Rapper's Delite Issue 02 Original Sugarhill Gang

ISSUE 02: Winter 2011

This only looks Easy...

Rapper’s Delite Magazine Info@RappersDelite.com

EDIT and Bits

Editor in Chief Rocker Will Loiseau Senile Editor Drew Spence

BRAND Nu Beings Specialist/Manager Pedro Mojica Marketing, Public Relations Richera Jones Rapper’s Delite is created using Abobe Indesign CS5.5

Meaty Editor Griffin Avid Another turn as interns Abbey “notadike” Klondyke Chris “The Rod” Axelrod Xodus “Beat Master” Phoenix

Live Scribes Cee Brooke Sean Pen Shadow Box Starr J Scarpen

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The 4 elements meet cutting-edge entertainment

W

e all want validation for what we do with our lives. It strokes our egos and provides inspiration to move further towards our goals. When we are at our best, we can make difficult tasks appear easy to others.

Not everyone can perform the stunts of a trapeze artist or a high wire artist- that’s why we are impressed by their talent. The theme of this issue is the time, dedication and focus it takes to make a difficult task appear effortless. A certain degree of sacrifice is necessary.

The ability to carry out a game plan from its infancy all the way to the end is one of the things that separate those who try from those who succeed. In this issue, we’ll be talking to a few of these special individuals to gain insight on how they’ve been able to win in this harsh business.

-Will Loiseau, Editor In Chief

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The Annual African American Literary Awards was held September 22, 2011 at Melba’s Restaurant in Harlem, NY. In previous years the event, founded by Yvette Hayward (pictured left), has honored and been attended by Cornel West, Hill Harper, Victoria Rowell, Walter Mosley and Sonia Sanchez among many others. Mrs. Hayward made the decision to fill a void in the literary world by launching this unique event which recognizes the accomplishments of African American authors. The 7th Annual event boasted Honorees New York Times Best Selling Author Eric Jerome Dickey, Dr. Michael Eric Dyson, Editorin-Chief of Billboard magazine Danyel Smith and Editor-in-Chief of Rap Radar, Elliot Wilson. A star-studded list of presenters, were in attendance to provide words of wisdom and personal testimonies to inspire younger generations to take advantage of opportunities and fulfill their potential.

A

long line of eager Dipset fans shook off periodic downpours of warm rain, wrapping around the perimeter of the Best Buy Theater NYC on Friday night. Inside, thousands packed in to see the headliners of RBMA’s final leg of their NYC Five out of Five series. Clouds of various strains of herbal passion filled the arena air…enough to give this writer a contact high!

The show got off to a late start but when the group finally came on stage they didn’t disappoint their loyal following. In front of a live band, The Dip ran through a few selections from their Diplomatic Immunity double album before going into songs from their solo efforts.

Jim Jones led off with selections from his Harlem: Diary of a Summer album. Jones brought out young gunner ASAP Rocky and his crew of forty drinking grimies who somehow stagedove into the crowd feet-first, emerging a short time later without any injuries.

Juelz went in next and gave renditions of “The Whistle Song”, “Oh Yes” and “Shottas” that made the kids in the front rows lose their minds. Problems with the sound system later lead his performance toward brief intermissions and acapella rhymes.

Cam’ron, who’s clear vocal quality cut through the speaker static, anchored the solo sets with a string of bangers that made you realize how long he’s been putting in work. Vado joined him on stage to assist with songs from their joint effort. More sound issues plagued the median portion of the set, making it challenging for the live vocals to be heard over the background records.

Freeky Zeeky ran around on stage and energized the crowd, engaging in call and response while keeping the crew loose as he hyped them throughout the night.

The house lights were turned on during the last set as the building operators maintained their strict curfew. This may have been what prevented Capo from performing “Ballin” , arguably the biggest mainstream hit from anyone in the camp. No one in the audience really seemed to mind and in the end that’s all that really mattered. - Shadowbox

I

’ve been fortunate to have been a part of a number of shows either as an observer or a fan. Throughout the years there have been some memorable moments among them. The Notorious B.I.G. at Stony Brook University, Jay-Z and Ludacris in Arizona and the Beastie Boys at Nassau Coliseum to name a few. There are a few ingredients that they all share that make them stand out from all the others. Sunday night, I was able to add yet another special event to that list.

I walked by the spot an hour earlier than the scheduled start time and peeked in through the glass. What was the first thing I saw? Wyclef Jean and a few other musicians going through sound check on stage. Ladies and gentleman, 9 times out of 10 if you attended a show and couldn’t clearly make out any of the words coming through the microphone, it’s because the artists thought they were too busy to correct sound levels before the show. Unforeseen issues can happen to the best of them. The dedication and attention to detail is what helps to minimize those chances. That’s another post for another day.

About an hour later, shortly after the house lights dimmed, Clef took the stage at the City Winery NYC. Continuous streams of fashionably late patrons entered the already packed house. I had always seen other artists on MTV Unplugged shows.

They had various band members from seemingly

different planets joining together in an attempt to catch lightning in a weed jar. That was my first impression of this stage setup. It was a spacious, elegant looking winery with dozens of tables, white tablecloths, silverware, candles and wine glasses. This hodgepodge of young and older folk would be much more subdued than the typical venues I’ve been too…right?

Clef started off sitting in front of a Rhodes piano and demonstrating his noted musicianship on the keys. His cover of “No Woman, No Cry” gave me an appreciation of his singing voice that never translated before hearing it live. Honestly, I used to wince during his attempts at hitting some high notes. “If I Was President”, “911” and “Gone till November” were all familiar and proceeded to lead everyone in attendance on an eclectic journey through genuine sound and soul culture. Before moving on to the selection of acoustic and electric guitars that were lined up in a stand, Clef went through a few unorthodox methods of playing the guitar that you’d be hard pressed to see and hear anywhere else. I’ve seen him strum cords with his teeth and tongue before but guitar riffs with a wine bottle? That’s just some next level.

Learning multiple languages can be a challenge. Making words rhyme and make sense is something else. In a display of multilingualism, Clef broke down a few verses in French, German and Japanese before going off into freestyle. The drummer, keyboardist, wind instrumentalists and guitarists on stage blended together as a band should, giving each other room to breathe. Solo highlights gave each member opportune time to shine and the SOUND quality was tremendous. Clef’s interaction with the crowd as an example of showmanship only encouraged further participation throughout the night. Even when the plug accidently detached from his guitar, he incorporated it into the show like it was meant to happen with stage presence.

After announcing that the winery was putting out a line of wine in honor of the performer, more of it started to flow and the place started livening up. Joined on stage by the talented and beautiful South African singer Zulu, the crowd got up out of their seats and jumped to the sounds of “Guantanamera” and “Hips Don’t Lie”. Not long after, handkerchiefs, towels, loose clothing, etc. were being waved around in the air in traditional carnival fashion, as Haitian Kompa and Caribbean- inspired rhythms shook the house. A couple more bottles of wine and this could’ve have turned into a giant mosh pit! Clef brought the show to a close with an electric guitar solo of “The Star- Spangled Banner” that the late Jimi Hendrix would have been proud of.

This show was planned in advance. It didn’t feel rigid or scripted by any means but knowing that makes you feel like you’ve spent your time and hard-earned money for a special event. That may seem like a no-brainer to some but it isn’t the norm in this genre we love. Breaking away from the conventional and displaying artistic evolution is exciting. Hands down, one of the illest performances I’ve seen yet.

