Cesar Comanche: More Than True School

Cesar Comanche
Of the Justus League
By Staff Writer Carmeli Hocson
Nov. 30, 2006

When did music become a significant part of your life?

I come from a musical family and so music was always a part of life. My father and mother and oldest brother were in bands. I remember my older sister Missie playing music for me all the time as a child. She would play Earth, Wind and Fire, Prince, Meli-Mel, Roxanne Shante, Nucleous and anything else that was being played between ‘78 and ‘87 would be pumped in my head. In a way music was how we bonded.

How did you start your career?

I never really expected myself to be doing music as a career. I used to write R&B songs for fun but I never thought that being an emcee would be my occupation. One big reason that I never thought music [would be a] career was because it didn't happen around me. My parents were in a band but it wasn't their career. I only saw it on television but my perception of what I see on the television was never a reality. I didn't decide to write raps till ‘94 but I was just writing for myself, I didn't have a thought to make a career out of anything until ‘96 after my freshman year in college. I saw people rapping over their own beats and that is when I met 9 th Wonder.

How did you first meet 9th Wonder?

I remember 9th walking into a common friend's dorm room and telling us to check CNN because some revolution was going down in some part of the world and people were wildin' out.

How did the Justus League start?

The creation of the Justus league was an accident Around ’98, 9th and Yorel started making beats and we would start making little songs, no one cared to listen to them. We wanted to know what their reaction and thoughts to our music. The only people that came by and showed any interest are the cats that are in the League right now.

Since we all didn't have anything better to do 9th and I decided to make a crew called it the Justice League. Then Big Dho suggested that we spell it differently since you never know what will happen to the name and we might encounter some copyright infringement with DC comics. Then, I first used the Justus League name in public at a little showcase Edgar Allen Floe, Median, Phonte and myself did at NC State.



You have toured a lot, what was one of your favorite shows that you have done?

Paris, France [was] one of my favorites because the people were so pumped up for the show [and] the energy level was ridiculous. I've seen high energy levels but this crowd was phenomenal the place was already packed an hour and some change before the show started. People were also lined up down the street earlier in the day during sound-check.

I read an article that you were a guest speaker for a community center what do you try to communicate to the youth?

Yes, I try to go around to schools or community centers and talk to youth about my experience in life and music. There are younger cats out there that are growing up in the same similar situation. There are kids who can't identify with the world because they don't live in a big city that is on a map. It was hard [to see] myself doing great things with my life (music, entertainment, other dreams) because I didn't see it around my environment. I talk to kids to give them someone they can identity with.

I know you have probably given them some advice for being in this music business. How would you come out with a message to let them know what’s up with the industry right know?

I try to explain to kids that nine times out of 10, the images you see in the media don't depict reality. Kids think that people in the music industry are living this glamorous life, when in reality nine times out of 10 what you see takes decades or years to get to that point in your career. The media doesn't stress the sweat, blood and tears in this entertainment business, this isn't an instant gratification. The music business takes a whole lot of work and you need to surround yourself with people that can help you become a better person. I try to tell kids to stay away from these crazy things that could destroy your career and goals. You have your whole life ahead of you, don't mess it up, life is already hard so don't make your life any harder.


What are your other goals that you're still trying to accomplish?

My goal as an artist is to touch somehow every possible person that would be a fan of my music. I want to be in that point of my career where I have touched people with my music in a positive way. I want to make it to where I can build up a secure future for myself and my other business ventures. One of the projects I'm working on is the True School Corporation, 9 th Wonder, some other gentlemen and myself started it. True School is a preservation of a generation, through the celebration of Music, Culture and Film," between the years of ’80-‘95. So stay on the lookout for our events.



When you’re writing things how do you go about getting away form a block or what motivates you when do you write, where do you write? Where do you get your motivation from?

The beat tells me what to write about. I listen to the instrumental and it tells me what the mood of the song will be like. If the beat is dark then I write about something deep or depending on the time structure or where the pockets are on the beat which tells me how I would say the words. I complement what the beat does.


What is your philosophy in the music you're trying to get out to the public?

I just make music, I write about everyday life or songs that anybody can relate to. I'm not on some other planet, trying to bring these fancy landscapes to life. My words are about regular life experience. My music reflects the hip-hop attitude of the late ‘70s and ‘80s as well as the early 90's but it's still modern and up to date. The subject matter is about reality. The most important thing is to make songs that you actually like, don’t make songs ‘cause you feel you have to.

You can contact Cesar Comanche by visiting www.cesarcomanche.8m.com, www.trueschoolcorp.com or www.thejustusleague.com.

Bay Ok: Or Is It?

Bay Ok Collective
Mahogany A.K.A. Mo’Betta and Iwalani A.K.A. Iwi Get Hyphy With UBO Magazine

By Carmeli Hockson
Staff Writer

The passion and positive force that Bay Ok Collective exerts; made of Bay Area’s first hyphy [Bay Area slang for hyperactive] female hip-hop group includes emcee’s Mahogany A.K.A. Mo’ Betta and Iwalani A.K.A. Iwi can be felt through their lyrics and strong stage presence.

These two native born bay area women exemplify and define the hyphy culture that was born in the concrete blocks of bay area neighborhoods, originating in Oakland around 2000. This expression of movement, language and sound illustrates the definition of acting hyperactive and feeling the emotion that nothing matters, letting go of negativity and enjoying the pulsating rhythms and words of life.

Bay Ok epitomizes the definition of hyphy and taking it to a level of different perception. Not only are they talented, smart and beautiful they are also two strong women in an industry and culture where females are rare to be seen or heard. The presence that they have within a male dominated culture can create a big impact to young women who need a positive reflection of themselves holding a mic and spittin’ rhymes and finding liberation through music.

UBO Magazine: How did BAY Ok come about?

Mo’Betta: Bay OK’ started in April ‘06. I was in Chicago in the airport and I was talking to Iwi [a good friend I had since high school] and she told me that she was doing more music and wanted to pursue her talents and perform. We decided to collaborate and see what happens and go from there.

Iwi: Yeah, Mo’ called me up and she was like “we should do a project together.” So we went to the studio put some songs together and it came out pretty good.

UBO Magazine: Define the presence that BAY Ok exudes:

Mo’ Betta: ‘Bay OK;’ we called each other that ‘cause we’re not trippin’ off what people think or what everyone is on. We usually just get up on our own style and not care how people will judge us. It’s interesting because that’s how it’s like in the Bay Area. People do their own thing and do not care how they will be perceived or judge. That’s why we came up with ‘Bay’ which represents where we are from and ‘Ok,’ just doing fine and its okay to do what you want to do.

