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In the '90s, it's no secret that there was a greater prominence of the cliques, posses, crews, and clans. It was an era in which creative mind-blowing lyrics were the sole option for an artist to earn the props and respect of their peers. That said, what's better than having several lyricists spitting darts in 8 or 16 bar verses, back-to-back-to-back-to... you get the point.
At the time, the hip-hop scene in Pittsburgh wasn't much different in this regard. You had several groups putting their stamp on the local scene. The early '90s included Mel Man's Hardcore Crew, Funky to da Third, PensoulzInAKup, transitioning into the mid '90s which gave way to the Massive - a crew that later split in two with Strict Flow and RXC. These are only a few of the crews that were making waves in the city, as well as nationally, at the time.
This post is dedicated to the artistic musical craftings of RXC, an acronym for Reality Unknown Complex. The crew has also been recognized as Classic 1824, 1824 being a numerical symbolism of the letters R-X. Original members of the hip-hop group include C.I., Shamir Shine, Knowledge Build, Justice, Martial Ife, and Amaretto, while others that have been or continue to be a part are Iasia, Gemstarr, Solar Magnetic, Sha-King (fka Reason), Nabri Savior, Living Proofe, Angel Eye, and Gneticz. For a greater look into the crew and the Pittsburgh hip-hop scene at this time, refer to Part One of the video interview with C.I. located at the end of this post.
The following are the first three releases to come from the Classic 1824 / RXC camp. Future posts will include solo releases from Reason/Sha-King, Nabri Savior, Gneticz, and a variety of obscure radio appearances and freestyle sessions.
01-Rap Zodiak (Prod. by Sekou Coleman, Co-Prod. by Shamir Shine)
02-3 1/2 Minutes of Fame (Prod. by G-Knowt, Co-Prod. by Sekou Coleman) 03-Panik (Prod. by Shamir Shine, Co-Prod. by Sekou Coleman) 04-Livicated (Prod. by Shamir Shine, Co-Prod. by Outtareach)
Part 1: The Early Years In this segment, Black Sun speaks about early experiences as a hip-hop artist, the forming of the Four Horsemen, his transition from high school to college, and power-outage ciphers.
Part 2: Music Lives Forever In this segment, Black Sun speaks about the internet and hip-hop becoming a global phenomenon, the "now" generation, and the economics of lyricism in hip-hop.
Part 3: Saying Lines & Scoring Touchdowns In this segment, Black Sun speaks about hip-hop upgrade, his hometown of New Kensington, the soon to be released All-Madden '11 Mixtape, family, and work ethic.
Black Sun performs live at: GSMG x Stilltown present IMPACT Music Series Shadow Lounge, Aug. 27, 2010 "When We Do Our Thing"
"Baby Powder"
"Hannibal Lecture," from the soon to be released All-Madden '11 Mixtape
Concrete Elete consisted of Furious Styles, God Gifted, OMG, Chilly Ism, and Evil Man, with El aka Asiatic the Natural on production, a six man wrecking crew that did damage on the Pittsburgh and Philly hip-hop scene during the mid-90’s. Members brought their own artistic vision to the knocking instrumentals. In 1998, that vision was expressed through the crew's debut album, Basic Instructions: Listen... and Repeat.
Basic Instructions was 19 tracks deep, showcasing each MC's unique approach. El's versatile production served as a comfortable home to the rebellious lyrics of Furious Styles, the street savvy rhymes of God Gifted, and the clever wordplay of OMG.
Here to build on the crew’s history is Furious Styles aka Jasiri X.
RW: Peace Jasiri. Describe the foundation upon which Concrete Elete was assembled. How’d you meet and join forces?
JX: We met because I used to buy weed from Chub aka Evil Man. One day he was out of town so he hooked me up with Chill and OMG. We started talking about hip-hop, and that same day we were in me and Asiatic's studio, and the rest is history.
RW: You collectively finished the Basic Instructions album in 1998. How was it released?
JX: We actually put the album out ourselves, but we didn't have all the technological means like we do now, so not a lot of people heard it, but it gave us a buzz in Pittsburgh. Everybody called it the Red CD.
RW: Following the release of Basic Instructions, what ultimately led to the disbanding of the crew?
JX: We actually recorded an entire album after Basic Instructions, but we couldn't agree on the direction. I felt like we should remain underground and other members felt we should make crossover records so we just went our separate ways.
RW: How did the Concrete Elete experience provide groundwork for Jasiri X, the solo MC?
JX: It caused people to know and respect me in the Pittsburgh Hip-Hop scene, so I could still get shows and support as a solo MC. Plus we performed a lot, so it enabled me to learn how to rock a crowd, which is a lost art today.
RW: How do you believe fans can embrace this long lost Concrete Elete album?
JX: To me it still stands up to the test of time, good beats and good lyrics. I'd put us up against a whole lot of groups out today that aren't half as talented. Also want to send a special shout out to two original Concrete Elete members not on the album, The General and the Black Chinaman.
Tracklist: 01. Intro 02. Dat First Shit 03. We Got U 04. Raw Dilly 05. Where U At 06. Interlude 07. Physical Anger 08. Khalifahs 09. I Don't Know 10. Takin Over
Hands Down became recognized nationally in hip-hop circles with their 2007 release Art of Life. But for a decade prior to its release, the duo of ChaRon Don and DJ Huggy were active participants in the Pittsburgh hip-hop scene. Both members graduated from Schenley High School and have continued to build and develop as music artists since.
First of all, the album title, Mental Combustion. Who came up with it and why did you believe that it was fitting for the sound that you were creating at the time?
ChaRon Don: Mental Combustion was a title that I had chosen mainly for its sounding and visual association. The album was created while Huggy and I were both in high school, in an era where lyricism was at its height. Being fans of artists like Big L, Big Pun, Wu-Tang Clan, Biggie, Canibus, etc., bigger and more complex words and ideas were being used and therefore helped with the creation of the album title. Back in those days I was working at Carnegie Library in Oakland and I can remember coming across a book from a horror film, which was produced out of Carnegie Mellon University, and in one of the pages sat the visual of the backdrop to the album. What could grab your attention more than a picture of someone's whole head and face exploding? ... We had to use it!
DJ Huggy: During the album making process, I usually let Charon take care of all the little things like naming songs, picking the album art work, and ultimately choosing the album title. Of course I give my input, but I tend to let him work those things out. Even though I am a part of the group, I still prefer to approach the process as a producer, whose job is to create, shape, and mold any vision an artist has into music.
How did your decision to form a group with just the two of you allow for the freedom to experiment with different concepts and ideas?
DJ Huggy: Well, naturally the less heads you have at the table, the easier decision making should be. We all know and have heard of different groups in the hip-hop world who broke up due to "creative differences," which really means they couldn't agree on something, usually money! (Laughs...) However, the earlier and longer you begin to work with some one, a natural rhythm, if you will, begins to develop. You learn his strengths and weaknesses, he learns yours. You feed off of his energy and he feeds off of yours. And if your lucky, that magic that everyone is trying to create will be there!
ChaRon Don: Huggy and I have always enjoyed one another's opinions and talents, even before we were a group, so it really didn't change once we started to build on our group works and efforts. We have always represented, solo and together, so once two people know how one another gets down it becomes natural, easy, and fun to add on... I'll pick up where he left off, just in a lyrical way, and he does the same in a productive, producing way. (Laughs...) We've been in two to three other groups, both before and after Hands Down, so our history and experience made things very comfortable.
Can you explain the challenges and rewards that came with releasing the album independently in 2001?
