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Words By:   Joseph “J. Hyphen” Poakwa

          Two-thousand ten seems to be the year of the self-aware dreamer.  Over the past year our culture has acquired a new found sense of identity through art, fashion, and music.  Albert Einstein would probably proclaim it seems that we have reached the beginnings of a Great Awakening, the Renaissance of our time.  At the forefront of this Renaissance is the resurgence of honest music produced by honest artists.  Can you feel it? 

            Almost four years removed from “Keep-us-Rawlevant records”, the Ivy League duo known as Kidz in the Hall have returned with their latest effort, Land Of Make Believe, a more revealing look at the pair.  “With this album we wanted to take more of an honest approach and do a little bit more soul searching because we wanted to define who we are, not to ourselves, but more so to the public” said Naledge. 

            Happy at their new home Duck-Down Records, the group saw the opportunity to finally paint a clear picture of who they are for their fans, “the first two albums were almost always done as a precursor to Naledge’s solo project.  With all the mixtapes and projects up till now we tried to separate who Naledge the MC was from Double-O the producer, but that really didn’t define who Kidz the group was.  We decided to put it all on the table with Land of Make Believe and show our fans who we are as people so that they can better understand who Kidz in the Hall the entity was” said Double-O.

            In order to connect with their fans on a more personal level the duo retreated back to their roots.  For Naledge this meant going back to the one place he felt truly comfortable.  “The majority of this album was recorded in Chicago, and the best way to be honest, I think, is to be around people who’ve know you your entire life.  Sometimes on records we tell people the things we want them to know about us while others we hold back.  At times I would withhold some things because I didn’t think people needed to know that stuff yet; on the album there really is no holding back.”

            Double-O found his sense of identity elsewhere.  The recent growth of his Samson-esque mane has found him on the end of some harsh scrutiny, “I’ve been called a Puerto Rican vampire.  People said I look like when Spliff Star played that white dude in the Busta Rhymes video, all types of shit man”.  However, despite the comments he has been able to unknowingly help others, “There’s been at least four or five instances while on the road where there’s been like the random mixed kid that has come up to me and said, “Man, thank you for just growing that shit out.” 

            He further added, “When I was younger I had no role models except for like, Keanu Reeves and fuckin’, I don’t know.  So I said if I gotta be the dude to do it then fuck it, I’ll be the dude.  It’s all about pushing each other forward.  I have no problem being the sacrificial lamb.  I mean you know, fuck it!  Long hair don’t care, I can do whatever I want.”

            In today’s society the truth is what matters most to people, and Kidz in the Hall have given their fans the blunt reality of their lives, “With the album I just want people to not have to question who we are anymore” said Double-O.  From top to bottom Land of Make Believe is a playful in depth look into the minds of Naledge and Double-O that is sure to be a crowd pleasure.   

Currently Kidz in the Hall are touring across America to promote Land Of Make Believe on the Crowd Control tour with the likes of Donnis, Izza Kizza, and 88 keys.

Some of Chicago’s finest bring their unique brand of hip-hop/electro to Los Angeles this weekend when Kanye approved rapper, Kid Sister joins Flosstradamus at the Echoplex for a show not to be missed. Kid Sister is touring in support of her soon to be released debut album, “Ultraviolet”, which comes out November 17th. Flosstradamus are known to bring the noise on 4 turntables, 3 mixers, and a whole lot of party jams that you probably forgot that you loved. Check out the flyer above and the TILT blog for any info you may need.

Words by: Preach Jacobs

There hasn’t been an emcee that has grown in the eyes of the public as much as Common. Since his debut in 1992, Common (formally Common Sense) has transformed into an icon, becoming a poster-child for authentic hip-hop. Now with his eighth album, Common maintains a calm demeanor about his music and other career paths. Acting is his next undertaking. The Chicago emcee has starred in blockbusters like ‘Smoking Aces,’ ‘American Gangster’ and will appear in this summer’s ‘Wanted.” It’s apparent that Common’s focus is shifting but he assures us that music is still in play.

“Right now, I want to do movies more than music. Don’t get me wrong, I’m not planning on retiring or anything from music; I just feel as an artist I want to challenge myself. Movies are just more exciting to me right now, and I’m having fun doing them.”

