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George DuBose: Iconic '80s Hip Hop and Punk Photographer

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George DuBose: Iconic '80s Hip Hop and Punk Photographer

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George DuBose got his big break with a studio photo of the then largely unknown New Wave band The B-52’s in the late 1970s. The shot, taken in 1978 and originally in black and white, would end up being used as the cover—with hand-drawn color added to the image after-the-fact—for the band’s breakout debut the next year. Shortly after, DuBose was offered an assignment for Rolling Stone to photograph the same band. In the following years, he developed a portfolio of images that includes shots of a pre-fame Madonna—while still shopping her solo demo as part of the band The Breakfast Club—Tom Waits, album covers for The Ramones, and more.

Before becoming the first photo editor at Spin magazine in the mid 1980s, DuBose began photographing Hip Hop artists like Run-DMC and Soul Sonic Force. Tony Wright, the ubiquitous creative director at Island Records who added color to DuBose’s image of The B-52’s, offered the young photographer a position at Island Records’ art department in New York City. It was in that position that DuBose photographed Biz Markie for the rapper’s first single. Throughout the ‘80s DuBose would photograph some of Hip Hop’s earliest stars for album covers and promotional material.

Recently, DuBose, who now lives in Cologne, Germany, consolidated a career’s worth of his Hip Hop images into The Great Big Book of Hip Hop Photography. The collection traces the photographer’s work from Afrika Bambaata to Masta Ace to The Notorious B.I.G. The book is also the first time that DuBose’s previous Hip Hop themed I Speak Music series is available in one place. Given the occasion of the release—the book came out in December—Project Inkblot spoke with DuBose about his early days shooting Cold Chillin’ artists, his perspective on the budding Hip Hop scene of the 1980s, and a funny story behind photographing I.U.’s single “Who Got Da Gat.” The Great Big Book of Hip Hop Photography is a look at Hip Hop’s development as much as it is a glimpse behind DuBose’s lens. The book is available on Amazon now, but if you hit George up, he’ll sign a copy to you personally with your purchase (mine is on the way).

You’ve just released The Big Book of Hip Hop Photography, which consolidates work you did throughout your career. Can you talk about how you first began photographing Hip Hop artists after working within new wave and punk initially?

I was photographing bands at various night clubs around Manhattan. Max's Kansas City, The Mudd Club, Hurrah's, Danceteria, Studio 54 and of course CBGB's. In the beginning, the bands that interested me were New Wave, which was a very wide and open genre. Because of my work with the B52s, I became connected with Tony Wright, the creative director for Island Records, NY. Island had signed the B52s for a recording contract and the band wanted to use one of my photos that I had taken on my own to make street posters that advertised their gigs. I paid for the posters and put them up myself.

Tony offered me the chance to start an art department for Island in NYC, previously the only art department was in London. As Senior Art Director, I also was allowed to photograph and design covers for Island and for my clients that I freelanced for. One of my first black music covers was for Alphonso Ribiero aka The Tap Dance Kid. Alphonso was signed to an independent label called Prism Records and Prism was distributed by Island.

A few weeks after I shot Alphonso's cover, I got a call from Lenny Fichtelberg, the president of Prism. He told me he had another artist to shoot and was I available. I went to the Prism offices and met a young guy named Biz Markie. Biz was known as The Human Beatbox and I was impressed by the beats and scratches that he could make just with his voice and throat.

Biz's concept for his first single titled "Make the Music with Your Mouth, Biz" was that he would have his mouth full of little gold musical instruments. The kind you might hang on a Hannukah bush or a Christmas tree. I got the little instruments together and told Biz to meet me at my studio where we would do a shoot. I shot Biz with the instruments, I shot Biz without the instruments, I shot Biz alone, I shot Biz with his pal, TJ Swann and another cat, whose name I can't recall.

When I delivered the massive amount of film and slides to Prism, I asked Dee Garner the product manager for Biz, who was going to do the design for Biz's single. Deetold me that she had no idea. I told her I could do the design as well.

Biz had worn a hat during his first single shoot and I asked Biz where he got the lettering that spelled out "Biz Markie" on his ball cap. Biz told me that there were several shops in Times Square where one could buy hats and t-shirts and have iron-on lettering pressed on to the clothing.

I went to Times Square, found a shop that had this Gothic style of lettering, something similar to Fraktur. I bought all the letters to spell out "BIZ MARKIE, MAKE THE MUSIC WITH YOUR MOUTH, " I used this font for Biz's first single and that Gothic style of fonts became the most popular and recognizable Hip Hop font ever.

In an old interview that appeared in the magazine Chapter 14, you described the process of gaining traction within Hip Hop as first starting with a commission from Cold Chillin’ to shoot album covers for MC Shan and Biz Markie. You tell a great story there about the oddity of being White while photographing in some tough neighborhoods of color throughout New York. Did you ever photograph the emerging street culture of Hip Hop while in those communities, or did your work focus primarily on rappers and artists as subjects?

The late 70s and early 80s were wild times in Manhattan. It was pre-AIDS and some of the scenes at some of the night clubs were pretty wild. People were doing everything else in the bathrooms but going to the bathroom. I documented club scenes as I mentioned earlier, I photographed bands in performance, but I wasn't going around Brooklyn or the Bronx. I wasn't a native New Yorker and didn't have any contacts in those boroughs.

I was a musician's photographer. I did publicity shots for bands and pictures for their demo tapes, 7" single sleeves and 12" vinyl covers.

I heard "White Lines" by Grandmaster Flash, "Rhapsody" by Blondie, Man Parrish was mixing Hip Hop with techno, Soul Sonic Force was copying music from Kraftwerk, the B52s stole the music from Peter Gunn Theme and called it Planet Claire. I thought Hip Hop was just another part of New Wave. It was all mixed up.

I shot Roxanne Shanté in front of a broken down brownstone crack house in Harlem and she was more nervous than I was, I shot Biggie in his 'hood on the corner of Utica and Bedford, but I wasn't there to photograph graffiti or local break dancers and as I told Mr. Cee, Biggie's producer, I wasn't going to go there alone with my cameras. Mr. Cee had to come along...

I’m not sure if there are many examples of photographers that worked so significantly within both Punk and Hip Hop simultaneously in the way you did. Given that some of your most popular early images are of bands like the B52’s and The Ramones, did you see overlap between Punk and Hip Hop in the early ‘80s? The first Ramones cover you did also has obviously staged graffiti all over the place.

As I mentioned, Soul Sonic Force was biting on Kraftwerk, Man Parrish was mixing Hip Hop and techno. I was part of the "downtown" crowd and we would listen to anything new...once at least. My crowd seemed to have eclectic tastes and we didn't feel that we were "locked in" to one style of music.

My favorite club, The Mudd Club, had Frank Zappa and David Bowie as guest DJs. We would hear everything from old Michael Jackson to  Plastic Bertrand. If it had a groove, we would groove to it.

I think a lot of young people today are "compartmentalized". They listen to a very narrow range of musical styles and dress in specific brands that mean various things to themselves and their peers.

I am pathologically curious and always want to hear new, new, new. At least once.

Two of your most popular images of Hip Hop artists are portraits of the Soul Sonic Force and Run DMC separately. In an exhibition of your work about a decade ago, the flyer shows both of those photos side-by-side. It’s such a wild juxtaposition, because, even though DMC’s style was very current and aggressive at the time, it seems so conformed in hindsight next to whatever SSF are wearing in the opposing photo. What was your sense of the fashion within Hip Hop throughout the 80’s?

When Hip Hop started, there was no "Hip Hop" fashion. The getups that Soul Sonic Force wore for their first publicity photo shoot clearly illustrate that. Biz Markie wore a referee's shirt and black shorts for his first single and then went to Dapper Dan, Harlem's most famous custom tailor and had a shirt, short pants and a ball cap made from brown leather with Louis Vuitton logos all over.

MTV was still over the horizon, the music and fashion we had was our own. Our lifestyles were still unattractive commercially and that made it ours alone. In those days, no one could sell us “a look” or a sound, ‘cause we were still working on creating them ourselves.

MC Shan was the first artist that I worked with who had an endorsement from a clothing label. I remember one single I worked with him on where he was "pimpin'" Karl Kani. I had never heard of KK and Shan told me that he got the clothes for free if he wore them on a cover...

Generations of teenagers have continually searched for fashion and music that differentiates their generation from that of their parents. The more the fashion and music styles appall and upset their parents, the more the kids know they are on the right track.

I wonder if you’d be willing to share a short extract from your recent book. Is there any particular story behind a cover that is your favorite or the least well-known that you could share here? 

The last shoot I did for Cold Chillin’ and I.U. was a cover for a single titled, “We Got Da Gat”. To explain a little.