ChaRon Don: To be honest, there were more rewards than challenges with the release. Because we were gaining more and more notoriety, mainly within the city, the love was the fuel that kept us doing more shows and recordings. Back then the hip-hop scene was a lot more close and active with more breakers, deejays, emcees, and writers. The culture was in full effect and everyone was supporting each other in some way. The love was sincere, and inspiring, and literally bred a sense of worth to what we represented musically. Through hard work and dedication to the music we created, many people would give their ear, constructive criticisms, and motivational words to us. People like Strict Flow, DJ Rampage, Lone Catalysts, Dashon, RXC, Adam Smith from Underground HipHop Magazine, etc. put us under their wings and watched us learn how to take the winds on our own.
DJ Huggy: This was our first project in which we had some experience, some resources, and representation. This was our true introduction into the world of hip-hop, for better or for worse. Releasing this album independently was a blessing. It gave us creative control and it provided us with some insight into what it would take to self release a project. Just like with anything in life, if you have someone do something for you all of the time, you'll never learn how to do it yourself. You'll never learn what's involved in the whole process, and honestly you probably won't appreciate the journey as well. In 2001, major labels played a bigger role in the music industry than they do now. To release an album independently, you were competing against an opponent who had unlimited resources. We had a $1,000 promotional budget. They had a $1,000,000 promotional budget. Do the math! Who do you think was gonna get more exposure? Which project do you think would be pushed more in the stores? As an independent artist, your best and sometimes only weapon was to have better music. And I think that's what we tried to do!
ChaRon Don: Moe, who was and remains one of the most influential promoters Pittsburgh has seen, financially fronted us the money and helped us get more shows in and outside the state. Others expressed their love through deed and action, like B-Bonics from Kiss FM. B-Bonics(now known as Bonics), while spinning a house party, put me down with a friend of his who was running an independent label in Philly, and from there I knew how much some people were looking out for us in and outside of the city. On a tour alongside two other national Pittsburgh acts, Strict Flow and Deadly Scribes, we met up with GoodHands Records and would soon ink a deal with them for the follow up album, Art of Life. Still, while the misconceptions of what we represented and stood for were present, it was miniscule to the rewards. Because I was battling and had that type of style, many emcees, younger and older, of the Pittsburgh scene adopted hateful opinions about me and the music. Although I heard much of who and what was being said, I truly was too focused and aware of what was more important to our goal to be discouraged and/or intimidated. Plus, I was ready to take peoples heads off lyrically, so I felt if it's a test of talents I could stand my own! I give thanks to the creator for the haters and lovers, they both have the exact same purpose, both are motivations.
When the album was released, what was your marketing plan and distribution strategy?
ChaRon Don: To perform and record more than we had been. Push harder, run faster. Observe change.
DJ Huggy: Stealing a little from my previous answer, our strategy was to work hard, spread the word, be everywhere all of the time, and hope that because we had the better music, we would shine through. I won't go into all the specifics but there are basic promotional guidelines that you should do when releasing any project. Interviews, radio, tours, in-stores, etc. Yeah, we did all of them and then some! For example, I remember getting up with Charon and like five other people around 3 a.m. the day of the release. We had about 1,000 posters and we planned on tagging up the whole city. We split into groups and we hit every neighborhood. We put them on store fronts, cars, telephone poles, buses, bus stations, houses, apartment buildings, restaurants, etc. Anywhere we could stick them, they were there!
How do you believe an artist can use their past work for progression in the present and future?
ChaRon Don: As a means of encouragement and point of reference. If you have examples of the past you can always know where not to go back, not that anything of the past is negative, but one must always mature into the next cycle. The act of reflection is powerful and that album is an expression of a lot of what I knew and didn't know, therefore its purpose is and always will be very much needed.
DJ Huggy: It gives you a foundation. It gives you a resume. It's something that you can use and say look at what I've already done. Look at my history. I didn't just jump off the porch, I'm rooted in this shit! I got experience, I got knowledge, I got respect! I live this! "Now please buy my new shit, it's only $6.99!" (Laughs...)
The next evolution of Hands Down will be heard on the upcoming album, Thee Official. Check for the release on Good Hands Records, due out within the next couple months.
Mental Combustion 01. The Church Sermon (feat. Soul Dean) 02. Raw Passion 03. Streets is Watchin 04. Penny Candy 05. Brotha's & Sista's 06. Hype to Def (feat. Dashon) 07. Infinite Measures 08. Linguistic Terrorism (feat. Ron Noodles) 09. I Love You (feat. Renassaince) 10. Say Grace (feat. Rashad) 11. The Young & The Wreckless (feat. Nabri Savior & Sha-King) 12. U Count (feat. Don Juan & Ill Gill) 13. When Cries Lose Tears (feat. Zay-Zay) 14. Ms. Barbie (feat. Justuce & Soul Dean) 15. Street Journal (feat. Mr. Story) 16. Enough is Enough (feat. Caleesh & Will) 17. I Grabbed the Mic [And Asked the Crowd] 18. Mental Combustion (feat. T-Diddy)
Rhyme Cal 9 was chock full of both exciting and frustrating moments. On the high side, competitors Black Sun and Jon Quest each respectively impressed throughout. The low had to be the 20-minute delay leading into the final round. Rhyme Cal founder J. Armstead Brown took the time to clear the air on the controversy and give his interpretation on some of the MC's that have developed as participants in the competition.
AB: What up Rory? Before we jump into your questions I wanted to start off with a few words. First I want to once again thank all the MC’s that competed in Rhyme Cal 9. This shit ain’t easy and we appreciate the fearlessness and commitment to creativity that the MC’s demonstrate. At the same time I know some MC’s came away frustrated for different reasons. We as the Rhyme Cal creators hold our selves accountable for making sure the game is both exciting for the crowd and fair to the competitors. Most of the time we succeed but sometimes we fall short. I want to remind everyone that Rhyme Calisthenics is an ongoing experiment—we have no blueprint to follow—we’re creating this thing as we go—Rhyme Calisthenics is one long three year freestyle! We’re coming up on three years and in that the three years we haven’t made a single dime. We don’t do this for the money we do it because we believe that Rhyme Calisthenics is a needed part of a larger movement. We do it because we believe Rhyme Cal is part of the tipping point to put the Pittsburgh hip-hop movement in motion. We do it to bring MC’s and hip-hop heads together. We do it because hip-hop is and always should be unpredictable, spontaneous, and most of all fun. We hope the MC’s play this game for the same reasons.
RW: Can you talk about what you saw from the champion, and first-time competitor, Black Sun, and what he did in his performance that gave him an edge over the competition?
AB: Well, in an MC competition where tensions were high and expectations were great, Black Sun was like a Buddhist throughout the whole competition. I think his edge was that he had no expectations, he came for the experience, he came to experiment, to exercise, he came for all the right reasons. Beyond that I think Black Sun is just a really dope MC down to the definition of what an MC is. If you were paying attention he not only had really great lyrics but he MCed each challenge from the moment the wheel stopped spinning to the moment judges raised their score cards. When “Storytelling” dropped he told the crowd to “gather ‘round the campfire,” and in the last round he recaptured the audience with “The Message” after several confusing distractions. He was poised and in control the whole night.
RW: In the championship Sun defeated Rhyme Cal vet Jonny Quest. This was Quest’s fifth Rhyme Cal appearance and his first time making it to the finals. In the first round his spin of the wheel landed on “Crowd Topics,” a category he has struggled with in the past. How can his perseverance and progression be related to the idea and goals this competition has for its competitors?
