Stills from 'Pillows'

A few days ago, Accidental Seabirds was in my office and I had the pleasure of picking his brains. Kindly watch Accidental Seabird’s music video below and leave a comment of critique.

Words by Accidental Seabirds: The video for “Pillows” was made by VAMP group from Philadelphia. They’re new, but they’re really good at what they do and they’re fun to work with. They wanted me to choose the location for the shoot. I chose a desolate boardwalk for the set, because [to me] it metaphorically represents what the song is about. Sort of.

The song has a few ideas within, but the central theme is substance abuse and addiction. It’s based on a dear friend of mine who nearly destroyed himself. Too many people, especially young people, very carelessly use drugs these days because they’re unaware of the dangers or they don’t realize how serious drug abuse can become. Shit is real, kids are dying, and we need to address these issues because young folks obviously don’t listen to their parents or any figure of authority for that matter. It’s not cool to be hooked on pills or whatever and it’s not cool for parents to bury their children.

Anyway, the boardwalk is supposed to be this place of entertainment and escape from daily life but when no one else is there the fun seems really phony and you’re left with stray cats, seagulls, and the bottom of the ocean calling your name.

MP3: “Audio Interview” with Accidental Seabirds

Accidental Seabirds is the moniker of the Brooklyn based musician Jesse Herdman. Jesse has composed three unofficially released albums since 2002. His fourth album “The Snow and the Full Moon” will be officially released August 2010.

Photo: M.I.A.

Blurb from YAMS:

Red heads, running, stamina, masculinity, pop, and innocence. Initially, watching M.I.A.’s new music video, many questions were formed in my head — with no one to ask, but only to hope when the video was over — I would have answers. Gore and gallant. Plus, I love the use of sound in this video. Very mature. Though, I have read articles who’ve compared “Born Free” to Erykah Badu’s “Window Seat“, — it is not as strong as reporters and journalists make it.

MP3: “Born Free” by M.I.A.

See for yourself:

Photos: Chris Coffey

Blurb from YAMS:

Ill-Khalil is a passionate Hip-Hop recording artist from Upstate, New York currently residing in Austin, Texas. I have known him for quite some time. During conversations, we talk about the current state of music and self-progression. Watch his video interview to get to know him. For more Ill-Khalil, kindly click here.

MP3: “Co Jack Shit” by Ill-Khalil

Photos: Courtesy of Mohamed El Deeb

Blurb from Ibrahim Ahmed III:

Wighit Nazar, is an Arabic Hip-Hop duo represented by Mohamed El Deeb (emcee) & Mohamed Yasser (emcee). Formed in late 2007, Wighit Nazar (WN) started as a musical project between the two emcees and producers Ark-e-tekt and KC.

WN is an attempt to bring Egyptians back to the good old days. Their songs have a positive attitude mixed with sarcastic views and opinions. They are ready to go where no Egyptian man or woman have gone before in Arabic Hip-Hop.

I had the opportunity to interview Mohamed El Deeb about his views on Arabic Hip-Hop (where it’s heading), the people’s reaction to this new genre, and how the government feels about this new form of expression.

GrungeCake: How old are you? And where are you based?

Mohamed El Deeb: I’m 25 years old and I’m based out of Cairo, Egypt.

GrungeCake: What does Hip-Hop mean to you being from the Middle East (since it has evolved differently in the west)?

Mohamed El Deeb: Hip-Hop is the freedom of expression of oneself. In the Middle East, it is very hard to express yourself freely without being judged, criticized or sometimes even punished for your views. It’s the art of writing and reciting poems over a rhythm or beat. Arabs were always fond of poetry writing since medieval times; freestyle battles existed at that time, very much similar to the ones we see on SMACK DVD, lol! Ok, I’m exaggerating now, but Arab poets and philosophers did compete with each other through their writings and theories touching on various religious, political, and philosophical issues.

