Bonus Cut Presents: An Interview With Open Mike Eagle

 

The past year has been good to L.A. art-rapper Open Mike Eagle. Dark Comedy, his fourth album, was released this past June to much critical acclaim. Due to this, his already loyal fan-base has grown and continues to do so. Having signed a multi-album deal with Mello Music Group, we can expect even more from Mike as we transition into 2015. Whether you listen to Dark Comedy, an earlier project such as Unapologetic Art Rap (2010) or are familiar with his work with HellFyre Club and Project Blowed, Mike’s music has a way of blending melancholy with moments of hilarity and reality that are political, funny and downright intelligent. His Podcast, Secret Skin, combines these elements, giving the listener unique insight into the business side of hip-hop that is expertly mixed with priceless tour stories and other humorous anecdotes.

Speaking from the grisly depths of the Mac’s Bar basement in Lansing, Michigan, I expected him to have an energetic personality because, as he explains in the interview, I had bought into the aesthetic he created as an artist. Mike was very upfront about some of the occupational realities of being an independent MC. For example, you need to know the lay of the land when it comes to booking a show and setting up a tour. Additionally, making music comes with familial and financial responsibilities, something that didn’t exist in the same way when he was a young twenty-something. He spoke candidly about these realities, and how they serve as motivation. As we transitioned to more important topics, popular culture, tour stories and his natural comedic self instantly came to life. What I learned from Mike is that rapping and being on the road is still fun for him, but there’s more to it now. Additionally, I reaffirmed the thought that at some point, I’d like to go on tour, or a long road trip, in order to compile hilarious stories about places that no one has ever heard of. As a fan of Open Mike Eagle, it was an honor to have the chance to pick his brain and hear what he had to say.

Bonus Cut (BC):  You got started on the road, kind of paving your own way, right?

Open Mike Eagle (OME):  It wasn’t that I was making my own way. It was that I was pledging allegiance to the cause and operationally learning how things work. On my first tour, I literally followed Busdriver and Abstract Rude in my own vehicle, not getting paid anything for the shows and just trying to make money off merch. That was the start of my career more than anything else. Showing them, the promoters and audiences, that I was dedicated enough to do that opened up everything. Or began to open up everything.

BC:  Just showin’ up?

OME:  Yes. Showin’ up, executing, not complaining and learning the machinery.

BC:  What’s the machinery?

OME:  In that sense, the machinery was having lines into promoters and knowing where and how to book your tour. It was me learning how artists work with agents and how artists without agents work with promoters. Some of those same promoters brought me back when I started to get out on my own. Understanding how you had to be prepared promotionally as an artist. I have to have my own imaging, a flyer design. I have to know if I’m booking a show, who’s the best local talent to have on the bill that will bring more people and make the show make sense. It’s all of those different things. The other side of it is that maybe you get a major deal right off the top and let other people figure it out. Or, you get super good on the Internet, go the Youtube route, build a following that way and let other people figure it out. For an independent musician, on the DIY tip, you have to learn how all these different moving parts work together or how that attempts to equal success.

BC:  So it’s showin’ up, building relationships and not complaining?

OME:  Not complaining and executing. Trying to take the lessons onto the next run. Trying to build fan bases in different markets…

BC:  Does that change at all now that you’re a headliner?

OME:  Right now my strength is more in putting out more product at the platform level I have so I can attract more ears. I have management now. I have booking now. Now that those things are in place, I can really focus on making the strongest product possible and bring more people to the table.

BC:  Do you pay booking and management out of pocket?

OME:  That’s the thing. Most of the components of the music business, at least in my experience, is that everybody kind of pays for themselves. If a booker feels like they won’t make any money with you then they won’t book you. If a manager feels like they won’t make any money working with you, then they won’t work with you. Everybody kind of brings opportunity to the table so that we can all eat.

BC:  Is being a rapper lucrative for you?

OME:  I’m not making as much money as my last job that used my degree. But I’m making a decent amount of money. There are rappers that make a lot of money. Not even all the mainstream artists. There’s a lot of rappers that people don’t even really know about, but their business is set up right. There’s still a lot of money to be made in selling music. Digitial, physical and otherwise. There’s licensing and a lot of different revenue streams. It’s never going to be like it was when people were buying lot’s of CDs, but it’s still a billion dollar industry and believe, it trickles down in all kinds of ways.