AB: It’s funny because I know Jonny Quest was ready for a lot of the written challenges, but the wheel has a funny way of landing on your weaknesses when you get a little too confident. I didn’t see his “Crowd Topic” verse, I’ll see it when I review the tape, but his performance overall captured his improvement. He’s just a grinder and the Wheel of Skillz has helped him craft his lyrics, he’s not just writing verses without purpose. Although he’s putting in work at the studio, he’s learned to write his verses for the stage which is something I think is really important. Sometimes studio verses don’t come across on stage, but if you write your verses like you’re about to spitting them to a crowd of 500 people you’ll have an intensity and urgency in your flow that you can’t get standing in the booth. Much respect to Jon Quest.
RW: There was some confusion leading into the final round with the bracket that was distributed a few days prior. Granted, this was the first competition in the new format. Will there be any type of rule book implemented to keep this from being a distraction again?
AB: Yes, we are going to publish our official rule book before the next Rhyme Cal Competition. And by the way, we do have an official rule book that we abide by. It’s too complicated to explain the confusion regarding the final-four round, but I’ll say this… Boka had a legitimate complaint and I’m glad he voiced his opinion. The same way that we encourage our MC’s to get better, Stretch and I are always trying to make the competition better, more exciting, but also more fair. That’s why we listened to Boka’s complaint, and huddled up right there in the middle of the competition to review his complaint. But at the same time we stick to our decision. Our decision was to stick to the rules we created, even though the bracket we posted on Facebook was misleading. If the NCAA tournament has a misprint in the way they post their brackets, they don’t change the rules to accommodate the misprint. They stick to their original rules and let the public know that they made an error in the way they presented the brackets. So that’s what we did. The fact is that the brackets we posted on Facebook were really meant to allow the MC’s to see who they will be up against in the first round. They were also meant to create a little bit of hype. But after reflecting on Boka’s complaint, we’ve decided to change the rules for the next one. So the final-four round will be a little different in the future.
RW: This is the ninth installment of Rhyme Cal, without counting the All-Star competition and the 4x4. Why do you think some competitors still come to the show unprepared?
AB: Well, I think there are different types of competitors, and there are different ways for an MC to prepare. One of the best ways to prepare is to actually write verses to the written challenges. “Storytelling,” “Last Word,” “Acapella,” and “The Message” are all categories that cater to pre-prepared verses. Another way to prepare is to do some homework on the other competitors and develop a few punchlines for them. This will help you in “Comp Killer” and you could also put a few jabs into other challenges like “Mackin’” or “Here and Now.” Another way to prepare is to practice the freestyle challenges at the crib. You can practice “Word Bank,” “Grab Bag,” “Scenario,” and “Crowd Topics” by rapping about different item or things in your crib. Even if you never compete in Rhyme Calisthenics, theses are exercises guaranteed to make you a better MC. Having said that I first want to acknowledge the MC’s that did come prepared. Black Sun, Jon Quest, 3PFD, Kid A, and Boka all came with a few writtens and few ideas about how to flip some of the challenges. Then there are some cats who can go up against the wheel with no preparation at all – like A-Jaxx. He’s an MC who can develop dope phrases on the fly. As far as I know he’s never really prepared for a Rhyme Cal and yet he regularly makes it to the final four. I know A-Jaxx didn’t do as well as he usually does this time around, but he’s dope and he’s supported us by competing in almost every single Rhyme Calisthenics competition we’ve ever done. The reason he does so well is because he’s a true wordsmith, not just an MC. He’s got a real mastery and love of words. For some it’s all about preparation and for others it’s all about riding the moment—the key is knowing which type of MC you are. If you’re not fresh spitting in the moment then take your ass home and write something dope!
And that’s the real difference – it’s not about those who prepare and those who don’t – it’s about those who really love words and ideas, and then those who just like to brag about themselves and talk shit over beats. Cats like Zone, 3PFD, A-Jaxx, and Boka consistently do well because they’re prepared, but also because they have a real love of words and a real message to deliver.
RW: There were times when the judges - I Majestic of RXC/Classic 1824, Luqmon aka B-Tree, and DJ Chevy - would be speaking, or constructively criticizing the MC’s, and I would look around the crowd and see numerous participants talking amongst the crowd, hanging outside, or leaving after their own elimination. Personally, I see this as disrespect to the honorable judges, all of which have more than 15 years experience in hip-hop. Granted, for every two or three careless MC’s, there is one attentively listening. What is your opinion? Is it a difference within generations?
AB: It’s partly a generation thing, but more than that it’s the difference between those who genuinely want to get better and those who have managed to convince themselves that they’re already the shit. It’s the difference between those who mainly want to have fun and those who only want to win the $500. Rhyme Calisthenics is no different than the rest of the rap game – those who are only in it for the money generally don’t get as far as those who do it for the love. I think this time around even some of the most passionate MC’s were more focused on winning the prize than on working on their craft. They cracked under the weight of their own expectations – that happens to all of us sometimes. And then there’s the fact that people enter Rhyme Calisthenics for different reasons, some find it fun, some use it as motivation to get better, some use it for visibility and promotion, and some see an opportunity to win some money. The judges constructive criticism is only valuable if you’re working on your craft in some way.
RW: A couple first round competitors, R-Sin and Zone, spun the wheel twice. Any comment?
AB: One of the re-spins was because of a weak spin. The official rules state the wheel must complete one full rotation to be considered a fair spin. The other re-spin was because Shade missed the cue to play the “spinning” theme music. This re-spin was actually an error because the official rules state that “the wheel is not to be spun a second time for any reason except due to an incomplete rotation.”
RW: There was some animosity between competing MC’s Ayatollah Jaxx and Mista Scrap. What is your opinion of the situation? And in a situation that could have quickly gotten worse, is there anything that can be done to prevent something like this from happening?
AB: Well basically, Scrap threw Jaxx’s hat into the crowd. I’m not gonna speak for Scrap but it seemed like a heat of the moment decision during a really tense “Comp Killer” playoff heat. Whatever Scrap’s intentions were, the fact of the matter is that Rhyme Calisthenics is a no-contact sport. You can get up in someone’s face, you can diss them, intimidate them, you can verbally assault them; but you can’t touch them or their property. It’s kind of like basketball where you might get away with a light tap here and there, but you can’t grab your opponents’ jersey. I’ve mentioned the official rule book a few times and that’s something were going to have to put in there. Even though I know Scrap didn’t mean anything by it, I hope he can see how that situation could have gone bad if it were two different people.
RW: Is there anything else you would like to add?
AB: Yeah, RhymeCal X is gonna be the shit! MC’s get your bars together…
Follow-up interviews for each Rhyme Calisthenics MC Competition can be seen right here at Stilltown.blogspot.com
Love, life, stress, and setbacks have been guiding forces in the careers of many successful artists. These elements are evident in the musical workings of Idasa Tariq. Since relocating to Pittsburgh in 2008, this native New Yorker has made a name for himself with hard-work, developing mindful rhymes and soul-driven production skills. In 2010, Tariq has already flexed his abilities with a solo project - Say Cheese EP - and a collaborative effort with female emcee Dominique Larue.
Whether it be blessing the mic at weekly open mics, or spinning the wheel at the Rhyme Calisthenics MC Competition, Idasa Tariq always entertains.
Rory Webb: At the Rhyme Calisthenics 4x4 competition you were noticeably pleased with DJ Chevy scoring your ‘Storytelling’ verse a perfect ten.
Idasa Tariq: Most def. I was happy to just have a good round in my Rhyme Cal campaign. (laughs) Each time I've entered in the competition I take something away from it, learn it, and try to it apply to my music and see if it works.
