Name: Adam Bernard Home: Fairfield, Connecticut, United States About Me: Entertainment journalist w/ over a decade of experience. Lover of good music, fringe movies, day baseball & chicken shawarma. Nerdy, but awesome. See my complete profile
When I decided I wanted to feature Stacye Branché as an Artist Of The Week it was because I’d heard her latest album, The Evolution To Living In Truth, and thought she was a talented singer. After sitting down with her I found out she’s also one very well connected lady. How else would one describe someone who’s collaborated with an artist based on a recommendation by Dr. Dre? And that’s just the tip of the iceberg when it comes to Branché. During our interview I also learned about her music, her history, and her unique connection with DJ Khalil.
Adam Bernard: Start me off with some background info. Tell me about where you're from and what some of the bigger musical moments of your life were growing up. Stacye Branché: I grew up in Los Angeles and studied classical music at Palisades High School. I actually considered becoming an opera singer, but as luck would have it I landed a record deal right out of high school, so my life went in a direction far away from opera. My record deal didn’t go as well as I would have liked it to, though, so I sat out the remainder of my seven year contract. By the time the deal was over I couldn’t seem to get another one, so I set out to try and put out my music on my own. With technology on my side I was able to put out my CD I Believe in 2000, For The Man I Love in 2004, and now The Evolution To Living In Truth.
Adam Bernard: When I listen to your work I think of you as a jazz singer. 1) Do you feel that's a fair assessment? Feel free to tell me I'm crazy if you think so. And 2) what do you consider some of the finer points of your style? i.e. What makes a song a Stacye Branché song? Stacye Branché: I could see how you would think of me as a jazz singer. I grew up listening to Barbara Streisand, Dinah Washington, and other great vocalists, so I have no doubt that has had a great deal of influence over me and how I sing. I would say that my the finer points of my style are that I have been blessed with an incredible range and that my musical exposure gives me the ability to cross genres. I would like to hope that what makes a song a Stacye Branché song is the interpretation I bring to it.
Adam Bernard: Talk to me about The Evolution to Living in Truth. How'd you come up with that title and what does it represent to you? Stacye Branché: Wow, the title The Evolution To Living In Truth was, and is, where I am in my life. I think that everyone, at some point, reaches the place where they really know themselves; who they are and what they stand for. I think we each evolve to that point. This album, as well as my new inspirational book, It’s All In How You Look At It, are a look at my journey to finding my truth as a woman, as well as an artist, writer, and producer.
Adam Bernard: On the album you have a song titled "I Was Thinkin’ Maybe" which features production by DJ Khalil. Most wouldn't think of him for an R&B track. How did you link up with him? Stacye Branché: Well, here is an unknown fact about DJ Khalil - he is my brother. Although we share music with each other the thought to work together actually came at the suggestion of Dr. Dre, who asked plainly to me one day, “Why don’t you do a track with your brother?” Because Khalil and I do different types of music I don’t think we’d ever really thought about working together. I called Khalil up and he said, “You know, I have this track that I’ve been wanting a singer to do.” I heard the track and the rest is history. I am very proud of "I Was Thinkin’ Maybe," and hopefully we will have the opportunity to do another song together. Being a producer for Aftermath Records and working with his group The New Royales, Khalil stays very busy these days.
Adam Bernard: If Dr. Dre is suggesting people for you to work with you are clearly one connected lady. Are there any other collaborations you see in your immediate future? Do you have a wish list? Stacye Branché: At the moment there are no collaborations planned, but I think every artist has a wish list and I am no exception. I would love to work with Stevie Wonder, Rashaan Patterson, Donnell Jones, and of course I want another chance to work with DJ Khalil.
Adam Bernard: Moving from the recording studio to the stage; do you have any embarrassing on-stage moments that you're willing to share, or have you been embarrassment free so far? Stacye Branché: I hate to admit it, but I have forgotten the words to a song while on stage. I faked it and I don’t think the audience could tell, but it has never stopped bothering me.
Adam Bernard: Ouch! Well, at least no one could tell! Moving to something more positive, where is the most interesting place your music has taken you? Stacye Branché: I would say the most interesting places that my music has taken me would be the movies. I am honored when someone thinks my music helps them to tell their story, like in the films The Brothers and Biker Boys.
Adam Bernard: Finally, create your own tabloid headline. Stacye Branché was found at {BLANK} with {BLANK} doing {BLANK}. Make it juicy because this is the internet and everyone knows if something is on the internet it has to be true. Stacye Branché: I am not good with scandal but here is what I would like to see in the press - “Stacye Branché was found at the Grammys with DJ Khalil on stage accepting an award.” It’s not juicy, but it is what I would like to be reading about.
Frequenters of Adam’s World know the deal when it comes to The Rising Sun Quest. Simply put, the dude is nice on the mic. Check out his video for “Fire In The Sky” and see why Connecticut always shows support for this AFA member.
With so many great albums that go unrecognized, or under-recognized, I found a plethora of CDs that I wanted to remind people about this month. The two I ended up choosing are Phife Dawg’s first solo effort, Ventilation: Da LP, and the album that introduced the world to t.A.T.u., 200 km/h in the Wrong Lane. Listening to both again the other night made it clear to me that these are both Lost Classics that are worthy additions to anyone’s music collection. Here’s why...
Artist - Phife Dawg Album - Ventilation: Da LP Label - Groove Attack Year - 2000
Vibe - Everything that is good about hip-hop.
Ventilation: Da LP is an album that’s been slept on by a lot of people, even by a lot of my peers. At the time it was released A Tribe Called Quest had broken up and Q-Tip had already attained solo success with “Vivrant Thing.” A lot of people simply weren’t checking for Phife. They should have been. Always the most lyrical member of Tribe, Phife’s solo debut featured rhymes about everything from the commercialization of not just rap music, but emcees in general, the treatment Tribe received from Jive, and his thoughts on all things hip-hop. Production-wise, just about every emcee in the game would drool at the thought of working with the lineup that Phife had on Ventilation, as J Dilla, Pete Rock, and a young up and comer named Hi-Tek did the majority of the beats for the album.
One spin of the song “Flawless” should be enough for any hip-hop fan to be convinced that there’s something special about Ventilation. The first verse is one of my favorite verses about hip-hop of all-time and features (not surprisingly) one of my favorite similes of all-time: “Niggas' rhymes be watered down like porn star clitoris.” People who remember the K-Ci and JoJo song “Life,” off the Life soundtrack, will also get a kick out of the hook on the otherwise intensely personal “Beats, Rhymes and Phife.”
Ventilation qualifies as a near perfect hip-hop album. More people should own it, and when critics put together their “best rap albums of the decade” lists there’s no reason it shouldn’t be involved in the discussion as it ranks, on every conceivable level, with the best of them.
t.A.T.u. debuted with a splash... actually, quite literally, with their rain soaked lesbian kissing scene in their video for “All The Things She Said.” Many people, however, refused to look past the manufactured teen lesbian image to give the music of t.A.T.u. a chance. This, despite the fact that they were produced by the legendary Trevor Horn, who has worked with everyone from Tina Turner, Paul McCartney, Cher and Tom Jones, to Seal, Pet Shop Boys and Simple Minds. Had those who initially scoffed, or thought of the Russian teen duo as nothing more than fluff, actually given 200 km/h in the Wrong Lane a spin, they would have discovered one of the best pop albums of the decade.