BC:  Are you trying to license your music?

OME:  Always. Every independent artist should be trying to do that. There’s a lot of movies, television and people who want music, but don’t want to pay for what mainstream music costs. People should consider that as a revenue stream for sure.

BC:  Do you miss home when you’re on tour and vice versa?

OME:  Yeah I do but being on the road is such an important part of my job. You kind of have to turn down the natural, human emotions about missing home. If I stay home, I’m not working as hard or making as much money as I could be and things like that. On tour I’m getting paid to perform, selling my music to people and reaching new audiences in that way. There’s a real benefit to pounding the pavement if it’s set up right.

BC:  Do you have to practice your raps?

OME:  If I haven’t done a song in awhile I have to go over it. When I first started constructing the set that I have now-as much as it pained me to do it at first-I realized it was a good idea to practice my performance at home. Just turn it on, not look at it and just do all the songs. It’s just a muscle memory thing. I don’t have to, but it helps me to stay sharp.

BC:  Does that mean you go back and listen to your music?

OME:  I listen to my music a lot when I’m making it. Before I share anything that I’ve made with anyone, my management, the producer I made it with, anybody, I’ve heard it 50 times at least. By the time something is an album of mine, those songs I’ve heard hundreds of times. Usually by the time it’s out, I’ve stopped listening to it. I like to distance myself from it emotionally.

 

BC:  At this point, rapping isn’t just a hobby for you. This is a job.

OME:  Yep, this is it.

BC:  With that, how do you balance hip-hop being something that you love but that it’s also a job?

OME:  I mean I get paid more the better I do at it. Even just in terms of it being something that satisfies me. The more pure of a vision I can have, it’s better all the way around. I’m not in a position where it would suit me to try and do what other people are doing. Except in the licensing world, that helps. In terms of my appeal, my music selling and people coming out to shows, the closer I can get to what I’ve built as my own aesthetic, the more successful the projects and the songs are. To me, I don’t have to balance anything. I just have to go even harder.

BC:  Given that, where do you see yourself in five years?

OME:  Ummmm…on television.

BC:  Speaking of T.V., are you a fan of the show Community?

OME:  The first two seasons, definitely. I didn’t watch too much after that, I don’t know if it got any worse. I stopped watching NBC’s Thursday nights when The Office went away. I love Parks & Rec, but The Office was the thing that anchored me to that night. I wasn’t able to keep up.

BC:  I had to ask about Community because my friend loves the “Inspector Spacetime” line in your song, “Middling.”

OME:  No doubt! The first two seasons, I was all about it, man!

BC:  What are some of the shows you’re watching right now that you think have the best writing?

OME:  I really enjoy Veep. I think Veep is an incredible television show. I really enjoyed Fargo this year. True Detective was great. Breaking Bad was amazing.

BC:  It’s weird thinking about how Breaking Bad only just ended this year. It’s been a long year.

OME:  Starting with Lost, I’ve kind of always had a television show to come back to. Now I kinda don’t [that Breaking Bad is over]…Ohhhh! I’m trippin.’ I forgot about House of Cards and Orange is the New Black! Personally, I love both of those shows. Binge watchin’ all day.

BC:  Yes! I can’t get over Kevin Spacey in House of Cards.

OME:  Oh yeah, he’s amazing!

BC:  Do you have a memorable tour story you don’t tell often?

OME:  I performed in a barn once. That was a crazy story. There’s this town outside of Fresno where for some reason there’s this weird, strange pocket of underground hip-hop fans and they booked this tour I was on. I wasn’t in a position to get much information on where we were playing and when we showed up, it was literally a three walled barn in the middle of a field. It was nighttime and we did our show at a barn, with a generator and it was very fucking frightening. There were no bathrooms or anything. I remember at one point, I had to go piss. I was walking out to the field to piss and I heard some animal. It sounded like a howl or bark, and I just walked back to the barn. I didn’t even pee. I didn’t know what to do. You know, you just end up at a barn sometimes.

BC:  Show up, it’s just what you do!

