Interview: DJ BK-One

DJ BK-One (Minneapolis)
(Brother Ali's DJ)

Published in The Pulse of The Twin Cities

By Kandis Knight

Where It all Started.

I’m from Milwaukee, but Minneapolis is home now. There’s something welcoming about this place. The people who have made the biggest impact on my life have been from here. I blossomed here. I fell in love here, I started DJing here I got associated with Rhymesayers here.

Minneapolis is definitely home. I’ve lived here since 1996. I’ve been collecting records for like thirteen years now. I’m counting how I used to go through my mom’s old Stevie Wonder records and stuff. I got my first set of turntables in 1996. I never really wanted to be a DJ, I’m not going to lie, it was always just about collecting good music for me. [Reknowned local rapper Brother] Ali and I were really good friends back then.

I was running the Beat Box on Radio K and that’s where we met. We began sneaking into Radio K late at night on weekends and making little bootleg songs. Aaron Money was one of my radio partners back then, he gets more credit because he really put in the shitty grunt work. I was new to producing and engineering and Ali was new to recording and rapping so we sucked but we became good friends, so when he was looking for a new DJ it just made sense.

When he started getting on stage and getting better I was like, “Oh my god I got to practice,” so being with him really made me step up. DJ Versus Turntablist? The difference between a DJ and a turntablist is that a DJ’s job is to rock the fucking party. It’s their job to know how to build an evening, how to bring everyone’s emotions up and down. A DJ focuses on making people enjoy music, by taking good music and putting it into context.

A DJ looks at turntables as a tool and a turntablist looks at turntables as instruments. A turntablist manipulates vinyl and needles and the 45, 33 buttons and the pitch adaptors in the way that a guitarist fucks with the strings or a pianist plays with keys. I have nothing but the highest respect for what people like Abilities are doing and are about to do. He’s going to blow people away, he’s on some Jimi Hendrix of the turntables type shit.

I think turntablism is going in an interesting direction.

On Touring

Every tour has been completely different and it takes a week or so to get into the tour groove and understand what it’s all about. The first tour I went on was with Atmosphere, Murs, Blueprint and Ali. That was my favorite tour, it was magic.

Blueprint and Murs were the comedy team. Slug and Jaybird were professional and paternal and Ali and I were like little kids. That tour was two and a half months but I think even on the last day Ali and I still had that look in our eyes like “Oh my God we’re on tour!” We played 70 shows on that tour and all but two were sold out, it was unbelievable. Our last tour was with Brand Nubian and that was really an honor.

We tapped into a different audience. Their audience is less white, less young, less suburban and less male. Which was refreshing. Not that there’s anything wrong with young white males from the suburbs. But it’s good to see a little diversity sometimes. It can be frustrating playing Hip-Hop and not seeing the core audience of what Hip-Hop was built on.

What’s really frustrating is that at some of the Brand Nubian shows, not all of them, but I really got the feeling that more people were there to see Ali and I. I think that’s fucking ridiculous. I’m not trying to put us down but [Brand Nubian] are like legends. A couple days into the tour Ali starting giving a speech to all these young white kids. He was like “Look I’m not mad at you if you don’t know who Brand Nubian are, but understand if you put Brand Nubian in a room with Sage Francis, Aesop Rock, Slug or any of ‘your’ Hip-Hop heroes they would pee themselves!

So pay fucking attention, these are your heroes, heroes.”It’s such an honor and such a blessing to be doing what I’m doing. Touring can be hard but I don’t have to work a nine to five, I’m paying my rent doing what I love. Hopefully I’m traveling to Sweden, Europe and Australia this year. I’ve been to every state in the country, I have close friends in Canada.

I can’t complain about my life. There are people who are just as talented as I am who are stuck washing dishes in Toledo. DJing feels like more of a job now but I never take it for granted.

On Producing

Ant is an amazing and completely underrated producer. The word producer we only associate with the person who makes the beat but Ant does so much more. If you look at the spectrum of who he has created music for and how diverse it is and how well it fits with what each artist is doing you get an understanding of who he really is.

Listen to an Atmosphere CD, then listen to a Brother Ali CD, then listen to a Musab CD then listen to the album I Self is about to drop and tell me [Ant] is not a fucking amazing producer.That dude knows how to bring out the best in people and he gives people the beats that cater best to the direction the artists should go in. [Ant] has a vision for the artists and he’s not afraid to demand it from them. These dudes who make a beat CD and shop it around and are like “$400 a beat,” those are beat men, not producers.

Ant is a producer and when you make an album with him, it’s a collaborative effort. He and Ali have something really special.When and if Ali and I work on something together it will definitely be a collaborative effort. I have the equipment to make beats and will do it soon. We’ve talked about working on something. We’ll probably do it just like the way we put our sets together. It’s a real joint effort. We build off of each other. Ali is also a good beat maker. With our ideas combined we’ll make something pretty good some day.

Future Projects

I’m working on a mix CD right now called Set In Motion to be released in December. It’s a mix CD with an identity crisis. There’s a lot of original music on it. It has been a labor of love, I’ve been working on it for a long time, like a year. I keep complaining to Ant about how long it’s taking. Ant is like my mix CD hero. Nobody makes better mix CDs than him. Ant is like “Brendan, every mix CD I have put out has been like five years in the making.”

So that makes me feel better. Basically, I’m trying to incorporate everything that I love about music into the album. I’m trying to tell a story through it, sort of an abstract story. I’m trying to do things that have never been done on a mix CD before, for better or for worse. I can’t guarantee that everyone is going to like it but I can guarantee that everyone who has listened to mix CDs before will agree that there’s shit going on with this one that hasn’t happened before. I feel like it’s diverse enough that everyone will find something they like.

It’s half Hip-Hop and the other half is a mixture of afro beat, bee bop, afro cuban, and funk. There’s a song on there that I produced and arranged featuring some extremely talented jazz musicians from around town called The Disruption Ensemble. Everyone will know them soon. Brother Ali, Ant, Slug, I Self Devine, MF Doom, Aesop Rock, and Eyedea are also featured on it.Upcoming PlansWe’re not doing anything big until spring. We’re going to do a Midwest tour in October and we’re going to do some shows promoting MF Doom, they have a new album coming out on Rhymesayers. Then I’m going to Brazil with my girlfriend, Julie.

Set In Motion will be in stores in December, in the mean time visit RhymeSayers.com for more Brother Ali and BK-One shows and updates.