Hip Hop 101…SWAGGER: The Overuse Effect

By Sean Pen

W

e are engaged in an ever-changing lifestyle known as Hip Hop. It can be both enlightening and confusing at the same time. The rap game was born out of the simple need for young people to express themselves in a manner that only they knew how. Some were more articulate than others. Some were creative and original. Others simply observed these brash upstarts and admired them for their courage and quickly followed suit. Nevertheless, Hip Hop has gone through many phases and has transcended the way many people live, young impressionable people to be exact. It has created countless numbers of role models whether we deem it necessary or not.

retty straight-forward huh? Well let’s see. Does anyone know what the word insolent means?

What about the word ostentatious? Don’t worry, I’ll wait. College students and those who read Shakespearean plays will undoubtedly come across these words and many others of the same grouping.

I don’t even remember the first rapper who used the word swagger in their material, but whoever it was, I’m sure they used it in the correct format. When a rapper, especially one who does research, comes across a word, it is used in the correct context. The song and/or video become big and the word is used by others.

However, we as a people have a certain responsibility to facilitate some kind of order or continuity that keeps us all on the same page. A big part of a rappers arsenal is word usage. We are not all English majors and unfortunately, it’s definitely easy to tell. What I’m saying is that many people have a limited vocabulary of some sorts depending on their upbringing, schooling, etc. New words are often introduced into the rap game and because of the way they are used or embraced they become words for everyone to use and except. You follow? Take the word swagger for instance……Here is the official definition as in Webster’s Dictionary……

E

Swagger (verb) to walk or strut with a defiant or insolent air / to boast or brag noisily Swagger (noun) ostentatious display of arrogance and conceit

P

ventually, the word swagger became overused, thus diluting its effectiveness. It became abbreviated……thus “swag “, was used to extend its shelf life. I mean, let’s face it, swag sounds better than swagger right? I think because it’s such a popular word now, it is used where perhaps it normally wouldn’t be. Everyone should be confident in themselves, their skills, etc. Some people even take it to the next level. They openly brag about what they can do whether or not they can actually do it. This is what’s known as being cocky or conceited.

Many people are like that, but a lot of people don’t particularly care for a conceited individual around them. They tend to be “stuck up”. So, instead, we say, “that person got swag son”. In this context, the word cocky was replaced with a more desirable and accepted one. Before swagger was introduced to the rap game, it was a seldom used word only because it was reserved for people who had actually accomplished something.

“Swagger should be something that is expressed because you have conquered every obstacle in your way. It should carry significance”

T

he 1990’s Chicago Bulls Teams had a swagger.

They were defending NBA champions. Mike Tyson in his heyday had a swagger. No one at the time was able to defeat him. Roy Jones Jr. had a swagger. He was virtually untouchable. These were champions who knew no one could touch them and they acted as such. It wasn’t conceit, it was truth. What I’m trying to drill in your heads is that a champion is one that went through all the competition, worked his or her way up the ladder and did all the training and sacrifices required to attain such a feat.

They put work in and as a result, they earned the right to carry such a tag. Swagger should be something that is expressed because you have conquered every obstacle in your way. It should carry significance. Everyday I hear little 8 year olds say they got swag. Cute. Then I hear 12 year olds say it as well. Funny. Then I hear grown ass men who haven’t even earned a high school diploma and are running the streets use it. Sad. When a person tells another that they have no swag, they are usually correct,

only they use swag in the wrong context. They use it as a substitute for style. I’ve been told by someone younger that I didn’t have swag and I asked him: What does swag mean? His answer was, “You know, swag man! Chilling, getting girls! Swag!” I laughed.

A lot of these youngsters hear the songs that contain the word swag and watch the videos. Whatever they see, they associate that with the word. It has even come down to the point where artists include the word swag in the name of their song just to make it relevant. Choruses as well as hooks include the word. Isn’t there even a group out there called the Cali Swag District? Just a question. The next time someone comes in your face with all that swag stuff, ask them if they know what insolence means, or ostentatious, or even cocky. Then ask them if they knew that swagger can also be a verb. You’ll no doubt be amazed and amused by the answers you receive. Vince McMahon of WWE created a character known as Jack Swagger. Even though his traits are used correctly... he’s extremely cocky and conceited and he has won a championship or two.

Furthermore, Vince realized that the word swagger is a selling point. It grabs your attention. One quickly becomes interested.

I just wonder if the word swagger ever becomes “played out”. Imagine that? A word that was virtually unknown suddenly gets overused in the wrong context then gets old and stale? No. Say it aint so. Such is the world of hip-hop. For those who continue to use the word in their everyday vocabulary, please, use it in its proper form. In other words,” keep it real.”

Fred The Godson

Big

Bronx

a.k.a

Fred The Godson has been making it difficult to overlook what he is bringing to the world of music. His play on words

and

confident

delivery is among the best

the

ever

seen.

genre His

has 19

song mixtape with DJ Drama entitled City of God, named after the movie, is making the industry take notice.

Step your bars up!

W

ill Loiseau: How did you come up with your emcee name? It’s common but at the same time it gives the impression of a special meaning.

I got it from my doctor. I had an appointment and it just so happened that night I also had my first performance. It was an open mic showcase joint. When I went to the doctor I had a couple of tickets and flyers in my pocket. When I showed them to her she asked me what I do and I told her I rap and I’d been practicing to perform. She told me that my asthma is real bad and she was concerned that I might

go on stage and hurt myself. She said that I might not be capable of doing that. I told her that I was definitely going. She said, “Well then let me buy some tickets off of you.” She bought the tickets and wound up going. I performed at the showcase that night. I didn’t win but I did my performance real well and didn’t mess up or anything. The crowd loved it. After the show she ran up to me and said, “Oh my god I’m so proud of you. I can’t believe you did that. You sound real good. It’s like god is looking over you. You was like a godson.” When she said that I just connected. I used to just be Fred but after that I was Fred the Godson.

Will Loiseau: As an independent artist it can be exhausting to promote yourself and your product. How much of a typical day is spent creating rhymes?

anything in the Blackberry. I tried it before but that aint me. A line or a metaphor might make it to the phone but that rarely happens.

Was there any particular influence that led you to be so creative with your punch lines?

I always picture me as that twelve year old kid who loved rap. I try to impress Fred the Godson as a fan at fifteen. I know what he wanted to hear. I know what he would go crazy for. I know what would impress him.

Most of the time they just come to me. Sometimes I like to just zone out. Sometimes I’m looking at TV but it’s weird because I’m looking at TV but I’m not looking at TV. A lot of times I zone out during the show or the game where I’m staring at the screen but I’m really not looking at it. My mind done drifted off and I’m thinking about this crazy line or this metaphor or whatever that just came to me. I’m staring at the television with my eyes but my mind aint even there.

You use a pen and a pad or a mobile phone or tablet?

I write. Everything written with the pen and paper. I’m not really into the typing shit. Sometimes I store the rhyme in my head until I get to a pen and pad. I don’t ever type

The golden years. It wasn’t one person but the collective. It was the rappers of the mid-90’s, that’s when I first started loving rap like when I was 12 years old. Jay-Z, Nas, Pun, Biggie. Everybody used to get busy at the same time and that’s when I became a fan of the Hip-Hop to hear those slick rhymes. I remember Jay-Z said, “At your wake as I peek in, look in your casket, feeling sarcastic, look at him, still sleeping.” That was the first metaphor I ever heard in my life and I went crazy! I took to that so much that any time a rapper would slick talk or put words together real slick I was a big fan of it.