I.U. meant by “Gat”, a Gatling gun. These are handcranked machine guns with six or more barrels that spin as they shoot their bullets. The Gatling gun was invented by Richard Gatling in 1861. In contemporary times, the Gatling gun has morphed into the minigun that one sees on today’s Apache helicopters. What I.U. was trying to say with the title “We God Da Gat!” is that my gun is bigger than your gun.

I called Centre Firearms in Manhattan, the source for real and replica guns of all eras. I had rented guns for the Ramones “Adios Amigos”, where the Ramones were being executed by the Springfield rifles of a Mexican firing squad. I asked Centre Firearms how much would it cost to rent a Gatling gun. I was told that they didn’t have any Gatling guns available, those were all in museums. A Gatling gun in perfect working order with a 105 shot magazine and a carriage is worth more than $300,000 dollars today. They did offer to rent me a minigun for $10,000 a day.

Well, I wasn’t making a movie and the budget for this single sleeve wasn’t going to cover that kind of expense. Not to mention that this was around the time that Walmart and several large record distributors were refusing to sell any rap album covers where the guys had guns on the covers. Roxanne Shanté got away with a little lady Derringer, but that was about it. So I suggested to I.U. that we scale down the scene. I suggested that we create a “drive-by” scene. For those that don’t know, a “drive-by” is where a gang of drug dealers drives by the street corner where a rival gang is selling drugs. I.U. would be standing in the backseat of a convertible, with his hand inside his coat, as if he was reaching for a pistol in his shoulder holster.

On the sidewalk would be the “rival” gang holding baseball bats and crowbars. The idea was that I.U. had a pistol and the rivals only had bats and crowbars, giving the idea that I.U.’s gun was bigger...

I organized a dozen baseball bats and crowbars, loaded my equipment into my trusty old Volvo station wagon and drove to Hempstead, Long Island to meet I.U. and his crew. I.U. had promised to organize a convertible. When I arrived at the location, I set up a studio light, got electricity from the nearby 7-11 convenience store. I put the studio flash up about 30 feet in the air to simulate a street light.

I.U. arrived with about 20 guys. He had three nice new cars, a Saab convertible, a Corvette and a Firebird. I put my camera on a tripod on the top of my old Volvo for a high point of view.

My idea was that the cover image would look as if it was viewed through a night vision telescope. Like I.U. and the drug gang were under police surveillance. I carefully explained the concept to all the guys, I distributed the baseball bats and crowbars and then climbed up a ladder and got on the roof of my car. I told the gang that I would count 1-2-3 and I.U. would stand up and reach inside his jacket. The guys on the sidewalk would look terrified and run away.

“Does everybody understand the plan?” No smiling or laughing...This is supposed to be serious. Got it.

“Yeah we got it.”

“1-2-3!” I.U. jumped up, the driver and two guys in the back seat jumped up and they all were holding guns! I didn’t even take a shot.

I slowly climbed down from the top of my car. I walked over to the car that I.U. was in.

“Grand Daddy, you know that Dee at Cold Chillin’ had said NO GUNS!”

“Aw, come on, George. Just take a couple of shots for me and then we will do it without the guns.”

I said to I.U., “I.U., I was in the Navy, I know guns. There are two things in life that I don’t do. One, I don’t ride on the backseat of motorcycles and I don’t take pictures of guns unless I know that they are not loaded. Show me that your AK47 isn’t loaded.”

I.U. pulled back the bolt and there was a bullet in the chamber ready to fire. There was a banana clip fixed to the AK47 that was fully loaded with 50 cartridges. I looked at the four guys in the Saab, one was holding a four shot Derringer, one was holding a Glock 9mm, one was holding a “street sweeper” or an automatic shotgun with twelve shells.

Unload all these weapons and I will shoot a roll of y’all with your pieces.

I.U. clearly didn’t know his gun was loaded, he didn’t even know how to unload it. A friend had to do that for him. If I.U. had flipped off the safety and pulled the trigger, that gun would have taken out the whole crew and me along with them.

Interview by Jay Balfour

Jay Balfour is a Philadelphia based writer and editor. In addition to Project Inkblot he's written for HipHopDX, Applause Africa, OkayAfrica Bonafide,and more. Get in contact with Jay on Twitter @jbal4_ or email at jay@projectinkblot.com.

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Blitz The Ambassador On Afropolitan Dreams And Life As An "African In NYC"

Blitz The Ambassador On Afropolitan Dreams And Life As An "African In NYC"

Blitz The Ambassador

Yesterday (April 28), Blitz the Ambassador released his second album for the Berlin-based label Jakarta Records. The release, Afropolitan Dreams, quickly feels like the Ghanaian rapper’s most centered piece. Beyond an eclectic mix of mostly African features, the album is built on Ghanaian high-life tendencies more than any boom-bap revisionism. Still, he trades American Hip Hop references with Accra-specific mentions as well as he ever has before and has an endearing way of slipping into and out of either continent’s slang. Now in his early 30’s, Blitz moved to New York City in 2001 as a teenager. Living in Brooklyn—and then Ohio for college before back to the borough—he built a career in the same place that many of his own Hip Hop idols rapped about on record twenty years ago.

He has an unpretentious penchant for interpolation, co-opting a Pete Rock & CL Smooth line for his own back-to-Africa sentiment or flipping a popular Sting lyric and melody into his own immigrant anthem. Speaking with Project Inkblot earlier this month, Blitz detailed the inspiration behind his latest album and broke down his relationship with New York as an African immigrant and Hip Hop artist/fan. He has an obvious humility in having made it this far but reserves a fierce sense of belonging.

“There’s a lot now that makes it possible for global voices to really participate in Hip Hop culture,” he says. “I’m biased to this of course because of my trajectory. As a fan growing up in Ghana and being a participant in the culture and having the opportunity to inform people. But when people try to narrow Hip Hop down to just American culture, I have to remind them that Caribbean immigrant culture is a huge part of Hip Hop. Puerto Rican immigrant culture is a huge part of b-boy and breakdance culture. You can’t ever forget that immigrants are the basis of Hip Hop. Now of course as years have gone by it’s American culture but the foundation of it is Kool Herc who is a Jamaican immigrant. So he’s me in a lot of ways. His experience outside of America shaped this culture.”

Can you talk about the African community that you encountered in New York when you arrived in 2001? When you first arrived, did you feel more alienated or embraced as an immigrant and as an African in New York specifically?

It was a bit of both. When you arrive in a place you want to kind of find your own way. You know that there’s a community here that they’re gonna support you when you need it but you also know that you can easily get kind of lost in that community and not experience anything outside of that community. So what I kind of did was a bit of both. I ended up being in Brooklyn which was out the norm for a Ghanaian because most of the Ghanaian community is in the Bronx. So what I would do every week is I’d go up to the Bronx at least once a week because a lot of people that I went to school with and the best restaurants were up there. So I’d go up there to make sure that I’m in touch and linked up but I stayed in Brooklyn so that I could still have some space to experience life outside just the Ghanaian community. And of course I went away to college as well in Ohio which helped create some of that gap but also kept me connected in a way. When you’re away that’s when the longing [starts].

Another thing I was thinking about is that for anybody interested in Hip Hop, regardless of whether or not you’re from this country or not, New York represents this sort of cultural mecca. It all emanates from the Bronx since we’re talking about that. What’s it like to call a place that you seem to have longed for for so long your home?

Yeah man. You know a lot of New York was lived vicariously before I came to New York. Of course there were certain things that I was a bit familiar with. A lot of it from my connection to Hip Hop and the way Hip Hop painted New York. Then some of it too was just experiential, so when I got here I was like, 'Wow, okay. It’s not like it is in the Wu-Tang record. It’s not like it is in the Biggie record.' There’s certain things that words couldn’t even explain what this place is. But I’ve always appreciated New York because it gave me an opportunity to compete and compete on a very high-level that being in any other metropolitan city—even in America—wouldn’t have never given me. To perform with some legends at such an early part of my career. I had opened for KRS-One. I had opened for Big Daddy Kane. I had opened for Rakim. I had opened for Public Enemy. Some of these were in front of thousands of people at places like Summerstage or Celebrate Brooklyn.

A kid who had all these people on his wall in Ghana—then to be backstage with these people, to give’em a pound, to say, ‘Hey listen, you changed my life and here I am.’ I think that’s like one of the most powerful things that could ever happen to anybody with a dream.”

I was still in shock that here I am. A kid who had all these people on his wall in Ghana—the environment, you can’t even compare environments—then to be backstage with these people, to give’em a pound, to say, ‘Hey listen, you changed my life and here I am.’ I think that’s like one of the most powerful things that could ever happen to anybody with a dream. I think that that journey continues to play itself out in amazing ways. I’m still always in awe. I’m in awe at New York. I’m in awe at the culture of Hip Hop. I’m in awe of how full-circle all of this has come. I’m still kind of like pinching myself. Like ‘Wow.’ Like you said, a place that you wanted to call home forever you can call home but not just call it home but be adding to a very rich history of it in a major way. I don’t take that for granted. I’m very privileged.