RW: What aspect of your art have you worked on improving most in the past year?
IT: I would say my stage performance, and also producing if I may. When I came to the Burgh, I was still fresh with just getting on a stage and performing in front of a crowd. Back home there isn't really any places where you can build on your stage presence and performing. Here, I was fortunate to be guided to the Shadow Lounge, and went from there to other spots. What really helped this year with my performing was the "Hip Hop For Haiti" show, which I was thankful to be apart of. There I got to see two emcees in particular perform and command the stage - Living Proofe and Brother J of X-Clan. They had this way of pulling you into their songs, at times without moving around that much, and while interacting with the crowd. It was dope studying them.
RW: Talk about the advantages of being both a producer and an emcee.
IT: Never have to look for beats. Ever. (laughs) You want something jazzy and funky, you make it. Dig for some Art Blakey drums and some Oliver Nelson and go at it. Bust a keyboard out and start from scratch. You have that luxury to be more creative with your craft. It allows you to see different melodies within the beat which can be interpreted into a flow or rhyme scheme. Money wise, you don't have to pay someone to make you a beat, rather you can pay a musician to come in and just drop whatever on the track and boom, there it is.
RW: Any disadvantages?
IT: For me, it's being critical on the sound. One thing I don't want to get myself trapped in is making the same type of sound with no growth. I sometimes will start making a beat and realize I'm creating a drum rhythm that sounds similar to something I already made for another track, so I'll be there trying to find the best way to make it stand out from the other track. In the process the song might come out wack as hell, so it's still a learning process. But overall, being overcritical of my work.
RW: How about the advantages and disadvantages of being an independent artist?
IT: Advantages I would say is you control the music. You wanna rap about Port Authority jackin' the Burgh citizens on transfer and bus rates, you go right ahead. Nobody's stopping saying, "you can't say that because of blah blah blah." You have more freedom to create your own image and craft, no matter how dumb or ingenious it may be. It also allows you the opportunity to create your own business and OWN your music, as opposed to a label owning the masters. I did that by starting Ground Flow Communications, Inc. You have a more profound respect for your craft I feel, because now your branding your flow, your beats, etc. And it's YOURS at the end of the day. The downside is you don't have the resources and networks that the major labels have in terms of distribution, finances, and promotion. Basically, you either wanna get put on by someone else with money and become their mascot, or put yourself on and see where life puts you.
RW: Your most recently released work is the HerStory EP, with Columbus, OH emcee Dominique Larue. How did you link up with her?
IT: MahBrotha Shade Cobain put me on to her. Linked with her on twitter and we started building from there.
RW: What about her emceeing skills impresses you most?
IT: She actually raps. She's not on these stages in a two piece talkin' some nonsense. She storytells. She spits bars. She has flow and delivery. She has an ear for beats. Not a shot at Nicki for the phrase, but Larue ain't a barbie doll the industry and labels put together and placed in front of a mic. All in all she's Hip Hop, and I'm glad we were able to make a dope project.
RW: You mentioned Shade Cobain, fellow Pittsburgh producer/emcee. You came together to form the group MahBrotha. How has his experience benefited your growth as an artist?
IT: MahBrotha Shade! On the real, it's one of the biggest blessings I've had since moving to the Burgh. This man put me on to so much music, which opened up doors for me to walk through and learn from whatever was in it. Jazz, Soul, Dilla, Alternative Rock, I'm listening to music from other countries! (laughs) It's good to have him as a fellow group member but also as a mentor, because he'll keep it real with me. If I make a beat, and something isn't hittin' right, he'll tell me. If I spit a 16, and something can be done to strengthen it, he'll let me know.
RW: You’ll be releasing you new album, The Imani Flow, this summer. What goals have you set-out to accomplish with its release?
IT: Well, The Imani Flow will be my debut album. Shade's executive producing it, I'm producing the whole jawn with the exception of some fresh jams from Shade himself. The Imani Flow will actually be broken up into two parts; Part 1 entitled Steel City Yorker, and Part 2 entitled Quilts, Jazz & Fleamarkets. Part 1 drops this summer, Part 2 drops this fall. I hope to get my name out there as a producer and emcee that isn't on some minstrel tip. I'm not flossing. I'm not pushin' weight. I work a 9 to 5 just like most folks. I'm a bachelor in a world full of folks getting married and divorcing in the same day. I live an everyday life and wanna relate with the people on a personal and positive level. Make timeless music.
Idasa Tariq - Pittsburgh
Idasa Tariq - On Top of the World (from Say Cheese EP)
Idasa Tariq - Concrete Properties (from Say Cheese EP)
Shade Cobain's new album, Cobainish Remixes, will be available for free download, exclusively, right here on the Stilltown blog March 29, 2010.Soon after will be Cobainish Originals, featuring all original songs that were produced by Shade Cobain.
As a regular on the Pittsburgh hip-hop scene, I've been able to watch many local artists develop their craft right before my eyes. In recent years, no artist has shown more passion and progression than producer Shade Cobain. Aside from having a hand in the Shadow Lounge's Release Open Mic, and contributing to the Rhyme Calisthenics MC Competition, Shade is responsible for creating a soul-hop sound that has many local MC's chomping at the bit. Diggin', samplin', choppin', and equalizin' are only a few of the steps that go into Shade's production process. Stilltown had a chance to catch up with Shade and learn about his thoughts on sampling, his history as a music artist, and his plans for 2010.
Rory Webb: What do you believe is the artistic value of sampling in music?
Shade Cobain: It's just taking a raw piece a music and making it your own. I just love to find a groove with the right elements, which is instruments and the arrangement of those instruments. I just go in and chop the whole song and try to find a melody within the samples I've chopped. But the more original you sample the song, the more artistic I feel sampling becomes valuable. I gotta get me a beat video out, so I can be more about action than words...haha!!
RW: Can you describe the difference between a producer's beat being influenced by another producer as opposed to a producer biting another producer's work?
SC: The difference is originality!!! I feel that if you're influenced by an artist, you would want to who that artist was influenced by, instead of just copying their sound.
RW: As both an MC and producer, I would assume that you have dealt with both writer’s block and producer’s block at times. How have you been able to overcome these difficulties when they present themselves?
SC: To be honest with you fam, I'm still in writer's block!!! haha!! I better get out of it quick, because I got a solo album to do. But as for me getting to a beat block. I just leave music alone for a minute. I start playing Xbox360 or just watch movies for like a week. Then start diggin!! After I find something crazy, it all comes back and the next think you know, I got 4 beats done. Another way is to invite Thelonious Stretch to the lab. When me and him hook up it's frenzy. He just start rhyming and I have no choice but to make a beat. It's crazy sometimes fam!!!
RW: You're part of the Rhyme Calisthenics team, what can an emcee gain by being involved in the competition?
SC: An artist can learn his/her strengths and weaknesses at Rhyme Cal. It's built to make the emcee better and get them to learn all aspects of emceeing, it's not just about image.
RW: How has your involvement in the Release Open Mic helped you in your development as a musician?
SC: I remember coming in there just banging one drum kit. Throughout the years, I've learned drumming techniques from Daru Jones and Andrew Kirk. Melody arrangements from J. Armstead Brown, and stage presense. I'm just thinking about the beginning years... I was raw as ever!! But with all of that, I incorporate those things into my production. I got to tell you, the sound gets better and better.
RW: You recently joined forces with Idasa Tariq to form the group Mah Brotha. Being that you are both multi-talented artists, with skills in emceeing and producing, what should the people expect to hear in Mah Brotha's music?