What happens is now that I’m a rapper I always picture me as that twelve year old kid who loved rap. I try to impress Fred the Godson as a fan at fifteen. I know what he wanted to hear. I know what he would go crazy for. I know what would impress him. I used to think a lot of rappers were whack and only liked a handful.

All my friends used to like the gimmick rappers and it was cool but I was the one who was deep. My mind was so deep that even as a kid I used to explain to them why I didn’t like ‘em. I’d say, “Yo, he ain’t really saying nothing.” They used to look at me crazy. Now it’s basically the same way. I hold my expectations for rap so high. I take it so serious that you really have to be saying something. You really got to be clever.

You really got to push the pen to impress me. When I write it I’m Fred the Godson but when I read it over I’m Fred the fan. Once I see myself getting hype when I’m reading it over, I know the job is done. I know then I’m good money.

With all the options that artists have now, is releasing an album on a major label overrated?

I don’t think it’s overrated. I think it’s real important for people to get their music out there. Promotion means everything. Some of us is lucky. Mac Miller had the number one album in the country. That’s my man. I congratulated him on everything he did and I’m proud

of him, but a lot of times it doesn’t work like that. I think a major is needed but sometimes if your fanbase is so big you can drop something independent and really go in.

Me personally, I want the world to hear me. I know I got a gift. They’re a lot of people out there that don’t know me. Not to toot my own horn but I think that they’re being cheated. I got a lot to bring to Hip-Hop. I know what the people say the game is missing- I know I got it. I push that pen crazy. When dudes is selling a million copies out the gate. This is what I do and I really, really go in and try to give the people something. When you listen to Fred I want you to be excited. It’s like when I used to buy a mixtape and I say my favorite rappers on there in-between albums. I’d know how bad I would want to buy it because I know they’d say something that would exercise my mind and make me go bananas. That’s what Fred does now. I try to do it so that whenever you see my name on something you gotta go listen to it.

Will Loiseau: Anything you’d like to leave us with?

To the up and coming artists…work hard! Don’t ever let anybody tell you that you can’t do it. There’s no such thing. They told me I couldn’t do it because of my asthma, kidney disease, high blood pressure and my diabetes. That couldn’t stop me. If I didn’t tell you, nobody would know that I had all of these things. Just do what you gotta do. If you are sick take your medicine and go on about what you gotta do. Keep writing and you’ll get better in time. Keep going and I can’t stress this enough is to pray everyday. Keep god in your plans and things will pan out. Go and get that City of God mixtape. It’s a classic and better than 95% of the albums out there. Go to datpiff.com and download that. Follow me on Twitter @ Fredthegodson and on Facebook with the same spelling. If you want to book me for anything its FredtheGodsoninfo@gmail.com

If there was ever an artist who has used the mixtape format to build a music career and remain relevant in an industry of one and dones, it has been Grafh. With over fifteen street releases and counting, his growing fanbase is anticipating his next project. I got a chance to chop it up with the rapper from Jamaica Queens, who actor Shia LaBouf calls “really, really, really, good.”

H

ow much of a typical day is spent writing, memorizing or recording songs?

It varies from day to day because most of the time, I write my rhymes in my head. A lot of it is created while I’m driving. When I’m cruising and writing, I might finish a whole record or two. I might be in the lab high as shit and in my zone and just write all day.

I’m hip to the grind and not even like… in a good way.

I don’t sleep enough. It’s not healthy but it is what it is. Everyday I’m up early- even if it’s not writing. We handle the business side as well as the actual music.

As an independent artist on the grind, I balance so much day to day…it envelopes my entire life.

What have you learned this year as an artist and as an independent business owner?

I learned that sometimes you’ve got to let things go. You’ve got to let go of the old and bring in the new. You can’t be afraid to take that unknown step. Most people fear the unknown. Take a chance and follow your heart. Always trust your heart.

Have you ever held down a regular job?

Yeah, I’ve been working ever since I was thirteen…hustling and doing all types of shit since I was sixteen. Even when I was doing that I had a job. I was never no big time Scarface nigga in the street moving keys, holding and all of that like the rappers claim to be. I was just doing me trying to put food on the table, pay some bills and move forward but I worked regular jobs. You know those rapper’s that claim, “I aint never work a day in my life. I’m Pablo Escobar or whatever the fuck them niggas talking bout. I aint on that level, I worked and did all types of hustles.

I think it’s just doing my homework and paying attention. I take pride in the fact that I’m versatile. I’m fortunate enough the god blessed me with the talent to do such a thing. A lot of people can’t jump in and out of different flows.

Every time I write I challenge and push myself. I’m aware of what’s going on so I can stay ahead of it. I never wanna be down with the trend. I’m not with the, “This is in now, let me do this.” I do what I do. I just hope everybody likes the shit. I feel fortunate to have every single fan that I have but you have the freedom to like what you like. I make music that I believe in. I don’t make music for a particular class, gender, creed, for the club, for the radio. I make what the fuck I wanna hear.

What was the funkiest job you’ve ever had?

Nothing too crazy...I did telemarketing when I was young.

I worked in a jewelry store. Holiday season when they got busy I stole a lot of shit…over the counter, getting cash, putting in my pocket. I went hard man! I was making more than they were paying me in the check. Way more!

That was probably the craziest job I’ve ever had.

Your name has come up from time to time in regards to label signings and things like that.

Besides wider distribution what do you look for in a major label that either attracts you or prevents you from signing?

The major thing is support. They need to support what I put out. I’ve been on a couple of labels before who don’t back you. They don’t understand Hip-hop. They don’t understand what you represent…what you believe in.

They wreck your project. Every artist wants to be heard.

You wanna be heard on a multi-national scale if possible.

You want your music heard, your videos seen and your project supported. Nobody wants to be in a position when they give you half-ass support or have a team that’s not giving their all. Some people spend just what their willing to lose instead of spending the amount they need to spend to push you to victory. You need somebody that’s gonna go all the way with you…all or nothing.

You’ve been able to remain relevant and adapt your flow to current styles of Hip-Hop. That doesn’t work for everybody. What do you think allows you to pull that off?

Cord or cordless mics?

Cordless mics. When I’m stage I get loose. I like to move around. With a corded mic I might fuck around and hang somebody. [Laughter erupts] I move around a lot on that stage.

Facebook or Twitter?

Twitter. Even though Facebook is more popular, I go ham on Twitter and talk a lot of crap. I find it fun. Make sure ya’ll follow me @ Twitter.com/grafh. I go a little crazy on there.

You’ve worked with a who’s who list of artists.

How do most of your collaborations come about?

Most of them come about through people that I may know personally or meet through a third party or what have you or Twitter. We probably have the same desire to work together. Sometimes it happens out of pure love for the art. 9 times out of 10 we’ll just feel each other’s music.

Then, we’ll do a collab and make some magic.

What do you think set’s you apart from other emcees in this game?

