is just another society, and we stuck in our own ways. Like I never new about muscle cars and all that. Like people on the west coast with '64s and all that I always thought that they was broke or something, you know. Cuz New York, we tend to be more like Benzes and, you know, you know how New York is. So I learned from them that those cars, you might have a '64 that cost more than a Benz. Or I learned about their culture, how they lived and that they real just like us and that they go through the same thing we go through. Like when I first went out to the Bay Area, California - within one hour of me getting off the plane I was face down looking at the floor, police had me on the floor, me, Huss - Hussla from the Mob Figaz, you know what I'm saying, so that right there just woke me up, the whole world go through the same shit. Like I don't give a fuck where you from: Cali, Chicago, wherever, East Coast, West Coast - we all go through the same shit. Everybody trying to survive and the police fuck with everybody. You know what I'm saying, they taught me that. Then I went to the studio with them to listen to they tracks, we knocked shit out, and then ever since then we've been cool. Like you know we had a bond, like he came to New York, like he showed me how he live in California, like they showed me a '69 Malibu, you know what I'm saying, they put me on to those shits and '64s and all those type of cars. They fucked up my mind so much I came home and bought a '64, you know what I'm saying. And then after that we started just communicating, like throughout the years we always stayed in touch. Then Jacka came to New York, yo, he come to New York he didn't even stay in his hotel, the nigga was with me half the time. Like he spend the night in the hotel, like I had my own hotel room he stayed with me. Like I took him to Queensbridge and let him see how I lived. You know, cuz a lot of rappers will say they this and that, but then they won't go to their own hood. So Jacka and all of them niggas from Cali, they know how I am, they came to Queensbridge and they was in the, you know we ain't have no security, they was in the hood. So, you know what I'm saying, he chilled out there all my niggas came out, and it was dope. So ever since then we always been cool. I put him on "Legal Hustle" cuz he don't really got fans in New York, people don't really know him. So I said "Niggas need to know him" cuz his shit be dope and this is some different shit. Cuz you know, I wanted "Legal Hustle" to be, you know, like when I made "Legal Hustle" I wanted it to be like when Dr. Dre made "The Chronic." Like he introduced the world to a lot of people and it was a dope compilation album. So that's basically what I was trying to do. I was trying to make something different and I was trying to hold people down cuz I didn't have a solo album ready. So I wanted to make something dope that people could relate to and I wanted to introduce the world to like, like you got Maino. Maino got a deal right now, the first album that Maino was on was "Legal Hustle." He has the song "Rumors" out right now, but prior to that the first thing he was on was "Legal Hustle." And I introduced Jacka on there, and I introduced Dona, my artist was on there. Lake was on there, you know he's been on something else. And you know I tried to reach out my hand, I didn't want it to be looked at as a Queensbridge or New York I wanted people from all, like I wanted to put DMP on there from Virginia but the track came too late. All the people that wasn't on "Legal Hustle" that should have been on there are going to be on the soundtrack to my DVD, so that's going to be like "Legal Hustle Vol. 2."
PH: I've been listening to Mob Figaz for a while, probably since their first CD came out, but I didn't realize that was Jacka on their til he dropped his album.
Mega: Jacka would be the easiest artist from the Mob Figaz for New York to adapt to.
"I mean if you don't smoke weed and stay with Jacka I promise you're gonna be high by the time you get to your room just from contact."
PH: Defintely. I've been listening to his new album that he just dropped and it's just good music, it's not really West Coast, it's just good music overall.