With the infectious lead single that qualifies as nothing short of brilliant when it comes to pop music, and fantastic songs like “Show Me Love,” which goes flawlessly from zero to sixty and back to zero again mid-song, there isn’t a single misstep on the entire album. Is it music that’s going to change the world? Of course not, but that’s not the point of pop music, the point of pop music is to have fun and there hasn’t been anything more fun in the 00’s than t.A.T.u. Don’t let the detractors who never actually gave them a chance sway your thinking, give 200 km/h in the Wrong Lane a listen and see for yourself why the album qualifies as a Lost Classic.
Those are my two to check out this month as I attempt to show the world how many great albums are out there just waiting to be spun. I'll be back next month with two more "lost" albums that deserve to be found.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from New Moon and Susan Boyle crushing records, to Justin Bieber’s fans crushing each other, to Lady Gaga crushing the idea to that all pop stars need computerized vocal assistance, and since it's Pop Shots you know everything is seasoned with a little bit of attitude.
Just in time for Thanksgiving, here’s something to be thankful for - a brand new episode of The Adam B Experience. This month’s podcast features some names you’ve heard before, like Homeboy Sandman and PreZZure, and a couple that are new to The Adam B Experience, like Nyle and Ryan O’Neill. So enjoy this full hour of fantastic underground hip-hop that’s been put together for your listening pleasure. I know it’s gonna be the soundtrack to my holiday!
Homeboy Sandman w/ Fresh Daily - Eyes on Vinyl Substantial - Don’t Stop (Vagrancy) Poison Pen - Fif N Da Mornin Nyle - F.a.N.G. PreZZure - Wait A Couple Months... Dyalekt w/ brokeMC - Get Ya To Pay (Devious 2) Top $ Raz - DEAD! Sketch Tha Cataclysm w/ Deto-22 - The Sound Plus - Night Stick Conflict Rebelmatic - The Edge Hasan Salaam - Angel Dust Vinnie Scullo - Industry Calling Ryan O’Neill w/ 100dbs - Knock Knock
Everyone involved in NYC’s underground hip-hop scene has, at one point in time, rubbed shoulders with at least one of the members of the Brown Bag AllStars. The seven man crew consisting of (back row) KONCEPT, Deejay Element, J57, (front row) DJ E-Holla, Soul Khan, The Audible Doctor, and (not pictured) DJ Goo, have a huge bi-weekly showcase, Brown Bag Thursdays, and they’ve all worked at Fat Beats at some point in time. It was a host of after hours 40 oz. fueled rhyming sessions at the store that led the seven of them to decide to collaborate and form a group. Now that group they formed is one of the most respected in the scene and this week I caught up with all seven members of the Brown Bag AllStars to find out more about their music, the harsh realities of their responsibilities at Fat Beats, and how even being lost in the woods would be a musical experience for them.
Adam Bernard: Why are you brown baggin it? What does the brown bag represent to you? DJ E-Holla: We brown bag it because we are everyday people. The brown bag is a quality that everyone is comfortable with and can relate to. When you shop at Bloomingdale's, what do people walk out and around Lexington Avenue in New York City with? When you go to the liquor store, inside that black bag is a brown bag. The brown bag brings a balance and holds everything together. Did we say "bag" enough?
Adam Bernard: Yes, just barely! Musically, how do you all differ as individual emcees and why do you feel you work so well together as a group? KONCEPT: Being that we’re all from different parts of the country our styles, as well as our personalities and influences, differ. Soul Khan most likely saw more of artists such as Ras Kass and Xzibit in Los Angeles, while myself and J57, being from NY, might have seen more artists from the Def Jux roster, or Non Phixion. The Audible Doctor being from the Midwest might have been more exposed to artists like Atmosphere, etc. Our sounds aren’t bound to those artists, but being that such sounds were more prominent in our lives they could have an impact on our styles. I believe our differences are an advantage, though, and make our music more intriguing to the listener. It's not the same repetitive voice, style, or rhyme structure over and over again. Also, a powerful tool that we have is the fact that not only are The Audible Doctor and Soul Khan emcees, but they are also talented singers. Last but not least, due to the fact that we all work at Fat Beats NY, on a daily basis we see what the fans like, and most importantly, we see what they don’t!
Adam Bernard: Being that you all work at Fat Beats I'm sure you've seen the divide between the underground that has their work sold there and the underground that doesn't. What are your thoughts on that divide and where do you feel you fit into it? The Audible Doctor: That's something that I'm blessed and cursed with dealing with, and that's also a major part of being at Fat Beats, having the ability to give an underground artist an outlet to sell their music. We actually have a lot of records in the store that are consignment direct from the artist. It's hard sometimes because you have to separate friendships and relationships from business and break it down like "is this record actually going to sell out of the store, or am I just doing this artist a favor by taking it in?" The bottom line is there's a certain level, or quality, that something needs to exceed in order to make it on the Fat Beats shelves, I just happen to be in the position of making the decision of whether or not it's good enough. I've definitely gotten some crazy responses when rejecting an artist's record.
Adam Bernard: What are Brown Bag Thursdays? It seems like everyone’s been talking about these events as of late. J57: Brown Bag Thursdays is a bi-weekly show that we throw in the Lower East Side at the Voodoo Lounge. Deejay Element came up with the idea of having a party where he, E-Holla, and DJ Ready Cee would spin hip-hop and maybe have Brown Bag perform a song or two. We later decided to make it into an all-out event that showcases our respected peers in the scene and gives shine to the lesser-known acts that we think are dope. We've been doing this for six months now and we respect the hell out of every single artist that has performed on our stage. We especially owe a lot to OISD's J.Monopoly for doing a great job as our head of promotions.
Adam Bernard: What are your most, and least, favorite trends in hip-hop? Soul Khan: Right now we like the fact that a lot of the best emcees are collaborating more frequently again. When dudes like Royce da 5’9’’ and Busta Rhymes combine forces, you can’t go wrong. We're also digging that emcees are renewing their emphasis on the live show. You can’t sit at home and collect rap money anymore, so everybody has to earn their stripes on stage again, no matter how big you are. It also shows who can stand among the Brother Alis and who just falls on their face among the Drakes. Speaking of Drake, the "swag" attitude of rappers these days is generally our least favorite thing in hip-hop. Trying to sound cool is a little lame, especially now that rap is over three decades old and if we want to mature as an audience and an artistic community there's little to be gained by acting like this is a fashion accessory instead of a serious craft. That isn't to say that you can’t be confident or stylish as a person while emceeing, but bring that Lupe Fiasco knockoff shit around us and we'll make you look stupider than you already do.
