Two KRS ONE Shows In Two Weeks....

Two KRS shows in two weeks…this happened both times.

Nearly twenty-three years and twenty-two albums following his Boogie Down Productions debut, you’d think the routine of rocking mics on the reg would feel, well, routine.

Boring even.

Countless classic tracks. Countless fans that have witnessed him rock countless times. A brand new generation of Hip Hop heads born since his undisputed reign as THE alpha Emcee.

After two decades of edutaining audiences worldwide, even a legend with God like presence such as KRS ONE would battle his own personal disinterest at some point, right? Its human nature.

There was an interesting dynamic to the last two shows the Blastmaster blasted through (MIND BODY SOUL at The Knitting Factory, and Farewell Forever Fresh at Southpaw): the true, off the top, freestyle.

CONTINUE READING AT BROOKLYNBODEGA.COM (CLICK HERE)

Something for Everyone - Idle Warship Recap

I went to a Talib Kweli concert and a fight broke out.

Standing at the front of a packed out club during a live performance is treacherous territory for the vertically challenged, over protective boyfriends defending their date, and anyone unprepared to hold ground. Videographers and photo journalists vying for position, avid fans running on the energy, drunken patrons oblivious of themselves mixes into a beautiful Molotov cocktail of art, love, and liquor. And on the rarest of occasions, ignorance. Those in constant need of a refill are better off standing near the middle, or better yet, the back. The easily offended need not apply.

To keep it one hundred, technically it wasn’t a Talib Kweli concert. It was an Idle Warship show -- Talib Kweli’s newish labor of love with long time collaborator and soul moving vocalist Res (pronounced Reece) and Toronto lyricist/songstress Graph Nobel. The trio has recorded and performed select spot dates together for roughly three years but stepped up their exposure in 2009 with a European tour and the release of their full length offering, Party Robot (a free mixtape download). Following their amplified Southpaw performance, Graph Nobel broke down the meaning of their name for The-Quotable:

“Idle Warship is a play on words, like you have this warship that is capable of doing so much but its just sitting in space and time and can’t use its abilities. It reflects on what record labels do to artists. A lot of powerful talent just sits there. For us, we took a break from our own careers, you know, maybe sometimes we kind of felt like that. Coming together made us feel powerful and excited us all on our own, as a group together and in our own careers separately. It rejuvenated something for us.”

For core fans of Talib Kweli, Idle Warship is a complete detour from whats expected from the Brooklyn lyricist. This is dance music. This is party music. Complete with electric keys, funky bass lines, and axe riffs emphatic enough to force you to pull out your air guitar. Kweli’s sublimely garrulous flow is still on full display, but this project also finds him toying with his own style of crooning. “We just put [in] all collective music influences and we don’t limit what we’re trying to do. We just let it flow” Talib stated following their set.

According to www.yearoftheblacksmith.com (the website for Kweli’s record label, BlackSmith), Idle Warship does not “believe in labels for music” because “labels may stop you from hearing something before you listen to it.” When asked about the irony of this statement considering the fact that he is the head of his own record label, Kweli stated “Its not on BlackSmith yet. Its free. We’re just having a good time. Just enjoying the music.”

It most definitely shows on stage. Idle Warship commanded Southpaw’s near capacity crowd for all forty-seven minutes -- coercing them into their web of dance music while still making room for each member to perform their own solo jams. They moved like they were having fun. As if they were thoroughly enjoying themselves. As if the pressure of performing was divided by three. Each member shined, although at times it felt like the Res and Kweli show.

The audience loved the set. Heads knocking all around. People were packed in like a Tokyo subway commute. Asking for anything more is straight Bernie Madoff (greedy). And thats when the curly brown haired girl in the plaid shirt drunkenly strutting with her boyfriend in front of me set it off.

After continually bogarting those of us up front (stage right) for position for the majority of the show, homegirl elbowed the wrong chick. While Donovan Ka5p, Niles and I and everyone else in the venue were engulfed in un-idle worship of Idle Warship, a manicured hand shot around my right shoulder, grabbing a chunk of curly brown hair, snapping back the neck of Ms. Too Toasted!

Chick Fight!

I backed up. Niles backed up. Ka5p backed up. Every guy in the section backed up. Both chicks were with their boyfriends and both of guys backed up! The two women brawled for a solid thirty-nine seconds -- grabbing hair, mashing faces, dropping all kinds of “bitches and hoes” -- before promoter Jah C and an unnamed bouncer stepped in and stopped the violence.

Dance music. Party music. Fight music. Yep, Idle Warship has something for everyone.