Mega: Exactly. And the nigga Hussla, you know, Mob Figaz is nice matter of fact they got a lot of ma'fuckers. You know what's dope about Mob Figaz, Mob Figaz is like how Wu-Tang is. Like they got their own personas, like Jacka reminds me, his demeanor, like Jadakiss. He's like a laid back nigga and Jacka smoke weed all day. Like when I say smoke weed all day, I mean if you don't smoke weed and stay with Jacka I promise you you're gonna be high by the time you get to your room, just from contact. And he smoke like the best shit, like he smoke weed like you never heard of. Like Redman and them would love Jacka. Fucking Hussla, Hussla, he's the fucking personality of the crew, he's the motherfucker, he has personality, he's the Method Man of the crew. He's the one that got the ill personality, mad humorous, but he's a real nigga too. Like he's a straight, real gangsta nigga. So, you know what I'm saying, they all got their own demeanor. The nigga Feddi, all them niggas is real, that's why I fuck with them.
PH: Outside of Mob Figaz, what do you listen to on your spare time? What's in your CD deck right now?
Mega: Lately, what I've been trying to do lately is I'm trying to push myself the way like a basketball player would when he's trying to emulate a great. Like lately I've been listening to Rakim, I listen to Rak,im's first three albums. The last few days I've been listening to Rakim's first three albums. So basically you could say I'm studying, that's what I've been doing, you know what I'm saying. Like the way Kobe be studying Micheal Jordan's film, I'm studying Rakim right now. And I listen to some of Big Daddy Kane recently. Like basically I've been listening to the trendsetters, like the pioneers and shit. I don't wanna call em old school cuz I hate that word, like the golden era rappers, I listen to that a lot. I don't really listen to the new stuff that's out but I listen to John Legend's stuff, a little bit of that. Alicia Keys' album, that blew me away last year, Sister Nancy, reggae, Bob Marley, stuff like that. I listen to various different kinds of shit. Even Guns N Roses sometimes, depends if I'm in the mood.
PH: Do you think there's anybody that's next to blow? Any up and coming artist who's going to be the next big thing in the game?
Mega: Ehhhh, I don't see nobody that's really, I don't. You know who I think could blow right now? If niggas, you know, you know who I think has a little buzz right now as of lately, the nigga Big Daddy Kane. Like he did a show recently at S.O.B.'s and everybody was talking about it and then ever since then a lot of people doing songs with him. So if somebody step up, like somebody big, and put some shit behind him, he might promote some music. But as far as the new artists, I see the same shit. Cuz if you listen to a lot of these new artists they all sound the same. Like everybody got that, half these ma'fuckers got that Jay-Z flow, they sound like they trying, the same way I said I was studying Rakim , it's like they students of Jay or they trying to mimic him. They after everything, you know what I'm saying. So I don't really hear anybody that's differentiating themselves from the pack, you know what I'm saying. I wanna hear somebody that does. You know who I'm interested in hearing? Little Brother, out of North Carolina, I've heard a lot of good stuff about them.
PH: You mentioned Kane and Rakim, are those your main influences, or who are your main influences as an Emcee?
"... he never gets his credit. And he's one of those niggas that helped elevate the game is fucking T La Rock."
Mega: No, you know who? One of my biggest influences ever is somebody that like I feel is like the Bernard King or Dominique Wilkins of rap. I can't even say Bernard or Dominique cuz he didn't play as long as them but he is somebody that is so dope and better than so many artists yet he never gets his credit. And he's one of those niggas that helped elevate the game is fucking T La Rock. Like he was using those complex words and infrastructures when niggas was still talking about "chicken and collard greens" and that simple bubble gum rap, you know what I'm saying. When I heard T La Rock, when I first heard him I was like "Oh Shit." And then LL, you can tell LL and KRS-One and people like that study from him. So he was one of my earliest influences. MC Shan was like my fucking idol, like you know what I'm saying, I wanted to be like Shan. Then fucking Rakim of course, Slick Rick for the way he tells a story. The way Slick Rick tells a story and his aura, like the way he commands, the magesty of him is irreplaceable. So it's like Slick Rick, Rakim, Shan, Kane, Kool G Rap of course, Grand Puba, KRS- One. Actually half the motherfuckers that inspired me on one way or another, it's dope , are going to be on a song on my next album, "Urban Legend." I got a whole bunch of them to do a song with my on "Urban Legend," it's gonna be dope, you know what I'm saying.