SC: Mr. Tariq. That's my dude!! Ya'll going to hear some good music. We're patterning ourselves after EPMD, ATCQ, BlackStar, JayLib, Black Connection, and Apex, just to name a few. But it's also a learning experience. Labbin' with Idasa gets me to learn a whole lot of new school tricks, and he learns alot from me. You will hear appreciation for each other on both ends throughout the album. I cant wait for everybody to hear what we got cooked up!!
RW: What many fans are unaware of is that, in the past, you were a member of a variety of short-lived groups - Biani, Da Funk, HighLights, and Probable Qoz. Can you build on your history as a part of these crews?
SC: Well, Da Funk was the first group I was in, I was like 17. It was with my good homie Misfit, aka Dray Woods. He used to be in the studio at the Kingley Center in East Liberty. He would come home (Collins Ave./E. Liberty) and play his music. This dude would be like, "come up here and do a song." I went and never left a lab since. At that time Dray was going to college, and I didn't know what direction the group was going. So I hooked up with this fresh up-and-coming 412 group at the time called Biani. Biani was myself, Thelonious Stretch, TaQuiest, Infinite Tension, Snookie Da Brick, Shortee, and J-Flint. Everything was cool til the creative differences happened, then everybody just went their seperate ways. Well, not really, because we just dropped some cats, picked up a couple more, and became HighLights. At that time we did shows at Pitt, Club Laga, and Justin Strong's backyard. I really don't know what happened to the HighLights because, at that time, I left Pittsburgh and went to the Marines. After I came home from the Marines, TaQueist and I became Probable Qoz. There was a lot going for us, but I had a lot of baggage. I couldn't focus on music. I left it alone til 2006. At that time I hooked back up with TaQuiest to form Rotunda Muzic. Now here we are!!!
RW: What drove you back to the art of making music?
SC: To be honest with you, I felt incomplete. I know it sounds cliche, but it's the truth. Music was and is a part of my life. During those couple of years I would hear music and just hate on it. Then a part of me was like, "you're not doing it, so why you yap runnin'?" Within that month, I got back on the machines and never turned back. I'll tell you this much, IT WON'T HAPPEN AGAIN!! Music is a part of me!!!
RW: How have these experiences translated to your current aspirations as an artist?
SC: It taught me to keep going. Never give up!! It also made me learn not to make the same mistakes again.
RW: Your new album, Cobainish Remixes, will be available on March 29. Why did you decide to do a remix album?
SC: I've always wanted to remix songs. There's songs that make me say, "if I made the beat!" So I challenged myself. I was like, let me grab some of my favorite songs locally, and indusrty, and put my touch on it. The next thing I know I got a remix album.
RW: Can you describe production process of remixing a song?
SC: Well, I first try to find an acapella of the track I want to produce. Find that, then listen to the original to find the feel of the track. Then match the acapella up to a certain bpm and just build around the lyrics. I try to incorporate a whole new feel, different from the original. Give it my bounce!!
RW: Aside from the Cobainish Remixes project, what else do you have in store for the fans in 2010?
SC: I produced the whole Divine Seven's Life and Times of Dat Turner series. The first part will be out 4.12.09. I've done at least a third of Thelonious Stretch's Boom Bap. The MAHBROTHA dip, J. Armstead Brown's Fieldwork Remixes, Rhyme Cal mixtape, and my solo debut Euphoria Theory which should be out by September. I also have some tracks on deck from Jon Quest, GQ tha Teacha(Chicago), Beedie, Kid A, YD from Moola Gang, 41Duece, Davu(SF), Jasiri X, and hopefully Living Proofe. And that's what's already done or in the works...haha. I got a full plate for 2010!!!
Check out these remixes that will be featured on the album Cobainish Remixes. On March 29, 2010 the album will be available for free download, exclusively, right here on the Stilltown blog.
InI - "Fakin Jax" (Shade Cobain Remix)
Jon Quest - "Emcee University" (Shade Cobain Re-Remix)
Also, be sure to check back soon for Cobainish Originals, featuring all original tracks produced by Shade Cobain!
Jon Quest - "Emcee University," from the forthcoming album Cobainish Originals
Jon Quest, Beedie, and Divine Seven - "Shadow Loungin'," from the forthcoming album Cobainish Originals
Shade Cobain's new album, Cobainish Remixes, will be available for free download, exclusively, right here on the Stilltown blog March 29, 2010.Soon after will be Cobainish Originals, featuring all original songs that were produced by Shade Cobain.
APEX is a Pittsburgh rap duo that has been skyrocketing through the local hip-hop scene. Based on their rhyming and performance skills, it's evident that Aris and Pre-Sense have put in the time and effort required to develop one's craft. But these aren't your average here today, gone tomorrow MC's. Their hip-hop education dates back to the late 1980's, as it should, and their resumes show more than a decade of experience in destroying microphones.
Rory Webb: How were you introduced to hip-hop?
Aris: Believe it or not my mom influenced me very much with the music she listen to. She used to enjoy a lot of Rnb/Hip Hop infused music. I remember her listening to Michael Jackson, Will Smith, New Edition, Prince and others. My Dad was more into Billy Joel and Frank Sinatra type artists. All music has had some kind of impression on me though. I was also introduced to hip hop through Mtv and other sources of media I guess. The first Hip Hop albums I remember getting were Public Enemy - Fear of a Black Planet, Redman - Whut Thee Album, 3rd Base - The Cactus Album. and LL Cool J - Mama Said Knock You Out. Was a huge fan of those artist growing up among others.
Pre-Sense: I am four years younger than Aris, so when I was ten years old, he was fourteen. If you think about how much you grew in maturity and experience from the time you were ten years old to fourteen, it becomes a big age gap. Four years younger or older doesn’t mean much at the age we are now, but when you’re young, it really is a huge gap. I was the little kid who looked up to the older brother, or in this case, cousin, Aris. He was the one who really introduced me to a lot of hip-hop. Of course there was MTV and radio, which was totally awesome back then, but Aris would introduce me to so much more than media outlets ever did. And moreover, it was the experience of listening to it with your crew and watching the effect it had on everyone. I can remember listening to NWA, Public Enemy, DJ Jazzy Jeff & The Fresh Prince, and so many more, all of these were introduced to me by Aris, he always seemed to have all the cassettes and CD’s. He introduced a lot to me at an early age, some good, some bad. (haha)
RW: What inspired each of you to be an MC?
Aris: The culture itself…I loved the message, break dancing (although I was never good at it), the beats, the style, and I thought the artist were cool as hell! I could relate to some, not all, but some of the things they’d talk about more than any other genre. I just love the music…it’s what I grew up on. New Castle actually produced these Artists by the name of “Slo Motion”. I remember hearing them for the first time and seeing they had a legit CD printed up…they sounded pretty good. That also influenced me and made me understand that it was possible for us to do the same.
Pre-Sense: I think I just always had a want to be heard. I would listen to albums so thoroughly that I literally knew every word to every song. I would place myself in these artist shoes and really try to portray the effect that they were having on their fans. I was so taken in by the music, I felt like it defined me, it’s something that separated me from my other friends, I was the one who rapped. It was my passion, and like any passion, you try to put your passion into motion, so that’s what I did. Some people just listen to music, though I don’t have a word to describe it, but what I did with music was much more than just listen. I really dove in and sometimes envisioned myself being that artist and how the world would react to me, I glorified it. I wanted to be it, so that’s what I did.
RW: You’ve been doing live performances for about 12 years now. Can you talk about any particularly memorable shows that you were a part of?