That’s why our music hasn’t gone so main stream because it doesn’t talk about the woes of the hood it talks about how we got there…and we talk about the panthers and acknowledging and there’s a lineage and a story line. Maybe we don’t [want] anyone else to be conscious. It’s interesting to me because even most of the hard core bay area rap still has a conscious edge. Keak Da Sneak talks about people from Oakland and the history of how it got like this…along with the hyphiness and the frustration…for some people, it’s contradictory but it’s reality and what the hyphy attitude gave to the community is a way to unite and celebrate just surviving life. On the same block you got people slangin’ and throwin’ up turfs and then inside there’s poetry or a community getting together.

Bay Ok is also a collective for females who are in the hip-hop scene and involved in the community. It’s not only for females but males are also welcome but BAY ok is a symbol for women to feel comfortable in a community where they are involved and nurtured to becoming strong women in this hip-hop culture.

Iwi: In this project, it’s mostly about just having fun and not just creating a hyphy CD but we’re just rappin’ about where we are from, what we represent, positive uplifting songs, conscious-type songs and things that you’re used to—Bay Ok…there’s different types of flava in the CD.


UBO Magazine: You mentioned that Bay Ok is also a collective, what is the purpose of this collective?

Mo’ Betta: This is a way to give females a way to shine among other females and not [get] attached to a man. Its more like real-estate, were trying to create an actual concrete home for female emcees to feel at home and have freedom. I guess [what] we’re trying to do is be that meeting ground for women in hip-hop. Where they can come here and get it together and create a network and try to move along and bring out women voices in hip-hop.

Iwi: It’s a great project and from there on we were like, this is an avenue for us and for a lot of people to join to represent the bay. Right now, it’s just me and Mo and the short term goal was to see the response and finish this project and go from there.

UBO Magazine: When did you guys both get into music? Who or what was your motivation to become an emcee? Influences in your life?

Mo’ Betta: I have always been a writer. My mother was a huge reader. My mom was always into books.

At ten, I wrote a poem and I won. “Peace.” It was a poem on peace it was during the first gulf war. It had imagery of cranes and rhyme—it was more into the delivery and it was inspired by mlk cause whenevah I get up into the mic I thought of mlk and all I knew [was] what it sounded like [and] not what it looked like so all I knew of someone speaking eloquent was mlk [and] that was the delivery I gave to the poem. I was into rock and roll and my mother was a black hippie that was the counter culture. I had to be listening to rock and roll and I knew I was different it was hard for me to listen to rap because the imagery was scary; “Walk This Way,” [by] Run DMC – that was rock. Teenager years [was] when I switched into hip hop and I started to understand it as being poetry.

I saw Lauryn Hill on TV and she reflected me. I saw her and she looked just like me who was spittin’ flows with these guys. Just seeing her in the video changed my life and I think that is why I’m concerned with the reflection right now so that when we perform we can be the images for young girls to see themselves in. People look for themselves in magazine and music in reflections of themselves.

It all serves the same purpose spoken word, rap – I’m trying to be reflection to youths and give that liberation.

Iwi: Writing has always been a part of my life. It’s away to express myself and write poems and then eventually it evolved to music and songs. Music has always been a huge part of my life; my parents love music, my family loves music I love the way it makes me feel.. It makes something very important to me..

I didn’t really do a lot of music while I was at school. Clarinet and drums but I didn’t immense my self in it.

I started playing the guitar four years ago. I got an itch four years ago cause it appealed to me as soon as I started playing with it but I just started feeling it and I love the way it sounded and when I played it I started taken a beginner class and just start incorporating the songs and poetry into my guitar in the midst of that I started rhyming and the flow…it all started to mesh and gel together – Probably four years ago, it became clear that it is something that was important to me and it’s something that I love. You just pick up a pen and just flow – it’s a way to release emotions.

Early influences with people themselves [such as] Michael Jackson, is a huge influence and Janet Jackson. I was stuck on her performance and the stage presence all through out middle school. Growing up [I listened to] different rap groups, TLC and watch these people and at the time just watching them and wishing a part of me was up there and seeing myself in them and that had a big impact on me. My dad played the saxophone and he played for the back up band for The Whispers.

UBO Magazine: What do you think about women in this industry and your role in this business? As women in the music industry and the stereotypes you see through the media did you come across some negativity or people blocking the creativity? Also, how do you get through those obstacles and adversities?

Mo’ Betta: It’s interesting the responsibility that shows through this music and you go out and kids want to be part of it. It’s hip-hop by women, it’s a new approach.

Once you get deeper into the industry how hard does it get for a female and how much it gets to that point how they treat you? Cause I know this a heavy trip that entertainment machine..What is it just as an experiment and how it goes into the female emcees and don’t come out…a female emcee and the next thing you hear that you hear them rapping and then their singing … and they aren’t even a singer.. I was always thinking what the fear is.. I think there’s a fear of women rapping.. there are a very few things that was left to the black male in the world is the underworld and all these things that these males had to hold on to and the black man right know he can claim hip-hop on a certain level. Commercial level as a predominantly black male industry maybe it’s threatening every other industry once you bring in females its open to everybody but I do know that there is something beyond skill that is keeping women out of hip hop…

Women need this outlet as much as men do and we need this economy as men do as a chance to put our art work out there and it sucks there shouldn’t be a magazines a woman’s this that is what we have to do and I feel like bay ok’ its like that gang mentality .. I can’t be imagine it to be like one female to be in a big group male and it can’t feel safe for a woman like that if you want to rap this is what your going to be and so people only write what they are living you might started out as a conscious rapper and your on the road being objectified and then what are you going to write abs out..

Or are you going to write about what you have seen or heard. Women won’t just do bull they will do their thing and work hard and had to take care of my people and music to them…its harder to manipulate women in this industry cause we have been surviving cause what else is there to lose…I don’t’ believe every man who talks about bitches or hoes but this is the poison they want to push.. e40 used to make music and world wide consciousness with it and now it’s about cars and sex and hyphiness.. Its predictable know.. This is a machine spitting..
Women are exempt from that machine but women can single handedly give the face of opening it back up to different perspective of the hood or the different situation..
People are scared of change and I understand why there are all these trepidation and these kids are not going to do this. And forget hip hop before they are left out of it... its interesting and im tryin to hold the door open and also be part of it for them to excel because I know there is a drastic change in hip hop...

Iwi: it is a pressure but I mean you got to think of it as a blessing cause there’s so much power about holding the mic and commanding them where they are feeling their stuff and listening to you and what you are saying and its a lot of power but at the same time it’s a blessing to share this message and give people that way.. and that overpowers the pressure its still new to me as performing and so for me I'm just like every time I’m on stage it’s a fresh feeling for me…and for me its like wow and people are feeling our music a few months ago I was giving myself a hard time and it lingers and you get over it but the result of people feeling your music is indescribable..

Since performing has been something that is very new to you Iwi how did it feel to get on stage and perform?