PH: I noticed you do production on your albums, do you do anything outside of your stuff?
Mega: Oh yeah, "QBs Finest" I got co-production credits for that, though it should have said "Produced by Cormega," but whatever at least they tried, you know what I'm saying. I did shit on "Legal Hustle," "Realness," and Dona's new album. I did a lot of other shit, MC Shan's verse on "Bridge 2001." Matter of fact niggas didn't even want Shan on it, and I was infuriated. How you gonna remake a man's song and not even ask him to be on it? Niggas didn't think Shan could come with it, and I was like "That's the point." We got a group of elite rappers, we can help Shan. So I said "Fuck it," wrote the verse and coached Shan on how to do it, you know what I'm saying. When it was done, niggas was blown away cuz Shan really brought it.
PH: For those out there who are interested in production, what's your production style? What do you use, are you a crate digger?
Mega: I'm a crate digger like a motherfucker. Actually, I just started buying vinyl again. A lot of soul records, shit like that. Last piece I picked up was "Move The Crowd." I also found a copy of "Hawaiian Sophie," you know I had to pick that up. I buy a lot of soul records and try to create intricate sound from 'em. When I find something that I'm feeling, you know what I'm saying, as opposed to looping I get people to play it all over again. Like, on "Beautiful Mind" that was played all over again, I had someone play the entire thing all over again. I just wanted to recreate it as opposed to just looping, you know what I'm saying. A lot of producers got the same beats, they don't do nothing innovative. I guess they just say "Fuck it," let me just loop some shit and get some money. I got an ear for beats, you know what I'm saying, people actually be jacking some of my shit. Like the beat for "Dead Man Walking," Jay-Z used it for that song on "The Blueprint," "Lyrical Exercise?" No, wait, how does it go? Either way, Jay used that for one of his songs. Saigon just used the same beat from "62 Pick Ups," that was done in 1998, so you know, who's first? What else? Saigon used some shit from "True Meaning" and that came out, what? Two years ago. In a way it's flattering, you know what I'm saying? Fuck it, it's like "Shit, I'm on top of my job," you know? Next album I'm telling you son. I can't explain it, it's going to be crazy dope. I'm glad I took my time on it, because I never took my time on my albums before. "The Realness" I did that in like 3 months, "True Meaning" was done in three months too. I had never taken that much time for an album. The next album, "Urban Legend" the songs are gonna be crazy.
PH: How do you feel about technology making it so easy for people to make music? Like, how anyone can just make a record and release it?
Mega: You mean like computers?
PH: Yeah, like how all you need is a computer to make a record nowadays.
"...fuck it, get on the internet, download my shit and take it at the push of a button and then critique my shit."
Mega: To each his own, I really don't care, you know? If it's dope who can complain? I mean, let me ask you this, if Lauryn Hill had made "The Miseducation of Lauryn Hill" on a computer could we be mad? The only thing I don't like is that people can say "Fuck It," get on the internet, download my shit and take it at the push of a button and then critique my shit. People rob it and then critique it, I hate niggas who download. I mean some people tell me that they'll download a song and listen to it and if they like it they go ahead and buy the album, I guess that's okay. But shit is repulsive, you know what I'm saying. It's affecting people when they do that, it's affecting niggas' work and niggas' livelihood. You know, we eat off of this and we live off of this, and people just go on there and basically steal our shit, you know what I'm saying.
PH: Do you have any advice for people trying to make it in the industry?
Mega: Stay true to yourself and don't send demos to record companies. If you're gonna play something for a label, go there and take your shit with you when you leave, don't leave it with them. People will jack your idea and shit. Stay true to your self, don't let anyone change your view. Don't try to emulate a style or a fad, what if it dies? You're gonna be like that style and die with it. Go to every convention you can go to and politic, that's very important, it's a must to get out there. And don't bother niggas at every in-store or whatever. Don't give him your CD, you're just flooding him, it's tacky.
