CAN-I-BUS RECAP - FAREWELL FOREVER FRESH

Its been quite a journey for The Greatest Rapper That Never Made it.

The journey continues for Jah C, the mind behind the increasingly popular Forever Fresh concert series.

Canibus came into the game with Nas-like buzz, blitzkrieg-ing mixtapes and battle cyphers in the mid to late nineties like a German offensive — terrorizing would be lyrical foes metaphor after metaphor. Had his fortunes been different, had he never brazenly blasted LL Cool J on the infamous diss track “Second Round KO” or teamed up with Wyclef to drop one of the most disappointing debut albums in Hip Hop history (Can-I-Bus), perhaps his legacy would be more substantial. Perhaps we would remember him less for his untapped promise, and more for those 7 other — rather obscure — albums he dropped over the course of the last decade.

Frontman for Underground jam band The Antidote, Jah C has financed, organized, and promoted Forever Fresh, a steadily growing, consistently reliable Brooklyn based Hip Hop concert series. Since 2008 he’s hosted legends like KRS-ONE, Nice & Smooth, Talib Kweli, Styles P, to popular under the radar rappers like R.A. The Rugged Man, AG & OC, to rising stars such as Homeboy Sandman, Wordspit, YC The Cynic. Had his fortunes been different, had Forever Fresh been less successful and not opened additional doors to more conflicting responsibilities brand managing events for Red Bull, perhaps he would be able to continue crafting and adding to the Forever Fresh legacy.

This past Monday, Canibus headlined the Forever Fresh Finale, the concert series’ final throw down.

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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.

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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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A Gangster And An Author - Styles P Interview

There’s no pigeon holing Styles P. Any attempt to box him in as simply another “Gangster” rapper is immediately thwarted by the sound of the empowering “I’m Black” or the uplifting “We Gonna Make It”. This founding member of The LOX has built his solo reputation on banging tracks, surprising successes and silencing naysayers. But the thought of Styles P transitioning from rapper to author is arguably his most jarring career turn yet. Following his loaded Brooklyn Hip Hop Festival performance, The-Quotable.com chopped it up with Styles P on that very topic. Microphone check, check, check, check....

TCM: The-Quotable.com here with Styles P. Live show. How do you feel about Brooklyn Bodega?

Styles P: I love it. Love it. Love it. I LOVE IT! I get fuckin crazy here.

TCM: Yo, you got great crowd response, man. Old shit. New shit. The one thing I really want to ask you about is Mr. Invincible, coming out on Nicki Turner Presents...

Styles P: Nicki Turner Presents/Random House. I mean, I just wanted to do something different, like, you know what I’m sayin? I been in Hip Hop a long time. I plan on being in it til I pass. You know what I’m sayin? And besides, um, music theres other things. Theres books. Other things you can do - TV. So I’m just tryin’ to expand my horizons and get into other shit that everybody ain’t into. You know what I’m sayin’? Um, I’m a creative person. I like making shit up. My minds always runnin’, like, you know what I’m sayin? So I figured I’d put it to use.

TCM: Can you get a little into the plot?

Styles P: Its like a jail mystery. Its basically about a dude who ends up, end up going to jail over something that happens and he has his trials and tribulations during the time, but he’s not really sure who he has a problem with, you know what I’m sayin? Its just a righteous dude trying to live righteous. It just shows like, basically, shit happens some times.

TCM: Something everybody can relate to...

Styles P: Yeah. Not everybody. But, you know, people who fuck with me can definitely relate to it. Or, pretty sure they know someone else who can relate to it.

TCM: There you go. So when is it hitting shelves?

Styles P: Um, I’m trying to finish it up like within these next 3 weeks, and then, I figure a couple months after that.

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"