Being in New York you’re always around Ghanaians and you’re always around Africans, but how has your perspective or emotional attachment to Ghana changed? I guess attached to that, what have you learned about Africa in New York? 

Wow. I’ve learned a lot man. It’s very interesting. I’m realizing that there’s a reverse-longing that’s happening now. The longing that I had to come to America and to live in Brooklyn and to participate in Hip Hop culture and blah blah. I’m beginning to find that the reverse is happening. Now that I’ve lived over a decade in America and a majority of it in New York, I’m finding now that the same way that I was super curious about New York and how I wanted to know everything about it—I wanted to know the slang, I wanted to know what Hip Hop artist was coming out next month, I wanted to know what part of the country they were from, what borough they were from, I wanted to know what street they were talking about—I’m finding out that that the reverse is happening. Now that I live in America my curiosity for Africa has grown.

I’m realizing that there’s a reverse-longing that’s happening now...now that I live in America my curiosity for Africa has grown.”

I’m beginning to have that same experience where I want to know what’s happening in Accra. I want to know what’s happening in Abidjan. I want to know who’s the next guy to come out of Nigeria. What street are they talking about? It’s almost a mindfuck when you think about how you long for something you get it, and then you’re like, ‘Oh shit, I’m longing for this other thing now just as equally as the other thing.’ That’s what’s happening to me now and it’s influencing my music greatly. It’s influencing the choices that I’m making. On this record I featured a plethora of artists, none of which were American-born or American Hip Hop artists. I would have never thought about it. Me coming up as an artist that would have been the first thing I would be looking for, ‘How can I get an American artist on my record?’ Specifically a cat from Brooklyn on my record. Now it’s like, I’m here, I’m part of it, I live it. Now I want to feature guys from Brazil, I want to feature singers from Nigeria, I want to feature rappers from Kenya. That’s what I’m curious about now. It’s interesting and I’m enjoying that bit now.

Maybe to them you’re that guy from Brooklyn.

Maybe to them I’m that guy from Brooklyn. It’s kind of crazy. That is fact. It’s a spiral. You don’t even know where you fit in all of that. You just know that it’s happening and you’re apart of it.

You’ve talked a lot about experiencing American Hip Hop as a young person in Ghana. What was it like for you to see groups like A Tribe Called Quest wearing dashikis and Africa pendants?

It was powerful. Having the word Zulu Nation [on] the coolest biggest shows. Seeing the red, black, green. Seeing the red, gold, green. Seeing the big medallions. You knew that they knew that you existed. You know what I mean? And that’s such an important part of existence in itself, when you look up to anything, when that thing acknowledges that you exist and acknowledges that you are an influence in shaping it. It makes you feel good. Of course we would have loved to touch, feel, to see that connection be more tangible, but I think that that’s what’s happening now. Even though we saw those medallions, even though we heard those shout-outs. It didn’t matter what the subject matter was. Matter fact there was a song that Pete Rock and Raekwon on Soul Survival 1 and I remember Raekwon going something random and he was like, “Puffing the marijuana / African gold from Ghana,” I was like, 'Boom, that’s my favorite record.' It made no sense, it wasn’t even like a real shout-out it just rhymed. But what was important to me at the time at least was that he knew Ghana existed. It felt good hearing somebody that you looked up to do that to you.

And that’s such an important part of existence in itself, when you look up to anything, when that thing acknowledges that you exist and acknowledges that you are an influence in shaping it. It makes you feel good.”

That’s kind of what I’ve realized that we’re bringing full circle. So we’re not only just like throwing Ghana in there as a rhyme, we’re talking about Accra city. So I’m imagining how people in Accra city feel everytime they hear me say that on a record that is played on whatever level that is big to them...I think the bridge is slowly coming together. It’s gonna take a lot of dialogue musically or [verbally].

Bringing it forward to what your album, what does the word ‘afropolitan’ mean to you? 

To me what an Afropolitan represents is an African in a global context. There are many contexts in which an African can exist. You can be an African in an African context where the conversation is limited to your immediate environment. Then there is an African in the context that isn’t necessarily [the same] but you still have to navigate through it and find what still makes you African in that environment. I look at it from metropolises and how a metropolitan affects an African young or old. I’m not an anthropologist but I can examine the changes that have occurred in say African immigration to the West. So our parents immigrated, a lot of them fleeing from catastrophe that was happening post-independence and people had to be in exile and it was very shaky at the time. Then comes another wave that come for education. So their jobs are to figure out ways to fit in these new worlds. So they come, they are the best students ever. They’re doctors, they’re attorneys, they do well in that space but don’t really have goals of returning because they fled.

It’s really a journey of arriving and returning and finding your place in that return. And finding what you can contribute in that return.”

Then there’s this generation that’s coming up that isn’t really about fleeing, a lot of it is just about access and how can I gain more access so that I can go back? That’s a more urgent conversation that’s happening now. How do I go back? How do I return home? This is merely a path to try to go back with some access. Whether access means financial resource, intellectual resource, whatever resource, but you know that at home it’s challenging to gain that because you don’t have a footing. So a lot of us leave with that goal...I feel like it’s necessary that a lens is shined on this group. That’s why I called the record Afropolitan Dreams. It’s really a journey of arriving and returning and finding your place in that return. And finding what you can contribute in that return. That’s kind of what I feel defines at least my personal Afropolitan Dream.

Jay Balfour is a Philadelphia based freelance writer and editor. In addition to Project Inkblot Jay has written for publications like HipHopDX, Redbull Music Academy, Bonafide Magazine, and more. Get in contact with or follow Jay on Twitter @jbal4_

Homeboy Sandman on Education, Media, Hip Hop and His Native New York

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Homeboy Sandman on Education, Media, Hip Hop and His Native New York

homeboy_sandman_333857

Homeboy Sandman began his professional music career a little more than six years ago. After more than a year as a high-school teacher in New York City and then pursuing law at Hofstra, the Queens native picked up the mic full-time and self-released his debut Actual Factual Pterodactyl in 2008. In the five years since, he released a commercial debut in 2010 with The Good Sun, signed to the off-kilter, indie Stones Throw label the next year, and has consistently released music in the form of one-off tracks and cohesive EP’s. His first release of 2013, Kool Herc: Fertile Crescent, strikes a chord. It wasn’t just an outlier in Hip Hop, it was an obvious pinnacle for the emcee himself. It was his first full release—albeit a short one—with a single producer behind the boards, and it kicks off what will hopefully be a long run at the format. In September Homeboy Sandman dropped All That I Hold Dear as a follow-up, transferring the production duties from one long-time collaborator in El RTNC to another in M Slago (that later EP also showed off his sister’s painting skills on the cover art tip). This week we linked up with Boy Sand to talk a little about his music, but more so about his life and education, using his music as a tool to connect with children in the classroom, his earliest Hip Hop memories, and the current state of New York City politics and culture. The day we spoke (in the second week of October) more news of recent developments in the battle to preserve the Long Island graffiti destination5 Pointzhad come to light and we ended up circling back on the topic a couple times. If nothing else, the battle for 5 Pointz is a case-study on the ideologies and politics of Homeboy Sandman. He’s not ready to let go, and as he told me more than once, “this is our thing.”

You’ve been adamant about visiting and speaking in schools, what is it you try to bring to the classroom?

It depends. The last school I went to was in Washington Heights, they were working on creative writing. I was there under the auspice of talking about live performance or creative work. There was a lot of poetry and some kids were doing music as well. I really like to get in there and I like to just talk to kids about rap and coming up. I got so much to talk about with regard to the media, and how come the media is pushing this or that. Kids in the city, rappers are their number one role models, just straight up and down. It’s silly, it’s sad—you know rap, the people that determine what Hip Hop culture is, are determining what inner-city culture is, what youth culture is across the world. Kids wanna be rappers. That’s who they want to act like. It’s like “wow, this guy’s a rapper. This is the pinnacle of human life,” you know what I’m saying? This is unfortunately what a lot of these kids is thinking, so I’m able to get in there, I’m able to have more breakthroughs with the kids in an hour now that I’m rapping than I was able to in a whole year as a teacher—and you know, that’s an exaggeration, but the point is, when I was a teacher I would go in a class and say “damn all these kids running around trying to be rappers.” That was really one of the reasons I said, “I guess I’ll be a rapper, ‘cause you know that’s the only way to get these kids to listen.”