GrungeCake: Do you see Arabic Hip-Hop’s fate being the same, or is it different since this region of the world seems to consistently, through out history, be an area hot in the pants for conflict?

Mohamed El Deeb: I believe that Arabic Hip-Hop will develop the same way it did in the US and all over the world. We already have Egyptian Hip-Hop artists taking a gangster rap approach to Hip-Hop; some are doing the conscious rap thing such as my group along with a couple of other rappers. Music is universal and we all share universal personalities and characteristics so no I don’t think Arabic Hip-Hop today will deviate from the Hip-Hop existing in the west.

GrungeCake: When did you hear your first Hip-Hop song? Age/country/who it was/and what were your reactions, and why?

Mohamed El Deeb: ‘Crossroads’ by Bone-Thugs-N-Harmony was the first Hip-Hop song I heard. I was only 10 when I heard it but I still vividly remember the video, which was airing everyday on MTV. To be honest with you, I didn’t really understand the message of the song, which basically touched on the subject of death and was more like a tribute to the loved ones that passed away, because this type of music was all new to me and simply because I was just too young. I loved the beat, the video, the way bone thugs rapped, it was just new to me, it was fresh, and since then, I’ve become a Hip-Hop addict!

GrungeCake: Do you feel that this is just the beginning for the Arab world, musically? Do you think Hip-Hop will spawn a new genre of music that will be able to be attributed to the Middle East?

Mohamed El Deeb: This is definitely just the beginning. Unlike in the US, where Hip-Hop was well established in the late 80’s and even before that, it existed in the early 70’s through acts such as Kool & the Gang, Hip-Hop in Egypt just started to appear on the surface in the early 2000’s. This is such a short time to allow a new genre to develop, which is why it’s difficult to tell whether it will or not. Our job is to introduce this new type of music to our people by assimilating with our culture first and foremost so that we are not seen as an act mimicking others. For example, we try to sample classical Arabic music in the production of our beats and in our rhymes; we include as many Egyptian pop culture references as possible in order to relate to the audience and to demonstrate our credibility when addressing our people.

GrungeCake: What does wighit nazar mean, in the literal sense? What does it mean to you personally?

Mohamed El Deeb: Wighit Nazar’s literal translation in Arabic is ‘Point of View’. Personally, we couldn’t think of a better name to name our crew since Hip-Hop is all about expressing your personal views on various social and political issues. When emcees rap about how nice they are on the mic, they’re just projecting their personal opinion, because they believe they can persuade their audience to buy into their argument or point of view.

GrungeCake: Does Arabic Hip-Hop bump in cars as much as 50 Cent, now that there are Arabic emcees? Do the people feel proud to have Hip-Hop as their own? Do they feel a sense of ownership now, or is it still working its way into the hearts of the people?

Mohamed El Deeb: It’s very common now in Cairo to find cars bumping Arabic Hip-Hop. This is a positive sign for us Arab rappers as it demonstrates that society is accepting this new type of music. In my opinion, I think Hip-Hop is one of the fastest growing music genres in the world owing to the fact that it has become very popular in the US and we all know how the US media influences global media. However, only a certain strata of Egyptian society are embracing it as they can relate to what’s being said in our songs. Lower to middle class people relate more to issues such as food prices going up, corruption, unemployment, social inequality, because they’re more likely to be exposed to it than the upper class society.

GrungeCake: What was the initial people’s reaction to Arabic Hip-Hop when they heard it (friends, family, friend of a friend)? How is the older generation taking it?

Mohamed El Deeb: My friends loved it because they strongly supported me when I rapped in English so they were happy to see me take it to another level. At first, my parents were worried that rapping would become my profession. As it is not the best job to have if you’re trying to build your career and establish a path for your future. As it does not earn you any money in Egypt, no producer is willing to invest in Hip-Hop acts, as everyone is busy promoting that pop bullshit. They then became big supporters when I found a job other than rapping and still did my Hip-Hop thing on the side as a hobby! (Laughs) They attend our shows and spread the word to their friends that ‘their son raps and appears on TV’, its how parents are! They like to boast about their sons’ and daughters’ accomplishments. My grandfather is a huge fan! He listens to our songs and enjoys them very much as he is very fond of poetry. I remember back in the days when I’d hear my grandfather recite classical Arabic poems with a group of his friends and they’d discuss the poet’s use of imagery and metaphors and all that. So I know where my love for Hip-Hop came from, I guess it runs through the family!