Interview: Carnage

Carnage (Minneapolis)
By Kandis Knight


In the Twin Cities there are few hip-hop artists who truly defy the racial divide that exists there. Few can get down with anyone from the organic, old school hip-hop circles to the hood rappers in North Minneapolis.

Carnage born Terrell Woods is one such an artist. He has worked with an extensive list of Twin Cities and national artists that includes your most ghetto fabulous hood-hop stars to the uptown yuppy types. Carnage even does rock and roll.

I am sure the fact that he grew up on Chicago’s infamous southside has something to do with his drive to go beyond boundaries.

“I lived with my mother for more than half my life. She lost custody of my sisters and I when I was 12. I saw her boyfriend abuse her. This made her turn to alcohol then later drugs,” explains the overly personable Carnage. “I grew up with hope and kept my head on straight. I saw lots of ill shit. Life was hard growing up.”

Because home life was unstable, Carnage learned early to adapt. Carnage’s life was a constant cycle of moving from apartment to apartment, then shelter to shelter. When Carnage was four years old his family moved to St. Paul. But the moving and adjusting didn’t stop there. He moved around through high school. This definitely explains Carnage’s popularity in many circles.

“I grew up with gang-bangers, the REAL ones, who were fresh out of Chicago, I saw people sell and take drugs. My mom was a crackhead for a while, as well as an alcoholic and a prostitute, and so were my aunts. I saw drugs and alcohol ruin many lives.”

Although most people see Carnage as an extremely happy, well-adjusted artist, he has a dark side many of us will never quite grasp. “Wondering where the next meal was gonna come from at times was scary. My mother’s lifestyle caused us to get evicted from three or more apartments and live in shelters, which we also got kicked out of. I was forced to grow up fast, and I was very mature for my age.”

Despite being raised in a children’s shelter, foster homes and a group home during his adolescence, Carnage still came out a champion. Carnage graduated from Bloomington Kennedy High School. After high school he was accepted at Hamline University and earned a degree in psychology in 1997.

Carnage’s music career has been a slow yet steady progression and demonstrates his ability to persevere.

As far as advice for new emcees, Carnage has some. “Quit giving undeserved props. Tell people who need to elevate to do so, don’t be nice cause they are your friends, and quit hating, help others out when you got connections if they are worthy of it,” says Carnage.

Carnage plans to capitalize on this and expects to be releasing 5 different projects this year. A few live albums as well as new projects with Eyedea, Cheap Cologne, and some works with label mates Hecatomb. And finally a solo album, his first full solo album. “I spent all this time, all these years, trying to make a perfect album. And I just realized you can't do that, nothing is perfect. You have to grow with each project.”

http://www.myspace.com/carnagetheexecutioner
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Interview: Toki Wright

Toki Wright (Minneapolis)
By Kandis Knight

“We get raised by the radio and the television more than our parents. It’s fucked up. And while we sit and play up a lifestyle that is killing us, we get blamed for all the wrongs in society while somebody sits up in an office and collects a bigger check off of it and never gets blamed.” –Toki Wright

Minneapolis emcee, Toki Wright, is bigger than hip-hop. Wright is the President of YO! The Movement, a non-profit, international youth leadership organization based in Minneapolis, MN. Wright also heads up The Twin Cities Celebration of Hip-hop which attracts an international crowd of thousands and is in its sixth year of production. Most recently, Wright has captured headlines representing Midwest hip-hop in war torn regions of Africa.

Armed with his music and his message, Wright has been fighting for people who are “down and out” and as he does his star is quickly rising to the forefront of the contemporary conscious hip-hop movement. Wright’s future is big and bright in spite of his humble beginnings. “I was born and raised in Minnesota. I spent a small amount of time in St. Louis and Chicago. My father moved up from the Robert Taylor housing projects on the Southside Chicago, where my family spent all their lives. He took a big chance,” says Wright, who is well known as the humble gentleman and crusader for the working people.

Wright’s mother introduced him to hip-hop as a child. “Growing up in my house you heard a lot of The Gap Band and Michael Jackson. My mother is a big MJ head,” he laughs. “My mother actually put me on to Hip-Hop. One day she brought home the Fat Boys “Crushin’” tape.” My oldest brother put me up on NWA and Slick Rick. We used to steal his tapes while he was gone. Hip-hop soon took over the house.

As a preteen Wright moved around extensively, making his transition into world class citizen easy. “I used to always say that I had moved 15 times by the time I was 15.” In St. Louis, Wright first stepped to the mic and found his calling, however the world slowly came crashing down around him.

“My parents moved from Chicago to Minnesota to work for a company that eventually laid them off. I was on the street at fourteen. I had to learn how to take care of myself early.”

Today Wright takes care of the community, a decorated community activist and loyal hip-hop supporter, Wright takes his power as an emcee seriously. “We get paid to play ourselves. We get caught up in making music for commercial radio and the next generation thinks that this is the way we need to live our lives. I think people need to respect the pioneers, KMOJ Radio, and especially the North Side of Minneapolis. These are major players that hardly get shown love.”

Wright is currently working on his mix cd called LBHQ 3.0 (Low Budget High Quality). “I am still working on my full length album. That’s why I’m doing the LBHQ 3.0 mix cd, to keep people interested until I finish my full length project.”

LBHQ will be a part of a series that is still top secret. The new album is called “A Different Mirror” which is about looking at yourself through the perspective of others and having to deal with it and “Soul Searching” from my group The C.O.R.E. is an album about trying to find your soul through your music when people have given up on that deeper aspect of making music. “Home” from group APHRILL is about living your life far from the place of your origin and features fellow Twin Cities artists Nomi, and Medium Zach.

“I plan on releasing LBHQ 3.0 in March, then my album “A Different Mirror” in May, The C.O.R.E.’s “Soul Searchin’” will be released in the spring, and APHRILL’s “Home” will come out as soon as we can pay for it.” Wright is also working on The Chosen Few (TCF) crew album. The Chosen Few is one of Minneapolis’ hottest hip-hop groups comprised of DJ Snuggles, Fic, Guardians of Balance, The C.O.R.E., Illuminous 3, King Karnov, Mazta I, Trama,, Reg E Reg, and DJ Fu Manchu.