Adam Bernard: If the Brown Bag AllStars could affect one change in hip-hop what would you want it to be and why? DJ Goo: Probably the sound of hip-hop. We feel that hip-hop is at a standstill of people not thinking outside the box. Nowadays you have people just trying to copy everybody else. We are not scared to take risks, which is why our music has no limits. That’s how people are remembered in this industry, by bringing something new and creative but still putting out good quality music that is respected.
Adam Bernard: Finally, if you were all lost in the woods, who would be most likely to find their way home, and who would be most likely to get eaten by a bear? DeeJay Element: Chances are that all seven of us wouldn’t be stranded somewhere at the same time because either The Audible Doctor or J57 would be holding down Fat Beats, but If BBAS were lost in the woods hopefully there would be enough booze for us to get twisted and come up with a plan of escape. I’m not saying we need alcohol to form a plan, but it helps. And while we were lost in the woods, I can guarantee we would come up with at least three bangin songs and a remix about our experience.
Have you ever wanted your normally mundane cab ride to be a little more enjoyable? Dollar Van Demos has figured out a way to make that happen - by putting dope emcees in their rides to perform for passengers. Check out this video of Dyalekt performing "Doin' My Job," off of his album, Square Peg Syndrome, and I think you'll agree that a cab ride with live music is the only way to travel.
Check out this totally awesome interview with yours truly!
"I first met Adam online while promoting Chingy and a bunch of other rappers. He stood out because of his passion for hip-hop and most of all for always delivering what he promised!
We finally met in person at a Mya show over in the dreaded Times Square area. It was sort of sad because the stage at B.B. Kings was so tiny and she had 4 dancers who really didn’t fit in that environment. Anyway @AdamsWorldBlog remains one of my favorite online personalities as a veteran of the space.
I respect the way he conducts interviews, does his research (unlike a lot of radio stations. People what’s so wrong with at least reading a damn wiki on your subject) and for his ability to keep going and stay positive..."
Whether it's with roles in major films like 8 Mile and Hustle & Flow, musical ventures like her Boomkat project with her brother Kellin, or television appearances like the guest spot she had on Melrose Place earlier this season, Taryn Manning is habitually one of the busiest people in Hollywood. Back in 2005, however, she encountered a bump in the road. Manning had just arrived home from touring with Boomkat to find the label the band was on, DreamWorks Records, was in the process of folding. Rather than dwell on the negative she grabbed her best friend, Tara Jane, and the two of them took a hike in the hills of Hollywood to talk about life. That hike and discussion would end up leading to the creation of their fashion line, Born Uniqorn.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Britney Spears giving herself to Satan, to New Kid on the Block Joey McIntyre giving a solo career another try, to Bruce Springsteen giving some geographically incorrect shout outs, and since it's Pop Shots you know everything is seasoned with a little bit of attitude.
He’s read his apologies, tweeted about his community service, and hasn’t beaten a woman in almost ten months. The second chance he’s looking for, however, isn’t just at being a normal member of society. Brown doesn’t want to be a regular person, working a 9-5. He wants the fame again. He wants the limelight. He wants a second chance to be Chris Brown, the guy people talked about as the second coming of Usher. The guy who was on his way to being one of the kings of both R&B and pop music.
Brown would love it if we could all just ignore that whole history of violence against Rihanna thing and once again focus on his ability to sing and dance. He’s releasing an album, Graffiti, on December 8th; can’t we just focus on that? Oh, and ladies, he also still wants you to look at his toned body, just don’t think about the way he used those muscles against your favorite Good Girl Gone Bad.
He committed the crime of domestic abuse, but to hear a lot of people talk about it, it’s just a bump in the road for him (and a bump on the cheek, eye and forehead for Rihanna). Everyone deserves a second chance, right?
Well, I can agree that when someone who has committed a crime pays their debt to society, they, no matter how much we may have disagreed with, or been disgusted by, their actions, deserve the opportunity to attempt to live their lives and be a part of society again. Being famous, however, is something that I feel shouldn’t be a part of the equation. Fame is a privilege and privileges like that should be lost due to one’s actions.
I’m not saying Brown has to live the rest of his life as a shut-in, stuffing envelopes for a living, but once a person has done something like beat their girlfriend repeatedly, the spotlight should be permanently shifted away from them. There are literally thousands of other jobs out there and Brown also has the kind of bank account where he could simply go to college and get an education. At that point he could even make a return to the music industry in some other role.
Being a famous recording artist isn’t a God given right, and once you screw up as tremendously as Brown has there should be some real repercussions. My feelings on this, however, seem to be in the minority as Brown has already been accepted back into the good graces of the industry by many of his peers; just check the guest list on Graffiti. Lil’ Wayne, Swizz Beatz, Plies, Tank, Trey Songz, The Game and even a female singer, Eva Simons, are all featured on it, all ready to forgive and forget.
Should we attach the stigma of supporting domestic violence to these artists? Are we strong enough to look the other way from some of our favorite emcees and singers if they’re willing to look the other way at Brown’s crimes and record with him right after he committed them? It’s not like Brown is a fully healed man who has gone through years of therapy, he just took a couple months off to lay low hoping things would blow over. He even just recently commented that he felt Rihanna shouldn’t be talking about the abuse, saying it “should remain a private matter between us.”
I wasn’t alive back when it was revealed that Ike Turner was beating Tina, but last time I checked, those actions made him a pariah. Not only could he not release a guest filled album less than a year after they split, which happened in 1976, it would be over twenty years before he would regain his name in the industry, and he wouldn’t see the limelight again until 2001 when he was nominated for a Grammy. But that’s the way it’s supposed to be; you do a crime of that nature and the public is supposed to shun you. You’re not supposed to be able to read an apology someone else wrote for you, wrinkle your brow, and have everyone say “aw, I guess he’s an OK guy.”
There are hundreds of fantastic singers out there that could easily take Brown’s place. Singers that have never beaten up their girlfriends. Instead, we have Brown back on stage in the same calendar year that he committed his crime, currently living it up on his 19 city “Fan Appreciation” tour. The fact that he has any fans left is a sad reflection of the kind of actions people will accept from someone as long as that someone can sing well and knows how to smile for the cameras. Brown has even already found the first cameras to smile for, they belong to Vibe magazine, which will be featuring him as their cover boy for their relaunch in December.
It looks like Chris Brown will get his second chance at fame. Just don’t expect me to get excited about it.
To a mainlander, the Virgin Islands may just look like sun, rum, and fun, but believe it or not, they’re also becoming a source for hip-hop. St. Thomas duo R. City is a leader of the VI scene and with their PTFAO (Put The Fucking Album Out) campaign they’re looking to force the hand of their label, Konlive/Geffen, to make an even bigger impact.
R.City consists of brothers Theron (aka Da Spokesperson) and Timothy (aka Don’t Talk Too Much) (pictured L to R). The duo are true veterans of the industry as they’ve penned lyrics for a bevy of top artists, including Rihanna and the Pussycat Dolls, and they’ve been performers themselves since the ages of eight and nine. After going through a handful of names, including Short Circuit, 2 Equipped, and Rock City, the latter also being the nickname of the island they’re from, the duo eventually settled on R. City (a Detroit rock band actually owned the name Rock City). Even with all the alterations to their name the brothers have never altered their goal – to show the world that the VI has skills and a unique style all their own. This week RapReviews caught up with the talkative half of R. City to find out more about the VI style, how he and his brother linked up with Akon, and why PTFAO isn’t just a campaign for themselves, it’s about the music industry as a whole. Here are some highlights from the interview:
On the universality of their music: Hoods speak the same language. We’re hurtin, we need money, we’re broke, we’re fucked up - that’s a universal language and you don’t need nuttin else but to understand that.
