Hezekiah - Under Appreciated, Under Promoted

The music industry is a treacherous place. Littered with pot holes. And pit falls. And Fight Night-type power punches. Polluted with false promises and contractual choke-holds. Talent and temperament aren’t enough to successfully navigate such a terrible terra belle. Luck and opportunity must be in the atmosphere. A keen instinct must be in the holster. Patience is a must. Be bold and mighty forces will come to your aid...hopefully. And should an artist improbably bob and weave all the way to the promised land - that place where financial security and artistic integrity unite like Wonder Twins - then a new battle begins: the battle to stay relevant; The Battle To Not Fall Off.

Inevitably, some of the most talented artists become disenchanted with The Game and step away before entering their initials. Its a common theme down the journey to success. A dream deterred. A guaranteed hit unheard. Some passengers decide on a different course, a different land of promise. Only leaving behind an under-heard catalogue and a handful of longing fans. Its unfortunate. Or as Hezekiah stated after his incendiary performance on Night 2 of the Rock The Block Fest, “its a shame.”

In perhaps one of his last interviews as a performing artist - producer, singer, guirtar maestro, Emcee - Hezekiah opines on a frustrating lack of progression in the music industry, getting chased by the Ku Klux Klan, Conscious Porn, and hanging up the mic for good. Microphone check, check, check, check...

TCM: Right off the bat, you are a hella talented individual. You are all aspects of the sound you put out. You produce music. You emcee. You sing. You play the guitar. Is there an aspect that is more difficult from a creative standpoint when putting everything together?

Hezekiah: The only time its difficult is, usually when working with other artists. Sometimes. Sometimes its like a battle. You know? Its not a battle. Its more like the compromising thing. And you know, sometimes you just go through that working with producers and artists. And you know, just doing things with other artists and sometimes that becomes difficult. But um, from a producers standpoint thats the only thing. But the outcome is always good because they teach me as well as me teaching them. So I can use certain things that they show me in that compromise. Sometimes I learn lessons, so I can use them in my projects.

TCM: From your point of view, being that you have a diverse interest in music all together - is there something that you try to put out there thats not necessarily received the same way from a producers standpoint? Because you shop beats - you work with G-Unit, for example. You work with artists all over. But is there something that you feel is missing from what you’re hearing and that you try to provide that is not received?

Hezekiah: Yeah. Progression. Progression. Every time I shop to some people like G-Unit, I got a slew of commercial beats. See, I do all kinds of production from like soul stuff to like street stuff. And um, every time I shop beats, I throw like seven beats in - and then like two of the beats would be like progressive beats. You know what I’m sayin? Some old weirdo shit, and I just try to slip it in there. And, um, I think that, um, the progression in Hip Hop - I feel like Hip Hop isn’t growing and I just want to add to it instead of sustaining it and being content with what we do. You should never be content with your art because then you will eventually fall off. And you will be...pigeon held.

TCM: I think one of the things that stands out about you, at least from your creative influences, is you’ll site UTFO at the same time you’ll site Kool G Rap. And then you’ll site country music. So what’s your favorite country music song?

Hezekiah: Um...um...um...Willie Nelson got that song called “Country Boy Will Survive”!*** Yeah, thats my jawn, yo! [starts singing] “We say grace and we say ma’am / if you ain’t into that we don’t give a damn.” Its like country got some hard lyrics, you know what I’m sayin? So, there it is yo...

TCM: But at the same time, country music is real story driven. You tell a lot of vivid tales in your music as well.

Hezekiah: Thats from my father, man. My fathers like straight from Kentucky - Huddy, Kentucky. And like, I was raised on like Blue Grass, dog. Yeah.

TCM: Being from Delaware, you don’t hear Delaware rep’d too hard on the Hip Hop landscape. How did your upbringing influence your music? We know you’re diverse [musically], all over the spectrum - but did Delaware have a specific influence?

