B FRESH Photography and Media » Hip Hop

Immortal Technique

Rebecca McDonald — Thu, 18 Nov 2010 06:54:18 +0000

Immortal Technique in Minneapolis

(FREE MIX)

Originally published on City Pages

Written by Rebecca McDonald, photography by B FRESH Photography and Media

Immortal Technique isn’t your typical rapper. He raps about colonialism and racism rather than about girls and booze. Instead of spending money on chains and rims, he has wisely invested his money and given to humanitarian causes such as opening an orphanage/hospital in Afghanistan with Omeid International.

After returning to the U.S. from his trip to Afghanistan, and hitting up the stage at Soundset ’09, Gimme Noise caught Technique, who was in rare form: on vacation — in Minnesota. We chopped it up about his favorite place to eat in the Twin Cities, how he spends his time off, managing his investments, his love for classical music, and of course, revolution.

B FRESH: So you are taking some time off in MN? Did you catch a case of MN Nice?

Immortal Technique: I took a couple of days off because honestly, I don’t very often get to do that. I work ALL THE TIME. My entire life is built around ‘Objective, objective, mission complete. Objective, objective, mission complete.’ But I’ve been here a bunch of times. The first time I came out to Minnesota, my boys back home were like “You’re going to Minn….esota? Fuck is out there? And I was like, ‘Yo, B, they made the call. I’ll make the trip. I’ll tell you when I get home.” It was mad love. Then the first show I ever did at First Ave was something K Salaam set up-an event with Brother Ali… I like it out here. It’s cool.

BF: What is your favorite place to eat in the Twin Cities?

IT: Pizza Luce.

BF: People have described you as a revolutionary artist, but what does that work really look like?

IT: When you talk about being revolutionary you’re talking about getting things done in an unconventional manner…You are talking about taking an idea and reinventing it, or coming up with a brand new, original idea that you can give to the people. Revolutionary work is difficult because it puts you in direct conflict with the world of a performing artist. It’s almost impossible. It is impossible, I’ll say, to be a rock star and a revolutionary. And rap stars are the new rock stars. So, to go and fight that life, it’s very difficult.

BF: What are some of the challenges?

IT: I am sometimes accused by my peoples as being way too serious, or I’m angry or I bark orders at muthafuckas, but I live in a world where everything is so serious and the stakes are so high that I can’t afford the people around me to make mistakes, just like I can’t afford to make mistakes. I’m so on my business and managing my investments, and putting my money into groups that are helping people…I bought my grandmother a house, I put my sister through college, paid off my father’s car, bought hundreds of acres of land in South America…It’s revolutionary work because we are not trying to do this with some corporation controlling everything. We are trying to do this independently; we are trying to change the actual face of the music industry- a revolution, within the industry itself, to prevent them from controlling the rest of the culture. And it is guerilla war, because I am not fighting this thing to win. I am hopelessly outnumbered, and I am fighting a war with nothing, compared to what they have. And yet, I have managed to stake certain ground and hold it. And be like “Y’all can have all that commercial shit, but this right here, is mine. And you have to act right. And if you don’t, you’ll have to get kicked the fuck out.”

BF: While you are doing all of this traveling, what are you listening to on your most recent road trips?

IT: When I’m driving, I like anything from hip-hop to classical to opera. I’ve had Big L- ‘The Big Picture,’ I had some old DJ Clue mixtapes, Mozart’s opera ‘Don Giovanni.’ I like Classical music- my mother used to play it for me when I was in the womb. I always grew up liking that sort of thing. People be bugged out when I’m in a tour van or some shit, blasting opera, just tearing down the highway. People are like “Yo man, what are you doing.” I tell them, I just like this music, and if you don’t like it, you can get the fuck out- find your own show.

MORE:

B Fresh Photography was in the B96 studio to snap shots of Peter Parker talking to Immortal Technique. Click here for her all-access slideshow.

Late Monday night, Parker released the mixtape “Mr. Peter Parker Presents How Hard Do You Hustle Vol. 6 ‘The Best of the Worst’ Hosted by Immortal Technique.”

Technique opens the mixtape by saying “…We gon’ machinegun down all that fake-ass hip-hop that shouldn’t even be on the fuckin’ air. This is the best of the worst. Good night muthafucka.”

B FRESH: A Fresh Eye on Minnesota Hip-Hop

Rebecca McDonald — Wed, 13 Oct 2010 04:03:11 +0000

By Jay Gabler, Originally posted on MN Artists

February 17, 2009

Rebecca McDonald has photographed KRS-One, Mos Def, DJ Spinderella, Grandmaster Flash, Too $hort, Pharrell Williams, Method Man, Kurtis Blow, and Afrika Bambaataa—but her greatest regret involves, of all people, Celine Dion.