On industry BS: They’re saying “you should be Sean Paul, you should be the Black Eyed Peas,” and we’re just like goddamn, when am I gonna be myself? When does that ever come in?
On working with Robin Thicke: He was really cool, like cat daddy with a slim top hat on cool.
A couple months ago X-Plane sent me a video for his song “Witout Spinach Popeye Get Black Eyes.” I dug both the concept of the song and X-Plane’s flow. A few weeks later he sent me another video and I noticed an interesting common thread - they were both shot in what looked to be an unfinished house. He had a couple more videos that were also done in the same location and as the clips started piling up, so did my interest in X-Plane’s work. This week I caught up with X-Plane to find out more about his music, his secret video shooting location, and why if you need a MetroCard he’s the emcee you want to see (could a collab with Miz Metro be in his future?).
Adam Bernard: Start everyone off with a little background info. Explain X-Plane. X-Plane: Explain X-Plane? Well, I can start by saying, with a verb talking about a noun there's bound to be action. Born in-between a 3 train and Kings County Hospital in Brooklyn, NYC, I rhyme and compose music that’s pretty unknown to the average ear. I was known as "Radio Raheem" throughout most of my childhood, and a decade of my adult life, because I carried a radio everywhere I went, including weddings, funerals, baby showers and graduations. I'm also a home schooling parent. Shout out to my Children - Prince, Indigo and X-Plane Jr.
Adam Bernard: What is X-Plane looking to explain with his work? X-Plane: Now we're dealing with the noun using the verb to explain a noun. OK, well my first album, Full X-Planations, which hasn’t been released yet, covers issues I see, have been through, wondered about, found interesting, or felt should be covered. For instance, part of this album is a series of songs based on a woman, a man, and a child. The series starts off with "You Are the Father," a song about the infamous Maury Povich Show. All three characters, including the son, speak out on "No Holds Barred." Next we have "Angry," which is based on the woman being angry to any new man she encounters, on down to her son, who reminds her too much of his father, who's a deadbeat and in her mind a total loser. So with all of that going on "The Black Prince" of it all pens a composition titled "I'm Your Son, Too" where he has a strong, meaningful conversation with his mother about the importance of his father's place in his life. He also vows to never give up on his father and offers prayers and words of encouragement.
Adam Bernard: That sounds really amazing and unique. Speaking of unique, we have to talk about your videos, many of which are shot in one very unique location. It almost looks like an unfinished house. Where did you find this spot and what went into your decision to shoot there? X-Plane: The building is called The Secret Location to most, built with 89 foot ceilings in 1897 it has a special place in my heart. Over 75% of my album was written and composed there. Shooting a video was actually a fan's idea. They wanted to see me perform, so I did what needed to be done.
Adam Bernard: Rhyme-wise you’re a little different from your peers. Explain you style and the way you ride a beat. X-Plane: Rhyme-wise I write more than just a poem because it’s more of a power statement on top of a power statement. No lyric gets by the final analysis without being "Lyrically Halal." I ride the beat like a conductor in an orchestra, allowing the beat to follow in close unison. My style has what I like to call a vintage delivery with “no gimmicks or trendy discoveries.” I deal with concepts in most of my songs. KRS-One played a major part in my motivation to write outside the box. "You Must Learn” remains one of my favorite songs ever, and I love showing my kids the video.
Adam Bernard: While we’re on the subject of writing outside the box, tell me about “Witout Spinach Popeye Get Black Eyes.” What inspired the song and are there any hidden meanings? X-Plane: "Witout Spinach Popeye Get Black Eyes" WOW! It was born the day my two sons and I were watching Popeye. I was telling them if Popeye would eat his Spinach daily he wouldn't have Brutus as a problem. As we continued talking I said to X-Plane Jr., “see, Witout Spinach Popeye Get Black Eyes," and I felt that feeling I get when an idea inspires me, so I decided to not just take it to Popeye, I invited 53 other "Super Hero Sandwiches" for the bashing.
Adam Bernard: Is “Popeye” going to be on Full X-Planations? X-Plane: Yes, and it’s also available on the limited edition Unfair Is Fare EP, the title song of which is about the subway situation, with the fare going up and the service going down. I wrote it at a time when the fare had just went up and I was giving away MetroCards with every mix-CD donation, so basically you paid a quarter to ride the subway (if you bought the CD). Anyone interested in making a donation and obtaining my CD in return can contact me directly. I will deliver to any of the five boroughs and New Jersey!
Adam Bernard: Finally, everyone knows emcees are supposed to be cool, but I’ma have you flip that idea. Tell me about the LEAST cool thing you’ve done, or worn, in your life and when and where it happened. X-Plane: The least cool thing I ever did would have to be the day I hurt someone who really loved me. I had angered her a lot, put her through a lot, and expected her to treat me the same. When she didn't it triggered my reaction of being worse to her and a whole lot of bitterness developed towards each other. I regret what happened, and she means the world to me. Without a doubt, she knows who she is.
Kero One’s 2009 album, Early Believers, has been one of the highlights of the year when it comes to hip-hop. If you haven’t had a chance to check it out yet, give his most recent video a look and a listen. I think you'll find “When The Sunshine Comes” one of the more beautiful storytelling rap songs you will have come across in quite a while.
For more on Kero One check out my interview w/ him at RapReviews.
The kids aren’t alright. It’s not just a song by The Offspring, it’s a reality that filmmaker Cevin Soling has documented with his latest project, The War on Kids, which will be making its theatrical debut on Nov. 18th in NYC. The film takes a look at the way America has turned into an anti-kid nation and the extremes to which the country is going to control the youth. In addition to getting this film to the public, Soling is also currently working on a masters in Philosophy at Harvard, his band, The Love Kills Theory, has a song in the upcoming Suicide Girls film, his third book in the Rumpleville Chronicles, The Bomb That Followed Me Home, received rave reviews, and he even petitioned the State Department to become a foreign service officer and passed all the tests. This week I caught up with the very busy Soling to learn more about The War on Kids, what inspired him to cover America’s treatment of its youth, and his next three, yes, three upcoming films, one of which is ties Gilligan’s Island with communism.
Adam Bernard: Let’s get right to The War on Kids. What were some of the hurdles you expected to encounter in filming this documentary and how many of them did you end up actually having to deal with? Cevin Soling: When I set out to make the film I planned on doing something indicting the baby boomer generation, because at one point in time they had fought for a whole bunch of civil rights and liberties, and no one has gone so far to take all those rights away with such a vengeance as that generation has. I expected that it would be fairly easy to get people to talk about that because it is self-evident, but most of the people I was interviewing were part of the baby boomer generation, the academics and the experts, and there is something in academia, or in that group, where it isn’t appropriate to target a generic group. They’re generally much more specific when it comes to targeting either individuals or a system. Groups are pretty nebulous. There was one exception and that was Michael Males, who was a baby boomer and is the author of The Scapegoat Generation, as well as a number of other excellent books. He loves digging into statistics and is very responsible about always trying to figure out what’s going on behind them rather than taking everything at face value.