Just being original and always trying to push the envelope. I like to try new flows, new styles. Technically, there’s nothing new under the sun. Everybody’s doing something that may be similar to some degree. We all express ourselves through our point of view. I try to keep it fresh and stay ahead of the curve. I think a true lyricist is always gonna shine at the end of the day. I’m an emcee and on the microphone I get busy. In person, I might be the most humble dude but with that microphone I’ma hang you. I know how to use that shit. In the end, I actually

care about the music. Never about a check…it’s not about anything but the music. It’s purely for the love of the music when I’m in that booth.

You have yet to release a studio album. Do you feel any pressure to put one out?

Nah, not pressure…It’s more being anxious. I can’t wait for the world to hear what I have in store. I feel almost robbed of the opportunity because I’ve been through so much politics and all types of bullshit. I never got the chance to give the world some of the music that I’ve created. I can’t wait to have that experience to go on a world tour and have the whole crowd singing the words when I’m on stage. You can’t compare that rush.

What are your plans as far as shows are concerned?

I got the desire to touch as many people as possible and shake as many hands and perform. I wanna touch every soul on the planet. Anywhere they sell CDs, anywhere that people listen to Hip-Hop, I’m there.

Describe the life of an independent artist.

Shouts go out to all the independent artists out there on their grind. It can be hard when you do it by yourself. All the videos you see, every article of clothing, the jewelry, the websites and the beats come out of pocket. The grinding never stops. We embrace our independence. I’m a free agent right now and to all the independent artists doing their thing, more power to you. Do it your way.

Would you agree that the most challenging aspect of being unsigned is getting support financially?

Definitely, you spend more money than you’re making. I

shoot a lot of videos. I just shot one a few minutes ago and I’m gonna shoot another one tomorrow.

Every video you shoot cost money. Wardrobe cost money, the jewelry is money, the cars…whatever it is. You have to scout locations, travel, pay for food.

If I invite a bunch of girls out I’m buying everybody food, I’m buying liquor…I’m buying weed, everything.

Everything is out of my pocket so there aint no big budget from a label paying for a damn thing. When you’re independent you’ve got to pay for everything yourself. It costs to be the boss.

In today’s climate the consumer has the advantage. They can demand artists to show and prove with free mixtapes and free download singles before buying. A lot of time may go into making a mixtape.

Do you think it’s harder to make money off album sales or does it give you more of an opportunity to develop a fanbase?

It can give you more of a fanbase. I have no problems giving away music or charging them for it.

If it’s good, fans should go buy it. One time, I was signing autographs and some fans were upset that it was free. True fans will always support us. They wanted to buy. Real Hip-Hop will never die.

Any words you’d like to leave with your fans?

Look out for the Pain Killers mixtape. At www. grafhonline.com you can check out everything I got new coming up. That’s where I post all the new material. I wanna make new fans and touch as many people as humanly possible so let’s rock out.

that originality is “Iitthink is one of the smartes

young artist should know

Backstage PASS

With Casey Veggies F

resh out of high school, Inglewood California’s Casey “Casey Veggies” Jones is here to prove that you can once again have fun while spreading a message. With his father wearing numerous hats as a former LAPD officer, celebrity bodyguard and popular club promoter, it isn’t hard to tell were some of his work ethic and drive to showcase his talents came from. After collecting his diploma, Casey chose to forgo his ambition of pursuing a career in basketball when he noticed the reactions his rhyme skills elicited. Rapping quickly went from being a hobby to something that has developed into a small body of mixtapes and more projects on the way. I caught up with him backstage after his second stage performance of the night, on the other side of town.

This was an hour after opening for Mac Miller’s The Blue Slide Park tour.

Words by Will Loiseau

Will: For those who don’t know, introduce yourself to the Rapper’s Delite family.

Casey: I grew up in Los Angeles and started spittin at thirteen. Been doing it for five years and I’m just having fun.

What have you been up to lately?

Sleeping in Class is out now. I put it out in December as a free mixtape with 12 songs and I re-released it the year after in September as a deluxe edition with five bonus songs.

It’s been doing well on iTunes, physicals and vinyl. So, it’s been a good look.

How’d you hook up with Odd Future?

I met Tyler [the Creator] when I was thirteen. We started out spittin together, writing and making songs together. He had moved out to L.A. and was living with his grandma.

He didn’t know that many people and he was right up the street from where I stayed at so we just linked up and made music. It was real cool.

s the key. Knowing what you really want to do before you get into st things you can do. .. I think that’s one of the main things that a w. Understand what your vision is before you begin living it out.”

How does it feel to be on your own working on your own projects?

It feels great. I’ve always wanted to stand on my own ten. It feels good to be standing on my own ten toes, putting out my music and thriving.

How much time during the day do you spend writing and creating?

Whenever I’m working on putting raps together it’s probably all day. Lately, I’ve been on tour for the last couple of months but I put in time here and there.

I always keep raps in my head and work on new ideas. That’s something that will never stop.

How do you collect your thoughts when it’s time to record?

A lot of times I write thoughts down on my Macbook.

It’s more comfortable to just type up little notes. My phone… sometimes I write. I haven’t written in a long time but I got a lot of songs that I haven’t even recorded yet that are just written down in a notebook.

Is there an album or albums that inspired you in any way to do what you’re doing?

Number one would be College Dropout by Kanye West and number two would be Illmatic by Nas. What can your fans look out for in the near future from you?

Look out for the latest Rapper’s Delite Magazine. Thanks I got a new project coming in April 2012 at Caseyveggies.com. You already know what it is. Swag. Swag. Everybody stay positive, keep grinding and keep doing your thing.

What can you tell the young kids who are thinking about taking a hobby to the next level and getting their situation straight?

I think that originality is the key. Knowing what you really want to do before you get into it is one of the smartest things you can do. I think artists like Tyler the Creator knew how he wanted to be perceived. He knew how he wanted to come across and the ideas he wanted to put forth. I think that’s one of the main things that a young artist should know.

Understand what your vision is before you begin living it out.

Thanks for the pass. I’m going to let you cool off. Pick up the latest from Casey on http://www.iTunes.com.

Casey Veggies

Image Courtesy Brook Bobbins

M-Audio Venom

Mibbs: You’ve got a lot of rap acts out there but we were huge fans of Michael Jackson and Prince…the whole effect of shocking people. Our stage show is something we get into.

You’d be hard pressed to find emcees that have been doing this for as long as you have to have never forgotten a line or two. When that happened, I saw you handle it well and made a smooth improvised recovery.

Has experience taught you that?

PAC DIV M

ibbs, Like and Be Young have been repping HipHop in its truest form in Southern California since they formed the current group in 2005. They developed a bond playing on the same basketball team in high school. Their work ethic, consistent mixtape production and live show have afforded them the opportunity to open for a list of legends of the game. These qualities also enabled them to treat their fans while they settled differences with the Universal Motown label behind the scenes. Fresh off of the release of their first studio album, I caught up with them at NYC’s Highline Ballroom. They had just finished performing their second show that night. How’s that for some hustle?

Will: Tell me some of the ways in which you’re winning as an independent artist.

Mibbs: The biggest benefit is off of record sales…you can make a bigger percentage than you could off of a major definitely. We can make dollars in plural instead of just cents off of an album.

The show you put on is crazy high energy and at the same time fun-natured and free. Who influenced you to get busy like that on the stage?

