Loyal Divide is a genre-defying quartet made up of Siddharth Chittajallu, Adam L. Johnson, Andrew McCarthy and Jonathan Notowidigdo. They had originally formed in 2005 while attending Miami University in Oxford, Ohio, but didn't hit their stride until they moved to Chicago in 2007. Their lush, almost haunting melodies have been compared to Radiohead, Brian Eno and Luomo, but despite those prominent influences, Loyal Divide still manages to capture their own vibe with a remarkably fresh sound.
Within their EP Labrador there exists a mature, multi-rhythmic combination of layered samples that beautifully meld elements of rock, dub-step, hip-hop and electronica into what Sidd calls "psycho-pop." So far the group has been progressing steadily, and it appears things are about to get even bigger with their spot on the North Coast Festival as well as a new album entitled Bodice Ripper. Centerstage caught up with Siddharth Chittajallu to talk about their time in Chicago and what we can expect from their new album.
You originally formed in Ohio, and eventually moved to Chicago. How has the city embraced your style and in what ways has it contributed to your growth?
Our listening habits have changed from riding the train every day. For some reason, repetitive electronic music sounds great during the commute. We've all become big fans of Luomo's Vocal City, and I think you can hear some of that enthusiasm in our upcoming LP.
You already have an impressive list of people that you've already collaborated with here in Chicago. What's the experience been like for you working with these artists?
We've met a lot of passionate, interesting people through playing shows outside of traditional venues. There's no money in it, but we've benefited a lot from playing loft parties and concerts in improvised spaces. It's there you get a feel for Chicago's DIY community.
You weave together a lot of different genres, anywhere from boom-bap and down-tempo to electronica, rock and beyond. How do you balance all of those influences without sounding non-committal or meandering?
We try to make every song sound as good as possible and go from there. There are certain rules. Every track has to have a money shot.
So what's your approach to making a song? Is it more organic or calculated from beginning to end?
There are no consistent approaches. Some songs begin with a foundational sample or riff, and some songs begin as acoustic guitar demos. Then we toil over them until they've reached completion; it's usually very obvious when they have.
How did the concept of the Vision Vision video come about?
That video was 100 percent BBGun. They don't get many projects with complete artistic control, so I think they really relished the opportunity to make something on their own terms. It's a difficult video to show my grandmother, but I think the music fits wonderfully with the footage.
Tell me a little bit about your EP Labrador?
It's all music that we wrote right when we got to Chicago. Those songs are also our first attempt at home recording and electronic music.
What can we expect from Bodice Ripper?
It's an extension of Labrador. We intended to make a full album, but the tracks took us too long to write and we really wanted to release something. So we released the first four songs we completed. Bodice Ripper is the album we wanted to make.
With more than 20 years of experience, DJ Rude 1 understands more than anything the importance of staying true to oneself. He's been deeply rooted in Chicago's hip-hop scene as one-half of the Single Minded Pros, and despite being a major figure in the scene he still maintains a grounded focus: spreading the word on quality hip-hop music. Rude's love for the culture started as early as grade school and has blossomed in a number of different ways, including the popular Goodness series, which has brought out a veritable who's who of hip-hop DJs such as Babu, Maseo, People Under the Stairs, DJ Revolution, Alchemist, Edan, DJ Shortkut and Diamond D, to name a few. Rude's momentum doesn't seem to be slowing down despite him being the only member of SMP in Chicago, so Centerstage sat down with him to see how he's been able to maintain his focus for so long and where he plans to go next.
Your connection with Chicago hip-hop runs deep. What was it that initially got you interested in the culture?
I was heavy into break-dancing when I was in grade school, but my interest in that began to wane and I wanted to learn more about the music we were dancing to. I started taping WBMX mixes around '84-'85 and discovered Farley Jackmaster Funk and the Hot Mix 5. Farley always had the most interesting sets and he was the only one who would cut it up, so I followed him more than the others. I used to take my little tapes to local record stores and have them help me find the songs I liked most, and that's when my record collecting began. A few years later my mom and I moved to the East Coast and I discovered Marley Marl, Red Alert and Chuck Chillout's radio shows. Next thing you know I'm digging for Ultramagnetic MCs, JVC Force, BDP, etc. I like to say I'm lucky enough to have grown up on Farley and Marley.
When did you first start spinning? Do you remember your first gig?
I got a pair of belt drive turntables in 1988 and it was on from there. I worked my ass off in high school to save up for a pair of 1200s.
I'm not sure I remember my first gig. Back then it was mostly house parties. My first gig in Chicago was in 1992 at Cairo courtesy of Jesse De La Pena.
As a DJ you have the luxury of being at the crossroads of a lot of different styles of hip-hop. What's your take on the culture now, specifically Chicago?s scene?
Believe it or not I don't really follow the scene that much. Maybe that says more than I realize. I don't know. I still check for new artists and new records when I hear good things, but I'm not out there kicking it like I used to.
Tell me a little bit about SMP.
Single Minded Pros was a collective that consisted of me and six homies I grew up with back East. Five of those dudes got locked up, and Doc West and I were the only ones left. We're both DJs and producers so we started putting out records featuring our favorite MCs and things took off from there. We did records with Kool G. Rap, Tony Touch, Kool Keith, and a ton of others. Around 2006 I moved to NY and Doc bounced to Atlanta. I did a lot to build such a quality brand, I decided to keep it going by attaching it to everything I do these days. I fell back on the beats the last few years, so it's mainly just parties and DJ sets these days.
The Goodness series has played host to some of the most revered hip-hop DJs around. How did the night come about?
When I moved back to Chicago from New York, there weren't any parties left where I could do my thing and play the records I wanted to play. Shon Dervis and I were still doing late-night sets on Fridays and Saturdays at The Note (RIP!). But we knew management eventually would go in another direction, so it was time to look ahead. I did the first Goodness party at Lava with J-Zone and it's been a great run from there. August will be our three-year anniversary.
Who have been the most memorable guests so far?
Off the top I'd have to say the first time Alchemist played with us. Dilated Peoples were in town doing a show at Double Door that night so they came through along with Aceyalone, 88 Keys, and even Juice came by that night. It was almost a full-blown rap show in little-ass Lava when the legal capacity was only 99. That was a great time. Other highlights for me would have to be Diamond D and Freddie Foxxx. That's just legendary status right there. Plus, where else would you ever see Bumpy Knuckles on the turntables? And that wasn't just for novelty sake. Foxxx gets busy on the tables. I should also mention DJ Revolution and Shortkut are easily the best DJs to have played the night. I'll put those two up against anybody on the planet. I mean that.
I checked out the People Under the Stars set, they're easily one of my most favorite hip-hop groups around. Are they the uninhibited party types like their songs suggest?
This is weird to say, but I'm not at all familiar with their catalog. I know they?re both serious record heads and they use an MPC 3000 like me so I always respected them for that. That night came to be after we met when we were booked on the same bill last year and I just figured they could probably rock a party and they didn't disappoint. The Goodness is a DJ's DJ party if you know what I'm saying, but I love when it turns into an all-out dance party, which happened that night. Those dudes are good people.
Aside from the darkroom what are some of your other favorite venues to spin at?
Shon Dervis and I are back in effect every Thursday for a weekly party we call "Elementary" at Empire Liquors. That's my favorite party to play in the city. I just ended a 2 1/2-year residency at a small spot in NYC called Shebeen, which was always fun for me, and I also really dig Goodlife in Boston.
Almost every DJ I've interviewed considers this an unanswerable question, but I'm going to ask it anyway. Name your top five favorite records.
Hmm, I'll say:
"Ain?t It Good To You" Ultramagnetic MC?s
"So Wat Cha Sayin" EPMD
"K.I.S.S." Diamond D
"Boogie Down" Man Parrish
"I'm Hungry" Stopp
My record for 2010 is Roc Marciano's "Marcberg" LP.
Jesse de la Pena is a local DJ who has spent almost his entire life around music. His roots run deep into the mid-1980s b-boy and graffiti culture, and further into Chicago's early hip-hop scene, where his contributions have left an indelible mark. As a DJ he's supported a number of legendary acts, including Tribe Called Quest, Common, Mos Def, Roy Ayers, WAR and Maceo Parker. His group, Liquid Soul ? a Grammy nominated band that fuses together elements of jazz, funk, soul and hip-hop ? has stood the test of time as a truly authentic incarnation of "Acid Jazz." Needless to say, Jesse's resume runs deep, and there simply isn't enough time and space to cover it all, so Centerstage tracked him down to hear in his own words some of the highlights that have decorated his quarter century long career.
You've been DJing for over 25 years, who was the first DJ you saw that made you want to get behind the decks?
Like a lot of DJs, it was seeing music videos like Herbie Hancock's "Rockit" that inspired me to look further into it. Later I met a few friends in high school that were already doing parties like Hugo Mercado, Mark Medina and Andy Kudelka. From that point on I started going to parties watching what DJs were doing and eventually started spinning with a few buddies in my neighborhood, Tommie Boy Productions. I guess we were all inspired by the radio mix show DJs from stations like WHPK, WNUR, WKKC, WCRX, WCYC, WBMX and WGCI.
Do you remember the first record you ever bought, or perhaps the one that really got you geeked for the first time?
I bought "The Breaks" by Kurtis Blow at a flea market and that started me collecting 12-inch records. Before that I had always bought 45s and albums as a kid. My mom had them around the house and she would play them for us. I guess that had a big influence on me and my two sisters. One is a DJ (Leeann) and the other became a VJ (Diane).
You helped lay down the foundation for Chicago hip-hop, what was the early scene like?
