BHF '11 - Show & Prove Super Bowl from BrooklynBodegaTV on Vimeo.
Showing posts with label Brooklyn Bodega. Show all posts
Showing posts with label Brooklyn Bodega. Show all posts
[Video] Her Mic Sounds Nice: Brooklyn Bodega Interviews Eternia
BHF '11 - Eternia from BrooklynBodegaTV on Vimeo.
Interview by Navani Otero. Directed by Javier Martinez of ThaReelness
The Company Man Hosts Brooklyn Bodega Radio, HIP-HOP'S BEST STORYTELLERS
Friday, June 11th
Hip-Hop’s Best Storytellers Edition
BrooklynBodega.com staff writer Navani Otero and host The Company Man discuss Hip-Hop’s Best Storytellers.
BHF07 Alum, PACK FM comes through and kicks it with Bodega Fam as we dig into his new album I F*cking Hate Rappers. Appropriately, he explains why he f*cking hates rappers.
Also, one-Third of Savannah Boogie Music artists Those Chosen, Foreshadow, dials and the crew discuss West Coast Hip-Hop and the group’s newest release 5ive.
BROOKLYN BODEGA RADIO AIRS EVERY FRIDAY FROM 1-4PM @ WWW.PNCRADIO.FM
DOWNLOAD HERE
Hip-Hop’s Best Storytellers Edition
BrooklynBodega.com staff writer Navani Otero and host The Company Man discuss Hip-Hop’s Best Storytellers.
BHF07 Alum, PACK FM comes through and kicks it with Bodega Fam as we dig into his new album I F*cking Hate Rappers. Appropriately, he explains why he f*cking hates rappers.
Also, one-Third of Savannah Boogie Music artists Those Chosen, Foreshadow, dials and the crew discuss West Coast Hip-Hop and the group’s newest release 5ive.
BROOKLYN BODEGA RADIO AIRS EVERY FRIDAY FROM 1-4PM @ WWW.PNCRADIO.FM
DOWNLOAD HERE
The Notorious BIG - Life After Death
Brooklyn Bodega President, Wes Jackson, tends to drop subtle jewels of Hip Hop history whenever in conversation.
Casual conversation. Business conversation. In the office. At the bar.
Whenever. Wherever. Whatever.
Considering that he’s been in The Industry professionally for fifteen plus years, and around The Culture his entire life — its not surprising. People who love what they do also love to talk about it.
Wes is one of those people.
Kick it with him for a few and you’ll inevitably find yourself beamed to a world where De La regularly rocked on tour, ‘Premo only made beats for Gang Starr, and “Uncle Ralph had the only camera there.”
Toss Bodega Radio co-host Nikon in the room, and suddenly its like watching Hip Hop’s version of The Sports Reporters, or one of those Hall of Fame Inductee pre-shows where experts and others behind the scenes delve into historical significance.
Weighty opinions from those who were there.
Higher perspectives from people who know more about this than you.
Wes hit The Company Man with this jewel a couple months ago: “Life After Death was the first rap album commercially marketed to each region in the country.”
Spittin That He Can Pass A Polygraph - Jay Electronica Interview
I stood there for nineteen and a half minutes.
Watched. Waited.
I stood there while the mass of people grew larger around him. Person after person walked up to him with well wishes and digital cameras and tokens for this night’s God Emcee.
There was the old colleague who returned the furry Russian Trapper hat that he left in the studio. There was Chris and his boy who both wanted pictures and were nervous enough while asking that they accidentally turned the camera off during the second shot. There was the long-haired Greek looking model-slash-actress-slash-probably-a-waitress chick that boxed me out of the way, praying to build with the God.
There were 5-Percenters praising (his track) “Annakin’s Prayer”. There were young cats. There were old heads. There were women. There was everyone. All for an Underground rapper from New Orleans with little more than a couple mixtapes and a couple singles. All for Mr. “He Can Pass A Polygraph.”
All for Jay Electronica.
Fuck That. Jay ElectHanukkah.
Through all this, as the masses verged on mayhem, Jay remained humble. Gracious even. Taking every picture. Building with every fan.
When more fans encircled, he remained gracious. When Mighty Mos Def (who rarely does interviews or pictures) tried pulling him away to an after hours spot, he graciously stayed with his fans.
And when those nineteen and a half minutes were up, when The Company Man finally grabbed his attention long enough to ask these four questions, he graciously answered each one.
READ THE FULL INTERVIEW @ BROOKLYNBODEGA.COM (CLICK HERE)
Watched. Waited.
I stood there while the mass of people grew larger around him. Person after person walked up to him with well wishes and digital cameras and tokens for this night’s God Emcee.
There was the old colleague who returned the furry Russian Trapper hat that he left in the studio. There was Chris and his boy who both wanted pictures and were nervous enough while asking that they accidentally turned the camera off during the second shot. There was the long-haired Greek looking model-slash-actress-slash-probably-a-waitress chick that boxed me out of the way, praying to build with the God.