Like: We’ve watched a lot of Martin. [TV sitcom] It’s just really being up on your toes. It’s genuine. When I see these two guys on stage…when we see each other up there it’s already improv. We never orchestrate a full game plan. The rapping thing, for us collectively, wasn’t what we initially thought it would be. We thought we were gonna be hoopers at first. We just so happened to be nice at rapping. Everybody says that story but when we started to really hit the studio up and hear the music…we were like damn we can really do this. As far as the improv goes, we do that naturally all the time. The homies and I…not always the three you might see on stage. Our peoples are always cracking jokes, we’re real quick witted. You gotta be sharp when niggas got jokes.

They be having shit stashed so we got to be up on our senses. Especially with the words…I think it just comes natural for wordsmiths.

What projects do you guys have coming up in the future?

Like: We just dropped The DIV album in November. Those joints are crazy. I did like six beats on there. Mibbs and B are spitting crazy. We got Casey Veggies, my nigga Skeme. We was gonna have Camp Lo on there. We got Asher Roth on there. It’s a real good feeling for us to drop a debut for sale. It’s on iTunes and cats can pick that up at www.itsthediv.com. We got a video we shot in Miami for “Top Down” that’s live. That joint is on the album. Really, we just grinding and doing shows. We on the Blue Slide Park Tour with Mac Miller and Casey. We’ll be dropping our next mixtape early in 2012. Other than that, we’ll be hitting the road, touring so we can pay our cable bills. [laughter erupts] Thank you for speaking with Rapper’s Delite.

me character in a sense. I went through a lot of good and bad growing up in Cali, it really molded me.

What places would you take an out-of-towner visiting your hood for the first time?

Maries Donuts, and Clarkesburg I guess. It’s a ghost town near Sac. It doesn’t take long to tell that lyricism is important to your sound. What are your goals as an emcee?

My goals as an emcee are to enlighten people and get them to ease up.

If I can get people to live life as I do, I feel like there wouldn’t be as much stress or tension in life. I’m pretty relaxed due to my Buddhist teachings. I just wanna share my enlightenment.

Chuuwee F

rom Sacramento, CA via San Antonio, TX, Chuuwee is crafting his own lane with a high output, an appreciation for golden era hip-hop and consecutive hot mixtapes that demonstrate this unique, creative voice. With an emphasis on lyrical content, this hungry independent artist seems committed to making an impact. I caught up with him as he was finalizing the mix of his next highlyanticipated release. Words by Will Loiseau What are some of your first memories of HipHop? My first memories are watching old school videos with my mom and seeing her record and work on music in her home set up.

Tell us about what it was like growing up in California. Growing up in Cali was an experience.

It exposed me to a lot of different cultures and gave

Where are most of your rhymes written?

Do you use a pen and a pad or electronics?

Most of my rhymes are written on the go. I’m always moving about and I write in the Evernote app on Android ‘cause it syncs wireless with my laptop so I wont ever lose verses. I change phones like drawers so I used to lose a shitload of verses.

Why did you decide to name the free album Watching the Throne? I ran with that whole “Watch The Throne” idea. I was extremely displeased with the Kanye and Jay collabo so aside from taking shots at the industry I molded a whole medieval theme behind it all as if a “King” was literally “Watching” his throne.

Who would you like to collaborate with on your next project?

I really, really wanna do some work with Dj Quik, Evidence, Big Krit, and The Ferrari Boyz. I got a few crazy projects I’m working on, the list increases on who I want on em.

What’s it like to bring your songs to life in front of a live audience?

It’s one of the best feelings in the world because not only did a group of people come to hear me rhyme, I also get to impact people and entertain them for 15-20 mins solely off the power of words.

Any touring plans for the near future?

I just finished a nice little promo run. I traveled 8 states in a month just linking and building with a lot of different people signed and unsigned. It was really good for networking but I’m slowly working on a CA tour as we speak.

How much of your time does music consume on a typical day?

All 28 hours of it. We run on a different schedule than most people. Our days are 28 hours long lol. All I do is music, honestly. Even when I hang out, music finds its way in there somehow.

Do you have any other hobbies or goals outside of the studio?

I love skateboarding, cooking [GA edit: he means making food], and I’m a phone junky so I’m always hacking and updating some crazy shit to my phone.

Where do you see yourself in three years?

In 3 years I see myself financially HOVA and one of the greatest emcees of all time at the age of 24.

Anything else you wanna leave the people with?

Check out Watching The Throne on Itunes and Dj Booth. net @chuuweetus chuuweeoftus.bandcamp.com Hit us all day long and big ups to Rapper’s Delite on the interview.

Thank you for the box.

Emilio Rojas

R

ochester, New York native Emilio Rojas has been creating a buzz of late due to his string of successful mixtape releases. After putting out a pair of well received mixtapes with DJ Green Lantern (also from

Rochester) the young emcee has begun to develop a voice while reflecting on his upbringing and how he relates to his environment. We kicked it with him for a few and found out what he’s been up to. Words by T. Smokestack Tell us what it was like growing up in Rochester.

Growing up in Rochester was definitely an experience.

It is a medium-sized city that was heavily reliant on one industry for its economy. When Kodak started laying people off the whole city started to decline. I saw times where people were comfortable and the city was developing but gradually it turned into something worse, but it’s still an amazing place with amazing people. It’s full of life, talent and beauty. It’s home.

I’m working with J.U.S.T.I.C.E. League, Green Lantern, Needlz, MPhazes, Willpower, the list goes on and on. I have put together some really special records on these projects. I love working with these guys because they really make the records sound musical and big. There’s gonna be a lot of live instrumentation on this next one.

What happened the last time you squared off against another emcee in a rap battle?

That muthafucka lost. I murked him. I’m nice with the freestyle. Battling is so different now though. People have dossiers on their opponents and really research who they’re going to be battling and write huge plotted, long verses. It’s way more scripted.

Name a few places you haven’t had the chance to visit yet.

I have been to so many beautiful places this past year. I still want to go to Egypt. I have always been interested in seeing the history of the pyramids…that culture fascinates me.

What was the last book you read?

I love reading. The Hidden Messages in Water was the last book I read. It could have even been Pimp by Iceberg Slim. I can’t recall but I have a pretty broad taste in what I read.

What producer’s are you currently working with?

How long do you see yourself performing on stages?

Until my legs give out. Love this shit.

What are your thoughts on Syracuse leaving the Big East Conference for the ACC? Did they leave or were they just considering it? I have been so busy that I haven’t been able to keep up. If they did that would really be whack. My mother and father both are Syracuse alum so I was always an Orangemen fan.

Thanks for kickin it with Rapper’s Delite.

When I ask people whether they’d like to have the fame or the fortune most say they’d prefer both.

Today’s celebrity status might as well be sold over the counter at your local pharmacy or bodega.

It’s wealth that remains elusive.

In 1979, a trio of performers would get the chance of a lifetime and take their shot. What happened next is detailed in a new film by director Roger Paradiso. I Want My Name Back is a story worthy of being a prerequisite to Music Industry 101. Read on!

W

ill: A film’s title holds the utmost importance.

How many did you go through before this one stuck?

Roger: Not many. You are right about titles, but this one came quick. Before we started shooting I asked myself what these guys wanted. And that was the answer.

When did you first hear about The Sugarhill Gang?