OME:  That’s right, and you don’t complain when you’re drinkin’ beers out of a station wagon, know what I mean? Just do it, just try not to do it again.

Tagged , , , , , , ,

Bonus Cut Poetry: “Work in progress: part II” by Abby Conklin

roof

This is Bonus Cut Poetry, a series that features original poems by Bonus Cut staff, artists and YOU! In this series, our mission is to bring people together in poetry, share stories and display wonderful artistic pieces. If you would like to have your poems in the next Bonus Cut Poetry installment, just email us at bonuscut@gmail.com

This installment features Bonus Cut’s
own Abby Conklin.

Work in progress: part II
By: Abby Conklin 

I strapped up with wings
called myself a hero
and jumped off the roof
like I had urgent business
at the bottom.  When I drink enough,
I disconnect from the vodka,
like you with your wedding
ring, dangling like a fuck you
to the women to come.
One day, maybe I’ll feel lucky
enough to be questionably lucky,
sleeping in the same bed as someone
I can endure the morning after
being unconscious after
a day of being human after
pretending to know lots of things
in actuality I don’t. I tried
to check my bags at the door.
I tried to fall down, drunk.  I tried
to knock, walk in, and sit down
without making a fuss over the size
of the cushion on the chair,
and the clots of dust along its dimples.
I know all the words this time,
I swear.  Sweat it out with me.
I love you.

Tagged , , , , , ,

The Gospel of King Kendrick Lamar

KendrickLamar1-500x460

photo credit: karencivil.com

By: Justin Cook

Kendrick Lamar’s presence speaks for itself. The man is a poetic, and artistic, genius. No one else in this current formation of the universe has bars like Lamar. For a lot of hip-hop heads, he is the best emcee that has graced the mic in a long ass time; some even go as far as calling him the “resurrection of Tupac” or the “savior of hip-hop.” It’s like he’s on some Jesus-level shit, or a secret Super Saiyan, or possibly The One who will rescue us from The Matrix. I really don’t think anyone else could get away with having such an otherworldly, almost godlike, reputation. Kendrick is that dude. And in all honesty, he deserves it. The man has been laying down solid tracks since day one, when he still went under his original moniker, K-Dot. Now, I don’t like to claim anyone to be the “greatest,” but without a doubt, Kendrick is sure to be one of the greats, and I will break down why in this week’s installment of “The Poetry Of Kendrick Lamar.”

“Fuck Your Ethnicity” [Section.80]

This was the first song I heard by Kendrick Lamar, and still stands as one of my absolute favorites. The beat, the lyrics, and Kendrick’s peculiar flow: all a testament to the man’s wizardry with words. The opening lines always send a shiver down my spine: “Fire burning inside my eyes, this the music that save my life/ Ya’ll be calling it hip-hop, I be calling it hypnotize.” From that point forward, I’m straight hypnotized, rocking to the beat, awaiting the next sequence of powerful imagery. The way Kendrick moves from line to line through metaphor and double-speak is quite brilliant:

“My details be retail, man I got so much in store/ Racism is still alive, yellow tape and colored lines/ Fuck that, nigga look at that line, it’s so diverse/ They getting off work and they wanna see Kendrick/ Everybody can’t drive Benz’s and I been there/ So I make it my business to give’em my full attention, ten-hut!”

These bars are proof that Kendrick is “kicking that math, dropping that science like an alchemist.” They’re pure gold, shining like an angel. Good God Kendrick Lamar! This “business” is the scripture. I love how he flips “yellow tape and colored lines,” referring to crime, violence, and racial boundaries, with “look at that line, it’s so diverse,” referring to the people lining up to see Kendrick live; these folks break the “yellow tape and colored lines” and come together through the power of hip-hop. And as Kendrick has thoroughly “detailed” in this song, he’s about the give the people his full love and attention. Hallelujah!

