Exhibitions To Check Out This Weekend

Hirshhorn, DC:

Shirin Neshat: Facing History / May 18- September 20, 2015

http://hirshhorn.si.edu/collection/current-exhibitions/#collection=shirin-neshat

National Museum of African American History and Culture, DC:

Through the African American Lens: Selections from the Permanent Collection

http://nmaahc.si.edu/Exhibitions/Lens

New York Botanical Garden, NY:

Frida Kahlo: Art, Garden & Life

May 16- November 1, 2015

National Building Museum, DC:

The BEACH

July 4- September 7, 2015

http://www.nbm.org/exhibitions-collections/exhibitions/the-beach.html

Stumbled On: U-ZET

While most eleventh graders were spending their time with friends, studying for exams, or painstakingly deciding their next step after high school, U-ZET poured hours into crafting house music on his laptop. Hailing from the KwaZulu-Natal province of South Africa, U-ZET began publishing his tracks in mid-2014, primarily through South African-based music-sharing platform KasiMP3. Though he was raised on primarily gospel music, he grew an affinity for electronic music after his brother introduced him to both local and international stars such as Deep Xcape and Black Coffee.

After discovering he could make his own tracks using a barebones laptop armed with FL Studio, U-ZET recruited two friends from school to form United Sounds. Specializing in deep house, tribal and gqom -- an aggressive, chant-based variation of house music originating in the city of Durban, South Africa – the trio released over two dozen loose songs, including a gqom edit of “B*tch Don't Kill My Vibe,” that gave U-ZET an ample platform to release his own solo works in rapid-fire succession.

Durban, South African producers U-ZET and Rhythm-C join forces for the “Music Book EP.” The project is the result of a collaboration that came to fruition in just under two weeks, which each track being described as a “soul groover,” their own brand of deep house. Still attending high school, U-ZET and Rhythm-C look forward to collaborating on future projects. If that’s not enough, U-ZET is slated to release his own solo EP later this summer, God willing!

The hustle didn't go unnoticed; London-based electronic label SHANGAANBANG recently featured the relentless gqom song “Abaphansi” as part of their inaugural TOWNSHIPTECH series, alongside compatriots DJ Mtu and the Cruel Boyz.

Most recently, U-ZET collaborated with schoolmate Rhythm-C for the Music Book EP,  six tracks of bright samples, mellow synths and his trademark crisp percussion, which premiered through Electric Llama. He plans to release his forthcoming EP, “I AM” later this summer. While producing remains a passion, he's not quite sure where he's headed. Over Facebook Chat, he revealed “I want to be a software developer,” but “still carry on producing on the side, God willingly.”

U-zet: http://kasimp3.co.za/music.php?u=U1ZET TOWNSHIPTECH is a project of @SHANGAANBANG The first batch of tracks showcase a sound dubbed 'Gqom'. Hailing from Durban, SA, the genre is characterized by tough, militant percussion, droning pads and maniacal vocal sampling. #001 gives just a brief glimpse into an exciting, emerging scene.

mixture of deep and technic/electro sounds

How Do We Begin To Heal? A Letter From Khadija Nia Adell

Allowing ourselves to be more aware of our surroundings on a micro and macro scale is the most complex education we will encounter due to the fact that the politics concerning our own identities will never end. We are always in flux; simultaneously being molded by a world that we are often resistant to because of the many ways it has resisted us. This energy has been harnessed to construct our morals, values and beliefs, based on the preconceived invisible hierarchies of humanity that we call “race”. All of what we know of ourselves and others has the opportunity to conflict within one space and time at multiple moments in a day. The question that concerns many in our human culture, is how do we process all of this information in a world where it is consumed in such an immediate yet seemingly distant way? What has this done for our understanding of self and how do we heal when the traumas and triumphs of knowing our histories (individual and collective) are so deep?

We cannot answer any of these questions for anyone but ourselves but it is important to make a space for a combination of discussion, critical analysis, alternative historical knowledge and emotional reflections in order to process our identities. In this sense, it is imperative that people of color be in control of their own narratives, resources, media and education, helping each other to see what is collectively important from all from the different perspectives we carry.

All culture is important to the understanding of humanity. The process of discovering and learning from the similarities and differences throughout the histories of the globe bring us closer to an awareness and understanding of the present condition of the people of this world, on both local and global scales.

This is personally important to me. Through all forms of research, conversations and reflections I am beginning the long process of redefining myself on my own terms through the knowledge I deem relevant. Learning to take pride in the histories of the black and brown people of this world is imperative to my spirit. With all that has happened in the last five years, I am just now beginning to figure out how to cope with living under the powerful white supremacist system. With all the instances of death and police brutality, government neglect, collective ignorance and wide spread apathy instead of empathy, it has become more apparent than ever that we are facing a system that seeks to erase the identities of those who defy and refuse its suffocating “ideals”. Every day that I go on social media I encounter more stories explicitly illustrating the pain of the oppressed and sometimes all I can do is cry.

But in the end, I am grateful for the voices of my family, friends and loved ones that bring me back to a safe space where my life is validated and my power is uplifted. This is important for all people to find, for we are all we have.

We need to take care of each other emotionally, mentally, spiritually, politically, economically, and any other way we can think of.

Through the sharing of culture, we can seek to bridge the gap between the knowledge of ourselves that has been provided to us and the truth of our people through past, present and future histories. This is an all encompassing goal with intricate intimate levels we have yet to reach, but we choose to address these topics in the space of True Laurels through the creative voices of our generation and beyond.

True Laurels is a space for the inquisitive, passionate and stonewalled youth, who seek to share, learn, inform, commune and inspire through all creative mediums. We cover music, film, visual arts, societal aggravations and the culture that breeds all of this while keeping in mind the differences between opinion and formal authority.

While remaining cognizant that the truth of one or many is not the truth of all, we aim to embolden individual agency and connection through the internationalism of POC culture, for we are beautifully present everywhere in the world.

Joy Postell: On Self-Doubt, Bi-Racial Struggles & Learning To Love Baltimore

Baltimore’s been in an understandably weird state since the heat of the April uprising has waned. On one end, things seem to be getting worse as 109 homicides have been counted over the three months since Gray’s death. Summers are always hot here but this one feels darker, considering what we’ve just come out of. On the other end, a shift of consciousness (or at least an elevation) has sparked within the city’s creative circles in the form of Freddie Gray tributes and social commentary in music. On April 27th when cops and local teens squared off in West Baltimore, sending waves throughout the country and eventually the world, Joy Postell was in Los Angeles watching scenes from her hometown played out in dramatized loops. That same day, she released a video for her acoustic track “Hands Up, Don’t Shoot” and soon after came back to Baltimore for a first-hand experience of what she’d only witnessed through news, texts and phone calls. 

Since her return in early May, Postell has been making her rounds throughout the city’s downtown scene, collaborating with local artists and seemingly playing a show every week. We recently caught up outside her of place in Sandtown, West Baltimore, walked around and talked about her return to Baltimore, what she learned in LA, her own racial struggles and her battles with self-doubt. 

Photo: Keem Griffey

What was life like for you growing up?

Joy Postell: I’m originally from Jersey City, New Jersey. I lived there until the summer before third grade then I moved to Baltimore. I feel like if I have a home, Baltimore is definitely it. It’s where I could show you around, it’s where I know all my friends. My mom raised me as a single mom. My dad left when I was three. She’s white and he’s black. They met in the gospel choir in New York City so I come from a musical family. My mom’s a vocal coach now and does gigs. She always paid the bills from gigs when I was growing up. She taught music at juvenile homes, did music therapy, taught chorus, etc. It’s abnormal for me to not do music.

I really excelled at musical theatre in middle school. I went from company, to supporting role to lead role. Then I tried out for Baltimore School for the Arts for acting and didn’t get in. It discouraged me a lot. I went to high school and only sang to myself or close friends.

What made you start singing again?

JP: Well, I always wanted to do music but the fear was holding me back. Self-doubt and telling myself that it was unrealistic. I thought because I didn’t live in LA where people know the person from High School Musical or something that I couldn’t do it. Then when I moved there it wasn’t even for music. It was to go to school and get away from Baltimore because I was over it. I was just there fucking around, enjoying the weather and not being productive as I could have. Then I decided I wanted to sing again and started recording with this group Rhyme Disciples. That showed me that I could still do it so I started doing vocals on this little mic my mom gave me.

Then, my mom ended up being a vocal coach for Chaka Khan’s grandchildren and their mom helped set up this recital. My mother was like, “Chaka’s gonna be here, you should sing”. I didn’t want to but she convinced me. We did this gospel song that my father wrote and I just sang the bridge. Chaka got up like, “Wooooh Woooh!” I thought it was so weird (laughs) because I didn’t practice at all and my mom really had to bend my arm backwards for me to do it. I walked off the stage and she comes up to me and says, “That was so great. Are you recording and writing anything? You need to!”After that, my mom told me that I should really think about getting back to it but there was still some self-doubt that no one outside yourself can make you do something.

So a year later, which was last year, I really started to record heavy and a group called Warm Brew found me on Twitter. I started recording with them and even though I don’t really associate with them anymore, they were a crucial part in me getting my shit together. None of the songs we did ever came out but they saw something in me. That’s when the hunger came.

