Revelations: AGILE

Normally,  as you heard Puerto Rocks/Boriqua brothers rock rhymes or beats, you feel an East Coast vibe. Places like NYC, Philly, Trenton, Newark, Hartford or Boston. What about a nice emcee/beatmaker from Houston? Enter into the world of AGILE!!!

 

1. What city do you hail from brother? (Son Ra)

I’m originally from Houston, Tx, as well as spending a good portion of my childhood in The Bay Area, Cali. About 50/50 altogether. I reside in H Town now and have been since 2004

2. When did the HIPHOP bug snatch you up? Did you start off bboying, rhyming, deejaying, etc.? (Amriki Aswad)

The Hip Hop bug got me when I was 8 yrs old, 1988, when I heard “My Posse’s on Broadway” by Sir Mix A Lot. Haven’t looked back since. I started off rhyming, I guess, but had no clue what was going on. Always wanted to DJ but my Mom couldn’t afford to get me turntables, so I “shadow” spun on the coffee table. Kids, Imaginations….lol. wrote my first rap when I was 10, and I went by the moniker “MC Nice”. Wow, I guess we were all wack at one point. That name is ridiculous. I still can recite that first rap too. It was about my 5th grade girlfriend dumping me…lmao

3. How has working in Houston and Oakland shaped your sound? (Son Ra)

Growing up, in Houston and the Bay, my sound is heavily present with both regions, i.e. my drawl. It’s like I’m confused when I spit, because I have a bit of a southern twang and I also have that Bay Area, super proper annunciation of certain words. My people in Cali say I sound like I’m from the South and my people down here say I sound like I’m from The West Coast. With my flow, I’ve definitely have taken on more of a laid back, slower, smoother cadence as I have gotten older, but when I was first really rapping, I was in Cali and I had a very rapid delivery. Both places are quite present in my sound, rhyming and with Production. Sprinkle on a bit of styles from everywhere else, so I can have a universal sound, or at least that’s the goal.

4. What things have you learned from the late Jasiri Hutcherson regarding studio management? (Son Ra)

Oh man, Jasiri was my idol, mentor, he was like a big Brother to me. He was 11 yrs older than me, so him and my Uncle Devlin (Dads brother), actually grew up together and we’re best friends. So, Jasiri knew me since I was a baby. Him and my Uncle are 2 of the most extremely talented musicians and artists you would ever see. Unc threw me on the drums at 5, it came natural to me, just started playing and took to it immidiately. I was always around Jasiri, because of my Uncle, while they were doing music, so I just soaked it all in. When I got older and started doing my own music, Jasiri was always looking over me and watching me progress musically, to where it got to the point, that I was worthy enough to get into the studio with him. He pretty much taught me everything I know about recording music. From recording with live instruments (he played guitar,drums,keys and was equally great at them all) and mic placements, to midi and separation of induvidual tracks with my beats, applying plug ins, building my own custom drum kits for the MPC and mixing and mastering. Without him, I wouldn’t be a quarter of what I have become, all around musically. I also was in marching band, jazz band and Symphony band, 6th grade-12th grade, so I learned through that as well and can read music. Overall, Jasiri molded me into a pretty well rounded musician. I still haven’t fully recovered from his passing at the end of 2012, til now and it has taken a huge till on me musically. That’s the impact he had on me. I’ve barely recorded. Helluva a man he was, period.

 

5. What is a Co Op Recording Studio? (Son Ra)

A Co Op studio, in regards to J7 Studios (Jasiri’s studio) is a project that one of my best friends, Mark “Maleko ” Weisbarth, took on when Jasiri passed. Mark was also a protoge of Jasiri’s as well and very close. He has turned it into a full time recording studio, an art gallery of Jasiri’s art and a place where the local youth can do their artwork at. It is a venue for live music and performences, in which Mark has established a bi monthly concert series called “Moss Beats” (Moss Beach, Ca. Is the name of the town it’s located in) where local artists from hip hop to rock to spoken word induviduals perform and showcase talent. There have also been a few well known acts Mark has booked, because he has been in the Cali Indy scene 15+yrs and has collaborated with countless folks. Hieroglyphics, Members of Project Blowed, Living Legends, amongst others have all performed there as well. It’s Jasiri’s dream, that Mark has brought to fruition, very successfully.