Iwi: First performance: we have been doing open mics for a couple of months our first performance was at a café in san jose it was packed and the energy was crazy..It was a really good time that was the first big performance and had a birthday party at a club and that was a big venue and medium size…

I was just like in awe because it was the first big performance for me..For me I felt the energy was amazing and everyone was showing us a lot of love and it was up close and personal and everyone was good. The energy was fun and positive that if there was any negative we pushed it out the door.. It was a good time and everyone was feeling it and it was a good response….

it was crazy for me cause people were telling me that we were sick and this girl came up to me and you guys are doing this thing for the women and she pointed it out and told me that we were representing the females and they were feeling it and it felt like that the females who were there were uplifted and felt strong and positive..

And the guys who came up and were also giving us positive feedback and just telling us about our skills and rapping…

And as an educator Mo’ betta how do you use hip hop help students learn and find their voices through poetry?

Mo’ Betta: TUPAC SHOWED ME THAT U can USE THIS AS ATOOL TO MOTIVATE PEOPLE THE WAY THAT MARTIN LUTHER KING TEENAGE YEARS AND EARLY TWENTIES IT WAS PAC THAT WE WOULD HAVE TO MOTIVATE OURSELVES THROUGH THIS MUSIC.. NOONE IS LISTENIN TO SPEECHES ANYMORE.. ..

I TEACH a lot OF STUFF AND I TEACH FROM THE TUPAC PERSPECTIVE OF POETRY.. ITS REAL AND that’s VALID ITS WHOLISTIC ITS PART OF YOUR REALITY.

a humanity to rap to music its not just all insipirational music it wasn’t all gangsta music it was always the mentality and the conversation of the hood to me its important in music to keep that alive..
You can hear it in our voices and real pose and flossin and dancing in the club and the nodd that powers that be..

Pac’ as an educator I still keep seeking to validate the words and trying to push across the message…

What are your short term goals and long term goals for Bay Ok?

I would love to see the cd get packaged right for sale and would love to see us perform regularly with performance schedule we are so psych to open for the openers. Were not lookin at it as established artist were looking at it as new artists and having no expectation were just trying to be on.. and rapping outside of buildings and getting stuff happening.. the product and be able to push it in all our creative ways pushing the cds. More shows and more females coming out of the back and hitting us up on myspace and the next mix tape will be on the cd.. It’s powerful on “young girl” with sky high he’s the guest artists and he’s telling a positive message on hope and everybody is painting picture in their verse.. It’s really powerful the symbolism is that he’s the only male on the album and that is the song he is in support of and that sets a precedent in what were trying to accomplish..

Iwi:

it’s a great project and from there on we were like this is an avenue for us and a lot of people to join to represent the bay and wants to ride with us and the flava were trying to bring in and right know wits just me and mo and the short term goal was to see the response and finish this project and go from there

Long term: our next project is bay ok volume two

Solo project: is my short and long term goal is to get out there and do my project..


What kind of advice would you give to young aspiring artist just starting out in the business?

Iwi:
I think back to when I was in school and dreamed about being performer and I was reserved about it I did dance on it and as far as performing my own personal creation.. You get shy about it and you’re scared of the judgment or criticism and all that stuff is going through your mind and that is what took me so long to come out and perform..

So I understand there are women out there or girls out there so it’s hard to just be yourself an outside pressure what people say parents, peers, and the world..
Follow your dreams follow your heart but when you come down to it don’t care about what people think.. and your always going to have someone there to love you and to support you and so I think its important for anyone girl boy young or old to have that positive mind set for not caring what people think and not be shy about it and your always ..But if you have the desire for it that is the motivation that is the way to share it and get rid of the pressure. So I believe that’s what bay ok is there for…

As women in this industry and the stereotypes you see through the media did you come across some negativity or people blocking that creativity? How do you get through those obstacles and adversities?


Mo’ Betta: It’s not a negative energy we have been blessed I do hear like wow you’re so articulate and you hear it in a way and it’s implied that for some females?? Were doing our thing regardless to what our sex is and its funny how it brought back to the fact that were all women there is some novelty to it every male rap group to be down with them. and how that one female is the novelty I do really like that role.. And I liked that but it was always like novelty or people not listening to my words but I want the attention that I was an artist and the message im coming across too.. when people introduce me they like to elude to the fact and it’s an ego thing to men im one of the hottest females ripping’ the mic. I come across a lot and the focus should be good..I don’t doubt myself at all its tight period its funny how they come back to that /… where you usually forget that.

Iwi:
it is a pressure but I mean you got to think of it as a blessing cause there’s so much power about holding the mic and commanding them where they are feeling their stuff and listening to you and what you are saying and its a lot of power but at the same time it’s a blessing to share this message and give people that way.. and that overpowers the pressure its still new to me as performing and so for me im just like every time Im on stage it’s a fresh feeling for me…and for me its like wow and people are feeling our music a few months ago I was giving myself a hard time and it lingers and you get over it but the result of people feeling your music is indescribable.

Be Brave Bold Robot: In A League of Its Own

Featured Artist
Be Brave Bold Robot
By Greg Kucera AKA Kooch
Contributing Writer

I have agreed to meet Dean Haakenson, the brainchild behind Be Brave Bold Robot, at a pick-up wiffle ball game in McKinely Park on a Sunday afternoon. It is a weekly event, with a barrage of players hailing from the Sacramento, CA underground music and art scene, adding an element of melodic misfits to America’s favorite pastime. True to my notoriety of being flaky as leper, I show up late.
The air is considerably cool for the last Sunday in July and through the delta breeze that moves the giant elm branches, I spot Dean. He is hard to miss, due to his Redwood tree height, and he is wearing cut off slacks with a frayed and stained button up shirt. He is on third base. I shout to him and he raises his hand to call me over. When the crack of a bat is heard and I spot a white plastic ball whizzing towards me, it nearly knocks me over, the outfielder catches the ball just in time to see Dean tag-up third base and charging towards home. The outfielder’s throw is true but short and Dean’s feet graces the furry toilet seat cover that is home plate.

He is plopped on the grass on the sidelines by the time I get to him and he smiling. The wonderful thing about Dean is that he doesn’t just smile with his mouth, which is nearly impossible to see beneath his Ted Kaczynski beard but with his eyes and body as well. He stands up and gives me a hug, then pats me on the back.

“I’m glad you came, wasn’t sure if you were going to make it,” says Haakenson.
I stammer inaudibly and make some ridiculous excuse about a non-existent alarm clock. Changing the subject quickly, I say, “What about that interview?”

“That wasn’t a strike, that was a ball! We want a pitcher not a belly-itcher!” he yells at towards the mound.

“Dean?”

“Huh? Oh, yeah, interview, interview. Okay Kooch, what do you want to know?”


KOOCH: Be Brave Bold Robot started out as a’ zine, if I remember correctly; one, when did it morph into a band and; two, will it evolve again into another medium (record label, production company, escort service, etc.)?