Written by Joy Postell Background Vocals by Steve Francell & Brandon Ford Produced/Mixed by Brandon Ford aka B Smooth Mixed/Mastered by AiRLOCKE Bridge is an El Debarge reference: 'I Like It' (1982)

Did you enjoy LA?

JP: Yeah. I know that I always have a place to stay there. Like, I have people I consider family there and not everybody can say that; it’s such a snaky city. But the locals aren’t like that. It’s the Hollywood people that come from other places thinking, “Oh, this is how you have to act in LA”. I went from South Central to Venice Beach to Hollywood to get the full experience. It’s such a wide scale of people doing different things.

Did living there make you view Baltimore differently?

JP: Yeah. I came back with a whole new appreciation for Baltimore. And I came back to hearing people talk shit about Baltimore and it made me upset because it was obviously from people who’ve never left and are speaking of one reality within the city. There’s so much talent here and that’s what took me by the most surprise when I came back. There’s a lot of talent in LA but there’s a lot of image too; If your image is on, your talent is secondary. In Baltimore, if you got it, you got it. I’m seeing the beauty in the struggle. People here work really hard. Even the weakest person in Baltimore has something strong about them just from living in this environment. The history is in the soil. I came back a week after the uprising and witnessing that was amazing.

How did that affect you even though you weren’t here?

JP: I felt a lot of things because I got to view it from the media perspective so I was watching like, “WHAT THE FUCK?!”. But then from talking to friends and my mom, it was like only a fraction of this is happening. It scared me to be honest but at the same time it was so necessary. Anybody that’s ever lived here knows how overlooked this city is; they just go from Philly to DC and Baltimore doesn’t even exist. Even when people go on tours, they don’t stop here.

This project that you’re working on right now will be your first body of work. How’s that coming along?

JP: I have a vague vision of what I want it to be; it’s gonna be a story line. When I write, I naturally tell stories. It’s gonna have a lot to do with being black in America. Not everyone wants to hear about real life shit all the time but I want to be that voice for people who don’t have one.

As a bi-racial person, do you ever feel conflicted?

JP: It’s fucking weird. Especially since I don’t have a father. My mother is my mom and my dad. From going to a predominantly white school then going to a predominantly black school then back to a predominantly white school again--because Baltimore is so fucking segregated. The most asked question growing up was “Are you adopted?”. Like, no bitch a black person and a white person made a child, I know it’s shocking. Even now it’s conflicting with hate being so trendy. Hate is hella trendy. For so many of my friends hating white people is a thing right now and it’s not gonna solve anything. You can’t hate. It’s just as bad as people hating us. It’s hard. I’ve been called a nigger because I look black. When you look at me you don’t see a white person. I’m still working through it. I’ve gone in the house and told my mom that I hate white people. She understands but she’ll be like “Look at me. I’m not like the people you hate.” She’s living proof.

The media really wants us to be in a race war to distract us from capitalism. Everything is being sensationalized. Every time you look…WHITE MAN…BLACK MAN. It’s a matter of approaching these issues but not getting caught up in the fuck shit. It’s so easy to hate.

Photo: Keem Griffey

Sometimes I find myself hating white people but the more I read and watch things to educate myself, I’d be a fool to not realize that it’s bigger than all of that. The most dangerous white people are the ones who don’t give a fuck about who they’re fucking over, regardless of color.

JP: It’s weird because no one is born racist. White people are born privileged but they don’t choose to be white. You don’t ask God to make you white or black. I have a problem with white people who don’t accept that they’re privileged. Me and my mom talk about that all the time. That’s a huge issue if you can’t recognize that. It’s more about using that privilege as a positive even though you didn’t choose it. You have it so what are you gonna do with it? It’s like black people with money who forget where they come from. Especially living in LA, those motherfuckers are terrible. Baldwin Hills, Ladera Heights…they don’t give a fuck. South Central is right down the street and they don’t give a fuck. It’s easy to forget and smile. That’s why I’m happy I came back.

How was witnessing the racial breakdown and social order in LA? It’s much more complex than Baltimore. It’s overwhelmingly black and white here, racially.

JP: It’s hella diverse but it’s hella segregated. So you have these colorful communities but they stay in their hubs and don’t fuck with eachother. The Colombians don’t fuck with the Mexicans. The Mexicans don’t fuck with the Salvadorians. The Latino communities are really segregated and that’s a whole different set of issues. That was the most intriguing thing to me because Latinos run LA. It’s interesting how that comes into play. The state fucks Mexicans over in such a crazy way. I didn’t know how much they go through just to get here. They’re dying to get to a country that treats them like shit and gives them a kitchen job. So because of how boxed in they are, they start to feel resentment towards other groups of people. They don’t like blacks. Living there really showed me how we can all be pawns; the lack of unity is where our problem is.

Since you’ve come back, a lot of people have been into your artistry. You’re getting booked for shows all the time. How’s that make you feel?

JP: It makes me feel happy. I feel like people just want to see the city win. I wanna show the city in a positive light because I’ve noticed since I’ve come back that a lot of people are making music that perpetuates all the fuck shit. Like when I was in LA, all people knew was The Wire. I’m tired of it. Everywhere has The Wire. I just wanna show that everything here isn’t negative. It just needs positive representation. Not shit that celebrates being from a place where the homicide rate is high. That shit isn’t cool to me. Lower the homicide rate. Don’t profit off of that.

I think it’s important to have representation of all the realities here because negativity is some people’s reality. Sometimes it may be easy to just call it negative because, yeah, killing people is definitely negative but seeing an artist come out of that and tell those stories can be encouraging for kids in that environment. I appreciate the range in narratives. Some people do it as a trend, though.

JP: I feel like if you come from that place, tell your story but tell people they don’t have to do the same thing. I know it’s harder to take the other route when everybody around you is going one way.

What can we anticipate from you in the near future?

JP: I’ve gotta hella features dropping soon before my shit comes out. Some sprinkles of singles and covers but mostly working on this project. I definitely wanna start working with more artists in Baltimore too. I like Butch Dawson. I like :3lON—his stage presence is amazing. Abdu’s stage presence is fucking amazing. I like watching people that make me feel like I need to go home and practice.

Photo: Keem Griffey

Follow Joy Postell on Twitter, Instagram & Soundcloud

Diary: Suzi Analogue

From Uganda:
 

This is a journey that every positive move i've made in life has set me up for.  I'm going well into the middle of East Africa to instruct youth on how to build solid hip-hop productions, and represent the positive culture of hip-hop. There's not an ounce of struggle within this mission. It's basically heaven sent, based upon my soul's merit.
 

I approach every international trip I ever go on with the same level of chill - expect nothing, open your eyes to everything, never trip. Going in, my only fears were mosquitos and vaccines I had to take - both of which had the potential to throw my body off majorly. Oh yeah, and water - I had to remember I cannot drink it from the tap. Don't get caught slipping. There'd be a poopy price to pay.
 

I arrive to find Uganda to be a huge pot of vibes that make me remember what living life is truly about. Sienna roads, throngs of beautiful people, cows, goats and chickens walking freely on the streets with schoolgirls and mothers with swaddled babies to their bosom, preachers on the corner with bible in hand, calls to prayer booming out the masjid PA, dancehall playing everywhere…or sometimes random soundtracks like Set It Off.  Boda boda motor taxis that create traffic with passengers carrying groceries, mirrors, other children. Youth. Hella youth. I learn that over 70% of Uganda is under 30 years old. I look at this place and understand it as the future as a heavy admiration enters my heart.
 

Every strong feeling i've ever felt about US hoods, I feel here on the streets of Kampala - except that the hood in the States is mired in a shame that I can't find in Kampala. The people here are proud and purposeful. They are beautifully making the most of every thing they have available to them, and in my understanding of self-determination in the streets, that makes them all Gs. Surprisingly Ugandans are hella soft spoken. So much so, that I thought I was getting punked on so many occasions " Come again" became a regular phrase used, but the people were so sweet, they didn't mind catering a deaf, loud, American girl. Think though, if all the people speak quietly, how great they are at hearing  EVERYTHING. Even the way the wind blows.
 

There is a familiarity about the people, the customs, the streets and the root culture that I can draw connections to being raised in the American south. It's funny that Southern culture is downplayed in the grand scheme of the states - it is the most traditionally African in the context of US history, but I digress.
 

My students are the truth. Hip-hop is their basis and they are proud to rep it. They look for it to bring people together. Afrobeat music influences the sonic style. My beatmakers naturally are amazing at rhythm, duh. Rhythm controls life. Slow bpms aren't their thing. It means life is slow. Trap is a buzz word, but not a sought-after commodity. They want to make tracks people can spit to and move to that have feeling. Makes me realize our (US) need to slow the moments in music down isn't just an innovation, it's a sonic luxury - some cultures can't afford to slow the tempo. I played DJ Screw for my new Ugandan friend and he literally fell asleep. I'll always love Screw though.
 

There's so much more to say.
 

I took a boat ride on Lake Victoria on a Sunday at sunset. The lake that begins the Nile River. I'm forever in love. I can't tell you all.
 

Just watch and listen to the art that comes about.
 

