Female Beatmakers

I've had the pleasure of finally interviewing someone who I think is an amazing artist(musician and graphic designer). Ry Nea Sol! (aka MsBeatJunkie), she's a female producer/beatmaker from Birmingham, Al:

Aquarius Rising: So, when did you start making beats?

MsBeatJunkie: In 2000, while I was in college at Jacksonville State University.

Aquarius Rising: You majored in Psychology with a minor in Communications. Did you participate in any extracurricular activities that involved music?

MsBeatJunkie: Yes, I was a member of the Jacksonville State University Mass Choir and also the Campus Ministry worship leader.

Aquarius Rising: Wow, so what was your motivation to start producing your own music?

MsBeatJunkie: I didn't hear any music that sounded like what I felt, what I heard in my thoughts on the radio and i hadn't heard of any female producers out there.

Aquarius Rising: What devices did you start out with to create the beats you wanted to hear?

MsBeatJunkie: (She smiles) Fruity Loops aka (FL Studio) and a keyboard.

Aquarius Rising: What did your first beats sound like?

MsBeatJunkie: They were actually dirty south hip hop beats because that's what I heard around me at the time. The word spread that I was producing. I started to get calls and requests to make beats for national and local christian hip hop recording artists.

Aquarius Rising: Do you still make dirty south beats?

MsBeatJunkie: My music changed when I
started listening more closely to what was inside of me. I am far from the commercial tones of crunk and snap. To me, my music is "organic soul, futuristic boom bap" (laughing). I am influenced by many genres. I also implement the art of sampling like many producers, but did not always sample.

Aquarius Rising: Which artists influence your creativity?

MsBeatJunkie: Pete Rock,Madlib,Jdilla,Tonex,Sun Ra...

Aquarius Rising: Sun Ra was a very eccentric musician. Why Sun Ra?

MsBeatJunkie: Sun Ra made music based on what he felt whether you liked it or not. J.Dilla was the same way; both were led by the music.

Aquarius Rising: Technology has become so advanced now. Are you still using just the software and a keyboard?

MsBeatJunkie: (laughing)Yes, but I have other toys too. I love software though, and mixing it with various hardware allows me to be even more creative.

Aquarius Rising: Are there any female producers that you admire?

MsBeatJunkie: The Angel, she is a female producer that you dont hear alot about. I discovered her years ago while watching this movie called "Boiler Room". I was intriqued because the beats in every scene were so tight and organic; so hip hop that I had to find out who produced them and when I found out the producer was a "girl" I really got on it because I dreamed of producing movies for film and tv as well. She's really talented.

Muhsinah (mu-seen-nah), Georgia Ann Muldrow, and Angie Stone are other female producers that I like as well.

Aqaurius Rising: Have you worked with any Birmingham artists?

MsBeatJunkie: I've produced some tracks for spoken word artist Shaun Judah and have had studio sessions with Byron The Aquarius; both are very talented artists. I am currently working with other artists in the city and outside of the city.

Aquarius Rising: Have you faced any challenges as a female beatmaker?

MsBeatJunkie: Of course! Being dismissed in some way or another because of my gender.

Aquarius Rising: So, where can we find evidence of your skills?

MsBeatJunkie: http://www.myspace.com/offbeatmusiq

B'ham's Hip Hop Scene and Me

As much as I appreciate other music genres, I am still a fan of hip hop, particularly conscious hip hop. Few in Birmingham know that I was a percussionist in my high school band (Color Guard and Drum Major also). So naturally I'm into music that I can dance to, groove to or be moved by the messages of its lyrics.

Fortunately, I re-united with Patrick Johnson a.k.a S. Fly of Red Light District over a year and half ago. We were once employed by the same company. S. Fly is the first Birmingham hip hop artist that I was introduced to. Red Light District is an unforgettable group in my mind. I’ll always remember my favorite lines in one of their songs: “ I know a place where we can go, there’s nothin’ but love around, nothin’ but love around”. The track’s beat, the bass is so deep and melodic. It’s one of those songs that you just ride out to when you need to clear your head.