Wright is also has shows coming up with Saul Williams and Brother Ali. You can also check Wright out hypemanning for Brother Ali’s tour for his new album “The Undisputed Truth.” Pick it up when it comes out. Instant classic.

When Wright is not on the road or performing, you can find him working hard in the studio with a slew of extraordinary musicians and producers including; Benzilla, Reg E Reg, King Karnov, Mr. Len of Dummy Smacks Records/Company Flow, Rock City, and Lazerbeak of Doomtree.

“I don’t think most people really know my work. I get a lot of judgment based on songs that are 3-years-old. I have yet to really let people hear what I’m talking about. I also like to have a party at the shows. No offense but they’re not some ‘neo-soul’ gigs like people try to paint me to be. Most of the people that say that have never even seen or heard me.”

Wright’s advice to new artists is stern. “Play in front of people that don’t like you before you get on stage. Play in front of all Black, White, Asian, Latino, crunk, “neo-soul,” mainstream crowds. Find out what it’s like to get shit on and booed. Correct your mistakes and step your game up. Don’t just listen to your friends. They might just be trying to make you feel good.”

For more information visit:

http://www.tokiwright.com/

Interview: Desdamona

Desdamona (Minneapolis)
By Kandis Knight

Minneapolis boasts a hip-hop scene like none other. It is extremely diverse. In some parts of town, you can find an extremely organic and artistic style of hip-hop, reminiscent of the early 80’s. Someone who is well known in many circles is spoken word artist extraordinaire Desdamona one of the most famous B Girls emerging out of Minneapolis’s “vintage” hip-hop scene.

Desdamona, the grand daughter of an award winning poet, and daughter of a historian/storyteller has a deep relationship with words. Because of her background as a spoken word artist sometimes people challenge her status as an emcee, however no one can deny her true artistry. She is a lyrical trail blazer. From brilliant spoken word contributions to her work in the community, Desdamona has been plowing the field since the 90’s doing her share to put the Midwest on the map.

“I moved to Minneapolis in 1996 and started performing locally in 1997. Prior to that I started performing hip-hop in 1986 when I was in 9th grade. I was horrible at it, but I was still performing,” she explains. “That’s when I first started writing rhymes. I grew up in a small town called Mount Pleasant, Iowa. There were probably 8,000 people living there.”

Desdamona’s true love for music is what propels her to greatness in the face of personal sacrifice. “I moved here with my best friend for school. She was a singer and I would write stuff and she would sing it and we just played around and we eventually started performing together.”

Eventually Desdamona met a few Minneapolis producers and her recording career blossomed. “For the first three months all we did was work. We worked night and day literally, nighttime Target and bank shifts. There were times when I had three jobs and I was like wait a minute, what am I doing? We slept on the floor. It was horrible.”

In 1997, Desdamona landed her first gig, she performed at Jazzville in St. Paul, MN. Jazzville was one of the first venues in Minnesota that spoken word artists embraced. However, people were not quick to embrace her. In addition to being the only “white” b-girl in many cyphers, she was also an outsider. “They were just like “I don’t know who you are” it was kind of like a clique. For a long time I couldn’t understand that.”

Almost ten years later, Desdamona is still doing what she loves and her talent has made her way. Desdamona is living life according to her own terms with her love for music her number one priority. “I don't have a day job. I do contract through schools and arts organizations to teach workshops and residencies on hip hop and spoken word, writing and performance. Most of the work I do is performing locally and nationally and I also host a weekly open mic (one of the most established open mics in the Twin Cities) at the Blue Nile on Tuesday nights.”

In addition to all of the things she does music wise, she still finds time to build up her local community. This summer marks the third Annual B Girl Be Celebration in Minneapolis. It is a celebration of the contributions of women in hip-hop, one of the biggest in the country. It is an event envisioned and partly produced by a team headed up by Desdamona.

Desdamona’s latest album is also near completion, it is called Hymn of the Human Spirit and is comprised of songs about life and the spirit of life. “Most of my work is very spritual for me. Hymns of the Human Spirit is more mature than my last release (The Ledge) and I think I have grown a lot as an artist between the two projects,” she explains. “I hope people will see the growth actually, I know they will. I am singing more and the rhymes have become more complex as well as the sound.”

Featured on Hymns of the Human Spirit are collaborations with the New Congress, Katra Quey (an up & coming young producer), and Carnage. Desdamona’s favorite songs from Hymns are The Source, Orange & Blue, and Infinity. Hymns of the Human Spirit will feature about fifteen tracks, and will mark her first national release through FS Productions, a St. Paul Record Label.

For more information about Desdamona, log on to http://www.desdamona.dunation.com/ or www.myspace.com/desdamona and to support B Girl Be please visit http://www.intermediaarts.org/


“Work hard and people will notice, eventually. It doesn't come easy and it shouldn't. Keep your ego in check. It will get in the way if you let it and it can destroy everything that you are trying to accomplish” –Desdamona

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2003 Client Roster: Norfstar

Norfstar (Minneapolis)
By Kandis Knight

North Minneapolis’s Rayshawn “The Norf Star” is not an r & b singer even though he once sang backup for Tyrese, received a standing ovation from the King of Pop, Michael Jackson, for singing Human Nature and his latest single Hood Pass features him singing, not rapping, over self made beats. He prefers to be called a rapper.

“If rap and r & b had sex, the offspring of those two genres would be my music,” explains the young artist. “My musical influences are Jodeci, Silk, Joe, and R. Kelly to Twista and Tupac.”

In the early 90’s, Travis Lee a.k.a. Travitron, a forefather of Twin Cities hip-hop, overheard Norfstar singing at a local community center. Travitron took the young singer under his wings teaching him how to operate studio equipment.

Since then, Norfstar performed with three different groups, 4 Da Record, B.A.D. and FOCUS before deciding to go solo. Shortly after going solo, Norfstar was signed by publicist Regina Daniels. Daniels’ publicity roster has included the likes of Michael Jackson, Lil’ Kim, Dru Hill, Sisqo and R. Kelly.

With his new representation, Norfstar relocated to Los Angeles where he met Frank Gatson, a well respected manager and choreographer (En Vogue and Destiny’s Child). Norfstar found himself on tour with Tyrese as a back up singer for the album I Want to Go There. When the tour ended, Norfstar ran out of options. “That was the one time I thought about quitting music; everything that could go wrong did.” With no money, and no connections, Norfstar returned to Minneapolis.