Africa is not a place to fear or feel sorry for, only to love and respect with the utmost gratitude. It is, has, and always will be great.
xx+Suzi

Follow Suzi Analogue on Twitter,  Instagram & SoundCloud. 

Interview: Butch Dawson & :3lON Discuss Their PVRVLELLS EP

Last weekend, Baltimore artists Butch Dawson and :3lON released their joint EP, PVRVLLELS. Dawson's been a staple in the city's downtown scene over the past two years with his kick-back rap style and seemingly interchangeable production skills--easily adapting and meshing to whatever artist he works with. :3lON on the other hand, has made a hell of an introduction to the scene over the past eight months since he dropped his track "Portraits" on SoundCloud, showcasing his dreamy production and almost-extinct forceful singing voice. Just before the project released, I met with the two in Butch's home studio and learned what it took for them to complete the project. 

Neither of you really go outside of yourselves for production so how was a balance achieved throughout this process? Who had to compromise the most?

Butch: Initially I wanted to hear Elon’s vocals over my production and when we came together to do the project we decided that he would add a track that he produced. We got to a middle ground as far as experimenting. It was chill.

:3lON: Teklon did a beat too.

What do you learn from each other artistically and otherwise?

3lON: (To Butch)  For instance, when you made “Record” your approach to making the sound was pretty interesting and you used this one synth that I immediately thought wouldn’t have been the first option for me but then once you started playing with the melodies I was like, “Okay”. It ended up bringing everything together. It’s really interesting studying other people’s approaches to making beats.

Butch: What’s interesting to me is that within the process of making a masterpiece, it doesn’t even have to be that long. You just gotta be around those people who are really talented and who do this shit; It’s in their blood. When I’m in the studio with 3lON, he’s not writing. I’ve probably seen him write some shit like once. He just goes in and has fun. Basically freestyling. I’m watching like, “What? You freestyling all this R&B shit?!”

3lON: That’s the thing: I can only do that if I feel super comfortable so I definitely felt like it was a kindred spirit here.

Butch: Definitely. When I’m by myself I’m most comfortable recording or maybe with like two or three people. More than that would be too much going on for me to focus. Working with 3lON and having a creative goal, it’s good to know that the other person is capable of doing that.

3lON: We were just vibing out for real.

from Butch Dawson & Elon's upcoming joint EP "PVRVLLELS" coming June 13th. Produced by Jujuan Allen Cover art by Ronin Wood Follow us on Twitter: @primelard @_3lON

How much of this was hands on? Was it always recorded as a team or was it a lot of emailing back and forth?

Butch: He was always here. I’d either have beats and tell him that he needed to hop on them or we’d sit and make shit.

Were there any roadblocks throughout the creative process here? If so, what were they?

:3lON: Not that I can remember (laughs). It was just real chill. We knew we wanted to do this shit so we did what we do. Make songs all day and package it.

Butch: More than any other artist in Baltimore, me and 3lON see eye-to-eye without having to say anything. You just know. Even when I’m joking around with a few bars he’ll finish that shit.

Photo: Keem Griffey

:3lON, most of your music is solo. Do you feel encouraged to collaborate more now that you’ve done this project?

:3LON: That was my objective from the beginning. To collaborate with as many people as possible. That’s how you learn--doing shit and making music with other people.

What song was the most fun recording?

Butch: I would say “Storms”.

3lON: “Record” is mine.

Both of you have been making your rounds in Baltimore. Why haven't you traveled more?

:3lON: That’s the objective for this summer. I plan on touring a lot. We have two tours we’re working on together for the summer then I’m gonna go on tour with Chiffon later in the year which will be a lot of dates. So hopefully by the end of the year I can say I’ve seen some shit.

Butch: Yeah like 3lON said, we’re doing two tours. From that I’m trying to head overseas.

As Baltimore artists, what would you say holds people back. Or why do you think it's difficult for people to propel themselves to the masses?

Butch: I think some people are still trying to establish themselves then go from there. Sometimes I just think it’s trying to maintain living in Baltimore. Not just shit like getting a job or making money; it’s situations where some people feel stuck but are still trying to do this music shit. Those situations can hold them back.

3lON: Once you have the basic shit taken care of, it’s up to you to push yourself. I feel like anybody from Baltimore can do it. It kinda confuses me that more people from here don’t. You shouldn’t let anything hold you back. It’s people who were really poor and started making beats or found ways to make music. So for you to sit around and use your surroundings as an excuse is kinda like…

Butch: You just gotta extra grind.

Butch Dawson & Elon gets together for an experimental joint ep entitled PVRVLLELS.

Do you think it’s really excuses or is it that Baltimore is a very unique place, socially? A lot of people here are struggling for life’s necessities and that’s deeply ingrained. It could be more of a struggle with feeling discouraged more than it is making excuses.

3lON: But it is people out there that believe that there’s nothing they can do but trap. Like that’s the only thing that could ever do. Why?

Well, how do you feel as an R&B singer in Baltimore’s music scene? How do you fit in?

3lON: I don’t really consider myself an R&B artist but because I sing the way I do, people say that I am.

What do you consider yourself to be then?

3lON: I try to experiment with different things. There are a whole lot of singers in Baltimore but it’s rare to see a show full of them because they want to do other shit. They either do choir or sing for their YouTube channel. I like performing, though. I started with doing open mics because it’s hella singers in that scene too but once I started having to pay to participate in open mics, I didn’t want to do it anymore.

To both of you, what would make Pvrvllels a successful project?

Butch: It’s already a successful project to me because initially I wanted to do it so I could hear 3lON on my beats. A lot of people that listen to me in Europe fuck with my “Helium” song we did together and it made me want to do this.

Photo: Keem Griffey

Listen to PVRVLLELS on SoundCloud. 

 

Diary: Rahel

Lately, I’ve been thinking about the responsibility that comes with being an artist. It’s a big one, and I wish everybody would remember that. Perhaps I’m a little old school at heart and a little too serious about what my role is, but I think many of us have forgotten just how important our platforms are.

Before I decided to pursue music full-time, I was a Pre-kindergarten assistant teacher and it really, truly prepared me for everything I do now. As a teacher, every day was a performance of being calm, level-headed, commanding and in control of everything, regardless of whatever was going on in my personal life. My job was to teach little children to be empathetic, thoughtful, independent individuals - to imbue knowledge without imbuing your own perspectives, and to remember that however they choose to digest it is up to them and out of your control. That, at the end of the day, you’re a passing vessel of information in their lives and they’ll probably forget about you in a few years, but whatever legacy you leave behind as a teacher - how to tie your shoes, how to write your name, how to share with your friends - are all lessons they could potentially find useful for the rest of their lives. It’s an (almost) selfless, under-appreciated role, but it’s essential.

This was my experience for three years prior to singing, and I plan on using the same approach to what I do now. Being an artist has given me an opportunity to express myself in a way that was stifled in my former role, but I don’t want to forget my foundation. My experience has grounded me and made me so conscious to the kind of effect I, and other artists in my position, could potentially have on people. It’s not just about me and my own needs, but what I can do for, and how I relate to others. Cliché, I know, but there’s truth to it. We live in a world where we can be so preoccupied by our own immediate needs that we forget just how important it is to be concerned with the well-being of those around us. And as an artist I waver, consumed with my own self-expression and self-satisfaction. But that’s not why I want to be here.

I’m here to be responsible for myself and my peers. And I plan to do just that.

Photo: Cyle Suesz

Rahel is a New York-based singer. Follow her on Twitter, Instagram and listen to her debut project, Alkali, on SoundCloud. 
 

Premiere: Theo Anthony's "Peace In The Absence Of War" Short Film

The Baltimore Uprising was and continues to be an emotionally taxing string of events. Besides the obvious issues like Freddie Gray's unwarranted death, being under military occupation (in mostly black areas of the city) and learning the layers of reasons for why we've reached this point, something that has come up throughout various conversations with people in meetings and on the street is disconnect. This isn't a new thing for members of the black community. If fortunate, we're groomed to understand that when it comes to systematic oppression, a good deal of people (even within the community) don't get it. Watching how matters relevant to us as black people are covered on a daily basis makes this clear. You may not even face that disconnect directly but you quickly learn it exists. The uprising sure as hell brought it to our front doors, though; Still-faced cops and National Guard members standing with guns as long as their legs, media members treating suffering as just another day at the job and people outside of the black community seemingly present at demonstrations for more of a social outing than recognizing the severity of the situation. While this is not true for each person belonging to the aforementioned groups, this is what they frequently represent for black people.

In his new short film, "Peace In The Absence Of War", Baltimore-based filmmaker Theo Anthony surveyed the city from the night of the initial uprising, April 27th, to the following Saturday, highlighting the expression on the faces of police, National Guard officers, media members and onlookers. Starting at a free concert given by the Baltimore Symphony Orchestra, Anthony beautifully illustrates that disconnect at various demonstrations throughout the week.

We're happy to give the first look at Anthony's short which is available to watch below, along with a short Q&A:

The focus here seems to be on the disconnect certain groups had during the uprising in Baltimore. Do you think people don't want to connect or are they for one reason or another completely oblivious?