GrungeCake: Do you think of rhymes in Arabic, or is it an English thought that you translate to Arabic? Were you an English rhyming emcee first, or was it Arabic from the beginning? (If it was English why the switch to Arabic?)

Mohamed El Deeb: I think of rhymes in Arabic, which is natural because it’s my mother tongue. I first started writing rhymes when I was living in Dubai and it was all in English. Arabic Hip-Hop wasn’t heard of yet. My audience at the time was my school friends, who came from different backgrounds but all spoke English. This all changed when I moved back to Egypt as I started speaking more Arabic and less English, reading the daily Arabic newspaper, which affected my way of thinking. Again, going back to the point of appealing to my audience, if you want to persuade your people to listen to you, you have to persuade them in your language. I’m a person that likes challenges, and Arabic rhyming was one hell of a challenge. At the beginning, it was weird rhyming in Arabic but then when you get the hang of it; it becomes fun because you feel that you are one of the people who introduced this type of music to your country.

GrungeCake: Translate some of the first four bars of your favourite song?

Mohamed El Deeb: If you have any objections to what I have to say, keep it to yourself,

You’ll be hating till the devil competes with you on who’s more evil,

Your solitude won’t help; you won’t find anyone to help you out,

It’ll be too late, as this street life you’re leading will get the best of you,

GrungeCake: Why have you chosen those specifically?

Mohamed El Deeb: When I wrote those four bars, I was addressing the youth who are leading ‘machismo’ lifestyles with no goals set in their lives and always criticizing people with a vision for change. It bothers me because these people are supposed to be the next generation of leaders, businessmen, and politicians.

GrungeCake: Knowing the Egyptian government is tight in the ass about conscious thinkers, especially in political thought, has there been reaction from the government yet? If so, what were those reactions?

Mohamed El Deeb: We haven’t faced any obstacles from the government simply because we filter our lyrics according to “state-run media standards”. We don’t want to cause friction with the government because we want our message to be heard and not censored. Today, newspapers in Egypt enjoy freedom of speech as you have a couple of newspapers circulating in the market opposing the government. Egyptian Hip-Hop at the moment is an underground movement, which is why the government isn’t that bothered with it but I think this will change when Egyptian Hip-Hop is more established and on the commercial scene.

Photo: Courtesy of Kosha Dillz

So there are great things about the upcoming artist besides their music. Yes, I know you think you are perfect and deserving and have to have everything perfect for you.

News Flash!

You are not the backbone of the show. You are only part of the Indie vertebrae. Here are 5 steps for a successful show, which will lead to another chance of being a successful artist, or band. Be nice.

(Part 1 of 2)

1. Show up early for sound check with a smile.

*Even if everyone is late, at least you did your job of being early! Being prompt and early deters the chance rushing with anxiety hunger and exhaustion. Demanding results while you walk into your night that has started already without you, will always leave the employees saying, “screw these guys” under their breath.

2. Smile and say thank you, to everyone, door man to the bartender

*If you think someone is more important then them, these people will let your legacy live on, especially to other bands and fans.

“Hey what about these guys _____?”

Bartender: “Oh, those guys were great… and such hard workers! Put on a great show and they already planned on coming back next month.”

OR

Bartender: “Oh, those guys are such bastards. No one was at their show and they were wasted and didn’t even tip me. Hope they never come back. Ever!”

3. Be nice to the sound guys and talk to them for more than a second. They should be your best friends.

*They do not know who you are or what your music is. They work bands all week in numerous places. Do not be a dick head and ruin it for the few people at your show by being too tired to talk to them or aggravated that the girl that’s with you, isn’t the kind of girl you expected.

