Rafael Casal, who appeared on seasons 4,5 and 6 of HBO’s Def Poetry Jam, explains how he and the Grammy and Tony Award-winning Diggs are using #BARS to shine their light.

“#BARS is a workshop I founded with my long-time collaborator Daveed Diggs as a place for artists to explore the intersection between contemporary verse/rap and theater. It came about as a joke suggestion from a friend, and turned into a force all it’s own through the excitement and genius of the artists who have been a part of it…: I think it’s a place for us to peer into the future of our individual and collective art through games and exercises. We just bring our skill sets like ingredients. Some people can rap, some can sing, some can write, some can do all of the above. The mutual ground is the love for pushing the boundaries of the forms, of using verse to tell heightened stories, and to see what new configurations of language can emerge when dope people get together to do dope shit.” – Rafael Casal

WATCH THE TRAILER FOR #BARS MEDLEY VOL. 2

The #BARS MEDLEY VOL. 2 drops November 14th! So many fantastic surprise guests, performances, and an amazing moment for new and emerging aesthetics in theater. Check it out at:

Bars Workshop NYC: barsworkshopnyc.com

Instagram.com/barsworkshopny

Learn more about #BARS here.

You can also find out more about this story at THE MUSEUM OF LIGHT.

Photo Credit: Lavell Wells, Vincent Morris, Matt Smith. 

The Museum of Light is curated by: 

Billy Johnson Jr., Adell Henderson, Joslyn Rose Lyons, Rafael Casal, Matt Smith, Malik Buie.

 

The post Rafael Casal and Daveed Diggs using #BARS to shine their light: #BARS MEDLEY VOL. 2 drops November 14th appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

THE MUSEUM OF LIGHT: What inspired you to create #BARS workshop, and what do you hope this unique platform will provide to other performers?

RAFAEL CASAL: #BARS is a workshop I founded with my long-time collaborator Daveed Diggs as a place for artists to explore the intersection between contemporary verse/rap and theater. It came about as a joke suggestion from a friend, and turned into a force all it’s own through the excitement and genius of the artists who have been a part of it.

It has three components: a masterclass series with seven different guest speakers, a workshop period where we write, stage and create new work together, and a culminating video medley that we create for YouTube. The medley and the masterclass talks are all documented and put online, so we can spread the conversation and creation to others who are invested in this kind of art.

THE MUSEUM OF LIGHT: You also hold the Monday conversations at #BARS with artists from both the Hip Hop world and from Broadway, such as Black Thought of The Roots/Jimmy Fallon, Hamilton director Tommy Kail. What have been the highlights from these conversations so far?

RAFAEL CASAL: Because this conversation feels so new still, it has all been a highlight. But there were exciting themes that continued to prevail in each conversation; points about authenticity, about methodology as an artist, the importance of verse throughout the history of the arts, what it means for new voices to continue pushing into the Broadway realm, and things like what vegetable would be the best playwright if vegetables wrote plays.

THE MUSEUM OF LIGHT: Are people surprised by how much the Hip Hop artists know about Broadway?

RAFAEL CASAL: I am not of the impression that an overwhelming amount Hip Hop artists are super savvy on Broadway and it’s goings-on, but who knows… maybe Young Thug was super into Shuffle Along. I think it’s fantastic that Hamilton summoned some of the rap elite into a Broadway seat, and that The Hamilton Mixtape features a crazy list of Hip Hop and pop artists that Lin-Manuel Miranda picked out to do some next level shit yet again.

But Hamilton isn’t all of Broadway. It can only do so much as one show, and it’s important that the creation of new work continues so it doesn’t become THE Hip Hop show; an exception to a rule of a continued tradition of a separateness between the highest levels of Hip Hop and theater. It still feels like Hip Hop is in the early ‘80s on Broadway, and Hamilton just proved it’s financially viable in the mainstream marketplace. It’s an exciting time, but a time to start asking a lot of questions, like now there is a one rap song in the new The SpongeBob Musical, performed by the villain… what does that say about rap music? Are we about to re-experience the real VS fake dialogue that the early 90s Hip Hop scene, but with Broadway shows? What is the relationship between Beyoncé’s Lemonade, Chance the Rapper’s “Sunday Candy,” Hamilton, and the Lyricist’s Lounge Show? That is what I’m interested in asking Hip Hop artists about.

THE MUSEUM OF LIGHT: You mentioned that #BARS could be a kind of portal (portal being defined as a doorway, gateway, opening etc.). How would you define a portal in this context as it relates to #BARS?