Since then, Norfstar formed his own label, Money Talks Entertainment and has been performing his single Hood Pass across the Midwest to build up anticipation for his first solo debut. Call him a hybrid of r & b and rap if you want, his debut album expected in the first quarter of 2008 will definitely set everyone straight. People have described Norfstar’s music as a mixture of soul, r & b, gospel and rap, whatever you want to call it, Norfstar’s single Hood Pass may very well become a Midwest hit.

For more information visit: www.myspace.com/moneystar

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Interview: Trama

Trama (Minneapolis)By Kandis Knight

Minneapolis boasts some of the most intelligent hood rappers in the country, like emcee Trama who is patiently waiting for the day when he will be in the studio alone with NAS and Rakim. “I'm a self employed film Editor/Director,” explains the extremely driven emcee. “I've edited everything from Burger King to BMW commercials to promos for Bad Boy and Def Jam to the Incubus’ "Drive" video.”

If you didn’t know any better, you may dismiss Trama for a neighborhood dope boy because he is always clean, fresh to death, platinum chains and all. “I'm getting more into directing now because I'm real visual and conceptual. I've been seeing other director’s visions and techniques for years so I've been studying for a while.” Trama has been busy shooting a music video for Minnesota's Urban World Management, r & b artist, Auburn, entitled "Mii Hood/Hop Scotch." Taking one look at Trama and you realize you are looking at the modern day paradox of Hip-Hop grown up. He is a corporate thug we can admire.

This multi dimensional, multi talented artist really “gets it” so industry eyes are firmly fixed on his every move. With so much talent, Trama is his very own record label, from the top executive to the street team. “I physically bring my posters, flyers, stickers and albums to the stores and monitor sales. I also sell my music via Cd Baby which has been working out extremely well for me because now I get to touch people in Germany, Japan etc. I am also co-founder of K.E.P Inc., my record label.”

Since relocating to South Minneapolis from Queens New York (East Elmhurst) in 1999, Trama quickly rose to the top of the ranks in Minnesota. His fans are usually in awe of his marketing expertise. This is an emcee who is known to put his logo on the napkins at his cd release parties and his stickers are collectors items as soon as they hit the streets. He does his own graphic design.

Another reason why he is able to captivate the market is because there is a distinct concept for every album he releases so the name Trama is burned into your brain. “Putting "TRAMA" in all of my album titles was actually inspired by EPMD. They always had the word "business" in their album titles and I always dug that concept.” Check all of his albums. "Menage-A-Tram" 2002, "TRAMA-SUTRA" 2004, "Tramagnum" 2005, "TRAMA-DUSA" 2006. “When I make music all I concentrate on is the project as a whole from concepting songs, marketing, art etc.” All Trama needs to do now is start selling TRAMA-CASES (ya know, specially designed, cd case to hold all of your TRAMA albums in).

The rumor has long been that there is some hidden meaning behind his album titles. “Yeah there is but if I tell you it wouldn’t be hidden anymore. I'm gonna let everyone’s imaginations go wild and read their thoughts on various message boards,” he laughs.

Trama’s artistry goes beyond where he is from or where he is at. He is so well put together that you can see where he is heading. He uses songs that are diverse and can speak to everyone on different levels. His fan base has been growing at a steady rate every year. “I see my base growing right in front of my eyes from the record sales to the album release parties I've thrown every project has been more successful than the previous.”

So where did it all begin? Trama is a product of the game, music is in his blood. Reggae, Soca and Calypso could be heard ringing out of the windows of his family’s Queens home when he was young. A testament to their Trinidadian roots, Trama’s family is very tight. “I feel like I was blessed in my home life - growing up was all about family. My sister, cousin and my parents; through good times and bad times it was always about family, love and support and it's the same to this day.”

With a solid foundation Trama slipped further into Hip-Hop culture however Reggae, Soca and Calypso will always be his original musical building blocks. “We used to break out the card board put it on the concrete, put socks on our hands to practice handspins, make routines and battle other crews in the neighborhood. I think those days made me addicted and dedicated to the culture. I lived Hip-Hop because it was more of a lifestyle than just music at the time.”

Break dancing eventually turned to writing rhymes when he was thirteen-years-old then two years later he earned his respect as an emcee. “Growing up in Queens NY in the 80's was dope especially in my hood because like Eric B lived around the corner from me so I used to see him and Rakim alot growing up. Also Kid-n-Play, Salt-n-Pepa, Kwame, Herbie Luv Bug they was all from my hood so seeing them when I was younger was inspirational because they weren’t just rapping they owned businesses, threw park jams and shot videos in the hood so we all felt like we was part of their success.”

Trama earned respect from legends when he was fifteen-years-old, he was finally allowed to get in the studio. “Back then Hip-Hop was more about earning your stripes. You had to be considered dope by your peers before the thought of a studio even entered your mind, I started going to the studio when I was fifteen,” explains the business savvy emcee.

"Rap is something you do, Hip-Hop is something you live," Trama quotes KRS-ONE. “That statement is real. I live this, I grew up in this, when there was no money in it I was associated with Hip-Hop and it was natural it became my culture. It is my culture, from the music, fashion, art, dance, well some of the dances,” he laughs. “Feel me?”

As far as dancing, Trama’s music will definitely make you do that, he is from the islands. “I like beats that bring something out of me. Beats that put me in a different state of mind, feel me? I like beats that push me and make me push back.” Trama is known to work with producers, Megha Maan, Joey Hustle and Sketchman. “Those dudes have been lacing me with some incredible production.”

Although he likes his current production team, Trama is open to work with anyone. “I work with pretty much everyone on the scene out here but as far as MC’s, I work with TRAM-UNIT on a regular basis.” The Tram-Unit is comprised of Trama, N.I.G and TREEZ, and Trama is also a part of a unique collective of Minnesotan emcees called The Chosen Few. The Chosen Few consists of Guardians of Balance (Slim and Mastermind), The C.O.R.E. (Toki Wright and Adonis “AD” Frasier), Illuminous 3 (Freeze, FransDiego.com and Mavin), DJ Snuggles, Mazta I, Fiction a.k.a. F.I.C, King Karnov and Reggie Reg. “The Chosen Few came together because we all respected each others individual grind and music. When I look at us as a crew I don't see any weak links.”

Trama despises weak links, just as much as he despises wack music. “I hate wack music disguised as Hip-Hop because they shove it down the youth’s eardrums, minds and souls. That makes it hard for the music and the culture to grow.”