6. If you could sit a recording session with ONE legendary hip hop producer, who would it be? And why? (Butta)

In the studio with one legendary producer. …I can’t pick just one. But, without a doubt, my choices would be DJ Premier, RZA and Dre. I want to know how Dre creates what he does sonically, because it’s ridiculous how great of a sound and ear he has. RZA because, I want to find out how he comes up with the insane shit he does. It’s like trying to crack the DaVinci Code, trying to figure out how he programs some of that stuff. And Primo, just because I want to make beats with him. All neck break music, period

7. How did you link up with the legendary K-Rino from Texas? (Amriki Aswad)

I initially started sending links for beat folders to K Rino’s MySpace inbox and told him I was a huge fan and the beats I sent were his to do whatever with. This was 2007. He hit me back on a couple and was feeling them. Got him 1 track. I’ve been a huge fan of his since like ’93-’94 and was determined to work with him. In 2010, I was filming a performance at a club, that my homies, Antho and Jiggs were doing. I look across the room and I swear I see K Rino. I went and asked my boy Antho and he said, yes it was him. I walked up to him, dapped him up, said I was a huge fan, told him my name. He remembered me from the emails, from 3 yrs earlier, politicked for awhile, exchanged info and that’s it. We have a song ready to record, just have to correlate schedules. He is on the road alot.

 

8. What future projects do you have coming up? (Amriki Aswad)

Future projects I tentatively have planned, are to release all of my unreleased material over the past 10 yrs. I also still plan on being on various projects with other people as well. I should recording capabilities of my own in the near future, to where I can stay on consistently with music. The past 3-4 yrs, music has taken a back seat to personal business, but I’m ready to get back in the swing of things…

9. Last one……….. Where can people find you on the web and/or social media? (Amriki Aswad)

agilemusic.bandcamp.com
I also have various music all over. From production credit to being featured on other artists work. Google Agile Riddick

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Revelations: Boodah The Emcee

When we listen to this brother’s music, one can hear the perfect boom bap,  heavy street vibe, mixed in with a consciousness. A hard task to do in these times. Meet the man who’s game for the challenge……..Boodah The Emcee!!!

1. What city do you hail from brother? (Son Ra)

Chicago is the city born & raised on the south side in Englewood area.

2. When did the HIPHOP bug snatch you up? Did you start off bboying, rhyming, deejaying, etc.? (Amriki Aswad)

I was always intrigued & just had a love for music every since a kid, fascinated with my parents record collection(they played music from sun up til sundown on weekends). I got the Hip Hop bug from my older brothers bumping Boogie Down Productions Criminal Minded tape in the house & I was hooked every since. I started out Emceeing at around 9 yrs old trying to out rap everyone older than me(I got ate up a lot too, lol), & that’s pretty much all I’ve done is Emcee until now taking on business role’s with the music.

3. With the everyday violence in Chicago, how do you deliver positive messages in your lyrics and not lose hope?? (Butta)

It’s just in my nature as a person to be optimistic about life itself that the people are going to do better & we are all a work in progress. Those same things come across in my music because I’d like to see positive change in people as well as myself. It’s crazy because along with all the violence in the city it’s also so much beauty in the city that doesn’t get light shined on it, I have a song on the album titled “Beautiful” where I spoke on some of these things.

4. What are your pros and cons of the Chicago Drill movement? (Dejed19)

I’ve come to embrace the youth & the whole Drill thing so as a pro I’d say it’s uniting small batches of young fellas as comrades & even in them doing the music it helps keep the focused ones of the streets doing worst. The main con to it is just like a large majority of artist doing music is it all sounds the same. One thing for sure is that sound has put a light on newer artist emerging from Chicago & it’s sound is being copied all over now. Personally it’s not my thing but I truly respect it.