Kids wanna be rappers. That’s who they want to act like. It’s like ‘wow, this guy’s a rapper. This is the pinnacle of human life,’...that was really one of the reasons I said, “I guess I’ll be a rapper, ‘cause you know that’s the only way to get these kids to listen.

You’re signed to a record label and the landscape may be a little different for that reason, but your livelihood really comes from you. It always strikes me that there would be a lot of anxiety when someone’s depending on their art as a living, and it just doesn’t seem like you have that holding you back. Can you talk about that a little?

Yeah, I could speak on that. I mean, whose livelihood doesn’t come from them? I’m trying to think about the best way to answer that question. I mean first and foremost I believe in God, people got a bunch of words for God—the Universe, God, different religious names—I use the word God. I believe that I have responsibilities as a human being. I believe that I have a degree of choice and a degree of options, a degree of control, but I believe that the vast majority of control is out of my hands. I believe my responsibility and obligation is to the do the best I can, to try and be the best person I can be [and] make the best art I can make, be as honest as I can be, be a stand-up guy, try to be the things that I believe I’m supposed to be and that my father taught me I was supposed to do. It’s been reinforced to me time and time again that if you do the best you can, you’re gonna be okay. You know what I mean? What’s the sense in worrying, you can’t do any better than the best you can. If you do the best you can then you’ve already done what you’re supposed to do.

...it’s not about putting on the most talent anymore. If Aretha Franklin came out right now they’d say “you sound good but you don’t have the right look.

At the base of all that too is the fact that I know rap. I know music. When I was in [boarding school] I felt very much by myself. And Hip Hop music became, for me, home. I’d be like “these kids aren’t like me, I’m all by myself, I’m just gonna be under these headphones, this is how I’m gonna tap in.” So I spent an exorbitant amount of time just soaking in—I know what makes a fat rap record, I was always up on the cats that was fat. I recognize that I have a one-of-a-kind gift when it comes to rhymes. I recognize that the world is changing and focus changes, but the truth is, people that love to be impressed, that love to be inspired by music, that love one-of-a-kind music, are not going anywhere. Music that’s popularized may not be with them in mind anymore, there are kids out right now as talented as Stevie Wonder that are not getting put on because it’s not about putting on the most talent anymore. If Aretha Franklin came out right now they’d say “you sound good but you don’t have the right look.” If Aretha Franklin is out now, she’s gonna do fine if she puts in the work ‘cause there’s people that really want to hear [her] sing. And just like me—I’m gonna be in every single ear in the world, I see the end of my journey I just don’t see the path. But I know where I’m going. Right now, I’ve always recognized that I’m going to be okay because I have a one-of-a-kind gift, a one-of-a-kind talent.

I came up [and] I couldn’t wait to tell my homeboys, “yo, you hear this new Redman?” I was the first cat putting cats onto Broken Language when Smooth Da Hustler came out. And I was the man for that, and I recognize that that’s still around. There’s still people that wanna be like “yo, you heard this cat Homeboy Sandman? Listen to this.” They get social capital and clout from their friends ‘cause they were the first one to know about Homeboy Sandman. And those people aren’t going anywhere, people who love music and who love art are still here. So I just have to put in the work of getting to them and I’ll always be okay. I’ll always be fed, I’ll always be happy, and I’ll always be in control. I can’t really fail ‘cause my talent is real. The only thing I could do is lay back and get lazy, but I’m not gonna let that happen. So as long as I don’t let that happen and I have a real gift, it doesn’t even seem realistic to me that anything could go wrong.

You talk about your father and credit him with a lot and I know he’s not from this country. I wonder what his relationship with Hip Hop is like? I’m sure he rides for you but is there a disconnect generationally or with language?

My pop is from the Dominican Republic, he got to this country when he was in the fifth grade. And though he didn’t speak a lick of English, he grew up in Jamaica Queens. He was very much a Hip Hop kid, I don’t know how old he is now but he was coming up in New York when Hip Hop was coming up in New York. When Hip Hop was coming out, it was everybody that was in the city, in the hood, in the street, it was Black kids, Puerto Rican kids. It was New York, it was all New York. It wasn’t like he came to this country in his 30’s, he came of age in New York City and is very much a New Yorker. My first exposure to Hip Hop, the first Hip Hop memory I have is my father walking all around the house saying 'don’t push me ‘cause I’m close to the edge.' That’s what he would say when I would start bugging out.

How do you reconcile what’s going on currently with Hip Hop? You look at 5 Pointz, there’s a lot of cultural artifacts that are kind of waning. Documenting early Hip Hop culture is not something that has really caught on in the mainstream. You named your record Kool Herc, can you speak a little bit on the importance of early Hip Hop culture?

I think that that removal of the past, which you talked about kids not knowing Kool Herc, I think that it’s purposeful. Hip Hop started off as a beautiful, beautiful thing, and I used to be the dude [that said] “Hip Hop started out with love, it was about peace” and it was actually Crazy Legs who set me straight. Crazy Legs was like “yo, let me hip you to something Boy Sand,” [he] obviously came up in it. And he said, “listen, half the cats that was creating Hip Hop was stick up kids, Hip Hop was never about all love.” There was cats about love that was making Hip Hop, there was cats that was robbing that was making Hip Hop. What it was always about, was talent. That’s what Hip Hop was about. ‘Cause cats didn’t have this, didn’t have that, didn’t have much to be proud of. But he was an athletic kid and he could be a b-boy. If you had the gift of gab you could be an emcee. If you had a little artistic talent you could be a graph writer. The elements of Hip Hop come from, are birthed from just talent and nothing else. You look at the deejays, we’re musicians but we don’t have instruments! We gonna have to take somebody else music and make that our instrument.

Hip Hop is born on talent is what you need. In a lot of ways you come to 2013 and the image of Hip Hop that’s perpetuated by many people is the complete opposite of that. It’s a very empowering thing and it’s a very weakening thing. But you have a child coming up thinking that Hip Hop is their culture, and thinking that their culture is all about you being cool because of what you have instead of realizing that their culture is all about you being cool because of who you are. It is a complete manipulation of all the real foundation and principles of Hip Hop music. Hip Hop music is all over the world. The essence of cool, these kids in the Bronx in the ‘70s, they captured the essence of cool for really what it was. And that’s why it’s been undeniable to people all over the world. And that’s a very powerful thing. That’s what I try to utilize it as.

I talk about it all the time, there’s people that are seeking to use Hip Hop to manipulate people, to sell a lot of product. I’ve talked about people filling prisons with Hip Hop, I’ve talked about Hip Hop artists being popularized way more to sell the product placement included in their records than anybody concerned with their talent. I’ve talked about the evil forces looking to kill this culture. And I think it’s very important that they make sure that nobody knows who Kool Herc is, that nobody knows who Crazy Legs is, make sure that nobody knows that when I grew up I heard all different types of rappers, some were killers and murderers, some were players, some were just cool dudes just chillin’, other dudes worked at the Mickey Dees. I think it’s very important for them to make it look like Hip Hop is about a person acting a certain way and is only cool because of the things they have.

An initial idea for this conversation was to talk about some of the books you’ve read recently, you mentioned The New Jim Crow  by Michelle Alexander before we talked, can you speak on that book?

I think everybody should read that book—you know, you bring up 5 Pointz and people really need to stand up for themselves. Stand up for yourself. Everybody determines what sacrifice they’re gonna make. People think of the ultimate sacrifice as the fact that you might die for something. I personally think dying is way less of a sacrifice than being a punk your entire life. Out here on the streets of New York people are getting hands put on them. Didn’t we all learn as children that that’s not supposed to happen? That we’re not supposed to let people put hands on you? Here on the streets of New York and all over America people are getting enslaved. That’s what this is. How are you going to be against enslavement and allow yourself to be enslaved? You can’t be—it’s a lot to think about, but people should read that book because it pretty much sets straight what’s going on. I think there’s a good chance that anybody that reads that book will be convinced that Jim Crow is still alive in America in a different form, and that slavery is still alive in America in a different form. And hopefully, after that, they’ll feel like if it’s worth dying to change that, it’s worth dying.

People think of the ultimate sacrifice as the fact that you might die for something. I personally think dying is way less of a sacrifice than being a punk your entire life.

Alright, last question. You’re a lifelong New Yorker, how do you feel about New York today? Obviously you grew up in Queens, but how do you see New York today as opposed to the New York you grew up in 20 years ago?

That’s a good question, man. I love New York like crazy and you know, for me, I did have the benefit of being able to leave as a youth. You know so many people never get a chance to leave and are like “yo, New York is driving me crazy” and they think that the grass is greener. I’m lucky that I have the perspective that I get to leave and come back, I think that’s one of the reasons that I love New York so much because I got to miss it so much as a teenager.