There were 5-Percenters praising (his track) “Annakin’s Prayer”. There were young cats. There were old heads. There were women. There was everyone. All for an Underground rapper from New Orleans with little more than a couple mixtapes and a couple singles. All for Mr. “He Can Pass A Polygraph.”
All for Jay Electronica.
Fuck That. Jay ElectHanukkah.
Through all this, as the masses verged on mayhem, Jay remained humble. Gracious even. Taking every picture. Building with every fan.
When more fans encircled, he remained gracious. When Mighty Mos Def (who rarely does interviews or pictures) tried pulling him away to an after hours spot, he graciously stayed with his fans.
And when those nineteen and a half minutes were up, when The Company Man finally grabbed his attention long enough to ask these four questions, he graciously answered each one.
READ THE FULL INTERVIEW @ BROOKLYNBODEGA.COM (CLICK HERE)
The Company Man hates Lil Wayne
“Man, you don’t even look like a Hot Boyz fan.”
That’s what Troy Fluker said to me while our squad kicked Guerilla Warfare favorites back and forth, waiting for the next run of pick up hoops. I realize that The-seventeen-year-old-Company-Man worked at The Gap, and Basic button downs and Loose-Fit jeans didn’t exactly scream “I Need A Hot Girl.” But we lived in South Carolina, and they had The South on lock in 1999. Of course I was a Hot Boyz fan!
I just didn’t like Lil Wayne.
I’d go on to have an ignore/hate/respect relationship with Weezy F. Baby. Wayne’s nasally delivery and nursery rhymes locked him in a dead heat with Turk for “The Hot Boyz Worst Rapper Award.” Other than the occasional suitable hook (“Respect My Mind” for example), Wayne did nothing but get in the way.
B.G. and Juve were the show. Wayne and Turk were the side show.
CONTINUE READING @ WWW.BROOKLYNBODEGA.COM
That’s what Troy Fluker said to me while our squad kicked Guerilla Warfare favorites back and forth, waiting for the next run of pick up hoops. I realize that The-seventeen-year-old-Company-Man worked at The Gap, and Basic button downs and Loose-Fit jeans didn’t exactly scream “I Need A Hot Girl.” But we lived in South Carolina, and they had The South on lock in 1999. Of course I was a Hot Boyz fan!
I just didn’t like Lil Wayne.
I’d go on to have an ignore/hate/respect relationship with Weezy F. Baby. Wayne’s nasally delivery and nursery rhymes locked him in a dead heat with Turk for “The Hot Boyz Worst Rapper Award.” Other than the occasional suitable hook (“Respect My Mind” for example), Wayne did nothing but get in the way.
B.G. and Juve were the show. Wayne and Turk were the side show.
CONTINUE READING @ WWW.BROOKLYNBODEGA.COM
Talib Kweli @ Highline Ballroom
Twas the night before the night before Christmas, and it was freezing in The City. Twenty-three degrees to be exact. Cold enough to question ever leaving the apartment. But judging by the nearing capacity crowd packed inside and the sixty-plus people deep Will Call line dangling down the block of Manhattan’s Highline Ballroom, cold don’t mean nothing. Blacksmith Records is rocking. Twelve years following his professional debut, and heads still run deep for Talib Kweli.
POSTED @ WWW.BROOKLYNBODEGA.COM. CLICK (HERE) TO CONTINUE READING.
United Front - brokn.englsh Interview
On or off stage, brokn.englsh is a united front. The chemistry between Lyriq2Go, Cion Burris, and Myk Dyaleks is as natural as a vegan diet and immediately apparent upon first introduction. These three mic titans are more than just band members - they are friends. Legitimate homies. They genuinely enjoy kicking it with each other. And that crucial ingredient mixed with pulsating energy and earnest showmanship provides the formula for their eye-locking live show. FACT.The-Quotable.com kicked it with the Brick City trio just before their Brooklyn Hip Hop Festival debut. Read on muttaskuttas, read on.
TCM: The-Quotable.com chillin with Brokn.Englsh on the eve of let them know how Brokn.Englsh get down. Cause we like to have a good time. And let people know ‘hey its Hip Hop, we can have fun.’ But we give you good quality music as well.
TCM: Now, during the last Show & Prove, you guys had crazy energy. You broke down the old skool dancing, jumping down in the crowd. Are we looking at a similar song set up? What tracks are you going to perform?
C. Burris: Um, I’d say its a similar song set up. Not the exact same show. But a very similar set up. We switched it up a little bit. But when they cut down the time, or cut the 2nd stage, we had to nip a couple things in the bud. But its still going to be an awesome show regardless. You know?
Lyriq2Go: Definitely. Always. Yeah.
TCM: Brooklyn Bodega is now going on its 5th year. This is now becoming an institution in New York - for festivals in general, but for Hip Hop specifically. Can you guys talk a little about the impact the Bodega’s had so far?
C. Burris: Well, honestly I remember from the first one when it was Little Brother, and its real good to see that its come so far. In such a short time, you know...like you said, its become an institution. We’re just happy to be a part of that....
