The Fire Next Time

Some time around this past Thanksgiving, I had the idea to do a compilation album/project.  Police Brutality is an issue that hits close to home for me because my cousin, Tycel Nelson was killed by a police officer when I was young and there have been so many cases in the past 2 years, that it seemed like a relevant and important thing to do.  Through personal experience, learning about similar injustice and murder with impunity is enraging and historically documented throughout the history of the United States.  For this project, I approached a list of artists to see if they would be interested in providing a track for this compilation project.  I've worked with some artists from The Fire Next Time to some extent on various projects and others, this was the first chance to work together.

I revived my studies of James Baldwin while this project was developing.  In college, I studied his poetry, but didn't focus on his involvement in the civil rights movement or public speaking.  James Baldwin falls into a category of black activists that needs to be explored more by our country and especially for African Americans.  Baldwin was staunchly opinionated, articulate and explicit but delivered his messages in an academic, well packaged manner.  Leaders like Baldwin are often overlooked, however they should be upheld as equally important as Malcolm X and Martin Luther King Jr., who are often put at opposite ends of a spectrum of African American leaders.  Martin Luther King Jr. was successful in getting the Civil Rights Movement legitimacy in the eyes of the mainstream media, however the political message civil disobedience sends doesn't reflect the anger, pain, injustice, corruption and frustration African Americans felt in light of segregation, Jim Crow, unequal opportunity, discrimination and history of slavery.  There are many other factors that add to the frustration, however the political message delivered by MLK is often put in contrast to Malcolm X's, "by any means necessary" mantra for editorial purposes.  Outright defiance, organized militant discipline backed with historic insight and religious support posed visual and public confrontation to the American political system that wanted to maintain control/power and sweep these problems under the rug.  The Black Panther Party also was put on the opposite end of this spectrum because they rallied behind the current Republican party's platform that the 2nd Amendment.   They believe(d) African Americans had the right to protect themselves from a corrupt political system and an equally corrupt, aggressive and deadly police force that consistently intimidated and harassed African American neighborhoods.

In watching and listening to James Baldwin, it became apparent that he wasn't easily defined by either polarized end of the movement.  He fell somewhere in between the extremes and his opinions were a fluid orchestration of anger, frustration, optimism, hopeful, inspiration and well articulated political positions on current and historic problems in America.  For all of these reasons, James Baldwin reflects a more "real" reflection of our current reality because his intricate positioning represents diversity within African Americans.  Too often African Americans are limited to a singular entity when the truth is that there is difference in opinion, approach and strategy on every topic.

The Fire Next Time aims to highlight and celebrate diversity through creative reactions to a common problem for African Americans, police brutality.  On the 25th anniversary of the Rodney King beating in LA (3/3/91), The Fire Next Time was released as an original hop hop compilation project with more videos and works of art to follow. 

The project features Qman1, Davon King, Rugz D Bewler, Jay Eightynine, MosEl, J. Manifesto feat. Jahmel Reynolds, Justo feat. King David, Art, Awon & Phoniks and Lafayette Stokely.

Check out The Fire Next Time on SoundCloud or Bandcamp.



NOTEWORTHY CLASSIC……….V12 Black Star @MosDefOfficial @TalibKweli and #hiphop #soul #TBT

blackstar-club-nokia1 Mos Def and Talib Kweli are Black Star, Black Star  1998

I've never seen a duo of mc's that compared to Black Star since they dropped this underground culture bomb.  It's a no-brainer to me, but after hearing kids going to Coachella in LA were like, "who is Outkast?", I figure I shouldn't assume everyone knows about this album.  Black Star is by far one of the best hip hop albums I've ever heard.  It's an album for people that want to think about the world around them because it's based on real life in the streets of NYC, but not through the lens of a drug dealer or gang banger.

Dropping in 1998, Black Star offered raw intelligent lyrics, dope production and soulful representations of what hip hop can aspire to through storytelling from these two late golden era lyricists.  Mos Def's style/humor and Talib Kweli's sharp/smart, tongue-twisting delivery made them a grounded team going against the grain of the glamorous, money flaunting rap in the mainstream.  Years later, when I was in college for architecture, I was still listening to Black Star.  Respiration was a standout track to me where they make the lyrical Avengers of hip hop when they teamed up with Common.  If you don't have it....get it and study it!!!

The production credits are something special too.  Hi-Tek, J. Period, Da Beatminerz, J. Rawls, Ge-ology, Pete Rock and 88 Keys all produce tracks on the album and Talib Kweli co-produced a few tracks as well.  The sounds are representative of Brooklyn with Caribbean influences as well as straight NYC boom-bap beats.  There are unique samples from BDP, Slick Rick and Style Wars (graffiti movie) and the samples used pay respect to the culture instead of abusing technology and the original work by adding to it and making it into something special and new.

Hip Hop soul from 1998 to 2014

It's crazy how much the music industry has changed in the past 15 years.  It makes me sound old, but as I grew up with hip hop and watched it explore it's limits based on the world of vinyl, it's amazing and somewhat disappointing to see that the pendulum hasn't swung back  from the money-centric, testosterone filled misogynistic garbage on the radio/tv.  (Black Star talks about on Children's Story.)  I don't think linking misogyny to mainstream rap is controversial because misogyny is NOT representative of hip hop at large.  It IS definitely representative of the rap that makes it on the tv and radio though.

1995 thru 1998 was an important time because it was the beginning of when underground artists lost their opportunity to get their unique style out on a new platforms like BET, MTV, etc.  Yo! MTV Raps and The Bassment (1989-2005) on BET were the only legitimate places where you could go and hear discover raw artists.  That was a shift from the early 90's because before these hip hop specific shows existed, you would see these raw videos mixed in with all of the more "popular" videos.  Also, they weren't originally segregated by genre which made the statement that it all was music.  In 1998, to catch wind of those new ground breaking artists, you had to dig just like a producer digs through vinyl crates for those "gems".  You had to dig because these hip hop tv shows became platforms for the more popular artists exclusively, which was based on record sales.

In the late 90's, the backpack vibe was in tune with the listeners because at the time, hip hop heads looking for something unique/different had to really search for that important CD that could define a year or more of your life.  Backpackers were associated with freestyle cyphers, parks, skateboarding, dj-ing and graffiti.  The most dominant and influential musical genre of the past  40 years (hip hop) had been pushed back underground and only the acts that followed the prescription defined by the marketing teams, record labels and self imposing rules for success took over.  This is pre-internet hip hop and it's not a surprise that it ends up being the same now that the internet has made it's impact on music in general and we can all look back.

When you contrast Black Star to that "acceptable" mainstream model of 2014 or 1998, you can see why hip hop has made such a large impression on  my life.  First of all, it connected me to larger issues within the African American community.  Far before I ever knew about the 5 Percent Nation, I related to some of the more spiritual ideas with the lyrics from artists like Mos Def, Talib Kweli, Wu-Tang, Nas and a long list of other NYC artists.  Speaking about knowledge of self, seeing the god within you and the emphasis on pride and education made a big impact on me and put me in touch with my own views on religion during the time.  The 5 Percent Nation was apparently built on the parts of the Nation of Islam as taught in Harlem, and Malcolm X.  Not all of these artists went as far as the Nation of Islam and early Malcolm X with their outright racism.  To me, racism is racism and it takes the responsibility of each individual to change the world instead of blaming history to reinforce their sense of feeling like a victim.  Being a victim means that you will never overcome those issues, and I've never been one to let things get in my way, including myself.  All you have to do is look back to Malcolm X to see that even he saw through the racism within the Nation of Islam and became more of a humanist and a true revolutionary as a result.  There was a variety of perspectives from these NYC hip hop artists/lyricists as well.  Based on lyrics, some simply objected more to the institutional reality of racism and the use of the economy as a weapon against the poor.  Identifying amoral, illegal and unjust practices in our country is really based in a history of activism and not extremism.  Guilty by association means that these concepts often get confused with extremism within the African American culture.  Regardless, I removed the negative messages from the inherent good and I was left with a meaningful relationship to music based on history, education, pride, soul and creativity.  Black Star is representative of this time for me and it reflects the potential of music to teach history, serve as a means of expression and show it's ability to connect to something beyond oneself.



Don't Drink the Kool Aid @DenmarkVes #hiphop

Don't Drink the Kool Aid, Denmark Vessey, 2013

I've never heard a rapper who's rapping style and quality of voice that reminds me of J. Dilla until I heard Denmark Vessey's Don't Drink The Kool Aid project.  Dilla's influence on production is obvious, but Vessey's tendency to drift to and from the beat reminds me of Jay Dee. Obviously, Vessey has his own style and influences, but the fact he's from Detroit and made his way from Chicago to LA draws more comparisons to Dilla for obvious reasons (for me). I don't mean to obsess over this, but I could easily see Vessey collaborating with MED too.

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Vessey is affiliated with Dirty Science, (Blu and Exile) and House Shoes.  If you don't know who House Shoes is, there's not much I can do for you. For me, I just learned about Denmark Vessey and it's exciting because even though there are a lot of projects coming out daily, creative, skilled lyricists don't come around very often.  That's what he shows on this project and it's definitely something you should check out by clicking the link below.  The name alone, "Denmark Vessey" says a lot about the artist.  Denmark Vessey is a historic figure in African American history.  He was a slave that bought his own freedom and planned a revolt in South Carolina.  His plans were discovered and he was executed before his plans could happen.  The fact that he chose this historic figure as his name also shows some depth and knowledge that I respect.

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Don't Drink the Kool Aid is a collection of 21 tracks that range from up to down tempo and cover a range of topics.  There's an overall sense of humor and light hearted approach that a lot of people can identify with. It's not trap, ratchet or whatever everybody else is putting out right now and that makes me respect the project and Vessey even more.  Check it out, follow and download below!

Download Don't Drink The Kool Aid here

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