Mos Def Explains Why He Left The U.S.

Yasiin Bey (AKA Mos Def) Explains Why He Left The U.S.

 

 

Last year around this time, the story started circulating that Yasiin Bey aka Mos Def was supposedly banned from entering the U.S. for reasons unknown. It later emerged that Yasiin reportedly moved abroad on his own accord and he’s since returned to America for performances, most recently in Chicago and Minneapolis, which quashes the idea that he was ever “banned.”
Maybe Mos got tired of all the rumors and decided to address them directly. He recently sat down with Beats By Dre for a short interview where he explains his decision to move abroad and how his musical creativity led to the decision.

“As an artist and as a human being, working in the way that I work in the world today,” Yasiin explains, “It’s really America’s a very challenging place for me. Sure, there’s great business opportunities, familiarity and all that. But given the current social, political, economic climate, it’s very difficult. Unnecessarily difficult. To create to the degree of fullness, the type of robust, type of creativity that I like to have, it’s very difficult for me to produce that here.”
He continues, “Earth is a very big and open place. That doesn’t mean I don’t value my family or my audience here in America. It’s just that I needed to take some time to put myself in environments where I felt good.” He goes on to clarify that the circumstances or events weren’t just limited to America, that other countries have similar situations which he’s critical of as well.
His success in music and the arts have afforded Bey the opportunity to travel the globe and seek out different experiences that shape who he is. He sees it all as a chance to create without limits. “If there’s anything I can do with my career, hopefully it’s to encourage the generations around me and after me to have that worldview.”

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On 2Pac’s hologram:

“That was brilliant. I tip my hat to Dre because it really shows the sense of love he had for Pac,” Raekwon explains. “Just to see someone do it for the first time ever.
We only seen sh*t like that on TV.”



On the possibility of a ODB hologram:

“It made me think about Ol’ Dirty, too, Rae says. “I would definitely have to have a understanding with his moms. I think it all starts with [her] respect level. If [she] want us to do it and they feel like it’s cool that’s when we would continue to move on and do that. I wouldn’t jump up out of the blue and just say ‘yo I want to reincarnate your son this way.’ I think it’s important that you give moms respect for her son.”
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www.BrownsvilleKa.com
Ka @Twitter / Geng-Grizzly @Twitter
www.PurpleTapePedigree.com

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Interview: Quakers

Phil Tortoroli from Street Date at Radio.com spoke with Quakers co-creator and co-producer Katalyst about the new album, released today on Stones Throw.

Stones Throw debuts the most exciting hip hop project since Dilla and Madlib joined forces for Jaylib – a 40+ track album from production outfit Quakers, featuring Golden Era crate dug beats and visceral verses from the likes of Dead Prez, Jonwayne, Aloe Blacc and so many more. Quakers consists of Aussie beatmaster Katalyst, Fuzzface (a.k.a. Portishead‘s Geoff Barrow), and 7-Stu-7, a triage of venerable producers in their own right whose combined efforts prove boom-bap is far from dead.

The Interview:

STREET DATE: First off, congratulations on finishing such a massive project. With 35 individuals across 40+ minutes, I can’t recall a hip hop record with this much talent on one disc. How did the project get off the ground – and how long did it take to complete?
KATALYST: It was a concept first, then we went about slowly making it a reality. I say slowly as both Geoff (Barrow) and myself were working on other records as well as touring. So Quakers didn’t get much attention when we were both busy but as soon as either of us had time to spare we hopped back on it. I'm not sure exactly how long the process was, but it was quite a while on and off.



Production duties were handled by yourself, Fuzzface (Geoff), and 7-Stu-7. Did you three collaborate on each track, or handle songs individually, or work somewhere in between? The songs all fit so well together, it’s hard to pinpoint who did what.
The production duties as you say were handled by all 3 of us. We all made the beats in our own time. Any thought worthy were brought to the table and if everyone was feeling the beat it made it onto the shortlist. Geoff kinda oversaw the quality control of the whole record. He brings out the best in people he works with as he is quite a perfectionist. I like this process cause it pushes me to push myself. I ended up writing over half the record. Most of it was mixed here in Sydney also. I also undertook putting it together as a continuous piece of music. But none of it would have happened without Geoff’s vision, skill and reputation.

The roster of emcees on the album is quite diverse – you’ve got both established talent and newcomers contributing equally impressive verses. Who were you most surprised to get vocals from, and which new talent impressed you the most?
I’m not sure we were surprised to get vocals from any one person in particular. We were just grateful that enough of the artists believed in what we were doing to give up their time to record and be part of it. There was next to no money involved so it was ALL about the music.

As for newcomers, I guess Coin Locker Kid was the standout newcomer – especially because he found us. He recorded over a beat we had on our Myspace right at the start of the project, and put the vocal version. He was still at school at this stage. Just his initiative alone impressed us, but more so it was what he sent us vocally that made an impact.

Your website notes the project came from disillusionment with the current state of hip hop. What about Quakers do you feel challenges the status quo?
One difference was we made the record simply for that sake of making a good hip hop album, not thinking about singles or big name MCs of the moment etc. We just wanted to make an album with no filler on there. Seems like most record only have 3 or 4 good songs and the rest is just filler to “make up the album”. We wanted to do the reverse and make 41 tracks (instrumentals) that deserved to be on the record. Hopefully we came close to achieving that.



How did you guys settle on the final track list? Considering the number of tracks and how well the record flows from one song to the next, sequencing seems like it might have been half the battle.
Well the tracks to make the final cut were decided before the mix was done. I wanted to create a good amount of variation between the different flavors that exist on the record. And that's what I came up with. I sent it to Geoff and Stu and they were all feeling it, so it was done. It took me a while as I'm a bit of a perfectionist as well.

What are your plans to promote this record after it’s out? Can we expect you guys to tour at all, maybe perform some one-off shows or DJ?
I'd say we will get a showcase together at some stage this year and do some like performance of the record, but we’ll just take that as it come really.

You released a killer mixtape in support of the record’s upcoming release – could you talk about some of the tracks featured, and why you included them?
Glad you like it, there were a mix of tunes on there. Some stuff that influenced us back in the day, some newer stuff were into more recently. I slipped a few new beats of mine in there. Also a preview of one of the Coin Locker Kid tracks “I Tried”, that’s off an album we have written together that will most likely come out later this year also.

Last question – favorite couplet on the record?
Hmm, tough one but there was something about Stic’s (Dead Prez) verse that was so on point, he ends the verse with, “its my natural disposition I was born like that, its engraved in my soul like grooves in the wax, I got soul power.” We recorded that on a 40 degree day here in Sydney. Something about the heat and the vibe that day that was truly captured in that song.


Source: StonesThrow

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