Theo Anthony: I don’t think people are oblivious. I think that people do want to connect but don’t have the resources or the network to do so in an effective manner. We all talk about how segregated Baltimore is, for good reason. But the corollary of that is people don’t even really leave their neighborhoods. East Side you mostly stay on the East Side, West Side you mostly stay on the West Side. Living in Guilford you might head to Trader Joe’s or Station North for a movie, but you definitely aren’t going to the West Side. I’m guilty of this, lots of people are guilty of this. So people are hanging out with other people that more or less look the same, more or less make the same amount of money, not being challenged by outside human perspectives, and echo chambers of general consent get made. Echo chambers are safe, you hear the same things that you just said being thrown right back at you, you feel good, you feel like you’re in the right, you’re validated. Depending on which group you have the privilege to fall in, you can move on, or you can’t. Disparity deepens, nothing changes.

Why did you choose to frame the piece in this way? Like, with no dialogue? 

TA: Most of my work I’m more interested in the peripheral action than the main event itself. With this piece, that was the concert, the occupation by the military and the media alike, and the eerie landscapes after-curfew. On their own, they don’t do much, but thrown together in the context of the last few weeks it gives those scenes a weird tension that was most in line with the complexities of the gap between the actual, physical occurrence of an event and it’s representation. I really used to like the blooper reels or the outtakes section of DVDs. I like the idea that this is like a dark blooper reel of the Baltimore coverage, like some intern at the news station got a little too eager and pointed the camera the wrong way.

In sociopolitical conflicts like what happened here, it's difficult to pinpoint who should be doing what. You mentioned people like the Baltimore Symphony Orchestra who were playing to people who weren't directly endangered by what happened that week. How do you think their goodwill could have been more effective?

TA: What was really amazing to see throughout everything was how Baltimore really started fighting for its own representation. There was an increased awareness not only of the issues, but the process by which these issues become a commodity for the media market. Like people studied the playbook and knew what was coming. I don’t think Geraldo Rivera can ever do a news story in Baltimore again. I saw a WBAL-TV anchorwoman shouted back into her van and speed off because members of the Penn-North community had watched her broadcast the night before and she’d put on some drunk guy who was made into an image-pawn of the lawless neighborhood. That was really cool to see, that sort of understanding of process coming into fruition. So yeah, there’s so many things, but that awareness, that disruption is a start. 

Follow Theo on Twitter: @ProxyTheo & Instagram: @theodorejacobanthony & his website theoanthony.net

Interview: Petite Noir

From True Laurels Issue 6

A good deal of your music revolves around love and feelings. Is that how you best deal with individual experiences or are you aiming to be a voice for others?

Petite Noir: It’s both really. That’s how I live out my feelings but I also want to be a voice for other people.

There’s this tug-and-pull element to the lyrics in “Chess” where it seems evident that things are at the point of no return but you still want this person around or you’re having a hard time breaking away. What do you think about relationships in general? Why do you think we tend to come to certain realizations when things are in crisis even though they’re usually evident from the beginning?

“Chess” came at a time of a relationship I was in where it wasn’t a full break up. We broke away but came back together and sometimes I think a lot of time when things like that happen, a lot has been bottled up over time. People don’t let it out or find a way to resolve the problem. But luckily art has a way of doing that.

I saw in a previous interview you said you didn’t feel the need to scream that you’re African. That’s interesting because with the attention that racial injustices has been getting over the past couple years, a lot of black artists in America have felt the need to speak out and let it be known where they stand. Do you feel like that’s detrimental to you, artistically?

The thing is, everyone knows where you’re from. You don’t have to prove it. Most times energy speaks louder than words so you don’t need to go around telling everyone that you’re African. Everyone can see it. Africa gets abused at times and people call it cheesy but everything you do as a black person is a representation of that.

In America it’s a different situation where black people have been removed from the land so they almost go in the opposite direction. It’s like finding yourself all over again. In places like South Africa where white people used hiding our identity as a weapon to keep you stupid your whole life, people are actually finding out what happened to them right now.

Are there aspects of racial oppression that are unique to South Africa in your experiences? I’m sure there are some parallels to America but I’ve never known the specifics. What are you learning?

I’ve been learning a lot. You don’t learn what it means to be South African in school. They teach you a lot of bullshit. Brainwashing, you know? A lot of history has been hidden from black people and we probably still don’t know 60% of what actually went down.

Probably not even that.

Exactly. People are still trying to find themselves. So I do understand all the overexpression of being of African descent. I just think, as a black person, you’re going to represent that anyway.

One of the biggest challenges for me as a black person is having trust of the world, period. I’ve been thinking about getting my genealogy test but even with that there’s this lingering skepticism of it being manipulated to hide the truth.

Even things like the UN; when white people came to Africa, it looked like they were here to help. So all these things are just helping kill Africa like donating $5 to help children. I don’t believe all that type of shit. How do we know? Why are people still living the way they do? They’ve been taking donations for years and it’s getting worse.

Petite Noir Ft. Yasiin Bey (Mos Def) Till We Ghosts

What is the musical landscape like in Johannesburg? Did you come out of a specific scene?

The music scene is still really small. It’s a handful of acts that get recognition. There’s still a very big American influence but it’s starting to find its own vibe now because we’re starting to look back to South African culture. Rappers used to use a lot of American slang and it just wasn’t natural. People are finding themselves now and blending influences, which is the best way to go.

You said that the music is you make is less about thought and more about what comes to you naturally. Do those natural impulses constantly change when you gain new experiences?

I never really go into music like, “Okay, I’m going to sound like this.” Whatever comes out is what comes out. It’s whatever makes sense to you personally. I just finished recording my album and the sound has definitely changed. It’s a bit angrier and a bit louder. I’d just be cheating if I continued to do the same thing. That’s boring.

How do you get through creative blocks?

I have them all the time but that’s just a part of the process. It’s like skating; if you want to skate, falling is a part of it. You have to accept it.

Throughout that process has there been anyone who has lended you helpful guidance?

I think it just comes down to being yourself. I know that sounds cliche but it’s one of the most important things. And I think a lot of people don’t know how to be themselves or they’re scared or they’re embarrassed. When you’re yourself that’s when insults come.

Do you ever think about your legacy? Like, how would you like to be remembered as Petite Noir?

My main thing is bringing black people together to break boundaries. Because right now--especially in the music industry--they try to keep black people on one side listening to one kind of music and anything that’s viewed as progressive is white. That’s what the industry is saying to people.

Petite Noir is a South African-based musician. Follow him on twitter at @PETITE_NOIR and hear his music on SoundCloud

Recap: FLATOUT

Check out this recap of last month's FLATOUT, our bi-monthly party in Baltimore. Major love to Sporting Life, Dola, Lor Chris, DJ Angel Baby and DJ Genie for showcasing their work! The video is shot and edited by Tarek Turkey. 

Devin Morris on His 3 Dot Zine

Whether it be out of frustration with being force fed content on a daily basis, wanting to create something away from a screen or otherwise, making zines and independently-run publications is in right now. On the mainstream, Kanye West released his Season zine this year, Tyler The Creator is starting Golf Media and Frank Ocean recently teased an image of what seemed to be a magazine accompanying his forthcoming album, Boys Don't Cry. It doesn't feel like an annoying trend, though; every zine I encounter feels different and because they're physical, more effort can be put into how they distinguish themselves from others (size, color, paper texture, etc.) 

3 Dot Zine, created by Baltimore-bred, Brooklyn-based artist Devin Morris, while in its early development, revels in the endless possibilities of presentation. Morris' first issue, which dropped last Summer, was a colorful interpretation of New York City from a non New Yorker. With collages being made from out-of-context conversations from dating apps, takes on race relations and his friends cut out to appear as divine beings strolling through urban paradises, it was both visually pleasing and open-ended enough for you to piece together your own narrative. Since 3 Dot's first release, Morris traveled to Brazil for a artist residency where he says he found himself as an artist, returned to NYC, took printmaking classes at the Art Students League of New York and began working on his recently released second issue, Gray Areas. We caught up to talk about his motivation for collaging, his new issue and what can be expected from 3 Dot moving forward. 

Why are you moved to present your work in print?

Devin Morris: I think it has something to do with my disinterest in the internet. I use the computer  just as much as the next, I just don’t like to see imagery or consume news media there. There wasn’t any option for me but to print my work. Especially seeing as I also write and coordinate with contributors. Online publications get the side eye from me because I rarely feel the need to engage in content shown online. I also die for objects so I think having the opportunity to print my work is an honor and I hope that anyone who happens upon a copy sees it as a gift because that’s what I’m thinking of the zine as when I create it.

You were accepted for an artist residency in Brazil. What did that do for you personally and artistically?

Brazil was a reset for my life, really. Personally, it helped me identify what the idea of being an artist meant to me. I concluded that all I need to do is to do my work and don’t think about any assertions following that. I call the Brazil trip a harvest and a funeral because I left so many hardships there, I literally buried them in a hole and prayed over them. It was a harvest because I came back full of a new sense of my place in the world with a new appreciation for how thankfully small I am. Brazil gave me the key I had been looking for. It is a very blessed land.

Your zine, 3 Dot, is collage-based. When do you know a scene, object or person will fit into a collage? Is it a random or impulsive selection?