Adam Bernard: So, how did the treatment of kids become the focal point of the film? Cevin Soling: There’s the statement that we do everything for the kids, and the next generation, when in fact the disregard for children, I don’t think, has ever reached this level in the history of America. There are all sorts of movements to restrict kids from public spaces. You see housing communities where they don’t allow kids. You have restaurants and hotels that actively have bans. Pretty much every single community has curfews in place. They aren’t typically enforced, but they could be, and certainly with the anti-rave act you have all sorts of legal prohibitions that are actively enforced on general assembly, because groups of kids are feared.
Adam Bernard: Why do you think there are so many anti-kid rules and laws? Cevin Soling: Because kids don’t vote, so it’s easy to disregard that portion of your constituency, which really isn’t your constituency as far as from a political basis. There’s also pervasive fear and hatred of kids in the media. It’s become sort of salacious and part of the whole entertainment media to demonize kids and make it seem like all the evils of culture are the faults of kids when that simply isn’t true. One of the things Michael Males brings up is the drug problem. When anyone thinks of problems with drugs they presume that’s a youth problem when in fact the numbers show that the segment of the population that’s abusing drugs the least are kids. The whole “get tough” approach to kids, all of that is just part of the fabric of American society and it really got much worse and was compounded by the rise of the pharmaceutical industry, which has basically turned childhood into a pathology.
Adam Bernard: There was a big section of your film about prescription drugs. Back when I was in school they weren’t prescribing things at the rate they are now. If you were acting up in class you had to stop eating sugary food. Cevin Soling: {laughs} Yeah. In class it’s a normal healthy response in most situations. It’s unnatural to be restricted for eight hours a day and be shuffled from room to room and be sitting without any stimulus in a classroom where you’re not permitted to speak and you’re not permitted to stand up and socialize and move around. It’s just a very sick environment and to force people to fit into those environments is twisted and then to do it with drugs is even more sadistic.
Adam Bernard: With The War on Kids coming out, grad school, government possibilities, your band, and your books, it sounds like you really are the busiest man on earth. Cevin Soling: Yeah, on top of that there are two other films that are being edited right now. There’s the Uganda documentary (on the Ik tribe). By February that film should be in the can. Then there’s also the Vanuatu one. That’s about the tribe that worships America.
Adam Bernard: There’s a tribe that worships America? Cevin Soling: Yeah. It was a series of about 83 islands that were claimed by both France and England, but because it was so remote neither one of them fought for sole possession. They ruled it by co-op, which meant that neither one would really be responsible, but they would send their missionaries there, and their missionaries were pretty harsh and brutal. The US came on the scene during WWII. The island of Santo was used as the headquarters for the whole southeastern operation and the Americans had recruited local natives to help build the infrastructure. Unlike the Europeans, the Americans treated the people with respect. They had no desire to interfere with their native practices and convert them. They routinely offered medical care to anyone who wanted, or needed, it. Even though the regiments were segregated the natives saw black officers and blacks in control and that was certainly something they wouldn’t see among Europeans. The tribe really got the right message and we really lived up to the ideals that we like to claim that we believe in, and it was rightly inspired. It wasn’t based on propaganda, it was based on respect and nobility.
Adam Bernard: Finally, what’s this I hear about a Gilligan’s Island documentary that you’re working on? Cevin Soling: I contend that Gilligan’s Island was probably the most radical program ever to be on American airwaves when one considers the context of the time. It first aired in 1964 and the Cuban Missile Crisis took place not long before then. (Joseph) McCarthy had been censured, but there was still a fear of communism, and here you have this program that depicts seven Americans stranded in this metaphorically post holocaust world and the government they create is a communist government. Conflict happens when some vestige of capitalism emerges and threatens to destroy the serenity of their world.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from No Doubt losing control of their image, to Sublime losing their name, to MAE losing all their stuff, and since it’s Pop Shots you know everything is seasoned with a little bit of attitude.
A fast food burger or a filet mignon, which would you rather have? Most people would pick the latter, but when it comes the hip-hop people are being served, they've been getting a lot more of the former. Atlanta emcee Wayniac recognizes this and with his debut album, Kill ‘Em Shawty, he plans to give hip-hop fans exactly what they've been salivating for. His confidence in his ability to do this stems from the fact that he knows good music is just like good cooking - it takes time.
When you think of emcees who are eight or more albums deep into their careers names like Jay-Z and LL Cool J usually come to mind. Vinnie Scullo should, too. The Ohio native released his eighth album, I Spit On Your Grave, earlier this year and he’s already laid down the beats for his ninth project. Even with that tremendous effort, according to Vinnie less than half of his body of work can earn him any money at this point. “The only ones I can sell are Def Leper, Pimpin Miss America, I Spit On Your Grave, and this new one I’m working on,” he explains, “my mixtapes were albums, it’s just I didn’t have any money to pay Green Day to use their sample.” Over the years Vinnie’s feuded with some interesting folks, including having a very real beef with Ashton Kutcher during a stint as a Hollywood extra. With I Spit On Your Grave, however, he’s feuding with something completely different – political ideologies and the anger they create in people. This week I caught up with Vinnie to find out more about ISOYG, as well as the very strange online cartoon series he created called Death Omelet, and why when it comes to making albums, eight is not enough. Here are some of the highlights from the interview:
On the inspiration for the lyrics on ISOYG: I was pissed because all the political talk, left and right and all that stuff, it was just making me so mad and making me hate the world.
On the content of the album: It’s not a safe album because I say a lot of stuff that people could totally take the wrong way, or hate, OR have it be one of those things where people go “yeah, he’s right,” and they’re people I hate.
On why he keeps on creating: If you could see what your inner thoughts really are, that would be amazing. That’s what I do. That’s why I can’t stop creating, either art or music, because I just learn about myself. I think I’m really weird, so I like to see what I come up with.
ScienZe is an emcee hailing from Brooklyn, NY, who was highly recommended to me by former Artist Of The Week Top $ Raz. When I started doing my research on ScienZe the first thing I came across was his video for “Her Favorite Song.” The ode to his significant other really struck me as something unique as we don’t usually hear a lot of emcees expressing the emotion of love except when in reference to emceeing, or, in the case of many mainstream rappers, material things. Wanting to know more about ScienZe, I caught up with him this week to discuss his music, as well as the finer points of his Commercial FREE Movement, and why he feels there’s such a lack of love in hip-hop.