PH: I know what you mean, I was at a convention where Russell Simmons was speaking and right after he was done, everybody flooded him trying to get a foot in you know? I as thinking, the man is here to speak and he's busy, anything you do afterwards he's not gonna remember or pay too much mind to you.
"So if you're up and coming, don't flood people with shit, you just decrease the likelihood of getting heard..."
Mega: Exactly, it's tacky. If it's a one on one and you're kicking it or whatever your gonna have a much better chance to catch someone's attention and get a break. The likelihood that someone's gonna listen to your shit if you flood 'em is close to zero. Sometimes I get done with something and go and find 15 or 16 CDs on my car, no one's got that kind of time, we're busy. Shit, I have to listen to my own beats, I don't have time to listen to all that. So if you're up and coming, don't flood people with shit, you just decrease the likelihood of getting heard when you do that, you know what I'm saying.
PH: Any parting words for your fans?
Mega: Thanks for the love, thanks for all the support throughout the years.
--
peace
Artist: O.C. (allhiphop review)
Source: http://www.allhiphop.com/features/?ID=1119
Some artists truly do get better with time. Jay-Z and Masta Ace proved that last year. Quietly, O.C. may be showing 2005 what he’s made of. At the top of the year, O.C. released the import, Starchild, but only 20,000 copies were made available. Still, the work was strong enough to attract Pete Rock and 9th Wonder for a potential re-release down the line. If that wasn’t enough, O.C. is closing the year with his rougher, street side, Smoke and Mirrors. O.C. calls himself a hypocrite, the streets call his “Mush,” and Hip-Hoppers just call him dope.
AllHipHop.com wanted to look at one of the valedictorians of ‘94’s freshmen class. We explore the immense pressures that Brooklyn’s native son has been against. We look at his duel writing styles, his vulnerability, and even get a look at O’s criticism against himself.
“It takes all kinds,” goes the line. For ten years plus, O.C. has been giving us both “Guns and Butter.” Pay respects to the two sides, the two albums, and the limitless ability of a true Hip-Hop icon.
AllHipHop.com: Where’s O.C.’s head at right now?
O.C.: I’m basically back in the mix, man. I’ve been recording, just happy. I’m in a happy place now, that’s how they say it, right? My mind is focused, it’s clear, good.
AllHipHop.com: That’s good, because a lot of people from your era are bitter.
O.C.: It’s too easy to be bitter. I was before. I’m not bitter anymore. S**t wasn’t fun, that’s why I took some time off. My father always said, “If you ain’t havin’ fun with something, leave it alone. Go back to it if it’s meant.” I wasn’t havin’ fun. My man [Big L] is dead, we had plans. ‘Pun and Joe was doing they thing. It’s just a whole lot of things played into the equation. My crew [D.I.T.C.] made it [possible] for a lot of people to eat, and we eat but we not eatin’ like we was supposed to be eatin’. Like Jay said, “My foot’s at the door, but I keep droppin’ the key.” That’s how it’s been with Diggin’ and our separate projects. We get to that door, and we don’t have the key-maker. We can’t get in that door. I’m in a happy place. I’m not gonna do it bitter.
AllHipHop.com: I thought that Starchild was one of the most exciting records that’s come out in 2005. It was ready for a while, and it was on limited release, and I’m surprised that you’re still happy? I was angry at that one.
O.C.: Nah, I mean honestly, Starchild wasn’t ready, it wasn’t finished. Mahlon [Williams, executive producer] jumped the gun a little bit. We gonna keep it gangsta. I told him that putting an album out overseas, in Japan, was a bad move. That’s one of my biggest markets. If you start a tidal wave in one place, it’s gonna move til’ it calms down. Right now, for what it’s worth, the record not being finished, people like you call it classic, incredible – I’m like wow. It’s a good thing. It makes me feel. But I know it’s not 100%.
AllHipHop.com: What’s it missing?