Hezekiah: Well my mom was from...well my family is from Chester, Pennsylvania. Which is like, I was born in William Penn Projects in Chester, Pennsylvania. So I’m a project kid up until the age of like 14-15. Then my dad, you know, got a promotion then moved us to the suburbs in New Castle, Delaware. So...and my family was like real musical. You know what I mean? So, me moving to Delaware balanced me out, you know what I mean? I always had like, in the household be an individual and don’t follow other people. But, being in Delaware balanced me out. It made me less of a hood kid, more cultured. And more accepting of other cultures, you know what I’m saying? So, yeah man, being in Delaware really leveled me out and kind of humbled me at the same time. It really, like, you know what I’m saying, made me appreciate other people. You know what I mean? Like, even from the racist rednecks. Just how to deal with the extreme racism. You know what I’m saying? My next door neighbor was like a KKK member, you know what I mean? Like, stuff like that. Just...it really, like it was a crash course in like...life.

TCM: Thats interesting, though. Did you have any run ins with the redneck neighbors?

Hezekiah: Yeah, I was chased by the Klan like two times.

TCM: Word?

Hezekiah: Yeah. Before our development was developed, it was next to a farm named Quiggley’s Farm. It was farm land and woods...

TCM: That sounds like a KKK name - Quiggley’s Farm.

Hezekiah: Exactly. Quiggley’s Farm. And, you know what I’m saying, I got chased through the woods. And that made me less like...ignorant. Because I watch a lot of black comedy you can say - I’m rambling on - I watch a lot black comedy. Shit like this got erased from my brain and shit. Like, black comedians would say “look at white people in scary movies, they always running through the woods and falling and shit” you know what I’m saying? But I’m like “black people you always running in the city, the ground is flat! I ran in the woods at night before. The ground is not flat! Theres dips and shit. And trees...you gonna fall!” I fell every couple of steps running from the Klan! I don’t even know how I got away. And by the time I got home, I was covered with mud. So, like being in Delaware put a lot of bullshit out of the way I think.

TCM: That puts a lot of horror flicks in perspective...

Hezekiah: That shit is real! That shit is real, yo! The ground is not flat! [Laughs]

TCM: I’m from South Carolina, I relate to that shit.

Hezekiah: You know! [Laughs]

TCM: Yo, so you got a line - I want to quote you real quick - “So underground / under appreciated / under promoted.” And I look at that line specifically because when it comes to new artists, it seems like the most difficult part is gaining that respect as an artist and the fact that your music is profitable - from an artist stand point.

Hezekiah: Nah, nah, dead real. And you gotta...and convincing labels or whoever, the investor to invest money into you - because it takes money to make money. So you gotta show them that you’re profitable. And I swear to God I never got to prove that to a label. Its a shame. Like, the deal with Rawkus was like, a mess because, like, they didn’t follow through on what they promised they was going to do. So, you know, I’m not bitter or nothing. Its just is what it was and I am where I am now, you know. But...

TCM: Thats interesting because in the Art of Rhyme interview you did in 2007 you were talking about the decision between going to G-Unit and they weren’t really seeing the vision - [but instead] going with Rawkus because they guaranteed a 2007 release. Are you jaded at all by the label game or, how do you feel?

Hezekiah: Nah, nah, I’m really...disenchanted. You know what I’m saying? The album I’m recording now is my last album. I don’t even want to be an artist no more.

TCM: Wowwww.

Hezekiah: Really. Dead real.

TCM: So this is like your retirement, your farewell tour.

Hezekiah: [Who] I’m saying bye to, like 5 people?? You know what I’m saying? But I’m like out man. I’m just going to be behind the scenes producing. And thats it. As an artist I’m done. I’m tired man.

TCM: Wow. Thats crazy.

Hezekiah: Yeah, real talk. I tried, man. I swung...I swung with my best punches, best combinations. This album right here, I’m just on some new wild out shit for the new album. Like, I don’t give a fuck on this new album, you know what I’m saying. But its a quality album - I got Nottz on the production, Oddisee, myself - and thats it. Eric Roberson’s on it, Raheem Devaughn, Cody Chestnutt, my homegirl TK Wonder, she’s here right now, she’s on the album.

