1)You have an impressive background in music, working with major labels and artists. What’s an example of how you leveraged Hip Hop for story telling?
One of the major ways I’ve leveraged Hip Hop as it relates to storytelling is by telling my own story in my music and literary works. In addition, I traveled to 20 museums around the world from 2016 to 2020 presenting Hip Hop as a culture with life affirming principles. My main methodology was through the art of storytelling. It’s essentially an African way of transferring knowledge that continues in Hip Hop.
2) Kingmakers Music is putting out its fourth album, “Black Love”, with you leading the release. How have you been able to maintain such positivity in your own music for so long? What are you bringing to the KOO family?
Hip Hop is my life’s work and will be a part of what I do until I’m gone from this earth. And, being here with Kingmakers Music, if anything, it helps me to build on what I’ve done for three decades now. I’m able to transcend by being my authentic self and give to our artists and musicians real knowledge from a practitioner of Hip Hop as a MC, DJ, and arranger. What I’m bringing more than anything is LOVE.
Also, what I’m bringing, especially for the new album “Black Love” is someone who can cheer it on because it’s one of the best representations of Black music under 30 coming out of Oakland. The artists, the songs, the vibration of the music, the flyness and the message is exactly what Oakland needs. It also stands on the shoulders of all the elders and ancestors who’ve helped them along the way. I’m really proud of this body of work and their efforts.
3) How would you describe the state of Hip Hop today?
The word “state” means a particular condition at a certain point in time. Like our work here at KOO, Hip Hop culture is in a state of constant transformation. Globally it’s still the #1 genre in the world. It influences and informs so many aspects from rhyming, to DJing, to fashion, to the attitudes around innovation and cultural grit. It is a house with many rooms. We have some rooms that need to be condemned, some that need to be remodeled, and some rooms that are hurting the house. But Hip Hop has a strong foundation and it will continue to grow and transform as the people grow and transform.
4) Hip Hop has larger international appeal than ever now. Why do divides still exist in mainstream US audiences?
Hip Hop has always had an international audience. The second biggest Hip Hop market in the world is France, for example. I’ve been there, and performed in front of 30 thousand people, in 2019, and I can tell you for a fact, the audience had Africans from all over the diaspora in the audience.
I’m not an active participant in mainstream rap, but larger white audiences normally mean White people with the income ability to buy high priced tickets to see these artists. Why divides persists is a question for White people. It’s a structural system they created. I move from a position of love. Black Love first, then humanity.
5) Like in women’s tennis, ladies in Hip Hop seem to be having a well deserved moment.
From Cindy Campbell to Sylvia Robinson, Hip Hop has always had women, Black women, inside and a part of the culture. They helped create the movement, not a moment. Without the role of women, we would not have a culture.
6) Who are the Queens?
Some of the Queens I dig are Suga T, Mystic, Rapsody, LilSimz, Sampa The Great, Ms. Lauryn Hill, Mecca from Digable Planets, Lila Ike, Ryan Nicole, Jennifer Johns, Ana Tijoux, so many. Noname, Brittney Carter…. I listen to women who speak truth to power, and have something to say, and I honor their choice to stand on their squares and share their gifts with the world.
7) Hip Hop turned 50 last year, how do you see the genre evolving in the next 50?
Yasiin Bey once said, “If you want to know where the culture is going, ask yourself, where am I going.” For me, what I am doing with the Bay Area Hip Hop Archives is attempting to preserve what we’ve done so 50 years from now future generations will know we were here. I think you will see Hip Hop as a culture, not just rap, continue to innovate and push things forward. In terms of evolution, I see many people holding on to the human skill aspect of the culture with the emergence of AI, and I see some will use new technologies to innovate and expand the culture. A tree can grow many leaves and branches, but it’s the roots that can’t get lost in all the innovation that matters.
8) Kingmakers launched a music label and teaches beatmaking at a time when Black boys are still struggling in school and with graduating on time. What message does this send to kids?
At Kingmakers of Oakland, we continue to push building language over breaking language. With that said, Black Boys are showing their resilience, strength and adaptability to endure a school system, classes, and teachers that are quick to see their struggle but slow to identify and lift up their greatness. Kingmakers Music reaches young Kings where they’re at and offers them an opportunity to hear music and music production that offers hope, self determination, and centered in Black love. Kingmakers offers beatmaking, but so much more. From the record label I lead Kingmakers Music, to world class recording studios, to learning about engineering and more. We are sending direct messages to our Kings and community that you have a Black space to innovate and create.
9) Oakland has its own special place in Hip Hop but the city has struggled with social and economic issues. What’s are some symptoms you’re seeing? What’s the cure?
Our values and mission at Kingmakers of Oakland is to treat the fish in a toxic ecosystem. For me, I think it’s important that people check their own lenses because for me, first I see the beauty, the love, the innovation, the culture, the self determination, the history, and the creative energy that makes Oakland a wonderful place. Then when I see the challenges, I also know that systems and structures have a lot to do with the struggles of Oakland, more than the people. What is needed is more collective will.
10) Drake or Kendrick?
Neither. It’s not my generation. More than one individual over another as I like Kendrick because he is a prolific writer and performer (Pulitizer Prize Winner) and Drake serves a purpose in terms of danceable music, it’s not either or for me. And given I’m from the Golden Era, I have a different perspective. That’s why I say the whole culture.
What I will say instead is Hip Hop CULTURE. All 10 elements which include MC, DJ, Breakin’ Graffiti Art, Beatboxin’ Street Fashion, Street Knowledge, Street Language, Street Entrepreneurialism and the Producer.