Even though film is taking the front seat in his career, he is confident that his new album will offer a side the public hasn’t seen with him before. After Common’s “Like Water For Chocolate” album, featuring the Grammy-Winning “The Light” produced by Jay Dee, I wondered if there was going to be more Dilla production on this new project or any other Dilla related efforts in the making.

“There’s not any Dilla joints on this new album, but God bless him. He’s the best that did it. There’s been ideas going around to have the artists that worked with Dilla put something out, but we’re waiting for the right idea to move forward and help out the family as best we can. We want to find the best thing to introduce him to people who aren’t familiar with him.”

Instead production duties are handled by The Neptunes, will.i.am and Mr. DJ; with his first two singles, the album entitled “Universal Mind Control” is a step away from the crochet-hat wearing wordsmith that the public may know him as. Having associations with groups like The Roots and a highly publicized relationship and break-up with Erykah Badu can make the stigma of a conscious-incense-burning-rapper hard to get away from. Common is aware but pays little attention to the rumors.

“Right after ‘Like Water For Chocolate,’ I told myself I never wanted to repeat the same album. I just do what I feel. If I don’t feel it, I don’t like it. I don’t even use the term neo-soul that everyone puts out there; I just want to make my music. This new album is a real light-hearted album. It’s simple and to the point; I just wanted to have fun with it. I wanted to re-create the feeling of being in a club. It’s crazy because people think that just because you may be considered conscious, that you can’t put out a party record or have fun. It’s like, just because you’re conscious, a brother can’t have a drink? You can still be a human being, do the right thing and still party. That’s something I didn’t really realize until I hung out with people like Assata Shakur. We were hanging out, and I got a chance to freestyle with her. I freestyled with Assata Shakur! You feel me? It was something to see your heroes be human.”

In these days and times, it maybe a good idea to use music to get their minds away from the perils of the financial crisis. Things couldn’t be more surreal. The stock market crashed, the banks and big three car companies are looking for bailouts and there’s a black president. From the beginning, Common supported the fellow Illinois-native Barack Obama and he couldn’t be happier with the outcome. He comments about November 4th 2008. “I was at Grant Park on the 4th. I was in the car listening to his speech on my way to host my own election party. It was amazing to finally see a day like this can come.”

If the country proved that they can put aside racial tension enough to elect a black president, does that type of optimism trickle down into the music? Now, that we have a Commander-in-Chief that speaks about love, discipline and family, can a rapper have the same success with similar content? Family is a concept that is dear to Common. Since his second album his father, better known as Pops, has been featured giving his spoken word lessons to his son throughout the record. This time his father’s presence is absent, something that hasn’t occurred in some time.

“It’s weird that my Pops ain’t on this new album. He’s been on just about every one of them. He’s been such a supporting factor in everything I do. At first he thought I was going to be a ball player until he discovered my gift in music. Ever since then, he’s always been supportive of my art and my dream. His support is something I want to pass on as a parent.”

Somewhere between the 40-guzzling 18-year old we heard on ‘Can I Borrow A Dollar’ til now, an adult has emerged. From underground rapper to the main character in middle-aged black women’s wet dream, Common has balanced acting, music and parenthood with grace, cool and style. This proves that while he was entertaining us for all of these years, he represented the best in our young culture. He proved that in fact, hip-hop is all grown up.

Common-Universal Mind Control
G.O.O.D. Music /Geffen Records
Rating: 3 out of 4
By: Preach Jacobs

There’s something in the water for the alternative-hip-hop artists. Everyone that’s been instrumental in the jazz-inspired-neo-soul movement is running as fast as they can in the opposite direction musically. The Roots’ sound has become more rock inspired, rappers like Mos Def would rather be in front of a camera than rap and D’Angelo hasn’t put out a record in almost nine years. Chicago based emcee Common seems to be no different as his newest project takes him furthest away from his musical comfort zone with ‘UMC’ (Universal Mind Control).

First off, if you’re looking for the incense burning-crochet-wearing Common, you’ll be sadly mistaken as Common is now an aspiring movie star and modern day sex symbol. The music reflects this as the light-hearted approach to songs like “Punch Drunk Love,” “Sex 4 Suga” and “Announcement” sound like they’re backdrops for a party in outer space.