My selection of people to shoot, or characters as I like to think of them in my head, is mostly planned and decided. Sometimes when I am instantly inspired by someone and I have a camera and some clothing around, I’ll ask can I take a picture at that moment. Locations are always random and rarely play a big role in how my finished collage will look. I use my backyard a lot when shooting and sometimes my kitchen. A lot of times I have not one idea of what I want to shoot but I will have a notion I want to address so I keep repeating that to myself and then come up with an obstacle course of arrangements to shoot the subject in or on.

The majority of publications feature people "known", "of note" or with some level of influence but you tend to feature people close to you. Speak on that decision.

It is not a decision: the people around me are individuals of note. I’m not sure who’s supposed to select for me whom I would consider to be of note. Everyone around me is magnificent so of course I ask them if I can do the honor of imagining them.

Your first issue was popping with colors and patterns and was a fairly small book. You're going bigger and without color this time. Is that how you want 3 Dot to continue? Switching form and function each time?

Yeah, I’m not tied down to any aesthetic approach. The book will always be printed within my creative whims. I think that only makes sense because each book tells a different story.

Would you say the zine is more about the people featured or is it how you present these people and atmospheres?

The zine is a wandering, a troupe through a garden patch, a city block, a long walk through an unfamiliar terrain for miles and every few feet you are thankful for the way this terrain is exposed for you. The zine is a culmination of varying ideas smashed together and in the end I’m not sure who or what speaks loudest. I like it that way; static. I mention to all of the artists and collaborators what my initial feeling is. For the current issue I am dealing with gray areas or issues that arise literally and figuratively in between black and white while growing as a society, person, or individual. I first addressed that by printing in black and white and from there I asked for contributions based off of conversations had with the artists. The zine is about everything and nothing.

What's been inspiring you most lately?

Bike rides, Brooklyn at night, running water, square shapes, James Baldwin, Truman Capote, empty lots in the middle of a city street, torn down buildings and gentrification.

When people open 3dot, what would you like them to gain from it?

They will tell me what they gained or subtracted from their viewing it. I hope that 3 dot inspires conversation because that’s what 3 Dot Zine is hopefully, a cacophonous eloquent conversation.

How did it feel to have people come out to support your work at the Gray Areas release and art exhibition? It was your first showing of art, how does that push you moving forward?

I felt visible and exposed and I felt humbled by that. I felt personal and close to everyone who viewed the new assemblage and video works. I spent so much time working on all the aspects of the show and it was relieving to finally put it out. Moving forward, I feel empowered to continue to create, continue to share with others, and I know that is happening now with everyone who picks up a copy of the zine. That continuation of sharing is happening and when we meet next we’ll speak about that part of the process and the assemblage works as well. I am inspired to continue to remark upon the world around me and have conversations still.

For more on Devin and 3 Dot, go to 3dotzine.com

Diary: Geneviève Mame Kodou Dieng

From True Laurels: The Overseas Issue. The zine will be available in our online shop Monday, April 20th. 

Genevieve Mame Kodou Dieng

I just got my graphic designer diploma. I’m half French, half Senegalese. I always had a passion for drawing and never stopped since I was able to hold a pen and express myself on a piece of paper. I love how it always let’s me capture moments and the faces of life. One of my largest influences comes from the comics universe. I've always been fascinated by drawers like Druillet, Moebius and Crumb. My work reflects these influences both in my pictures and drawings. I just spent a month in Senegal doing a documentary on my family. What’s important for me is to share my work as it is made of the people for the people.

GMKD is my artist name : Geneviève Mame Kodou Dieng. I promised my dad to never forget my African roots so I have put my African name on my nickname! I love Martian stories, and stories about space, that’s why my emblem is a spaceship. For me, people like Erykah Badu, Sun Ra, Bad Brains, Funkadelics, The Cramps, Sex Pistols, The Specials, and so many more are kind of comics characters for me. That’s why I love to  find special people for my pictures. People who remind me of a comic world!

Senegal is fantastic for that because everybody reflects the sun and it shines in their smiles. Everyday I was so happy to see happiness and colors, especially for the spectacular pink and orange natural light flashing from the sunset.

I’ve taken a special interest in religion in Dakar These souls or these mystic spirits, demonstrations (appearances) of the deceased or animal divinities, can act on the tangible world...in a beneficial way or not. It is thus advisable to dedicate worship to them. So by definition: faith in the soul and in the future life, correlatively, faith in guiding divinities and subordinate spirits; it can characterize extremely diverse societies, situated on all the continents.

I’m a total fanatic of Japanese artists like Takeshi Kitano, Hayao Miyazaki, Suehiro Maruo, Wong Kar Wai and Katsuhiro Ōtomo as well. I love how they put a lot of colors with all this beautiful perfection. Since I was born I always dreamt to be a nice witch and fly on the GMKDIZ (my imaginary world). One day I will jump on my drawing and I will fly into the page of all the comics from this world!

All photos are taken by Genevieve Mame Kodou Dieng, a French-Senegalese multidisciplinary artist. Follow her on Instagram.

Al Rogers Jr. Speaks On His Growth & Shares "BlueGreen"

It's been two years since Baltimore's Al Rogers Jr. came out with his debut project, Almost, which was a somewhat-erratic introduction that touched on his weighted relationships with parents, watching his older brother sell drugs and his own frustration with the system. On narratives alone, the project was a solid one; Al shed his layers enough for listeners to get a sense of who he was beyond his music. Musically, it lacked a true identity, as his screechy delivery doubled as his best friend and worst enemy on a track-to-track basis. Having songs that were made two and three years prior to Almost's release sprinkled amongst newly-recorded ones made for a undesirable listen at times, too. 

Al's taken all of these things into consideration, he says, and in his absence, he's worked hard to not only sharpen his artistry but his personal flaws. His upcoming project, BabyAl, is set to release in the coming months and he's given us a chance to share one of the project's songs, "BlueGreen", which showcases more singing than you'd anticipate if you've heard his earlier material. We talked to Rogers about "BlueGreen", BabyAl and what's been in the works while he's been taking time with his new music. 

Expressing the importance of being your self. The sky is blue and grass is green these things are naturally that way, so it's an analogy for everyone to just do what comes natural, never force yourself to be like anyone else. Individuality has always been key to accomplishing great feats. Swooz! LYRICS BELOW: [Verse 1] You know its hard to say when they say don't wear no disguise don't tell me no lies it's just you and I we don't need no surprises// My beloved heart not far above lost nor far below low just give enough soul the truth is you who are you running to they can't save you only you can save you// My retreat it's not hard to see they don't know your fate fate are you free of hate hate please don't forsake forsake me// You know it's so dope don't you know you know its so cold when you know. [Hook] Blue skies grass is green on the other side you know what I mean you can't change who change who only you only you can be you [Repeat] [Verse 2] Fought with myself on nights like this on the nights I spent trying to get through these days like this on the nights I spent alone not sure about who I was then I heard a voice said "Al give me your trust" only one you understand that duplication is just saying that you disrespecting what God hand wrapped it's only one you understand that and imitation is just saying that you forgot that ribbon on top you forgot just where you got that rhythm you got. [Bridge] only you only you only you only you can be you [Repeat]

Your newest track, "BlueGreen", is probably your most singingest (lol) song you've done even though harmonizing has always been a part of your delivery. Why's that?

Al Rogers Jr.: I felt it was important to show that versatility, you know? Some of my favorite artists are actually singers and at this point in life I'm listening to more R&B/Soul than Hip Hop. Don't get it twisted though, i'm working on my rhymes just as much as i'm working on my pitch. I always remain a student of the game especially when you have artists out here spitting and putting out quality Hip Hop like Kendrick.

Judging by the material you've released over the past year, it seems that love is something fresh on your mind. Does that reflect your personal life?

Love is the most important factor in my life. Without it, I would not have any drive to continue at all; it's the origin of passion and the origin of hate. My music from the beginning has always been very personal and  it's not just about falling in love, it's about the act of love itself. Life for a lot of folks of color is in a very dark place right now and love conquers all. The greatest leaders would not have been able to conquer any feats without love on their side.

Your debut project, Almost, was two years ago now. Is it difficult to go back and listen to the person you were back then?

Almost was necessary for me and  I would not be able to make the music I'm making right now had I not put those personal stories into my music. A lot of that shit held me back and it was a lot of doubt and fear in those songs, so listening now feels triumphant. Although I am not in that same place, I can still appreciate how far I came.

How've you changed as a person in that time?

I'm a lot more honest with myself about my flaws and personal struggles. I'm still fighting some of the same inner demons but it's always better going into the fight with a sharper sword; my mind is more equipped. You learn to accept the things you can't change and learn to love the things you have. I'm not completely content with life but I am very happy with the route i'm going. Shoutout to my girl and my mom for holding me down.

What are a few things you think no one is expecting to hear on BabyAl?

An artist who came ready for battle, battered boots and all. BabyAl is my war cry; I have a lot of things to get off my chest because a lot has happened in these 2 1/2 years since Almost. I respect love in its truest form and a part of that is continuing to create and having enough heart to push this culture. It's so much going on in this world and I would be a fool not to talk on that as well so expect a lot of aggression and passion.