Kalae All Day - Black Dynamite

Visually vintage. Vocally appealing. To say, ‘there’s something about Kalae All Day’ is more astute than this cliche conveys. From her retro afro, to her customary 1970s style shades she rocks on the reg, to her bewitching smile and enthralling laughter which seems to ease into the atmosphere like incense; the appeal of this Harlem songstress is equally subtle and obvious. On stage she’s confident and commanding, bum-rushing raps and ballads like Pam Grier. And although she sounds much more compelling singing than she does rapping at this point in her young solo career, the fact that the art of emceeing only entered her repertoire a little over a year ago is encouraging to say the least. Already Kalae has shared the stage with the legendary MC Lyte, Jean Grae, and recently won Brooklyn Bodega’s October Show & Prove. She’s also performing alongside Talib Kweli, Niles, and others as part of the Idle Warship showcase at Southpaw on November 28th and has an album on the way entitled Afromatikneohippierock*solemuzik. “[The title] came about from people asking me whether I sing or rap. And I be like “I do everythang!”

Recently we got a chance to kick it with Kalae following her captivating performance at Sputnik Bar in Brooklyn. Read on as we get down to the facts on performing at the Playboy Mansion, dealing with ego, and how rocking in a choir ain’t for everybody. Microphone check, check, check, check.....

TCM: The-Quotable.com here with KalaeAllDay. How are you doing?

Kalae: This is so dope! Yo, I’m feeling great. Feeling good, feeling great!

TCM: So you’re an accomplished musician in your own right. Performing in the Harlem Choir, attending the Performing Arts School....

Kalae: [Laughs] If you want to call that accomplished, sure. Why not?

TCM: I think it is because you know, to continue at each level and move forward in chasing a dream at a passionate level and at the same time at an architectural level-because you’re learning how music is built and put together and where it comes from. So, how has you’re music experience affected your sound?

Kalae: To be honest, I went to Harlem School of the Arts when I was very very young. I was in there choir maybe from 4 to 7, I want to say. And I recall one time, being at like-I swear to you-The Playboy Mansion performing for them when I was that young. Right? The Playboy Mansion. Kinda crazy. But thats the only recollection I have of being in the Harlem School of the Arts Choir. Now, being in Professional Performing Arts School-I’m going to tell you something-that school is amazing, did not work out for me! [Laughs] Now, I learned a lot of basics from being in that school. And so, I appreciate going to that school, but it was not the right learning environment for me.

TCM: Why wasn’t it the right learning environment?

Kalae: I had a lot of internal issues and I have a problem with authority. And so for somebody to tell me how I have to sing, what I have to sing, and all this other shit-thats to me was nonsense-every single day was driving me insane! And the fact that like, I had this kind of relationship with our choir director where she saw something in me and was trying to pull it out in a way that I couldn’t deal with. Different people learn different ways, she wasn’t the correct teacher for me. So, her vision for me I respect and I understand and I’m honored she felt the way that she felt about me. I just didn’t understand it when I was that age. When I was going through high school, I was a crazy little teenager. And I’m only 20 now! But still, that was three years ago, and more. And so it was complicated. But you know, I learned a lot from doing that. And I had never actually been on stage doing my stuff. I enjoyed being with the choir, but maybe I was a little egotistical. Maybe I just wanted to do my own shit and fuck everybody else, like maybe. You know what I mean? Thinking back on it, in retrospect maybe that was my problem. Maybe I just didn’t enjoy having everybody sharing the spotlight with me! [Laughs]

TCM: Thats the problem with a choir. Theres a lot of people in them. They are a choir.

Kalae: Yeah! I was like “Shit! I should be in the front of this motherfucker!” [Laughs] But it was terrific experience. Whether thats good or bad, it was a terrific experience. If that makes sense. Now [after finishing high school], I started working. I went to college for a little while at Brooklyn College. BROOKLYN! [Laughs] I’m from Harlem. I started, lets see, the first show I ever did my music by myself was June 29th, 2008.

TCM: Where was the show?

Kalae: That was at a bar around the way on my block in Harlem. It was like a half hour to 45 minute set I did acoustic and it was amazing to do my first gig by myself. It took me 7 months to book that gig, mind you. And I did it to a track that [where] I recorded my vocals as the instrumentals. Then I recorded by verse on top of it. So like, I had absolutely nothing but like the free version of Pro Tools or Adobe Audition. Thats what it was called. The Free Trial, I did that shit on. I booked that gig and from that gig came a slew of other gigs. And so I feel very honored that, in one year, I’ve accomplished enough to be on stage with MC Lyte, Jean Grae! What the fuck??? I’m nobody! I feel like I’m not worthy!