“Faith” [Kendrick Lamar EP]

This song is just real as fuck, simple as that. It doesn’t use any elaborate metaphors or word play to impress the listener. It simply speaks universal truths of the human experience: struggle, death, temptation, and the power of faith. At its core, this song is all about maintaining in the face of adversity. Kendrick highlights his own struggles of gaining faith despite being “a person that never believed in religion,” but also extends out into a wider narrative: the struggle of black oppression. This oppression is intimately described in the second verse, which begins “Single black parent from Compton raising children of 4/ That’s 4 innocent bastards cause Papa they don’t know.” I love the way Kendrick blends his narrative seamlessly with the narrative of his people, or in other words, using his own experiences to speak about greater social and economic struggles. We need more of this in not only the hip-hop community, but also in the greater reality of humankind. This song is truly a beautiful piece of poetry that reminds us “the next time you feel like your world’s about to end/ I hope you studied because He’s testing your faith again.

“Cartoon & Cereal”

The whole aesthetic of this song is unreal. It’s so menacing, dark, and bleak—the feeling of a tortured existence. This aesthetic in and of itself speaks volumes. The track, aptly named “Cartoon & Cereal,” details Kendrick’s paradoxical childhood in Compton: “Now I was raised in a sandbox, next to you and her/ You was holding the handgun, she was giving birth.” Just those opening lines display the lyrical mastery of Kendrick Lamar. This “sandbox” comes to represent the whole of Compton, a small section of L.A. where life expectancy for young men is quite young, due to gang violence, lack of resources, drug addiction, and systematic oppression. These men never quite grow up, or grow out of this oppression, leaving them as children trapped in a metaphorical “sandbox.” The next line referring to the “handgun” and “giving birth” represents the vicious cycle that perpetuates this oppression. The handgun symbolisms the absent father, who is presumably out gangbanging instead of watching his child being born; the fact that it is a “handgun” invokes the idea that this violence is “handed” down from father to son, a reoccurring theme throughout the song. On the other hand, literally, we see a mother giving birth. The concept of birth, which gives life through spilling blood, juxtaposed with the notion of systemic violence, reinforces the issue that black bodies are born INTO a cycle of oppression, which they themselves did not create. Rather, it is a creation of the State and perpetuated by social institutions such as prisons, media outlets, and government. As Kendrick comments, cartoons and cereal represent unhealthy food and mindless entertainment; these are the new “Opiates of the Masses” that allow us to be continually controlled by the powers at be.

“Holy Ghost (Remix) [Ft. Kendrick Lamar]”

I’m not a big fan of Young Jeezy, but I had to include this jam on my list. Kendrick snaps on this shit right here. Similar to the menacing vibe we find on “Cartoon & Cereal,” this remix again shows us Kendrick’s dark side. At first listen, this may seem like another rap song glorifying sex, money, and drugs, but it is actually the exact opposite. To me, it reads more like the struggle of maintaining your faith and positivity while living in a Capitalist world full of temptation: the Lexus, Rolexes, sexting, and beaucoup bucks. It’s a song where we can see Kendrick expressing his anger and frustration in being a hip-hop superstar and role model. It’s a side we rarely see of Kendrick, but one I believe is just as honest, and important, as his positive side.

I also highlighted this track for its use of sound and intricate structure. First off, the assonance and alliteration carry this verse through. It’s almost unreal how slippery the sounds are: “Tee-Tee and Tiana sexting/ Teepees and mansions I rest in/ Two T’s and Top Dawg impress with/ TV’s that play their investment…” That shit is wild. It’s so damn smooth, almost like driving in the back of a Rolls Royce Phantom Ghost. On top of all that, the whole verse is syncopated the exact same way; it’s straight mathematical. To carry the same flow throughout sixteen bars is harder than it may seem. On top of that, there are four lyrical “breaks” in Kendrick’s flow, signifying the next onslaught of poetic genius, all end with the same rhyme: burn, turn, vrrrrrm, learn. Most emcees can’t even come close to this kind of artistry and attention to detail, further proof of Kendrick’s lyrical mastery.

“Poe Man’s Dreams (His Vice)” [Section.80]

“Smoke good, eat good, live good. Smoke good, eat good, live good…”

This is the jam. A song you can just chill out and vibe to. After a long day of stressing, this is the track I can rely on to level me out. Again, it’s Kendrick spitting some wisdom, and he’s not being flashy about it: “I know some rappers using big words to make their similes curve/ My simple as shit be more pivotal.” Just sit back and listen. Plus, GLC’s verse on the outro is crazy. This is the Gospel. Cathedral!