4. Bartenders and door people are the most important people at your small gigs.

*That’s right. We are all here to make money, including the people who actually work at the bar in he crap town you are playing. Bartenders need to make money and keep the institution going. The doorman is paid the same. Make sure you keep them happy and be nice. Offer them some free stuff, especially since the door guy is the one who is paying you out. The bartender likes music too, and of he gets some tips and likes your music, he might support you.

5. Shake hands of your fans and do not hit on his girl too hard. They might even let you stay at their place.

* Let’s be real guys. I’m sure you have shows where you can all use some comfort. Lonely and tired on the road, and they love us, its part of the machine. Its better that they hug you and give you a couch and soup rather than have a jealous BF, because his girl is enamored by your desperate sleaziness. Make friends with the guys, and everyone will be more impressed by your respect. We are here for fans not wives. If you meet her great. Chances are they have a friend for you. (Kosha Dillz smiles) Especially, because you are so nice and respectful.

These are 5 good tips for having a successful and friendly step into a new town you haven’t been in. No one is a superstar. I only speak from experience. But hey, what do I know?

Photo: Courtesy of Dessa

Blurb from Kosha Dillz:

I must say that whenever I attend a Hip-Hop show in NYC, the attire women wear is usually appropriate, in relation to the constant “video girl” that we get to feast our eyes upon in BET’s Uncut or VH1/MTV. If you do watch Shakira, her fame not only carves the great voice, but she does sound much better hitting high notes in flesh over-tone doing a split while singing on a basically… naked… hit song… or should I say hit… naked… song.

If sex sells, take a look at the latest video from Black Skeptik’s latest “Frankenstein Saves Hip-Hop” video. Not only does it appear underground, but Mary Shelley hired a hot nurse to strut around during the “experiment” to make Halloween that much bearable!

Let us ask questions from a national emcee perspective on the polar tip. I have Queens NYC, Salt Lake City, (Mormon Land) Utah.

GrungeCake: What’s the vibe you get from a Mobb Deep video in comparison to the Chingy videos and how have they translated into your life?

Dessa: To be honest, I don’t watch a lot of rap videos. If a friend suggests I check something out, I’ll track it down on the internet. The mainstream is host to some amazing artists, but the prevailing themes of materialism and sexism bum me out too much to pay very close attention.

MC Pig Pen: I have never seen a Chingy video to compare. I tried to watch one for this interview. Sorry couldn’t make it all the way through.

Photo: Courtesy of MC Pig Pen

GrungeCake: Is Hip-Hop different if you are in a relationship? Does that make things different for your music?

Dessa: I’ve been single during all of my tours, so I’ve dodged the bullet that touring can pose for romantic relationships. So far romance hasn’t changed my rap game, but I do expect rap will affect my love life. I know that some of my friends struggle to find ways to balance the travel with loves back at home. It’ll take a confident and trusting partner to stay involved with a touring performer.

MC Pig Pen: I’m sure for many people it is. I have friends that won’t get on a track if its like a jokey trying to get laid type of track, cause they say their girl will get mad. That has never been the case for me. I write what I feel at the time, and don’t let my girl’s opinion alter that.

GrungeCake: Do you think that Hip-Hop is behind in equal rights, as the fact that they’re no CEO ladies of record labels (Ms. Lior Cohen)?

Dessa: There are relatively few female CEOs in the largest companies in any field. Rap, like everything else, still has a bit of ground to cover before it can call itself egalitarian.

MC Pig Pen: I’m not really sure if any girls have really stepped up to try to become a ceo of a label. But I’m sure as with most big business there is some bias there. I don’t think its just Hip-Hop, just all big business.

GrungeCake: Have you seen women get treated differently at shows in comparison to men. What about women artists?