RAFAEL CASAL: I think it’s a place for us to peer into the future of our individual and collective art through games and exercises. We just bring our skill sets like ingredients. Some people can rap, some can sing, some can write, some can do all of the above. The mutual ground is the love for pushing the boundaries of the forms, of using verse to tell heightened stories, and to see what new configurations of language can emerge when dope people get together to do dope shit.

THE MUSEUM OF LIGHT: Portals are often connected to light (how light gets in, how light shines through, etc.). How does #BARS provide a portal to performers and in what ways have you seen performers find new openings from this experience?

RAFAEL CASAL: It’s really too early to tell, but everyone seems to be excited by the possibility of it. I had a cohort member tell me that the workshop changed the way she approached art, and that she felt a whole new world of possibilities had opened up to her. Sometimes we just need a space that gives us permission to be the best, most full version of our artistic selves, and we flourish.

THE MUSEUM OF LIGHT: #BARS is shining a spotlight on the stage for both Hip Hop and Theater, creating a bridge between Broadway and spoken word. What is it that allows these two worlds to so naturally shine their light together?

RAFAEL CASAL: I mean… they are both about beautiful language. They are both inherently theatrical, they are both musical. I don’t know that #BARS is the bridge by any means. I think that bridge has existed for a long time within the duality of people who love and exercise themselves in both worlds. #BARS is just a space for those people to improvise and create. #BARS is just a place that “Yes, and”’s the creators own forwarding plot line.

Learn more about #BARS here.

You can also find this story at THE MUSEUM OF LIGHT.

Photo Credit: Lavell Wells, Vincent Morris. V Matt Smith. 

The Museum of Light is curated by: 

Billy Johnson Jr., Adell Henderson, Joslyn Rose Lyons, Rafael Casal, Matt Smith, Malik Buie.

The post REFLECTIONS IN LIGHT: RAFAEL CASAL EXPLAINS BRIDGING HIP HOP & BROADWAY FOR #BARS appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Rafael Casal, co-creator of #BARS workshop with childhood friend Hamilton star Daveed Diggs, talks to the Museum of Light about their ground-breaking series that has been praised by Entertainment Weekly, Time and Elle for bridging Hip Hop and theater and has received rave reviews.

For the first season last spring, the 12 students in the 7-week course performed Hip Hop adaptations of scenes from Kill Bill, Mean Girls and The Devil Wears Prada for the #BARS Mixtape Musical Medley. The summer session that wrapped earlier this month featured interviews with the likes of Black Thought, Marc Bamuthi Joseph, and Lemon Andersen at New York’s The Public theater.

Here Casal, who appeared on seasons 4,5 and 6 of HBO’s Def Poetry Jam, explains how he and the Grammy and Tony Award-winning Diggs are using #BARS to shine their light.

THE MUSEUM OF LIGHT: What inspired you to create #BARS workshop, and what do you hope this unique platform will provide to other performers?

RAFAEL CASAL: #BARS is a workshop I founded with my long-time collaborator Daveed Diggs as a place for artists to explore the intersection between contemporary verse/rap and theater. It came about as a joke suggestion from a friend, and turned into a force all it’s own through the excitement and genius of the artists who have been a part of it.

It has three components: a masterclass series with seven different guest speakers, a workshop period where we write, stage and create new work together, and a culminating video medley that we create for YouTube. The medley and the masterclass talks are all documented and put online, so we can spread the conversation and creation to others who are invested in this kind of art.

THE MUSEUM OF LIGHT: You also hold the Monday conversations at #BARS with artists from both the Hip Hop world and from Broadway, such as Black Thought of The Roots/Jimmy Fallon, Hamilton director Tommy Kail. What have been the highlights from these conversations so far?

RAFAEL CASAL: Because this conversation feels so new still, it has all been a highlight. But there were exciting themes that continued to prevail in each conversation; points about authenticity, about methodology as an artist, the importance of verse throughout the history of the arts, what it means for new voices to continue pushing into the Broadway realm, and things like what vegetable would be the best playwright if vegetables wrote plays.

THE MUSEUM OF LIGHT: Are people surprised by how much the Hip Hop artists know about Broadway?

RAFAEL CASAL: I am not of the impression that an overwhelming amount Hip Hop artists are super savvy on Broadway and it’s goings-on, but who knows… maybe Young Thug was super into Shuffle Along. I think it’s fantastic that Hamilton summoned some of the rap elite into a Broadway seat, and that The Hamilton Mixtape features a crazy list of Hip Hop and pop artists that Lin-Manuel Miranda picked out to do some next level shit yet again.