“Sing About Me, I’m Dying of Thirst” [Good Kid, M.A.A.D. City]

This is hands down my favorite song by Kendrick Lamar. Actually, it’s one of my favorite songs of all time. It’s a masterpiece. It’s so raw. I could listen to it over and over again, all day, everyday. Within the narrative of Good Kid M.A.A.D. City, this song serves as an important, and intimate, moment. In each verse, Kendrick embodies a different voice—the third being his own—which shed light on the harsh realities of living in Compton. It’s just a beautiful song, spilling with great line after great line. And that beat! It’s so damn smooth. Plus, I love how the beat parallels the narrative, adding another layer of poetics. For example, the gunshots at the end of the first verse, which kills the speaker who can’t fully express what he “hopes” for, always tugs at my emotions; or, at the end of the second verse when the vocals fade away, despite the speaker who insists, she will never fade away. That shit is hard and gives this whole song another dimension of artistry. Plus, it seamlessly transitions into “I’m Dying of Thirst,” which illustrates the struggle of material vs. spiritual gain. Time to hop in that water and pray that it works.

Tagged , , , , , ,

Bonus Cut Poetry: Grown (pt 1) by Abby Conklin

black_and_white_striped_paper_staws_for_weddings_1_1024x1024

This is Bonus Cut Poetry, a series that features original poems by Bonus Cut staff, artists and YOU! In this series, our mission is to bring people together in poetry, share stories and display wonderful artistic pieces. If you would like to have your poems in the next Bonus Cut Poetry installment, just email us at bonuscut@gmail.com

This installment features Bonus Cut’s own Abby Conklin.

Grow (pt 1)
By: Abby Conklin 

I miss the thing I thought normalcy
was, before I grew up and started
blowing money on booze.
On board games.  On getting
laid, and in fact failing to even GET laid.

Men do not look
at me and think “damn.”
Damn
I would like to take her home.
Damn
I wonder if she used to pull
the crusts off sandwiches.
Damn
I would like to know how her skin smells
after she falls asleep.
Damn
I would like to know the sound of her breathing
on one hundred degree days.  The way she opens
doors with sticky jambs, or answers
the phone when a telemarketer calls.

“Why does she drink without
the straw,” I want to be wondered
about. “Why is she letting it poke
her cheek every time she goes
to sip off the rim that I wish
was mine?”

Tagged , , , , ,

Album of the Week: “Run the Jewels 2″ by Run The Jewels

f40a1fae

Daniel’s Thought

There was a point in 2012 when the hip-hop higher-ups decided it was in our best interest to experience a collaboration between longtime hip-hop pioneer El-P and Grind Time Atlanta legend Killer Mike.

Oh what a collaboration that was.

Killer Mike’s 2012 release R.A.P. Music was more than just a release. With El-P behind the 1’s and 2’s, Killer Mike was able to command a record that provided him the necessary tools as one of hip-hop’s elder spokesmen. On the flip side, R.A.P. Music gave El-P another notch on his belt as one of hip-hop’s most versatile artists. Long story short, both of them benefited from the collaboration, and both artists worked together like smooth butter over the perfect piece of toast.

In 2013, the two came together again–this time under the moniker Run the Jewels–to release a joint mixtape of sorts called, well, Run the Jewels. At 10 tracks deep, Run the Jewels is an exhilarating rush that’s innovative without sacrificing energy or suffering from hip-hop cliches. With Killer Mike’s baritone Atlanta cadence and El-P’s futuristic and intimidating delivery (both lyrically and production wise), Run the Jewels is a record that raises standards and snatches your jewelry all in one listen.

This year, they released their follow-up, Run the Jewels 2. As an official album release, this record feels more like an album than its predecessor. It’s distinctly split into two operating halves, and the production is cleaner without losing any of its gritty spit-in-your-face attitude. The opener, “Jeopardy,” starts off on that classic El-P space buzz–something that’ll throw you back into the Cold Vein days–and as Killer Mike cuts in, he makes it clear that nothing has changed. “Bad man chillin’, the villains is here,” he chucks. “No Jesuses here, I hear the demons in my ear.”