So what can we expect? “Well I have a mixtape, my first mixtape that I'm going to drop in mid February 07 is entitled "HCMC" which stands for Hennepin County Master of Ceremonies. For people outside of Minnesota that don’t know about Hennepin County I'm gonna break it down on that mixtape. For people in Minnesota who do know about Hennepin County you gonna hear it repped like it has never been repped before.”

Why the name HCMC? “It's kind of wild how the name "HCMC" came about for the mixtape. My crew is called the TRAMA-UNIT and one day I was driving and I saw an ambulance next to me and it read 'HCMC Hennepin County Medical Center Level 1 Trauma". So it already had my name TRAMA minus the "u" in it and as soon as I saw the MC part of HCMC the idea clicked.”

Although he only has two collaborations with local artists on HCMC, Trama promises the mix cd will introduce everyone to Hennepin County as a whole. “I only got 2 collabos on there one with one of the illest females in Minnesota KATANA and another with my homie TREEZ who just did a Sandstone bid (and for those that don't know that's Fed time, ya dig?)”

Trama feels that since he has established a fan base in Minnesota the time is now to start speaking on some of the issues the city faces. “I feel I've been here long enough and have been accepted by people specifically the Hip-Hop community so I can speak on issues and topics that reflect Minnesota and Hennepin County to the fullest.”

Trama will also be releasing his fifth studio album in July 2007, entitled "G.O.A.T" (Greatest Of All TRAMA). “That album will include my favorite songs and features from each of my previous albums including songs with Sadat X, Littles, Nature, Tragedy Khadafi, Royal Flush and it will also include 6 new bonus tracks.”

In addition to Trama’s projects, N.I.G's album is out now entitlted "Show and Prove.” “TREEZ just came home from prison so he is gonna be on my mixtape and we gonna start working on his album tentatively titled "From the PEN to the PEN".

For more information: www.myspace.com/tramagnum

2001 Client Roster: DJ Kamikaze

DJ Kamikaze (Atlanta)
Published in the Pulse of The Twin Cities

by Kandis Knight

Since 1996, DJ Kamikaze, aka Eric Pugh, has been a local player in various Hip-Hop scenes. He moved to Miami for a few years but came back when his life began spinning out of control. “When I was in Miami I was thugging. I was selling weed and shit. I was hustling trying to get money any way I could. That was when I was modeling, I was trying to get on the scene there. I was only 19,” said Kamikaze, now 27. He woke up after looking down the barrel of a loaded gun.

“I was being robbed and I was going to pull my trigger, but he already had his gun pulled on me. I thought I was going to lose my life. That made me quit selling.” At that point, Kamikaze’s brother, Logic One, stepped in to intervene. “I was out of control and he let me know I had to change or I would die. I had a messed up attitude back then. It was the Master P days and I thought I was ‘bout it.’”

Kamikaze’s older brother felt his scratching was out of control, like his life, at that point, and that’s where Eric Pugh got his stage name, Kamikaze. “My brother told me to channel all that attitude into my DJ-ing.” When Kamikaze returned from Miami, he got his own turntables and started amassing vinyl. “I pictured all the DJs I saw in Miami. I once saw DJ Kraze before he blew up as the big turntablist he is. He was at this club DJ-ing, he mostly was playing jungle and house, but he started scratching and it freaked me out. He was like the first person I saw doing advanced scratching live, and I had no idea that the technology had advanced to that point to allow us to do that with turntables. That inspired me.” Kamikaze worked to perfect his craft for two years before fate stepped in.

“This guy walks into the job I was working at in Minneapolis one day and he is wearing this DMC jacket and he had Techniques. I had been watching DMC video because I love the DJ battling and the advanced scratching. And I love to scratch—that is my thing—but at the same time I love to rock a party and mix and beat juggle. Well, the dude I ran into was the legendary IXL.”IXL became one of the most influential DJs in Kamikaze’s life.

“King IXL kinda mentored me. I got to give him credit for that. I thank him because he showed me the ropes. He came through and blew me away. He came to my crib and did all of his shit and I was so overwhelmed by his talent, it inspired me to work really hard to get to that level. DJ Abliities (Rhymesayers) was also someone I admired. He was always up at Fifth Element.”

The harder Kamikaze worked to perfect his craft, the more doors opened for him. “God has favored me so I have to respect it. I don’t take anything for granted. I appreciate life for what it is and I watch the signs. That is my motto. God puts signs into place for us to follow. If you see those signs and you read them correctly it is to help guide you through life. If you do good and follow those signs you will get your rewards, but you have to play the cards right. If you believe in God and stay positive, it is going to happen.”

Kamikaze successfully channeled all of his negative energy into his DJ-ing. He stopped running around with his friends “doing dirt,” and DJ-ing took over his life.

“After I started getting good I ran into some friends who were rappers. We would have freestyle sessions all the time and that started Wolf Pack One. We did shows all around the Twin Cities for two or three years. We opened for Trick Daddy, Trina, 112, Rob Base. After two years Wolf Pack One broke up and I hooked up with The C.O.R.E. because I also liked spoken word. That is when I met Toki Wright, and the next thing I knew they wanted me to DJ their parties. Then Chaka (I Self Devine) hooked me up with Beyond (Musab).”

Before he knew it, his career was in overdrive. “I started performing with Musab, I DJ-ed in Minneapolis for about five years total. I had done shows with Wolf Pack and after I met King IXL I started learning stuff with him and going to more local Hip-Hop shows.

I saw other DJs, DJ Stage One had an influence on me. I was in the GBA (Ghetto Basketball Association) and Stage One was the DJ.”

Kamikaze and Musab’s relationship grew due to their shared love for music. “Musab would come through, and the way we clicked was perfect. We vibed off each other perfect. He would come to my crib and we would go digging through all my records and he would pull shit—anything—even experimental stuff like my old jazz records. We just started experimenting in my basement. That was the first time I worked with an artist and we dissected music and put together a set with records. He utilized me better than any artist I have ever worked with.”Kamikaze and Musab started doing a lot of shows together.

“He would get me ready for these shows and I would have 10 to 15 record sets for him. Along with his music, we would mix it all together into 30-minute sets. He would let me shine at certain times and our vibe started clicking. Then we went on the God Loves Ugly Tour. After the tour was over, Stress calls Musab and says ‘do you want to open for Ludacris in Milwaukee?’ That was one of the best shows ever, and then I found out we were opening for 50 Cent immediately following that. This was right before he dropped Get Rich or Die Tryin.”