The early days were a lot of fun and we were young, things were very different back then in the mid '80s and early '90s. Hip-hop wasn't mainstream and as accessible as it is now. Just finding a space and/or bar that would allow you to do a party was a task. The stigma that came along with hip-hop was pretty negative and being here in Chicago, where it is known for being very divided, made things a bit more difficult. Fortunately, I met a couple club owners that gave me the opportunity to do a few nights around town like Joe Shannahan (Metro/Smartbar), Tommy Klein (The Vic) and John Litz (Elbo Room).
Out of all the residencies you've had over the years is there one that stands out as head-and-shoulders above the rest?
Probably my days at Smart Bar. That was my very first residency. I learned so much there about music and the music biz ? from their library of music to their resident DJs like Jeff Pazen, who showed me the ropes when I first started spinning there. Also the Elbo Room here in Chicago, that's where one of my first hip-hop nights all came together, "the Blue Groove Lounge" back in 1994 plus my Sunday night "Acid Jazz" night with Liquid Soul. These two venues have played a major role in what I do today.
Tell me about how you met Tommy Klein.
We met through Joe Shannahan back in the early 90s. Joe wanted to put together a band incorporating a DJ and Tommy was the guitar player. He is a super talented musician that has seen a lot. He was very forward thinking when a lot of musicians were very anti when it came to working with DJs.
When you guys were in the early stages of Liquid Soul did you have a clear vision of the type of sound you were going for or did it just evolve naturally?
I was in another band before Liquid Soul and that's where a lot of experimenting took place. It was my first time every doing anything like this, a lot of trial and error when it came to figuring out the sound. The problem was that everyone in the band had a bit of a different idea of what that sound should be. Tommy and I were on the same page and we wanted to push things in a jazzier direction, fusing more raw hip-hop, reggae and dance elements and still pushing the boundaries.
In what ways did the city help inspire the musical dialogue?
Just being here in a big city influences your musical taste, all the stuff you are exposed to as a kid and what you hear on the radio. Then when you start going to parties all these thing seep in. I wasn't a kid who grew up playing the piano or taking lessons on music theory. These things became more interesting to me as an adult. There wasn't anyone in my family that played an instrument, so communicating what I had to say wasn't easy. Eventually I developed an ear and began to understand how things worked. I feel very fortunate growing up here in Chicago and for the time I have spent in New York when I was younger.
You've seen DJ culture evolve over the years, what's your take on Chicago's place in history?
Chicago is very rich in musical history ? from the blues and R&B to good old rock 'n roll. There is so much talent that has come out of Chicago. It's unfortunate that it seems like you have to move to one of the coasts to make it. Chicago will always have its place in the history books, you will just have to dig deep to see a lot of what has happened here. If you rely on the magazines and the media to tell the story, you will just get the short version. There is so much more that never gets told.
What can we expect from you in the future?
I?m rethinking my role as a DJ at the moment. I want to get back in to producing for some artists. I have a new project called the JDL Sound Collective that incorporates multimedia and all my favorite aspects of a band and turntablism. Also piecing together a few different ideas for albums and mix CDs with a different twist.
In his young career, multi-instrumentalist/producer Keith Kreuser (aka K-Kruz) has had the opportunity to work with some of the most gifted artists Chicago has to offer. He's collaborated with hometown legends Diverse, Psalm One, Longshot, Adad and Iomos Marad (to name a few), and he's made extensive contributions to famed local labels Chocolate Industries, Molemen Records, Galapagos4, EV Records (now defunct) and All Natural Inc.
Kruz's love of music started as early as age 5 and has been on a steady climb ever since. His last EP, Look Honest (featuring singer Steve Spacek), is a tasteful take on the spaced-out soul that many contemporaries have adopted as of late. The difference is Kruz approaches the style on his own terms and develops a warm sound that's never too nostalgic, and always enterprising in its attempt to find new and hypnotic rhythms. The real shame is that we don't hear from him nearly enough, which is why Centerstage tracked him down to get a heads-up on what he's been up to and what projects we can look out for in the near future.
You've had the opportunity to work with a wide range of Chicago hip-hop legends. How has that experience molded you and was there anyone in particular that you really enjoyed working with?
Having the chance to work with local artists is so much more rewarding than working through the mail or the internet, and is a true rarity these days. That being said, working with Diverse, Cap D, Iomos Marad, Mass Hysteria and the whole EV crew has really molded me as a producer and given me the confidence to do what I do on a continuous basis.
What's your take on the local scene now?
Let's just say we're a long way off from Common rocking at the Blue Groove Lounge with Jesse De La Pena on the 1s and 2s.
You play the drums, which is in contrast to the producer who learns solely through the MPC. What sort of advantage does that give you when mapping out a beat?
As much advantage as playing piano since I was 5, studying the saxophone for nine years, or years of Ear Training and Music Theory classes in college: none. To me making hip-hop beats or down-tempo beats or whatever you want to call it, is art, and art should be evolving. My training gives me a base, but like Miles Davis said, he studied at Julliard and with some of the best musicians alive, but then had to forget it all to make the music he wanted to make.
Do you feel that hip-hop as a whole is lacking depth?
Lacking depth? Not necessarily in the music/beats, but more in topics of the songs. For example, I love Drake's choices of beats, his melodies and even his rhythm, but dude isn't saying anything other than what we already know, he's rich.
Tell me about your EP, Look Honest, with Steve Spacek. What was your approach in making this album and how is it different from previous projects?
I was working on a full-length and had a feature from Steve that I was definitely on it, the album was taking forever so I decided to bang out an EP to keep getting stuff out there.
The few songs I've heard from the EP have a wonderful - almost dreamy - quality to them. What were some of your inspirations while piecing this project together?
I am a big fan of dreamy music. Toro Y Moi, Mew, anything that has interesting sounds and textures with pretty chords, that's my kind of music.
The EP was released under the label Organik. How did you link up with them?
Fred from Organik reached out to me sometime after Diverse's One AM came out, he told me he was a fan of my work and asked me if I would be interested in putting out records with them.
So is this project in preparation for a proper full-length?
Yes. I should be wrapped up with the record early summer and possibly have it out by fall.
Are there any other projects we should look out for?
The full length K-Kruz album Choose Your Circumstance, Diverse's Round About, The Believers, which is Cap D, Iomos Marad and Me, and a record from The Fires, my rock group.
By combining elements of comedy and hip-hop in his routine, local emcee Que Billah. is an artist whose stock is steady on the rise. The West Side native first began rhyming when he was in grade school, and over time his talents evolved to where he was able to strike a fine balance between his influences and experiences. In 2005 Billah's hard work paid off as he was recognized by Source for its Unsigned Hype column, which has featured luminaries like Mobb Deep, Notorious B.I.G. and Common, among others.
The accolade was a hard act to follow, especially when considering he was the first Chicago emcee to be profiled in Unsigned Hype since Common, but it was a challenge Billah has responded to by selling more than 20,000 mixtapes and opening for a multitude of emcees, including KRS One, Rakim, Twista, Ludacris, David Banner and Chingy, to name a few. In recent months he's maintained the momentum by releasing singles with The Cool Kids and KRS One, which is a testament to his versatility as an artist as well as his ability to bridge creative gaps.
Where were you born and how did you first get interested in rhyming?
I was born on the West Side of Chicago, L-Town to be exact. I was basically raised on hip-hop. I have a brother that's eight years older than me, so everything he listened to, I listened to. So I was always enamored by rap music. I first got interested in rhyming at the age of 10. I wrote my first rhyme in fifth grade for a science project about animals.
Can you take me back to your first performance?
Oddly enough, my first performance was before I wrote my first rhyme. In the fourth grade our school had its first talent show. Myself and three of my guys, one of whom just passed away two weeks ago -- which is why this story is so fresh in my memory -- were chosen to represent our class in the school talent show. We performed a cover of Bobby Brown's "Don't Be Cruel" and I performed the rap portion while they performed the singing part. And that was when I fell in love with the stage. It wasn't until my high school talent show that I was able to hit the stage with my "on" material.
In 2005 you were recognized by the Source's Unsigned Hype. Looking back on it how did that recognition help you get to where you're at now?
Well, I think that the Unsigned Hype article helped me out a lot. Any time you get recognized nationally for your work, it sets you apart from the pack. I think it gave me a springboard to jump from to get people to take notice. Also, the writer of the article came to town for a congratulations party/show, which sparked the beginning of my paid show career. From then I was known as the guy with no deal and no radio play that could pack venues. So locally it helped a lot, but nationally not so much. There was a time when that article got you signed ... once upon a time, but due to the turmoil that the Source was going through at the time, the article didn't mean much nationally.
Was there an added sense of pressure afterward?
Yes and no. It was really a relief because I had been saying I would be in the Source's Unsigned Hype for years, but I had no idea how it would happen. So it was a relief that it came to pass. The pressure came in the form of getting more press. Without a publicist it was a very hard task.
You've had the opportunity to share the stage with some legends. What's the experience been like for you, and has anyone taken the time to pass on any real words of wisdom as opposed to the cliche "keep grindin'" line?
I was able to spend a few hours with KRS and Rakim on separate occasions. Both of which are super cool dudes in two different ways: Rakim more like the uncle telling you how it was when he was coming up, filling you in on the real stories behind this thing we call hip-hop, like how Nas was in the lab with him while he recorded "Paid In Full" or how his favorite rapper is Sadat X. KRS is more of the icon that feels the need to give back to the culture that he has reaped so much from by doing songs with the youthful emcees that looked up to him all these years. I could go on for hours, I got millions of stories about me opening up for people from Luda to David Banner to Devin the Dude ...