O.C.: A whole lot. The vocals to me, they’re not mixed right. Nothing is mixed right. You can’t put a “test record” out in Japan. Come on, that’s D.I.T.C.’s biggest market. Anything you put out there is considered an album. You can’t do a leak thing. People considered that a record. So I gotta say, it’s an album. It’s not an album in my heart, but it’s an album because it’s in a package.
AllHipHop.com: Will we ever see it distributed majorly in the US?
O.C.: Definitely. It kinda conflicted with an album I’m doing through Emporium, which [The Hieroglyphics] put me on. I’mma put that album out, which is called Smoke & Mirrors. That’s a whole other thing. The Starchild thing, I’mma go back and revamp it. For people like me and you who understand music, you got the fans and then the diehard fans who decipher and pick apart records. You can’t put out an album and not work it, and perform it, and tease people with it. If one of my favorite artists put out a record, and I don’t see him do it – after supporting him so long – I’mma be like, “F**k you,” because you depriving the people of what they want. They [aren’t just] consumers.
AllHipHop.com: Okay, so what about Smoke & Mirrors? I heard a few songs off it, and I think this is your street record, whereas Starchild was your insightful record. You, like Buckshot, seem to have several audiences. Are these separate albums used to cater to different audiences?
O.C.: Yeah, definitely. Smoke & Mirrors, I put it to you like this, it’s hypocritical.
AllHipHop.com: I’ve never heard an MC describe their work that way.
O.C.: It’s hypocritical because what people fail to realize is that us as artists are human beings. I make mistakes like anybody else. I got so much flack for the Bon Appetit album. To me, I don’t care what you or anybody say, it’s a good album. People expect me to do “Times Up” over and over. I can’t duplicate something that was done already. So, I don’t duplicate the same formulas. As Mike Tyson said, “That s**t’d be ludicrous, B.” My point is, I know I’m a hypocrite with certain things. I talk about certain things and don’t always follow up with ‘em – just like anybody else. I want people to see the vulnerability in that. I’m an artist, but I’m a human being first. I’m not apologizing for anything I do. I made two different records, totally.
AllHipHop.com: How difficult was that creatively?
O.C.: It’s not hard at all. The Starchild record, I’m dealing with different producers. Different producers give me different moodswings. I’m not gonna rhyme over a Pete Rock joint like I would do a [Lord] Finesse track. Even if it’s the same subject matter, it’s gonna be done in different tastes. The albums is gonna be night and day.
AllHipHop.com: How did you link with Hieroglyphics Crew? Few would’ve paired you with them or their label.
O.C.: Initially, they approached my partner, Mr. Dave. I think it’s a mutual respect. People don’t understand… these cats right here, they are what you would call real chitlin’ circuit ridas. They ridin’ this Hip-Hop s**t to the max. I’m on a tour with them in July and August. The spots that I’m hittin’ are spots that I’ve never seen in my life, and I done been all over the world. I’m talkin’ Boulder, Colorado. Spots that’s necessary. People don’t realize that Master P and them sold they music because of those spots. They not just sellin’ records in Louisiana, they sellin’ all over. I never been in these little one-horse towns. Those are the spots that count. I haven’t been on stage by myself in a minute.
AllHipHop.com: Wow, that’s interesting. Because of your clarity and the way you can manipulate the crowd without being crazy, I think you have one of the best live shows in Hip-Hop. How can somebody like yourself get rusty?
O.C.: You know what? I went overseas maybe a year and a half ago with Pharoahe [Monch]. Pharoahe’s stage show is phenomenal, [as is] Talib, Mos. They got the DJ’s, but they also got the back-up singers and some stage show. I gotta step my game up, man. People are showin’ me love and still buyin’ my records. For me to come on stage and just walk back and forth and not give a performance for their money, that’s a smack in the face. See, I’m my worst critic, man. I did B.B. King’s with Finesse [recently]. With me on stage, people tend to stand there and watch. I don’t know if it’s hypnotism or they don’t like the show – it’s one or the other. To this day, I love and appreciate what I do. I got the best job in the world. For people to wanna come see me? Little me? Come on man, that’s the biggest blessing God could me. Appreciate. That’s not a big enough word.