TCM: Whats the title?

Hezekiah: Conscious Porn.

TCM: Conscious Porn? Okay, okay. I like that.

Hezekiah: So its going to be a brand...

TCM: Like Me So Horny...

Hezekiah: Like Me So Horny, right! [Laughs] I mean, I’ve always been that dude, like you know what I’m saying. I’ve always been conscious, but I’ll say some wild shit on the other side. Just real...its not really...um...what do you call it...contradictory. Its just real shit. Everybody’s like...if you say your one thing, you’re lying. I’d rather be real.

TCM: I think at the same time too, contradiction relates to people. I think everyone has an inherent contradiction in the way they live their lives - “respect your mother”, “fuck the girl” you know what I mean?

Hezekiah: Right, right, right...

TCM: But being that you’re also from Philly, and I think Philly has its own distinct sound - obviously has its own distinct sound - but its an interesting paradigm when you have neo soul basically birthed out of Philly but then have some of the grittiest Emcees that come out of Philly at the same time. And it all meshes together and everyone seems to work together. So how do you feel about Philly Hip Hop?

Hezekiah: Its all around. Like, I mean, not only did the soul movement happen in Philly; not only do they got strong street rappers like Gilly, and Freeway, Beans; the Hipster movement started in Philly - Diplo, MIA, all of them...

TCM: Santogold.

Hezekiah: Yeah, she’s born and raised in Philly, you know what I’m saying? The whole Hipster movement came from Philly. So...and everybody interacts with each other. I love it, man. You’ll see Freeway performing at a Hipster party. A lot! So...everybody interacts with each other.

TCM: Speaking of Freeway, is he pulling you on tonight? Yall got tracks together...

Hezekiah: I have no idea. I’m like ‘where is this dude at???‘ We’re supposed to do that. We got two tracks together.

TCM: You know what though, tonight’s crowd could be better. But I saw an article in XXL with Freeway rocking to like 17 people in Montana or Wyoming or someplace. So, you know, hopefully he’ll show up.

[Editors Note] Philadelphia Freeway never showed up to the Rock The Block Fest. No specific reason was given by the promoters.

*** “A Country Boy Can Survive” was written and performed by Hank Williams Jr.

Aren't You Adrien Brody? - NSR Interview

“She said, ‘Aren’t you Adrien Brody?’ / I get it all the time except he’s more boney.”

NSR belongs on stage. His natural charisma and ability to connect with an audience is apparent as soon as he steps into the spotlight. Heads gravitate towards the Upper Westside Emcee’s witty word play and earnest showmanship. I mean, anyone who can rock the mic rockin‘ boat shoes and calf-cuffed jeans and not get Sandman’d off Apollo style is doing something right. Right? Thats the thing about Hip Hop - there’s room for everyone. Well, anyone that comes spit game tight.

We caught up with NSR following his crowd-turning performance at the Rock Block Fest. Read on as we discussed witty word play, Asher Roth, and of course, wearing boat shoes!

TCM: The-Quotable.com here with NSR. How you feeling?

NSR: Yo, I’m feeling blessed to just rock a huge stage with Styles P. I’m fucking exhausted. I feel great, man. You know, it was uh, its just a blessing for me to be able to get this platform to showcase shit. And this is a sound, this is what I’ve been doing thats kind of been hovering on the low, and its just great to be able to put it out there. And if people are receptive to it, thats amazing. You know what I mean, if not, its all good. I’m just happy to be here, man. I’m blessed. I’m blessed to have you come up and want to hear from me. You know what I mean? Honestly. Thats how I feel.

TCM: And honestly, I didn’t know what to expect from your show but you had heads knocking throughout. [That] “Adrien Brody” opening - you put all the bullshit on the table immediately [before it could be brought up by others] - where did that song come from?