You cite a who's who of comedians as inspirations, Dick Gregory for example. People have a tendency to exclude him when talking about influential comedians, how important is it for you to maintain a sense of humor throughout your work?
People exclude Dick Gregory because he is much more than a comedian and his knowledge makes him a dangerous man. Seeing him speak actually gave me the notion that I could actually make people laugh, then drop a little knowledge in between the punch lines. But humor is the key to getting your point across; even preachers use comedy in their routines. Ask any woman what the most attractive quality in a man is. If you keep people laughing, you keep winning. But hey, if you want to be super thug and you're too hard to smile, then you might need to get some things sorted out in your life, because that ain't healthy.
Recently you worked with both KRS One and The Cool Kids ? on separate projects. What was it like working with two such different dynamics and do you see the styles bridging together at some point down the line?
Only thing different 'bout The Cool Kids and KRS is how they dress, that's it, not even age because they both make timeless hip-hop. KRS said the best year was '88 and The Cool Kids brought '88 back. I'm honored to be a part of both their legacies, whether they like it or not. I sit right in the middle of those generations. I came after KRS and before the The Cool Kids so I am bridging those styles together.
Tell me about some projects that you have lined up for this year?
Well, currently I'm working on something very groundbreaking. I'm working on a video mixtape called "You Can't Do That On Television," 12 videos that blend scratch and fade like an audio tape. To my knowledge it's the first of its kind. After that I'm dropping an EP Called "1000 Words," which will be accompanied by six more still -picture videos, much like The Fresh Air Syndrome. From this point on I'm all about the visual and bringing songs to life.So when you're not busy working how do you like to unwind? Favorite venues or places to relax?
When does that happen? I'm always working. When I'm not working I like to brainstorm about new ideas and how I'm going to bring them to life. Even when I'm in the club it's business and there is very little "me time." Honestly, where I feel the most relaxed at is on stage. I wish I could perform every day of the year, that is when I'm at peace and one with the universe. But to answer your question, I'm feeling The Shrine this year, that's the place for me this year. I also like to cook and I get down too.
Everyone loves the idea of a threesome, but few can actually complete the triple play successfully. Madsen Minax (Actor Slash Model) appears to be one of those few; his new-ish side project, The Homoticons, enlists the powers of two fellow transsexual artists (Jesse Alexander of Cobalt & the Hired Guns and Elias Krell) to create incisive pop that isn't afraid to take you on a "homotional rollercoaster" ride. Minax prepared us for what to expect at the trio's next Chicago show, July 23 at the Hideout.
Describe your sound in 140 characters or less.
Dramatic indie folk pop with epic tendencies and gritty roof raising harmonies. Heavy on the climax and the decay, and neither will let you down.
Where and when was your first show - and what was it like?
Our first show was at the Red Line Tap in Rogers Park on September 24, '09. We weren't officially a band but from that night on we would be. Everyone in the room felt our connection: The show was intimate and well-supported, much like a high-end bra. On the way home, Jesse, our drummer, asked, "So, do you guys, like, wanna be in a band or something ... ?"
Name three of your favorite Chicago spots (bars, restaurants, venues, parks - whatever).
Hollywood Beach, Big Chicks, Schubas.
What Chicago artist/band should we interview next and why?
Elias Dylan Krell.
As a member of the legendary hip-hop crew The Molemen, producer/DJ PNS has had the opportunity to work with a laundry list of underground icons. His contributions run deep, particularly here in the Midwest, as he's provided beats for a bevy of local stalwarts including All Natural, Astonish and Decay (both of the Molemen Camp), Longshot, Prime as well as Rhymesayers artists Slug and DOOM. With his menacing basslines, neck breaking boom-baps and thought provoking samples, PNS' beats are a raw introduction to a distinct and rugged style of no-nonsense hip-hop, worthy of praise from even the most hardened hip-hop fans.
Recently PNS teamed up with fellow Chicago native Zavala for an all-instrumental album entitled Canciones Modernas, released by Fieldwerk Recordings. The album is a simultaneous celebration of both PNS and Zavala's Mexican heritage and love of hip-hop culture. It's PNS' first solo album since 2007's Audiotronics, and is proof that the Humboldt Park native hasn't lost his magic touch. Centerstage caught up with PNS via e-mail to discuss the origins of the album as well as get some schooling on everything from how it all started to his thoughts on Chicago's current hip-hop scene.
You've been making beats for over 20 years now, who or what was it that first got you interested?
Being a DJ, it was the logical progression to get into beats. I had a Nu-Mark mixer with a four-second sampler, so I started there and worked my way up to SP-1200, then MPC 2000XL etc.
I was self taught on the beat making process, no YouTube back then to see how my idols worked. I would constantly hit a wall until I figured it out. I did get tips from my friends, The Molemen, DJ 33 1/3 and Dug Infinite.
Growing up in Humboldt Park, was there a distinct vibe to build off of?
There were B-Boys/Girls doing their thing, whether breaking, graffiti, DJing or rapping. It was a culture that pretty much followed the rules of the streets, which was to earn your respect. Keep it real wasn't a cliche. The environment could get dangerous, so there was no room for wackness. I kept it real to my surroundings, which also included skaters and punk rockers, and that evolved into my sound.
How did you link up with the Molemen?
One of my good friends from Prosser High School told me he copped a Molemen mixtape and that it was similar to the mixtapes I was doing. I began my search for these like-minded individuals. Again, no Internet, so I had to put the word on the streets. My boy Rive/CCA told me they were Chi-Rock Nation and that he's been to their basement studio, so I was like, hook me up. It was like a secret society. I still didn't get in, but I was determined. So eventually I met Big Juan and Panik "in the field." They were digging for records and I approached them and said what's up. Later that week I saw Panik again at WHPK and we started talking. I rode with the Moles, paying dues until they asked me if I was part of the crew.
Tell me how Canciones Modernas came to fruition.
I was judging a Scribble Jam beat battle here in Chicago. Zavala won and went to Cincinnati for the finals. I went up to him there and we chopped it up, so we agreed to work together on something. Two years later Crushcon 7 from Fieldwerks got it poppin' to press it on vinyl.
Having two producers release an instrumental album isn?t something that happens too often. What was the process like? Did you and Zavala want to create a focused dialogue or did you want to let it grow organically on its own?
I believe that in music, we all speak the same language. I told Zavala to send me some music and I would work off that. Then I sent him some music and he went back and did what he wanted to add to his music. Finally I sent my finished version. We vibed off each other, from the music to the song titles.
You?ve been deeply rooted in the Chicago hip-hop scene for years now, working with a who's who of legends. What's your take on the scene now?
As far as people from the Chi doing their thing, I'm all for the Nation Business. It's so diverse and we should be proud of the team. I like the homies Scheme and Astonish, Gaggie and JapCity get it in, Cool Kids and Kid Sister are doin' it fresh, Flosstradamus and Million $ Mano on the 1s & 2s, Stefan Ponce and Vyle, I've watched grow and evolve. B.B.U. are taking it to the next level, Epidemik and 108 Music takin' care of that business. It is a great time.
What other projects can we look forward to in the future?
Another joint with Zavala. We already talked about the premise, so now we have to make that into reality. Panik and Memo have been talking about doing the next Molemen production album. I also plan to release my "lost" beats & old mixtapes. As long as I can keep telling the story, I will.
Actor Slash Model is the collaborative effort of activist-slash-educator Simon Strikeback and artist-slash-filmmaker Madsen Minax. When the duo isn't making gender-bending music together, they're on the movie scene, having released the recent rockumentary Riot Acts: Flaunting Gender Deviance in Music Performance. Strikeback tells us a little more about the duo.
Describe your sound in 140 characters or less.
We call ourselves a homo indiegrass duet. Our sound is influenced by a wide range of sounds, from far-reaching indie to very traditional bluegrass.
Where and when was your first show - and what was it like?
Our first show was in fall 2006 at the Prop Theater on Elston. We played the opening of a porno that Madsen had done some music for and I had a little spot in. We knew a lot of folks in the film and at the performance, so it was a nice introduction to playing out - everyone clapped and probably would have no matter what we sounded like.
Name three of your favorite Chicago spots (bars, restaurants, venues, parks - whatever).
Red Line Tap in Rogers Park. Jackhammer in Rogers Park. Women & Children First bookstore in Andersonville
What Chicago artist/band should we interview next and why?
The Homoticons - its Madsen's new band and they are really making headway through the Chicago indie scene.
As one of the founding members of the famed underground rap group, Typical Cats, Qwel has worked tirelessly to establish his own brand of Chicago hip-hop. His solo albums have drawn heavily upon Chicago-centric experiences, and have garnered attention worldwide, which is a testament to how quality homegrown rap is possible when the emotional investments are made. With the completion of his last album, So Be It, Qwel has wrapped-up his four horsemen/seasons project (with producer Maker), a series of albums that boldly characterize the relationship between Chicago's polarizing weather and the intense emotions that come with it. What's next for the ambitious artist? A lot, including a new Typical Cats album, another possible project with Maker and even a book release.
You've been a veteran of the Chicago hip-hop scene for some time. What's your synopsis on it now in comparison to other cities?
The Chicago scene without a doubt is way more honest than other scenes throughout the world, not only very honest but more than willing to voice its honesty at the top of their lungs. It comes from taking pride in a city drowned in diverse excellence.
What about hip-hop as a whole, do you see it moving in one cohesive direction or fracturing off further into sub-genres?
It's honestly hard to call right now. We at galapagos4 have just kept our heads down making raw hip-hop that we like. I know right now there seems to be a trend of heading down the electronic road a bit, but with all trends that have been added to hip-hop music, heads never wander too far from home.
WHPK was a big part of your development. What was your reaction when you heard JP Chill was hanging it up?