5. Do you think it’s necessary to leave the city to get more exposure? (Son Ra)

Nowadays exposure is at your fingertips via technology. Yet at the same time no matter where you are on the map be it Chicago, NY, LA, & so on, the larger exposure is in moving around. I’ve heard some well known Chicago artist that even the city didn’t show as much love until other places did.

6.If you could collab on an album with one Chicago Emcee who would it be and Why?(Son Ra)

I’d love to collab with Kanye West. I think we’d create something epic artistically.

7.Half my crew grew up with and went to high school with Marshauwn Cross, producer on your current project. How did you both link up? (Amriki Aswad)

Now I’ve been working with a producer by the name of Dirty Soc(Do or Die, Twista, 3 Piece, etc) for long time now & while working on my album he said I needed that Hip Hop element of producer & told me that I would love his guy Marshauwn. He called him that day & we just fit off top. We started working immediately and come to find out I was the 1st Emcee to ever rap on any of his beats

8. What future projects do you have coming up? (Amriki Aswad)

Currently working on a new album that I’m planning on dropping in the fall season or earlier. It’s a Mixtape in the works that I will have mixed up in sections by a few different DJ’s. It will also be a slew of singles & freestyles dropping soon.

9. Last one……….. Where can people find you on the web and/or social media? (Amriki Aswad)

I can be found on all social media Boodah the Emcee, @boodahtheemcee & the Publishing companies website will be active soon at http://www.sphhiphop.com

Revelations: Sensei Walingh

The European Beatsmith is constant at giving us that flavor. My man ain’t brand new at all. He’s the real deal…………

 

1. What city do you hail from brother? (Son Ra)

Basically every city I dwell, I move every few years so no particular city,
the Netherlands in general I guess.
2. When did the HIPHOP bug snatch you up? Did you start off bboying, rhyming, deejaying, etc.? (Amriki Aswad)

That’s hard to say really, but it definitely started in the late 80’s. One of my homies from back in the day, always came around with tapes of Public Enemy, Rakim, Wu Tang, Gangstarr, Silva Bullit, Ice T, Black Sheep and what not, we started off taggin’ on walls &
rhyming and stuff, but once my pops collaborated with ice t i really started deejaying/producing and writing seriously. When I first heard
“It takes a nation of millions to hold us back” from Public enemy i bugged out and got bit by the bug.

3. How did you get into production? (Amriki Aswad)

It started of since a kid really, my father had his studio at home so as a kid I was fascinated by all the knobs to turn, keys to push and pads to hit, it immediately caught my interest from jump to be honest.
i guess it’s in our blood or something.

4. Without revealing any production secrets, what type of sounds do you incorporate/use that sets you apart from beatmakers in the USA? (Amriki Aswad)

I use whatever i can find to make a beat sound dope, I like to layer tracks, using a sampled loop, putting other samples with stabs/keys/vocal shots on top untill the whole beat sounds phat. It’s not too different from the traditional boombap from N.Y
I guess.

5. How has your family’s musical background influenced your music? (Son Ra)

On every aspect, I was literally born in the lab, so it was pretty inevitable. I recall sleeping on the couch as my father played/composed music every since I saw the light of day,
he schooled me on composing, using programs etc. Even when he wasn’t saying anything, i was just watching and soaking up information.

6. Do you plan to get you father on some of your jams? (Amriki Aswad)

I already got him on some joints for my solo, we make tunes off and on, but it would be dope to do a full album at one point, but he’s a busy man and so am I, we’re all dealing with this thing called life and everything
in it.

7. For people who may not know yourself on the back and shout out some of your most revered work/production credits. (Son Ra)

That probably would be the joint i did with the House of Repz, Kenny Diaz and DJ Premier, still honored to be on that. Aside from that the joint with C Rayz and Echo1. Still got some crazy stuff in the vaults waiting to be released though.