“When I was given photo access to a Celine Dion show,” says McDonald, “I couldn’t pass it up. I mean, it’s Celine Dion! She’s a diva. But then I got to Target Center, and my camera was dead. I didn’t have my extra battery, and I was just screwed. I just stood there and watched her perform. Ever since then, I always carry an extra camera.”

The 24-year-old has become the unofficial photographer of record for the Twin Cities’ exploding hip-hop scene. She’s shot virtually every Minnesotan DJ and MC worth knowing—Atmosphere, Brother Ali, Doomtree, Muja Messiah, M.anifest, Desdamona, the Usual Suspects, El Guante, and more—and has taken her Canon around the world chronicling music, politics, and anything else she happens across. Her professional moniker, “B Fresh,” is increasingly recognized by hip-hop heads well beyond the Middle West. Jeff Chang, author of the definitive history of hip-hop (Can’t Stop, Won’t Stop), has declared that “if there was ever a natural-born journalist, B Fresh is it.”

McDonald’s parents separated when she was young, and she split time between her mother (a white woman) and her father (a Native man) spending time in both of the Twin Cities. “I do consider myself a woman of color,” she says, “even though my mother [is] white.” While attending the College of St. Catherine, McDonald discovered her calling in the intersection between photography—a lifelong interest—and politics. “I took a Meyers-Briggs test once,” she says, “and it said I’d be into social work or photography.”

At St. Kate’s, McDonald majored in women’s studies, communication, and critical studies of race and ethnicity. Her art and her activism first came together when she worked for a magazine put out by St. Kate’s multicultural center. “My roommate and I decided to do this section on fashion and sexuality: ‘Extra Spicy.’ After that, I put together a collage for the visual art exhibition in B-Girl Be, where my photos were displayed in the gallery at Intermedia Arts. That gave me the confidence to take my photography to the next level.”

After graduation, McDonald took a job at the Minnesota Women’s Political Caucus, managing a diversity outreach project. “All my studies transferred over into what they call the ‘real world.’ I traveled the state, talking to women of color.” Meanwhile, she attended hip-hop shows whenever she could and started to build a reputation as a photographer with an instinct for great shots and a rapport with her subjects.

“I’ve always been immersed in hip-hop, ever since I can remember,” she says. “I remember listening to TLC’s Crazysexycool on trips to the Boundary Waters with my dad, memorizing all the lyrics. There have always been powerful women I’ve identified with in hip-hop, and I’ve always been drawn to the visual element of the music. The DJs, the MCs, the dancers…I approach the scene not as an anthropologist, but as an artist.”

Blame It On Hip Hop $500 scholarship

Rebecca McDonald — Mon, 22 Feb 2010 23:55:45 +0000

Meet Blame It On Hip Hop:

The “Big Question” Hip Hop Scholarship Essay Contest

Blame It On Hip Hop (BIOHH), a Twin Cities-based apparel company, hit the scene in 2002 with a positive message. Marcus Manning, Richard Strong and Michael Livingston are still pushing that message, providing a fresh and concious alternative to other urban wear, and supporting the advancement of Hip Hop culture. With the violent end of the Twin Cities Hip Hop Awards this year, BIOHH finds it more important than ever to continue the dialogue about Hip Hop, and support the educational opportunity of youth in the Hip Hop movement.

BIOHH is offering the chance to win $500 through a educational scholarship essay contest for high school seniors and college students nationwide. Two winners will be selected this March by a Hip Hop all-star advisory panel, based on students’ answers to one of the following “Big Questions”:

1) What is the importance of hip-hop culture and it’s foundations, and what active role are you taking to give back to hip-hop? or
2) What do you think the world would look like without hip-hop, and what significance does hip-hop have in your life?

Applications have been pouring in, as students across the nation express their experiences and opinions about Hip Hop. Essay details can be found on Blame It On Hip Hop’s website, and applications will be accepted through March 15, 2010. I sat down with Marcus Manning for a briefing on the company and their national scholarship contest.

B FRESH: First of all, what is “Blame It On Hip Hop?”
Marcus Manning: Blame It On Hip-Hop (BIOHH) is an apparel company based in the Twin Cities, but we are about more than hot clothes—we are a movement dedicated to fusing three elements: one, highlighting the positive aspects of Hip-Hop, two, giving back to the community, and three, looking fresh while doing it! We are committed to highlighting the great strengths and positive aspects of the Hip Hop culture, and you can see us out in the community putting in work.

BF: So where did the idea for Blame It On Hip Hop come from?
Actually, I woke up one morning fed up with Hip Hop continually being blamed for societal ills. I decided to make a t-shirt saying just that–“Blame it on Hip Hop.” However, we flipped it, and the so-called “blame” is on the fact that Hip Hop has brought people from all cultures together. Hip Hop has given our kids opportunities, got them off the streets and on the stage and so on. That is the only blame we can put on Hip Hop.