Since then, I’ve also met other Birmingham artists such as: Thed Weller, Byron the Aquarius, I.M.A.E, Poet John Paul, Shaheed, Supreme and Poet Shaun Judah. They performed at one of Birmingham’s most energizing and uplifting spoken word/live music events, The Latte Lounge: SpeakYoSoul Live! at Java and Jams coffee house . I saw Green Seed shut it down at the Bottletree a few years ago. I’m now a fan and really encourage each of these artists to continue to deliver the goods with sick beats and passionate messages about love, struggle, triumph, politics, friendships, foes and “things that make you go mmmhhh”.

Lastly, I think that Birmingham is filled with incredible talent. We can't forget about the ladies. The artists I’ve mentioned have all impressed me. Just as impressive is the female producer/singer/graphic artist Ms.BeatJunkie. She’s remixed tracks for artists abroad and here in the city. Her influences are cats like J.Dilla Flying Lotus, Pharcyde, Digable Planets and Sun Ra. You must experience her for yourself. She even freestyles and has a soulful, jazzy, “can sing just about anything” voice. She has her very own unique swag! You can listen to some of her beats at www.myspace.com/offbeatmusiq.

While you’re cruisin’ the web for hip hop, stop by djlovedeluxe.podomatic.com. This is my site. Yes, I’m making a really concerted effort to hone my dj skills. Stay tuned for the 69 Boyz/Flo Rida mashup. Not very conscious I know, but we all have our weaknesses! The SoulHeat mix on the site showcases some of my favorite conscious hip hop tracks and a remix by Birmingham's MsBeatJunkie. You know, it’s really cool to know personally some of the great hip hop artists and musicians in our city.

Thanks Bettina for the opportunity to share my thoughts on the Birmingham Hip Hop scene. I wish each of the artists mentioned much success in life and their careers.

All B'ham Hip Hop Roads Lead to S-Fly

After posing the question, "How would you characterize the Birmingham Hip Hop Scene?", members of the hip hop community shared their opinions. Almost everyone mentioned S-Fly, Patrick Johnson, of the Red Light District. I wrote to him and asked for his perspective. He responded immediately to my request. He reminded me that we had met more than ten years ago when he was still with the Red Light District and I was working at UAB.

Bettina...I'm a huge supporter of our music scene in general, and because I'm a hip hop artist, I tend to take my hometown hip hop a bit more personal than some others may. I honestly think the current scene reflects the national music scene as a whole - we still tend to try and make music that sounds like someone else's. I don't think rappers WANT to make music that sounds like someone else's (at least not initially), but the pressure from radio, video outlets, and even the (local) audience we play for often demand songs about getting money, what money allows us to do/have, or status... almost anything negative about hip hop can be funneled right back to the "money" category.

This is only 1 example that keep the hip hop community from standing out or being heard on a larger scale (there are several). THERE ARE SEVERAL ARTISTS/EVENTS that promote good hip hop music, and there are various artists from the city who are excellent examples of new, fresh sounds and approaches to the music that intrigue audiences without radio play or videos.

The best part about the current scene for me is that the scene has actually grown up. In 1992, when Southern Comffort started, the scene was more like a toddler.... we had studios where we could book time and a network of outlets to produce quality work, and we were all "learning the system".

Somewhere around 1998-99, rappers like Supreme (Eargasm), Superking and B. Moe (Last Sunday Showcase), and Red Light (Love Jones @ Phoenix) hosted regular events that promoted not only the artists who came through, but hip hop culture AND the Bham scene as a whole. We no longer booked studio time - the PC had become affordable and we now had home studios and the knowledge to use them. This was our adolescent age... we were now promoting events, booking our own venues, and showing our independence.