Aris: For me…it was just starting out. I’m originally from New Castle (I currently reside in Ambridge, Pa) and in New Castle there was never much of a Hip Hop scene. There are Hip Hop artists but nowhere really for us to display our talents. Anyway, when we started out, we’d do shows where we were opening for rock cover bands. The Live Animals was the first group to let us open up for them. We performed at a venue called the BOMB SHELTER (no longer in business). We were playing for people who were older than us for the most part and not that much into what we were doing. Bikers and shit! But we grew and we got to hone our performing skills in the process.
Pre-Sense: There is nothing more memorable to me than what we are doing right now. These shows that we have been doing with all these artists, such as Common Wealth Family, Ayatollah Jaxx, Divine Seven, Verbs, Vaig, and the list goes on, it’s just awesome to me. To be a part of a movement and tear down these venues week after week, it’s just something I will never forget. It’s going to be such a memorable part of my life, because right now, I feel like we are all really making an impact, right now I could walk off stage and stand in the crowd as a fan and watch these other Pittsburgh artists and be a true fan, not just a fan “because,” but a true fan. We are in these venues week after week, sometimes day after day, in the light shows, fog machines, and huge sounds, it’s a great feeling. So right now, these are the most memorable shows I have been a part of. Pittsburgh is in the building, literally!
RW: During the 18 months between the releases of Face the Musik and Struggle City, what elements of your music did you strive to improve on most?
Aris: Me personally…everything. I just feel that you can never stop improving as an individual, or at your craft, so I’m always trying to better myself in some way. I always feel I can improve my writing, be more lyrical, my cadence, delivery, and at the same time give the people, our fans, something they can relate to or enjoy at any point in time in their lives.
Pre-Sense: EVERYTHING, from the shows, the beats, the lyrics, the content, the arrangement, the vocals, the hustle, so on and so on. I feel like we did a pretty good job at it too. I was really trying to improve on the way I put words together. Throughout the “Face The Musik” album, I did 99% of the writing for that album in my head. But with this “Struggle City” album I actually sat down to pen these verses except in the earlier stages of recording for this album, so I’d say 3 to 4 songs were written in my head, without paper, but I’m really enjoying the actual writing as of late. The thing I would like to work on most is trying to get out everything I feel in my heart into a song, I do a good job of it, but when I sit down and listen to some of these great artists, they seem to do it with so much ease. I’m getting there, but I think that’s my biggest weakness, maybe because I have so much in my heart and in my head, that it gets tough to sift through all these thoughts and feelings, I’m getting there though, you watch and listen to our next project!
RW: Your producer of choice has been Czientist, of Germany. How has the partnership developed since the first collaboration?
Aris: Well…I located Czi through Myspace and he was a cool kat right out the gate. He’s just good people. He’s always had our backs 100%. Our relationship I guess has developed as much as it can when your conversation consists of nothing but text but we’d obviously love to meet him in person someday and just throw back some Beck‘s, let him try some Iron City and shoot the shit. I do think we’ve all improved in some way or another as artists. Czientist is an incredible, inspiring producer and we hope to continue working with him for years to come.
Pre-Sense: Czientist, Czientist, Czientist, two words…ill producer! There aren’t too many producers that make me want to write, not just want to write, but need to write. Some of Czientists production, when I listen to it, I need to write. Aside from production, he is an awesome dude. Though we haven’t met face to face yet, we talk through this worldwide connection called the internet all the time. He has become a friend, he does a lot to help us out too. You can get beats from anywhere, but I know that Czientist actually believes in us and will do his best to promote us. Aris actually found Czientist on MySpace, he digs hard to find great producers and great ways to get our music out there, so props to Aris, his hustle is extremely intense. So from the first song that we recorded on a Czientist beat, which I believe it was “The City,” it has transformed into a great friendship and respect for each others talents.
RW: In the past, hip-hop duo’s have had commercial success – EPMD, Mobb Deep, OutKast, UGK. Why do you think groups are such a rarity in mainstream hip-hop today?
Aris: I think it’s hard to maintain any kind of a group relationship. Egos get in the way, differences of opinion, money, what have you. People also want to explore themselves and maybe take their careers in a different direction than the other individual. I’m not sure if mainstream, underground, or whatever the case, plays any kind of direct role in why the group entity is such a rarity. By the way, I'm a huge fan of all the artists you mentioned. They inspire us every day to do what we do.
Pre-Sense: I miss groups. Some of my favorite artists were groups. Mobb Deep, A Tribe Called Quest, Wu-Tang Clan, The Roots, Outkast I just miss it. I don’t know if it has to do with greed or not, or maybe the struggle of working with a group, because it can get tough when everybody has different ideas and directions they want to head. But nobody seems to be in groups anymore. I think it’s a great thing when people can work together. Apex is not without its struggles and fights, Aris has ideas, and I may have different, sometimes his ideas are better, sometimes mine may be better. Whatever the case is, we always seem to work it out and get out what needs to be out. I always hear in my head what I want to hear before a song is recorded, Aris may hear something different. It frustrates us sometimes, but at the end of the day, I think it adds a lot to our music. I couldn’t imagine doing this by myself, it wouldn’t be nearly as fun. I encourage groups. Bring back the groups! (I’m going to listen to Mobb Deeps “Murda Musik” now.)
Real quick, I just wanna say thanks to you for doing what you’re doing for the Pittsburgh Hip Hop scene. Its greatly appreciated. We also wanna thank everyone, fans, friends, and family, who’ve been supporting us throughout the years and everyone who continues to support this hip hop movement. Thanks to all the artists who are part of this movement for contributing your art and inspiring us to move forward and chase our dream. We’re extremely grateful to all of you.
Struggle City is now available on iTunes and Amazon.com
Their debut album, Face the Musik, can also be found on iTunes or Amazon.com
APEX featuring Ayatollah Jaxx - "Bullet In My Heart," from the album Face the Musik
APEX - "Get Ready," from the album Struggle City
APEX featuring Beedie & Mac Miller - "Going Underground, from the album Struggle City
Few emcees in Pittsburgh have the ambition shown by Divine Seven. Sev's extensive resume has earned him the credibility and respect that many artists strive for. In 2009, this multi-faceted MC released two collaborative albums and performed at more than 50 live shows. However, before growing accustomed to the spotlight, Sev had more than a decade of experience in creative writing.
Rory Webb: Prior to being one of the most recognized MC’s in Pittsburgh, Divine Seven had notebooks full of poetry. So let’s take it back to the first poem put to paper. What inspired you to begin writing?
Divine Seven: Haha! First and foremost, peace and thanks to you for the interview, good brutha! It’s funny you should ask that, though. I began writing seriously in 1997. It’s weird how it happened though because I actually awoke from my sleep in the middle of the night and just started writing. I wrote two poems that night. The first was entitled ‘I Thank Thee’. It was an ode to the Creator and I was thanking him for the gift and for guiding me through certain situations. I was impressed considering that I never seriously used that form of art as expression.
Life is what inspired me though. I came from a pretty arduous background and experienced a lot of things early in life. Throughout all of that, I was always inspired by music. I loved how an artist could arrange a song, exercise the power of speech, and really move people.
RW: Was your poetry something that you shared or kept private?
DS: In the beginning, I felt a little intrepidation about sharing some of it because it was so personal, ya know? But as time went on I felt more compelled to let it breathe because 1) I thought it was a great way to express myself creatively and 2) I was good at it! (laughs) It’s hard for a creative person to not want to express it with an intended ear, fa’real.