There is a battle going on in New York right now. 5 Pointz would be ours, my whole take on 5 Pointz—you know I was at some of the meetings, some of the city meetings, and I got up and said “this is silly because 5 Pointz is ours. Why are we even acting like we even need to come to this meeting?” We need only accept the fact that this is ours, the same that you feel the wallet in your back pocket is yours. If I went to go take it out would you call a meeting? Would you tell me not to do it? This is our thing.

I’m very sad about the 5 Pointz thing, it’s come up a few times today. And I’m really thinking, I was like “yo, I’m gonna be the first one there when the bulldozers come.” And I’m really thinking about if my responsibility is to go there and be there by myself, I don’t know, I haven’t made my decision yet. In New York City there’s a war going on right now between two different sides, there’s the side that thinks that money is everything. The people that think money is everything, they don’t really know what’s important, if they did they wouldn’t think money was everything. But there’s those people that think money is everything and they’re becoming really abundant, they’re all over the place. And there’s the people that don’t think that money is everything. And [those] people really need to answer the call, really need to decide how important some of this stuff is to them. I can’t remember a time where people were so much like “you know what, as long as I’m still alive I’ll let them take everything.” I don’t remember it being like that in New York City. I’ve seen it get worse and worse.

But, right now in New York City we’re not stepping up to the plate, we’re a soft crew, one of the softest crews in history. It’s a shameful thing to be down with this soft ass crew that’s going on in New York right now.

Things tie together, I think about police brutality. When I was a kid people knew there was police brutality but I couldn’t have imagined when I was a kid that one day a man would get shot 41 times—41 times, think about that number—and people wouldn’t do anything but yell and scream. I never thought that that could happen, but alas, when I was a teenager, Amadou Diallo was shot 41 times and that number seems crazy to me. But people said “dag I guess that’s messed up there’s nothing we could do about that.” And at the time I could have thought to myself, “dag, 41 times, at least they didn’t shoot’em 50 times. Fifty times, if someone got shot 50 times then we definitely would’ve done something besides go outside and yell.”

Sean Bell sure enough was shot, I was living on 148th and Hillside, Sean Bell was shot five blocks down the street on the eve of his wedding. Fifty times, [they] shot a human being 50 times, and the day that the verdict came out, there was extra cops on horses all over Jamaica Queens. And 50 is a crazy number, and if I said to you right now that if they’ll shoot a human being 200 times people wouldn’t do nothing, you would say to yourself “no way, no way, they can’t shoot a human being 200 times and us not do nothing,” but that’s where we’re going because [last] time it was 50 and after that it’ll be 70. Ten years from now they’ll shoot somebody 200 times. By then maybe we’ll all just be hiding in our houses because we didn’t go out and save 5 Pointz. Who really knows? But, right now in New York City we’re not stepping up to the plate, we’re a soft crew, one of the softest crews in history. It’s a shameful thing to be down with this soft ass crew that’s going on in New York right now.

Interview by Jay Balfour

Originally from Western Massachusetts, Jay Balfour is a Philadelphia-based freelance writer. In addition to Project Inkblot, Jay also writes for HipHopDX, OkayAfrica, and the print publication, Applause Africa. A graduate of Temple University’s Philosophy and African-American Studies departments, Jay focuses on Hip Hop, Soul, Funk, Jazz and Latin records and the stories behind their creation. Questions or comments about this interview? Hit Jay up via Twitter at @jbal4_

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Akua Naru on Performing, Living Abroad, and the Creative Process

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Akua Naru on Performing, Living Abroad, and the Creative Process

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American artists have often found a particularly welcoming audience throughout Europe. From early Jazz performers in the first half of the 20th century to independent Hip Hop artists in the 1990's, it's often the case that non-charting musicians support their craft on the international circuit. While Hip Hop artist Akua Naru is adamant that Cologne, Germany is just a base for her meandering travels and an incessant tour schedule, there's no doubt she has benefited from that musical base. 

In 2011 Naru released her debut album, The Journey Aflameon German-based Jakarta recordsand followed up with a live-band interpretation of many of its songs the next year with Live & Aflame Sessions. Currently working on her next project, which will feature a special guest in the form of famed drummer Bernard Purdie, Akua took some time to speak with Project Inkblot about her perspective as a writer, a recent confrontation on the road and Hip Hop's global relevance.

One of the things I’ve been thinking about is your being an American artist based in Europe, can you talk about how that lends itself to a different perspective or set of opportunities?

Of course it’s a bit different here, there are a lot of opportunities for artists to tour in Europe, I would say on a much larger scale. People here are willing to support artists that are not signed to major record labels, they just gotta like the music, you know? And I think that this is the reason why a lot of artists in the states [that] might have had a record out ten or fifteen years ago know that they can come to Europe and do really well just performing in different cities country to country. And in many ways it’s been great just travelling city to city and performing. I mean in terms of where I’m based, I don’t know if it really matters, I like Cologne a lot but I travel a lot. So it’s just that, it’s a base and because I’m here I’m able to be in other places [as well].

This may be a loaded question, but going to a place like Zimbabwe or going to Amman, what’s it like going to these places where a lot of Hip Hop artists don’t end up touring?

I mean, each place is different. It’s really great, it really continues to bring to my attention how amazing Hip Hop is. Like, I’ve been places where I’ve seen people where you would think there was no point of connection, they might be older or younger or they look totally different or they speak a different language, but they could rap the same song that I love, whatever song it is. Breakers, poppers, lockers, graffiti artists. I was in India a few months ago and I was teaching some Hip Hop workshops and I also gave a few performances, and just to see, you know, just to work with these women on writing their own rhymes and telling their stories. To see how they came into the workshop and the kind of performances they delivered as we were leaving this workshop, it’s just amazing.

It’s powerful, it’s amazing to see how this culture has given voice to so many people, and to be able to connect with these people in their space, in their world and to be able to share my gift, it’s a dream-come-true for me. And it’s one that I don’t take lightly.

Who would have thought that Hip Hop would have become so global? When Erykah Badu said it’s bigger than the government, in many ways she’s right. It’s really great, it’s powerful, it’s amazing to see how this culture has given voice to so many people, and to be able to connect with these people in their space, in their world and to be able to share my gift, it’s a dream-come-true for me. And it’s one that I don’t take lightly. It’s the grace of God, there is no way to describe how it feels. And also I think to represent the women in Hip Hop it makes it even more powerful.

I think it’s kind of a tired topic at this point to think about the lack of female emcee’s and maybe that’s because that’s a conversation that needs to emphasize the exposure of female emcees rather than the lack of them.

You’re right, it’s not about the lack of women but about the kinds of exposure that women Hip Hop artists are given, that’s really a good point.

I read that you and your band were recently confronted by a group of people in Romania, can you explain what happened?

It was in Hungary. Well actually the show was in a city called Cluj in Romania and it was awesome, we sold the place out, I think the maximum capacity was a thousand and they let in an extra 350 people, a lot of them had come a distance to come to the concert. I was really honored, it’s a great feeling to be an artist and to know that people are listening and will go to that extent to see you live. Like what else could you [ask for] as an artist? So I was already on a high from that and we were on our way back and, like I mentioned, we had stopped in Hungary in a rest area and I didn’t realize that we were being confronted by Nazi’s. I mean, these were people that seemed to be aggressive and they were chanting something that I didn’t understand. But I had just thought that they were celebrating a soccer match because you know people over here go crazy over soccer, so I just didn’t think twice about it although when we rolled up the way that they looked at me was kind of strange but my head was somewhere else, I wasn’t thinking about it.

And then as the situation started to unfold—you know I’m from the States, I remember growing up and seeing the Ku Klux Klan assembling outside of a supermarket, but I didn’t grow up where we were familiar with the whole Nazi language, of course they have the same premise that skinheads and the Klan [do], I mean, you know they operate from the same foundation. Some of the gestures [and] some of the language they use to hurt and to threaten and to imitate, it was foreign to me, I didn’t know that that’s what they were doing, I didn’t get it until a few minutes later when the people who I was with had made me aware of what they were trying to do and then it was really clear because they started to come to stand outside of the glass and started staring through the window. It was very clear then of course what their problem was and they wanted to aggress some of the people I was with.

We don’t live in a world where we’ve accomplished as much as we would like to think we have, we got a lot of work to do.

And it was just—you know as much as I would like to say it didn’t bother me, I wouldn’t be telling the truth and it’s important for me to be honest. Normally I wouldn’t post anything personal online but I thought about it for a few days and thought 'no, let me share this experience that happened to me' because a lot of people are in denial of very explicit and obvious situations like that so of course they’re going to be in denial of racist incidents that are a bit more subtle. Yeah, I was really hurt by that. It’s obvious that we can’t go anywhere that we want to go. And as the situation escalated I wondered if the police would have supported us and to what extent with the story that I’m telling. So I’m grateful that we were able to get out of there without it turning into something more.