I am not a huge hip-hop buff, but I love music and I have diverse interests in Jazz, Rock, and Blues and of course Hip Hop and Rap. So I knew the songs and the group years ago, but I had no idea what they went through until I met them in 2008 at Ed Albowics’s office. He’s their manager.

What made you decide to direct this film?

The story. Story is what drives me to do anything. When I heard their story and it was involving Identity Theft and extreme elements involving larceny of all types like stolen names, credits, money etc. That was different. Not too

many groups and individuals in music have their names and identity taken. And then I saw a thirty plus year relationship based on a chance meeting at a pizza parlor, the Crispy Crust in Englewood.

That was interesting, but it was their commitment to music and each other that really drew me in. It was a buddy movie and they were out to preserve their legacy for their children and to continue to create music despite all these obstacles.

In the film, it was clear that the Robinson family declined to speak on camera.

What do you feel the final verdict in the court of public opinion will be concerning this story?

We are going to find out, but I suspect every Hip Hop fan really knows who the real Sugarhill Gang was and is to this day. We are trying to reach the general audience because it is an inspirational story whether you know anything about Hip Hop or not.

Did you approach the direction of this film any different from of all the other films you’ve directed?

Not really. I approached it like a feature film because of the great story.

What was the toughest obstacle you faced in completing this film?

How difficult was it to maintain an objective point of view after getting to know what Master Gee & Wonder Mike went through?

Well, when you can’t interview the other parties to get their side it becomes a documentary from Master Gee and Wonder Mike’s point of view. We tried to use material, archival or news related, that would show the other side as much as we could. I think we showed what really happened to Guy and Mike warts and all. I think they admit they have made mistakes. Of course, when I started I really didn’t know how it would turn out and I really thought I could get the Robinson family involved. As far as objectivity goes, I think all you can do is try to be factual and try to tell a story as best as you can.

This movie is as relevant as ever due to the stories we continue to hear from young artists who pursue music. What’s your take on the independent artists of today?

The biggest difference in film and music is that the technology is accessible and cheaper so in one sense you are liberated and able to do your thing. On the other hand, mass distribution is still controlled by how much marketing dollars you have and what venues you can get in, but compared to artists years ago it is much better now. There is a bigger support system of festivals, indie distributors and self-distribution via the Internet. So Indie artists should feel empowered to create and to not sacrifice their vision. Distribution is getting better, but it is still tough even though in music, as opposed to film, you are better able to self-distribute on the Internet and of course bands can always tour.

There is still a demand for live music. You can produce a song for very little money. Do it, don’t talk about it.

Money. And Access to footage.

Hip Hop was new and not covered well in 1979. And MTV was not there yet. And because of the subject matter and the current economy there was no corporate money that wanted to support this film. So we did it indie style with no budget.

This is not your typical rags to riches story.

What do you want people to take away after watching this movie?

I think what a great story this is about perseverance and fighting for what you believe in.

It’s inspirational. And you learn how important it is to have family and friends. There is a valuable history lesson here told straight from the subject’s point of view while they are still alive. This recorded history will survive and will not be from third parties.

There are many things you will hear for the first time. You will learn things you never knew. So, I guess the lesson is never to believe everything you hear. Unless, you do your homework and hear it from as close a source as the subject themselves. This documentary will really tell you what it was like at the beginning of the Hip Hop explosion, especially about the making of the historic song Rapper’s Delight.

Would you like to tell us about any upcoming projects you’re working on?

I am working on a screenplay I wrote with the novelist Jack Engelhard called Days of the Bitter End. It’s about three young kids running around the Village on the day Kennedy was assassinated. Years ago they told us the sixties weren’t interesting, but I guess it’s in now. So I hope to get it going in the fall. It’s a great story.

Thank you for sharing with Rapper’s Delite.

RG

A M MASTER GEE

G R E T S

E E A

s “Disco Sucks” tee shirts and anti-disco campaigns gained steam and brought the once popular dance music to a close, a new genre was beginning to emerge. Built off of previous art forms, “Rapper’s Delight” took the underground culture of DJ’s and emcees and displayed it on a world stage. I chopped it up with original member Master Gee and got his take on earlier times and how to emcee.

Will: An emcee picking out his or her name is a statement to the world. What was your motivation in creating the name Master Gee? Master Gee: That whole scenario was created because I was always into the king and the queen in school. King Arthur and all those stories…I was always fascinated by how all that worked. My great grandmother always sent me the cards with the master symbol. I thought it was regal. I always wanted to take on that persona. I always felt like I was royalty even though I was living in poverty at the time. My thinking was big. In order to be different from everyone else I put the master with the first initial of my name and I liked the way it sounded. Gee rhymed with everything so it was easy to put into rhymes.

Many rappers today have similar sounding names. How did this happen?

As far as the rappers of today and them creating their names…I think it’s just really based on what’s going on with the times that we live in. Everybody wants to get it right now. Names are recognizable after a series of successful material. A name is what you make it. So, it depends on what you do once you give it to yourself.

How did you get through the dark periods that are documented in the film?

In the beginning, I wasn’t dealing with it well because I was young. As I mentioned in the movie, I knew there was something wrong but I just couldn’t put my finger on it. My personal life was terrible and once I stepped away from the music and then I got into the private sector and went into business for myself. I met a woman and got married and had children and experienced a certain amount of success. Me living life as a regular individual

“It’s like an oxygen mask for a scuba diver. You absolutely without question have to have a sound check so that you

T S A M

can be assured that your performance is gonna be heard.”

is what really helped. There was always something that would pop its head up or something that would come up that would irritate me or piss me off. I had my wife, my children and my business and they were helping me get through it. I learned a lot about positive thinking and maintaining a good attitude and working to better myself.

All of those things mixed into the equation are what gave me the ability to make it through any day that I felt bad about the things that had been done.

doing. When you do see us perform, like you said, we are doing it together and not just every man for themselves.

We come from the era where that was what you did. You made sure that your show was tight. You made sure your performance was the best, you looked the best and you sounded the best…spoke clearly and didn’t step on each other’s lines. During the late seventies- early eighties, we were coming out of The Temptations and all of those groups that had that type of a setup.

Tell us about your experiences battling as an emcee. Did you face competition before your recognition or during your run in the business?

The battle environment for me was a little different because in my area, other than Mike’s group (Sound on Sound) there wasn’t a whole lot of people coming up against me. Pretty much, I was the premier guy so we started experiencing battling when we got into performing on stage. We started battling other bands. Those are the battles that I really remembered…going up against Cameo and seeing who did the best show…going up against Mel and Flash when we would go on tour. There were a lot more people in New York rapping than there were in the northern New Jersey area. At that point, it was virtually Mike’s group and my group.

What’s the importance of sound check before a show?

It’s like an oxygen mask for a scuba diver.

You absolutely without question have to have a sound check so that you can be assured that your performance is gonna be heard. You have to check the levels of the mic.

You have to check how you might sound in that venue.

You have to make sure that everything sounds like you want it to sound. To just go up there and wing it…you’re cheating the audience when you do that. Unfortunately, there are times when you can’t get a sound check but somehow you have to. Any opportunity that you have to make sure that your sound is gonna be right is half the battle. Part of it is the visual and the other half is what it sounds like. To not do that is like diving in the ocean without an oxygen tank.

When do you find the time to write?

All the time. Wherever I travel…I’m even working on a song right now. “If I knew then what I know now” kinda thing.