Dean: Indeed, a ‘zine it began, coming up on four years ago. It was a ‘zine when I started playing with the Double Helix Collective but when it disbanded, I decided to keep playing my songs. I joined up with Jeremy Pagan, beginning of ‘05, or so and we decided we needed a name. Carly Bourne lent us, “I Guide the Particle” which is a cool name. Jeremy quit for a couple weeks one time, I got Thomas Minnick and Marie Hoffman to play a show on KDVS with me, just over a year ago, Jeremy came back in and the whole time, Be Brave Bold Robot was some tasteful graffiti on both poles of the Northern California spectrum, and a ‘zine. I decided to adopt the name for the band at that time of change. Some new members gelled and the name has stuck.
I would have no problem morphing it into a corporation (so that I could buy residential property in other countries) or a record label or a restaurant. The name would probably fit better for a recording label or company name than as the long winded band name that it is now.


KOOCH: With a constant lineup change of musicians, is it hard to keep the sound of “BBBR” consistent?

Dean: I actually think that consistency in music is probably not a good thing. Music is life, right? Many a musician would probably make that vague claim (probably usually when they were in one of many stages of chemical enlightenment, when such vague statements are perused like poetry). Because life is not consistent, for music to accurately reflect life, it also cannot be consistent.
So, I like that the sound changes, as it does with the changing lineup. It helps too, because I’ve been playing out for a year now, and I am still playing most of the songs I played a year ago, but they sound different. So, friends and dare I say, fans that have been coming to shows this whole time, probably somewhat do so because the sound is different and new and “worth seeing,” due to the new handsome Cello player who just started playing and oh, remember when Marie did that vibraphone thing there? and so on.

Change is good in the sound of a band, definitely. Especially in Sacramento, where lots of the same people go to see lots of the same shows, and each other’s shows, etc.

Assuming that the fans trust the band to bring the rock, in whatever variations….I suppose there is a person or two whom might say, “I don’t like how it sounds different every time…I want to hear it like it is on the album.”


KOOCH: There are significant amounts of key/tempo changes in your songs. Is this a result of writing lyrics and then figuring out a musical arrangement, or are your songs naturally in a constant process of ebb and flow?

Dean: I think that is a good description, a constant process of ebb and flow but more so for the feeling I would like the songs to convey. I don’t change the songs all that much after I have written them (although, as we have established, the other musicians that grace the songs certainly do). I like crescendos and volume and tempo dynamics a lot. I write the songs usually with a melody and a theme in mind first. So, the melody commands the lyrics, which are decided by the theme. Tempo changes arise simply because the writing just takes it there. It was time for that change. In keeping with dynamics, sometimes it is as natural as peeing outside for a slower tempo to follow a passionate lyrical theme and for a soft fast part to build to crescendo immediately following a chaotic portion of a song.


KOOCH: Many of your songs address the relationships you share with friends and family, such as: “No Sean You’re an Asshole,” or “Kathleen Keating.” Does your level of lyrical intimacy ever have negative effects on your relationships?

Dean: I’ve had to explain to several people in my life that “music is just music and the lyrics are always rooted in some level of imagination, though the basis may be historical, etc.” “She didn’t mean nearly as much as you do to me, baby, I just happened to write the song as it came…,” but honestly, and thankfully, no. If anybody in my life got dramatic about some song that I sang over and over again and likened it to anything besides artistic expression, it would definitely wear quickly. I would have to sit them down and explain about how you make your own truths and we should listen to the meaning of one’s action much more actively than we listen to their words.

Note: This could all change if I ever get myself some money and some girlfriend sues me ala Ben Folds and that thing that I think I vaguely remember happening with him.
Note: “No Sean, YOU’RE an Asshole”!!!; the song title, has nothing to do with the song that it is the title for, although I have screamed the title phrase more than once, in more or less words.

KOOCH: In your song, “The Subject of Love,” you sing, “I’m scared to death/my muse has died.” What is your muse and if your song sings true, how can it be reincarnated?

Dean: I think it helpful to think of muses as expendable. Muses are good for a few emotions or projects, or hairs up your asses. You create many of them as you chug along through your life, hopefully, being as creative and energetic as possible. So, they are continually born anew. It is that part of you that creates and deciphers and molests those muses that “was always there.” One must just be able to access it. That’s different for everyone but I think, like can be said for all of those other muscles and activities and skills, “if you don’t use it, you lose it,” “practice makes perfect,” etc.
I need practice.


KOOCH: You were nominated for a Sammie this year and were a featured performer at the awards ceremony. Why did you choose to cover one of Justin Farren’s (fellow nominee) songs?

Dean: As much as I want all the money, all the recognition and all the blowjobs, I realize that; one, life doesn’t work like that and two, it shouldn’t work like that. Happiness comes from work and sharing and loving and us all being a part of each other’s own little universes. And playing each other’s songs. So, I decided to give a “shout out” to Justin, because I love him and it seemed very appropriate for the venue.

I also love the song. When I was introduced to Justin’s music (showed up late to a show I had with him, heard only a couple songs, begged him to trade me one of my CDs for one of his, listened to it a couple times over the weekend that followed), I fell in love with it, and that song, “Money,” specifically. Honestly, it’s a simple song but the lyrics are excellent and the production value of the recording of that song on his album, “The Sound of Flight” is triumphant and dynamic and I am a sucker for the simplest songs, if you throw a crescendo and some good lyrics in there.


KOOCH: You do realize that you were the only act of the night to receive a standing ovation.

Dean: Standing up there on that big stage (something I could certainly get used to), with the stage lights shining down, I couldn’t see much at all. Coupled with the fact that I was a bit nervous and just wanted to sing and not pay that much attention to how many people were out there, I didn’t notice how many people were out there and didn’t notice that they were standing. But there were a lot of hoop-hollers and applause and that was really nice to my ears. But I heard that, about the standing ovation. And I felt the reaction. That was nice.


KOOCH: “BBBR” has quite a cult following, what is it about your songs that people relate to and enjoy?

Dean: I think it’s the words that people enjoy. I’d like to think that. I think that most of the people that tell me how much they like the music like it twofold, the lyrics and singing of them and the arrangement and quality of the musicians whom make the music much more complex than I could certainly ever make it. Playing alone, I get the reactions from the words and my screaming into the microphone and the amount of sweat that pours from my pores. With the band, I am lucky enough to have great, passionate, fun loving musicians who are all creative. I find one person talking enthusiastically about how good the drummer and the bassist communicate and another person talking about how cute the cellist is and how much fun he looks like he is having and then another talking about how cute the vibraphonist is and how interesting of an instrument it is…


KOOCH: What is your favorite group in Sacramento right now?

Dean: There is this live band hip-hop crew in Lincoln, [CA] that doesn’t play much but they are called A New Hope, and I saw them once, and they were pretty awesome. Someone rhythmically rapping as many lyrics in two minutes and you would sometimes see in an entire rock set, that’s luscious to the ears. Makes me realize that poetry is not dead and some people ooze it.