Follow Al Rogers Jr. on Twitter & Instagram. 





 

Labtekwon: On His B.O.P. Album, Not Wanting To Travel & People Selling Melanin

Describing what an "underground" artist is in 2015 feels like more of a genre indicator than whether or not that artist has any corporate ties. Underground artists headline major festivals now and perform on network television late night talk shows. It's rare to find artists who choose not to align themselves with some sort of major backing. One artist that does come to mind is Baltimore's Labtekwon -- an over-twenty-year veteran in the rap game who chooses to remain free of pressure to please the masses. Over the span of his career, he's released thirty albums, all of which take on different musical identities; He's Sun Ra-like in his relentless outpouring of substantial material. When I first stumbled across his work a few years ago, it was a task to get into it. I came up on songs like "The Truth About Population Control", which taught me a great deal but wasn't delivered in a way I was used to. I had to be warmed up to it.

At the end of last year, we happened to be speaking on the same panel in Baltimore (The Exchange) which explored reasons why Baltimore's rap scene was still so divided. From that, I started to appreciate Labtekwon's music much more and recently got a chance to pick his brain as we strolled through Downtown Baltimore:  

With your work, you often challenge what the general concept of rap is by using it as a tool for a broader agenda rather than to just make quality music. Do you see rap, at this point and in its 40 year existence, as the best way a person of color can get a point across?

Labtekwon: My music is an element of Hip Hop culture and Hip Hop culture is actually a means to bring forth knowledge, wisdom, understanding, freedom, justice and equality to all the human families of the planet Earth. As an EMCEE, my focus is on the art of Emceeing and the evolution of the craft of Emceeing. As a Black man with a divine purpose, everything in my life connects to my purpose. So my art is a reflection of my mind and spirit. A glass can only spill what it's filled with. I get my point across in rap, books, lectures in the academy, scholarly research, mentoring, community action and daily life. Art is whatever the artist makes it to be and however the patron of that art interprets it. I mastered rhyming when I was 16, but I am constantly growing as a man of substance. I am a master of my art form, and I am also a master of my own divine purpose. Form follows function.

I'm gonna be real with you, when I first came across your music about five years ago, I didn't appreciate it enough to sit with it. And not because of its content but more because of your delivery. Do you run into a disconnect with listeners on a regular basis? Does it even matter to you?

I make music for those who love the art of Emceeing and I have been blessed to maintain an audience without trying to please casual listeners. I keep it a trillion always: as an Emcee my main concern is advancing the art of Emceeing. I represent the vanguard of Hip Hop culture and to be honest: everybody isn't really interested in Hip Hop culture. It's a way of life for those of us who have chosen Hip Hop culture, whether it's Graf artists, deejays, dancers, Emcees, or those that build community. My friends that do Graf art in BMoor often share a similar view about how the layman may enjoy a piece in Graffiti Alley, but those layman don't truly know what they are looking at. But for those of us committed to the culture of Hip Hop and it's art forms: we seek to please those WITHIN the culture, rather than those outside of the culture. I am not an entertainer: I am a practitioner of the art of Emceeing. It's just like a saxophonist or pianist: some folks like a little sax and piano here and there, but they aren't truly trying to listen to Bird and Monk. I always make the metaphor of food and art: McDonald's has a large consumer base, and most of those folks who frequent McDonald's don't really care about gourmet cuisine. In terms of what I do as an artist, most folks only know McDonald's value meals: my art is gourmet vegan cuisine. To each his own.

Following and researching your work, you give an alternate perception of what I'd normally think of what a rapper, or really any artist should do to pursue a career. My idea of the come-up is feeding the street, digitally establishing yourself, doing shows and building a platform to release increasingly recognized work. But I'd be stupid to not acknowledge that the process I just listed is something I've been programmed to believe. I view your work as more, though. It's almost an oral history; a collection of essential teachings. Your work has always felt more rooted in community-building to me. Can you speak to that? Like, how many of us are pursuing success that is genuine to our being and purpose?

Most folks don't truly understand the difference between art, entertainment and the art/music business. I maintain my vocation as an Emcee at the vanguard of Hip Hop culture, regardless of the themes I cover in my work. But I am not trying to be a "reality star" and I am not in the business of YouTube views or trying to give away free music. I sell products that uplift the minds and souls of those who support through their patronage.

In terms of the business of music and art; my classic vinyl had sold from from anywhere from $100 to $500 a 12 inch. I have classic CDs that have sold for $400. I make art and quality art appreciates with value. For those who appreciate the art of emceeing, I always have a market for my products. I collect sneakers and I always know when a new pair of Foamposites will be released, but Nike never does commercials or ad campaigns for Foamposites. Yet Foamposites always sell and they appreciate with value when they resell on EBay. My musical products are like Foamposites. But my craft isn't monolithic, I do many different things and according to each project the content and styles vary. The last few years I chose to emphasize substance based content and 21st century style. I am an Emcee and every album I make is more like a novel or a movie.

You've been promoting the B.O.P (Black On Purpose) for the past few months. It leaves a lot of room for interpretation so what was your vision when establishing it?

Well, it's a 25 song double album...The album title is an abstract, "(B.O.P.) The Theology of Timing: Tehuti and the Het Heru Cult"  is really explaining the theme of the album and the styles on the album.

"(B.O.P.)" is an acronym and a double entendre; Black On Purpose speaks to the paradigm of Black Consciousness developed over the last 200 years by David Walker, William Blyden, Marcus Garvey, The Honorable Elijah Muhammad, Franz Fanon and Steven Bantu Biko. I cover themes as it relates to asserting Blackness as a willful decision, rather than a random circumstance.

(B.O.P) also refers to the evolution of Jazz known as "Bop" or "Bebop", which emphasized deconstructed melodies and improvisation, this is a focal point of many of the styles of my delivery on this album as well. The flows I use are designed to show the evolution of Emceeing beyond the redundant formats we used in the 80s that rappers are stuck doing in 2015.

The "The Theology of Timing" portion of the title is a double entendres as well. The Honorable Elijah Muhammad did a series of speeches called "The Theology of Time: knowing the time and what must be done." For me, knowing the time and what must be done in that time is what separates a child from an adult. "The Theology of Timing" in the artistic context represents my perspective of rhythm as a sacred science and how melody and tone convey and accentuate rhythm. This album ranges in tempo from 80bpm to 270 bpm and time signatures that range from 4/4, 6/8 or even 7/12. I show what the art of Emceeing looks like in 2015 and timing is central to that purpose.

The "Tehuti and the Het Heru Cult" portion of the title explains my motivation for doing the album. Tehuti is the Scribe of the Ntr (Gods) from the pantheon of deities in the Nile Valley civilization of Kemet. Tehuti is the founder of language and the sciences, and he is married to MAAT: who is the embodiment of truth and justice. As an Emcee, I am a high priest in the order of Tehuti; with language and tone as my tool. I am also married to truth and justice in my craft.

In the Nile Valley civilization of Kemet; Het Heru is the mother of the omniverse and the source of all material existence. Het Heru is also the patron of music, art, dance and joy. She is the Supreme Black wombman.  

My album is designed to touch the souls of Black folks thru the art of Emceeing and also to honor and stimulate the Black wombman through rhythm, tone and language.

What musical direction did you challenge yourself to go in with the project?

Mainly what I sought to do was channel Fela Kuti, Charlie Parker and Al Green through the art of Emceeing.

I wanna talk about my favorite song on the project, "Time Check". You question the encouragement of black youths protesting because of the prison industrial system's power at this point. So is your issue exclusively with those who push people to protest or is it also with those who choose to protest? I ask that because most people marching in the streets are coming from a good place, in my experiences. And even though it may not make a significant dent in white supremacy, it can provoke those affected by it to somehow involve themselves in liberation. Do you see value in that?

It's 2015 and those who don't learn from the past are doomed to fail in the present. A lot of folks are just regurgitating the past because they didn't learn anything from the past. It's like repeating 10th grade for 50 years. Folks don't use rotary phones anymore because they respect the evolution of technology; I am saying that we need to respect the evolution of the Black Human Rights Movement in real time.

If you aren't willing to transform in this larger rites of passage: you will face the fate of the dinosaurs. Liberation is not an event: it is a process that begins with a state of mind. Liberation is the Theology of Time: we must know the time and what must be done in that time.

"The American ideal of racial progress is based on by how fast I become white," is a quote by James Baldwin that you recited during "Time Check". I read Paulo Friere's Pedagogy Of The Oppressed a few months back and it spent a great deal on our idea of progression, in that, the white man's success is what is base ours on. Where do you see that being exercised most in music right now?

Some people just want to get rich and be famous, and they see entertainment as a means to that end. The harsh reality of America/capitalism/white supremacy is that you most likely won't be rich and famous as an entertainer unless white folks say so.

For an artist such as myself: I am FREE from having to please anyone beyond the Creator, so my art is liberated/liberating and my inner peace is priceless. I Self Lord And Master, and anything less than that is a personal hell. I choose heaven on Earth and I seek that for my people and all the Human families as well.

You always speak on how we have a skewed view of progression. You think the world is actually more stagnant than people realize?