Adam Bernard: First off, I don’t know if I’m supposed to mention this, but science isn’t spelled that way. Just kiddin. Please do explain your name, though, including how you came to be ScienZe and why there’s a capitol Z in it? ScienZe: I got the name ScienZe simply because I believe there's a science to everything and I’m the ScienZe of hip-hop. Where’d the "Z" came from? {laughs} There's no big reason, to be honest, and it’s uppercased because I think the letter "Z" doesn't get enough attention in the alphabet, being the last letter and all.
Adam Bernard: Have you ever blinded anyone with ScienZe? ScienZe: OF COURSE! {laughs} On a daily basis.
Adam Bernard: I hear you’ve been inspired by wack music. How’d that happen? ScienZe: Easy, hearing wack music inspired me to show people what good music is. I define "good" music as timeless music; the type of music that you can hear 20 years from now and it will still hit you the same way it did when you first heard it. Want an example? De La Soul’s “Dinninit.”
Adam Bernard: You recently released a love song titled “Her Favorite Song.” The inspiration for it is obvious, but on a deeper level, how come we don’t see more love in hip-hop? Have we been trained to be anti-love? ScienZe: To be real, I think a lot of emcees are real touchy about that subject, or feel they’ll be seen as “soft” if they express love for a significant other through music. I believe an emcee should hit all subjects, this way everyone can relate. I want someone to be able to play my mixtape no matter what kind of mood they’re in. I think those who have been trained to be anti-love have allowed themselves to be trained that way. Mainstream hip-hop is ridiculous nowadays, and their priorities are out of whack. There’s no room for love if all you talk about is “money over bitches” and materialistic things that lose value as soon as you buy them. Hip-Hop is in a bad state right now.
Adam Bernard: What other important aspects of hip-hop do you feel you’re bringing to the forefront again? ScienZe: I’m bringing everything I am to the forefront. Hip-Hop is an expression that can’t be described, and through my music I aim to inspire everyone to express themselves the best way they can. I have messages that live among my lyricism, delivery, and style. Most get captured by the style, the lyricism, and then the message, in that order. I honestly feel like I’m on a mission to bring real hip-hop back to the forefront.
Adam Bernard: In at least one of your videos I heard you rhyme that you’d rather have fans than money. Some money would be nice, though, right? Or do you just have the illest 9-5 ever so you’re really not worried about it? ScienZe: {laughs} I’m currently unemployed, but once upon a time a rocked a 9-5 that wasn’t ill at all. Sorry to say, money is necessary, but when it comes down to what’s important, and the primary reason I’m doing this, I’d have to say that the love for the art and people fuel me. If I could rock a show and change the mind-state of the masses for three hours at a time, without being paid, then that’s what I’m going to do.
Adam Bernard: How does all of this go hand in hand with your Commercial FREE Movement, and what exactly is your Commercial FREE Movement all about? ScienZe: Firstly, the Commercial FREE Movement is a movement me and my brother, Seven Synz, started that focuses on pure, raw, artistic expression. When you see the word “commercial” you usually think of a television show, but when we say it we mean mainstream - commercialized music. Therefore being commercial free means “without commercial music.” The movement itself is more than a movement, but a lifestyle. I haven’t turned on my radio in so long and I plan to keep it that way. The Commercial FREE Movement is the movement of various artists that do the art for the sake of art and for the love of music.
Adam Bernard: OK, so now that you’ve filled everyone in about your work, where can people hear some of it? What projects have you released and what are you currently working on? ScienZe: People can hear my work on my MySpace page, and I also have a mixtape floating around the internet called the dopeNESS VOL. 1 Mixtape that people can download for free from my MySpace page. I have a lot in the works at the moment. I just hit up one of the dopest producers I’ve heard in a while, MARKFADER, and we’re doing an album together which I’m looking forward to. I’m also working on a love inspired mixtape called Her Favorite Subject, which should be dropping in December. Lastly, my music video came out not too long ago for “Her Favorite Song.” Shout out to Scooba Steve and 576 Productions for directing it.
Adam Bernard: Finally, if you could approach any one prominent emcee in the game and ask them just one thing, who would you want to approach and what would your question be? ScienZe: The emcee would be Mos Def. I’d ask him if he’d want to do track together. I think he’s an amazing, talented, and real emcee that stays true to the art. We don’t have many of those anymore.
"A Letter From You" is one of my favorite songs by The Square Egg, which happens to be the band that Lee, who is one of my favorite emcees/singers, fronts. The song is funky and beautiful and I love it a little more every time I hear it. Check out this clip of Lee performing "A Letter From You" live at the Brooklyn Academy of Music and you'll understand why I dig both the song, and the artist, so much. Oh yeah, and if you haven't seen Lee or The Square Egg live before, be prepared to see how a live show is supposed to be done! Enjoy!
For more on Lee check out my interview w/ him at RapReviews.
National television appearances, a show of her own in development, a gig as a GoDaddy.com girl, a new book, an iPhone app, the title of being Wired.com’s “World’s #1 Sexiest Geek,” and all from posting videos on YouTube about the origins of words. To put it lightly, Marina Orlova knows a thing or two about working the web. With her website, hotforwords.com, expanding by the minute, and her YouTube videos having racked up over 250 million views, I sat down with the foxy philologist to find out more about how she went from posting short clips about word origins to starting her own empire. In addition to some business secrets, Orlova also revealed that Bill O’Reilly has a soft side, and why a ticket to space might be the ticket to her heart.
Adam Bernard: When you started putting videos of yourself explaining the origins of words on YouTube, what did you expect to happen? Did you have a goal in mind? Marina Orlova: Not really, I just wanted to try it out and have fun with it. I decided to do it just as a hobby. I cannot dance, I cannot sing, so I decided to talk about words. I spent hours and hours, 24/7, being at my computer, for a year. All my friends would tell me “it’s stupid, what are you doing, go get a real job,” but I had some savings, so I could spend time at my computer. I had no idea it would become so popular.
Adam Bernard: How did you utilize YouTube, and the internet in general, to grow your Hot For Words idea? Marina Orlova: I communicate, I integrate with the audience, I reply to the comments. I make sure they know I’m online and I didn’t just upload the video and leave. I’m there, looking at the comments and responding to them. I make sure, in the videos, I mention people who requested words so they feel like a part of it. Those are some different tricks, not tricks, but techniques I used that help to get more views.
Adam Bernard: What would you say some of your biggest learning experiences were from when you were just starting out online? Marina Orlova: The first lesson is that you never pay attention to negative comments. There are plenty of mean and jealous people out there, and because of anonymity on the internet they will try to put you down. They will tell you you’re ugly, they will tell you to shut up. Don’t even pay attention to it, just ignore it. Only pay attention to the good comments. That’s the first really good thing I learned, and that you need to know before you start something.
Adam Bernard: Obviously a lot of people initially became hooked on your videos because of your looks, but why do you think they stick around as subscribers and continue to watch clip after clip? Marina Orlova: Because of how interesting the content really is. It’s not just a pretty girl talking about how wonderful her shopping spree was, I’m actually talking about something that people are interested in. When you watch one video, or read one chapter in my book, you’re like “interesting, I’ve never thought about that,” so you get hooked and you keep going. I get 300K views a day from all my videos. If I was boring they would stop.