KOOCH: What was your first musical experience?

Dean: I remember my mom had this broken guitar that she got from God knows where and it only had the two low E and A strings on it. I was about 15 [years-old] and I would just play it for minutes on end, just strumming the two strings. I didn’t try to tune them much, I would just play them together and then put my finger on one of the strings and push down at a couple of frets and I would listen to how the two strings would sound discordant and then in harmony and how it sounded pretty nice, even though it was just two sounds playing together. What made it sound so nice had much to do not only with how it sounded but that I was the one making the sounds. I was interacting with my universe and music was being made!


KOOCH: One of your previous drummers is quoted as saying, “Dean is a rapper trapped in a white man’s body. That’s how you have to hear his music.” Is this far off the mark or do you picture yourself as more of a monkey in a mink coat?

Dean: So, the monkey is the rapper and the white man’s body is a mink coat? Mine is more like an oversized lab coat with cat hair on it. What?
I like hip-hop. I like a lot of lyrics. I don’t like it when lyrics are repeated and that is one thing that sets hip-hop apart from typical song structures. So, yeah, color me hip-hop. The thought that goes into writing intelligent rap lyrics is the type of thought that will save the world. But, I think that it is that thought and attention to lyrical content that needs to be balanced with the more carnal, instinctual aspects of song structure and rhythm (and a-rhythm and discordancy) that makes the music I enjoy, enjoyable for me.


KOOCH: There are rumors that there is finally going to be a bonafide “BBBR” album. When is it due, who is producing it, how many songs, what musicians instruments will be featured on the album?

Dean: Oh my God, an album. Something to show the kids. Something to start with, pretending that I will write more songs and try to keep playing as long as I can. “BBBR” bassist J. Matthew Gerken is the one who introduced himself to me and the “BBBR” crew at the time (Thomas Minnick on Stand-up-Bass, Andrew Morin on Drums, Marie Hoffman on the Vibraphone, Rocky Rupple singing backup and me) and wanted to record us live. He did, but it didn’t turn out well, so one day, over a couple beers, he agreed to put all of the work into trying to make an album. The album will be basically those live players and some extra bells and whistles as well (John Bellizia on some Banjo, etc.). Hopefully, it will be due by the end of the year


KOOCH: : What was your worst show?

Dean: Well, some shows where many instruments have to be loaded up and then I bang my finger on something whilst loading and then nobody shows up and then it all has to be loaded up again and the drinks weren’t free…..those suck but I can’t remember a specific one, for the life of me.
I honestly remember specifically instances when the people whom I played with were in a bad mood and I remember that effecting me more than anything that was going on at the venue.

KOOCH: What is better than riding your bike while drinking a beer in the summertime?

Dean: I prefer the drinking the beer (or four) while sitting somewhere and then getting on the bike and riding fast, feeling that hot summer air whip around your ears and hair (or lack thereof). And, man is that a good feeling. I’d say only two things top it for me. Sex and related things. Alone time. When you want/need it, of course which, for me, is fairly frequently. People are far too distracting to get any real introspection done.



Suddenly, Dean is called to hit again and he leaps off the grass and picks up the plastic yellow bat. Pitches are thrown and Dean has yet to walk or strike out. The count is full and Dean turns his head in my direction and smiles.


“This one is for the journalist,” he says pointing his bat towards left field.
The pitch is a curve ball and Dean connects with a CRACK! sending the ball towards the nether regions of the park. He runs with his fist in the air, proving to everyone what a Brave Robot he truly is.

Learn more about Be Brave Bold Robot as well as checking out event listings and where to purchase albums at http://www.bebraveboldrobot.org and http://www.myspace.com/bebraveboldrobot.

Nhojj: Diversity Creates Beauty

Feature: Nhojj

By Aaris A. Schroeder
Editor-In-Chief
April 23, 2007

With a lot of heart, soul and a light reggae touch, Nhojj, currently bases his musical home in New York, NY yet has been brought up from the island of first Guyana and then Trinidad & Tobago where his musical up bringing has roots in gospel, R&B, reggae, funk, jazz, spoken word and rock music.

“I moved to Trinidad and Tobago along with my parents, I was 14-years-old. Beautiful people, beaches, sun, carnival, the music – just a fun place to exist in,” says Nhojj.

Nhojj had the honor of performing for the president of Guyana [where his parents reside] and the president of Trinidad and Tobago.

Coming out as a homosexual in his late 20s, Nhojj says that his mother still has a difficult time “reconciling her faith and her love for her family.”

“I had internalized all of society’s homophobia and it took many years of therapy and soul searching and the support of my friends to begin to erase all of the negativity and confusion and replace it with humanity and understanding,” says Nhojj who believes that humans are created for a specific reason and that the best thing we can do here on planet earth is to be truthful and honest with ourselves and the people around us.

Debuting in ’01, Nhojj’s first album, “I’ve Been Waiting for You,” is portrayed as an emotional diary; he says where he finds his own entity through self-love using poetry and soft soul and R&B notes. Nhojj was featured at the International Fringe Festival for the award winning play, “The Making of the Black Man.”

“It’s poetic and moody and emotional and it soars and from the e-mails I get – fans either love it for its emotional honesty and soaring vocals or they just don’t get it at all,” says Nhojj about his first album.

“Peace, Love & Freedom,” Nhojj’s second success, has offered him a nominee position for Outstanding Male Recording Artist and Best Male Performance for the Fresh Fruit Festival, in NY, ’03. Nhojj also performed more recently at the April ’07 Fresh Fruit Festival.

“When incredible things like this happen, it encourages me to continue pressing on and growing and doing what comes naturally,” says Nhojj.

Nhojj’s voice sounds melodic and emotional with his soft whispers and soothing sounds running through the backgrounds of each of his songs. Each song on the album, “Peace, Love & Freedom,” pulls a little bit of a reggae edge with soft yet pungent drum-beat and island-type guitar flicks and strums, such like on song entitled, “The Beggar’s Cup.”

“We’re all rich/We’re all poor/What’s important is to find out what you’re begging for,” croons Nhojj.

“Beggar’s Cup” is the sweet story that is brought to light when we realize that the beggar doesn’t want coins in his cup but drops of love.

As soothing as this album is, music lovers will dig this album due to the island flair, honesty of the strong, intelligent political and religious lyrics that has driven Nhojj to the success he now has.

“It’s a reggae, acoustic, jazzy blend. The rhythms are more familiar and the topics are political, social commentary, personal observation[s],” says Nhojj.