AllHipHop.com: Your verses are dramatic. You’ve got this line on the song, “Memory Lane” that just blew me out of the water: Destined to get the cars, the fly clothes, I stand froze, thinkin’ back to the snow, makin’ angels. Making snow angels sounds soft to people, but we all got something like that in our youth, and we all want that back.
O.C.: I found myself in that mindframe maybe in the past ten years. I’m 34 now, I ain’t even ashamed of my age. I don’t look my age. I look younger than most of these cats. I just look at it as being a human being. I had the cars, I had the jewelry, but I also had fun with my cousins comin’ up. Man, I still think about s**t like that. That’s my makeup. It’s not that I go back on purpose because of the beat. What does it for me is memories. Memories make me who I am. It’s something in my past, but it’s something that happened. I remember layin’ in the snow, makin’ angels. My mans, my friends, they was there. I can remember seeing cats come through the block in a nice Cadillac and s**t, being sarcastic, “Yo, that’s my car.” There’s vulnerability in everything I do, cats just gotta look into it.
AllHipHop.com: That’s what Hip-Hop needs right now. You said it in “Times Up,” it’s all a façade. Everybody is fronting.
O.C.: Yo B!, the only cat on a major scale that does it, is Nasir. I can’t diss dude. We not the same people, we don’t do the same type of records – but we do. Nas, his plane of writing down what’s in his mind, it’s incredible. When you listen to “New York State of Mind,” it brings you there! That’s one of the major elements of being an MC is to bring someone into your world. KRS said it, “When this clown jumps up to get beat down, broken down to the very last compound, see how it sounds? A little irrational. A lot of MC’s like to use the word dramatical.” Don’t use that word, if you can’t evoke that in a rhyme! Rakim did it, Nas does it, Slick Rick, Ghostface, Scarface, Jay. The Hip-Hop game is strictly, “who’s the roughest?” That’s tiring, man.
AllHipHop.com: On Smoke & Mirrors, do we have any historic collaborations?
O.C.: At first, I thought about it. But I’m tired of hearing compilation records. I’m not gonna be a hypocrit to that extent. I reached out to AZ, it was no problem. I probably coulda reached out to Hov, these cats is from my era. I coulda reached out to Nas, Buckshot. You know what? Next time ‘round. But me, Finesse and A.G. is gonna do a song that’ll wrap the album up in late July.
---
peace.
Source: http://www.allhiphop.com/features/?ID=1119
Some artists truly do get better with time. Jay-Z and Masta Ace proved that last year. Quietly, O.C. may be showing 2005 what he’s made of. At the top of the year, O.C. released the import, Starchild, but only 20,000 copies were made available. Still, the work was strong enough to attract Pete Rock and 9th Wonder for a potential re-release down the line. If that wasn’t enough, O.C. is closing the year with his rougher, street side, Smoke and Mirrors. O.C. calls himself a hypocrite, the streets call his “Mush,” and Hip-Hoppers just call him dope.
AllHipHop.com wanted to look at one of the valedictorians of ‘94’s freshmen class. We explore the immense pressures that Brooklyn’s native son has been against. We look at his duel writing styles, his vulnerability, and even get a look at O’s criticism against himself.
“It takes all kinds,” goes the line. For ten years plus, O.C. has been giving us both “Guns and Butter.” Pay respects to the two sides, the two albums, and the limitless ability of a true Hip-Hop icon.
AllHipHop.com: Where’s O.C.’s head at right now?
O.C.: I’m basically back in the mix, man. I’ve been recording, just happy. I’m in a happy place now, that’s how they say it, right? My mind is focused, it’s clear, good.
AllHipHop.com: That’s good, because a lot of people from your era are bitter.