Lyriq2Go: And its crazy because, just last year, we were in Myk’s basement, ‘you know what, next year we’re gonna be on that stage.’ And I ain’t gon’ front, I wast thinkin’ ‘like you crazy!’ But you know what? We here. [Laughs] You know? We here.
Myk Dyalekt: Its all about realizing your dreams, man, and supporting. We have to support the venues. We have things like Brooklyn Hip Hop. We’re from Jersey. We have a Jersey...a Newark Hip Hop Festival that we actually do the same thing with. Its about having people come out and represent for those artists that work all year - run around on hot trains and try to make this music happen for themselves, man.
TCM: B.E. Webisode. Whens the next one dropping?
Lyriq2Go: The next one should be dropping...if not next week...in 2 weeks. But I’m gonna try to make it out next week, cause a lot of people ask me for it. And we got a lot of material, so you gonna see that shortly. Trust me, you gonna enjoy it. Trust me.
Canada Coney Island Connection - Torae & Marco Polo Interview
There’s an LL Cool J-type quality to Coney Island Emcee, Torae. Mama Said Knock You Out-type LL. Lurking behind his pretty-boy mug and humble personality lies a lyrical ferocity impatiently waiting to devastate the mic. In person, Torae is gracious and appreciative of the opportunities before him. On stage, his brolic, B-Boy demeanor and aggressive rhyme style is enough to simultaneously send chills to the eardrum and a bitter-beer-face to the grill. Add that to Marco Polo’s chest thumping, boom-bap production - that somehow feels like 1994 and 2009 at the same time - and the combination is one that immediately captures iPods and captivates crowds.
Following this year’s Brooklyn Hip Hop Festival, we caught up with Torae & Marco Polo, digging into their debut collaborative LP, Double Barrel, rocking with legendary rap label, Duck Down Records, and the Canadian/Coney Island chemistry. Read on muttaskuttas!
TCM: The-Quotable.com here with Torae, Coney Island’s finest. How are you doing?
Torae: I’m great, man. Thanks for having me and all that.
TCM: Absolutely. How do you feel about your show?
Torae: The show was dope, man. It was a beautiful thing to rock out Brooklyn. Crowd was into to it, nahmean? The packed venue - thats always my favorite. Got busy.
TCM: Thats whats up. So, I’ve been following you online. Your Daily Conversation album was dope. Double Barrel is fire all the way through. Its the perfect combination between beats and rhymes and the way I think it looks in the new generation.
Torae: No doubt.
TCM: And in all of your interviews you come across as a real real humble dude despite your aggressive flow. Where does your inspiration come from?
Torae: I mean, I love it. I make music because I love it. I don’t make it to make a million dollars or, you know, ride around in fancy cars and all that. I mean, luxuries in life, they are a beautiful thing. But, I make music from the heart, you know what I’m sayin, whether theres money in it or not. I’m always going to continue to write and get in the booth and go in. You know what I’m sayin? You know, just my personality on the mic is definitely a little different from me as a person. When I’m on the mic I’m, you know, I’m no holds barred ferocious. You know what I’m sayin? In real life I’m just a cool dude.
TCM: On Daily Conversation’s “Switch”, the video footage, the photography, the angle was dope - with the old school Apple shit poppin’ out. You’re switching flows all the way through. Where did the inspiration come from for that?
Torae: Um, you know, I’m real active on the internet. So, I would hear people say ‘Yo, I like Tor. He can rhyme but I don’t like his delivery on this record’ or this and this and that. So I decided to do something to kind of hush the naysayers and show them I can show a little versatility as far as switching up my flow. But still show that its all relative. Like, you know, everybody’s got they own style, they own niche in what they do. And the more you listen to it the more you get accustomed to it, the more you become familiar with it, and its just second nature to you.
TCM: Lets get into Double Barrel. The album’s bangin’ all the way through...
Torae: No doubt. Lets get the homie Marco Polo. Yo, Marco!
TCM: How you doin’ man?
Marco Polo: Good, how you doin?
TCM: We’re getting into a little Double Barrel right now. Props to Port Authority as well. Its still rockin in my iPod.
Marco Polo: I appreciate that. Thank you, sir.
TCM: Can you talk a little about your chemistry as a producer/emcee duo?
Marco Polo: Definitely. I think me and Torae definitely, you know, have the same influences in the stuff we grew up listening to, and what we love about Hip Hop. You know what I’m sayin? Especially East Coast influenced boom-bap. You know, like EPMD, Onyx, Wu-Tang, you know? Real beat driven like Primo and Pete Rock. We wanted to make an album that represented our taste as Hip Hop fans and thats where we connect in the studio, you know what I’m sayin? It makes it easy to work together with like minded individuals. And thats really our approach to this record. Have fun. Make stuff we wanted to hear, that we felt was not being represented right now. So, thats pretty much how it went down.
TCM: So how’d the connection come about? Was it arranged by Duck Down? Did you guys get together yourselves?