Nhojj has successfully completed an outstanding 10-city college mini-tour for this album and created an unplugged DVD entitled, “An Intimate Evening with Nhojj,” with Emmy nominated director Bill Cote. Nhojj also opened for Def Jam poet Stacey Chin, Motown Recording Artist Donnie and has appeared performing at Gay Pride Festivals in NY, Connecticut, Maryland, Washington DC, and New Jersey. Nhojj performed at smaller venues such as CBGB Gallery, Joe’s Pub, Nuyorican Poet’s Café and Hiroshima-Nagasaki Commemoration Service.

Also performing at several 911 charitable concert events and at the Powel Street Addiction Center, Nhojj gives back to his community. He assisted in the co-production of “Underground to Peace and Unity Concert” and was heard on National Public Radio across the USA including college, internet and mainstream stations.

As busy as Nhojj gets with all the good he produces from his music, he was able to complete two last things in ’03 by collaborating with Blackout Arts Founder Bryonn Bain with a musical project and taking a role in a tribute to the late Arista Recording Artist, Jermaine Stewart, according to his biography.

In ’05, Nhojj not only released his album, “Coming Home” but under his birth name, John Martinborough. This album is more gospel-orientated with flickers of church hymn-sounding songs, religious anthems relaxed with a soulful sound.

“My third album consists of the hymns I grew up listening to. I’m a deeply emotional person and the most common responses I read are, ‘I was moved,’ ‘beautiful,’ ‘made me cry’ or ‘sent chills down my spine.’ Comments like those really make me happy, ‘cause when I record, I’m not so much interested in being the most technically precise singer – but I work very hard touching emotional points,” according to Nhojj.

Raised in church by his mother and father who is a Seventh Day Adventist minister in Guyana and being able to “run wild,” he says until the age of seven where he then was enrolled in elementary school, Nhojj wanted to pay tribute to his past by showing how it has influenced his music. “Coming Home” features producer Sam Archer who produced “The Barbershop” soundtrack and B2K, Courtney Fadlin, infamous gospel-recording saxophonist; former singing partner Timothy Anderson and childhood idol Lester Roach and April Roach, childhood friend performing strings on the album.

This album took Nhojj touring all over the US and other countries such as England, Canada, Jamaica, Bahamas, Trinidad and Guyana. Honorable mentions goes to, “A Song for Mother,” on this album.

The last two years, Nhojj has been mastering guitar by his teacher, Marcelo who is featured on two of his albums and has been on MySpace meeting new fans and friends. Nhojj has made well over 7500 friends in the last few months and has had nearly 40,000 song hits. He has also made it to #4 on the Ambient New York Chart, #9 on the New York Jazz Chart and #10 on the New York Soul Chart.

“I want to continue creating and recording meaningful and honest music. I’d love to hear my music in films and of course touring,” says Nhojj who hopes to tour Asia and Africa as well as more of Europe.

He has also began working on his fourth album, “In the Life,” which will entail the life of a black, same gender-loving man and the triumphs and struggles that entails. Nhojj recently started a website with friend, Anton Nimblett entitled, http://www.samegenderlove.com. The website features artist footage and editorial pieces by professional writers about being a woman or man of color identifying with LGBT.

Currently working with Lifebeat Hearts and the Voices Programs which provide positive, uplifting concerts to individuals living with AIDS/HIV, Nhojj keeps busy and lives an outgoing lifestyle.

“So this has been a good year,” finalizes Nhojj.

Nhojj hopes to start his own charities in the dirction of HIV/AIDS, especially with people of African decent because of the higher rates of viral infection. He also feels deeply about hate crimes to LGBT people and how to change that through teaching people tolerance.

The Grannies: Some Hot, Old Punk Rockers

Feature: The Grannies
Album: “GumJob”

By Aaris A. Schroeder
Editor-In-Chief
April 16, 2007

San Francisco and Oakland, CA based punk-rock band, The Grannies are everything that confrontation-punk rock should be: In your face, bringing their fourth full-length album and DVD combo, released in ’06, entitled “Gumjob,” produced by Seattle rock veteran, Jack Endino, known for producing and working with such groups such as Soundgarden, Mudhoney and Nirvana.

The band is made up five members rocking out always, Garfield AKA Jim Abram vocalizing harmony, Egan, AKA Tom Wilberforce on lead guitars and back-up vocals, Palmer AKA Innis N. on rhythm guitar, Walcutt AKA Chuckie Carroll working bass and backing vocals and Quinby AKA Isacc AKA Skippy slamming drums away in real-punk like fashion.

Punk rock has never been so much fun as these post-80s sounding rockers punk out in granny outfits; how fitting for a band named, The Grannies, with elderly woman flower-dress attire, those horrid dark nylon stockings, wrinkled face masks and grey wigs to match. This is definitely a show to never forget.

“The danger that we used to see at shows in the 80s like the Butthole Surfers, SNFU, Flipper and other hardcore bands is totally gone. [There is] just a ‘get ready for anything’ type of approach that has been missing in rock since the mid-90s when all anyone wanted was to be the next Nirvana. They failed to notice that Nirvana never set out to get famous, it just happened,” according to Egan.

“Some people say the Grannies are the inevitable end result from a society that has abandoned its educational system and lost all contact with its morality and civic cohesiveness. The truth; of course, is much, much worse,” according to The Grannies biography.

The Grannies have released five projects that include, “The Grannies S/T DT-001,” full-length album released in ’01 and “Taste The Walker, DT-004” put on the streets in full-length taste in ’02 and released on their own label, Dead Teenager; “Sorry B/W Teenage Kicks,” a two-song seven-inch 45 RPM released in ’03; “Erected Lady Man, WT-002” a full-length punk fairy tale, released in ’04 and; of course, their new album, “Gumjob/Granarchy In The E.U,” full in length and strong as well since it comes with a bonus DVD, released this year in ’07. The last three releases and DVD were produced by Wondertaker Records.

With songs such as, “Don’t Step on my Tits” and “God Bless a Man in Dress” on the Gumjob album, The Grannies know how to get down on a comic level and still rock out in punk style.

Other songs to check out by The Grannies are, “Jesus was a Homo,” and “Wipe it on Drew” on the “Gumjob” album and “Drainpipe,” “Chain Wallet” and “Crime Still Pays,” on the “Erected Lady Man” album.

“Kicks ass, majorly,” says Palmer about song entitled, “Erected Lady Man.”

“We write way better songs and we look way hotter than anyone else. Plus we have the distinct advantage to not giving a shit,” says Garfield.

The guys also hold amazingly interesting jobs when they are not performing, check this out, Garfield works in Haute Culture, collecting Airsickness Bags and Macramé while Egan is a bit of a ‘furry,’ or to be politically-correct, a ‘buggy’ as he dresses up as a bug and pogo-sticks while Hebimetasan dancing keeps him busy. Palmer ambasses toothbrush handles and raises and shows off his personal computerized pets. Walcutt punches flies.

“I mean, sure you can fly-swat them but why not just hit them in the face? They are kind of hard to hit so it makes me feel satisfied when I knock one out of the air,” says Walcutt.