O.C.: It’s too easy to be bitter. I was before. I’m not bitter anymore. S**t wasn’t fun, that’s why I took some time off. My father always said, “If you ain’t havin’ fun with something, leave it alone. Go back to it if it’s meant.” I wasn’t havin’ fun. My man [Big L] is dead, we had plans. ‘Pun and Joe was doing they thing. It’s just a whole lot of things played into the equation. My crew [D.I.T.C.] made it [possible] for a lot of people to eat, and we eat but we not eatin’ like we was supposed to be eatin’. Like Jay said, “My foot’s at the door, but I keep droppin’ the key.” That’s how it’s been with Diggin’ and our separate projects. We get to that door, and we don’t have the key-maker. We can’t get in that door. I’m in a happy place. I’m not gonna do it bitter.
AllHipHop.com: I thought that Starchild was one of the most exciting records that’s come out in 2005. It was ready for a while, and it was on limited release, and I’m surprised that you’re still happy? I was angry at that one.
O.C.: Nah, I mean honestly, Starchild wasn’t ready, it wasn’t finished. Mahlon [Williams, executive producer] jumped the gun a little bit. We gonna keep it gangsta. I told him that putting an album out overseas, in Japan, was a bad move. That’s one of my biggest markets. If you start a tidal wave in one place, it’s gonna move til’ it calms down. Right now, for what it’s worth, the record not being finished, people like you call it classic, incredible – I’m like wow. It’s a good thing. It makes me feel. But I know it’s not 100%.
AllHipHop.com: What’s it missing?
O.C.: A whole lot. The vocals to me, they’re not mixed right. Nothing is mixed right. You can’t put a “test record” out in Japan. Come on, that’s D.I.T.C.’s biggest market. Anything you put out there is considered an album. You can’t do a leak thing. People considered that a record. So I gotta say, it’s an album. It’s not an album in my heart, but it’s an album because it’s in a package.
AllHipHop.com: Will we ever see it distributed majorly in the US?
O.C.: Definitely. It kinda conflicted with an album I’m doing through Emporium, which [The Hieroglyphics] put me on. I’mma put that album out, which is called Smoke & Mirrors. That’s a whole other thing. The Starchild thing, I’mma go back and revamp it. For people like me and you who understand music, you got the fans and then the diehard fans who decipher and pick apart records. You can’t put out an album and not work it, and perform it, and tease people with it. If one of my favorite artists put out a record, and I don’t see him do it – after supporting him so long – I’mma be like, “F**k you,” because you depriving the people of what they want. They [aren’t just] consumers.
AllHipHop.com: Okay, so what about Smoke & Mirrors? I heard a few songs off it, and I think this is your street record, whereas Starchild was your insightful record. You, like Buckshot, seem to have several audiences. Are these separate albums used to cater to different audiences?
O.C.: Yeah, definitely. Smoke & Mirrors, I put it to you like this, it’s hypocritical.
AllHipHop.com: I’ve never heard an MC describe their work that way.
O.C.: It’s hypocritical because what people fail to realize is that us as artists are human beings. I make mistakes like anybody else. I got so much flack for the Bon Appetit album. To me, I don’t care what you or anybody say, it’s a good album. People expect me to do “Times Up” over and over. I can’t duplicate something that was done already. So, I don’t duplicate the same formulas. As Mike Tyson said, “That s**t’d be ludicrous, B.” My point is, I know I’m a hypocrite with certain things. I talk about certain things and don’t always follow up with ‘em – just like anybody else. I want people to see the vulnerability in that. I’m an artist, but I’m a human being first. I’m not apologizing for anything I do. I made two different records, totally.
AllHipHop.com: How difficult was that creatively?
O.C.: It’s not hard at all. The Starchild record, I’m dealing with different producers. Different producers give me different moodswings. I’m not gonna rhyme over a Pete Rock joint like I would do a [Lord] Finesse track. Even if it’s the same subject matter, it’s gonna be done in different tastes. The albums is gonna be night and day.
AllHipHop.com: How did you link with Hieroglyphics Crew? Few would’ve paired you with them or their label.