Well, the "world" is a construct of the human mind, so there are many versions of the "world." In terms of the world that has been created by capitalism/white supremacy: everything is moving smoothly according to the plan. But as far as the world for Black folks and the human family as a whole: there is definitely a state of stagnancy and even regression. I see folks trying to make an analysis of the current problems faced by non-white people, and the perspectives aren't even as informed and cohesive as what brothers like David Walker had manifest in 1826 in his work titled "The Appeal." Folks have made entertainers and corporate propaganda/mass media the foundation of their world views and in doing so, even the folks that seek to "change the world" are only sustaining the world of capitalism/white supremacy with reactionary behavior and shallow ideologies. Folks have social media and more convenient technology, but it's like Jalal Mansur Nuriddin said: "new hairdo: same mind."

We make fools famous and we run from sages. So there is less psychological evolution in 2015 than there was in 1975. Of course this is all by design by those who rule this world of capitalism/white supremacy. There are open enemies of TRUE knowledge, wisdom, understanding, freedom, justice and equality; and those people are functioning to diminish the progress that was gained from 1865 to 1965, which in fact was moderate progress in reality.

Combine that with the fact that the best minds of our people are marginalized, while the best minds of the oppressors are given complete autonomy and you have a state of stagnancy in the collective of non-white people and the human family as a whole. My version of the 21st century doesn't include the SAMO shit from the 19th and 20th century: eating meat, smoking, assimilation, materialism, misinformation, etc... We should be evolved mentally, spiritually and physically based on every step of real problem progress we have already made as a collective and this progress will be evidenced in our daily habits and how we raise our children.

You told me that you're not into traveling that much. Why? Isn't that essential to spreading your message?

I am a recording artist and a filmmaker, so my art reaches people without me being in the same room with them. I have released over 30 albums and over 100 short films, documentaries and music videos and that has allowed me to reach people globally much faster than I could ever physically travel. This type of work offers posterity and a way for people to let what I do sink in more than a 30 minute concert. I have written two books in the last 3 years, which is another way for me to create a legacy that will last for generations and reach more people with my divine purpose. Also, I was naive growing up in BMoor because I thought that my experience with rap outside of my city would be similar to BMoor, but once I did my first 28 city North American tour, I realized how racist America is and it turned me off to touring. Also, I hate sausage parties. A lot of the underground Hip Hop circuit is basically dudes standing around looking at the stage while you perform; that is corny to me. I like seeing females balance out the males, because that's the culture I grew up in. The goal was always to touch the Black woman's soul with the musical craft; hence my album has the subtitle "Tehuti and the Het Heru Cult." For me, art is really just a tribute to the creative power of the womb, which is the highest form of creation for all human beings. So I need to rock stages where sisters can bear witness. At this point I'm only interested in the east coast and HBCUs, I will only travel beyond that for VERY LARGE sums of money, I'm not pressed at all to travel.

Earlier you mentioned that you learned about people actually buying melanin which is fucking crazy. What was your reaction when you first found out?

First thing I thought was "SAMO shit"; first they sold Black people now they just wanna sell the Black from our people....Yeah man, melanin is on the market for about $350 an ounce. Melanin is a valuable chemical in the epidermis and neurologically, so I wasn't surprised they were selling it. But my concern was where are they really getting it from?

Like I said: they ain't satisfied with stealing our Black bodies and grafting our Black souls. Now they just want the Black out of us completely.

Who are some of your favorite new artists in Baltimore? Are they inspiring you?

I dig Only and his new album "Lapis Necklace" on Ankh Ba Records; he has the best freshmen Hip Hop album of the 21st century hands down.  Elon is the best singer I have heard in this decade, he is a brilliant musician and I am very excited to work with him on his 1st album release coming out on Ankh Ba Records in 2016. I would say I am inspired by divine purpose 24/7, so I don't really get personal inspiration from other artists. I'm deep in my own journey, so it's more internal for me. But because I am internally inspired; I have a motivation to help others develop their own internal inspiration and divine purpose. My father Doc Soul Stirrer mentored many musicians here in Baltimore during the 50's and 60's, so I am tuned with his legacy of mentoring and the rites of passage.

How has the city changed since your childhood (like all the spots you were telling us about, etc) and do you think it's headed in the right direction?

BMoor has always been dope/wack and I think that's true now, but just in different ways. The thing I miss the most is after hours parties that end at 6-7 AM. I also miss events where people actually came to LISTEN to music and dance, now it's more of an open mic/show culture. People don't know how to act if they ain't on a stage, I miss the jams where we would sweat out our clothes, dancing and learning new music from DJ's that really educated listeners with new musical experiences and classic music equally.

Ironically, I think BMoor is safer than it was when I was younger, but now there are more out-of-towners trying to front like they run shit culturally. So there are trade offs, mostly because of gentrification. I think the main problems of poverty, weak city government and genocide are still the same, but opportunity for investment and development have increased. It's bitter sweet like its always been.

Follow Labtekwon on Twitter, @Labtekwon, and listen to B.O.P The Theology of Timing: Tehuti and the Het Heru Cult

True Laurels Volume 6 Release

We're excited to announce that on Saturday, April 11th from 5-8p.m. at Baltimore's Terrault Contemporary, True Laurels will launch its sixth volume, The Overseas Issue, which focuses on the narratives of artists based in or native to lands outside of The States. 

As many millennials can probably agree, our immediate reality is often limited to what we expose ourselves to digitally. What our friends, favorite artists and publications promote are usually the lenses we see through. True Laurels Volume 6: The Overseas Issue is a challenge to break away from what is comfortable and easily accessible. How is race viewed by young black people in South Africa? What music soundtracks the youth of Paris? What is taking ayahuasca in the forests of Brazil like? The Overseas Issue explores these curiosities and more in hopes of expanding our sometimes-limited perspectives while also searching for common threads through various corners of the world. 

There will be music by Brookyn-based DJ Ushka (who is featured in the issue) and visuals by Time Spent. 

Dola: On Police, Feeling Trapped & The Dynamics Of Jacksonville

There's only one thing I've known to come out of Jacksonville and probably to no surprise it's their NFL team, the Jaguars. Outside of Miami, I actually don't know anything about any place in Florida outside of Orlando being the home of Disney World. But thanks to some digging around on SoundCloud, a bit of the wool has been lifted from over my eyes with Jacksonville's Dola. He has a gentle, yet unorthodox style to his delivery; his raps don't escape convention as far as women, weed and being self-made goes, but he carefully slides his social leanings under the surface as well. Chapter 1 Night Vision--a mixtape he dropped in late 2014--was filled with frustration about cultural appropriation, crime in Jacksonville, finding a way to push past the bullshit and rapping better than you can. After hearing it, I reached out wanting to know what went into the creation process and to learn what life experiences provided Dola with the fuel to make Night Vision. 

You describe your project as being an alternative to social systems that are in place like law, religion, church and parents. Do you find it a duty to spread what you know and believe?

Dola: Not really. I don’t feel the need to push my opinion on people. I just like to share my thoughts. I don’t feel like my way is law or anything. It’s just perspective. That’s what art is to me: perspective. 

In “Feral” you say, “You tryna get your culture back but kosher, it ain’t that” Was that about the climate of hip-hop culture today and how it’s being penetrated?

Yeah. It’s crazy to see it right before my eyes. It’s scary a little bit because it makes me feel like, “Where is me and a lot of people I know gonna be in a couple years?” But in the same sentence, it makes me want to work harder. I’m not against anybody endeavoring to get into any art form. People make mockeries of us everyday. I guess them doing it tastefully is all you can ask for. 

Well do you think it’s been tastefully mimicked by some? That’s best way I can name it because if it’s someone coming from outside the culture there is some mimicry going on.

To be honest, I haven’t really seen hip-hop being done too tastefully by outsiders. Everything is almost a joke. Like there’s a shock factor to it. And I guess it kinda opens up an avenue for whoever to run through. It's just hard to find good music now. 

prod./mixed/mastered - @EddyBraveaux

On your song "Salutations" you mention funeral attendance in damn near higher than football games in Jacksonville. Do you ever feel trapped there? 

Yeah sometimes. Like any other big metropolis areas in the country, there are a lot of murders. Statistically, people actually do get murdered more than who goes to games. Jacksonville is tough because there isn't a lot of local support. The radio doesn't play local artists. I stayed in Atlanta for a little bit and they fuck with local music hard. It ain't like that here. 

What are the dynamics of the city?

Land-wise, it's the biggest city in the country but our transit system isn't that good. The bus runs every 30-45 minutes and the trains don't go to other sides of town so people don't really venture out. People won't go to the other side for entertainment. Everybody is separated.

On the North Side which is predominantly black, people's social lives mostly is high school football games and ratchet shit. East side is the same. Downtown you have more hipsters and people with funny mustaches who listen to EDM. Surfers are downtown too. None of these people really fuck with each other, though. 

Have recent happenings between black men and police made you more introspective? What’s your state of mind as a black man in this society?

A lot of Florida is country and woods and rednecks so when I was in high school there were a lot of incidents. Redneck kids would hang nooses from trees. It was always very apparent here in comparison to other places I've been. But since it's gotten more public it definitely feels weirder. Police killing people out in the open with nothing happening is crazy. 