Quinby, besides playing drums and reading squirrel comics, has a fascination with researching combat weaponry and torture devices from ancient times.

“The ironic thing is that I’m truly a pacifist,” says Quinby.

The Grannies worked on creating the tracks for three years and recorded this entire album in seven days, proving they mean business and are very good at what they do not only at shows but in the studio as well.

“Unfortunately the state of rock is pretty lame right now. The average American has his or her iPod and they go see some crap like AFI once in a while. That is not rock. That is rich suburbian white boys who couldn’t quite make it in the modeling field,” according to Egan.

The DVD that comes with “Gumjob,” entitled, “Granarchy in the E.U.” actually was a project that took Vermont-based filmmaker, Spett over a year to accomplish, according to Sluggo. The video features their tour June ’05 tour-takeover in Europe.

“[The video] has nice interludes, quasi-interviews with semi-coherent ‘fans,’ threats from others and a naked Belgian trying to hump our singer! Quality ‘edu-tainment,’ I would say,” says Sluggo.

Summer ’07 will take The Grannies back to Europe where they will be touring Germany and other nearby countries.

The Grannies have such a great vibe about them and energy level that it is definitely felt through boom-box speakers and high-volume amplifiers at live shows.

“The feeling permeates every cell in your body, the chill that runs up your spine from a great song. Seeing a room full of people cheering and/or yelling at us [have influenced the band,” says the band.

Being in a band such as The Grannies warrants cop cars blocking venue-payees and band members inside clubs as well as offering a little “edutainment [for] the public,” according to the band not to mention how hot girls get when these flower-dressed men perform.

“You’d be surprised how many chicks dig a guy in a dress. Seriously. Being in a dress takes all the macho/ego thing right out of the equation. And then we just blow all the other bands right out of the water with our music, not to mention [our] attitude. Plus it’s way fun -- in a retarded sort of way,” according to the band.

Although some critics may feel that The Grannies aren’t taking the music industry seriously but then once you see this professional hard-core punk band perform – as fun as it is – this is really a show worth seeing.

“When we’re at the top, all the other schmucks can look up our skirts,” says the band.

According to The Grannies, they are the most powerful band ever, “with five sets of interchangeable laser eyeballs, macro-hydraulic jump-a-tronic dresses, super ‘somgobulating’ automo-wigs and an extendable Octo-claw colostomy bag. Not to mention powered by three separate twin-turbo 9000 SP5 Kung-Fu Titanium/Lithium allow processors which are built into a virtually indestructible ‘flexo-growmonic’ endoskeleton that has the power to punch through cinder blocks, crush steel in their vise-like grasps and plow mercilessly through poorly written run-on descriptors.”

To learn more about The Grannies and to check out those automo-wigs while they perform and pick up an album [just picking up an album isn’t the whole package] visit their official band website at http://www.thegrannies.com or their label website at http://www.wondertaker.com. If you are too broke to attend one of the best hard-core punk rock shows you ever will see and most entertaining, visit http://www.CDBaby.com, http://www.iTunes.com or http://www.Rhapsody.com among other CD vendor websites and search for your new favorite punk-rock band.

El Da Sensei: Unknown to Most, This Hip-Hop Treat is Revealed

El Da Sensei
“The Unusual”

By Aaris A. Schroeder
Editor-In-Chief

El Da Sensei of Tygereye Entertainment, has released his second album February ’06 entitled, “The Unusual,” produced by Fat Beat Records.

“With this album, I just wanted to go back to basics and bring a certain kind of fire back to myself,” El Da Sensei tells Tygereye Entertainment in a press release.

If hip hop lovers have ever heard of El Da Sensei, they know exactly what he means.

“Boston aggressive, up tempo, traditional,” says El Da Sensei concerning a description of his music.

With his old school nature of being with hip-hop from the start and contacts such as his previous duo “That’s Them” which switched names to the more familiar, “Artifacts,” offering hip-hop lovers an organic feel for what hip-hop lovers call a positive vibe.

The two traveled and toured with Common Sense of Chicago, IL as well as Organized Konfusion and The Beatnuts, worldwide.

El Da Sensei was featured on the “How High” soundtrack alongside his tour-mate, Common, Pete Rock, The Roots and Erykah Badu.

He also recorded a remix of “The Ultimate” with Fat Joe and performed twice with the hip-hop great.

In ’02, The Artifacts broke up and El Da Sensei went solo, producing, “Relax, Relate, Release.” He toured Europe to share his words and movement to all.

“The Unusual” El Da Sensei’s newest collection features greats such as O.C., Bootcamp Clik’s Sean Price, Illmind, Jake One, Saukrates, DJ Revolution, K-Def and J Rawls.

To learn more about El Da Sensei’s new album, snatch up an album, see where he is currently touring or even to book him for an event, visit http://www.tygereye.com/eldasensei and http://www.myspace.com/eldasensei or contact ethan@fatbeats.com for album inquiries.

DMP: Dollars Mean Profit For These Cats

Feature: DMP
Album: “Dollars Mean Profit” LP


By Aaris A. Schroeder
Editor-In-Chief
April 15, 2007

Hailing from Ashbury Park, Newark, old school meets new school, five-person hip-hop act DMP; whose new self-titled LP, “Dollars Mean Profit,” released fall ’06 bring conscious hip-hop a new name with songs ranging from street life to bettering the African-American communities in America.

“So old school but oh so different,” says DMP on their song, entitled, “Everyday.”

Crafty and talented, these five lyricists, all ranging in age between 26 and 27-years-old, made up of J.J. Budget [starving artist], Rob Relish [producer], Vernon Stones [producer], Filth Spot and Tony Black are on their way up in the independent industry with talented songs such as, “It Was All A Dream,” reminiscent of a Beastie Boys sound with old school sampling, bringing the hustle and grind out in the open. This song is important to the album because it shows people about the limited opportunities that are available to men in poverty-ridden areas.

“I would say our sound is vintage, an inverted version of old school hip-hop with a feel for today,” explains Vernon Stones.

One track, entitled, “Skit,” is a parody of Wheel of Fortune and features young black men from poor, black neighborhoods who receive prizes from the show that echo their lives such as a weekend stay at the local Comfort Plaza…Inn along with two tricks [turned out prostitutes/women who sleep around], years worth of child support and ½ pound of weed. When they win money on the show, it is small amounts like, $10 per spin. This “Skit,” is to show the unfortunate side of these communities, illustrated through a parody-light.

DMP brings the old school styles of Public Enemy, Boogie Down Productions, Beastie Boys and even a slight KRS-1 and RUN DMC up to date and rock shows with their original beats and tight sampling as well as a political edge that is necessary in hip-hop.

Staying “grounded in the roots of hip-hop and still be[ing] innovative with a new, fresh sound,” according to Tone Black is what keeps DMP on their hip-hop level.