Torae: Yeah, we actually put the album together ourselves and then we got with Duck Down. And we actually sat with a few other labels as well. But Duck Down was the perfect fit. Me and Marco actually met in the studio...You know? Thats probably another reason why our chemistry was so ill - cause we met working on the EMC album. We did a skit. You know, [Masta] Ace, who was a good friend of both of ours, called us in to do two individual parts of the skit. I met Marco. We chopped it up. He was working on Port Authority. I’m sorry. New Port Authority Mixtape that promoted Port Authority the album. Um, [He] asked me if I wanted to get down with it, and I was a big fan of his beats. We knocked out two joints for the mixtape. And then we just kind of formed a bond and kept recording. And then we went on the road like, he said and all that. So, you know, we did all that and the next thing you know, we were just recording and Double Barrel in stores.
TCM: So how does it feel to be at Duck Down with the legions?
Torae: Yo, just the fact that those guys even know me is a crazy...yah mean? Like, its a surreal experience. I got everything from the catalogue. You know what I’m sayin? You see that logo, you see quality. You know its Hip Hop. You know its something that...You ain’t even got to hear no songs. You see that logo, you know what it is. And, I live my life like that for so long. Now to be a part of the, you know, part of the history and the legacy is a beautiful thing.
TCM: Specifically, when it comes to the album - looking at the video footage for “Party Crashers”. Thats an aggressive aggressive track but you went the spoof angle with the video. Can you talk about the concept and how that came about?
Marco Polo: You know, a lot of people like to take themselves very seriously, you know what I’m sayin? You know, besides the music. We take our music very seriously but we want to kind of play on the whole, you know what I’m sayin? Have fun with it. Crash the Party. Double Barrel’s gonna come into your spot and, you know, cause a little bit of havoc. And thats what we did for two days when we shot the video.
TCM: Not a bad way to spend two days, right?
Torae: Nah, no doubt.
Marco Polo: It was a giant party. Literally.
TCM: For your next single. What are you looking to follow [Party Crashers] up with?
Torae: Um, I mean the record is out there now. Its 13 tracks, 14 with the intro. We let the people decide what they like. You know what I mean? People make their own singles. You got iPods. You know, you got playlists and things. You got blogs and podcasts. So people are going to make their own favorites. They gonna pick them. They gonna select them. We went with “Party Crashers” for the video just because it was one of those songs that you we can do a lot of things visually with. And thats what sometimes people lose is they have a dope song on the album but visually it doesn’t do as much. So “Party Crashers” is one of those records that lent itself to being a good video. You know, cause on the vinyl - we got “Double Barrel” and “Hold Up” on the vinyl. And “Combat Drills” is our vinyl single. So, you know, its up to the people to decide whatever they like and what they want and, you know, thats what it is.
TCM: Well look, from my point of view, I want to see “Coney Island”. I want to see yall finish that Training Day video. I want to see that track all the way through. Thats a great look.
Marco Polo: Word. Word. Word.
Torae: [Laughs] Ha. Thanks. Good looking out, homie.
Hard Raps for Raps' Sake: Interview with M-1 of dead prez
The-Quotable.com caught up with M-1 following dead prez's 2009 Brooklyn Hip Hop Festival performance - politrikkin' on their recently released mixed tape (Pulse of the People), the election of Barack Obama, and just hard ass raps for raps' sake. Read on.
TCM: So how’d you feel about Brooklyn Bodega and your show today?
M-1: Brooklyn Bodega was what it was suppose to be - represented for Brooklyn. It gave us an opportunity to present our Hip Hop as a revolutionary force - a cultural weapon. Thats what it was. We was able to do it. A lot of great people - Styles, Grand Puba - we understand how to put on something thats gon‘ really be able to feed the people. The people need it right now. People need feeding.
TCM: Well the people are really in to who you guys are and what you guys have coming up next. What can we expect from the mixtape?
M-1: On the mixtape, its a cross section of life in Brooklyn. Or, life in the world, actually. All over the world. Thats why we call it The Pulse Of The People. We want to take a quick cross section of what was happening all across our communities, and even internationally. [We] called in some help from people like Styles and Chuck D. Um, you know, people like Bun B and my man Johnny Polygon, who is Green Lantern’s artist. And we did some stuff that we normally wouldn’t do. We made some rhyme decisions. Raps. Just hard ass raps for raps sake. Like, my brother Stic - whose the illest Emcee thats out right now - and Green Lantern, we come together and just talk about New York. We talk about Africa. [We] get a chance to talk about everything that really matters to our people. So thats what you got with Pulse of the People. And its really like a pre-album. Its a prelude to the Information Age which is the album thats coming out the end of the year or the beginning of next year. Thats what it is.
TCM: So are you guys still doin‘ it behind the boards? More production? More thumpin? More...
M-1: Well this was Green, but we got all the production coming. Nah, we gon’...oh yeah, we comin’. We’re crazy. Yeah. We’re just diggin‘ in, right now, real heavy. So...yeah. Ear to the ground. Got my ear to the ground, man.
TCM: Thats whats up. You guys are one of the few groups that are both enlightening and entertaining at the same time. Whats your formula? Whats your creative process like?