But Hamilton isn’t all of Broadway. It can only do so much as one show, and it’s important that the creation of new work continues so it doesn’t become THE Hip Hop show; an exception to a rule of a continued tradition of a separateness between the highest levels of Hip Hop and theater. It still feels like Hip Hop is in the early ‘80s on Broadway, and Hamilton just proved it’s financially viable in the mainstream marketplace. It’s an exciting time, but a time to start asking a lot of questions, like now there is a one rap song in the new The SpongeBob Musical, performed by the villain… what does that say about rap music? Are we about to re-experience the real VS fake dialogue that the early 90s Hip Hop scene, but with Broadway shows? What is the relationship between Beyoncé’s Lemonade, Chance the Rapper’s “Sunday Candy,” Hamilton, and the Lyricist’s Lounge Show? That is what I’m interested in asking Hip Hop artists about.

THE MUSEUM OF LIGHT: You mentioned that #BARS could be a kind of portal (portal being defined as a doorway, gateway, opening etc.). How would you define a portal in this context as it relates to #BARS?

RAFAEL CASAL: I think it’s a place for us to peer into the future of our individual and collective art through games and exercises. We just bring our skill sets like ingredients. Some people can rap, some can sing, some can write, some can do all of the above. The mutual ground is the love for pushing the boundaries of the forms, of using verse to tell heightened stories, and to see what new configurations of language can emerge when dope people get together to do dope shit.

THE MUSEUM OF LIGHT: Portals are often connected to light (how light gets in, how light shines through, etc.). How does #BARS provide a portal to performers and in what ways have you seen performers find new openings from this experience?

RAFAEL CASAL: It’s really too early to tell, but everyone seems to be excited by the possibility of it. I had a cohort member tell me that the workshop changed the way she approached art, and that she felt a whole new world of possibilities had opened up to her. Sometimes we just need a space that gives us permission to be the best, most full version of our artistic selves, and we flourish.

THE MUSEUM OF LIGHT: #BARS is shining a spotlight on the stage for both Hip Hop and Theater, creating a bridge between Broadway and spoken word. What is it that allows these two worlds to so naturally shine their light together?

RAFAEL CASAL: I mean… they are both about beautiful language. They are both inherently theatrical, they are both musical. I don’t know that #BARS is the bridge by any means. I think that bridge has existed for a long time within the duality of people who love and exercise themselves in both worlds. #BARS is just a space for those people to improvise and create. #BARS is just a place that “Yes, and”’s the creators own forwarding plot line.

Daveed Diggs, Pharoahe Monch, Rafael Casal, Marc Bamuthi Joseph, #BARS.

https://www.youtube.com/watch?v=Y2OWGehIHw4

Photo Credit: Lavell Wells, Vincent Morris. Video: Matt Smith. 

Learn more about #BARS here.

You can find this story and others from The Museum of Light at RESPECT Magazine.

The Museum of Light is curated by: 

Billy Johnson Jr., Adell Henderson, Joslyn Rose Lyons, Rafael Casal, Matt Smith, Malik Buie.

For more info on The Light visit:
https://instagram.com/museumoflight/
Tweets by museumoflight

The post CONVERSATIONS IN LIGHT: #BARS & BROADWAY appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Much anticipation circulated around the Broadway musical “Holler If Ya Hear Me,” inspired by works of the late-great Tupac Shakur. Which is why it is surprising to learn that the show is on the verge of shutting down early. According to the NY Post, the play, directed by Kenny Leon, had a rough first week, bring in only $170,000. The play is reported to be the lowest-grossing play on Broadway. However, last week was not the only chaotic moment the show has encountered. It was rumored that “Holler” almost closed before opening night due to losing hundreds of thousands of dollars. Even if the show survives this disastrous start, it still is burdened with mixed reviews from critics. One of the main concerns is that it is a “heavy-handed” story, although critics enjoyed the “attempt to pull the jukebox musical out of the baby-boomer mire .” The show may have its early curtain call on Sunday, so be sure to check it out before then.

The post News: Tupac-Inspired Musical “Holler If Ya Hear Me” On The Verge Of Early Closing appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

It’s been a long time coming for Myron and E. The Bay Area-based soul duo has worked together for years, touring the country, putting out a string of singles on 45s, but never a full-length album–until Tuesday. Now signed under Stones Throw Records, Myron Glasper and Eric Cooke are ready to make things a little more permanent with their debut, Broadway. It’s about time; the soul world has been waiting.

RESPECT.: You guys have a new album coming out on July 2^nd, Broadway. There’s always some curiosity as to how artists name their albums–what made you decide to name this LP Broadway?

E: Well we were tossing around a bunch of names, but I think we decided on Broadway because…before we were signed to Stones Throw, that was the single that really stood out to [Stones Throw founder] Peanut Butter Wolf. It was suggested that maybe we use that as the title. So yea, that’s what we went with; we thought it fit.

After working together for so long and putting out so many 45s, including “Broadway”, what made you guys say ‘Okay, it’s time to put out an album together’?