Back last August, I was on the West Side at a gas station and two dudes pulled up -- one in a purple Monte Carlo on 26's and the other in a Dodge Charger. Soon as they get there, the police pulled behind them. The guy with the Monte Carlo got out to pump gas and the officer in the car gets out with no lights, no warning and pulls his gun out. Then another twenty cop cars come to the gas station and did the same. They just pulled their straps on this nigga without asking for any of his information. Just witnessing that while thinking about all this other shit going on was crazy. 

It's at a point now where I'm always late to where I'm going because people driving on the highway are afraid to go by a police car. 

How’d you come up with the name Dola? Is it your birth name? 

I just came up with it through different nicknames I had growing up. My father used to call me Dopeboy Dola or my uncle would call me Dolamite. So when I chose Dola as a rap name I started looking up meanings. 

You talk about your father a lot on Night Vision. What’s your relationship with him?

Not horrible but it could definitely be better. He’s who got me into hip-hop on a major level. He always listened to good music. He was always listening to stuff outside of Jacksonville like DJ Clue mixtapes, DMX, Nas, Scarface, etc. Just a wide range. 

Your project gives me the feeling that you have a lot more to say and share. Will you only be doing that through rap or do you want to express yourself in other ways as well? 

In the bigger scheme of things, I’m a writer. I used to have my own blog before I started to focus on rap. It’s what I’ve always been most interested in. I play with different forms all the time.

Eddy Braveux produces just about all of your music Would you consider him as a partner or just someone who makes sense for your vision? 

He’s definitely a partner. He’s helped me direct my vision and not with just production. With everything

What have you learned during your musical journey up to this point? 

The element of surprise is something I definitely want to take advantage of. I took my time with Chapter One but I could definitely be better with the promotion. I'm trying to get more into directing my own visuals.  Just trying to round things out.                                                                                                                                                                  

Catch Dola live in Baltimore this weekend at our FLATOUT party. Follow him on SoundCloud, Instagram and Twitter.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

Pick 'Em Up: Lakim, Rushmore, Flow Castle & Slow Graffiti

Rushmore - "Moment X" (Victoria Kim's Kowloon Edit)

More info: http://www.factmag.com/2015/03/03/victoria-kim-takes-rushmores-moment-x-to-kowloon-on-the-astral-planes-heterotopia-remixes-vol-2/

Last year, The Astral Plane released Heterotopia, a collection of super grimy club tracks only suitable for the darkest of nights.  Heterotopia included a minimal club track with an impressively busy percussion section titled "Moment X" from London-based producer, Rushmore.  On the Heterotopia Remixes Vol. 2 compilation released earlier this month, Sydney-based production duo, Victoria Kim ups the ante with incredible force.  Victoria Kim adds some groovy synths, a dark industrial vibe, and most importantly, a textural club beat driven by a "work work" vocal sample so repetitive that it's pleasantly encouraging.  Victoria Kim's Kowloon Edit is a heater through and through.

Lakim - "Get Out On Your Own"

On the totally opposite end of the spectrum lies Soulection, a record label, traveling dance party, and cohesive musical family that thrives in showcasing only the smoothest of sample-based, R&B-inspired sounds.  To celebrate 200,000 listeners on Soundcloud, Soulection gave away their highly-anticipated ode to Sade, Love Is King, complete with soulful dedications from many of their incredible producers.  Check out LA-based producer, Lakim's take on Sade's "Mr. Wrong" on "Get Out On Your Own".  Lakim used the classic, energetic Baltimore club break as the backbone to his track but somehow still made it sound smooth as butter.  

Flow Castle x Slow Graffiti - "Do"

Follow - @flow-castle & @slow-graffiti Too Lush presents Too Lush Vol.3 . Volume 3 features fresh vibes to start off 2015. This compilation ranges in styles from Jersey Club to Future Beat to Hip Hop. Volume 3 has something for everyone. We are a forward thinking collective and are always looking for the perfect beat to bring to your ears. All artwork by - @vaperror Founder - @knitewatch Partner In Crime - @itslemur Beats + Tropical Euphoria

A few days ago, LA-based collective, Too Lush dropped Too Lush Vol. 3, a hefty, 25-track deep compilation which promises something for everyone.  "Do," a collaboration between Flow Castle and Slow Graffiti, is a future Jersey club track that is just too easy to love.  Pumping bass, spiraling synths, and a Jersey club break builds a track that can easily be rocked with all night long.

Stumbled On: DaKidd Moo

Is it really a rush better than stumbling across a crazy track when you least expect it? Nah. Not for me anyway. Last week when I was kicking it with my man Keem, we hit YouTube and Sound Cloud as a part of my new favorite activity: searching for non-covered Baltimore rap. Over the past few months, I've been treating local music as if I'm an outsider and it's been paying off in a major way. This time around, we caught wind of DaKidd Moo--an East Baltimore rapper with a voice you can't possibly overlook. At first I thought I was hearing my uncle. Then I thought, "This might be the Baltimore Boldy James." Then the dude from those classic Philly vs. Baltimore battles came to mind. Either way, what I was hearing was blowing my mind. 

On his track, "Just Bars", you get occasional trendy ad libs like "SQUAD", "GANG" and "SKURRTT" but that's minor shit to look over in the hook-less song. Moo is hitting on all cylinders here; his energy is at full speed throughout, the voice can't be denied and his wordplay is fluid and hard-hitting--something that local standouts like Young Moose, Lor Scoota, Lor Stackks and others still find trouble doing for the full duration of a track. A story is being told. It opens with: "Turn me up, bitch I'm in my zone/ I'm from East, you gotta keep a tone / I'm from where they let the knockers roam / They'll search you drawers right in front your home / I'm from Bradford where we sellin' stones / My block a vacant. Ain't nobody home."  Moo has sprinkled tracks all over the internet but this three-month-old track is probably his most proper introduction: he's telling you where he's coming from, his plans to provide for family and warning you to stop sleeping from now on.

The cinematic video, a seemingly subtle reference to Shottas, is mostly shot in his neighborhood, a car where he's being set up and a candle-lit room. It's about as raw as you can get but the skill can't be questioned, which characterizes Baltimore altogether. Doing some digging, I found that Moo has a tape being circulated on the streets right of the same name as the track, Just Bars. Hopefully it'll be available online sometime soon but either way I'm gonna go cop the physical and pray that some more undeniables are on it. 

Some of my other favorite bars from "Just Bars":

"My mama already got the Masi, I'm just tryna get me the Bentley/ Porsche truck for my lor sister, Kendall dipping in a 650/ Boobie said he gone keep the Lincoln, he don't ask for much just give him 650."

"Every time I come in the city it's a new nigga that's playin' the 50 / If it's beef tell 'em come and get me/ The thing like a I.D, I keep it with me."

FLATOUT With Sporting Life, Angel Baby & More

The next installment of True Laurels' FLATOUT party goes down on March 28th at The Windup Space in Baltimore! There will be live sets by Ratking's Sporting Life, Jacksonville's Dola and Baltimore-based artist and DJ's, Lor Chris, Genie and Angel Baby. Flier by Richmond-based artist, Richie Pope. 

Pick 'Em Up: Kilbourne, TR!CK$ & UNiiQU3

Kilbourne x Albyy - "The Hand Clap"

Listen to me and @DjAlbyy answer questions for Mass Appeal and talk about our new track The Hand Clap @ massappeal.com/premiere-kilbourne-x-albyy-the-hand-clap/

I've been following Kilbourne ever since I heard her amazing work with Abdu Ali on his Already EP.  Kilbourne calls New Jersey home but is currently based out of New Orleans.  I just love the way she styles her club music - it's hype but not so aggressive that I feel like I'm gettin' shot up outside the club.  And such is the case with her collaboration with Albyy on "The Hand Clap".  Pulling the vocal sample from Hurricane Chris' track of the same name, "The Hand Clap" is such a classic demonstration of that signature Jersey energy.

TR!CK$ ft. L'Entranger - "All Alone"
 

Hailing from Plainfield, New Jersey, TR!CK$ is one of the most exciting rising stars of the Jersey Club scene. Having his tracks consistently picked up from the likes of Cashmere Cat and Lido, TR!CK's latest track, "All Alone" is the second off of his debut EP which dropped this week.

TR!CK$ is another Jersey-based producer who is starting to make some waves in my world.  "All Alone" allows that super energetic Jersey style to completely carry a sexy R&B vibe from the vocals here.  I'm especially loving the varying manipulations he made to the vocals - pitched up here, pitched way down there, and chopped so expertly throughout.  This is the way you craft a Jersey club track that's fit for dance floors all around the world.

UNiiQU3 ft. DJ Kiff - 69 (If I Fuck)

Bow down to UNiiQU3!  She's a certified Jersey Club Queen and she's running the show in New Jersey and beyond.  This week I stumbled upon an older track of hers that I had on repeat for a hot minute - "69 (If I Fuck)" with DJ Kiff.  It starts out subtle, almost like it could easily transform into a dope footwork track, but instead it introduces this insanely cool bubbly bass that I can't get enough of.  It almost doesn't even sound like it's a Jersey club track - maybe a hybrid of Jersey and Baltimore - which is great because anything that fills the abyss between the two styles is really something remarkable.