M-1: Um, stay sincere. Stay sincere to who we are and what it is. Also, keep your head eye-level to what the people need. Cause sometimes you can’t give the people what you don’t have. You know what I’m sayin? But if you have it, we expect you to give it to us. A lot of times we be disappointed with the artists that have it and don’t give it. So its my duty, I take it as my responsibility. And thats all it is. I can’t be no more than I am and no less than I am. And really I’m a student of the people. I learn from the people. I’m...as much as I can teach somebody, I’m more learning every time and I’m humbled to that. And thats what you...hopefully you’re gon‘ hear that in the music.
TCM: Absolutely. One more question for you. Being a student of the people, being that the people chose Barack Obama, did you vote in the 2008 election? And if so, either way, how do you feel about the first 6 months of the new administration?
M-1: Well, course I voted. But I didn’t cast a vote in a ballot box that went towards the President of the United States of America. I casted my vote when it comes down to my organization. Economic development. When it comes to where I put my dollars. Where I put my thoughts. Where I invest my energy. Where I build my community. And thats been about change far beyond, far beyond the kind of new push we have...
And so, I’m inspired by people who want Change as well. I been wantin Change. I think that Change is so necessary in emergency form before we ever got it in this office. So, anybody whose charged up with Change right now, if you see it through Barack Obama, great. I say look at it through the most political eyes that we can and really look...make a vision outside of the box of what real change is for the future. Dare to see a future for our people thats got all of us doing exactly what we need to do. And thats not exactly what the United States Government has planned for us. Its still Politrikkks time again. So, one love.
CLICK HERE FOR THE-QUOTABLE'S 2009 BROOKLYN HIP HOP FESTIVAL WRAP UP
Anthems Interrupted - The Downside to the 2009 Brooklyn Hip Hop Festival
“They givin‘ us the boot, man. They tellin‘ us we gotta go, man!” - Pharoahe Monch’s DJ
Pharoahe Monch’s raucous headlining performance met an unfortunate fate during the 2009 Brooklyn Hip Hop Festival. Midway into the first hook of his classic anthem, “Simon Says” - just as Monch writhed into his groove, spitting “New York City, gritty committee pitty a fool that act shitty in the midst of the calm and witty” as the capacity tent rhymed along with the Queens bred Emcee - his DJ unexpectedly cut production, bellowing “They givin‘ us the boot man! They tellin‘ us we gotta go, man!”
On a micro level, the metaphorical “WTF??” unleashed by those in attendance reflected the collective frustration behind witnessing this festival’s apogee castrated by an imposed curfew. Pharoahe Monch was the headlining performer. “Simon Says” is his most popular song and an immediate party starter anywhere in the Hip Hop Universe. A live performance of that track, karaoke or otherwise, should NEVER be interrupted.
FACT.
Where the micro view bred frustration, the macro breeds concern. Not only was Monch’s anthemic performance of “Simon Says” curtailed at its apex, but his scheduled 30 minute set was severed at the nineteen-minute-and-forty-four-second mark. Attending fans were denied ten-minutes-and-sixteen-seconds of the headlining action!
The assumption is that a series of overages in earlier performances led to the headliner’s time reduction. Similarly to Pharoahe Monch, Styles P’s DJ - exclaiming “We gotta get up outta here!” - bogarted “I Get High” like a shot clock violation. Looking back over BHF’s past, Ghostface Killah (2007) and KRS-One (2008) received less egregious interruptions (neither had their production shut off), but the same issue persisted - headlining performances were penalized by the time constraint.
The BHF packs in so many acts and artists (and politicians) that headlining acts are penalized. The build and pace of the festival is great. Generally speaking, each performer brings more energy and more fans to the event than the previous, allowing for a beautifully rising cascade of Hip Hoppery. But given The Brooklyn Bridge Park Conservancy’s curfew, any potential overage is subtracted from the acts The City paid to see. Styles P and Pharoahe both had anthems interrupted. ANTHEMS!! As a festival organizer, live music planner, or paying concert-goer, this is the most unacceptable outcome.
Perhaps this is one of the reasons why Summer Jam and Rock The Bells host festivals outside of NYC. Both events are more established in patronage, Giants Stadium and Jones Beach Amphitheater are much larger venues (than Empire Fulton Ferry State Park), and both shows rock much later than 8 o’clock. Are New Jersey and Long Island more accepting of late running concerts than Brooklyn or New York? How much higher is the cost within The City than in other cities in the tri-state area? What is the effect on ticket prices if the curfew is extended?
Or maybe Brooklyn Bodega’s proposed solution was circumvented by the rainy day. The initial two stage format - newer acts performing on the Second Stage, Main Stage reserved for the headliners - was condensed into one stage for weather related reasons . How would the 2-stage format have effected each artist’s time allotment? Would the Main Stage have been set up by the river a la 07 and 08 BHF’s and the Second Stage within the Tobacco Warehouse? Would there have been a scheduled overlap between stages allowing two acts to perform simultaneously? Would that set up have provided better time spacing allowing Styles P and Pharoahe Monch to rock longer?