TCM: So this is moving kind of fast for you. You’re career as a solo artist has been fairly short.

Kalae: Its been a year and a month. And a month and a couple days. [Laughs]

TCM: Is that scary? Is success intimidating at all?

Kalae: Its intimidating for other people. [Laughs] I feel like this is how its supposed to be, a natural progression. And when I say this is how its supposed to be, I’m still completely humbled by the experience. Without a doubt, I can’t believe it. At the same time its like I know this is my destiny so I’m accepting it and letting it be.

TCM: Speaking of that, thats what I took from [The Pedestal Song]. Where did that song come from?

Kalae: The Pedestal Song comes from dealing with ego. I was very introspective in high school, like during the couple of last years. And I was trying to learn about myself and try to figure out why I was fuckin’ up. You know what I mean? And I figured out one of those reasons was because of my ego. And so, from learning how the ego works and how dangerous that shit is. And it helped me notice it in other people, and study it in other people, it really made me wanna....I write about it a lot. I talk about it a lot. But thats only because of personal experience. I mean the song is just...I put it in a way where I’m talking about a man, but really I’m using the man as a representation cause we all have ego. And thats why we “gotta humble ourselves, it wasn’t just you, you got some help.”

TCM: Yo, it comes across. It comes across in the song. Plus, its a banger. It gets the heads knocking. It feels good.

Kalae: Yeah, thats everybody’s favorite. I love that song.

TCM: But now, you’ll switch it up, though. You’ll kick rhymes then you’ll sing ballads. Which is more natural for you?

Kalae: Which is more natural? Singing, because I’ve only been rhyming for a year! [Laughing hysterically]

TCM: Really? Wait, how’d that even work its way into your sound?

Kalae: [Still laughing hysterically] Alright, so let me tell you how this went. Speaking of Lupe Fiasco. The first time I heard a Lupe Fiasco record, I was in high school. I remember thinking like, ‘shit yo! He can rhyme!’ Everything he said painted pictures for me. It was beautiful. First and foremost, I would have to say that I’m probably a writer. I love to write. I love to write anything. Anything you want me to write. I love writing, okay. So for me it was a natural progression of me writing my songs and my ballads and stuff like that to me writing in a more dynamic way. And it was like, I need to keep my voice up with the words that I am writing. And so, I was very influenced by my nephew. And he goes by the name KlaeFace, which is K-L-A-E. Isn’t that hilarious?!

TCM: Word? Okay, how old is he?

Kalae: He’s 25. And yes, I’m 20. He’s my nephew. So what? Now, he had these beats on, right? They were on a tape, okay. This is back when, I think I was 15.

TCM: Whats that 2004? He had a tape in 2004?

Kalae: I know, it wasn’t that long ago. But he was recording onto a tape. And he’s doing a mixtape that he dropped in Honolulu or some nonsense, right? And I was like “yo, let me get on it.” Just being silly, and he let me rhyme. Like, I was rhyming some of the lyrics I had written for another song. And, I mean I was terrible! I don’t know where that tape is but I’d never show it. I was terrible! Now, he’s laughing at me, of course. And so, I was like, okay, obviously I’m not a rapper.

Fast forward a couple of years later-I met this other dude-Pete Hype. He’s an amazing rapper. He became a really close friend of mine and I asked him “how do you rap?” And he was like “you just do it.” And a light bulb just popped up on the outside of my head. Now of course I didn’t just all of a sudden become a great rapper. What would happen is that I would just sing my lyrics real fast and then eventually I learned how to take the harmony away-cause I could always sing fast. I could always do that kind of stuff. So I was like “take the harmony away, take the melody away, take the melody away.” And then I took the melody away and then I was rapping. And I was like “Yes! I can rap now!” And I still struggle with it, I gotta be honest. When I write a rhyme, I have to practice that shit. I practice that mutherfucker, okay. And then I say it smooth, and I put the swagger on it and everybody thinks I’m a rapper and I’m like, “yeah baby, I’m a rapper!”

TCM: Lots of time in the mirror with the hairbrush?

Kalae: Not really.

TCM: No?

Kalae: No, I’ve never been a brush-as-a-mic person. Did you even notice that I don’t hold the mic that often? I like it in the mic stand.

TCM: I did notice that.

Kalae: I’m a mic-stand-kind of girl.

TCM: Thats gotta affect your swag a little bit, though. Since you’re rhyming now, you gotta get that B-girl into it.

Kalae: I’ma try. I’m going to work on it some more just for you.

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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