8. When it comes to Boom Bap, why do you think the world is more accepting than the states? (Son Ra)

Cos the majority of the states looks up to cats who’re fake as hell, they’re not about keeping it real or real music in general, caught up in the hype I guess. (Can’t blame them really, it’s what the radiostations are pushing the lame tunes plus labels don’t like to clear samples so many artists grab whatever cheesy beat they can find that doesn’t have the potential to be a “classic”) European peeps are too grounded for all that stuff and like the rugged street stuff, all that swag/trap stuff won’t stick. Of course you got kids who’re copying American artists, but they’re gone in no time.
9. Last one……….. Where can people find you on the web and/or social media? (Amriki Aswad)

You can catch me at:

https://www.facebook.com/SenseiWalingh/

Twitter: @senseiwalingh

Revelations: Robert Bostick of Rob’s HipHop Corner

 

    Sometimes, you must recognize those that are in the same path. That been doing it longer. Making it easier for you to chart a lane within that path. Meet the brother Mr. Bostick from Rob’s Hip Hop Corner. One of the most underground show you will ever hear anywhere.

1. What city do you hail from brother? (Son Ra)

Detroit, westside, born & bred.   Lived off 8 Mile most of my life. Live of 7 Mile now.

2. When did the HIPHOP bug snatch you up? Did you start off bboying, rhyming, deejaying, etc.? (Amriki Aswad)

I’m a Hip Hop listener/fan. I’ve never been an emcee or bboy. I podcast. But I have too much respect for real dj’s to call what I do deejaying.

I’ve been listening to Hip Hop since the early 80’s. I remember us sneaking in the basement of my church listening to Rapper’s Delight that somebody had recorded from the radio on cassette. I was probably in middle school then.

In high school I had most of what are considered classics now on cassette. Run-DMC, Eric B & Rakim, PE…if it was bumpin’ I bought it.

My crate digging probably didn’t start until college. My boy Harold the Musicman Edward (who’s also in IUTLH) used to have all these tracks I’d never heard before on vinyl. He used to put em on cassette when we were cruising around Belle Isle in the Detroit. He kind of created my crate diggin’ thirst.

When the internet became the place to find new Hip Hop, it kinda became my mission to find the new & bumpin’ shit.

3. What got you into podcasting HIPHOP? (Amriki Aswad)

In the early/mid 90’s, I was putting together a mix cd called “Hot Shit” with new tracks.   Around the same time, my boys Harold (a/k/a HE3) & Mister X starting doing an internet R&B and Hip Hop radio show with some other folks and started using a lot of my “Hot Shit” tracks for the Hip Hop part of the show.

The original co-hosts didn’t work out and since they was already using a lot of my tracks, HE3 & X asked me to join the show, and Rob Boombostic and www.detroitbumps.com was born.   We were doing a internet radio show every 2 months or so with R&B and Hip Hop that wasn’t being heard on the radio.

This was before satellite radio. But what were doing was basically what satellite radio does now. We played explicit versions of songs, had occasional guests and co-hosts and even did a couple of interviews with some local artists.

We played what were basically songs that could be hits on the radio if the radio wasn’t playing the same shit from the same artists all day every day

I remember we were playing artists like Kendrick Lamar on the Hip Hop side or Ledisi on the R&B side WAAAAYYY before commercial radio got ahold of them.While looking for songs that were radio-show ready songs, I also had a bunch of songs that were just a little more Hip Hop than radio that I still wanted people to hear. So, in addition to the regular Detroit Bumps episodes, I started doing Rob’s Hip Hop Corner.

As HE3, X, & got older, real world shit made it harder and harder to get together to keep doing Detroit Bumps Episodes got harder and harder to do, so we kinda stopped doing those (at least for the time being).

HE3 still does podcasts that have Hip Hop and R&B that kinda follow the same format as our old internet radio show and my podcasts are still pretty much strictly Hip Hop….although every now & then, I do a Rob’s R&B Corner.

4. When gathering songs for your podcast, which is more gratifying, “the unknown artist” or “a new joint from the established artist?” (Butta)

I really, really love showcasing a new artist. I always say that I like to think I haven’t heard my favorite rapper yet. So my ears and my mind always open. New & unknown artists are more appreciative when they see & hear their track on the podcast.