Could it be that the artists themselves caused this problem? Are headlining acts accustomed to more lenient venue operating hours and longer set times? dead prez, Styles, and Monch rock longer sets “on the reg” (word to Kenny Powers). Are the artists the reason The City shut us down right as we were about to climax?
Does the BHF need an earlier start time? Should there be fewer scheduled acts or shorter set times? Is adding an extra day the solution? What is keeping NYC’s largest Hip Hop festival from extending past 8pm?
If the strategy is to continue growing the BHF as it has over the past 5 years, then Brooklyn Bodega seriously needs to find a way to give the people all of what they want (and paid to see). These questions must be addressed. No organization wants to be known for cutting the paramount performances. The headliners are the ones moving the tickets. Never should they be the one’s Sandman’d off stage Apollo-style.
FACT.
In the end, its Brooklyn Bodega's choice to address this situation. Either way, the Bodega Fam deserves props and recognition for once again assembling a mostly fantastic Hip Hop experience for both artists and fans at an affordable price. I mean, how can I complain? I’d pay $10 to witness a live set from any of these acts.
Shortened sets or otherwise, it feels like I stole something.
[Editors Note] Pharoahe Monch was allowed to finish his performance of "Simon Says"
Brooklyn Hip Hop Festival 2009
June twentieth. Two-thousand-and-nine. Empire Fulton Ferry State Park. Tobacco Warehouse. Brooklyn, New York. Brooklyn. Bodega.
According to the forecast there was an 83% chance of rain. By 1pm, rain clouds filled the stratosphere filling the air between the Brooklyn and Manhattan bridges, leaving a blunted (pun intended) impression on The New York City skyline. And although this day would remain overcast and lightly saturated, by festival's end, Brooklyn Bodega made it thunderstorm.
Once Again.
The 5th Annual Brooklyn Hip Hop Festival (BHF) pimp-slapped-Mother-Nature-Charlie-Murphy-style, packing the tent erected in the center of the largest roofless room in the 19th century Tobacco Warehouse all-rainy-day-long. Anyone who stepped outside after Styles P stepped off-stage likely missed Pharoahe's raucous finale. In fact, Brooklyn Bodega anticipated a 50% decline in attendance. They expected people to find dryer refuge given the less than ideal weather conditions. They overestimated. Heads came out for Hip Hop. And they got their money's worth.
This year's BHF bosted a 2-stage format (condensed onto one stage) - 2nd Stage and Main Stage. 2nd Stage - hosted by Homeboy Sandman (The Mayor) - featured rising local artists including two of the three winners of the Bodega's successful Show & Prove series. Main Stage featured more established acts, including April Show & Prove winners Brown Bag Allstars, DJ J.Period, dead prez, Styles P, and festival headliner Pharoahe Monch. All in all, Brooklyn Bodega packed two stages and twenty-plus acts into one Hip Hop dedicated eight-hour window. To see it was to feel it.
Second Stage Highlights
CLICK HERE FOR THE APRIL 16th SHOW & PROVE WRAP UP
CLICK HERE FOR THE MAY 21st SHOW & PROVE WRAP UP
Corona, Queens natives (and March Show & Prove victors) Children of Night cooly kicked off the Second Stage lyrical festivities with the minimalistic, snare-heavy “Time Out”, the bouncy, bar-trading “100 Percent”, and sublime, Summer-time-ready, set closer, “151”. Rocking to a larger than anticipated audience (considering weather, festival crowd tendency to increase in density as the day progresses, and BHF’s of years’ past, this year’s 1pm audience was much larger than expected), Lansky, Versa, and Remy Banks roamed the stage like kids exploring a new playground. Judging by crowd response, COTN had those in attendance “chillin’ to the Children of the Night.”
“Intricate and focused like a Kung-Fu master. / Bring the daily out like the weather forecaster.” - Eagle Nebula
Brooklyn resident, Eagle Nebula, walloped the stage with inspired lyricism and an appreciated B-Girl swag reminiscent of that era when both genders had to come spit game tight to gain respect.
May Show & Prove winners, Brokn.Englsh once again commanded a high octane performance laced with increasingly crowd favorites. Brick City’s Cion Burris, Myk Dyalek, and Lyriq2Go honed the formula for a dope live show - chemistry, energy, clarity, showmanship. The nostalgic “I Remember My First Time” and the anthemic “Make Some Noise” (complete with its own old school dance break down) incited immediate head-nods throughout the tent. And the crowd showed love for their closing ode “Thank You For Being A Friend” (a la the theme song from Golden Girls). Much respect.