NSR: It came from...honestly, it came from hearing people calling me Adrien Brody constantly. Like, I would go out, and it would be like 3 or 4 times like “oh you know who you look like?’ ‘Yeah. Adrien Brody.” But there was the one night - my producer Turns lives in Boston, and I was in Boston - and I heard it like 4 times in a night while I was there. And it was like the last straw. I was chilling in his crib and this girl came over and she was like ‘you know who you look like?‘ And before she finished the sentence, I ran into my man’s room, we got on the MPC, and we went in that night. And we made the beat, wrote the song that night, recorded it the next morning. And then that was it. It started as a joke, honestly. It started just as like a fun song. I can’t even say it was a joke, it just started as a fun song, you know? And it turned into, people were really receptive to it and feeling it. You know what I mean? It was weird. But at the same time like - and I hate to categorize it as a joke because its not - but its almost commentary on that aspect, that social dynamic. Like people are like, all the time, just in regular discourse, like ‘yo, you remind me of‘ or ‘yo, you look like‘ or, etcetera. I’m sure you’ve got it before. I’m sure everyones gotten ‘oh, you look like this person...’ celebrity or otherwise. And in school I got it so much I gotta speak on it.

TCM: Now, one of the lines on there was - “if I really look like Adrien Brody, I’ll play him on Broadway and win a Tony.” It was witty. The whole track was packed with clever witticism. You had a lot of clever rhymes in there.

NSR: Thank you man.

TCM: So what obstacles do you see ahead of you? And the comparisons are - like Asher Roth is out now and he plays a lot off witticism. How do you plan to separate yourself?

NSR: For sure. Like I said in one of my jams, “Know I Couldn’t”, I mean, I feel like I’m a...sometimes I’m a funny dude. I like to take humor in a lot of things. And I also like just to talk about shit that I know about. And I feel like thats one of the most amazing things about Hip Hop - that the wackness and the fake shit will get weeded out regardless. And the real shit...Thats why - and I hate to bring [up] Asher. Asher’s whatever, but Asher has his lane. Hip Hop has been in the suburbs for years and they have a spokesman now. And he has cosigns from Beanie Siegel, Ludacris, etcetera, all these big people. Because I think they can sense that genuineness and that authenticity. But Asher aside, I grew up on the Upper Westside of Manhattan. I went to a New York City public school. I grew around Hip Hop. I grew up around Nirvana. I grew up around Pearl Jam. Um, so, in terms of my game plan, I just, you know, I just try to make fun music, man. Music is about having fun to me. I go up on stage [and] I have the time of my life, man. And I think there are a lot of people that take themselves too seriously. Especially as a white Emcee. You have to know as a white Emcee that you’re entering into a black art form. You have to get that through your head, truthfully. And I feel like I have fun with my music and people are receptive to it, you know what I mean? And not to say that shit to joke. I talk about politics. I talk about that girl and guy at a bar. You know what I mean? I talk about shits thats in my life. I like to read the New York Times. I like to have sex with girls...

TCM: You like to wear boat shoes.

NSR: I like to wear boat shoes, you know! I talk about what I want to talk about. Yeah, and its funny, if we can make good songs and the people are happy and people have fun - if people come to the show and they’re fucking smiling and having fun - thats what its about. I’m good with that. I’m content with that.

TCM: Is there anything you want to say to Quotable Nation?

NSR: I have an EP coming September 1st. Its called the Darling Limited. Its a playoff the Darjeeling Limited the Wes Anderson/Adrien Brody movie which is one of my favorite movies. And essentially what this is is a diverse/serious project that I put out and I almost see it as my darling, as my baby. I mean this has been like a year in the works. At the same time its a limited representation of what I’m doing and I’m already looking forward to the next project. So thats the title of the EP. Its produce exclusively by Turbz (my DJ tonight). And its available for free download at IamNSR.com. For free. September 1st. The Darling Limited. Please man, download it. Tell me you hate it. Tell me you like it. Hopefully you’ll respect it.

Hit NSR at:

iamnsr.com

twitter.com/iamnsr

sonicbids.com/iamnsr

Rock The Block Fest - Night One

August 6, 2009. Southpaw Music and Entertainment. Park Slope. Brooklyn.