And too many people think real Hip Hop is dead or dying and I’m on a mission to show and prove that is definitely untrue. So I like when new artist can show he or she is as good as or possibly better than your one of your favorite old school rappers.   Not trying to replace the old school, just show that this generation can also be lyrical.

*****Click Here To Access ‘Rob’s Hip Hop Corner #124’*****

5. Do you receive or willing to accept submissions from artist for your show? Have you received any so far? (Butta)

I accept submissions. They can be sent to rob@detroitbumps.com.

I will also listen to any links submitted on my Facebook or Twitter pages.

I’ve had several submissions from artists. Some are just okay and not really podcast-worthy. But every now and then, I get a submission that makes the cut.

I’m not a fan of Trap Hop, so if you’re submitting something on that tip, you’ve got to have some lyrics to back up your content otherwise I ain’t listening! If you’re just saying the same shit the same way everybody else is, then you can save that for somebody else.

      6. Are there any other interests for you in regards to HIPHOP outside of podcasting?

I’ve written a couple of Hip Hop reviews and commentaries for our Detroit Bumps back in the day.

7. Do you think that HIPHOP is necessarily a young adults game? If not what have you done to change that perception? (Son Ra)

I think Hip Hop is old enough to have adult fans, so I don’t think it has to be young folks’ game. I think there’s a market for artists that want to make Hip Hop for grown folks.

It’s just the radio plays tracks that alienate grown folks, so a lot of older Hip Hop heads start truly believing there’s no Hip Hop for them.

I like to think my podcasts is Hip Hop for grown folks…grown folks lyrics, grown folks beats. I’ve got some younger followers of my podcast, but my average listener is 30-40 years old.

8. Last one……….. Where can people find you on the web and/or social media? (Amriki Aswad)

I can be found on Facebook:

https://www.facebook.com/boombostic313/

On Twitter:

https://twitter.com/RobHipHopCorner

On Podomatic

http://boombostic.podomatic.com/

 

On Mixcloud

https://www.mixcloud.com/boombostic/

I also want to shout out to my brother, HE3’s (Harold themusicman Edwards) podomatic page a shout-out

http://he3.podomatic.com/

Our website is

http://detroitbumps.com/

 

Revelations: 7-5-9 Beats

1. What city do you hail from sister? (Son Ra) I was born and raised in Lynchburg, Virginia
2.  When did the HIPHOP bug snatch you up? Did you start off bboying, rhyming, deejaying, etc.? (Amriki Aswad) Music was a big part of my growing up. My first hip-hop song was Kris Kross’s “Jump” back in 1992, and it was the first song I memorized at the age of 9. I started off writing poetry at age 10. I didn’t get into rhyming until I was 12.
3. How did you get into music production? (Amriki Aswad) As a kid I was always making music of some kind. I had made my first drumset out of a kerosene heater and old pans when I was 6, I played in the high school bands and participated in church praise groups as a drummer and percussionist. Back in late 2009 I was watching YouTube videos of producers that I follow on social media. One producer in particular, Solomon Vaughn aka BoonDoc had a video of him flipping this sample on his MPC1000. He made it look super easy, so I said I wanted to try it. I bought an Akai MPD18 thinking I was going to get the same effect, but I couldn’t get it to work (this was before I found out that the MPD18 was NOTHING like the MPC1000.) I downloaded Fruity Loops 9, and after hours of frustration, I finally got it. In 2010, Seven Five Nine Beats was born
4. What is the reaction you typically get when someone finds out you are female producer/beatmaker in the heavily male dominated arena? (Butta) At first, I got no reaction at all. I had a few guys around my old neighborhood that knew I made beats, but the city had no idea. My mentor, the late E Kayne heard one of my beats on Facebook and he called me one day to meet at his home where he produced for quite a few industry people. He said that I was the only female in the city that he knew that made beats. As I made more beats, people started pay attention and wanted to work with me. I ended up producing for some well known local rappers. I was told some of my work was better than some of the boys, but I’m just another producer. 
5. What has been the most challenging aspect with making music? (Son Ra) The most challenging thing is keeping it fresh and coming up with new ideas. I struggle with beat block more than I’d like to. I don’t have a “signature” sound like DJ Mustard or Jahlil Beats. I try to keep it different. Everybody does or has done trap/drill beats. Been there, done that. I may still do a trap/drill beat from time to time, but I try and focus on setting myself apart from everybody else in the city who makes beats. There’s quite a few of us.
6. From your experience what is tougher, having an artist fit and compliment your beats/music? Or creating beats specifically to compliment an artist? (Butta) For me, it’s finding an artist that compliments my beats, no question. I had made a beat a few years ago and me and this artist from another state had collaborated on it. He sends me the track, and when I tell you he jacked it up…I felt like I had wasted a good beat on a half-assed drunken slur of a 16 bar verse. And now with the industry rappers that’s out with this new wave, all the local rappers are copying it. It’s frustrating.
7. How did you get into emceeing? (Amriki Aswad) From 2000-2003, I and my cousin started a duo called 434 Squad. I went by Lyrikal Ninja (ridiculous name, I know) and we had the old school tape recorder and cd player setup with a stack of instrumentals that he had downloaded. Our first song we demo’d was called “We Ready (434 Squad)” off the rapper Archie Eversole instrumental. Of course we remixed Clipse’s “Grinding” and “What Happened To That Boy” as well. Then we changed our name to RhymeSlayerz had added three more members and had people rocking with us. But this was before Facebook, and we didn’t have the resources to get our music heard. We didn’t even have a proper booth to record. We were just doing it for S&Gs, but that was the start. I didn’t pick up rhyming again until 2 years ago. I was just producing a track for a mixtape that my team was working on and we needed a 4th verse. Since people were dragging their feet, I stepped up and did it. That was my re-emergence to the local scene.
8. In what way do you believe HIPHOP has had an affect on American culture or culture worldwide? (Dejed19) I believe if it weren’t for hip-hop, people wouldn’t be as ‘in tune’ as they are now. From politics, to fashion, domestic affairs or whatever is going on in the world. Hip-Hop has always played a part to make sure young people knew what was going on, because they don’t read the newspaper or watch the news. The culture is ever changing, and so we’ve gotta keep up. Look at our president. He listens to Kendrick Lamar. Have you ever heard of such? I think it’s awesome. We need hip hop.
9. Last one……….. Where can people find you on the web and/or social media? (Amriki Aswad) You can find me on Instagram (sevenfiveninebeats434), Twitter (@7_5_9BeatsVA). I also do graphic design (Seven Five Nine Graphics on Facebook), and also on Soundcloud (www.soundcloud.com/sfnb). My first solo produced EP “The Beginning” is on Spotify as well! Enjoy!

 

 

Revelations: Tony Grands

1. What city do you hail from brother? (Son Ra)

Los Angeles, California. Born and raised. 90043, 90047, and 90008. 323 stand up!

2. When did the HIPHOP bug snatch you up? Did you start off bboying, rhyming, deejaying, etc.? (Amriki Aswad)

Actually, my uncle was really into rap when it was blowing up on the west coast, in the late 70’s, early eighties. He used to have mix tapes in his car, and one day he let me keep one. I’m talking about Eazy E, Mixmaster Spade, LA Dream Team, a laundry list of West Coast legends were on that tape. I’ll never forget it. Hell, I taped over it.

That was it. Something snapped. From then on out, I spent Friday nights in front of my radio making pause mix tapes from 1580am KDAY. The original one haha.

3. How did you get into writing articles about HIPHOP and various others topics? (Amriki Aswad)

I started writing when I was young but I didn’t take it seriously until I turned 18. I answered an ad in a free publication that I found called ABFUNCK magazine. Shout out to my big brother Kynan Bruce, because he’s the reason that you guys are interviewing. It was his independent hip hop magazine, and he was looking for writers. We hooked up, and not only did he help me cultivate my writing, but he also showed me the business side of it.