“I’m the underdog that finally gets the girl.” - Nyle
Nyle left his mark on this year’s BHF. The less-than-five-foot-nine-inch recent NYU graduate marched in kicking confident rhymes over the cascading live production (courtesy of his accompanying 3 piece band) of Lil‘ Wayne’s “Let The Beat Build” delivering a near-pristine remix. Dreadlocks dangling underneath his teal colored fitted hat, white-T with matching teal image emblazoned across the front hanging over his loose fit jeans - Nyle hit the stage packing lighting in his mic. His anthemic ode to the object of his affection, “XMAN” (doubling as an ill extended metaphor using actresses and cartoon characters to describe a chick who won’t stop “talking ‘bout her ex man”) garnered immediate crowd response. And his raucous set closer “Make Some Noise If You Wit’ Me” made it crystal clear that Nyle is one to check for. Definitely the most dynamic set of the Second Stage.
Main Stage Highlights
Show & Prove Series champion Brown Bag Allstars did what they do best - bum rush the stage spewing virulent energy and lyrical skill. DJ E-Holla, Soul Khan, Koncept, J-57, and The Audible Doctor acted as frontmen for this performance, bobbing and weaving across stage like Tyson in his prime - all offense, all intent to knock out the audience. And they delivered. Set opener “1, 2, 3, 4” laid the groundwork early, and the prevailing “When I Start To Drink” forced the tent masses to chant “Its like that, dattidy dat, da dat, dat.” By the time BBAS kicked the last bar on their infections “Gimme The Booze”, the bum rush was complete. Brown Bag Allstars showed and proved.
“N***** scared to get scorched. / They ain’t passin’ the torch. / Claimin’ the new n***** don’t really walk the walk / really talk the talk. / Really thats what they thought?” - Marco Polo & Torae
Lime green fitted T with a neon red silhouette of a figure hoisting an AK-47 skyward emblazoned vertically along the bottom left. Black New Era with Brooklyn scripted across the front. Brolic B-Boy demeanor. Hard-ass production. Marco Polo & Torae brought their rollicking harmony straight to the face. Throughout the set, Torae roamed solo like a veteran Emcee (swag heavy, earnestly comfortable, album clear delivery) while Marco Polo remained perched behind the tables like a Canadian mad scientist mischievously monitoring their bangerific soundscape. After a brief opening freestyle, Torae inducted the ruckus with “Double Barrel”, the title track from their debut collaboration. MP’s sick scratches were on full display on the head-nod inducing “Slam” sampled “But Wait”, while “Danger’s” sinister sirens rocked the crowd like it was 1994. The duo wrapped with Double Barrel’s lead single, “Party Crashers” - an apt ending to an amp performance.
DJ J.Period brought his world renowned Live Mixtape straight to the BHF tent. Hosting rap legends OC (from D.I.T.C.), the entire Brand Nubian Crew, and The Roots resident Emcee, Black Thought - J.Period ushered the crowd through an array of historic jams (both old and new) back-to-back-to-back. The climax came when Philly-bred Black Thought obliterated the mic with the debut of his remix of "Brooklyn We Go Hard". Few rock a party like J.Period.
“We just had little run-in with the punk-ass police...” - M-1
Stic.Man and M-1 hit the stage revolution ready. Primarily performing tracks from its recently released DJ Green Lantern produced mixtape, Pulse of the People, Dead Prez opened with the sublime “NYPD”, followed by the nostalgic and aptly entitled “Summer Time”, before taking “it back to Africa” with “Africa Hot”. Considering most in attendance had yet to hear the duo’s newest music, the crowd was certainly live. No doubt. Staying topical and true to form, Dead Prez harmonized “even though Obama’s in, Uncle Sam ain’t my friend” on the A-political “Politrikkks” before making the tent shake like a tribal rain dance with the anthemic closer, “Its Bigger Than Hip Hop”.
“Fuck the frail shit!” - Styles P
The festival’s most raucous performance belonged to Styles P. FACT. Sporting a hood certified, oversized white-T and backwards Yankee fitted - one-third of the Lox damn-near-shut-shit down, tearing through solo anthems “Locked Up”, “Can You Believe It”, and “I’m Black”, before bringing Black Thought back onstage to drop the first verse from the speaker-rattling “Get Busy”. Any perceived BHF bougieness evaporated the second (nearly) the entire D-Block crew hit the stage for “Wild Out” followed by a cut from the recently released No Security.
“I know theres a lot of police in the building. If you want to light a blunt, do what I do, go in the urinal. They ain’t goin’ in there.” - Styles P
Styles wrapped with the thumping “I Get High” before “We Gonna Make It's" chest rattling bass line closed out his performance. Every arm raised pumping to the beat. Every mouth chanting the contagious hooks. Styles P brought the gritty to BK. Who said the BHF is bougie?
Festival headliner Pharoahe Monch spared no time before bringing the ruckus. Green T-shirt. Afro-ed twists reaching outward. Focused lyricism. Pharoahe hit the stage like a rhyming Marcus Garvey. Opening with the anthemic, Public Enemy remake, “Welcome to the Terror Dome”, Monch’s uncanny Chuck D voice inflection is even more impressive live than on wax (Desire). The soulful soundscape and crashing snare on “Free” maintained momentum, and “Lets Go’s” groovy melody kept heads knocking throughout the festival grounds. From there, Monch brought it back to the early 2000s with his Mos Def assisted “Oh No” (unfortunately Black Dante was not in attendance), then a brief beat-boxing interlude introduced Milk D for a rare live performance of the Audio 2 classic “Top Billin’”. The crowd rapped the entire track before erupting at the sound of “Simon Says'” triumphant horns.