So yeah, I used to share it with close friends and associates. Around that time I was involved in a poetry circle (laughs) and learned how to do spoken word/freestyle. Once I did a joint for an open mic back then, I was hooked. I knew then that I was working with something.
RW: Will you explain the similarities and differences between writing lyrics to a song and writing poetry? And how has your experience in writing poetry contributed to your talent in writing songs?
DS: I used to always say that emceeing is a lot easier than writing poetry because the art and precision with words were different. With poetry, I thought that it was more meticulous because it relied solely on words. I learned to be very conceptual and creative there. I found emceeing to be easier because your personality, charisma, etc. can come out there and really connect along with the words. The impact is different.
In retrospect, I only thought writing poetry was more intricate because I haven’t yet grown into my craft.
RW: In the past year, you’ve managed to release various music projects, both as a solo artist and as part of a team. The Black Connection album had you and fellow MC Ayatollah Jaxx trading verses, while the Seven Wonders EP was fully-produced by BusCrates 16-Bit Ensemble. Can you talk about the significance of networking and collaborating with other artists in the city?
DS: It’s very important for various reasons. It’s essential to network and build with your peers. There is a very talented pool of people here. But even beyond that, it’s important to show the city and the global hip hop community that Pittsburgh artists can collaborate and contribute to each other’s successes. People ARE checking for us, ya know? We have a reputation here in the ‘Burgh of having that ‘crab in the barrel’ mentality though, ya dig?
RW: You’ve also toured an assortment of venues in the city of Pittsburgh. What goals have you set for 2010 to maintain your progression?
DS: Where do we begin? (laughs) As far as shows go, I don’t have a particular goal to attain, honestly. The shows usually just come at a steady pace. I intend to get paid for a lot more shows this year and not just do shows because they’re there. Since I came on the scene in the bottom of ’07, I’ve done over 140 shows in and outside of PA, you dig? Maybe rock bigger venues… I don’t wanna overextend my brand without adequate compensation (mo’ money).
I am, however, going to be more visible and interactive with the fans and supporters. Be it promotional campaigns, radio spots, interviews, collabs, mixtapes, whenever, wherever, whatever (Maxwell voice). (laughs)
RW: So you’ve been working on the new album, Introspect… The LP. Who have you been collaborating with and when will the people be given the opportunity to hear the album?
DS: For Introspect, I’ve worked solely with Pittsburgh talent… L. King, Steez Xtreme, J. Basement, Tabu Mahogany, and Jon Kwest. Plus my DNA fam, Nate Netro and Ayeques. I have tons of local production talent on there as well. J-Pad The Juggernaut, James Moore, Shade Cobain, Freeze, and many more have contributed to the soundscape.
The album is 85% done and should be available by the end of February, early March at latest. I’m looking to get this and all future releases in stores, too.
RW: In your opinion, what are the ingredients for a classic Divine Seven album? What have you done to strive for it?
DS: Hmmm… You would need pounds of creativity, a pinch of passion, a dash of lyricism, concepts, stories, and faith with staying in your own skin… I’ll leave it there on that… The rest of the game is to be sold.
I constantly strive for it though; I wanna make timeless music, man. I’m not comfortable with being put in boxes artistically, so when I release a project, I try to put my all into it and make sure it is distinct from my previous work. I wanna show the growth in my music. Music is life!
RW: Final comments?
DS: Most def… Be sure to cop Introspect... The LP at the top of March, coming to a store and website near you. Be on the lookout for the “Shadow Loungin’” video. Also, stay tuned for the free downloadable EP, LISTEN!!!(The DAT Turner Files) dropping on 4.12.10, as well as The Life and Times of DAT Turner... in the summer (both produced entirely by Shade Cobain). And last but not least, be on the lookout for the Seventh Entity mixtape to close the year out.
Shout outs to anyone reading this down to the letter. Peace to you as well, Rory! People like yourself help the artists on the scene tremendously with what we’re doing here, much love for that. Peace and thank you to all of my supporters and anyone who has contributed to my success. You all inspire me. Also, to my musical peers (there’s too many of y’all to name). You know who you are though. To all the college radio stations showing love, www.reppghhiphop.com and the movements I move with… STEEL CITY, LET’S GET IT… GYEAH!!!
Divine Seven - "Sometimes," from the upcoming album Introspect
Divine Seven featuring Tabu Mahogany - "Hold On," from the upcoming album Introspect
Divine Seven & Ayatollah Jaxx as Black Connection - "Happiness"
Divine Seven & BusCrates - "Across the Waters," from the album Seven Wonders
Stilltown recently had the time to catch up with hip-hop activist, and one of Pittsburgh's most gifted musicians, Armstead Brown. Whether it be as part of the band at the weekly Release Open Mic, or as a music producer who supplies the heat, Brown has been an integral player in the progression of Pittsburgh hip-hop. His most notable contribution has been to Rhyme Calisthenics, the Official MC Competition. The various categories of the competition demands an MC to add new elements to their artillery. After what many considered to be a disappointing final battle in Rhyme Cal 8, the team has decided make some crucial changes to the competition.
Rory Webb: First and foremost, what is your opinion of the end result, a tie between MC’s Real Deal and Mista Scrap, in Rhyme Cal 8?
Armstead Brown: I realize from an audience’s perspective you always want there to be a winner and a loser so I realize it may not be the freshest end result for some. But I have to commend Real Deal and Mista Scrap for agreeing to split the grand prize and demonstrate that kind sportsmanship, especially for 2 MC’s who, as far as I know, have never worked together or even met. I don’t mind there being an asterisk next to Rhyme Cal 8 when that asterisk is a reminder that there’s room for more than one winner in this city. Having said that let me put this out there, THERE WILL BE NO MORE TIES IN RHYME CALISTHENICS.
RW: What’s your opinion on subject matter and/or sensitivity in regards to an MC battle?
AB: My opinion is that battling comes from a long tradition of signifying, jazz cutting contests, snaps, momma jokes and so on – so it’s the continuation of a part of our culture. Battles are also a celebration of free speech and a fat middle finger to the notion of censorship. So I don’t have any problems with battles being no holds barred and anything goes just as long as the primary intent is to destroy your opponent verbally. Battling, at its best, is a skillful art form that has a number of components to it – punchlines, metaphors, wordplay, comedic timing, hyperbole. But there is another component to battling – the creative and clever use of stereotypes. Racial and gender stereotypes have always been among the tools used to emasculate and humiliate your opponent. Having said that I also believe that battling still must be about originality, wit and cleverness. And in Rhyme Calisthenics we hold our battle round to the same standards as all the rounds that precede it. You can’t get to the battle round by calling someone a faggot, a bitch or an Ethiopian. So I don’t think anyone who’s relies on these phrases in a battle should expect to win Rhyme Cal or even a regular battle for that matter. I do think that you can be creative with stereotypes, and I think the more creative you are with stereotypes the more accepting people are when you go below the belt – because they understand that the stereotype is just a vehicle for demonstrating one’s mastery of the craft. So to relate this to what happened at Rhyme Cal 8, I think some folks including the judges felt that Deal and Scrap’s battle verses weren’t fresh enough, weren’t original enough to justify all the racial lines and gay references. And I tend to agree. But in Deal and Scrap’s defense I think they were both just kinda burned out by the end of the night, both of them are way better than that last round – their reputations will tell you so. I found the final battle disappointing but not offensive.
RW: How do you plan to prevent a similar situation from recurring?