Its 9:12pm and there are 4 people in line outside of Southpaw - a dreadlocked cat rockin’ a white T and Yankee fitted, two youngins splitting a Newport and a mini freestyle session only audible to those within arms reach, and yours truly, The Company Man. The weather couldn’t be better - eighty-three degrees, not too humid, not a cloud in the sky - exactly what you’d want for an early August evening. “Doors: 9PM” read the flyer. They’re 12 minutes late. According to one bouncer (that shall remain nameless) as he steps outside to survey the anticipation, this is “not a good start.”

The Rock The Block Fest is a 2 night Hip Hop event - featuring The Metermaids, NSR, and headliner Styles P on the first night, and Kimberly Nichole, Hezekiah, and Freeway on the second night - put together by Forever Fresh, sponsored by FADER, Brooklyn Bodega, Heineken, End of the Weak, and a few others. Tickets are on the high side - $15 in advance, $20 at the door, $30 for both nights in advance. Considering New York’s own Styles P is this night’s headliner, prime location, and the ideal weather conditions, the early turnout is less than expected. But that doesn’t mean those in attendance didn’t get their moneys worth. Lets run through it. One time for your mind...

10:05PM - DJ Rob

Trekking all the way from Tel Aviv, Isarael, DJ Rob (of Soulico) opened the festivities spinning a mash up of reggae jams and assumed international favorites - non of which seemed to excite any of the 40-some early arrivers. Sporting perhaps the worst possible hypeman for the occasion (severe lack of charisma, confidence, and crowd command), DJ Rob received a handful of perplexing looks and near complete disregard from the scattered gathering. Honestly, it wasn’t his fault. From the sound of his set, DJ Rob is one talented spinmeister. Its just that something didn’t resonate with the audience, and his hypeman provided little assistance. Apparently DJ Rob is huge in Israel.

10:28PM - The Metermaids

Rocking to the largest crowd at this point in the night, The Metermaids hit the stage packing dynamite in their mics. “Rap’s Bad News Bears” unleashed their funky rock-rap brand of Hip Hop on the rapidly filling venue. The sublime “Whiskey Rut” with its sing-a-long hook ignited the audience, while “Take Your Shades Off” (complete with “Sweet Home Alabama”-like guitar riff and kinda-corny chorus) had the whole spot chanting ‘I wanna see your eyes! Hey!‘ Although the duo has only been around for a little over two years, Swell and Sentence move the crowd like seasoned Emcees. Ample energy. Ample stage presence. The Metermaids dedicated their final track to Bernie Madoff, leaving only a welcoming audience behind.

11:18PM - NSR

“If I really look like Adrien Brody / I’ll play him on Broadway and win a Tony.”

NSR belongs on stage. His natural charisma and ability to connect with an audience is apparent as soon as he steps into the spotlight. Reppin’ Manhattan’s Upper Westside, Noah Souder-Russo opened with the aptly entitled “Adrien Brody”, a witty, snare heavy ode to his striking resemblance to the Academy Award winner. “If its a compliment, well then you owe me / a quick turn in the sack cause I’m horny. / You can take a picture. / It cost money. / I’ll pose real hard with a fitted and a 40” he kicks over head-nod inducing production, quickly gaining crowd credibility. Rocking with DJ Turbz and the “white ?uest Love without the afro”, Rick Kraven on the drums; decked in white v-neck tee, dark blue jeans cuffed at the calf, and brown boat shoes - NSR managed the crowd like Joe Torre. “Only Two Plans of Attack”, with its chopped and screwed “Heartless” sample, forced the audience to chant “either going in, or your falling back” like they’ve previously heard the song, then suitably led the crowd through his life and mind on the sublime, scratch heavy “I Know I Couldn’t.” The set reached its apogee with NSR jumping into the crowd on the frat-house ready “Please Don’t Take The Music.” Mr. “Looks Like Adrien Brody” raised eyebrows by stepping on stage rocking boat shoes. But by the time he stepped off, all that mattered was that he rocked the mic.