E: We had wanted to do it the whole time but we had kind of bounced around a little bit, from [Finland-based record company] Timmion, and then Now Again, which is a subsidiary sister company, to Stones Throw. They picked us up. So, we were kind of a part of a juggling act, and finally the buck stopped with Stones Throw and here we are. We’re excited about it.

What made you sign to Stones Throw specifically?

Myron: Well Stones Throw is the sister company of Now Again, and I think Peanut Butter Wolf heard the music and he liked it.  He came to the decision that he thought would be a good fit for Stones throw, and we were extremely happy that he thought that because it’s one of the last good independent [labels] left that’s putting out hip-hop, soul, and music across all genres, but is still considered a pretty powerful indie in the industry.

Did the fact that Peanut Butter Wolf is a DJ himself play any role in your decision to sign with them?

Myron: No, I think it’s more that it’s a really good fit, because it’s such a myriad of eclectic artists there, and they don’t mind taking chances. But he does have a thorough understanding of how to get things done, and that helps.

Why do you think it’s important to continue making soul music as opposed to other genres?

Myron: I think it’s important to do good music period. I think the sound of the 60s was so enticing and unique and infectious. To me, it was one of the best sounds that ever existed throughout the history of music. And I’m not saying there’s nothing better or nothing greater, but it was just a really good, fresh sound.

E: Now today, people crave more than what’s coming out on your commercial airways. And there’s an audience that has never stopped listening to soul music. You have DJs out there, you have collectors; it gives them something new. Because there is a lot of uncharted territory when it comes to 45s and soul music.  People still want something new and something fresh. The beauty of what we’re doing is that we have the old soul sound and we have newer, up-to-date melodies, and it totally worked out. People are receiving it well and I think it’s a good thing.

When you two play shows are there certain areas or venues that respond to your music more than others?

E: It seems like the response has been pretty decent everywhere we go.  We’ve recently been playing shows in L.A. and that’s been really really good. A lot of the shows we’ve played there have gotten overwhelmingly good responses. Last year we did a tour throughout the Midwest, and that went over pretty well. We’ve also had the opportunity to play over in Finland with [our long time collaborators] The Soul Investigators. So it’s been well received. We’ve never had a bad show.

Myron: Even though some people are really excited and anxious, while other people don’t know us at all it’s still a good response. We just have to go out there and do a good job.

Where does Myron and E’s sound derive from?

E: Oh man, I think it started at the house and just built on from there; all the music that we’ve been fans of, for all the years we’ve been listening to music.

E, you come from New Jersey, and Myron you’re from LA. Even though you two grew up on opposite coasts, was it the same type of music in both households that you were listening to?

E: I think it was a little bit of both, the same music and different music. One of the things that we bonded over before the Myron and E project was ever going on when we were just friends was us knowing a lot of different music, especially from the late 80’s, early 90’s R&B. And even ‘til this day. We were just hanging out a couple of weeks ago doing the same thing, playing some old music.  We both grew up the same time so we’re both familiar with a lot of the same music. The other thing is that Myron may know something that was more West Coast where I might know something that was more East Coast, it’s always fun to discover new regional music through people.

Before you became the soul duo that you are today, Myron you were a dancer and also sang backup for hip-hop group Blackalicious, and E you were their tour DJ.  There are always aspirations to leave the background and be in the spotlight, so why did you guys decide to take that step to be the stars?

E: I think it was a little bit of luck of the draw. It just happened to be a set of circumstances that put us in this position. I don’t think it was anything that we initially said like, “Hey let’s put this group together and try to do something”.  It was more like a really happy set of circumstances that brought us together.

You all recently made your radio debut performing live on KCRW, and put on a great show at last year’s SXSW. Why are live shows still important to you?

Myron: Live shows give people that don’t know us or haven’t seen us or heard us a chance to say “Oh wow, great.” It also gives people the chance to hear it live. There’s always gonna be different variations of how we do the songs on stage. So you have to bring a little more to the table and step it up. And it gives people something visual, it kind of adds a little more oomph to it. And–gah–just being able to spread it out and get that personal intimacy, not just listening to a recorded version.

What’s the one thing each of you would like to get out of making music and being musicians? What’s your ultimate goal?

E: For me, Ive been such a music lover all of my life that I think the ultimate goal is what is happening right now, just to have a project out and get good feedback from it. And just to continue to make more good music. That’s the ultimate goal for me.

Myron: To continue to make good music, but also to continue to have fun, and of course make money at it. And continue to accomplish short term, midterm and long term goals which is more albums and more music. And just enjoy life.

The post Interview: Myron & E prove that Soul is Here To Stay appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.