AB: The simple answer is to say that we’ll have an alternate judge on hand in the event that one of our judges walks out at any time during the competition. We have also developed some contingency plans in the event of a tie. For instance, if somehow there is a tie in overtime of the final round then the winner will be the MC with the most cumulative points from all 4 rounds.
RW: Will there be any other changes made to the Rhyme Cal schematics?
AB: YES! Stretch and I didn’t create this competition to find out who the best battlers are in Pittsburgh. We created this competition to bring the fun back into hip-hop, to bring back the improvisation, the experimentation and originality. We created this competition to encourage MC’s to think and flow outside the box and then use that experience in everything else that they create. So with that said I’m about to shock everyone and say that we’ve decided to replace the battle with a different kind of final round. That’s right you heard correct – no more battle round. Now, we do realize that battling is a part of hip-hop so we have incorporated battle into the game in other ways that I think will really satisfy the crowd’s need to see MC’s get at each other from time to time. And “Comp Killer” will still be on the wheel – and that’s always fun to watch. I’m not gonna say what the new final round will be – y’all will just have to come to Rhyme Cal 9 to find out. And there’ll be a few new challenges on the wheel as well.
RW: When the idea for an MC competition came about, what were your initial short-term and long-term goals?
AB: When we first created Rhyme Cal all we had were short term goals. We wanted to create an event that allowed MC’s to work on their craft, not just a showcase or an open mic, but an event that had various exercises for MC’s to work on their stage presence, their freestyles, their vocabulary, etc. That was the goal – to bring MC’s together and have them feed off each other’s creativity and improvisation – something that cats just did naturally in the golden days of hip-hop. Looking back I’m surprised we stuck with it because the first 2 events were not successful at all. With Rhyme Cal 3 I think people started to understand what we were trying to do, we were finally able to recruit enough MC’s and attract an audience. That’s when we started thinking long-term about how to make this a staple within the scene. So far we’ve done 8 competitions, 1 All-Star Competition and 1 College Team Competition. We’ve had over 55 MC’s from the region compete and most recently we created a monthly open mic, The Boom Bap Effect, for MC’s and producers. And then we’ve got Rhyme Cal 9 coming in April and then the release of the Rhyme Cal mixtape shortly after that.
RW: What are your expectations for a Rhyme Cal competitor? Are they different for a first-time competitor, as opposed to an experienced Rhyme Cal vet?
AB: One of the things we expect competitors to do is come prepared. There’s a saying that goes “Opportunity favors the prepared mind.” If you’re going to play a football game you stretch your muscles before you play. The same goes for our competition – those who work on their punchlines and topics beforehand tend to perform better. That’s why we called it Rhyme Calisthenics – because it’s all about the exercises you do to make yourself a better MC. We do have different expectations for veterans and first-time competitors. It’s the job of the veterans to set the bar and show the first-time competitors what a well-rounded MC looks like. We also want the veterans to really showcase their skills and make the competition fun for the audience. And for the first-time competitors – we expect them to show up with an open mind. We expect them to watch the veterans and really listen to the judges’ feedback. We expect these things of them because we want them to come back and do better the next time.
RW: Can you talk about a particular MC or two that has emerged and developed in the competition?
AB: Well, Zone was an interesting competitor, he definitely came out of nowhere and surprised all of us. And then there’s Mac Miller who played in 4 competitions and has really been able to use Rhyme Cal as a platform for demonstrating his skills and widening his fan base. These 2 cats already had a strong skill-set so Rhyme Cal was really just an opportunity to develop their audience and show people they could rock the stage. Then there are cats like Jonny Quest. Jonny has competed three times and has certainly improved as a competitor but more important than that he has really taken the experience and infused it into his lyrics and his studio work. In other words, his Rhyme Cal experience has helped him develop as an MC and for me that’s the most important outcome. And that’s part of the reason why you see Jonny developing a good buzz right now, he’s got a good promotional game and has the lyrics to back it up.
RW: You mentioned that you’ve been working on a Rhyme Cal mixtape. How will the music reflect the competition?
AB: Well, the mixtape is connected to the competition in a few ways. First, most of the MC’s on the mixtape are cats who have played in the competition; there are a few exceptions however. Second, the production team for the mixtape is Shade Cobain, DJ Huggy, DJ Vex and myself – the same team that holds down the events. Third, and most importantly, the mixtape is going to reflect the same topics and challenges that exist on our wheel. We want people to understand that the topics on the wheel aren’t just a bunch or random challenges we came up with – they are real hip-hop based challenges – they are skills that actually apply to real rap music. Being able to tell a story (Storytelling), being able to spit a message (The Message), being able to spit 16 bars on someone else’s song (Cameo), being able to freestyle (Crowd Topics, Grab Bag) – these are real rap skills that are worth developing. What better way to work on these skills than to create a mixtape? And it’s exciting to see cats step up to the plate and really grind at coming up with some fresh verses. It’s also exciting to see work on something that involves a lot of MC’s throughout the scene. I think this mixtape is gonna be an important moment in Pittsburgh hip-hop. No matter what it’s gonna be a fresh project.
RW: Aside from Rhyme Cal, you are an active musician in the city of Pittsburgh. To the producers of the world, can you explain the importance of being able to read and understand music?
AB: Well first let me say that there’s something to be said about hip-hop – it’s one of the genres of music that has created a community of producers who don’t know how to read music but who are extremely talented, and in every sense of the word they are musicians. I think that’s where a lot of the soul of hip-hop comes from – it comes from cats who cop a beat machine or a sampler and just start banging away until they have something fresh. In hip-hop it’s more important to have a good ear and a good set of smacking drum samples than it is to be able to read music. But in the last decade hip-hop has become much more keyboard based. There’s a lot more synthesized sounds in hip-hop. And a lot of producers, even those who still use samples, also use keyboards to add synths, basslines and piano parts to their tracks. So for that reason it becomes a real asset to be able to understand some basic music theory. It expands your vocabulary of musical ideas. It also allows you to collaborate with instrumentalists like violinists, horn players, and bass players. If you understand music you can speak their language and be able to explain to them the type of melody or chord progression you’re looking for. If you look at some of the real successful producers who have emerged in the last decade – Kanye West, Illmind, Black Milk, they all have a real strong understanding of the basics even though none of them actually play an instrument or read music. And then there’s a cat like Scott Storch who’s a beast on the piano – one of the reasons why he dominated the game for a few years. In fact if you look at Dr. Dre’s entire production team, it’s a whole gang of dope hip-hop bassists, keyboardists, and guitar players. Being able to make beats and understand music allows you to cross-over into R&B production – and being able to do both really well puts you in a position to make a lot of money.
RW: In December of 2007, you released the album Fieldwork, which was locally acclaimed. Do you have any current or future marketing plans to help expand your listening audience?
AB: A lot folks may not realize but I’ve sold over 500 Fieldwork albums and that’s not including digital downloads. That’s no record or anything, but I’m just saying it’s out there – and it’s still available at 720 Records and on itunes if I can give a quick plug. I also have some things in the works for re-marketing Fieldwork with some new twists. And in addition to the Rhyme Cal mixtape I’m also working on a new project – no release date yet but I’ll keep all y’all posted.
Armstead Brown - "Fire," from the album Fieldwork
Armstead Brown featuring Subconscious aka Subcon - "Fieldwork," from the album Fieldwork
In the '90s, it's no secret that there was a greater prominence of the cliques, posses, crews, and clans. It was an era in which creative mind-blowing lyrics were the sole option for an artist to earn the props and respect of their peers. That said, what's better than having several lyricists spitting darts in 8 or 16 bar verses, back-to-back-to-back-to... you get the point. 
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