BF: That is an interesting approach. But what do you think the general public’s perception is when they hear your name “Blame It On Hip Hop without hearing your story and background?”
MM: The assumption is that we’re saying “F-Hip Hop, it’s to blame for anything and everything wrong.” However, the slogan creates conversation, which is a starting place for greater understanding–That’s what the phrase invites. People always ask, “Wait a minute, what do you mean by that?” Then, we get the chance to build and educate.

BF: How did you decide to start up a scholarship? What did that process look like?
MM: We value education and always have. We were trying to decide what we could do that would be impactful to potential students. BIOHH wanted to make sure that we created opportunity and encouragement for first time college students, and increased the probability for students to stay in school. We carefully chose an advisory panelists that are not only lovers of the Hip Hop culture but who are currently active in various ventures designed around keeping the culture rolling. We developed engaging questions for the essay, criteria for the contest, locating potential sources to assist in spreading the word, contacting media outlets, getting on the radio and doing interviews to spread the word. So far, we have received many essays from across the country from young people who are passionate about elevating Hip Hop culture.

BF: So the reception to the scholarship has been good so far?
MM: It’s been pretty steady, but we’d still like to see a lot more essays! The reason being is that the more people can speak, write, rap etc. about how Hip Hop is affecting them, the deeper the meaning. Sometimes, putting your thoughts on paper can have a crazy effect on your views.

BF: What new message/ideas do you want consumers to walk away with after they purchase your product?
MM: We want people to know that it’s important to invest in brands and products that are concerned with doing good. An investment in the BIOHH brand means that we’re able to produce more shirts, which in turn, allows us to develop more scholarships and make education a real option for people around the world.

BF: What makes you message different from FUBU or Sean Jean? How do you distinguish yourself from the rest of the clothing lines out there?
MM: We’ve all worn Sean John and Fubu and countless other brands. Sean John was my joint. Our goal is to consistently bring highly moving aspects of the Hip Hop culture to the forefront. When we uplift the community through the work on the ground everyday, it’s beneficial to everyone involved in Hip Hop. It’s not so much for self-promotion. Yes, we are a for-profit company but our road to the top is different.

BF: When developing your product, what are the main elements that you keep in mind?
MM: When developing our product, we must create apparel that is aligned with the values of our company: movement, fashion and advancement. We hold ourselves to a high standard. As a social entrepreneurship venture, we are intimately allied with Hip-Hop, and we stand behind the idea that people come before product. We strive to make sure the quality of the product compliments the quality of the conversation.

BF: How does the fashion statement with your t-shirts you are making match the mission of the company?
Over the years, we’ve had tons of designs. From wild break dancing shirts to straight text. Just like Hip Hop, there are so many facets, styles and ways of expressing your individuality.

BF: In the end, what does success for BIOHH look like?
MM: Our goal is to become the leading company producing thought-provoking t-shirts worldwide. That means that people all over globe are wearing the BIOHH brand– they become part of the movement, fashion, and advancement of the Hip Hop culture.

Sarah White

Rebecca McDonald — Tue, 02 Feb 2010 23:11:36 +0000

Sarah White talks to Gimme Noise about leaving the Twin Cities for Brooklyn

Listen to C Train by Sarah White HERE

“I’ve learned you have to know what you want. If you don’t, you will never get it.” -Sarah White

Interview and photos by Rebecca McDonald of B FRESH Photography and Media

(Short version originally published on citypages.com)

Sarah White in the studio

You might remember her as one of the first female lyricists putting it down in the Twin Cities Hip Hop scene, working with the likes of Black Blondie, Kanser, and countless other artists and groups. Sarah White is a mother, singer, emcee, photographer, writer, blogstress and wifey with a keen sense for social networking, marketing and design. After living in the Twin Cities for most of her life, she and her family decided to move to Brooklyn several years ago, to continue feeding their already-thriving music and artistic careers. White’s current fusion sound mixes up a bit of soul, hiphop, triphop, nujazz, rock and even folk. The streets of New York inspire her to stay on her game more than ever, and she has a brag list to prove it. City Pages took the C train to Brooklyn to see what she has been up to since relocating, and caught a behind the scenes glimpse of her recording in the studio with Rico/Dj Don Cuco.

B FRESH: I know of your work in many different facets, so you know I have to ask: What do you do? How do you describe yourself?

Sarah White: I am a mother, singer, emcee, photographer, writer, blogstress and wifey with a been itch for social networking, marketing and design.

BF: I’m curious, what did you want to be when you were little?

SW: First an obstetrician. Like Bill Cosby played on the Cosby Show. Then a movie star. Then a singer.

BF: Of course, a singer! And what inspires you?