I think it speaks to the fact that the work that you and other musicians and academics do is still incredibly important.

Absolutely, whether or not this situation happened or not, you know what I mean? There are definitely instances that happen everyday, some not as extreme as that one, that reveal to us that we have a lot more work to do and that make me grateful to know that there are people in the world—there are musicians and some scholars—who are trying to make changes, that are trying to forge social justice in institutional change and it’s definitely necessary, it’s urgent and it’s important. I wasn’t really shocked unfortunately. We don’t live in a world where we’ve accomplished as much as we would like to think we have, we got a lot of work to do. So I wasn’t really surprised, I was hurt by it to be honest, but I know that there are a lot of fascist movements and there are a lot of people who don’t want progress.

That’s the beauty of creating art, it reminds us that we’re human, you know? And that we see ourselves in other people’s work.

Is that something that motivates your writing?

To be honest, I’m just writing. Of course I’m a Black woman, me being a woman and me being a Black woman has a lot to do with my identity and how I see the world and that comes across in my writing and in my message, my perspective and my ways of thinking [about] and being in the world, absolutely. I don’t know if I’m positioning myself, I’m not sure—I would have to think about it—I’m just writing what’s important to me and addressing issues that are important to me first.

And I guess that in me understanding that these issues are important to me they’re important for me to communicate for myself for other people who identify as I [do] might relate, and people who don’t might relate as well. That’s the beauty of creating art, it reminds us that we’re human, you know? And that we see ourselves in other people’s work. To your question, I’d have to think about how I’m framing myself, I don’t know if I’ve yet built a frame, you know. When I sit down and say iI want to write this,' I’m just interested in writing and communicating something first, I’m not meta-analyzing in the moment that I’m creating.

Hearing you talk about it and in your music it’s obvious that you really love writing.

Absolutely. I’ve been writing since I was a little girl. If you let my mother tell you she’d tell you, I don’t know how I learned to read, I’ve always had just a natural love for reading, writing and literature. For as far back as I can recall, having memories, recalling events, they always involve me writing, reciting, recollecting, you know, and just putting it down. I’ve been doing it my entire life and I hope that I’ll be doing it for the rest of my life because it’s something that brings me great joy.

Well leading from there, you’re working on some new material. I guess you were working with Bernard Purdie in the studio, that’s crazy. So can you talk a little about what you’re working on and then just having the opportunity to work with people like Bernard Purdie or Angelique Kidjo or ?uestlove?

To answer that question, it’s very short, it’s a great, great honor. To me as a poet, as a writer, sometimes it’s difficult for me when I have to accept that I don’t have the words to describe something, it hurts, but I don’t have the words to describe that. All I can settle for is to say that it’s an honor and I’m really grateful, I thank God. It’s an honor to be able to create and work with people that are legendary, amazing artists, it’s a great honor.

To answer your question about Purdie, I’m working on my new album and he is a special guest and I’m very happy about that. So that’s what that’s about basically. It’s awesome.

I think some people will see Bernard Purdie and get excited immediately and others may not know him but will be able to appreciate the work that he’ll provide.

And I think that the people that don’t know him, they’re not conscious of it but they do know him, they’ve heard him, you know what I mean? If you listen to “O.P.P.” [by] Naughty By Nature or I could write a list of tracks where his beats, his drums were sampled, if you listen to Hip Hop music, you have heard him. So maybe they’re not conscious of knowing him but they do know. He’s a legend.

Your last album was really centered around the live music and interpolating some of those tracks for a live band, I would guess that the new album is going to feature the band as well?

I can’t tell you too much Jay [laughs]. Well I’ll just say for myself as a writer that you can be sure that the narrative is still going to be progressive, political, honest. Musically, it’s going to be Hip Hop of course. There are going to be some live elements as well, I’ll just say that. It’s definitely not going to be that when you listen to the album you’re going to think 'what?' You know, it’s kind of just like the next logical step. But definitely there will be some live influences on the album.

To know that when I’m being my most honest I could connect to people and that this could be a story of truth for other people, that’s a great honor. Just to know that people are listening, paying attention and following, that’s the highest compliment for an artist.

Well thank you so much for taking the time to speak with us, I know you’re busy and in a different time-zone, so obviously we’ll be looking forward to the new album, whatever approach you’re taking with it.

Thank you for listening, it really is a great honor to know that people are listening because when I sit down and write I’m not thinking about the people, not to sound selfish, but when I sit down and write I think first about myself and being honest and true to the story that I need to expel and it’s about me first. And to know that when I’m being my most honest I could connect to people and that this could be a story of truth for other people, that’s a great honor. Just to know that people are listening, paying attention and following, that’s the highest compliment for an artist and I really appreciate you for that.

Interview by Jay Balfour

Originally from Western Massachusetts, Jay Balfour is a Philadelphia-based freelance writer. In addition to Project Inkblot, Jay also writes for HipHopDX, OkayAfrica, and the print publication, Applause Africa. A graduate of Temple University’s Philosophy and African-American Studies departments, Jay focuses on Hip Hop, Soul, Funk, Jazz and Latin records and the stories behind their creation. Questions or comments about this interview? Hit Jay up via Twitter

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Bisco and Jasmine: Unifying Visions, Youth, and (While They're At It) The Middle East

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Bisco and Jasmine: Unifying Visions, Youth, and (While They're At It) The Middle East

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I met Bisco Smith (a.k.a. Brad) several years ago after having first been enamored with his visual art as a designer for one of my favorite music labels growing up, Definitive Jux, after my friend put me onto his work. I also admired the aerosol art that he adorned New York City walls with, his thoughtful lyricism as an emcee, his passion as a youth art educator. After just relocating to LA this past summer, Bisco, along with his creative partner (and girlfriend)--cinematographer and photographer Jasmine Hemery--banded together with a few other talented friends to bring their love of hip-hop and youth development to Israel as a vehicle to unify Israeli and Arab Israeli youth. There they used their hip-hop sensibility to teach mural painting, song-writing, and dance. In this joint interview with Bisc and Jasmine, we give you a glimpse into how their fleeting idea became a transcontinental art program, and how this Jack and Jacqueline-of-all-trades pair continuously push each other to the next level.

As U.S.-based multimedia artists, how did you develop an arts enrichment program in Israel? 

Bisc:I work with an organization called Arts By the People. They're based out of New Jersey, and I got involved with them via my friend Gus doing street art workshops. Gus connected me to this guy Paul who's got a lot of friends in Israel. We were driving around one day and we were just like, “It would be crazy to run this workshop in Israel,” and two weeks later Gus, Paul and I put together a PDF to get money--just breaking down what we wanted to do--and boom! He got us funding in a week. Okay, maybe not a week. It took a few steps, but he  reached out to one person, who reached out to another person, and maybe a few steps later, we got funding and we got a place to go to. It was a very fast process.

We then connected with Project Harmony, a program who works with a great organization in Israel called Hand In Hand. The umbrella that we went to Israel under is Hand In Hand, and inside of it was Arts By The People and Project Harmony. The airfare was privately funded for, and the accommodations were privately funded. We raised money for the materials, which were all donated by friends and family in a really quick matter of time. Between Hand-In-Hand, Arts By The People, and Project Harmony, and donors and friends and family, a lot of people got together to make it work. I went to do the street art workshop. Jasmine came to document everything, Gus planned to do hip-hop song writing, and our friend Renee Floresca came to teach dance.

How many kids did you work with? 

Bisc: We worked with about 50-60 youth. It fluctuated especially because Ramadan started around then. It was an English language summer camp that is run out of Hand In Hand, which is an English language school, so they teach in each classroom--they have one teacher who teaches Hebrew, and one teacher that speaks Arabic in each classroom. They use English as the common thread. It’s a mix of Jewish and Arab kids. Some from Palestine and some from Jerusalem. It’s very progressive and political. There are a few of those schools in Israel.

How does religion play a role in the day-to-day life of the Israeli youth that you worked with?

Bisc: In Israel, things are segregated by religion. I don’t know too much about the experiences of Christian and Muslim Arabs, vs. Jews, but pretty much, everyone is separated because religion is the key factor out there. Younger generations and more progressive people are changing stuff. Most of the parents of the kids that we worked with are artists or creative people. They function in not your everyday world.

Going there, we went for art. We didn’t go for politics, we didn’t go for religion.

As Americans, did the actual experience of being there change your initial view of that region of the world? 

Jasmine: I feel like our experience was only formed through our actual journey out there. Initially, we went to Palestine, but we also saw The Holocaust Museum in Israel, and so understanding both perspectives changed what we thought. I think we ended the trip realizing that it's just such a complex situation beyond what we thought we knew. Both sides have views that are relatable. I left feeling much more empathetic to both sides. I think being in The States you have such a skewed perception that leans towards one end.