Common’s sound has replaced previous work filled with Rhodes and acoustic bass for techno-inspired synths provided by Pharrell and Kanye West. This album is an absolute party record, simple and plain. There are hints of the old Com on songs like “Gladiator” and the introspective “Changes,” but not enough to satisfy some die-hard fans looking for Common of yesteryear. After hearing this album, it’s becoming clear that this Common will not return. His music has changed because his life has changed, and I’m actually content with hearing music of a happy-artist for a change.

That being said, I to do wish there were more hard-core-boom-bapish type offerings on ‘UMC,’ but Common has a catalogue that can provide that if I wish to hear it. Who said conscious guys can’t go party? Maybe this album is a way to inspire us to all lighten up. Whether we do it or not, it seems Common has beat us to the punch.

Everyone has gone through a bad break-up and lost a loved one. So, when listening to Kanye’s latest effort, I do have that in the back of my mind. After losing his mother to cosmetic surgery and having his engagement defunct, I actually felt pain for someone whose cockiness would convince a young Ali to be more humble. Well, introducing Kanye’s ’808s and Heartbreak,’ the album with the potential to humble him.

Let me start off with the positive: The production is pretty damn fly. Heavy in synths and of course 808 baselines, the backdrops could have been supplied for your favorite ’80s r&b/rock group. Also, the writing on the ballad filled opus isn’t bad. Songs like “Heartless” and “Love Lockdown” shows great writing on Kanye’s behalf, but the use of auto-tuner throughout the entire album is just too much to bare.

Even with guest slots by Young Jeezy on “Amazing” and Lil’ Wayne on “See You In My Nightmares,” aren’t enough to keep the album from jumping the shark.

I’m a fan of West and believe that true greatness of an artist is measured by failures even more so than victories. I can only imagine the emotions needed to garner such a project, and even though I’m not a fan of the album, I do commend him for using the music as an outlet as well and staying away from more harmful alternatives. Will this album still win a Grammy? Possibly, but hopefully his next official hip-hop album “Good Ass Job” will redeem ’808s’ with flying colors. Until then, I’ll get my ‘Ye fix with his previous three albums.

For those in Chicago. Take heart: it may be cold there, but at least you’re not huffing toxic smoke from burning mansions and trailer parks like everyone roasting in Southern California.

When Kid Sister enters a room, she makes a presence without even trying. She isn’t one of those cool girls who grew up as the captain of the cheering squad and will float on that reputation for the next fifty years. Rather, Melisa Young was that girl in school who never realized how cool she was and is now a young woman who still has no idea that she’s cooler than most people on their best days. She should realize it though, as the Chicago-bred designer/dance femcee has made a mark so thorough in today’s music, it’s almost like a thumbprint—solely identified as hers. But if you ask her on a sunny Sunday afternoon what she’s been up to, her response is, “Nothing much.”

Rewind to the previous evening when “nothing much” happened. Kanye made his homecoming in Chicago by landing with the Glow In the Dark Tour. For Kid Sis & Co. it was a Hennessy-fueled reunion of sorts, as she previously toured with ’Ye and the family overseas. Not to mention that fancy little remix for Kid Sis’ breakout single, “Pro-Nails,” which Kanye voluntarily hopped on after his DJ, A-Trak (aka Kid Sister’s boyfriend), played it for him. She didn’t even meet Kanye until six months after the song was recorded. When the remix hit the airwaves, everyone met Kid Sister. She’s still in shock…but back to her “uninteresting” evening.

“Yesterday [at the Glow in the Dark Tour] I’m sitting in the catering area having dinner and f**kin’ Chris Brown comes up to me and is like, ‘Hi! I’m such a big fan,’” she recalls. “I was like, ‘What? Are you on crack, Chris Brown?’ Then later on I’m walking down the hall to the bathroom with one of my girlfriends and Rihanna comes up to me, and she’s like, ‘Oh my God I’m such a big fan! I love your songs.’ And I was like, ‘…I love your nails!’” No, these aren’t war stories from a superstar on the rise who giggles and buffs her nails as she drops names on the floor. This is rockstar humility in its simplest form—where a girl who’s shared stages with living legends is talking about “famous people” like they’re miles away from her high school cafeteria table. “It’s just a little bit mind-blowing and a little bit crazy,” she says about her sudden success. “Especially for someone who just came off working three jobs at one time and had public aide going on.”