Do you still freestyle?

That’ll happen during a performance from time to time but a song is always better for us.

What are your plans for the future?

To get everything together and put things in perspective.

We’d like to reach out to other people and share what we know so that they don’t have to go through what we went through. We just want to be in a position to be better.

I Want My Name Back documented the legal issues with the group name, did you ever think of forming a group with [Grandmaster] Caz and touring under a new name?

That’s something we’ve looked at a couple of times. We even did a few things with Caz but nobody’s really stepped up and put the nuts and bolts behind the whole thing yet… but yeah, we’re definitely down with that.

Your stage show is sharp. You seem well choreographed and know exactly what you’re doing. How much time do you spend rehearsing before a show? Sometimes we spend months. When we’re doing a tour we might go into rehearsal a month before. We know each other well. Mike and I have been doing this for a long time so we have a sixth sense. What we do is we incorporate everybody into the show so it’s important that everybody knows what everyone else is

What do you want to say to all your fans?

We appreciate all the times they’ve been there. The new ones and the older ones. If it wasn’t for them you wouldn’t be talking to me now.

Thank you for talking with Rapper’s Delite.

W

ill: l Want My Name Back went into detail about the trials and tribulations that you guys went through.

Tell us about some of the better times on the road and backstage.

Wonder Mike: Filming the movie for over 21/2 years, there was a lot that had to be left out because of the festival movie run time. The film focused mainly on the battle. We did mention some of those good times in the documentary. Maybe not enough was injected from ’79 to ’85. I had a great time. I’m on stage with some of my icons that I grew up with- getting dressed up and going to check out.

The movie would have had to be 10 hours long because we played with everyone from Parliament to Bobby Blue Bland.

WONDER MIKE The fast rise of a pop star is a story known all too well by Wonder Mike, one third of the group that made history by bringing rap music to the masses. Reaching stardom of those proportions rarely comes without its drawbacks. In a candid conversation, Mike breaks down the highs and lows of his incredible voyage in the music industry, coming from New Jersey, the shocking discovery of who helped write his first hit, and what you can expect from him in the future.

If you dropped a Parliament record back in the 70’s and 80’s it was on. We opened up for them for our fourth show. That’s crazy! We had a package with us, Slade, Sky, Cameo, The Barclays, The Gap Band. Some of those guys straight hated. We got love from Slade, but Cameo and some other guys weren’t so cool. Different groups would pull the plug and turn the lights on us. We had to straighten that shit out. We kept rockin they ass so that promoters wanted us to close the show. That took like thirty days.

They would then open for us. I still don’t make no apologies. We still have some haters out there but I’m not worried about them.

I never say we invented Hip-hop.

That’s ludicrous. It was there before we were there but I liked what could be done with the genre. That’s why I joined my cousins in the group Sound on Sound. That’s why I write in the style that I write. I just want to entertain people. From that record, everyone got a deal. Our job ended up being to kick down the door of the music industry so that hip-hop artists could get their shine and get their deals and get their records out. A lot

of stuff people weren’t feeling. People thought it would be a fad but now it permeates the fabric of our society.

What are some of your thoughts on the way that hip-hop has progressed since 1979?

It’s crazy. I had the feeling of history in the making when we were auditioning for that record. When we recorded “Rapper’s Delight” I just had that feeling. At our first shows girls were screaming and straight loosing their minds, fainting and the audience members were passing them over the crowd. Backstage girls would pass out and had to have water splashed on their faces. That shit was crazy. It was something that I had always wanted to do since I was a child. I saw the movie A Hard Day’s Night when I was seven years old. The girls were loosing it and chasing the guys and playing all those catchy songs. It blew me away as a seven year old. I loved the songs and thought it was a crazy way to live. Come up with some cool records and have girls love you [Laughter erupts.] Now it was happening right in front of me. It was happening because of me and the other two guys. To rhyme on stage and get that reaction was all good.

Can you recall the largest crowd you’ve ever performed in front of?

In 2010, we played Barcelona. I think that was like 30,000 people. That was on our own. It was an outdoor concert and all the other acts were Techno DJ’s. We came on there with our instruments and started playing Franky Beverly and funk. Then, we went through our own hits. They lost their minds. I also played for 50,000 people in Detroit’s Silverdome where the Lions used to play. That’s when we opened up for ‘NSync in ’99. It was Tatyana Ali, Jordan Knight and us. They would keep changing the opening acts but keep us on right before the headliners. I wasn’t sure if any of their fans would even know who the fuck we were when they announced us. Not only did the younger audience loose their minds but their mothers went crazy.

Any artists you’d like to collaborate with in the future?

There are so many. Most of them are older musical acts.

This may sound weird but if you understand me then you’ll understand why I say this. Everyone from Alicia Keys to Tony Bennett. Tony Bennett has a whole album of collabs out right now. It’s the shit. I’d like to work with B.O.B. I like storytelling in music. He paints a picture. It’s lyrical and catchy. It aint talking about killing you and your bitch.

We’ve torn each other down enough and we need to stop.

It’s time to start looking out for each other as a people. How many times are we gonna tear each other apart? Other genres have so many groups and they all sound different.

Everyone’s got their influence but a lot of straight biting is going on.

What other music are you into? Country has some of the wildest lyrics you can ever hear. It’s deep, it’s catchy.

Anyone who knows about good music can pick up a country record and be entertained. I love everything. If it moves me, if they’re saying something, if it’s funny, if it’s sad…whatever. I might throw on some Grover Washington Jr., Jazz fusion, Stanley Clarke or some Petula Clark with that song “Downtown.” Back when I was seven, growing up in Newark, my mother would take us downtown to look at all the lights to go see Santa Claus and eat hot dogs in Woolworth’s.

I Want My Name Back shows some cool footage of you guys jamming in the studio.

When did you first pick up an instrument?

Probably in the late seventies. I always wanted to be a guitarist but the strings were too damn small and too close together…Hell no. I said this is not working. When I was listening to music, I always found myself listening to the bassline. - didn’t care if it was Jeff Beck or Tyrone Davis. I would pick up and start playing by ear when I was around 13.

I didn’t take it serious until about ten years later. Gee and I were messing around with music in the studio and he would jump on the drums. I didn’t know that he was as interested in the drums as I was with the bass.

So, I got back into it and copped a bass in 2006. I’ve been changing basses and amps ever since. I rehearse whenever I can and when we get together it’s what we always dreamed of. It’s not a chore. It’s not a task. It’s something I love. I could be home chillin watching Law and Order with an idea, plug right up and start playing. I might turn to one of those music channels up in the 800’s and start playing along.

Why wouldn’t you form a group with [Grandmaster] Caz under a new name and tour in order to avoid any legal issues?

I left the group in ’85. I went back in ’94 and left again in 2005. In all that time I didn’t know about Caz writing Hank’s lyrics until 1994. When I left the music business and came back every now and then someone would say a joke about Hank biting Caz’s rhymes. It was infrequent and I would just let it go in one ear and go out the other until someone told me…yo! You don’t know? Hank didn’t write none of those joints. That was Caz! I said who the hell is Caz? Back then I was in my own world. I had come from Europe and ended up on stages all over the world.