Nowadays, Supreme has his own hip hop show, I've produced documentary and soundtrack music, Superking and Big Creed started award shows for the local scene, and several hip hop artists are involved in civic/mentoring projects. We produce our own shows if/when necessary with no problem, buy and/or produce our own advertising, create, shoot, and edit our own videos. We are in a much better position than we were almost 20 years ago! Our #1 problem right now is being ORIGINAL whenever we produce this quality work....what's the sense in producing your very own Gucci Mane record when Gucci Mane already has one out? Shout out to Ike Gi Jones and the Battle C.A.T.S., John Woodlawn, 7even, Big Chuck Ent, Murc Camp, Code, Thed Weller (old head, new name) and a host of other "newer generation" Bham scene hip hop brethren that keep fresh creative sounds and ideas, and can rock a show without rapping over the words in the track (a new phenom, requires a different post altogether). RESPECT to all the pioneers of this scene, from Cozmo Flex and Kid Fresh, to L.O.D., R.O.A., Attitude, Supreme, and so many others (emcees and dj's alike).

Yes, long winded....but like I said, I love this scene and will always promote it. I'm not leaving.

Please check out the link to Mr. Dial Has something to Say's Emmy nominated soundtrack by Patrick Johnson.

Thed Weller on B'ham Hip Hop

In Thed Weller's own words...

Ah...Hip Hop in Birmingham. For me, I won't go back to what it "was" I'll write about what "it is"... Alive! But before you can accurately talk about something I feel it important to define what it is you are talking about. What is "Birmingham Hip Hop"? For the purposes of this blog entry I'll define it as, "art inspired by life; usually but not limited to artists from the less privileged population*." There is a thriving hip hop scene in Birmingham now, but it's sometimes difficult to find "the scene" because of several factors. If you don't limit yourself to only the people/artists you already know of and you don't limit yourself to only attending events at certain venues, you'll find many talented and exciting artists in and around The Magic City. If you trust your friends and are willing to be exposed to "new" music and/or culture, then, when you hear or read that there is something going on at a spot that you may have never heard of, go check it out. That's how I've come to know and enjoy Birmingham Artists like, R-Tist, Constantine the Emcee, DJ FX, ComplEt, Biti, 7even, Alabama Power, Tig Knight, Attitude, Jr. Star, etc. the list could go on and on.

One of the factors that limits the strength of the "hip hop" scene in our city is money. Many people are not willing to pay to be entertained by hip hop artists and many artists are tried of having "good exposure opportunities" with no monetary compensation.

Another factor is much of "rap music" today is looked upon by "the powers that be" and many others as a 2nd class, 2nd rate form of music. I once performed at The Civil Rights Institute a cappella and was well received. After my performance I engaged in a conversation with two older gentlemen and was asked "what else did I do?" I told them that I was a rapper and the entire tone of the conversation changed. One of them told me, "I hate rap. They can throw it all in the ocean." He then proceeded to walk off. He had just told me how much he enjoyed my work but when he found out I was a "rapper", he instantly didn't like my music.

Yet another limiting factor is technology. Ironic because it would seem that with the explosion of social networking, it would be a unifying force, right? Well, it's so easily accessessable now, everybody is doing it. Rappers & Producers are a dime a dozen & everybody's got an agenda. It's hard and time consuming to murk through everybody that's got a CD out to find the stuff you might like. When artists had to make more of an investment in their art by purchasing studio time and what knot, fewer artists could get their product out and so, it was easier for the public to get familiar with the limited local talent that had product to offer.

Radio doesn't help either. There was a point in the not so distant past when the people at your local radio station pretty much played what they wanted to play. Now, it's more limited as to what DJ's can get on the air. Radios play what people know because that's what keeps people from changing to another station and finding a familiar tune.