Midnight - Styles P

Styles P is rapidly becoming one of The Company Man’s must-see live performers. The Ghost dominates the stage with an aggressively earnest swagger that comes with a decade-plus of show rocking experience; moving between the mic, the drink, the henney, and the beat as if its second nature. As if the stage, cluttered with amp cords, DJ equipment, hypemen and whatever else is a part of him. Its a beauty to witness. Plus - and this is the most important part - Styles has hits. A lot of hits. Enough to be unfamiliar with his catalog and still rap along with the lyrics. Its not uncommon for him to run through 9 or 10 tracks in a thirty minute set, complete with unfrabricated ad-libs and audience interaction. Since the LOX’s 1996 debut, David Styles has collaborated with, what seems like, every notable artist (BIG, DMX, Jay, JLo, Akon, Pharoahe Monch, Method Man, Black Thought...you name it). And the best part is he brings these Emcees out! D-Block and Black Thought joined him onstage during this year’s BHF - and that was before time restraints cut his set short. Styles P is one of the most accomplished Emcees in the rap-game. It makes sense that by the time he hit the stage, Southpaw was finally packed.

Rocking a navy Yankee fitted, a way-too popular v-neck white T, and jean shorts - Styles opened with the immediate crowd starter “Super Gangster” then ripped through the Violator The Album (2.0) stand out track “Come Thru”, a mixtape track, an off-the-top freestyle, that shiny-suit shit he did with J-Lo, and “Ride or Die Bitch.” The Ghost is in the zone.

“Get a real DJ if an Emcee. Fuck an iPod n****!” - Styles P

The next thirty-five minutes would run like a well-oiled mixtape; perfectly arranged, conducted by DJ Tek. Akon assisted anthems “Locked Up” and “Can You Believe it” rocked the crowd as if Akon was in attendance. “Switch My Style” with its how-fast-can-you-spell rhyme scheme provided sustenance to the lyrical fiends. Assumed bouncer, actual D-Block Emcee - Bully - graced the stage for two suitable guest appearances before (a suddenly ripped up) Sheek Louch joined Styles on stage for LOX jams “You Heard of Us”, “Kiss Your Ass Goodbye”, “Niggaz Done Started Somethin”, and “Reservoir Dogs.” JadaKiss was the only thing missing from this LOX reminiscence.

“If you think somethings missing, Tek, then I suggest you try to fill it in...” - Styles P

Southpaw erupted immediately at the sound of “Mighty D-Block’s” march-step production before completely losing control as JadaKiss touched down for his solo banger “Who’s Real?” Deeee Bloooooock! Deeee Blooooock! “Wild Out” and “Fuck You” hit hard enough to wish another LOX LP was in stores now! These three still rock well together.

“I think somebody else just touched down, you heard?!” - Styles P

Pharoahe Monch stepped on stage, twisted ‘fro and all, assisting Styles on “The Life.” Then commanding all attention for his ubiquitous anthem “Simon Says.” Thankfully this time he was allowed to finish his entire performance.

The Ghost wrapped with “I Get High”, “Blow Your Mind”, “Get That Paper,” then closed out alongside Jada with “We Gonna Make It.” 56 minutes. 24 tracks. 4 guest appearances. Precise. Concise. Energetic. Styles P put on a fantastic show for the now packed audience. All in all, all you should expect.

So there it is, night 1 of The Rock The Block Fest. Despite the early warning signs, heads came out for Hip Hop. Each performance bested its predecessor. Each performer rocked to a larger crowd than the previous. Honestly, the only eye-brow raiser was the bill itself. An unknown Israeli DJ, two rock-rappers, an Adrien Brody look-alike rocking boat shoes, and....STYLES P??? I mean, on paper it looks less complimentary than comical. But the audience left satisfied and validated. They got their moneys worth. Metermaids did their thing. NSR certainly did his thing. And Styles P shut it down. Even that doubtful bouncer sported a visible sense of relief. And thats Hip Hop - it all blends perfectly...let the liquor tell it.

That is, except for DJ Rob’s hypeman. There’s never enough audience sedation to supplement such an extreme lack of...well...hype.

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