O.C.: Initially, they approached my partner, Mr. Dave. I think it’s a mutual respect. People don’t understand… these cats right here, they are what you would call real chitlin’ circuit ridas. They ridin’ this Hip-Hop s**t to the max. I’m on a tour with them in July and August. The spots that I’m hittin’ are spots that I’ve never seen in my life, and I done been all over the world. I’m talkin’ Boulder, Colorado. Spots that’s necessary. People don’t realize that Master P and them sold they music because of those spots. They not just sellin’ records in Louisiana, they sellin’ all over. I never been in these little one-horse towns. Those are the spots that count. I haven’t been on stage by myself in a minute.
AllHipHop.com: Wow, that’s interesting. Because of your clarity and the way you can manipulate the crowd without being crazy, I think you have one of the best live shows in Hip-Hop. How can somebody like yourself get rusty?
O.C.: You know what? I went overseas maybe a year and a half ago with Pharoahe [Monch]. Pharoahe’s stage show is phenomenal, [as is] Talib, Mos. They got the DJ’s, but they also got the back-up singers and some stage show. I gotta step my game up, man. People are showin’ me love and still buyin’ my records. For me to come on stage and just walk back and forth and not give a performance for their money, that’s a smack in the face. See, I’m my worst critic, man. I did B.B. King’s with Finesse [recently]. With me on stage, people tend to stand there and watch. I don’t know if it’s hypnotism or they don’t like the show – it’s one or the other. To this day, I love and appreciate what I do. I got the best job in the world. For people to wanna come see me? Little me? Come on man, that’s the biggest blessing God could me. Appreciate. That’s not a big enough word.
AllHipHop.com: Your verses are dramatic. You’ve got this line on the song, “Memory Lane” that just blew me out of the water: Destined to get the cars, the fly clothes, I stand froze, thinkin’ back to the snow, makin’ angels. Making snow angels sounds soft to people, but we all got something like that in our youth, and we all want that back.
O.C.: I found myself in that mindframe maybe in the past ten years. I’m 34 now, I ain’t even ashamed of my age. I don’t look my age. I look younger than most of these cats. I just look at it as being a human being. I had the cars, I had the jewelry, but I also had fun with my cousins comin’ up. Man, I still think about s**t like that. That’s my makeup. It’s not that I go back on purpose because of the beat. What does it for me is memories. Memories make me who I am. It’s something in my past, but it’s something that happened. I remember layin’ in the snow, makin’ angels. My mans, my friends, they was there. I can remember seeing cats come through the block in a nice Cadillac and s**t, being sarcastic, “Yo, that’s my car.” There’s vulnerability in everything I do, cats just gotta look into it.
AllHipHop.com: That’s what Hip-Hop needs right now. You said it in “Times Up,” it’s all a façade. Everybody is fronting.
O.C.: Yo B!, the only cat on a major scale that does it, is Nasir. I can’t diss dude. We not the same people, we don’t do the same type of records – but we do. Nas, his plane of writing down what’s in his mind, it’s incredible. When you listen to “New York State of Mind,” it brings you there! That’s one of the major elements of being an MC is to bring someone into your world. KRS said it, “When this clown jumps up to get beat down, broken down to the very last compound, see how it sounds? A little irrational. A lot of MC’s like to use the word dramatical.” Don’t use that word, if you can’t evoke that in a rhyme! Rakim did it, Nas does it, Slick Rick, Ghostface, Scarface, Jay. The Hip-Hop game is strictly, “who’s the roughest?” That’s tiring, man.
AllHipHop.com: On Smoke & Mirrors, do we have any historic collaborations?
O.C.: At first, I thought about it. But I’m tired of hearing compilation records. I’m not gonna be a hypocrit to that extent. I reached out to AZ, it was no problem. I probably coulda reached out to Hov, these cats is from my era. I coulda reached out to Nas, Buckshot. You know what? Next time ‘round. But me, Finesse and A.G. is gonna do a song that’ll wrap the album up in late July.
---
peace.
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