Politics also is limiting the current Birmingham Hip Hop scene. Everything is political. "If you didn't come to my last show, then I'm not coming to your next show and vice versa. If you don't have me on your "top friends" on myspace, or write back under my status on facebook or chime in on what I'm doing on Twitter, you're pretty much dead to me." Many artists produce and promote their own shows, other artists come out to the shows to show "support". This "support" is really an unspoken "quid pro quo". Most artists, if they're being honest, are hoping that when it's their own show that's being promoted, if nothing else, all of the artists they've supported will come out and show up to support them. The truth is that "we" (the artists) should be able to bring enough people that we don't know out to a show so that it really doesn't matter either way if other artists come or not. This leads me to the last "limiting factor" I'll write about in this entry.

The people of Birmingham are not avid "hip hoppers". Just because their listening to 107.7 on Saturday mornings don't mean their coming out to see live hip hop music when it's available in the city. I'm not exactly sure why this is but I do know that it is. I've gone to show, after show, after show and see 20 or 30 people in a spot that should be filled with at least a hundred or more. And not just "ATL-auto-tuned-snap" type rap but real hip hop shows with Emmy Nominated Artists, a real scratching DJ, a Beat Boxer, Live instrumentation and back up singers for FREE! In Birmingham, it's very hard to get people to come out to enjoy this form of music live.

So, what's the Hip Hop scene in Birmingham like? It's alive but it does need watering. So, if you're reading this, do us all a favor and find out how you can help "water the good seeds" of hip hop when you can.

~Thed Weller

*by less privileged I don't necessarily mean poor or uneducated just people that can tell you how life for them ain't been no crystal stair.www.thedweller.com%5D
Source: www.thedweller.com

Genesis of Hip Hop in Birmingham

Kurtis Patterson takes us back to the old school.

Bettina and family… I don’t have a lot to say concerning the present state of hip hop in Birmingham. However, as usual you have struck a cord in my memory that has transported me to happier times! After reading the entry made by Bettina and Chris Coleman I was inspired to add my little bit to the conversation. We can't know who we are if we don’t know where we come from. I’d like to address the genesis of hip hop culture in Birmingham!

In and around 1978 Birmingham was a much simpler and less combative place. The town was still relatively white politically. David Vann was mayor. Richard Arrington and present mayor Larry Langford were staking out ground for a run at the top job! Birmingham had fourteen high schools back then. There was no Hoover high, or Spain Park. One could go to any sporting event anywhere in the city and not have to worry about being shanked or gatted!!! There was no Tom Joyner or Steve Harvey to start our mornings! We had Shelly the Playboy, Pat Slim Man Williams and the master of them all Tall Paul - Paul Dudley White! Tall Paul manned the microphone for afternoon drive! This time in my life was so very cool. When it was not basketball season I raced to my home in West End after school! I bust down my bedroom door and turned on my component set to WENN 107.7!!! Tall Paul was already into that afternoon’s high school checkin!!

High School check-in was a little thing where the listeners would call in and state what school they went to. What ever school had the most callers could claim bragging rights for that day… till the next afternoon’s contest! It was so exciting to hear callers from West End, Hayes, Phillips, J.O. and those hater Parker Thundering Turds!!! LOL most days the contest came down to Parker and West End! Occasionally we galvanized enough of us to win an afternoon at Ramsay! When that happened there was so much buzz in the hallways the next day. Because, everyone would know if you called… they would recognize your voice! You would be a celebrity that day! All thanks to Tall Paul and the High School check-in!

OK… What does that have to do with hip hop? Around 78 The Rapper’s delight hit the airwaves and exploded!!! It was the BOMB ditty! Tall Paul had the brilliant idea to allow callers to phone in and “rap” with the song as it played! Callers from all over the city would take their chances at emulating Big back Hank and the rest of Sugar Hill! I submit that it was this little nugget that was the genesis that germinated and eventually exploded into the sequoia like phenomenon that hip hop became in Birmingham in the 80s.