On Run the Jewels 2, El-P carries his own on every track. Although his flow has never been questioned (and why should it be?), there have been times throughout his career where critics treat him like second fiddle. With a very dense and metaphorical delivery about space and far-reaching fantasy stories, El-P is undoubtedly one of the most unique and talented MCs EVER. I would argue that Run the Jewels 2 isn’t one of the top examples you should use for this claim, but his moments come in bunches that clearly prove how smart he is as an artist. On “Lie, Cheat, Steal,” a haunting track that slowly jaunts like a Southern club banger, El-P opens it up: “Authorities have spoken, demanded your pure devotion/ Get magnetized to the ground while the falcons of murder close in/ I chose to go guano, yall know kinda bat shit/ The bright lights of fuckery stuck in me automatic.” Later in the verse, El-P explodes with double and triple flow bars, something he’s been doing since his Company Flow days (mind you, this is way before K-Dot’s time).

Elsewhere on the record, Run The Jewels stamp their brand all over the place. “Angel Duster” closes the album, and it moves like a trap beat that’s accompanying the Death Star. Slow boasting horns carry the flow, and in-and-out mechanics such as synths and chorus “oohs” help make the whole picture darker. With the Travis Barker-assisted “All Due Respect,” the harsh buzzes and spacey feels run parallel with a percussion mix that goes off on many vectors. “Oh My Darling Don’t Cry” follows “Jeopardy” and serves as the perfect “go HAM in your car” song that would make the predictable Diplo fancy a smile. Changing the scene a bit, if only momentarily, is “All My Life,” a track that starts with optimistic humming. The mood here is a bit more playful, with a dose of electronic organ notes that carry more of a “I could be friends with these dudes” vibe than a “holy shit they’re going to kill me” vibe.

What Run the Jewels 2 provides lyrically is intensity, maybe even more so than the debut. The downside here is that unlike their first record, there are very few instances where you see the two artists intertwining their bars in one verse, but that’s such a minute detail compared to the large picture. El-P’s characteristics are still here, and Killer Mike’s intricate methods of operation are ever present. If anything, this record provides more of a follow-up for Mike’s R.A.P. Music than Run the Jewels. On the aforementioned “Lie, Cheat, Steal,” he continues to put critics to rest:

“A revolutionary bangin’ on my adversaries/ And I love Dr. King but violence might be necessary/ Cause when you live on MLK it gets very scary/ You might have to pull your AK, send one to the cemetery/ We overworked, underpaid, and we underprivileged/ They love us, they love us (why?), because we feed the village/ You really made it or just became a prisoner of privilege?/ You willing to share that information that you’ve been given?”

If you’ve given Run The Jewels the credit they deserve, but haven’t yet picked up their second album, maybe you should get to your local music store and grab a copy of this. If you’re new to these guys, then start with their debut record–because who likes starting things out of order? All in all, everyone at some point should spin Run the Jewels 2, which is the perfect compliment to its older sibling that hits harder, gets darker and showcases hip-hop in a light where very little light is given.

Tagged , , , , ,

The Bump in the Night Beat Battle Recap

IMG_7512

By: Gus Navarro 

Hip-hop is a multi-faceted art form that can be difficult to categorize, and in my opinion, even more difficult to define. That being said, one thing that remains constant within the musical side of things is the presence of drums. In providing the tempo and rhythmic base for MCs to rap over, the beat has always been a key ingredient to hip-hop music. Hosted by the Lansing based hip-hop collective, All of the Above (AOTA), the Bump in the Night Beat Battle was a night full of on-point beats that made people holler and nod their heads in appreciation. Showcasing some of the best beat-making talent mid-Michigan has to offer, Bump in the Night brought old and new friends together, creating chances for fellow musicians to build with each other.

“It’s helping to get the creative juices flowing in Lansing,” said AOTA co-creator, Sareem Poems. “There’s artists here who don’t know about each other, and they’re getting a chance to meet and build possible collab opportunities. For us, it means the most to see this community come together and continue to build the hip-hop scene here in Lansing that people seem to forget about very easily.”