It makes me feel old man! We as a culture seem to take a lot of the beauty and hard work that the giants before us put in for granted. You never know what you got till it's gone man.
Last year's album So Be It wrapped up the four horsemen/seasons project. For those who don't know, tell us a little bit about that concept and what went into it?
Well from conception to completion the project took over five years of daily observing and reporting. I guess we as a crew wanted to capture a whole block of time-capsule music to reflect on. I was lucky to write the four seasons in a very important time in human history. We observed different subjects and reported as they seemed fit according to the thematic soundscape. We did the topics of abrupt change throughout The Harvest, which reflected the swiftest change in season (American politics, gun violence, music puppeteering). We then followed with a tribute to the trudging frozen Chicago winter in Freezer Burner. I tried to touch on how we spiritually and psychologically have become freezer-burnt as human beings from the slow and consistent numbing of the human emotion. Then The New Wine came with a very wide range of clean, crisp "springy" sounds. Topically the spring record tried to capture the young hunger in art that so many have tried to pronounce dead so recently. So Be It wrapped it up with the duality of summer's harsh extreme, really hot hard day followed by quenching breezy nights. I hope this helps, I'm trying not to ramble, but over a couple of beers I'll eat your ear off for hours about any of the records. I'm very proud of the fact that we actually captured the feeling of each season through the soundscapes.
Your working relationship with Maker has spawned some amazing results; how does a producer of that caliber bring out the best in you and vice-versa?
With the amount of respect I have for his opinion sonically, he frees me up to focus hard on the writing. If you know your boy makes bomb rice, you have more time to salt the beans right. Plus he forces me to step my game up. I'm not trying to get shined by his beats.
G4 is a name that's synonymous with Chicago hip-hop. What direction are you guys moving in now?
Straight ahead. We always have made music that we like to bump among ourselves. It feels good to know other cats enjoy what we enjoy, but we make it to have somethin' raw for us to bump. That's what we will be doing forever.
What projects can we expect out of you (personally) in the future?
We are mixing the new record as we speak. We are headlong into this new Typical Cats record too. Me and Maker have been thinking about doing a free project. I been fancying the idea of writing a book soon enough, too much man. People keep telling me to slow down, and I keep thinking to myself how will the world handle it when I learn to really focus and start doing as much as I really want?!
Love Raid may have just released its debut album in February, but by no means is this pop trio new to the Chicago scene. Justin Petertil (OFFICE, Roommate, Crap Engine), Seth Vanek (Roommate, Velvetron) and Gerard Barreto (recording engineer for Old Fake, Blasted Diplomats, Roommate) have been making music together since 2008, and been involved in Chicago music since well before that. Petertil gives us a bit of background.
Describe your sound in 140 characters or less.
Off-Pop. "..wonderfully crafted songs, simultaneously satisfying and unsettling." (according to Cody Hennesy of The Rhombus)
Where and when was your first show - and what was it like?
The Empty Bottle, March 2008. It was a benefit for a film project by Actor Slash Model (eventually titled, "Riot Acts: Flaunting Gender Deviance in Music Performance"). The stage is pretty high at the Bottle but it is still a comfortable venue and proved to be a great first show filled with friends and awesome strangers. The three of us in Love Raid have been musical collaborators in various ways for awhile and are good friends as well. Getting together to play some songs was an easy decision and transition.
Name three of your favorite Chicago spots.
The Whirlaway. The Hungry Brain (esp. on Sunday & Monday). The Hideout.
What Chicago artist/band should we interview next and why?
The aforementioned Actor Slash Model not only got us our first show in relation to their film, but are also fantastic songwriters/performers that we've known for a number
of years now. They are a positive force in the city, using old and new traditions, and writing great witty songs addressing love/sex/gender/political/etc issues.
Chicago Blues Festival Picks
Despite the absence of marquee names like Keith Richards and Sharon Jones & the Dap Kings - both of whom have graced its stages in years past - and budget cuts that have slimmed the event down from four days to three, the Chicago Blues Festival (June 11-13 in Grant Park) is still the largest of its kind in the world. And it's still absolutely free.
It's worth noting that the city did splurge on an iPhone app this year, which features a fun "encore flame" to hoist in the air when all the returning-to-their-roots Chicago bluesmen finish up their sets. The roster again runs deep with talent this year, with a tribute to the legendary Chester "Howlin' Wolf" Burnett the thread that ties it all together (he would've turned 100 this weekend). So charge up your phone and head down to these highlighted performances, especially the homegrown ones.
Friday
Jimmy Dawkins w/ Taildragger 3 p.m. Friday; Front Porch
One of the last holdovers from the West Side funk explosion, Mississippi transplant Jimmy Dawkins inspired a young Bob Koester (the founder of Delmark Records) to release his 1969 debut, Fast Fingers, a tie-back to the nickname he earned scrapping it for a good decade after he rode the rails to Chicago. Dawkins' W.C. Handy Award-winning guitar skills, when paired with the grimy, dive-bar scratch of fellow transplant vocalist James Yancy "Taildragger" Jones, should make for an interesting balance of ache and slash.
Howlin' Wolf alumni feat. Eddie Shaw & The Wolf Gang w/ special guests 5 p.m. Friday; Petrillo Music Shell
No one taps the energy of the late, great Howlin' Wolf like his longtime bandleader, Eddie Shaw. The pocket skills he mastered with The Wolf Gang allowed for Wolf?s seedy, wild soul to set underground blues aflame. An arsenal of special guests, from all-star session drummer Sam Lay to harpist Corky Siegal will be in tow to channel the icon proper.
Big George Brock & The House Rockers w/ George Brock Jr. 6:30 p.m. Friday; Front Porch
This 77-year old gem's style is an entirely rare breed, and not just because of his salmon three-piece suits and leopard-skin capes. Brock grew up in the cotton fields of Clarksdale, Mississippi, and was hardened in local boxing rings, while building friendships with everyone from Muddy Waters to Howlin' Wolf. He eventually settled in St. Louis, with string skills learned from Waters and an affinity for achy harp solos. Although Brock has mostly flown under the radar over the years, his marriage of front-porch swagger and knee-weak soul lofts have seen a comeback of late. Look for minimalist, searing tales like "Poor Boy" or harrowing harp flutters like "Rockin' Chair."
Saturday
David Honeyboy Edwards 2 p.m. Saturday; Mississippi Juke Joint
An acoustic legend, this 93-year-old guitarist is one of the last living links to Delta pioneer Robert Johnson, the man who wrote "Sweet Home Chicago." Aside from Pinetop Perkins, Edwards is arguably the last Delta blues musician alive. Armed with the catchphrase, "the world don't owe me nothing," and hands that are still nimble as ever, he's the authoritative grandfather voice of the journey from Delta freight train to Chicago blues boom.
Rev. K.M. Williams & The Amazing Trainreck 3 p.m. Saturday; Zone Perfect All-Nutrition Bars Route 66 Roadhouse
An actual ordained minister, Rev. K.M. Williams one-ups Johnny Cash with closer-to-God tales, albeit using a boogie, steel-lap approach. A lot of it is reserved, Williams not one to let loose with his vocals - but when he does, watch out for harrowing "Yea Lordy" heel stomps, gospel wails and ominous tales from his breakout album, Here Comes The Preacher Man.
Chicago Blues ? A Living History feat. Billy Boy Arnold, Billy Branch, John Primer, Lurrie Bell and special guest Carlos Johnson 7:35 p.m. Saturday; Petrillo Music Shell
In tandem with a double-disc album of the same name, Chicago blues supergroup A Living History combines the powers of 10 all-stars, young and old, from harpist Mathew Skoller to the muscular punch of guitarist John Primer, from Kenny "beady-eyes" Smith on drums to guest guitarist Carlos Johnson. It's a veritable blues family, joined to honor and document the evolution of the genre. Think The Traveling Wilburys, but with a purpose, which likely includes paying continuous homage to Howlin' Wolf.
Sunday
Quintus McCormick noon Sunday; Gibson Guitar Crossroads
Guitarist McCormick has a Mississippi-Delta heart and a British sense of humor, and has been known to rock Robert Plant-wailing covers of ?Stairway to Heaven? when not indulging his love for classy R&B. A regular at Kingston Mines, he's known his his ability to control a crowd (while also suppressing the shyness that kept him as a sideman for years, until Buddy Guy and friends put the pressure on him to start his own band).
Guitar Shorty 4:45 p.m. Sunday; Front Porch
The grittiest Chicago bluesman that isn't from Chicago, Texas-based Guitar Shorty mastered the hard-nosed modern electric sound that has stocked Buddy Guy's Legends for the past two decades - before the club, and arguably before Buddy. He just happened to be down in Florida or New Orleans, and didn't cut records until the early '80s on Black Top. The accolades have been streaming in ever since (from W.C. Handy Awards to Billboard chart-topping hits) for his glistening solos, monster guitar fingers and, when he was a bit younger ? he's over 70 now ? wily stage antics from back flips to headstands. Judging by the aggression on this year's Bare Knuckle (on Alligator Records), there's still plenty of fire there.
East of the Edens Soul Express 5:30 p.m. Friday, 6:15 p.m. Saturday, 5 p.m. Sunday; Zone Perfect All-Nutrition Bars Route 66 Roadhouse
Best known for their Saturday-night residencies at the Hideout, these DJs/Rabbit Factory Records owners have an intense retro love for Southern soul and blues circa '60s and '70s Chicago, but make sure to mix it up with contemporaries like Common in the interest of putting bodies on the dance floor (or in this case, makeshift roadhouse). A broad range of influences, from Issac Hayes to The Band to Muddy Waters, will melt inhibitions into one hot, sweaty golden mess.