Adam Bernard: OK, so you’re not a dumb girl talking about shopping, but there are a lot of shows on TV that are just dumb girls talking about shopping. Marina Orlova: They like that, they like the reality, and that’s what bothers me in America, everything is about reality. What’s the point of watching someone go to a coffee shop? I don’t understand that.
Adam Bernard: Do you think there’s a place for an intelligent person in the midst of all that? Marina Orlova: Yeah, of course. There are plenty of people who are smart, but the highest rated shows are, unfortunately, reality shows.
Adam Bernard: So you’d have to go on Survivor. Marina Orlova: Survivor, I’ll survive, believe me, I’m from Russia. I like camping and fishing. I was in Venezuela for a week in the jungle. I slept in hammocks and we went to the tallest waterfall in the world. I loved it. I stopped in Spain first. I was not planning to live in America, but when I discovered LA I was like, I like it, it’s warm, it’s nice. I didn’t move here because I wanted to be Hollywood.
Adam Bernard: But now that you’re in Hollywood you’re certainly making the most of it as I see you’ve been doing quite a bit of TV. Do you have any especially memorable moments from those experiences that you can share? Marina Orlova: I like when Bill O’Reilly asks me about my mom. Nobody asks me about my mom except Bill. He’s so sweet. Every time I’m on the show he always asks “how is your mom doing?” I told him once that she downloaded the video of me on his show and put it onto her phone. She doesn’t speak English, she just likes how Bill communicated with me. She said she likes the way he sits and listens. I told him that and I guess he remembered. Now he always asks.
Adam Bernard: In addition to your website, and your videos, you also have a book, Hot For Words, and your very own iPhone application, Attack of the Zombie Bikini Babes from Outer Space. What other opportunities do you think are out there for you? Marina Orlova: After the videos became popular I realized it was getting somewhere, so I built the website. Right now I’m working on expanding the brand. I want to create different parts. It could be anything, but it has to be people who know what they’re talking about. It can’t just be somebody who is reading a teleprompter. I’ve already had one conversation with a girl who is also a GoDaddy girl, Vanessa Rousso. She’s a poker player and she likes the idea and wants me to help her get an online presence. She wants to make videos teaching me poker and through them she’ll also be teaching everyone who’s watching. That will be Hot for Poker. She also likes the idea of the book, so she’ll have the same thing I did, just with her. It’s like the Dummies books.
Adam Bernard: Since you were named “World’s #1 Sexiest Geek” by Wired.com, tell me, where does a sexy geek go to meet other sexy geeks? Marina Orlova: Online. Just kidding. Actually, why not? I meet a lot of people through Twitter. They communicate, I respond. It’s such a great tool to communicate and promote yourself. I get half of my traffic on my website through Twitter. I’ve even met musicians there who want to put music in my videos.
Adam Bernard: What makes for a good geek date? Don’t say going on Twitter! Marina Orlova: I was going to say going into space, but nobody can afford that. I like the idea, though. Richard Branson, I think he’s working on a space shuttle that will be affordable for a lot of people and you’ll be able to take it with a group of people and go into space. That would be cool. I would go.
Adam Bernard: Finally, one word related question for ya – how did our “butt” become an “ass?” Marina Orlova: I did a video on that!
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Owl City’s impressive ascent, to two veteran groups reaching milestones, to a storied festival looking to launch a few more careers, and since it’s Pop Shots you know everything is seasoned with a little bit of attitude.
Stamford emcee and producer Plus has experienced a number of turning points in his life. From his group, Nervous System, deciding to part ways with their label, to the cutting off of the dreads that took him eleven years to grow, Plus and change have always seemed to go hand in hand.
Going solo is the latest turning point for Plus, which is why he felt it apropos to title his first solo project The Turning Point. “This is the turning point in my life,” he says with sincerity, “this is the turning point in my career.”
In 2002 Plus, then going by the name Polarity Plus, formed Nervous System with fellow emcees SolStorm and Eclipse. The group saw both local success, in the form of packed houses to see them perform, and national success with their music charting high on CMJ. The music Plus made with Nervous System, however, is a bit different from what listeners can expect from his solo project.
“I think that this record is a little bit more, I don’t want to say aggressive like it’s some hardcore, Get Rich or Die Tryin, record, but I think it’s a little realer,” he explains, “I think it’s a little bit more aggressive in terms of lyrical content. I don’t think Nervous System was that aggressive. I think Nervous System was a little bit more experimental, more on a Black Eyed Peas kind of thing, or a Fugees kind of thing, which is not a bad thing, because they’re both great groups, but I think with this record it’s a little bit more real all the way around the table.”
Plus’ decision to go solo was one he made with a heavy heart, but a determined mind. After Nervous System parted ways with the small, indie label they had been on, they signed with a management company. Unfortunately, according to Plus, “the management company really didn’t do anything for us.” Having this incident follow their unpleasant situation with the label left the group feeling deflated. “After that everybody’s heart just kind of failed out,” Plus remembers, “we did have interest at major labels, but after things didn’t work out everybody was just kind of like OK, we don’t want to leave this group, but what else are we gonna do here? It was showing in the recordings, it was showing in the performances. After a while it just stopped being fun for me and music is supposed to be fun.” This was the indicator that pushed Plus to make his decision. “I love them dudes, but I needed to make a change and I felt like this was the change I needed to make, to make a solo record and go solo.”
The more aggressive, solo version of Plus is also significantly more open about his personal life. “I don’t let a lot of people in,” he explains, “(and) I felt like everyone was talking about ‘you gotta let down your wall, man. Let it out.’ So I was like alright, I’m gonna let it out on The Turning Point.” Letting it out included telling some stories that are of a deeply personally nature. “There are things on this record that a lot of people didn’t know about me, like a lot of the things I went through on the song ‘My Life.’ A lot of people didn’t know I went through the things with that ex-girlfriend, or that my father had passed.”
Songs like “My Life,” which includes a verse about a former flame who claimed to be five months pregnant with another man’s child, have an undoubtedly dark quality to them, but as Plus points out, “we all go through some dark times and the best way to get around it is to let it out. I actually feel better letting it out.” That being said, don’t expect to hear “My Life” during Plus’ set when he rocks with Deuce Bug and legendary New York emcee, Cormega, at the Acoustic Café on Friday, November 20th. “I don’t even want to perform that song, to be honest with you. I just want to have people hear the record and be like ‘OK, I feel him.’”
Like the majority of the artists hailing from the state, Plus is going the independent route for distribution, but unlike many of his peers, he has label experience that taught him some of the ins and out of dealing with the industry. Although he learned a few of his lessons the hard way, the wisdom he has stemming from his time as a signed artist has stuck with him. He says two of the most important lessons he’s learned have been to “know your business and stay focused,” adding “Don’t let anybody tell you that you need to sign this, or you need to go here.” Plus also notes that for the people who don’t want to do it all themselves, “if you’re gonna have somebody do it for you make sure you’re on top of them and know what’s going on.”
Plus is in total control of his career now, and while the naturally affable nature his fans have come to know and love hasn’t changed, musically everyone needs to be prepared for a whole new Plus.