Consisting of four rounds, producers went head-to-head, each playing three beats for the crowd. Seated at the edge of the stage, four Judges, Seoul of the 61Syx Teknique B-boy crew, Matt Foust of 808 Ministries, KuriOto of the BLAT! Pack and Lansing legend, DJ Butcher, decided who moved on to the next round. These events can be difficult for judges because much of it is open to interpretation. During a pause in the competition, Seoul broke down the intricacies of judging a beat battle.

“All four judges are looking for something different. Each judge is looking for a certain thing in the beat so it changes things when it comes to judging. I’m looking for creativity and flavor,” he explained.“It’s a little bit different because my flavor isn’t going to be the same as somebody else’s flavor. So you gotta look at what appeals to everybody while also thinking about what catches your ear.”

IMG_7532

Nowadays, technology allows even the most average Joe the ability to make a beat. Anybody can press a button that sounds like a hand clap or kick drum, but that doesn’t make them a producer. A producer is someone who, with their percussive composition, is able to create energy and feeling from people who listen. Their beats make MCs want to rhyme and cause people to throw their hands to the sky.

Outersound Music Group producer, Young Heat, a previous beat battle champion and competitor, addressed his favorite part of being a part of beat battles: the people. “The people determine everything. We can have judges but if the crowd doesn’t like it, the judges won’t even matter.”

Young Heat may have been crowned victorious previously, but the night belonged to AOTA producer Ess Be. He climbed through the first two rounds, each of his beats seeming to get more sophisticated as the night went on. In a tense final round between Ess Be and The Sound Addict, another AOTA producer and past winner, Ess Be brought out all the stops, dropping trap beats and sampling Michael Jackson’s “Thriller” and the Ghost Buster theme. Every producer brought it, but Ess Be seemed to have a little more heat on this particular night and it was clear that he’s been hard at work.

IMG_7531

Being in the crowd for this event was so much fun. With each beat drop, you could feel the positive energy and passion from the crowd as they erupted in cheers, always wanting more hi-hat sizzles and crispy snare hits. Behind a backdrop of pulse-pounding beats, I got to catch up with people I haven’t seen in awhile and just be around a community of people that have welcomed me and have shown me nothing but love and respect. Between each round, an MC performed as well, giving everyone a chance to vibe to some lyrics and take a break from the competition. First up was AOTA student, Evan, followed by Miles Young of Outersound Music Group and finally, Sareem Poems. DJ Choppy Blades was on hand, spinning the beats for each contestant and Ozay Moore, the creator of AOTA, kept things moving between rounds, MCing the event to perfection. There is no doubt that the Bump in the Night Beat Battle was a successful event. On a mild October night, beats were dropped and the crowd erupted with joy. It was a celebration of hip-hop and a reminder of all the good it has to offer in Lansing, and communities all over the world.

Congratulations to EssBe!

The Contestants:

Olos

IzzyOnTheBeat

KillaTuHot

Ess Be

Young Heat

Paul Psych

The Sound Addict

Studio Addicts

Y’s Council

Drelo Beats

Oj Payno

Choppy Blades

Alex Malone

Amel

 

 

Tagged , , , , , , , , , , ,

Bonus Cut Poetry: “Consent” by Abby Conklin

th

This is Bonus Cut Poetry, a series that features original poems by Bonus Cut staff, artists and YOU! In this series, our mission is to bring people together in poetry, share stories and display wonderful artistic pieces. If you would like to have your poems in the next Bonus Cut Poetry installment, just email us at bonuscut@gmail.com

This installment features Bonus Cut’s own Abby Conklin.

Consent
By: Abby Conklin

When you cut into a kiwi fruit kept
in the fridge overnight, sliding knife
through furred skin, things feel easier
than they should.  It’s as if, that whole
time you slept, the fruit was wrapping
itself in firmness.  Lighting up hair
by hair, until its whole was stretched taut
in anticipation of the warm cup
of your hand, and the betrayal
of its paring knife, at six-something
on an October morning.

When you cut into a kiwi fruit left
out on the counter, however.
Then, after a night spent in the wash
that is Upper Manhattan coming
in through the screen of your kitchen window.

Be prepared.