Dessa: Some rap shows can feel a little like a meat market—maybe because men there assume that the women in attendance must be comfortable with the overt sexuality that can be part of rap music. Performers can do a lot to affect the behavior in the crowd though; P.O.S is great at establishing a we’re-all-in-this-together vibe.

MC Pig Pen: Yes, but there is usually a type of girl that gets treated like a groupie and It’s usually cause they act like one. Plenty of girls just come to shows for the music and get treated with all the same respect as guys. As far as women artists in Hip-Hop, I think there is still a major hurdle they have to overcome, and I’m sure it is not easy.

GrungeCake: Does the lack of self-esteem, which runs in many artists, have much to do with the way Hip-Hop personifies the female?

Dessa: Zero. Hip-Hop is athletic and competitive and brash and aggressive. The idea of being alpha male is an attractive one to most emcees. It’s a drag (at least in my view) that a lot of male artists use women as instruments to try and emasculate other dudes. The message seems to be ‘I dare to treat fine women worse than you do— because I know I’ll can always get more of them. It’s one thing to say that you’re successful with the ladies, or even that you can fuck all night. Seems like harmless boasting to me. But to brag about lying and cheating women, about forced sex, or about how little you think of the women you bang— that sucks. Women don’t end up being sex objects, they end up being disposable.

MC Pig Pen: Funny you ask that, cause there truly is a lack of self-esteem in Hip-Hop artists. And yes, it probably affects the way that they treat people in general including women.

GrungeCake: Any ideas on how can we change our current cultural deformity?

Dessa: Zero. As a Hip-Hop practitioner, the only way that I know how to influence the culture is to make the best music that I can. In January, I’ll be releasing my latest album called, A Badly Broken Code. On it, I tried to be as an honest as I could. I don’t think I could make a compelling record that preaches to listeners about sexism. That’d be transparent. And probably really annoying. The best thing that I can do as a feminist is be honest about my experience as a human— sometimes goofy, sometimes in love, sometimes looking for a fight. As a hip hop listener, I’m a fan of a technique used by the Groove Squad. When you’re at a house party or a club and the DJ plays a track with some really foul lyrics, get your ass of the floor. And convince all the girls to go with you. It takes bravery and self-discipline to do it—no one wants to look like their preaching at a party. But I can’t think of a faster way to train a DJ.

MC Pig Pen: Well, the dancing half naked booty short video hoe in all the videos doesn’t help. But its funny cause if you go to clubs, all the girls seem to be trying really hard to be just like that. I think in the underground Hip-Hop scene there is a lot less of the kind of rappers that get down like that and a lot less of those kind of club hoes. Just one more reason I’m shocked as to why what is popular is what’s popular.

Photo: http://thesearenotrecords.com

NewNowNext right now! NewNowNext Music is Logo’s, a gay and lesbian themed network, fresh new feature. NNN is a program focused on bringing “dreamy indie pop, crunk homo-hop and the best in underground rock” to the forefront. Artists such as Gossip, Cazwell, La Roux, the Younger Lovers, Solange Knowles, Fever Ray, amongst many many others have been introduced or featured. Other groundbreaking individuals such as the infamous “Club Kids” have also been introduced through the program. One of the biggest things NNN prides itself on is that they feature videos and ground breaking artist interviews that you won’t see on any other network.

As the program does hold a small comparison to MTV, the thing MTV does lack is the greater extent of an outreach to the gay community and the interests we hold. NewNow’s blog, which is also on the come up delivers not only the videos and interviews as seen on TV, but as well along with the biggest and freshest gay-pop culture news. Earlier this year, they held their 2nd Annual NewNowNext Awards show, which of course aired on Logo. I’m very ecstatic to see the progress they make. In some eyes, it may be unrealistic, but how amazing would it be if Logo and NNN would be to gain as much recognition and status as does MTV? For those who do hold pessimism about the idea, what do you think Logo could do, if anything, to achieve this or any existence close to it?