T.K. Soul 8:30 p.m. Sunday; Petrillo Music Shell
The self-titled "Bad Boy of Southern Soul" closes the curtains on the 27th Annual Chicago Blues Festival. He's a bit placid on recordings, with Casio-grade keys punching along his zydeco-tinged Louisiana sass - funny because that's how he got his start, playing keys for other bands. Soul is a fine R&B songsmith, though, and has recently made his debut on the mic, showcasing a sultry, Stevie Wonder croon he should have busted out in the first place, with quintessential swoon lyrics like "I've got to go to rehab, baby, just to get over you."
It's not often that you can recommend a band to both Neil Young fanatics and Air fans. But Roommate splits the difference between intriguing, sometimes wistful lyricism and dark, dreamy electronic soundscapes. It's all done with an intimacy that makes it easy to imagine how the band began as a solo recording project of Kent Lambert in Brooklyn, NY in 2001. Roommate is now five members strong (though many others have passed through its ranks in the last six years) and is readying its third full-length, Guilty Rainbow, for a fall release (you can check out a version of its closing track here, and download a bonus cover track here. Lambert took some time out from mixing to offer some tidbits about the group.
Describe your sound in 140 characters or less.
Synth-heavy groove-based soul-searching shape-shifting cinematic stoner-crooner pop music?
Where and when was your first show - and what was it like?
Our first show was on April 23, 2004 at the Hideout. It was a benefit for Video Mundi, a festival that I helped my friend Jim Finn organize. I started the show with a cover of Camper Van Beethoven's "Sweethearts" that was just me singing along with beats and blips on a Gameboy. The rest of our set featured a rag-tag band of friends I plied into playing with me: Anton Hatwich on upright bass, Evelyn Weston on musical saw, Dewayne Slightweight on glockenspiel, "Uncle" Woody Sullender on banjo... and yours truly on the mic and keytar. We closed the set with a cover of Scott Walker's "Thanks For Chicago, Mr. James" and I somehow had the nerve to get the crowd to join me in a tender sing-along for the finish. The Thin Man headlined and the show was a blast.
Name three of your favorite Chicago spots (bars, restaurants, venues, parks - whatever).
1. The Bloomingdale Trail
2. The patio at the Logan Square Small Bar
3. The Old Town Spice House
What Chicago artist/band should we interview next and why?
You should interview Love Raid. They are good friends of mine - all three of them are or have been heavily involved in Roommate, but you should interview them because they make really tight, effervescent pop music. Their song "Interview" is a first-rate jam that definitely warrants an interview with you.
Six years ago Marcus Pettigrew and Michael Cole Jr. had a problem, a big problem. They had been avid record collectors for most of their lives and their collections had grown beyond a manageable size. You know things are getting out of hand when your house transitions from "place to sleep" to "place to store records." Their solution? Sell off some of the stock to all the international collectors they'd become friends with over the years. And thus, Mr. Peabody Records was born.
Walk into Pettigrew and Cole's Southwest Side shop and you'll feel as if you've entered a different galaxy, one occupied by an entire community of soul-music fiends. Many of the customers have left their mark on the place - the walls bear signatures from visiting musicians and DJs like Peanut Butter Wolf, Dam-Funk, Kool Herc and Mr. Scruff.
It was a chance meeting through a friend of a friend that allowed Marcus and Centerstage to cross paths. With record fairs about to hit full swing, we thought it would be a perfect time to sit down with him and ask about everything from how Mr. Peabody Records came about to what the duo's relationship is with the legendary UK label BBE.
How long have you been collecting records and what started the obsession?
I started around the age of 7-8 years old. My older brother was a teenager and had gotten off into the mix thing. He would take me with him downtown to a store called Imports Etc. It was a premier place in Chicago to find the hottest dance music, 1970s thru 1980s, US and International disco records. When he went away to college, I would take the trains and buses around town to record shop. I was younger and the music I collected for the most part was a generation older than me. Then, I found myself selling music as a hustle to DJs ? mostly older ? that had been looking for titles for quite some time. They would say things like, "You'll never find this. I bet you can't get this." Being I was always underestimated, I made it my business to fulfill people's wants as well as turn them on to music they haven't heard, mostly along the genre of disco music. Those questions soon turned into, "What the hell is this? I never heard that before, can you find me a copy of that?"
At that time the Internet wasn't an option for music. So to find even more undiscovered music I went to the library and checked phone books from every major city in the US. I called shops in New York, Pittsburgh, Las Vegas, etc and bought music. I had found my brother's friend's Phreek LP in 3 days. I met an older guy who worked at a store in Pittsburgh. He was a DJ for a pirate disco radio show in Pittsburgh during the 1970s. I worked a deal with him, as he was selling his personal collection, to ship me boxes of stuff based on a system of classification for the type of sound I wanted. He would call me and say "Hey Mark I've got some good class stuff for you." I would send money and he would ship.
I ended up having this type of relationship with many people over the years. I often would buy entire collections and flip them to local DJs and record stores. I kept the things I wanted and always enjoyed having obscure music others around me didn't know about. I gained a lot of respect as a young collector amongst my musical peers. I met Mike in a record shop not long after around the age of 20. Turns out he had the same serious obsession. Out of respect and trust we shared each other's resources for music and teamed up. We figured two would do more work than one.
Opening a record store is not an easy thing to do, especially in the digital age. How did you guys come to the decision to open Mr. Peabody?
After Mike and myself met, we started hustling records around town to various venues, clubs, collectors, stores, etc. We would travel out of town, and Mike even traveled overseas and made connections with music merchants. We had a huge trade system of vinyl going as his basement turned from a DJ's basement to looking more like a music distributor. We ended up putting shelves and racks throughout the entire floor space so collectors could deal. We would accommodate DJ's and stores, locally and internationally, that came by. He was only a block away from the Metra train so it was easy access for out-of-towners. We had been contemplating opening as the Internet started being a dominant source of music ? more record dealers emerging ? so we had to step our game up. We wanted a definite, endless source of music for ourselves and also to be a resource to collectors worldwide. We ended up scoring a multi-truckload collection out of Detroit, an entire record shop to be exact, that had an inventory that had been off the sales floor for years. After that came a decision point. With a ton of inventory that was mounting quicker than we could get rid of it, we decided to take a leap of faith and seize the opportunity to open a shop. We decided on a professional, unpretentious, yet quirky name and Mr. Peabody Records was born.
When I look at the success of an independent record store, a lot of it has to do with how they've utilized technology as opposed to fighting it. How have you adjusted over the years?
As far as the new age, we knew we would not exist with the overhead unless we operated on-line, which to this day has been 90 percent of our business. The out-of-towners and international people are the reason we still exist to this day with our retail store during these economic times. We have a worldwide presence and we're respected globally amongst music lovers, more so than in Chicago itself.
I imagine you get a lot of business from overseas...
As I said, 90% of our business is international and overseas, even through the door, most of our bigger receipts are from traveling customers who come here from out the area. We have a worldwide presence and respect globally amongst music lovers, more so than in Chicago itself.
With your deep ties overseas, how do you think American funk/soul/disco/hip-hop has affected the international music scene?
Well, I will say that there is still and has been a strong market/respect for good vintage music from the United States overseas; mostly of the soul, funk, jazz and dance genre. How has it affected it the international scene? It runs it. Current music has a strong place as well, yet I will say that industry markets overseas are more tasteful and desirable to the ears than the United States. Just listen to the satellite radio stations. Japan which is a market in itself still has a strong identity with old school hip-hop, vintage dance music, as well as being home to some of the top rare-jazz collectors in the world. People say, "they're taking our music away," but honestly, I'd rather have good music on vinyl in the hands of people that appreciate, collect, and archive good music rather than it ending up in Comiskey Park at a "Disco Sucks" jamboree.
In regards to your relationship with vinyl enthusiasts overseas, how did you link up with BBE for the Real Sound of Chicago project?
A couple years ago we met Frankie Valentine from London as a customer. After talking with him we were able to compare stories, concerns, and problems with today's music industry, including people playing follow the leader in Chicago and surprisingly in Britain as well. We quickly became friends with Frankie and started the process of change. He told us he had a friend who ran a label that was suitable for what we all wanted to get accomplished. Frankie presented our idea to Peter Ardarkwah and Lee Bright (BBE Label Owners) to consider doing a release as we felt we would be an asset to each other. We figured that label would be a good avenue for us to present good undiscovered music to a larger audience of listeners, and also set the stage for us to re-start our DJ careers to promote our sound. For the first compilation, we all agreed to highlight the type of vintage dance material we collected and played, in this case from a Chicago point of view: The Real Sound Of Chicago.
Putting together a comp. is a really tough thing to do, especially when you're representing a specific time and place. What approach did you take?
Well, first off you have to have enough music to do so. The scope of the Real Sound Of Chicago was to highlight underground/undiscovered dance music from Chicago before house music, which Chicago is known for. Pre-house or local Chicago disco was our choice, also highlighting the style of stuff we like and always collected and played as far as DJs. With having the records, and the knowledge of what has been surfaced in the music market, what music is still mostly unknown, we were able to compile a series of comps desirable for music lovers as well as rare music collectors. One of the tracks, The Moore Brothers' "Bass Come Back," only existed in the one acetate we discovered as it never made it to press. Its debut release is on the compilation itself. It came through the door of the store along with some gospel records.
Real Sound of Chicago is one in a series of comps, right?
Yes, definitely.
You've had a pretty eclectic clientele come through, who are some of your most memorable guests?
We've had plenty, if we named one, we'd have to name all. It's probably better to visit our photo gallery at http://mrpeabodyrecords.com.