After opening for 50 Cent, Kamikaze’s distaste for Minneapolis reached a boiling point. “My brother graduated from art school and moved to New York. The house that we were living in started to get tough for me to live in alone. Everyone wanted to move in with me. But I was not trying to live with anyone, I was actually getting sick of Minneapolis.”

I asked Kamikaze earlier to comment on the local scene—he refused. As the interview went on, however, he began to nestle deeper into the lazy boy recliner and open up more, recollecting intricate details of his life. I sensed Kamikaze was getting ready to change his mind about not commenting on the Minneapolis Hip-Hop scene.

“You know, I got a lot of respect for the Hip-Hop scene here, but there’s something missing. I don’t know what it is and maybe it’s going to take a rapper to put Minneapolis on the map and that might change the way everybody is, but there is something that is limiting Minneapolis from blowing up. Almost every other city in the country has no respect for Twin Cities Hip-Hop.” Kamikaze clarified that he separates the commercial scene from the underground scene.

“The underground scene [nationwide] respects the Twin Cities because of Rhymesayers. Detroit didn’t get a lot of respect [on the national commercial rap scene] and it took someone like Eminem to put Detroit on the map. I bet that changed the whole city. I think that is what needs to happen for Minneapolis.”

Kamikaze went on to say that he knows many talented emcees in Minneapolis, “but no one has the real drive and determination to be the next best thing.”

While his DJ name now contradicts his now mature demeanor his tone readily turns reflective. We talked for a long time about Minneapolis Hip-Hop. Then he took the conversation a few levels deeper. “I feel like I’m right in the middle of rap versus Hip-Hop. Rap is mainstream Hip-Hop, which, as a DJ, I like a lot of rap because it bumps the club. I feel like I am a really good club DJ and I want to take those elements and put them into my arsenal. There’s a lot of different music I feel, from get crunk stuff to reggae to more up tempo music. When it comes to Hip-Hop, that’s when my turntablism comes into play. I got love for Hip-Hop too, and that’s where my scratching and beat juggling and turntablist techniques come into play. I’m right in the middle of both. There are a lot of DJs who are only one way, they are all about Hip-Hop and they are anti-mainstream. There are a lot of club DJs who can barely scratch and can’t mix and all they do is play the mainstream music over and over again.”

Kamikaze, who brags about being the very first customer through the door when Fifth Element opened, did eventually move to Los Angeles, and that was when his professional music life really started falling together. It seems there’s a small community of Twin Cities Hip-Hop transplants living in LA and Kamikaze found his niche there.

“I am friends with the Abstract Pack, and two of its members formed The Braille Method out in LA.” Having connections already in place in LA made life easier for Kamikaze. His luck got even better when a Scratch Academy, like the one in New York (founded by the late and great Jam Master Jay. R.I.P.) opened in Los Angeles. “I am an assistant at the Scratch Academy in Los Angeles,” proudly dotes Kamikaze. On Sundays Kamikaze got a DJ gig spinning Hip-Hop instrumentals for a church that belongs to Grammy Award winning Gospel producer Kirk Franklin.

Kamikaze didn’t realize the church was so special until Franklin himself walked up to Kamikaze on his first day of work. By being in his presence and hearing how he told his story, I can tell the storm that originally gave Kamikaze his name had passed. Kamikaze works closely with local Hip-Hop fashion label, Underground Music and Fashion, and you can find everything you’d like to know about Kamikaze at UMandF.com or by visiting djKamikaze.com .

2001 Client Roster: Nocturnal Street Promotions/ DJ Brother Jules

One of my early client's was Nocturnal Street Promotions and DJ Brother Jules (Prince's DJ from Oct 1991-Oct 1992).  

Nocturnal Street Promotions needed help with proposals, marketing and creating Brother Jules extensive database.  While working with Nocturnal Street Promotions, I learned alot about local street promotions as well as National and International promotions.  

Some of Nocturnal Street Promotions clients included Bad Boy Records, BLUE FLAME Marketing and many more.  

2003 Client Roster: DJ Chuck Chizzle

DJ Chuck Chizzle (Minneapolis)

Published in The Pulse of The Twin Cities

by Kandis Knight

DJ Chuck Chizzle can be called a "Prince" if we were to classify him under the banner of local hip-hop royalty. Two Kings in the local hip-hop game groomed him since he was a kid. He is the son of old school disc jockey DJ Chuck Chill Out, and a true Twin Cities hip-hop pioneer, Travis "Travitron" Lee, mentored him.

DJ Chuck Chizzle hosted Friday Night Live on KMOJ for two years before settling in with the Beatmasters on B96. But don't get it confused, his roots are underground and his DJ crates are stacked with street hip-hop you won't hear on B96 or even at your local Best Buy store.

Kandis: When did you start DJ-ing? Who taught you?

DJ Chuck Chizzle: I started back in 1993. Travitron and my dad used to DJ together back in the days and I used to bother everyone to teach me how and finally Travitron told me he'd teach me but I had to get my own mixer. Six months later I was DJ-ing at an old club called The Industry.

Kandis: Your show is still on the air on KMOJ right?

DJ Chuck Chizzle: Yes, Del Dilla is still doing the show, I still have my finger in the show as far as music goes, I still am in the studio with him from time to time kicking back.

Kandis: What type of equipment do you use?

DJ Chuck Chizzle: Standard Technic 1200, Vestax Mixer, Digital Eight Track, MPC 2000, anything I can get my hands on.

Kandis: How do you feel about the new CD turntables?

DJ Chuck Chizzle: I have mixed feelings, it is a good thing because no one is trying to pay a DJ what they are worth nowadays and it is hard carrying 500 pounds of records.

Kandis: Is there a difference between radio, party, mix and scratch DJs?

DJ Chuck Chizzle: There is a very big difference. Radio DJs play cuts just whatever is a hit. A scratch DJ is a form of a battle DJ. Scratch DJs are off into the break records, they are trying to make the beat with the record versus just spinning records. I think what is really missing from the game is that nowadays you are either a battle DJ or you are a mix DJ.

Back in the day you had to be able to do both. DJs didn't only rock the club, they had an emcee they DJed for, so they would do shows together. Somewhere in the show the emcee would step aside and let the DJ do his thing for like five minutes. Nowadays there are just club DJs and battle DJs. I think the two should merge again we are really missing it.