Photo: sufflayer

VH1 documentary about Kurt. Featuring Kurt’s buddies Dylan and Jesse, Charles Cross (of course), Courtney, Mark Arm, Michael Azerrad and others.

Photos: Chad Griffith

Blurb from YAMS:

He is my brother.

MP3: “Jungle” by Hassaan Mackey

Hassaan Mackey’s Bio:

Hassaan Mackey finds his freedom behind bars. His sharp freestyling skills parallel a witty, insightful mind. He pours his heart over beats as he takes us through a journey of his life through inquisition, cynicism, and a spiritual mind that sells his knowledge of self and undoubted sense of purpose. “Soul for Sale”, his latest work, is a priceless tale that is the culmination of a man still standing despite his life’s endless shortcomings, ranging from tragic deaths to the harsh reality of urban living, which he encountered at an early age. For more, kindly click here.

GrungeCake: What is Low Budget?

Hassaan Mackey: This a question founder Kev Brown would be able answer more in depth than I could, but from what I know, Low Budget is a crew consisting of both emcees and producers. Some of which just so happen to be dope at both.

GrungeCake: Whom does Low Budget consist of?

Hassaan Mackey: Kev Brown, Kenn Starr, Sean Born, Cy Young, Oddisee, Roddy Rod, Hassaan Mackey, Kaimbr, critically-acclaimed DJ Marshall Law, DJ Rbi, Peter Rosenberg aka DJ PMD. It’s like Wu-Tang ‘round this camp. I feel like I am forgetting some one… shit!

GrungeCake: How long has Low Budget been in existence?

Hassaan Mackey: Since 1976.

GrungeCake: What does this collaboration mean for Hassaan Mackey (the brand)?

Hassaan Mackey: I’ve been working with artist from the crew for years and have always been a huge supporter of the movement and now that I have been inducted into the crew niggas is in trouble that’s all I got to say.

GrungeCake: Have you recorded any new material under this label yet?

Hassaan Mackey: Low Budget isn’t really a label, but I have done some stuff, We’ve recently did a joint featuring me, Kev Brown, Asheru and Grap Luva. The other night, over my man Slim Kat’s crib, him, and I were working on a project together. Shit’s gonna be dope! Other than that, I am featured on Kenn Starr’s project with Black Milk, Kaimbr’s “Al Green Project” and Sean Borns’ project as well. Aside from the songs I have contributed verses to the other joints I have heard so far are crazy!

GrungeCake: When and where can we hear it?

Hassaan Mackey: Sooner than later don’t worry. I have a few exclusive treats coming. In the mean time, check out the Kenn Starr’s mix tape. Kev Brown’s “Random Joints” and the Low Budget mix tape. All of these projects are sick!

GrungeCake: Will it be on sale? Hard copy or for download?

Hassaan Mackey: Kenn’s mix tape is free online as well as the Low Budget mix tape. Kev’s joint is for sale via online retailers like Amazon and iTunes.

With GrungeCake‘s “fresh, new start” I thought I’d shed the light on a change taking place in the world and particularly one, the Hip-Hop community. In the past few months, rappers here and there have been coming out to speak on the matter of ‘homosexuality’. Not that they’ve been stating a voice in full support of the gay community but simply voicing the idea that they aren’t concerned or worried about the sexual preference of any one producer, singer, rapper, etcetera. If you can remember, earlier on this year KanYe addressed the subject in many interviews in defense of the gay community, and now others have started to do the same. These other rappers speaking out strike me as another ploy to be down with the ‘trend’ and it’s definitely bothering this even near acceptance has just ‘began’ to take effect now, but in those same breaths it’s also greatly acknowledged and appreciated. The interviews with these few artists really were striking, reading what my friends and I have discussing for what seems like forever. In this rat race, I feel as though this issue will pass but in bringing another group to be our society’s outcast. Props and appreciation to these few noted artists that have spoken out on behalf of the gay community (N.O.R.E., JUELZ SANTANA, RICK ROSS, AND KANYE WEST)