RapReviews doesn’t usually dole out praise as high as that given to Dynas’ recent release, The Apartment, which was dubbed as coming close to being a classic. This peaked a lot of readers’ interest in the Miami based emcee. Most folks, however, don’t really know a lot about the man who laid down the rhymes. Some may know a little about how he was one of the myriad of emcees who had a negative major label experience, but for the most part people are still in the dark about Dynas. This is why this week I caught up with him and had him turn the light on, both in his Apartment and on his life and career. The story of what led to the signing of his most recent deal is fairly amazing. Here are some of the highlights from the interview:
On the mainstream hip-hop scene in Miami: I am respected by most of the artists known internationally from the city; however, I am not in their fraternity. It has to do with an unwillingness to be anything other than what I am.
On the topic matter on The Apartment: Well, since I am officially a "grown up" it's only right that I converse like one.
On signing his most recent deal: They stopped our recording and announced that the doors were locked and there was no way I was gonna be able to leave without committing to sign.
The Midwest is one of the country’s true hotbeds for hip-hop right now and Minnesota is the state that’s leading the way. After former Artist Of The Week Sketch Tha Cataclysm moved out there he immediately told me about Guante, a Minnesota-based emcee and poet who is originally from Wisconsin. I checked out some of Guante’s work and was really impressed. His most recent album is El Guante’s Haunted Studio Apartment, and he just finished up recording a collaboration with Big Cats! titled An Unwelcome Guest. He’s also working on a one-man spoken word theater show he hopes to debut in the spring, tentatively titled The Fist that Lives in Your Neck. Guante’s work qualifies as both unique and intense. A good example of this would be the way he describes An Unwelcome Guest, saying “it’s a concept album, a zombies-superhero-love-story-parable that deals with issues of displacement and violence as a tool for social change.” This week I caught up with Guante to find out more about his work, his causes, and why there’s a good chance he’s on a first name basis with his pizza delivery guy.
Adam Bernard: Start me off with a little background info. What about your surroundings growing up inspired the artist in you to pursue hip-hop and poetry? Guante: I'd always been a writer and a poet, and when I discovered spoken word I found something that allowed me to actually reach out and connect to other people. I guess I see art as more about communication and less about ME expressing MY magical, beautiful thoughts. I never wanted to be some creative writing grad student publishing poems in literary journals for other creative writing grad students to read. For me, art is about sharing, about opening up avenues of expression for everyone. Hip-hop was a natural outgrowth of that. You can reach people with spoken word, but you can reach even more people with hip-hop.
Adam Bernard: Rap music and poetry, for as many similarities as they may have, are actually very different crafts. When you have an idea in your head, do you automatically know which venue will work best to voice it in? Guante: I'm glad you said that, because there's an assumption that rapping is just "spoken word over beats," or that spoken word is just "rapping a capella," and that's way, way off. A lot of spoken word poets try to rap, but rap has a certain "swing" to it that goes beyond rhyming couplets. Similarly, a lot of rappers try to do spoken word, but the whole 16/8/16/8 format just doesn't translate well, generally, to a poetry stage. This past year, when I was part of the St. Paul team that took first place at the National Poetry Slam, none of my poems even rhymed. It's just a totally different approach. In terms of content, I usually know which form will be better for a given idea. Rapping requires a certain amount of bluntness, since people are hearing the words at 100 BPM, over music, in a club. If you're too abstract it's not going to mean anything; you're just another drum. That isn't to say that rap lyrics have to be dumbed down, just that they should be understandable in that club context. With spoken word you have a little more freedom to be subtle, to play with dynamics and stuff like that because people are actually, and actively, listening to you. With both forms, though, my goal is to use simple language to express complex ideas, where I think a lot of other rappers try to say really simple shit, like "be yourself," in the most obtuse way possible.
Adam Bernard: You have a blog titled “Why is Guante so Angry?” So… why are you so angry? Or, in other words – tell em why you mad, son! Guante: I think anger is a healthy emotion, when it's focused properly. We should all be a little more angry. Not angry in the sense that we're lashing out at everyone and kicking puppies and stuff like that, but that we're recognizing what's wrong in the world and being pissed off about it. Anger can be a great catalyst for action; it comes from the same place that love comes from, I think.
Adam Bernard: You seem like you have a thing or two to say. If someone were to only get one thing out of your music what would you want it to be? Guante: Probably my line "if we are the ones we've been waiting for / what the fuck are we waiting for?" That sums up a lot of my philosophy right there. I don't believe that music can change the world, except in really extraordinary circumstances, but I DO believe that the communities that music/art creates and nurtures can change the world. And yes, we need to act intelligently and effectively, but we need to act.
Adam Bernard: Speaking of taking action, you spearheaded the Hip-Hop Against Homophobia series. What led you to not just get involved with this cause, but to lead it? Guante: That series was/is a model of how arts communities and activist communities can work together. That's something I've very interested in, how we can combine resources, help one another out, boost each other's numbers, etc. etc. With that specific cause, I just thought it was the right time. Prop 8 had just passed in California, people were pissed off, the Twin Cities has a big, beautiful, fairly progressive hip-hop scene; it just made sense. I think we all need to see how the oppression of one community affects everyone. The success of the series is inspiring; it was my idea, but it was a community effort, and I hope it has a ripple effect. Also, beyond any super-political "movement" stuff, I think homophobia in hip-hop holds us back. When someone goes to a battle and hears a kid saying "faggot” this and "bitch” that, it makes us all sound like a bunch of dumbass little kids. I hope we can gradually weed that stuff out.
Adam Bernard: With everything you do that’s political, do ever find time to make, or enjoy, a song that’s purely for fun? Do you think there’s still a time and a place for fun in hip-hop? Guante: Well, the easy answer is “of course,” but honestly, the traditional conception of fun isn't what I'm into. Good music has to be entertaining, but that doesn't necessarily equate to "fun." I want to make music that's engaging and beautiful and poetic and captivating, but I think I can do that without sacrificing any of the content. The new album, An Unwelcome Guest, definitely isn't a happy-sunshine-lollipops type of record, but it fits into my personal definition of fun - it tells an interesting story, the beats are monstrous, the lyrics are deep, the music is pretty... you're not going to have a hipster dance party to it, but you'll enjoy it.
Adam Bernard: Finally, what are some of the things that give you the greatest highs in life? Guante: Food. Chinese buffets, out-of-the-way diners, bar food, fast food, home-cooked food, pizza, ice cream, all that. I eat way too much, which means I have to work out a lot, which is also something I enjoy. When D'Angelo was making Voodoo, he said that all he did, for months was work out, get high and make music. Replace "get high" with "order hella pizzas" and that's pretty much my life right now, and life is good.
B-Listers are a select group of artists that were featured in my Artist Of The Week series that ran every Monday from April of '06 to April of '11. All of these artists have two things in common; extreme talent, and a flight path far too under the radar for my liking. They took on the title of B-Listers as they embraced being featured by me, Adam B. Check out the AOTW Archives for all the interviews.
Artist - Phife Dawg
Artist - t.A.T.u.