]]> http://www.vaporsmagazine.com/2008/09/nice-girls-finish-first/feed/ 16 http://www.vaporsmagazine.com/2008/08/the-cool-kids/ http://www.vaporsmagazine.com/2008/08/the-cool-kids/#comments Tue, 12 Aug 2008 23:08:13 +0000 NicoleOGentry http://www.vaporsmagazine.com/?p=1320

In case you’ve been on Mars, Mikey and Chuck are the Cool Kids. After meeting online, the two linked up, their music blew up, they jumped on tour with M.I.A., and the rest is history in the making, with everyone from major labels to Justin Timberlake itching to get a piece of them. Our boy Flakez caught up with Mikey to get the scoop.

Is it true that you guys met through MySpace?

Well, we basically hit each other up and met up one day ’cause we were talking back and forth for a week or so. We were both making beats so we were planning to see what each of us was doing. I was planning to drive downtown and dropped by Chuck’s. I got there probably at 11 at night on a Saturday, like winter ’05. We were playing beats for each other, talking about making some mixtapes and how we could collaborate. Chuck played this one beat and I was asking him about his rapping. He was like yeah, but he kind of had put emceeing on the backburner. I ended rapping for like two hours, freestyling, and it was just me rapping and him making the beats. So he gave me like 20 beats to write to and it started from there. Eventually we flipped our original concept and both ended up rapping.

So tell us about the bike culture in Chicago. I know the lead single, “Black Mags,” has strong influences from there.

Yeah, man, bikes are huge in Chicago. You got all these people who ride for transportation, because they don’t like cars, like old school mountain bikes and fixed-up BMXs. Chicago is pretty much dominated by bikes and cabs; those are pretty much the two most annoying things to run into. The bikers don’t really follow the rules of the road so you always get into problems.

Most definitely. So how has the journey been getting to the point you guys are at now?

Well, it’s basically the same old story of coming up and grinding, doing shows for free just to get our names out there. Like we would do shows for dudes who would for some reason change their mind and be like, “We actually decided that we’re not going to pay you guys for tonight.” I mean, we’ve slept in cars on the road because we couldn’t afford to pay for a room in a hotel. We pretty much have the same story as all other artists. We’re not really pissed about it though; we didn’t look at it as bad thing. At the end of the day we look back at it and we’re glad people are digging our stuff.

I heard that some crazy shit went down recently, too.

Yeah, um, basically a couple weeks ago, Kenna had hit us up on the MySpace, asking what was good with us, label-wise. We told him we were just grinding. He was telling us that he was really into what we were doing, the route that we took and how we were taking steps that were very different from most artists in hip-hop. We told him we were coming to LA for a show so he wanted to meet up. After meeting Kenna, we ended up linking with Joel Madden and worked in Lionel Richie’s studio on some tracks. Then Kenna calls us back when he was at Justin Timberlake’s crib and JT jumps on the phone telling us that he’s digging our music. He went crazy over the video for “Black Mags.”

Are we about to see a JT x Cool Kids collab?

Maybe. We wouldn’t mind. We respect him as an artist and the music that he makes. We’re down as long it makes a song better because of the collaboration.

What has been the most memorable moment on the tours?

On the M.I.A. tour, the last show of the tour in Philly was amazing. The venue was huge and crowd was real live, going crazy, so there was this energy. Since it was the last day of the tour and because everyone had all gotten real close, it was pretty intense. But in Europe the craziest thing were the political riots going on outside our venues. Like people would be throwing Molotov cocktails, flipping cars, and other things rioters tend to do. It was NUTS, man! All the other people would just be acting normal, like, “Oh, just give them 15 minutes and they’ll calm down.” We’re just like, “Whoa, this is on some other…” It’s a whole different world over there.

WHUT?! Yep, adidas went big. (Although they still don’t capitalize their name.) See if you can identify all the collaborators from a to h… I’ll start you out with H–Huf.

Of course they’re probably available at your local sneak boutique, but definitely available from the peeps at Proper.