This fruit has not been slowly drawn
into the farcical comfort of numbness.
It will not give so easily.  Flesh,
dimpling under the unkind point
of your steel, will raise an eyebrow
in question.  One chance,
it will be saying.
One chance.
Consider the full weight of your action,
balance precarious as it nudges
closer to the surface of a life.  Do you know
what you are doing?

Do you know
what you will have done?

 

Tagged , , , , , ,

Album of the Week: “You’re Dead!” by Flying Lotus

flying-lotus-youre-dead_2

Daniel’s Thoughts

Flying Lotus is now six studio albums deep–one of them was his Captain Murphy project Duality–and the first thing that comes to mind is where You’re Dead! stacks up against the rest. Almost incomparable are Los Angeles and Cosmogramma, near flawless works of art that are drowned in reckless counts of harp strings, manic synthetic rushes and liberating progressions of artsy jazz-hop. Somewhere swelling underneath these works stands You’re Dead!, perhaps FlyLo’s most exotic work, and definitely the most guest-heavy.

Penetrating deep into the stereo, You’re Dead! leads with quick-hitting intro tracks that paint a rushing mural of jazz highlights and rapid snare licks, where just the sound of each note feels like it’s living and breathing inside of the listener’s head. There’s “Turkey Dog Coma,” a song that sprints from the very get-go under anxious drum scats and Thundercat’s rumbling bass. “Ready err Not” on the other hand slows down, playing soundtrack to an imaginary video game that takes place in a dark creepy castle. And then there’s the Kendrick Lamar feature called “Never Catch Me.” You’d be hard-pressed to find another MC that can effortlessly spit over a FlyLo beat, but K-Dot is one of them. “Ain’t no blood pumpin’ no fear,” Lamar spits over a rushing trip beat and a flowing piano melody. “I got hope inside of my bones.”

You’re Dead!, like all of Flying Lotus’ records, paints this impossible picture of hip-hop, jazz, trip-hop, rock, electro, and blues intertwining in a cauldron of goodness. It’s a steady improvement over Until the Quiet Comes, with full-fledged themes constructed over the entire piece, and throughout you’ll get hints of Cosmogramma, Los Angeles and 1983 hiding like Waldo on the beach. If you want an “Album of the Year” candidate, look no further.

Gus’ Thoughts

Sometimes I think about dying, or rather, if anything happens after death. I don’t necessarily mean in a religious sense, although that’s part of it. Generally, it’s more about the mind. Where do people’s thoughts go? Do we actually just cease to exist? Surely there must be something following what we, in society, refer to as death. Considering this, Flying Lotus’ new record, You’re Dead!, may just be the musical manifestation to some of these ideas. Released on October 7th, 2014, You’re Dead! is a frantic, yet clearly intentional, compilation of hard-hitting beats, jazz melodies and rhymes that is driven by these thoughts. In some ways, the music is much like the Lotus we all know and love. However, as opposed to some of his other albums, which are packed to the brim with off-kilter percussion and spaced out synth, You’re Dead! is propelled by a very specific concept.

The beginning of the album has the feel of a long intro as the first four tracks, “Theme,” “Tesla,” “Cold Dead” and “Fkn Dead,” flow into each other, picking up speed and intensity with heavy guitars, bright keyboard notes and vivid saxophone. Just as we reach what seems to be a climax of sorts, piano cuts in and “Never Catch Me” begins. Easily one of the best songs of 2014, “Never Catch Me” features Kendrick Lamar, whose words add to the concept. Featuring Snoop Dogg on “Dead Man’s Tetris” and Flying Lotus rapping as Captain Murphy, the lyrics on these tracks push the theme forward. However, as one should expect from a Flying Lotus record, the music dominates the canvas in the best way.

With help from the piano man himself, Herbie Hancock, Thundercat on bass and soundtrack specialist Ennio Morricone, You’re Dead! is an on-point combination of more aggressive styles of jazz that fit perfectly with hand claps, syncopated kick drums, fast-moving horn and bass lines. With his sixth studio album, Flying Lotus has delivered a wonderfully furious combination of musical styles that moves together seamlessly, creating a journey through space, time and what the afterlife might just sound like.

Tagged , , , , , , , , ,
Follow

Get every new post delivered to your Inbox.

Join 790 other followers

%d bloggers like this: