Talib Kweli Pot Of Gold

Talib Kweli doesn’t understand the word “complacency.” Over the past 16 years, the Brooklyn lyricist has compiled a nine-album catalog littered with visceral wordplay and seminal offerings while never relinquishing his uncompromising message. He’s worked with just about every artist and producer this side of Outkast, tangoed with the major labels and forged his own record company, Blacksmith Records (along with his manager, Corey Smyth), seizing control of his career. And all the while, he keeps making music, never tossing out proclamations of retirement. He keeps it moving forward, never flinching in the face of complacency.

Approaching the release of his tenth project, Gutter Rainbows, HipHopDX conducted two telephone interviews with Talib Kweli, discussing his career legacy, his “big homie” status and recording Black Star tracks at MC Hammer’s house.

HipHopDX: You’re a veteran. You’re one of the cats that newer rappers aspire to be. It’s always been that way from a talent standpoint, from a skills standpoint. But from a legacy standpoint now, there aren’t many artists that have the resume that you have, that have been able to last and transition as well as you have while Hip Hop was changing, while technology was changing, while the culture was changing. After 16 years and nine albums, what still surprises you about Hip Hop?

Talib Kweli: The unification of [Hip Hop]. The idea that Hip Hop was the first truly multicultural thing I’ve ever seen. The word multicultural sounds corny because our parent’s generation tried to implement it through the school system and it was done in a way where -- even though they had some of the best intentions -- in a way that seemed forced. And Hip Hop is multicultural by it’s nature. Fred The Godson, he has a song called “Up To Us” where he names a bunch of artists from Wale to Jay Electronica to Trae Tha Truth to Asher Roth. And back when I came out, you would go to the Village and meet emcees from Queens, Brooklyn, The Bronx, wherever and there would be different styles in the city. But the idea that this new young emcee could name check emcee’s from all over the world is a great thing, and emcees from different backgrounds, different styles is a great thing. The boom in the music industry where everybody was making millions of dollars is gone but that spirit of Hip Hop is still there.

READ FULL INTERVIEW @HIPHOPDX.COM

MIND BODY SOUL Wrap Up

“When’s the last time you heard a funky diabetic?” – Phife Dawg

It was one of those nights where everyone seemed to be in the building. Where “New Skoolers” and “True Skoolers” rocked mics side by side. Where the guest appearances brought out guest appearances.

Billed as a diabetes awareness event honoring Hip Hop legend Malik Isaac Taylor (better known as “Phife Dawg” from A Tribe Called Quest) who is affected by the disease and making his first NYC appearance since his successful kidney transplant surgery last year, MIND BODY SOUL rolled more like a mini Brooklyn Hip Hop Festival than the average concert.

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Talib Kweli @ Highline Ballroom

Twas the night before the night before Christmas, and it was freezing in The City. Twenty-three degrees to be exact. Cold enough to question ever leaving the apartment. But judging by the nearing capacity crowd packed inside and the sixty-plus people deep Will Call line dangling down the block of Manhattan’s Highline Ballroom, cold don’t mean nothing. Blacksmith Records is rocking. Twelve years following his professional debut, and heads still run deep for Talib Kweli.

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Something for Everyone - Idle Warship Recap

I went to a Talib Kweli concert and a fight broke out.

Standing at the front of a packed out club during a live performance is treacherous territory for the vertically challenged, over protective boyfriends defending their date, and anyone unprepared to hold ground. Videographers and photo journalists vying for position, avid fans running on the energy, drunken patrons oblivious of themselves mixes into a beautiful Molotov cocktail of art, love, and liquor. And on the rarest of occasions, ignorance. Those in constant need of a refill are better off standing near the middle, or better yet, the back. The easily offended need not apply.

To keep it one hundred, technically it wasn’t a Talib Kweli concert. It was an Idle Warship show -- Talib Kweli’s newish labor of love with long time collaborator and soul moving vocalist Res (pronounced Reece) and Toronto lyricist/songstress Graph Nobel. The trio has recorded and performed select spot dates together for roughly three years but stepped up their exposure in 2009 with a European tour and the release of their full length offering, Party Robot (a free mixtape download). Following their amplified Southpaw performance, Graph Nobel broke down the meaning of their name for The-Quotable:

“Idle Warship is a play on words, like you have this warship that is capable of doing so much but its just sitting in space and time and can’t use its abilities. It reflects on what record labels do to artists. A lot of powerful talent just sits there. For us, we took a break from our own careers, you know, maybe sometimes we kind of felt like that. Coming together made us feel powerful and excited us all on our own, as a group together and in our own careers separately. It rejuvenated something for us.”

For core fans of Talib Kweli, Idle Warship is a complete detour from whats expected from the Brooklyn lyricist. This is dance music. This is party music. Complete with electric keys, funky bass lines, and axe riffs emphatic enough to force you to pull out your air guitar. Kweli’s sublimely garrulous flow is still on full display, but this project also finds him toying with his own style of crooning. “We just put [in] all collective music influences and we don’t limit what we’re trying to do. We just let it flow” Talib stated following their set.

According to www.yearoftheblacksmith.com (the website for Kweli’s record label, BlackSmith), Idle Warship does not “believe in labels for music” because “labels may stop you from hearing something before you listen to it.” When asked about the irony of this statement considering the fact that he is the head of his own record label, Kweli stated “Its not on BlackSmith yet. Its free. We’re just having a good time. Just enjoying the music.”

It most definitely shows on stage. Idle Warship commanded Southpaw’s near capacity crowd for all forty-seven minutes -- coercing them into their web of dance music while still making room for each member to perform their own solo jams. They moved like they were having fun. As if they were thoroughly enjoying themselves. As if the pressure of performing was divided by three. Each member shined, although at times it felt like the Res and Kweli show.

The audience loved the set. Heads knocking all around. People were packed in like a Tokyo subway commute. Asking for anything more is straight Bernie Madoff (greedy). And thats when the curly brown haired girl in the plaid shirt drunkenly strutting with her boyfriend in front of me set it off.

After continually bogarting those of us up front (stage right) for position for the majority of the show, homegirl elbowed the wrong chick. While Donovan Ka5p, Niles and I and everyone else in the venue were engulfed in un-idle worship of Idle Warship, a manicured hand shot around my right shoulder, grabbing a chunk of curly brown hair, snapping back the neck of Ms. Too Toasted!

Chick Fight!

I backed up. Niles backed up. Ka5p backed up. Every guy in the section backed up. Both chicks were with their boyfriends and both of guys backed up! The two women brawled for a solid thirty-nine seconds -- grabbing hair, mashing faces, dropping all kinds of “bitches and hoes” -- before promoter Jah C and an unnamed bouncer stepped in and stopped the violence.

Dance music. Party music. Fight music. Yep, Idle Warship has something for everyone.

Kalae All Day - Black Dynamite

Visually vintage. Vocally appealing. To say, ‘there’s something about Kalae All Day’ is more astute than this cliche conveys. From her retro afro, to her customary 1970s style shades she rocks on the reg, to her bewitching smile and enthralling laughter which seems to ease into the atmosphere like incense; the appeal of this Harlem songstress is equally subtle and obvious. On stage she’s confident and commanding, bum-rushing raps and ballads like Pam Grier. And although she sounds much more compelling singing than she does rapping at this point in her young solo career, the fact that the art of emceeing only entered her repertoire a little over a year ago is encouraging to say the least. Already Kalae has shared the stage with the legendary MC Lyte, Jean Grae, and recently won Brooklyn Bodega’s October Show & Prove. She’s also performing alongside Talib Kweli, Niles, and others as part of the Idle Warship showcase at Southpaw on November 28th and has an album on the way entitled Afromatikneohippierock*solemuzik. “[The title] came about from people asking me whether I sing or rap. And I be like “I do everythang!”

Recently we got a chance to kick it with Kalae following her captivating performance at Sputnik Bar in Brooklyn. Read on as we get down to the facts on performing at the Playboy Mansion, dealing with ego, and how rocking in a choir ain’t for everybody. Microphone check, check, check, check.....

TCM: The-Quotable.com here with KalaeAllDay. How are you doing?

Kalae: This is so dope! Yo, I’m feeling great. Feeling good, feeling great!

TCM: So you’re an accomplished musician in your own right. Performing in the Harlem Choir, attending the Performing Arts School....

Kalae: [Laughs] If you want to call that accomplished, sure. Why not?

TCM: I think it is because you know, to continue at each level and move forward in chasing a dream at a passionate level and at the same time at an architectural level-because you’re learning how music is built and put together and where it comes from. So, how has you’re music experience affected your sound?

Kalae: To be honest, I went to Harlem School of the Arts when I was very very young. I was in there choir maybe from 4 to 7, I want to say. And I recall one time, being at like-I swear to you-The Playboy Mansion performing for them when I was that young. Right? The Playboy Mansion. Kinda crazy. But thats the only recollection I have of being in the Harlem School of the Arts Choir. Now, being in Professional Performing Arts School-I’m going to tell you something-that school is amazing, did not work out for me! [Laughs] Now, I learned a lot of basics from being in that school. And so, I appreciate going to that school, but it was not the right learning environment for me.

TCM: Why wasn’t it the right learning environment?

Kalae: I had a lot of internal issues and I have a problem with authority. And so for somebody to tell me how I have to sing, what I have to sing, and all this other shit-thats to me was nonsense-every single day was driving me insane! And the fact that like, I had this kind of relationship with our choir director where she saw something in me and was trying to pull it out in a way that I couldn’t deal with. Different people learn different ways, she wasn’t the correct teacher for me. So, her vision for me I respect and I understand and I’m honored she felt the way that she felt about me. I just didn’t understand it when I was that age. When I was going through high school, I was a crazy little teenager. And I’m only 20 now! But still, that was three years ago, and more. And so it was complicated. But you know, I learned a lot from doing that. And I had never actually been on stage doing my stuff. I enjoyed being with the choir, but maybe I was a little egotistical. Maybe I just wanted to do my own shit and fuck everybody else, like maybe. You know what I mean? Thinking back on it, in retrospect maybe that was my problem. Maybe I just didn’t enjoy having everybody sharing the spotlight with me! [Laughs]

TCM: Thats the problem with a choir. Theres a lot of people in them. They are a choir.

Kalae: Yeah! I was like “Shit! I should be in the front of this motherfucker!” [Laughs] But it was terrific experience. Whether thats good or bad, it was a terrific experience. If that makes sense. Now [after finishing high school], I started working. I went to college for a little while at Brooklyn College. BROOKLYN! [Laughs] I’m from Harlem. I started, lets see, the first show I ever did my music by myself was June 29th, 2008.

TCM: Where was the show?

Kalae: That was at a bar around the way on my block in Harlem. It was like a half hour to 45 minute set I did acoustic and it was amazing to do my first gig by myself. It took me 7 months to book that gig, mind you. And I did it to a track that [where] I recorded my vocals as the instrumentals. Then I recorded by verse on top of it. So like, I had absolutely nothing but like the free version of Pro Tools or Adobe Audition. Thats what it was called. The Free Trial, I did that shit on. I booked that gig and from that gig came a slew of other gigs. And so I feel very honored that, in one year, I’ve accomplished enough to be on stage with MC Lyte, Jean Grae! What the fuck??? I’m nobody! I feel like I’m not worthy!

TCM: So this is moving kind of fast for you. You’re career as a solo artist has been fairly short.

Kalae: Its been a year and a month. And a month and a couple days. [Laughs]

TCM: Is that scary? Is success intimidating at all?

Kalae: Its intimidating for other people. [Laughs] I feel like this is how its supposed to be, a natural progression. And when I say this is how its supposed to be, I’m still completely humbled by the experience. Without a doubt, I can’t believe it. At the same time its like I know this is my destiny so I’m accepting it and letting it be.

TCM: Speaking of that, thats what I took from [The Pedestal Song]. Where did that song come from?

Kalae: The Pedestal Song comes from dealing with ego. I was very introspective in high school, like during the couple of last years. And I was trying to learn about myself and try to figure out why I was fuckin’ up. You know what I mean? And I figured out one of those reasons was because of my ego. And so, from learning how the ego works and how dangerous that shit is. And it helped me notice it in other people, and study it in other people, it really made me wanna....I write about it a lot. I talk about it a lot. But thats only because of personal experience. I mean the song is just...I put it in a way where I’m talking about a man, but really I’m using the man as a representation cause we all have ego. And thats why we “gotta humble ourselves, it wasn’t just you, you got some help.”

TCM: Yo, it comes across. It comes across in the song. Plus, its a banger. It gets the heads knocking. It feels good.

Kalae: Yeah, thats everybody’s favorite. I love that song.

TCM: But now, you’ll switch it up, though. You’ll kick rhymes then you’ll sing ballads. Which is more natural for you?

Kalae: Which is more natural? Singing, because I’ve only been rhyming for a year! [Laughing hysterically]

TCM: Really? Wait, how’d that even work its way into your sound?

Kalae: [Still laughing hysterically] Alright, so let me tell you how this went. Speaking of Lupe Fiasco. The first time I heard a Lupe Fiasco record, I was in high school. I remember thinking like, ‘shit yo! He can rhyme!’ Everything he said painted pictures for me. It was beautiful. First and foremost, I would have to say that I’m probably a writer. I love to write. I love to write anything. Anything you want me to write. I love writing, okay. So for me it was a natural progression of me writing my songs and my ballads and stuff like that to me writing in a more dynamic way. And it was like, I need to keep my voice up with the words that I am writing. And so, I was very influenced by my nephew. And he goes by the name KlaeFace, which is K-L-A-E. Isn’t that hilarious?!

TCM: Word? Okay, how old is he?

Kalae: He’s 25. And yes, I’m 20. He’s my nephew. So what? Now, he had these beats on, right? They were on a tape, okay. This is back when, I think I was 15.

TCM: Whats that 2004? He had a tape in 2004?

Kalae: I know, it wasn’t that long ago. But he was recording onto a tape. And he’s doing a mixtape that he dropped in Honolulu or some nonsense, right? And I was like “yo, let me get on it.” Just being silly, and he let me rhyme. Like, I was rhyming some of the lyrics I had written for another song. And, I mean I was terrible! I don’t know where that tape is but I’d never show it. I was terrible! Now, he’s laughing at me, of course. And so, I was like, okay, obviously I’m not a rapper.

Fast forward a couple of years later-I met this other dude-Pete Hype. He’s an amazing rapper. He became a really close friend of mine and I asked him “how do you rap?” And he was like “you just do it.” And a light bulb just popped up on the outside of my head. Now of course I didn’t just all of a sudden become a great rapper. What would happen is that I would just sing my lyrics real fast and then eventually I learned how to take the harmony away-cause I could always sing fast. I could always do that kind of stuff. So I was like “take the harmony away, take the melody away, take the melody away.” And then I took the melody away and then I was rapping. And I was like “Yes! I can rap now!” And I still struggle with it, I gotta be honest. When I write a rhyme, I have to practice that shit. I practice that mutherfucker, okay. And then I say it smooth, and I put the swagger on it and everybody thinks I’m a rapper and I’m like, “yeah baby, I’m a rapper!”

TCM: Lots of time in the mirror with the hairbrush?

Kalae: Not really.

TCM: No?

Kalae: No, I’ve never been a brush-as-a-mic person. Did you even notice that I don’t hold the mic that often? I like it in the mic stand.

TCM: I did notice that.

Kalae: I’m a mic-stand-kind of girl.

TCM: Thats gotta affect your swag a little bit, though. Since you’re rhyming now, you gotta get that B-girl into it.

Kalae: I’ma try. I’m going to work on it some more just for you.

6 MINUTES WITH JEAN GRAE AND 9TH WONDER - A QUOTABLE EXCLUSIVE

"Uncommon like Erykah. / Phenomenon hysteria. / Height rocks millenium. / Shante' criteria" - Jean Grae

Following Blacksmith Record's re-release show for Jeanius (review to come) at the seminal Fat Beats record shop in lower Manhattan, I had a chance to steal a quick 6 minutes with the grossly underappreciated, illest FEmce, Jean Grae and the new Pete Rock, producer 9th Wonder. Read on to find out about Jeanius's "risky" production process, the status of Jean's unreleased video "My Story," 9th's relationship with legendary producers Pete Rock and DJ Premiere, peach cobbler shakes, and Vivrin...

TCM: You're talking to 2 Carolina cats right now?
9th: Oh, where you from, man?
TCM: I'm from Greenville.
Yahnick: South Carolina
9th: Oh, ok! Ok.
Yahnick: I spend a lot of time in the Raleigh/Durham area. My sister went to A&T...
9th: Too bad!...Whats her name? Sadiqua? Sadiqua, too bad. You went to A&T, it was a bad choice. Its a dumb school. I don't they learn anything...
TCM: Ay, my mom went to A&T, man. We gotta slow down a little bit.
9th: Oh, your mom went to A&T, man?! Be glad that thats your momma!
TCM: Watching you guys, and listening to you guys, you have a real natural chemistry...
9th: I don't like her ass to tell you the damn truth...
Jean: I fuckin' hate this dude.
TCM: So whats it like being in the studio? Are you actually in the studio together?
9th: Uh, we did Jeanius together, yes. We did Jeanius in 4 days. Recorded in 4 days.
Jean: We both just blacked out. We totally blacked out. And when we came out of the blackout, it was an album.
9th: Are you familiar with the restaraunt called "Cookout?"
TCM: Yep.
9th: Lots of "Cookout." Lots of "Cookout."
Jean: And No-Doz. And Vivrin.
9th: And Vivrin.
TCM: So it was, fun?
9th: Yeah, yeah, yeah man. It was very risky. We was eatin,' man, burgers and grilled chicken sandwhiches. And taking Vivrin at the same time...
Jean: Peach cobbler shakes...40s...
TCM: Gotta watch your sodium, now.
Jean: No that was years ago. I can't do that now.
TCM: Fried foods gonna catch up to the cigarettes and break your health a little bit.
9th: Exactly. Its all good.
Jean: Thats why he's eating homecooked meals.
9th: Exactly.
Yahnick: What you got in there? Lets see that, lets see that.
9th: Uh, uh.
Jean: Nope nope nope....Well it was roasted chicken, sweet potatoe fries, some vegetables with rice, and homemade apple sauce.
9th: I'm gonna take this to Baseline and finish it.
Jean: Yeah, go for it. Wheres (someone whos' name I didn't catch)?
9th: At Baseline with Pete Rock.
Jean: Oh. Pet Rock?
9th: Pet Rock.
TCM: So how does it feel to be compared to Pete Rock, to Premo, to those cats?
9th: I love it, man. They're friends of mine. They think its cool too, so, you know...Some people go around claiming that...Pete and Preme don't think its cool. But they think its cool. They like [the comparison]. And, you know, I with it, man. Those are my adopted big brothers. They take care of me, man. And I truly take care of them.
Yahnick: You deserve it, brother. You deserve it.
9th: When you put in the work, thats what happens.
9th: I appreciate that, man. I appreciate it.



TCM: So Jean, with lyricism coming back to the forefront now, and as a female Emcee...
Jean: Is it?
TCM: Oh yeah, certainly. You don't think so? Or would you disagree?
Jean: I mean, it would nice. It would be nice.
9th: Jean thinks a lot of people can't rap.
Jean: Yeah, of course.
TCM: She's right about that.
Jean: I do. Definitely do.
TCM: As a female Emcee, its twice as hard at the same time...
Jean: Its a little more than twice. A littler more than twice.
TCM: Thats fair. Thats fair.
Jean: It is what it is. Thats my battle so I never look at it like that. [But] Yeah, its hard.
TCM: One of the things that I do appreciate about your show is that you always look like you're having a good time on stage.
Jean: Because we are having a good time. We are genuinely having a blast. And most of the jokes we share are a blast. And I can feel free to talk. I can listen to...'fun chillin' in your living room,' thats what you always feel like. [Motioning towards 9th] Except when he's on stage and then I just want to get off stage.
TCM: So how is it over at Blacksmith right now?
Jean: Its getting better.
9th: BLACKSMITH IS FANTASTIC.
Kweli (in the background): Its amazing!
9th: Its an amazing place. Ran by an amazing guy. Who makes amazing records.
Yahnick: I have a question, ever since they altered [My Story], you were kind of upset about that.
Jean: I don't know. Never seen it. Don't plan to. And its not coming out.
9th: I haven't seen the video either.
Yahnick: Well she doesn't like you so, thats probably why you haven't seen it.
9th: I don't like her ass either...



TCM: So whats up next? Are you going on tour for this release?
Jean: Yes. We have to.
TCM: Wheres the first stop?
9th: Carboro, North Carolina. Outside of Chapel Hill. The cats craddle.
Yahnick: When are you going to be in Greenville?
9th: I don't know.
TCM: We need a definite behind that.
Yahnick: They desperately need you.
9th: Thats what I heard, man. Hold on a second (into cell phone: 'Mommy I'm doing an interview and the cameras on me and you're on the phone').
Jean: They gotta actually ask us to go. They gotta actually ask us to go. Otherwise it would be really really weird if we just, like, went to a place for a show and...Do you have a venue?
Yahnick: Yeah, I'm gonna get one.
Jean: Okay, yeah. Then we're there.
TCM: So, was it more fun making This Week, Jeanius, or the re-release?
Jean: Oh, everythings just different. Everythings a different experience. I can't judge.
TCM: I hear that. Well, I appreciate it [the interview]. Again, I'm with The-Quotable.com. Good lookin...
9th: You slid into interview kind of slick.
Jean: Yeah, that was nice.




Carry on...