I knew as a kid I’d love to have my own magazine one day, but this part of my life taught me what it would take in order to actually do so. Beyond the writing. I interviewed artists like Das EFX, YO YO, Ras Kass, All Frum Tha I, Daz Dillinger, Soopafly, and some other names that I’ve forgotten. But that was my true introduction into writing about hip hop in the physical form. Actualized. Published for public consumption like a professional.

4. Have any of your writing appears magazines and other journals? (Amriki Aswad)

I’ve written for TheSource.com, TheUrbanDaily.com, my writing has been published in numerous affiliated websites, and Combat Jack’s website, prior to The Combat Jack Show being around. In fact, he was the reason that I wrote for The Source. Shout out to Combat Jack as well. He ushered me into the Hip Hop internet. And I’m currently a columnist for the sports entertainment website BadCulture.net.

5. How did your website/blog TonyGrands.com come about? (Amriki Aswad)

So some years down the line after I’d written for a ABFUNCK, and defeated my my battle with alcoholism, I found myself on the internet, in comments sections of websites like The Source and XXL. After receiving a little bit of popularity from my comments, I decided to start a blog, Reading and Writing Is For Dumb People. Couple of years later, I decided to take that blog more seriously and turned it into a full-fledged website. Posting music, interviewing artists, talking about different things, actually hosting some sort of hip hop entertainment center vs. just giving my opinion all the time. The site evolved into what it is now…a respected indie Hip Hop spot for grown people.

From there I just kind of branched off into other ventures to build my audience and create some sort of foundation for my brand. But TonyGrands.com is the epicenter of all the noise. Now, not only do I have the website, a launchpad for a bunch of other people’s shit, I host the TonyGrandsRadio podcast on Soundcould and TonyGrandsTv on YouTube. I’ve long expanded from just writing. I also edit my own videos, and have a couple of video projects with other people in the works. If you listen to any of my broadcasts, I’m real keen on personal evolution. Evolve. If you’re in the same place that you were 5 years ago, you doing something wrong. I live by that. And as long as I have momentum, I’m going to continue to move forward.

6. Do you have other contributors to your website/blog? (Amriki Aswad)

Yes. The main contributor has been with me for years, his name is PHLIP. There have been scores of different writers and contributors, but this guy is a day one.

Currently, the sports guy is my little brother, Wes G. There’s a new contributor, his name is Champ Ion. And I can’t forget my boy Cordrick Ramey. He hasn’t been contributing as much lately but he’s definitely a part of the team.

We are currently looking for contributors because we’re getting a lot more traffic lately, so anybody reading, if you’re interested, and have commodities to offer, holler at your boy.

7. I heard your mixtape. Nice! How did you get into rhyming? (Amriki Aswad)

Basically it was just a love of the Arts. A veritable lust of the craft. When I was a kid, words were incredible to me. My father bought me crossword puzzles and various word game toys because that’s what I asked for. When my love of hip hop was activated, it was only natural that I partake in rapping and not just be a witness or a bystander, if that makes any sense. It was like “Wow! You guys are really, really good at that! But watch how I do it!”

My uncle introduced me to the music, but Big Daddy Kane and Ice Cube where my teachers. I wanted to be like them, have the power and the aura and the energy that they had. So I decided I was going to be a rapper just like they were. I recently dropped a podcast about why I eventually stopped rapping, but my love will never die.

8. On a lighter note, what gave you the idea to put the models on your spot? LOL (Amriki Aswad)

I love women. I think all men should love women. When I was a kid, my bedroom wall was plastered with Jet Beauty of the Week tear-outs. When I moved out of my parent’s house, I had hella issues of different men’s magazines lined up along the walls of the living room floor. Ask my wife. She’ll vouch for all of this. I started posting women on my blog back in the day because I know men love women. The same reason I started posting music. Eventually, I started to see how popular these women were with the online audience, and decided to not only post pictures, but also information about them so the reader could support their hustle. Putting names to faces, so to speak.

Now, as some of the followers, fans, and readers have probably noticed, I’m interviewing the models now. There’s an evolution that goes along with this that’s also a productive and positive aspect in the business diagram of what it is I’m trying to accomplish with TonyGrands.com, you know?