Bisc:Going there, we went for art. We didn’t go for politics, we didn’t go for religion. Everyone goes to Israel for religion and politics. People don’t really go there for art, so our political knowledge was only what we hear on the internet and it was very skewed. I wasn’t scared by that. I was more focused on the kids than I was about the political climate.

Was working with the youth there challenging because of language or cultural barriers? 

Bisc:I don’t think so. The kids we worked with were very educated. I initially thought that we were going to go to a more underserved area. I think it was actually pretty privileged--not super rich and balling out--but the kids, even to be in a program like that you have to have a family that is doing pretty okay out there.

The kids just loved what we were doing. After the first day, we had their full attention, they were excited about it. I’d say, the age for me was the toughest part. We worked with some kids that were as young as nine, and I’m used to working with kids who are older than that. It was harder to do what I normally do--and I had to on the spot change my approach--but only because of their age, not because they were Israeli or Palestinian.

Jasmine:One of the things that struck us the most was that they had all of the same kid mannerisms as anywhere. Kids are kids no matter where they are from, but sometimes we did experience a language barrier.

Watch Words to the World: The Making of a Mural,a short documentary about the Israel youth project:

WORDS TO THE WORLD - The Making of a Mural from Little Giant on Vimeo.

How did the Israel project fit into the natural scope of your work? 

Jasmine: I feel that this fits into the evolution of our careers that will include more philanthropic causes, including service as part of our common work.

Bisc: I think it’s important to work with young people. I’ve been doing that for a long time. I have definitely been fortunate enough to give back through my work, and I’m sure that’s not going to stop, but I really want to work with all ages sharing these skills and crafts.

Why hip-hop?

I believe that hip-hop is great at breaking boundaries and uniting different ages and cultures, and bring them under one umbrella. Who knows?--Those kids could form an Arab-Jewish collaborative rap group, or slowly make their way to create change through the continuation of hip-hop--which is about unification.

To flip the script and talk about your working relationship, what other major work have you two collaborated on? 

Bisc:Jasmine hasbeen working on these shorts, and she’s been letting me help her assist direct, and do a lot of different stuff on that. I started working with her on her films, and I would score her movies. Then we did a project where it was my music, and she shot me a music video. This is the first time that we’ve travelled overseas and created a documentary piece. Definitely it’s just the first one. We’re both kind of hyped on doing more of it, and it’s a great opportunity for dope co-created projects. We’ve been doing that since day one.

How do you guys keep inspired and sustain your rhythm for creating, individually or in a partnership?

Jasmine: I think as an artist, you are inspired daily. It can be something as simple as someone crossing the street, that you just want to explore and dig deeper, whether it's in film or writing, or painting. I think my rhythm is just everyday life, allowing myself to be inspired to make something. And this guy here is super creative and multi-talented, so naturally in conversation, we’ll be listening to the same thing, and talking about it, and then we create something.

Bisc:We think on the same wavelength. I mean, we’ll both look at the same thing and say “that’s dope." For me, because I always work alone, we’ve had some struggles with Jasmine giving me real criticism and feedback, but it’s a lot of growing and a lot of learning. It’s working in a way that it’s only going to be iller. I think we push each other. I think that where I fall short, she steps in and makes it better. I think we really do fill in the space for each other where we aren’t as strong. It’s done very effortlessly. Say I’m writing something for a client--I’m not the best writer--I ask her, and she will change my perspective and make me better. Boom!

Jasmine: And I’m not the best talker [laughs].

Bisc:You’ll see that I like talking a lot, so I’ll talk for her. It works like that. It’s something creative where we both do for each other. Like when we are directing partners in film; I talk for her, I don’t mind talking where I’m telling people what to do or where to fall on set, and she’s the eye, and together we create a really good overall holistic and creative person. One more thing to add to are both of our goals. Right now I don’t have an ultimate goal, or there's absence of an overall goal. That’s something that I am struggling with in the present--not struggling with--but I think creatively, it’s something that I have to work towards because I have to see it in order to get there. She’s been helping me a lot with visualizing that imagery.

Looking forward, I have no idea what it will lead me to. I’m going to quote Steve Jobs and say, “you can’t connect the dots going forward.” Right now, I just don’t know.

Did Israel fulfill any long standing goals that you had for your careers? 

Jasmine: In terms of traveling, I’ve always traveled and brought a camera and took to photographs, but now that I’m studying film, it was an opportunity to evolve my skills and try to do film, creating what is going to be a miniature documentary. I was trying to capture moments. It’s very different than just taking a photo. You’re capturing an elongated period of time. It was a really interesting experience.

Bisc: For me, I can’t specifically answer that. I don’t know. It’s weird for me to say it, but I don’t really know what I’m doing. I don’t really have a "thing." I just kind of take the art as it comes, and this just came to me. I just feel like I was fortunate to get the opportunity and I mean--I paint walls, and I come from that world for more than half of my life. I’ve been involved in that culture for a long time. It’s definitely a continuation of what I come from--the root to my art and creativity. It was also a continuation of being Jewish and coming from that as a whole. Looking forward, I have no idea what it will lead me to. I’m going to quote Steve Jobs and say, "you can’t connect the dots going forward." Right now, I just don’t know.

On the surface it looks like you guys are living the dream. In your day-to-day reality, are there ever times where being in a creative profession is exhausting or unproductive? 

Jasmine: I definitely have creative blocks. For me, I have to force myself to sit there and work through it. Editing for me is really hard. I kind of have to just sit there and force myself to do it. It makes it easier to think in terms of projects. I try to do one project at a time.

Bisc: I don’t know man, for me, I just work. Somedays like today I didn’t do shit. I sat at this desk all day and I organized files. I did bullshit all day. Because I’m in a creative block right now…I don’t know, I guess it comes and goes, at the end I just have faith that everything comes my way, and I’ll make art and I’ll make money. There’s a lot of shit that I want to do. If I write it all out, like I did recently, it becomes overwhelming. I mean, our day-to-day, it’s pretty normal. We don’t stay up until the morning doing art and smoking weed and shit. I feel like I’m getting old, and I’m trying to be healthy. I’m just going to the gym and trying to eat well. It’s a balance between professionalism and artistry, business and personal, love and relationships, and regular life stuff too...

Interview by Boyuan Gao

Photography and video by Jasmine Hemery

Check out Bisco's creative agency Daylight Curfew Creative, a creative agency that specializes in design, apparel, identity, instillation, web, video, and audio.

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Oddisee Works.

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Oddisee Works.

Oddisee in Sudan

Lounging in his Brooklyn-based home studio, smartly dressed, smoking shisha and rocking some vintage frames, Amir Mohamed (aka Oddisee) looks every bit the dictator that he sometimes jokingly imagines himself being.  Hours away from embarking on an epic, month long journey to Sudan, Oddisee was kind enough to sit down with me, smoke some cardamom shisha, and wax poetic about navigating the industry while still producing the music that matters to him.  Too often, I find that music heads don’t get the opportunity to hear the voices of their favorite producers in regular conversation.  So here he is.  Raw and uncut.  And please, don’t mind the noise from the hookah pipe.  I promise you.  It’s not a bong.

For more about Oddisee, peep his website. Interview by Malik Abdul-Rahmaan

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Featured Interview - Katie Wilson's Beats, Flights and Life

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Featured Interview - Katie Wilson's Beats, Flights and Life

katie_pic

Remember your favorite high school teacher? He or she inspired you, motivated you, got all Dangerous Minds on your classroom and made you think that once you moved past your hormones, you could actually be the first woman/black/gay/transgendered/clown president? We have no doubt that Katie Wilson is that teacher to her students. A native of Canada, the New York City resident created the Global Studies Workshop with the City University of New York (CUNY) - a global exchange program that begins with an eight month long curriculum on the history of hip-hop before departing on a ten-day, life changing trip with her mostly Bronx born and bred students to Berlin, Germany. In addition to the cross-cultural experience, the students - both American and German – are all aspiring rappers, singers, and spoken word artists and are expected to collaborate and perform during their visit. CultureFphiles spoke to the brilliant and visionary Katie about the origins of the program, the social impact of hip-hop, and hearing Turkish German rap for the first time.

Tell us how the program started and what your involvement was.

I was having lunch with a professor from Fordham, Dr. Naison, and some of my colleagues. He was talking about this amazing half-German, half-American social worker in Berlin named Olad Adden who worked at the largest social service organization in Berlin for youth. Olad created a recording studio for young people focusing on rap and hip-hop. His project started to grow and he received funding from the Goethe Institute in Berlin to initiate [a foreign] exchange. Dr. Naison mentioned they were looking for an organization to host the American side so that the Germans would come to NYC and then six months later, the Americans would go to Germany. Dr. Naison started talking about it and I elbowed my way in and was like, ‘I’m doing it.’ I have a clear and evolving vision of the society I want to contribute to and this was an example of a serendipitous moment when a social interaction provided the opportunity to actually move in that direction.