Some people flip records solely for the money, but it seems like you guys are really looking to add something significant to the music scene.
Well, someone asked us in an interview at an event, "what are you guys doing for the music scene in Chicago?" Mike looked at him kind of funny and replied, "we opened a record store!" We opened with two purposes, to collect records for ourselves as DJs and also supply others. In between it all, our heart is keeping music that would be let alone forgot or lost, available to lovers of good music and sound.
Local quintet Algernon takes the jazz-rock stylings of Tortoise and kicks them up a notch, blending gorgeous melodies with psychedelic effects leading to create one noisy, energetic blend. The young group, led by composer/guitarist Dave Miller, recently released its third album, Ghost Surveillance, on Cuneiform Records. In advance of a free lunchtime show at Millennium Park on June 22, Miller filled us in on all things Algernon.
Describe your sound in 140 characters or less.
Psych/out rock meets electronic meets jazz meets classical at the foot of the apocalypse.
Where and when was your first show - and what was it like?
Our first show was at Cafe Ballistico (run by the Oucho Sparks/Kapsalis crew) in Elmhurst, IL. It was great. The music was obviously in its infancy stage then, but there was a lot of excitement and passion in the playing. I still have a recording of it lying around here somewhere. I think we freaked a lot of people out!
Name three of your favorite Chicago spots.
The Whistler, Hot Doug's, and Lake Michigan.
What Chicago artist/band should we interview next and why?
You should interview Roommate next. They make very beautiful and thoughtful music and are a great bunch of guys! We've played with them at least once or twice and are planning another show for the summer/fall.
They say you never really stop learning, and bassist/composer Jeff Greene is a good example of that. Though he officially left school in 2004, study has been a major theme of his professional career, from a stop at the Steans Institute for Young Artists at Ravinia and Betty Carter's Jazz Ahead program at Washington D.C.'s Kennedy Center. Hitting the books has paid off; his ensemble, blink., was signed to the renowned Thirsty Ear label in 2008 and has continued to build a strong following for its creative jazz. Read on for some academic inspiration.
Describe your sound in 140 characters or less.
My sound as a composer and a bassist has curiosity and thoughtfulness, and my goal is to always be genuine.
Where and when was your first show - and what was it like?
My first show after I moved to Chicago was at the Elbo Room on the North Side and I was the house bass player for a jam session. I remember being excited about the level of players that I met that night and the prospect of getting some real experience by digging into the Chicago music scene.
Name three of your favorite Chicago spots.
The Whistler: it's great to play there but also just to go listen to music and have good drinks.
The Hungry Brain: one of the best improvised music series in the city every Sunday night.
Metropolis: my favorite place for coffee anywhere, they also host live music and work by local artists.
What Chicago artist/band should we interview next and why?
The person you should interview next is Dave Miller, guitarist and leader of the band Algernon. I'm constantly impressed with his passion and dedication to music. His playing and compositions are some of my favorite to listen to and he's already developed a unique, personal sound for both. He plays with a whole lot of projects around Chicago so you'll likely, and should, be hearing from him soon.
A jazz musician is a jazz musician, right? Not when you're a jazz musician who grew up singing gospel and occasionally dabble in classical and chamber performance, like Greg Ward. The saxophonist has had an eclectic career thus far (he's only 28), having played with everyone from Fred Anderson to Al Jarreau, and while he now mostly calls New York home, he's still got a soft spot for the city that shaped him.
Describe your sound in 140 characters or less.
My saxophone sound is truthful, raw, and powerful, with a strong melodic and rhythmic foundation rooted in the styles of my heros.
Where and when was your first show - and what was it like?
My first show in Chicago was at a bar in the Lincoln Park neighborhood called Lilly's. The gig was led by a guitarist named Michael Day and featured some of the scene's best young talents including Josh Ramos (bass) and Isaiah Spencer (drums) and one of my childhood friends, now based in NYC, Brianna Thomas(vocals). We played one set of standard jazz tunes and featured Brianna on a few songs as well. The gig was going great but we ran into some trouble during the break. I was attempting to buy an orange juice at the bar when the bartender asked for my ID. Since I was only 18 years old, along with Josh and Brianna, who was 17, we were all kicked out of the bar and didn't even have the chance to play the 2nd set. So, that was the end of that gig but I had an amazing time.
Name three of your favorite Chicago spots.
I love hanging at Pizza Metro on Division in between Ashland and Wood. There's always great food and conversation there. Also, Cafe Jumping Bean is a great place for coffee and fresh sandwiches. I highly recommend the turkey sandwich. For music, I love hanging at the Velvet Lounge, especially on a Sunday for the jam session. This is a place where many musicians get together to workshop ideas or to just catch up with each other. The Velvet Lounge will always be a special place for me. It's where I grew up, musically.
What Chicago artist/band should we interview next and why?
You should interview bassist/composer/bandleader Jeff Greene. He's an inspiration to me and others in Chicago because of his dedication to his art. I believe he will be one of the most creative voices in Chicago and will make a great artistic contribution to the world. Jeff is constantly developing and exploring his artistic voice and pushing the musicians he works with into new areas. More people need to know about Jeff Greene.
Spending much of his time in Detroit and Chicago, MC/poet/award-winning playwright Idris Goodwin has what many would call a blue-collar mentality. His style of rap is an amalgamation of the influential environments he's humbly been a part of, and the honest, hard-working vision that emits from his words is what the Midwest is all about.
Like many African-American artists before him, Idris first found inspiration as a youngster in church, sitting in the pews watching his pastor pontificate, James-Brown style. Over the years he's combined that vivacious energy with an academic style of writing into a rich blend of poetry and rap, and it's no wonder that his words have found a home at places like Def Poetry Jam in addition to many other literary publications. His latest body of work, Break Beat Poems, is his most ambitious attempt at representing what he calls the "middle-class, Midwestern, married man who likes to go to bed at 10 p.m. experience." Centerstage knows all about that grind, so we thought it would be interesting to chat with Idris about everything from his early days as a budding artist to the liberating affects writing has had on his mind.
Tell me about where you grew up and how you first got interested in writing.
I grew up in southeast Michigan ? Detroit and a nearby suburb. I moved to Chicago when I turned 18. I have been writing as long as I could hold a crayon. Like many African-Americans, the first dynamic writer/performers I heard were in the Baptist Church where the pastor is the headliner every week. He'd come out all cool in his robe, hit the mic, all the deacons would chime in "Tell it!" "Take ya time, doc!" He was a rock star. Seeing that every week had a profound effect on me, there is power in writing and performing material that connects to a very specific audience.
When did hip-hop come into the picture?
I was born in 1977 in Detroit, so it was inevitable. In the early '80s I remember hearing it everywhere. I remember kids in track suits break-dancing on cardboard; hearing Grandmaster Flash and the Furious Five's "The Message" blasting out the window of somebody's hooptie. I remember being jealous of my uncles after they got to see Krush Groove. I decided to really participate in hip-hop during that stage of adolescence when you start thinking about who you want to be. I had an interest in many different kinds of writing, but hip-hop lyricism came the most naturally.
In what ways did your surroundings/environments contribute to your development as an artist?
In the suburbs of Detroit there weren't many outlets for my creative interests. I really spent a lot of time in my room when I was a kid. I played a little sports, because that's what boys in Michigan do, but I was certainly no athlete. I was always drawing or writing or day dreaming. Perhaps the desire to go somewhere else helped develop my imagination. But I am really grateful for the time and solitude to teach myself how to take an idea from initial seed to finished product, because when I moved to Chicago I hit the ground running. There were countless avenues for me to express myself. It had a thriving hip-hop, music, theater, film and poetry scene. I had enough energy and interest for all of it.
Tell me a little bit about your work as a playwright.
I went to grad school at the School of the Art institute of Chicago (or "the Tute" as we call it 'round the rec room). I met a man named Beau O'Reilly, who is an icon in the "fringe" theater scene. He brought me into this world of super-literate, highly capable theater artists. They encouraged and inspired me to teach myself how to not only write plays, but also to produce them with no money. The DIY ethic has always been a part of who I am, so naturally I dove in head first. My first play went up in 2001. I got a glowing review and that was all it took. I formed a theater collective called Hermit Arts with some creative buddies. We operated out of Prop Thtr., we made original plays and we toured shows. Along the way I won an NEA award for playwrighting, and gathered some other nice accolades. Nine years later Hermit Arts just produced my latest play, "Action Spectacular," in the Rhinoceros Theater festival.
So what's more stressful, engaging a crowd as a lyricist or as a director?
I really don't get stressed out engaging crowds. That's the fun, easy part. I've had some nightmare performing stories, but nothing to get too worked up about. The real stress comes as you're trying to get the CD finished or the play on its feet. The process of trying to synthesize the needs of others and your personal vision teaches you patience and how to keep your ego where it needs to be.
What are some of the differences between a spoken-word poet and an MC?
Well there are some obvious differences that come to mind. The MC typically performs to music and rhymes a lot, a spoken-word poet doesn't, etc. But I can cite exception after exception to many of the most obvious dissimilarities.
I think spoken word and rap are extremely similar. Both forms are closer to our ancient need to gather and listen to stories in community with one another. Despite the worldwide popularity of both forms, they exist on the margins of what the literary intelligentsia - or as I call them, "The Word Mafia" - consider legitimate "poetry." If you notice there are very few spoken-word or hip-hop artists on faculty at any major universities.
You've been a frontman for a couple of different groups, tell me about those experiences.
I just realized that I spent my entire 20s in bands. All the groups I have been a part of were motivated by some desire to push upon the conventions of hip-hop music. Sometimes we were successful, many times we weren't, but we had a great time trying. I got to perform on a lot of great stages from the Tweeter Center to The Metro to Millennium Park and get paid for it. Even though Farm Crew, Public Housing and Cookies and Dirt are no more, I'm still cool with many of their members. I still collaborate with some of them.
You're also an educator. In what ways can hip-hop or just writing in general be empowering for people?
There other day I was asked to show my ID and I had one of those strange moments where the regular seems odd. It occurred to me that I walk around with a piece of plastic that proves who I am. The social security card is my designated number. I have a number! We are a document driven society. Even though as a writer I deal in paper, I am very suspicious of this reality. What happens if all the documents burn up? Then who the hell are we? How do you prove who you are? So I think it's vital, particularly to students from underserved cross sections, to understand that the ability to master language is powerful. Everyone should be encouraged to have a hand in crafting their own history because hip-hop culture was built on the tenants of "peace, love, unity and having fun." It's usually in this context that the process can begin. Hip-hop is all about representation of self and community. It's always different for each student, but generally speaking most have never been asked to articulate their personal ideas on paper. I see the lights turning on inside their heads.
How did you link up with Def Poetry Jam and what was that like?
Chicago's own Kevin Coval was a regional scout of sorts. He arranged a show with a bunch of Chicago spoken-word types and had it videotaped. They liked my work. The experience was great. Now I have my "I met DMX" story. I got paid pretty well and of course if the talking box approves then that legitimizes you to your family. It gave me some international exposure which is always a good look.
Tell me about Break Beat Poems and what went into that project.
I have been a fan of SGE beatmaker Anomaly since he put out The Long Road, so the opportunity to work with him, Lee Chest and Shotgun Start was appealing. We started the record when I was temporarily in Chicago working on a play, then I went back to New Mexico. They'd send beats, I'd record vocals and send those back. We wrapped last summer. When I started the record I was listening to a lot of Del's No Need for Alarm, Eric B and Rakim's Follow the Leader and KRS ONE's Return of the Boom Bap. I was also reading a lot of poetry by Rita Dove, Martin Espada, and a bunch of people whose names escape me at the moment. I wanted to make a hip-hop record that was approachable, of this world and yet somehow magical in its "regular-ness." When I started making records as a young man I adopted a persona as a way to give me the confidence to even get in front of people. So my songs were 35 percent me, 65 percent alternative-universe Idris. My goal with Break Beat Poems was to be 99.999999 percent earthly Idris, to convey who I am as a person in 14 songs - really push the person-to-person conversational style ? really focus on playful, unobtrusive lyricism that celebrates the familiar.
I listen to a lot of hip-hop music and while I enjoy most of what I hear, I rarely feel like I am being represented. Where is the middle-class, Midwestern, married man who likes to go to bed at 10 p.m. experience? Break Beat Poems is my attempt to make the sort of album that I think the hip-hop canon lacks. Break Beat Poems is one of the best projects I have ever done. I think it's beautiful and I think hip-hop and non hip-hop fans alike will be able to find something to appreciate. So buy it, or illegally download it...whichever you prefer!
You're not living in Chicago anymore. What prompted the move?
As I mentioned earlier I came to Chicago as this 18-year-old bursting with ideas. The city provided me with so many opportunities. After 11 years I was starting to express the same ideas over and over in the same sort of way. The last couple years before I left I started traveling a lot more and became hungry for a new environment. My wife, who was then my girlfriend, had been there seven years and had similar feelings. We wanted a different physical environment. Natural beauty, sunlight, parking spaces. We both had ties to New Mexico, so we moved there. About a year later my wife was offered this amazing fellowship to attend the University Of Iowa's MFA program for Creative Non Fiction, an offer we couldn't refuse. So we turned around and came right back to the Midwest. Iowa City is a cool little town whose location is ideal for my interest in serving the Midwest region exclusively. So it's been a blessing in disguise.
In retrospect, what are some of the things about Chicago that inspire you?
Chicago is a real true American city. It has the cosmopolitan, the cultural, the grit, the grime, the disparity, the pride, the food, the smells, everything. There is something for everyone. It's in the Midwest so it's still got some of that home-style vibe. Chicago is still a little bit country and I think that's important to maintain as it continues to grow and change.
What can we expect from you in the coming years?
More of the same. More writing and performance. More teaching. More albums. Hopefully more interviews. Thanks!
Record Store Day 2010
Rather than bore you with the numbers that show vinyl is getting its industry groove back, or make like "High Fidelity" reenactors and expound on the superiority of the medium, let's get to the Record Store Day bottom line: On April 17, some fine music shops across the nation will offer limited pressings for a small sampling of record collectors.
Of course, supporting your local, independent retailer is part of the package, with more than two-dozen Chicago-area shops participating in different ways, from in-store performances to free turntable repairs. But if you're really into keeping things close to home, consider dropping that tax refund on a limited-edition release from a local act. Here are some of our favorites to scope out on Saturday (these should be available at all participating shops, but you may want to call and check first):
Buddy Guy ? A Man and The Blues 12-inch
(Vanguard)
500 copies, $21.99
A lot of Chicago blues musicians are hailed as the originators of the modern sound, but it's tough to deny the influence of Buddy and his Fender Stratocaster. The former session star proved himself with this 1968 release, earning the right to be mentioned in the same sentence as B.B. King and Muddy Waters.
Tutu & the Pirates ? Sub-Urvan Insult Rock For the Anti-Lectual
(Factory 25)
1500 copies, $15
As shown in the 2007 Chicago punk documentary "You Weren't There," Tutu & the Pirates were some of the first misfits to hit the local scene in the late '70s. But though they played clubs from Mother's to La Mere Vipere (using guitars fashioned from toilet seats), they never released so much as a single. Until now. And these are just demos. What's not punk about that?
Juicehead ? "Rotting From The Inside" b/w "Death of Democracy" 7-inch
(Misfits)
500 copies, $5.99
In contrast to Tutu's early punk rumblings, this DIY start-up got off on a crunchy, lo-fi collection of seemingly 4-track-recorded pop numbers about blood and whores. They're actually kind of charming, in a NOFX, Operation Ivy kind of way. This 7-inch is their first proper recording on the Misfits imprint and should be a game-changer.
Wilco ? Kicking Television 4 X 12-inch box set
(Nonesuch)
1000 copies, $65
With this live album - recorded over four nights at the Vic Theatre in 2005 - the Chicago indie act was able to capture the perfect balance between the experimental jams of 2001's Yankee Hotel Foxtrot and its later dad-rock leanings (with a little alt-country thrown in for good measure). This is the first release of the 23-song set on vinyl, with fewer copies available than there were tickets to the actual shows.
Mr. Russia ? "Boys Keep Swinging" 7-inch
(Lens)
500 copies, free
Each side of this single - free with any Record Store Day purchase at Reckless Records - offers an alternate cover of David Bowie's garage-glam classic. The local trio tackles the song seemingly using only a bass guitar, which might make the androgynous hero raise an eyebrow, but we're excited about a hometown revival of the niche genre.
Bitchin Bajas/Moon Duo ? Split 7-inch
(Permanent)
750 copies, $5.99
This one's a local double-shot. Ukrainian Village shop/label Permanent Records brings together two of its talents, San Francisco summer psych-rockers Moon Duo and Chicago's Bitchin Bajas, a Cave side project that will surely start some conversations if you whip 'em out at your next BBQ.
Ty Segall/CoCoComa/White Wires/Charlie & the Moonhearts ? 4-Way Covers Split 7-inch
(Trouble In Mind)
1000 copies, $7.98
Trouble In Mind is the start-up label of CoCoComa's Bill and Lisa Roe, who are currently issuing garage singles in the hopes of ?proving that the two-and-a-half-minute pop song is alive and well." Though all three other bands featured on this compilation pay their taxes in non-Illinois states, the label is housed in our fine city and CoCoComa's cover of The Wipers' "Messenger" is worth the price alone.
It's a common question in this city: How long do you have to live here to be able to call yourself a "Chicagoan"? By almost any standard, jazz artist Dana Hall has earned the right, despite spending his formative years on the East Coast. The 40-year-old drummer and composer has paid dues in clubs across the city since the mid-'90s, crossing paths with everyone from Branford Marsalis to Joe Henderson along the way. Last year, the longtime supporting player made his debut as a bandleader with the much-praised Into the Light. Hall recently took some time to answer questions about his still-evolving career - and his adopted home.
Describe your sound in 140 characters or less.
My sound on the drums is passionate, dynamic, encircling, probing, and informed by the great masters who have and continue to inspire me.
Where and when was your first show - and what was it like?
My first performance in Chicago was at The Bop Shop, a club that is now closed but was just off the corner of Wood St. on Division. I was performing with trumpeter Rex Richardson, July 1993 on a Friday night (maybe the 16th?). I was a last-minute substitute for drummer Michael Raynor, who, having just met me three nights earlier at a jam session at the New Apartment Lounge, asked me to cover for him. I was not a resident of the city, but had a suit, drums, cab fare, and desire. I still do. The show went well and I still have it on cassette tape, recorded on my old Walkman (remember those?). We played mostly standards and some of Rex, saxophonist Mike Pendowski, and pianist Sam Stryke's compositions. Nick Tountas was the bassist on the gig and rounded out the quintet. That was my first full Chicago performance. The two songs I played at the New Apartment Lounge that week with Von Freeman were my very first notes played in Chicago.
Name three of your favorite Chicago spots.
a) Promontory Point, facing North on a clear Spring day or the Sky Theater at the Adler Planetarium on a clear night (tie).
b) The Violet Hour, with no line and no waiting.
c) Tom and Wendee's Homemade Italian Ice in all kinds of weather.