Kandis: How do you classify yourself?

DJ Chuck Chizzle: I grew up as a party DJ but I was always fascinated with battles because it is amazing what you can do with just two records. Listening to DJ Jazzy Jeff do his thing or to go to a concert and see the DJ do his thing like DJ Evil E when he came here with Ice T.

Kandis: How do you stay on top of new music and new trends in music?

DJ Chuck Chizzle: The streets set the trends so I keep my ear to the streets. If you are a part of that lifestyle you will never fall behind. Some people watch BET or MTV uncut late at night or surf the web for new music or meet people from different parts of the country who bring new flavor up here. It is not the radio that decides the hits, it is the people who decide the hits. Once a song gets on the radio it is done.

Kandis: Who is your favorite DJ of all time, why?

DJ Chuck Chizzle: I got to say all of the DJs who came before me. My dad, Chuck Chill Out is one of the best. I grew up listening to Travitron, Disco T, Mike Mack, DJ Jules, The Wizard, Ray Seville. I used to listen to the Hip-Hop Count Down Report, Rap Radio with Mike Mack, Brother Jules and The Black Out, Derrick Delite and Wizard, Travitron and the Hip-Hop Shop. There used to be hometown hip-hop showcases at The Capri Theater before local hip-hop got downsized. I have been a student of the game for a long, long, long time. Just to have my name mentioned among the greats is mind blowing.

Kandis: How do you read a crowd?

DJ Chuck Chizzle: You hit them with fillers until the crowd gets their "buzz on," then you hit them with the hard cuts. I start the night out with B side songs and as the night heats up you hit them with the songs they know.

Kandis: What is your advice for upcoming DJs who are finding it hard to get some respect out here?

DJ Chuck Chizzle: Don't stop. Get out here and pound the concrete, be where things happen.

Kandis: Do you get a lot of local emcees still give you their music? What is the quality of the submissions like?

DJ Chuck Chizzle: Yes, some are really good and some I listen to and I am like "OK I don't think this guy put his best foot forward," but I listen to everybody. If it is hot it is hot.

Kandis: How can local emcees get their music played on the radio?

DJ Chuck Chizzle: There is a segment every Friday on KMOJ called “Get Down with The Hometown.” All we ask is you put your best foot forward. Just drop it off at the radio station for Del Dilla. There is also a segment on B96 featuring local music.

Kandis: For those DJs and emcees who want to get in touch with you?

DJ Chuck Chizzle: They can e-mail me.

2001 Client Roster: Mazta I

Mazta I

Published in The Pulse of The Twin Cities

By Kandis Knight 

On an extremely cold night, I decided to jump in my car and venture deep into St. Paul, MN to have drinks with a spit-fire, thug, intellectual from Chicago named Mazta I, whom I have had my eye on for awhile. Rumor had it that he would be releasing a full-length album come spring and I wanted to get a sneak preview.

The production on the twelve tracks I heard was nothing short of dope. I was floored when I was told that Mazta produced his album on a $700.00 E-MU synthesizer and Protools. “The E-MU has like little keys, they have different sounds and octaves so you can change the range, they sound like little samples,” said Mazta.

Whatever he used, it worked like a charm. I’m sure it didn’t hurt that he also had a lot of constructive guidance from local Hip-Hop veterans Carnage and Eyedea. Carnage has kinda took Mazta I under his wings. “I think Mazta I is like a multi-talented goldmine waiting for exposure,” explains Carnage.

“He has the ability to write good songs (exceptional rhymes), sing, produce beats, and totally arrange his music in the way he sees as most appealing to himself. I think he’s an amazing freestyler and songwriter and works best under his own influence and finds comfort in musical surroundings he can manipulate to fit his own needs. He can elevate to any occasion and find his own moments to ‘shine’ even in the presence of those musicians he considers greater than himself. He’s both grimy/raw and intellectual. He’s extremely versatile and he has a burning desire to succeed as an artist. He just needs to formulate a plan of how he will achieve his goals.”

According to Mazta I, his solo debut album Thank the Lord and the Sword took a couple weeks to write and a couple months to lay all the tracks. “Artistically this is my signature project so I want to show people my potential. I want to show people I can do shit other than just freestyle. I express myself at the same time, you know, get some shit off my chest. Relay certain
messages here and there, you know what I mean, so people can interpret in their own minds. Basically messages of positive elevation and perseverance out of bullshit.”

The title of the album also has a significant meaning to Mazta I who has gone through his share of bullshit. “At the end of the day you have to thank the Creator even for the pain we feel because you don’t know what happiness is unless you have pain. I thank the Sword at the same time. You got to thank The Sword because it is your weapon to cut down the negativity, whether it is within yourself or outside. The Sword can stand for any type of weapon. The Sword is your mind, your word, your actions that you manifest. The Sword is whatever it takes to defend oneself or fight for a cause that is positive.”Mazta I has been busy locally doing music and networking and focusing on the positive, but he does have one request.

“I want muthafuckas to focus in on me because I got something to say. Radio music is bullshit. That shit fucks with my head. You know what I mean? Some of these rappers will get millions of dollars to promote some bullshit, cars and jewelry, even the degrading of your women, your brothers and people in general. Once mainstream made that shit cool, and it became uncool to be artistic—I had it.”

Another local emcee who has had it out a long time ago with mainstream music is I Self Devine. I Self dug Mazta I enough to have him appear on two of his tracks for his new album to be released in the spring also. “Mazta I is a brother who has the gift and the curse of having too much talent and tools at his disposal,” claims I Self. “I feel his future is as bright as his actions. He will go as far as he wants to go. His life and upbringing provides his music with enough topics to last him several albums. Work ethic plus talent equals unstoppable.”