“We want to establish a credible name for ourselves in the industry as individuals and as a group. We want our names to be associated with what hip-hop is,” declares Vernon Stones who first wanted to be an actor but then took the emcee route when his brother persuaded him to get involved in hip-hop 10 years ago.

Recently, aside aggressive weekly mini-tours and merchandise selling at venues throughout the New York City, DMP signed a promotional distribution act with Mondo Distribution to sell their LPs in Tower Records and M1 stores in the Philippines.

Online, DMP fans can grab albums at http://www.CDBaby.com, http://www.itunes.com, http://www/rhapsody.com, http://www.audiolaunch.com to name a few.

“Our record is going to be on the same shelves as all the major releases,” says Relish who originally is from Puerto Rico and moved to NY when he was a child then on to New Jersey until he was 17-years-old.

DMP’s fan base is made up of “sick, drug-addicted degenerates who continue to press crowds with their presence,” jokes Relish, “Hopefully it grows beyond the weirdo’s who come to our shows now. I’m just kidding Mom!”

The guys have been emceeing it up since ’96 and have been featured on various albums but never created an album until ’06. An as-of-yet untitled follow-up album will be released summer ’07.

“They’ll disagree but we were not ready mentally, financially or business-wise until ’06 when our record was released. Up until that point, we were only worried about partying and getting pussy,” explains Relish.

“Actually, my dream as a kid was to play football for Notre Dame. Then one day, I smoked weed and all the sudden I wanted to be a rapper! I would have been a bad ass football player,” teases Relish.

Check out DMP and see if their musical slogan, “the music that’ll make ya grandmomma smack a dummy,” is correct for yourself! Learn more about DMP at http://www.verserecordings.com and http://www.myspace.com/dollarsmeanprofit.

Sub-Way Stiles

Sub-Way Stiles
Gritty Street Knowledge from Sub-Way Stiles offers Hip Hop Wisdom

By Aaris A. Schroeder
Editor-In-Chief
March 1, 2006

Sub-Way Stiles has been making independently managed, produced and distributed beats and rhymes and performing in Bushwick, Brooklyn and New York bars, clubs and colleges since ’03 with three members, awkward, whatzisface and Voice1.

All three members not only grew up in the same household as hip hop they also embraced it and used their experiences; be it DJing, rapping, break dancing or graffiti-art to teach other people the wisdom of the craft.

awkword; who as a child, “Grew up a lonely Jew in a W.A.S.P. nest in
Connecticut. Everyone was rich, Christian and Conservative. I was treated with disdain and outright racism, with anti-Semitic slurs spray-painted on walls, directed at me,” according to awkward, front man and creator of Sub-Way Stiles.

This young man has been infused with hip hop with such elements as graffiti art; making physical, mental and verbal statements and all the spice that hip hop has to offer.

“awkward is the good and the bad of hip hop, rethought and reworked, blended and encapsulated in one man,” according to Sub-Way Stiles’ biography.

“Listening to and writing raps calmed my nerves; graffiti was an outlet for aggression,” according to awkward.

Now an established writer and photographer in New York City, awkward predominantly raps for all the world's awkward ones which is reflected in the awkword logo.

“All my sons and daughters still [are] forced to fight the everyday fight...but don’t get it twisted. I am still a victim of disloyalty and mistrust, disrespect and misinterpretation. I am still mad. I still want revolution. I’ll breathe that same fire, injected in my raps today,” awkward one says.

Nothing smells better than being able to dive straight into a pool of hip hop and embrace it throughout your daily life. Whatzisface fills his day with radio spots, working on the group’s production and performance and hitting up venues in the evening to let it all out at the end of the day. His words are full of sexual perversion turn love, political knowledge and day to day word-play.

Known for “rocking the acapellas,” according to the Sub-Way Stiles Biography, Voice1 is the first emcee to sign to Sub-Way Stiles with awkward in ’99. Performing at various shows, spitting truth and verb-play, Voice1 shows everyone what he has a knack for.

Sub-Way Stiles have released multiple albums as well as solo-endeavors such as awkword’s, “The awkward” E.P., released Fall ’05; Sub-Way Stiles, “the Sub-Way Mixtape,” released Fall 2005 and in stores Spring ’06, featuring Raekwon, GURU, Scram Jones, ILL BILL, Necro, Killah Priest, Tragedy Khadafi, Dujeous, Remedy and many more.

awkword’s full-length, solo debut album entitled "awkword Raps," is due out at the end of ‘06. It is tentatively and will feature the hit singles "Fight or Fuck?" and "When the Soldiers Fall," in addition to at least 10 new tracks [with various featured emcees and producers], according to awkward.

Sub-Way Stiles has finally been able to say that they have made a name for themselves in the underground shuffle and bustle of the hip hop world.

“After countless solo and group shows and many albums sold online and hand-to-hand, I finally realized that I would have some success with this rap thing during our last show, Thanksgiving ‘05, at Tuxedo Junction, with J-Live.

“We expected a hometown crowd, being close to our childhood stomping grounds but a packed house of unfamiliar faces filled the floor during our set.

“Afterward, I was virtually attacked by a horde of new fans and drunk[en] girls; many of whom said they had heard of me and ‘finally’ got to see me perform,” says awkward.

If you would like to see Sub-Way Stiles play live or want to book them, hit their website up at http://www.SubWayStiles.com or MySpace them out at http://myspace.com/awkword.

Bandana: Conscious Wisconsin Hip-Hop Lives

By Ashley Frett
Staff Writer
August 29, 2007

King of his city, G.R.I.N.D. Music’s newest independent artist, Bandana, who was born and raised in Milwaukee, Wisconsin, has been writing music since the age of nine.

“It was like a get away from a lot of different shit I was going through as a child,” says Bandana.

He came out with his first mixtape in ’06, entitled G.R.I.N.D. Music Mixtape Volume I, complete with 25 tracks.

With hit singles such as, “Express Yaself,” “Ride Wit A G” and “Don’t Want No Parts.”

Bandana loves his city but says there are too many artists trying to follow suit instead of being themselves. Some local artists he has worked with are Hazsolo and Rico Love from Royal Fam Records.

“Too many artists fighting for a number one spot but no one deserves it,” explains Bandana about local artists in the scene.

“That’s the era of music when artists made timeless music,” says Bandana about old school music.

Bandana wants people to feel his music and not like his music just because you can dance to it or smoke a blunt to it.

“With so much going on in the world, the influence music has on people are not as positive as it used to be,” he says.

He raps about living in Brew City and the life of others on a track entitled, “Feel Your Pain.” He switches it up with the track titled “Where It’s At,” which is about the local party scene. This song will cause your head to bob and a beer to open just as if you were at the party itself.

“So when you open up a CD of mine, you’re getting 60 minutes of me,” says Bandana, cracking a smile.


Find out more about Bandana on myspace.com at: http://www.myspace.com/bandanashowgunn.