What Chicago artist/band should we interview next and why?
How about Greg Ward II? Though he has recently began splitting his time between Chicago and New York, his presence here of late has been extremely vital and regular. One would think he never left! He leads a number of ensembles locally, nationally, and internationally, and contributes mightily to those of others here and in New York. He plays inside and outside and thinks broadly and globally about music. Definitely worth checking out.
Alexander Fruchter aka DJ RTC (Roosevelt Treasurechest) is a local DJ, writer, educator, entrepreneur and all-around music virtuoso. His highly coveted mixtapes have quickly made him one of the most in-demand DJs in the city, but his real bread and butter for the past two years has been RubyHornet.com, an independent, web-based publication that specializes in urban fashion, culture and music. Since 2008, RubyHornet has been a virtual nexus for all things hip-hop with its in-depth interviews, music reviews, DJ mixes and web-based TV, all of which is compiled by a team of expert journalists.
Recently RTC has been spending more time in the studio, maximizing the potential of his newest project "Closed Sessions," which so far has featured some of the underground's finest including Rhymefest, Tanya Morgan, Bun B, Rapper Big Pooh, Amanda Diva, Kidz in the Hall and Hollywood Holt. With RTC's resume growing bigger by the minute Centerstage ,thought now would be a perfect opportunity to catch up, and chat about everything from his collaborative projects to his top five favorite records.
You cite Hyde Park as an influential place for you. In addition to it being where you grew up, what else about the neighborhood speaks to you?
When I was a kid I really thought I lived on Sesame Street because of how diverse Hyde Park is and how the neighborhood looks. Obviously there were no huge birds walking around, but the plethora of cultures and experiences are there. You have a little bit of everything, and I'm really lucky to have grown up there. Hyde Park is where I listened to music overlooking the alley behind my house and really thought, "I want to be a part of this." Hyde Park will always represent that for me, and whenever I hear something that really touches me it reminds me of how Hyde Park looks and feels.
What about Chicago as a whole? How does the city inspire you as writer, DJ and educator?
The buses, trains, the buildings, the intricacies of each neighborhood, the politics, the rough edges and friendly cores, the White Sox, all of those things inspire me on a day-to-day basis. The more I travel the more I see the uniqueness of this place we call the Windy City, and how it influences us, both good and bad.
When did you start DJing? Was there a particular person who got you interested?
I got my first turntables at the age of 21, during the summer between my junior and senior years of college. I was attending Indiana University at the time, and was also the president of IU's Hip-Hop Congress. I was in Chicago for a few weeks for my brother's wedding, and my parents planned to get me a used car so that I could finally have a vehicle to use in Bloomington to get around, and take girls out and what not. I think we were actually about to go look at some cars when I was flipping through the channels and caught a segment of the movie "Scratch" in which they were interviewing Z-Trip and he was demonstrating with some of his skills.
I was always drawn in by turntablism since I first heard it through groups like Gang Starr, Dilated Peoples, Q-Bert, etc. The segment ended, I turned off the TV, walked into the living room where my dad was reading or something and told him I didn't want a car anymore. The whole setup of a mixer, turntables, needles etc. cost pretty much the same as the car. They said they would buy that for me instead, but would not get me a car. So, I walked everywhere my senior year of college and never looked back. It's interesting how one morning of channel surfing has changed my life so much.
People are just as familiar with your writing as they are with your skills as a DJ. What were some of the most memorable stories you've covered over the years?
That's a really good question, and the funny thing is that it is hard to answer. I cover so much, and have been lucky enough to be a part of so many cool, powerful, and inspiring events that I really don't reflect enough. I get caught up in the present a lot and really don't pause to think about what I've done. One thing that comes to mind now is the Fader Fort in Austin 2008. There was a G.O.O.D. Music showcase there last year and Kanye West literally brought everyone out from Common to GLC, Kudi to Erykah Badu. GLC snuck me a backstage pass and it was great seeing so many people from Chicago living it up in Austin. It was like our own Lava Lounge back there. RIP to Lava Lounge, my favorite place to DJ.
You've also interviewed some legendary hip-hop artists. Any outstanding moments in particular?
Definitely. In 2004 I interviewed the Beastie Boys at the United Center. It was the day after the election, and there was kind of a deflated feeling especially since the Beastie Boys were pretty outspoken during that time. The Beastie Boys were a huge influence on me, and it was always kind of a dream for me to meet and interview them. It was also the last interview where I was really nervous, and to be honest, it wasn't even that great of an interview. I've improved tremendously since that time.
After the interview Mike D. and MCA were talking to me and asking me how I got my DJ name. They thought I reminded them of someone they knew from Chicago and were convinced they'd met me before. I had a mixtape on me and told Mike I would give it to him if he wanted and he said, 'yeah definitely.' Giving the Beastie Boys one of my mixtapes was a great feeling. Even though they get a lot and may have never even listened to it, not a lot of people get to give music to a band that has really inspired them and that is something I'll never forget. It also taught me a lot about myself and my own goals. For so long meeting the Beastie Boys was a pinnacle in my eyes, and I really didn't expect it to happen at the age of 22, but it did, and the next day I was right back at Henderson Elementary teaching 25 second graders how to read and write. They didn't really care about the Beastie Boys, that I stayed up all night at their show, or anything like that. It put everything in perspective and helped me form new goals.
Speaking of education, you've also weaved together hip-hop culture and learning into one with your "You Can Quote Me On That" program. Tell me a little about that.
I taught for two years through the program Teach For America. During this time I was also writing for SoundSlam.com. Hip-hop was a way for me to connect with my students and I used it in many different ways. My second year of teaching was spent teaching fifth grade, and kids that age are just looking for something more. I started every class with a quote of the day, which came from a lot of hip-hop songs, but also people like Abe Lincoln, JFK, various painters, politicians etc...The kids would be presented with a "Quote of The Day" and a question relating to it, which they would journal about as a way to ease into a day of learning. "You Can Quote Me On That" is a curriculum that came from those journal sessions. I wrote that curriculum and taught it throughout the city of Chicago. It uses hip-hop songs to teach basic sociology and psychology principles such as self-fulfilling prophecy, social stratification, self-efficiency, and other things that affect these kids every day. These are things that they can understand and would greatly help them evaluate the world around them, it's just that no one ever tells or breaks it down. That's the goal of "You Can Quote me On That."
How and when did RubyHornet come about?
RubyHornet started in the spring of 2008. I was doing various work in the music industry and was growing tired of SoundSlam, it just wasn't working out anymore. I actually was in the process of applying to graduate school and was accepted to University of Chicago when I met Virgil, Omar, and the rest of the team behind RH. We met through a mutual acquaintance and just really hit it off. They were looking for someone to take their resources and create a site, and I was looking for someone with resources to let me keep writing for a living. It's another example of how a small decision can have a tremendous impact. When RubyHornet started I knew it would be successful, but couldn't have envisioned all the great things that have come from it. I have a team of excellent people behind me, people dedicated to their craft, and we've been able to work with other talented and inspiring individuals.
In addition to a wealth of mixtapes, you?ve also started a really exciting project called Closed Sessions. How did that start and how is it going so far?
It's going great. We just released our first project, Closed Sessions Vol. 1 (closedsessions.com), which is a free EP created entirely at SoundScape Recordings. The EP has gotten a great response from various artists, fans and the initial line of tastemakers. I'm actually writing this email from Austin, Texas where we are going to record Vol. 2 of Closed Sessions. It started from a chance meeting with Michael Kolar of SoundScape backstage at Rock The Bells a few years ago. I started to go to SoundScape more and more to do interviews, and Mike began to master all my mixtapes. We were both looking for ways to expand, and Closed Sessions was the natural evolution of our relationship. As RubyHornet we were interviewing, and working with really buzzing artists. We were doing shows with them as part of Dimes and Dozens, and I was also making mixtapes. We thought it'd be a great idea to bring an artist to the studio and just see what would come out of it. We put artists in the studio, gave them access to high-quality production, introduced them to talented artists they have not previously met and just got out of their way and let them do what they do: create great music. Our video/photo team is there to capture the full experience and we're able to release the music along with a documentary for each session, original artwork and photos as well.
So you've had the opportunity to cross paths with some of the most influential artists in hip-hop. What's your take on hip-hop now? I think people forget how young a genre it is, and it's certainly one of the most misunderstood.
That's a tough question. I will say for that there are times when I'm inspired by hip-hop, and times when I'm fed up with it. Meeting so many people as a journalist, a DJ, and now as the president of a record label has introduced me to the business and creative sides of hip-hop in different capacities. I like being able to wear different hats, and move around. Do I see hip-hop as I did when I was a kid and everything seemed so untouchable? No. Am I still amazed by it at times? Yes. I think at the heart of it, I've learned that not everything is as it seems. Hip-Hop is one of my first loves, and I hope to never lose my connection to hip-hop's history and culture. If I ever do then it is time for me to leave.
What about the local scene?
Chicago's local scene is one with a ridiculous amount of talent. The competition is great and really pushes people to perform at a high level. I think some people move a little too fast, or move in directions without really thinking. It's like we're all just scrambling around because there is no real business structure in the city. Everyone is forming their own blueprints, and it's harmful at times.
This one is a difficult question for a lot of DJs. What are your top five favorite records?
Wow, I don't even really know where to start this one. Here are some records I am really digging right now:
"Kindness For Weakness"-Dilated Peoples featuring Talib Kweli
"You Can Call Me Al" -Paul Simon (really anything Paul Simon)
"I Shall Be Released"-The Band
"Spaceship"-Kanye West featuring GLC and Consequence
"Hip-Hop"-Mos Def