In the future, you can catch Mazta I on the Plain Ole’ Bill mix CD. “I’m looking for collaborations. Right now I really want to work with Prizm and Vitamin D,” said Mazta.Keep your ears out for Mazta I’s album Thank The Lord and The Sword coming this spring. After listening to all 12 tracks, I’m comfortable saying this album is well on its way! Mazta I is definitely someone to watch.

www.myspace.com/maztai

2000 Client Roster: Sarah Hindsley

Artist Bography: Sarah Hindsley (Minneapolis)
By Kandis Knight

"When I was young I had a lot of really vivid dreams and I didn't understand them. I was afraid of them so my parents took me to see a medicine man. We were told all about my destiny. I always knew about my gifts from when I was young because of this." Sarah Hindsley speaking about her extraordinary talent

Sarah Hinsley's gifts are evident the moment you spend some time with her music. You will rejoice while listening to her lyrics because they will liberate your soul. You will ponder life because of the way Hindsley masterfully weaves her music through all of the issues plaguing contemporary American culture. You will connect with Hindsley because she speaks to all of us about striving for a better life by using the avenues of R & B, hip-hop, gospel, jazz or Native-American singing. Hindsley uses whatever it takes. "Hip-hop is huge but it is my way of getting my message to my people. I hold alot of power in my mic," said Hindsley.

Let the fact that she comes from a Native American reservation only add credence to the fact that she may very well be a messenger of our time sent to inspire and elevate us to a higher level of being through her music. It is interesting that Hindsley comes from a tribe called the "Lost Tribe" a.k.a. St. Croix Ojibwe (Anishanabe) since her mission is to help us all find our way. Sarah Hindsley is here like a guide to light the dark path.

"I believe my music helps people by showing people that if you do have dreams and goals that they can be obtained. I come from a very small poor community. It is hard keeping our traditions. I believe that this is just a beginning and that I do have alot to say and there is alot that I am not afraid to say such as our history and what has happened to us and at least tell our younger people the truth about what happened to us."

To Hindsley, her music is all about getting her message of hope out to people and people have been listening to Hindsley for along time. In 2006, Hindsley was nominated for a Nammy Award (Native American Music Award) for best R&B/Hip-Hop Artist. Hindsley was stiff competition to a group of all men because she has been singing and competing at Pow Wows all across the nation for years. "My new album is highly anticipated in my community. People have saw me perform before because I was raised for competition and royalty since I was 5-years-old. I am no stranger to being in the spotlight. I am from the thunder clan and our people have always been leaders and healers."

Sarah Hindsley's debut album (untitled at the time of publications) is expected to be released June 2006 and was produced by Matt D for Trak Citi Productions (http://www.trakciti.com/). For more information about Sarah Hindsley or to join her fan club, for booking or to purchase Sarah Hindsley's music visit: http://www.sarahhindsley.com/ .

2000 Client Roster: Latosha Evans

Artist Biography: Latosha Evans (Minneapolis)
By Kandis Knight

Latosha Evans’ gift to sing was evident to her friends and family when she was two years old. “Latosha showed strong music potential. She had the ability to retain lyrics and she showed a sense of perfect pitch since she was very young,” explains Tony Evans, Latosha’s uncle.

Music ran in the Evan’s family. Latosha’s grandparents were in a group called The Denver Traveletts and her uncle was in a famous group called the Union Harmonizer. These deep musical influences have played a major part in Evans’ musical development.

“As far back as I can remember Tosha had this passion to sing. I remember when we would walk down the street, and for no reason at all, Tosha would burst into a song. I always knew she had talent, and that someday it would pay off,” comments Jermaine Evans, Latosha’s brother.

Singing became a part of Evan’s life early, and she has never looked back. Evans studied the likes of Whitney Houston and the late songstress, Aaliyah as a pre teen. “I would spend countless hours learning all of their lyrics, their runs and their vocal style,” says Evans.

All of Evan’s practice and natural ability came to fruition when she met Karl Sutton. “There is just something about Latosha that is magnetic,” describes Karl Sutton, Evans’ manager and CEO of KAM Records (Minneapolis). Sutton was persuaded by Evans’ talent and the decision to sign her as the label’s fledgling artist was made.

These days you can find the young singer busy in the studio crafting her sound and completing her debut album (untitled) scheduled to be released in 2007 on KAM Records. Evan’s debut album will feature top notch production by Twin Cities hit makers, Trak Citi and others producers.

“Latosha is a young singer that is just beginning to see her potential. She has a lot of soul in her voice and should be poised to do big things with her first album. She definitely has a sound and is going to be developing a show to match the voice in the near future,” remarks Trak Citi CEO, Matt D.

The future looks bright for this Twin Cities artist, who is holding down the number one spot on I Sound.com. In 2007, expect to see Evans emerge on the scene with collaborations with Twin Cities heavy weights including, Trey of the Twin Cities R&B group, VIP. Evans will also be performing around the Twin Cities with Trak Citi and it’s affiliates.

For more information about Latosha Evans or for booking, please visit http://www.kamrecords.us/

Written by: Kandis Knight
Music Journalist

2000 Client Roster: Delfaireo

Artist Biography: Delfaireo (Atlanta)

Georgia producer Delfaireo is a twenty four-year old production wiz kid whose talent and drive will not allow him to fail. An Audio Engineering graduate of the Musicians Institute in Hollywood California, Delfaireo is a professional in the studio and in the music industry.

“I play everything by ear,” says the confidant shy guy, who picked up his uncle’s guitar at 8-year-old and never looked back. He always seems to be in a world of his own, like most musicians. “I make up to ten quality tracks a week I have been making music for over six years.” Delfaireo’s musical tastes developed early. “I grew up listening to Cameo, Isley Brothers, Parliament and Al Green with my uncle.”

“Beats pop into my head throughout the day and I envision myself being in a session and I have to make the track on the spot,” he explains. “My style is street and grimy but I can switch it up, I try to do everything from rap, pop to rock.”

Delfaireo currently works along side artists Brim (History in The Macon Productionz, GA), Schoo-B (pronounced Scooby) (Tone Struck Records, LA) and R & B artist Chris Hill (Unsigned, LA) and he is positioning himself for major placements in 2007.

“It’s hard to make unique music now a days because they make music production equipment that has the same sounds like the Phantom and the Motif. It makes producers like me have to get extra creative.”

Delfaireo's first signed production is the hot joint titled "Put Ya Hands Up" performed by Schoo-B, an upcoming artist signed to Warner Bros.

For more information: http://www.myspace.com/delfaireo or email maconmusic@gmail.com

1998 Event: The Gathering

I was the project manager, staff writer and publicist for this mega event, envisioned, planned and successfully executed for 50,000 women in the upper Midwest by a three person team, I was a part of.

Sponsored by Rainbow Foods, WCCO TV, Northwest Airlines, Airtouch Cellular, American Family Insurance and the Star Tribune.