And then things went south.
Midway through “Simon Says’” opening hook, just as Pharoahe began to get into his groove, the DJ cut the music stating “They givin‘ us the boot, man. They tellin‘ us we gotta go, man!” Jubilance turned to jeers. The mere thought that someone, anyone would cut off a live performance of “Simon Says” is unacceptable. “Simon Says” is one of a handful of joints in existence capable of immediately igniting any party anywhere. FACT. Fortunately, Monch was allowed to kick the first verse and another hook before defiantly finishing his anthem. Rightfully so. Pharoahe Monch shut down the Brooklyn Hip Hop Festival, literally. Dope performance and a dope ending to a John-Blazing occasion.
Other Thoughts:
Donny Goines, Chip Fu, Tanya Morgan, DJ Premiere, Smif-N-Wessun, Tiye Phoenix, Keys N Krates
Much respect due to the other performances not highlighted in this wrap up. Donny Goines, Chip Fu, Tanya Morgan, DJ Premiere, Smif-N-Wessun, Tiye Phoenix (with DJ Bizarro), Keys N Krates each put together solid performances, entertaining the audience throughout.
Homeboy Sandman
Homeboy Sandman continues to impress with his diverse showmanship. The Mayor split duty as Second Stage host and Main Stage performer. His poise, welcoming personality, and innate ability to engage the audience combined with his always appreciated, time-filling freestyle maintained interest during the festival’s earliest hours. Then, effortlessly shifting gears, the Pterodactyl soared during his solo set. His intricate, beat-imbedded, dynamic delivery clearly connected with the crowd despite the complexity in which written. Not many artists can take a beastly, multi-layered track like “Fantastic Incredible African” and deliver it effectively to the scattered tastes of fickle festival-goers. Homeboy Sandman is in a class to himself. Bravo.
Duck Down Records
Once again, Duck Down Records’ boasted a significant presence at this year’s Brooklyn Hip Hop Festival. Buckshot Shorty, Sean Price, Heltah Skeltah, Kidz in the Hall, and several affiliated guest appearances have all graced the BHF stage in year’s past. This year, Torae & Marco Polo and Smif-N-Wessun fulfilled the mandate, and of course Buckshot Shorty was back again with another brief cameo. Considering Duck Down’s top tier stable of talent; its rich history and longevity as a label (circa 1994); and its locally owned business status - such prominence year after year is expected and, for the most part, appreciated. Duck Down gets it in live and has a massive Brooklyn following. Few labels sponsor a roster dedicated to progressive, boom-bap production and aggressive, lyrically focused, arguably gangsta-leaning content. Duck Down fills that void.
However, the BHF prides itself on hosting dope acts from across the Hip Hop spectrum. Brooklyn Bodega’s intent is to compile the most diverse line up possible. And in each of the past 4 years (at least), Duck Down has rocked as one of the most rugged acts on the bill (this year sharing that lane with Styles P). Are there any other acts that have been denied participation because of this category’s limited space? Rumor has it that Williamsburg’s own Joell Ortiz frequently petitioned for inclusion and was repeatedly rebuked because of the festival’s apprehension to hosting “too many gangsta acts.” Will this pattern continue in years to come? Has Duck Down locked-down the aggressive rap slots at the Brooklyn Hip Hop Festival, boxing out other worthy (and wanted) acts?
Profanity
Given the BHF's "family friendly" festival approach, each act has a stated mandate to censure any profane lyrics from the performed songs. The occasional "mother fucker" slipped through during previous years performances, but never as many as those emphatically exclaimed in 2009. dead prez contained themselves nicely, commanding the crowd to "put their middle finger in the sky" while slyly only raising their fists. But Styles P exhibited little qualm leading the ubiquitous "roll that shit, light that shit, smoke it" cheer or instructing the audience to "fuck the frail shit!" Pharoahe Monch was equally defiant, screaming "Get the fuck up!" repeatedly on "Simon Says." To the fans in attendance, and this writer specifically, hearing the "Parental Advisory" version of each performance adds to the organic nature and visceral appeal of the live show. Its part of what is expected when a ticket is purchased. What these impromptu moments of profanity mean for Brooklyn Bodega (City Parks Foundation imposed fines or other repercussions, perhaps) remains unclear. Either way, to see such a pronounced detour from the game plan was interesting and appreciated nonetheless.
***
Dope DJ’s. Ill Emcees. Nostalgic jams. History-claiming performances. Fresh.
Thwarting Mother Nature’s attempt to wash out the 5th Annual Brooklyn Hip Hop Festival, Brooklyn Bodega once again assembled a potent, richly diverse, raucously entertaining 8 hours of Hip Hop goodness. All for only ten dollars. Rain or shine, asking for anything more is straight Bernie Madoff (greedy).
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