What about the project piqued your interest?

I used to work as a wilderness guide. It was an international program based in California and I was taking kids whose parents paid a lot of money for 4-6 weeks abroad. I went to Fiji, Australia, Europe…all of this amazing stuff. I would do that during the summer and then I would work at CUNY Prep during the school year and I would think, damn, I want these students [CUNY Prep students] to have a similar experience.

Why did you want to share that experience with the CUNY Prep students?

[Because I saw] the impact on the students I worked with at the wilderness company. I’ve worked with teenagers for almost fifteen years and I see the types of transformation that happen between 16 – 20 years old. With the kids in the wilderness program, there was that experience of being abroad and understanding where they, as Americans, fit in a global spectrum.

Teenagers are asking questions like, 'Who am I? Where do I belong? What am I interested in? What am I good at?' That’s why I love working with teenagers because wherever they are experiencing the ages of 15-20 is going to answer those questions for them. So, a travel program is going to very concretely and powerfully inform the way they see themselves and the world.  I found it very frustrating that the [wilderness] experience was only accessible to students who could pay $5,000 for it.  My work in education has really been about addressing educational inequalities.

Were most of the students who you were working with during the wilderness program mostly affluent, white kids?

Yes - and the students at CUNY Prep were mostly low-income, students of color. I would say 80% of CUNY Prep students are from the Bronx with the remaining students being from Harlem and Washington Heights. Mostly Latino, African-American, African, Caribbean, and all low-income.

...a travel program is going to very concretely and powerfully inform the way they see themselves and the world. I found it very frustrating that the [wilderness] experience was only accessible to students who could pay $5,000 for it. My work in education has really been about addressing educational inequalities.

Tell us a little bit about the challenges you faced prior to leaving.

We left for Berlin in 2010 with six students. We were in Berlin for ten days. Honestly, I don’t think anyone actually believed it was going to happen…that we would pull it off.  We didn’t have funding for flights until three weeks before and I think I just had to say at some point, the money is going to come and then we finally got it. With the first group it was so powerful because we were scrambling to make it work. I partnered with a MC called Farbeond. So that first year, it was six kids and then we had two students who Farbeond worked with. It was a powerful first 48 hours where it set in like whoa, we’re actually here. This actually happened.  The amazing thing was that the kids bonded so much - they really congealed as a group. I saw them peeling away layers of who they need to be to survive in the Bronx and what their capacities are as artists and global citizens representing the US, the Bronx, themselves and CUNY Prep.

How important and instrumental were all of these relationships to building the program?

It’s all about relationship-building.  Especially in the field of education and youth development, relationships with colleagues with whom I am collaborating must be authentic.  I am humbled by how important my role as a mentor and teacher to young people really is; therefore, I approach collaborations very seriously.  We each have our individual talents and skills, but any project, business, or social movement is grounded in human beings working to communicate and collaborate with each other. We are social beings - we are dependent and connected - as families, communities, nations and as an entire planet. I think we forget that sometimes in psycho-individualistic NYC, but at the end of the day we need each other.

What was it like for the kids on a performance/artistic level. What was that experience like for them performing in Berlin?

Some of the students were performing for the first time ever in their lives. ]They were transformed by the experience of getting up on stage and performing their own work and their collaborative work for the first time in a different country.

It must have blew them away. 

Yeah, it took them a while to get used to hearing German rap. They were like,“what the hell are they saying?” and, “they are rapping so fast!” They were amazed by it but also, like “haha that sounds funny” [laughs]. There’s also a large Turkish population in Berlin so hearing a Turkish kid rapping in German who spoke English with a Middle Eastern accent…it was like, what?! And that’s amazing - that confusion and having your mind blown - that’s what it’s all about. The kids also couldn’t get over how supportive, friendly, and non-threatening the environments [they performed in] were as opposed to where they grew up in the Bronx.

It’s important for young people to see hip-hop performed in a non-machismo, unaggressive way.

Exactly - and music has always been about entertainment and expression but it’s also about having a social impact - whether it’s unconscious or not. You can track historically, in this country, what’s happened in terms of social movements and what music has helped pushed that.  As I build the curriculum for this program, it’s important to analyze the history of hip-hop and where it comes from and where it’s going…and hip-hop has just become more interesting globally. That’s why this program is important because youth are inherently selfish, we all were - I don’t think it’s common for a 17 year-old to think, 'oh I’m going to look at things outside of myself' and so we have to facilitate that process.

What specifically got you interested in teaching the kids about hip-hop? What drew you to the music and made you interested in incorporating it into the curriculum?

Something I always say is that I’m Canadian. I was raised in the suburbs in the country. I listened to hip-hop in the 90’s but I was more into reggae and rock. I’m not a super hip-hop head and I don’t purport to be a hip-hop expert. I think it’s actually a benefit in building this program because I’m coming from a youth development perspective and as an educator and I’m really about transformative education.

...music has always been about entertainment and expression but it’s also about having a social impact - whether it’s unconscious or not...that’s why this program is important because youth are inherently selfish, we all were - I don’t think it’s common for a 17 year-old to think, ‘oh I’m going to look at things outside of myself’ and so we have to facilitate that process.

My love for hip-hop music and culture has deepened over the past 15 years. To be an effective educator, it is essential to understand, give voice to, and build relationships with your students.  Youth culture is - and always has been - synonymous with the culture of music.  For the past 30 or so years, hip-hop has been a dominant sound in youth culture. Since the genre is also a complex culture, its impact is profound. It is not simply about enjoying the sound, it’s about a message and, in some cases, a resounding call for societal changes. Hip-hop messages range from simple to revolutionary to spiritual.  As an educator, exploring this global culture - its past, present and future messages with my students is a very important and powerful lesson.

Many of your students are from the Bronx, what were some of the major cultural differences you all experienced?

The history of WWII, Hitler and the presence of the Berlin Wall is pretty predominant and I think it’s intentional that you’re made aware of that history. I think that in the US, we’re not made aware of what has gone on [historically] and a lot of the students were like well, how come there isn’t that same aspect of playing homage? I thought it was so brilliant that the kids were pointing that out. We went to the concentration camps and took a train way out to the suburbs and there are tons of beautiful houses and then all of a sudden you’re at the end of a lane and there’s a museum and a whole concentration camp with tours.

Many of the students you work with come from challenging backgrounds. Do you feel they were more hopeful after they returned from Berlin?

That was a mixed bag – one of my biggest challenges with this program was [that the kids] said they felt safe, happy, and free traveling but then they return to their struggles. I want to work really hard to make sure this experience is transformed into a lasting experience.

How do you make that transition easier for them?

Both times I had two students who returned and were depressed because they returned to sleeping on the couch and not having enough food in the fridge and were really struggling.  Part of my work is to provide them with leadership roles and have them continue to see themselves as ambassadors and world citizens.  It’s not about the ten days only of being over there. It’s about building a global community. Most of the kids are in college and have managed to maintain academically which is something I’m a huge proponent of. The testament is that the kids who went in 2010, I would say 5 of the 6 students are incredibly successful right now. One is DJaying, the other won all of these spoken word contests and was in Paris, another girl really discovered her self as a singer [in Berlin]. Another student has started his own business…and these are like 20, 21 year-old students. I’m interested to see this next round of students and what will be some of their accomplishments.

Part of my work is to provide them [students] with leadership roles and have them continue to see themselves as ambassadors and world citizens. It’s not about the ten days only of being over there. It’s about building a global community.

It sounds like you’re giving your students tools to become better leaders.

Yes, a common vision I have in my work as an international wilderness instructor and as CUNY Prep's coordinator for the Bronx Berlin Program has been to guide my students in thinking critically about themselves, the US, the countries we visited, the inter-connectedness of the planet and the ways in which we can participate in the transformation of our world.

In my opinion, much of the US citizens' relationship to the global community is based in the notion that we are the greatest country on the planet and every other country is somehow lesser than. That is just not true and is an incredibly problematic perspective, especially for youth to adopt since the planet they are inheriting is rapidly globalizing.

What do you envision long-term for the program?

I’m still thinking about the possibilities. I just love how it worked out so organically and I don’t want to decide on some outcome of what it’s going to become and then shoot for that goal. Right now, my goal is making sure it’s solid at CUNY prep. I would love to find a grant to fund it. I’m really trying to make the program sustainable and formalize it programmatically. Hopefully, I’ll be able to create other abroad programs at CUNY Prep.

To find out more about the Bronx-Berlin project click here.

 Words by Jahan Mantin

Photo credit: Trey Wilder

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