All I knew was what I was trying to do. When I left in 2005 there was still this non-relationship between our camp and Caz’s people. In ’05, I went and got the original Master Gee and two cats that were already with me and I took them with me and we started a group. We didn’t really get with Caz on a speaking basis until ’08. We did a few concerts outside in the Bronx. A few people in the audience would holla Yo! That aint Hank! I talked

“There’s a difference between being

current

because you

like what’s current and being a

slave to what you think and hope people want to hear. “ to him after the show -at the VH1 Honors I passed Caz the mic and that was the first time I ever heard him say those rhymes. I said Oh shit, he’s saying it better that Hank. It felt good for once to pass it off to the original guy. Everybody was going crazy in the crowd.

There was this shadow for a while making us look like some fake muthafuckers. We already had enough of that problem coming from [New] Jersey. I can’t help where my mother and father got together and handled their business. I don’t make any apologies for it at all. It just gave fuel to the fire about what was once a rumor that Hank wasn’t writing his own shit.

Back then…biting was out of the question. You don’t do that! Anything goes now. Muthafuckers don’t care.

This next release will be your first album in 12 years. How will you reach the public?

The music industry is one big plantation. I’m not trying to come in from the field with my hat in my hand. Fuck that! A lot of people are doing it themselves. I’ve got tremendous respect for Mint Condition and Prince who are totally in control of their own thing. We will see who wants to do legitimate business. It doesn’t have to be ripping off. It doesn’t have to be about greed. Why not compensate someone for their music instead of trying to find ways to take their money? One day they will answer for it. For this new project, we will not try to fit into some mold. There’s a difference between being current because you like what’s current and being a slave to what you think and hope people want to hear.

A lot of times when you hand your stuff in to record companies it’s, “No, no, people don’t wanna hear that!”

If it’s good music then it’s good music and that’s what

we’re bringing. We’re bringing live instruments and lyrics back that edify and don’t tear down people. People don’t even respect the president of the United States. They talk about him like he’s a dog. They go to rallies with signs up making him look like everything from a devil to a witchdoctor. It’s not like I’m looking through some rose colored glasses but people need to work together. That’s real talk. We’re gonna have a lot of different flavors.

There’s some rock on there. We’ve got some Latin songs on there. There’s some old school funk and hip-hop on there. You won’t find us trying to sound like everyone else looking like dinosaurs in the club. We’re not gonna clown ourselves. If we have to drag this world into real music then that’s what we’ll do.

In closing, what do you want to say to your fans?

We’re so simultaneously musically frustrated and ready to go that they can expect great music and a professional show. We love our fans -as opposed to this fake Sugarhill that’s going out disrespecting their fans by trying to pull off these fake shows. They lip-sync to our songs being played back and post our photographs to their marquee and flyers. They say they’re Wonder Mike and Master Gee and they’re not. We have respect for our fans and they always show love to us. Our demographic is from 8 to 80, literally. We take this seriously and we’ll give them the best music that we possibly can. In the future, we might be writing songs for movies, plays or commercials. You never know. We’re easy to work with and handle our business. Nobody has to chase us down and find us for a sound check. People can expect us to usher in music again.

Thank you for taking the time to speak with Rapper’s Delite.

In Case You Might Have Missed…

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ip Hop during the mid-nineties was dense with new voices, emerging styles from the underground and dynamic personalities. Albums like The Infamous, Me Against the World, Only Built 4 Cuban Linx, Dah Shinin’ and E 1999 Eternal, all released in 1995 still had staying power in vehicles and headsets deep into the following year. In 1996, Bahamadia, a Philadelphia-born emcee, arrived on the scene with her unique blend of smooth, targeted wordplay, introspective topics and an articulate, whispering monotone delivery. It didn’t hurt that the most notorious monotone emcee of his era, Guru and the Gang Starr Foundation, co-signed her movement.

The critically acclaimed debut Kollage, featured four tracks from DJ Premier as well as four more from Da Beatminerz, giving the album a sound that matched its title.

The sounds are a mixture of jazzy horns and samples mixed with mellow synth keys and lightly dusted snares. Positive, mature lyrics straight out of the Philly underground open mics and corner ciphers are presented with a soft, laidback voice and underrated internal rhyme structure. I was sold with the rapid-fire flow of “Rugged Ruff”, where she spits: “Compositions be causing calamities rapidly, what

mc would dare take a stab at thee, vocabulary mastery presented/ retention extended through iller style invented/ brain cells excel like v6 engines when I be entering – grammatical vortexes twisting like rolodexes/ context is randomly selected, ran like red lights by eager paramedics, majestic verbal fragments…” There were a handful of female emcees rhyming like that then and you’d be challenged to find that many bringing it to the booth now. DJ Premier assisted again with one of his sickest boom bap creations on the posse cut “3 Tha Hard Way”. This was one of the iller joints that came and went with the masses missing out on standout verbal performances by Bahamadia, K-Swift and Mecca Star. Mecca kicks in the songs third verse: “Do or die’s ya slogan but niggaz slip with Trojans/ major mental corrosion like Murray’s meat unfrozen/ I am the chosen earth, sun, moon and stars/ hard for me to find a top contender just to spar.”

“Da Jawn” with vocal appearances from Black Thought and Malik B. and live instrument production from The Roots crew could have easily been a track on their Illadelph Halflife album which was released later that year. “Push Up Ya Lighter” from that album was another example of musical chemistry captured. I often wondered what the results would have been if she would have officially joined the group.

A few unnecessary interludes and “Spontaneity” in which Da Beatminerz use the same sample they used for Heltah Skeltah’s “Leflaur, Leflah, Eshkoshka” don’t kill the project as a whole. There are some real gems here. This album tells the story of an emcee confessing her emotions and growing lyrically and proving it’s okay and possible for a female to spit intelligent, thoughtprovoking bars without compromising who they are outside of the recording studio. It’s light enough on the guest appearances to allow the listener to discover what the artist is trying to say. It also has just the right amount of support from well-known names, on the production side, to keep the project solid and familiar.

Kollage is still worth checking out. - Cee Brooke

OUTRO THOUGHTS

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here it is. Consistent practice at something results, not only in a noticeable improvement of skills but creative energy which attracts other like minds. Over time, a community of resources is formed - making the possibility of accomplishing goals more feasible. It’s no coincidence that the artists covered in this issue all share a desire to improve and succeed. This common bond can be applied to any area of your life. The story of Wonder Mike and Master Gee is Hip-Hop 101 as well as Business 101. Their story is a universally story. It has happened, can happen and sadly will happen again. Rapper’s Delite Magazine celebrates the return of a legendary rap group while acknowledging the accomplishments of our new generation of entrepreneurial artists.

They are all giving us insight on what it takes to climb the ladder of success and how to get back on once you’ve suffered a miss-step.

We hope that you have been enlightened and have gained a clearer idea about what it takes to excel and move one step closer to achieving your dreams.

Will Loiseau Editor-in-Chief Rapper’s Delite

Rapper’s Delite is a quarterly publication that focuses on providing information useful for aspiring artists and fans of rap and hip hop culture. We bring you interviews and innerviews, lyrics and life from the cutting edge of music entertainment. This diary is also available online at www.RappersDelite.com.

Every digital issue contains free music and beats for your listening and recording pleasure. Find the inspiration to create in between our pages and the soundtrack of your life in our player. Subscribe to the Rapper’s Delite downloads and receive More Content with every issue. Become an MC Subscriber today!