When I went off to college in the fall of 1980 I was shown just how far reaching the Birmingham genesis was. At Mississippi State University, as soon as someone learned that I was from Birmingham I was questioned about the call-in, about WENN, and the Djs in the area; Johnny Austin, Michael Starr, and of course SHOWBOAT!! It turned out that the radio waves were far reaching into Mississippi and surrounding areas! I was always asked if I could get tickets for the Prince concert, or The Time, Gap Band, Ray Parker, Obryan!!! I made so much money selling bootleg Whodini and Run DMC albums that I never needed my family to send meal money! LOL

As to a thread that my friend Bettina offered I have to challenge! She mentioned the fabulous skate rink days of yore! She mentioned Skate Haven and Holiday Skate on Valley avenue. I forget the name of the rink on third avenue west. But, I offer that the crème de la crème of skating rinks in the 80s was Skate Palace in Irondale!!! The building that is now Salvage whatever it is, across from Sam’s club in Irondale was the place to be in the Bham area! Cars were stretched all the way down to Montclair road! On Sunday nights the doors opened at 7 and closed at………WAIT FOR IT!!!!!! Four AM in the morning!!!! We partied and skated every minute till they kicked us out! Chris Talley was the venerable master of mayhem spinning the ones and twos!! This was the birth of the video era! Skate Palace had a HUGE screen on the far west wall.

Long live Skate Palace in Irondale, long live WENN 107.7, long live the Birmingham Genesis of Hip Hop… Paul Dudley White!!! TALL PAUL!!!

The B'ham Hip Hop Scene According to Jona Crooner

I was invited to the Onyx a few months ago to support Tee Huffman who was the featured poet at 'Afterwords'. Jona Crooner, 'Afterwords' organizer, was leaving town for an opportunity to promote his latest venture. I caught up with him last week. He took the time to draft his thoughts regarding the Birmingham Hip Hop Scene.

According to Jona Croner...

The Hip Hop Scene is alive but not well....From time to time you can see glimpses of what could be if the Artists,Poets,and supporters of the Culture would come together and actually build it up, but I personally hold each contributor accountable for the upkeep and cultivation of Hip Hop in the raw form..I am a music lover so to point the demise of Hip Hop to the now trendy "Rap" scene of today in my opinion is a Cop-out...Music is about expression and it just so happened that the Hip Hop Artist paints the picture on a canvas and many of today's rap artist only feel the need to crayola on a track... nevertheless...As a Artist I never judge (often criticize) but when its all said and done, as far as Birmingham is concerned, I celebrate the musicians and talents on any level.

I first was introduced to Hip Hop and Rap in the days of WENN and later experienced the actual culture that is Hip Hop while living in Japan for some years. The break dancing battles at the train-station, the weekend rap battles that changed clubs more than I care to mention pulled me into a totally new yet vibrant practice I use from time to time in my music though the lifestyle is far different than in Nippon.

I noticed the emergence of Soul Artists and troops of Poets as I toured throughout Alabama in early 2005, I often would run into many of the Artists that I grew up listening to as a young beatbox toting youngin'. My older cousin, Cano, was very vital in me truly respecting the art of beatmaking and I contribute a large part of my musical prowess as it pertains to rhyming to him and others such as S.Fly and Red Light District.

Fast-forward...you can see the rise of Birmingham artists such as Jaafar, J.Gray and many others that I feel if collaborated with a Hip Hop feel in mind could create some dynamic music as well as aid and assist in Birmingham attaining the level and respect musically we deserve. I appreciate all the contributors who keep the flame of what the essence of Hip Hop is about alive and I am never surprised when I hear the talent being displayed by anyone from Bham because I always knew the city has a "Magic"--foreal--that if used often can spark some genius sounds in any genre especially Hip Hop.

I would address the role that the radio station plays in the strangulation of Real Hip Hop talent in Birmingham and the genre as a whole, but words can't get passed the disgust I have for how "real" Artists are treated by the "powers that be"...

See posts by Chris Coleman and Jon DJ Supreme Malone.