Apathy connects with two living Hip-Hop legends on “I Keep On,” which boasts towering bars from Pharoahe Monch with soulful, neck-snapping production supplied by The Chocolate Boy Wonder, Pete Rock.

The lyrically astute track follows the otherworldly “Alien Weaponry,” which features Ap flexing braggadocious raps over a sinister Nottz’ banger. But on “I Keep On,” the Connecticut emcee is a bit more laid-back and in the pocket as he trades rhymes with every rapper’s favorite rapper, Pharoahe Monch.

And you can definitely count Apathy among those apostles, because the Demigodz rapper revealed in a Facebook Q&A in 2017 that no other emcee influenced his style more than Monch. And if that influence wasn’t clear before, you can absolutely hear it on “I Keep On,” particularly when the two share the final verse and flaunt some straight-up bananas wordplay and flows. If ever there was a track that younger rappers should listen to, it’s this one.

“I Keep On” is the first instant grat track available for download off the iTunes’ pre-order for, The Widow’s Son. In addition to Pharoahe Monch, Pete Rock and Nottz, the 14 track LP also includes features and production from the  likes of M.O.P., Celph Titled, Diabolic, Buckwild, and Stu Bangas, as well as Ap himself who handles a chunk of the album’s production. The Widow’s Son, which is now available for pre-order, becomes available for stream and download, as well as all physical formats (CD, vinyl and cassette) on March 2nd, via Dirty Version. Head over to the Demigodz online store for various pre-order options, and bundle packages.

Photo by Joshua Jordan (IG: @jjvisions)

Album Pre-Order (Smart URL): http://smarturl.it/ApathyTheWidowsSon

Album Press Release: http://bit.ly/PressReleaseTheWidowsSon

Album Tracklist: 
01. The Spellbook (prod. by Apathy)
02. CHAOS (prod. by Stu Bangas)
03. Never Fall Off (feat. AG & DJ Mekalek) [prod. by Apathy]
04. The Widow’s Son (feat. Ryu) [prod. by Chumzilla] *Additional drums by J-Zone
05. The Order (prod. by DJ Premier)
06. Alien Weaponry (prod. by Nottz)
07. Hypnosis (feat. Brevi) [prod. by Messiah Musik] *Keys by Vertygo
08. I Keep On (feat. Pharoahe Monch) [prod. by Pete Rock]
09. A View of Hell (Hell Of A View) (feat. DJ Eloheem) [prod. by Buckwild]
10. Fist of the North Star (feat. Diabolic & DJ Eloheem) [prod. by Stu Bangas]
11. STOMP RAPPERS (feat. M.O.P., Celph Titled & Chumzilla) [prod. by Apathy]
12. Legend Of The 3rd Degree (feat. Tone Spliff) [prod. by Stu Bangas]
13. Rise and Shine (feat. Locksmith & DJ Mekalek) [prod. by Apathy]
14. Obi Wan (prod. by Smoke The World)

Twitter: 
• Apathy: https://twitter.com/ApathyDGZ
• Pharoahe Monch: https://twitter.com/pharoahemonch
• Pete Rock: https://twitter.com/PeteRock

Apathy Online: 
• Facebook: https://www.facebook.com/ApathyDGZ
• Instagram: https://www.instagram.com/apathydgz
• SoundCloud: https://soundcloud.com/apathyradio

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The post Apathy Delivers New Single – “I Keep On” (ft. Pharoahe Monch) [prod. by Pete Rock] appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

September 2015: Pharoahe Monch.

The post PHOTO OF THE DAY: June 26th, 2017 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.

Sen M. Floyd

Is this not what hip-hop heads are yearning for? It has certainly been a long time coming. Unfortunately the current state of over saturated “cursive” rappers may overpower upstart, authentic emcees like A-F-R-O (All Flows Reach Out), but true heads recognize the potency. His craft has done a damn good job reaching millions of people in a rather short amount of time. We feel like it was yesterday when R.A. the Rugged Man introduced us to him on video, demolishing freestyles from the head after a rough car accident. In disbelief, internet trolls weren’t sold at first that he could rhyme this sharp – off the top of his head at that. It was only a matter of time that he smashed those assumptions. Now we meet here with the ‘A-F-R-O Polo’ EP.

We could go on for hours about A-F-R-O’s aesthetic qualifications, but we’ll save you the time. It’s not everyday that a teenager steps on the scene under the wing of a top notch, underground name such as R.A., and actually cares. Do new jacks even care anymore? There’s a concerning level of ignorance towards the culture that we cherish deeply with a lot of young artists today.

Lets talk about his choice of production for the first official release here. Marco Polo – the MPC 2000 virtuoso. Man, Fro has a trained set of ears. Anyone following Marco’s career will agree that this collaboration makes sense. It’s beyond refreshing. It’s fun. It’s quality hip-hop. The two of them almost make it seem too easy. Maybe it’s the cover art? We had the pleasure of speaking with Marco Polo about the EP, which you can check out below. Therefore, we won’t reiterate everything he already told us.

A-F-R-O Polo EP

One of many notable and understood highlights on the EP is the limited amount features. Considering it’s his first official release it only makes sense, right? We want to hear what he brings to be table on wax, that of which is stellar. “Swarm” invites a deadly Pharoahe Monch appearance. Needless to say this was an awesome surprise. Shylow (First Division) handled all of the cuts. Does Shy ever disappoint? Easy answer – no.

The project is a must do. This is just a precursor at what’s to come from A-F-R-O in the future, we’re sure of it. He sounds like a seasoned veteran already. He’s hungry, but still has fun. He’s a giant voice. A giant personality whose passion for the culture is easily detected and admirable. That’s enough of our yap though. Enjoy the EP’s stream and our dialogue with Marco Polo! Peace and love:

RESPECT.: Before we talk about the music, we can’t ignore the incredible cover art! It sets a “don’t take life too serious” tone, which is refreshing. Can you talk about the cover a bit?

Haha, yup. I love the cover. Basically, A-F-R-O posted a picture of him with my cat Mischa on his lap (@catsandcrates on IG lol). Then, somebody flipped their heads on some Photoshop shit and posted it back on Fro’s Facebook page. I saw it and said “THAT’S THE COVER.” We both agreed it was the one.  

RESPECT.: It’s probably safe to say that A-F-R-O is one of the sharpest, young wordsmiths that hip-hop has seen in quite some time. Can you talk about the recording process and how the in-studio chemistry is with the two of you?.

Agreed. Fro is an 18 year old kid who loves golden era Hip Hop. He studies it. He’s a fan of that era and knows the history.  I think the overall chemistry between us is great.  The studio process has never been so simple. I play my beats, he picks one and writes. Then we record it. I did not get in the way of his rhymes or overproduce his vocals on this EP. I wanted him to do this thing and focused on making the music elements & hooks sound tight. Shylow came up with some key hooks too for “Fro Armstrong” & “Long Time Coming“. That really helped turn joints into fully realized bangers. 

RESPECT.: How did the project come about? Did A-F-R-O reach out to you to collaborate, or vise versa? 

R.A. The Rugged man brought Fro to my studio. He wanted me to work with him and called me saying he discovered this young MC. Of course I was down. When Fro came thru with R.A. we chopped it up and Fro said he was a fan of my work. It was dope vibes from the jump.  The very first thing we ever recorded was “Swarm” which later got a bananas second verse from Pharoahe Monch. That was the first joint we recorded for ‘A-F-R-O POLO’.

RESPECT.: Anyone familiar with your catalogue knows that you’ve worked with some of hip-hop’s finest emcees – from old to new school. What differentiates A-F-R-O from others that you’ve worked with?

Fro is 18 years old. His high skill level at such a young age is what differentiates him from other MC’s.  The potential for what he can do is limitless.  What also needs to be acknowledged about A-F-R-O is the mentorship of R.A. The Rugged Man. This is VERY crucial in his rise and introduction to Hip Hop. Rugged Man is a student, fan and now veteran MC who is guiding Fro in all the right ways. This is invaluable and a lot of young MC’s don’t have that on their side coming into the game. A lot of these young kids feel entitled and lack respect. A-F-R-O is great human as well as dope MC which is why people are so drawn to him.

RESPECT.: Outside of the new EP, what should we expect from Marco Polo moving forward this year? Anything else coming in the foreseeable future? 

I have a lot of projects in the works. Instrumental albums, more collaborations with up and coming MC’s.  Really focusing on working with younger MC’s. A follow up album with Torae is being discussed. A Masta Ace/Marco Polo album is being discussed. Also, internationally I’ve got my hands full with projects in Japan, Portugal, Poland, South America and Italy.  Not to mention sound designing my “Pad Thai” drum kits that have been highly successful and useful for new producers trying to learn and produce beats – www.marcopolobeats.com is where you can find those.

RESPECT.: Do you have any funny or cool stories that you could share with us during the creation of the record?

My favorite story from this album is getting Pharoahe Monch to jump on “Swarm” without telling A-F-R-O. I knew Monch was one of his favorite MC’s of all time and I wanted to surprise him. I called Monch and asked him. He knocked out the verse and then I sent the mp3 to Fro’s email. I called AFRO and said “yo….check your email while I’m on the line….” hahahaha I’ll never forget Fro’s reaction of pure joy and shock.  It felt good to help him achieve a collaboration I knew he always wanted to do and in the process we made a banger I knew heads would love.

Appreciate the interview Dread, much love.

A-F-R-O: Twitter | Instagram

Marco Polo: Twitter | Instagram

A-F-R-O Polo: iTunes | Google Play | Amazon | Spotify

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The post Marco Polo Talks ‘A-F-R-O Polo’ EP, Future Projects & More appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The Museum of Light: Artists as Alchemists: Just as an alchemist transforms lead into gold, do you feel that being an artist relates to that of being an alchemist? Do you view the artist journey and your creative expression, as alchemy?

PHAROAHE MONCH:  Gold as compared to art in my opinion must inspire new and positive energy. It must inspire the observer of the art and bring them wealth. Perhaps not wealth in the form of actual gold but things such as hope, encouragement, insight and more important knowledge. When the creator of the art gets the message that his paintings or books or songs have brought this connection to fruition, that’s true alchemy.

The Museum of Light: The Evidence of the Journey: Artists are often labeled as “stars.” Just as a star radiates light and the planets then reflect this light, do you see your work as an artist like that of a star? Is this “light” that stars radiate merely the evidence of this journey of becoming a star/learning to radiate light?

PHAROAHE MONCH: Definitely! The reverberation and resignation of music travels scientifically. Notes are vibrating waves. It is very similar to light travel. It’s why I chose this as my profession.

The Museum of Light: The Courage to Create: When an artist is not “creating” it is often labeled a “creative block.” How do you navigate this space, how do you find the creative spark in the dark, and does it require courage to create from this unknown space? Describe this process.

PHAROAHE MONCH: I love this darkness, this void is just as beautiful in the process of creation it allows me to listen and seek more information to apply when needed. I love to listen, sometimes the silence is where all there is to know can be heard.

The post CONVERSATIONS IN LIGHT WITH PHAROAHE MONCH appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Pharoahe Monch comes through with the first visuals off his fantastic PTSD album. The track, which details heroin usage, is extremely raw and it gets a fitting video. Monch battles with alcohol all while chasing his muse in hopes of finding salvation. Watch below.

The post New Video: Pharoahe Monch – “Broken Again” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.