The models are gracious for the publicity and the promotion, and and I am equally as appreciative of them loaning me their times. Time that men pay them preciously for online. Real Talk, I watch men and boys thirst and lust over these women like the sexual objects that they seem to be, meanwhile they hit me up in my DM’s and inboxes just to chat and say “Hi.” That’s so funny to me. Beyond that, though, sex sells, and anybody who’s trying to make a dollar off of anything in this society would be wise to employ that ideology, feel me?

9. Last one……….. Where can people find you on the web and/or social media? (Amriki Aswad)

TonyGrands.com is the main vein. There you’ll find articles, new music, things for you to debate about, eye candy, relationship advice, motivational talks, the contributors, a host of different events for the mature Hip Hopper.

TonyGrandsTV via (Youtube.com) is the live action version of the website. Original content galore, including the incredibly popular The Gentlemen’s Club Presents video line and the Rap Guys and Fat Thighs series, as well as my unnecessarily vulgar, rookie-year flagship weblog series, “Fuck All That.”

TonyGrandsRadio (via Soundcloud.com) is the home of the TGR podcast, and also where I recommend new music to the people.

For shits and giggles, like us on Facebook.com/TheTonyGrands and follow me on Twitter at Twitter.com/Tony_Grands.

Thanks for having me, guys. And thanks to all y’all reading. Take care of yourself and each other!

Revelations: Doom Da Wiz

   Doom Da Wiz is a mover hailing from the East Coast. He stays busy whether it involves making beats/producing, rhyming, directing music videos and creating his new YouTube series called ‘The Clinic’.

Let us introduce you to an ill cat that’s true to HIPHOP!

 

1. What city do you hail from brother? (Son Ra)

Springfield, MA

2. When did the HIPHOP bug snatch you up? Did you start off bboying, rhyming, deejaying, etc.? (Amriki Aswad)

I started off bboying I was like 11 years old. I was taking out cats that were much older than me so they started calling me lil doom. Because they said if u battled me u were meeting ur Doom. Then I got into tagging and I added the er to Doom hence Doomer…I did that for along time then came the djing and the beat making. I rhymed a lil bit but more of the beat making.

3. What was the concept in starting BCM Studios? (Amriki Aswad)

I have a degree in film/ multimedia/ audio engineering and I worked for the news for several years in Springfield and Boston and just quit my job and said I’m going to open my own production company. I have friends in the Hip Hop community and I reached out to them and that’s when I shot, directed, and edited Grand Daddy I.U’s video and from there it took off.

4. What influenced you in the field of film/video? (Amriki Aswad)

I was sitting home one day making beats and my wife at the time was going to school for nursing and my moms was going to school at the of 59 she stayed in a dorm room and everything. that got me to thinking I should go back to school but I didn’t know what for and it just dawned on me …I like making music and I love movies so I went into that direction.

5. Who are the artists you are working with whether music production or music videos? (Amriki Aswad)

I worked with
HighLifeHalf
Grand Daddy I.U.
Mikey D
Benefit
The list goes on brother

6. How did the idea of the YouTube series ‘The Clinic’ come about? (Amriki Aswad)

I wanted to do something that represents the Hip Hop Culture… And I just one day say I’m going to do a web series and let the world know that real Hip Hop is not dead and that cats can actually Rhyme.

 

7. How did the Facebook group ‘Boom Bap Factory’ become born? (Amriki Aswad)

The same way The Clinic did I wanted a outlet for beat makers and producers to be able to network. Show their skills. So one day I just said I’m going to make a group and I did.

8. What is the best way you or any artist can promote their music and brand? (Dejed19)

There really is no best way you can’t rely on social media, it does help but you have to put in the leg work do shows, rehearse, and just get out there…and 100% be yourself..a gimmick can only take you so far.
9. Last one……….. Where can people find you on the web and/or social media?

Twitter@DoomerH
IG @Doomdawiz
Doomer Henry/ Facebook
BCM Studios/ Facebook
BCM Studios/ YouTube