SW: People around me doing what the love to the fullest with no regrets. My people in Minneap still holding it down inspire me with their creativity and dedication (like RSE, I cant believe the EMPIRE they have created and how much it impacts the scene even in NYC). The people in Brooklyn inspire me to always try harder. There seems to always be someone down the block doing what I do but tighter. Keeps you on your game! The community out here really works togther though, which inspires me for the things we can build for the future.

BF: For those that aren’t familiar with your work in the Twin Cities, tell us some folks you worked with?

SW: I’ve worked in [the group] Kanser, I was a member of Traditional Methods, Black Blondie (I started that shit with Sam- it was her and I in the beginning), Desdamona, I Self Divine, M.anifest, Kelsey Crawford, Booka B, Pee Wee Dread, Dj Don Cuco aka Rico Simon Mendez, Maria Isa, Felipe, Ike, Andy Gillespie, and so many more. I performed with tons of others, and Jon Jon helped alot with booking and promotion.

BF: What are some bragging points while living in the Twin Cities?

SW: I felt like I came into the music scene at the perfect time to help put Minneap on the map. First, with Traditional Methods we played and opened for great acts like Fishbone, Lyrics Born, Camplo, Atmosphere, Sage Francis, etc playing everything from political rallies to straight up hip-hop shows in Dinkytown. Then, as Black Blondie got off to a great start, we opened for some big names like Jill Scott, Amy Winehouse, The Coup, The Roots, Alice Smith, the list goes on. We were nominated for the MN Music Awards, took second place for best band for City Pages in 2007?2006?, and even landed a spot in the Black Lily Music Festival in Philly. In the beggining of my solo career, I opened for K-OS and ?ueslove thanks to Jon Jon at Foundation before it closed down. I also helped to curate the first and second B-Girl Be festival.

BF: After moving to Brooklyn, how was it adjusting to NY after living in the Twin Cities for so long? 26 years, right?

SW: Yes, easier than I expected. Brooklyn is really inviting and I met amazing people right away, that made me feel home. The rats and “waterbugs” were the hardest part to swallow.

BF: What have you been up to since you left the Twin Cities for Brooklyn?

SW: So much. I have been releasing music, working on new projects, networking, building, dreaming… and trying to keep a balance with the family life in BK. When we first moved to Brooklyn, I hit the ground running and basically jumped right into the scene with music and photography. There was so much new to see, so many people to build with and learn from… I felt unstoppable, but exhausted!

BF: Who have you work with since living in New York?

SW: I’ve been working with Rico/Dj Don Cuco, Dhundee, Arch_typ, JTodd, Yellowtail, Busy, Altered Natives, M.anifest, Nicholas Ryan Grant, Kiva, Daru Jones, Imani Uzuri, Matt Shadtek, Kassiano, Rucyl, Andrew Edward Brown, Hadyn & more and I have performed with Ursula Rucker, EricRico, Eagle Nebula, Imani Uzuri, King Britt, Afta-1, RasG, Taylor McFerrin, Bobbito, Waajeed, TK Wonder, Jose James, Dj Moni, Rep Life, The Beatards, Caitlin Meissner, and so many more.

BF: What are some bragging points while living in Brooklyn?

SW: I released my solo EP, Hiding Blind in 2008 with distribution by Bagpak Records. That release was a very grassroots recording, most of it in my studio in Minneapolis and bedroom studio in NYC. I was also on a CD compilation by Dj Moni released by Toy Factory, and in Luire Mag in stores in Japan and online. That compilation featured one song by me, and other artist like Waajeed, Bilal, Little Dragon, Zaki Ibrahim, Dhundee, Coultrain, etc. We also have had tracks released in Italy, UK, Paris and music for sale in shops in Barcelona. I have been blessed to get a lot of press love, being featured in Luire Magazine in Japan, Parlour & Clutch Magazine, and tons of other online music sites and blogs. It has really helped to get the word out. I released a single (I WANNA BE WITH YOU Original and Rucyl remix) on King Britt’s label (FIVESIXMEDIA) in 2009 and they have been getting international play on dance floors. Rico and I have been a part of Saturn Never Sleeps (curated by King Britt and Rucyl Mills - http://saturnneversleeps.com/about) which brought me back to Philly to play. I also was honored to be a part of Imani Uzuri’s “A Black Girls Rock Opera” singing with her and other amazing musicians at the Apollo in 2008. The biggest thing so far, was winning the Scion Electronic Vocalist Competition, playing the “Friends We Love” Music Festival and being on stage with Muhsinah @ the Sonar Festival in Barcelona.

BF: Tell us more about winning the Scion Electronic Vocalist Competition, and what you did.

SW: First off, I have to give love to C-Rocka for pushing me to enter it. I’m not one for competitions, but I figured, what the ^&%$ do I have to loose? Basically, they started out with tons of singers and narrowed it down to 30. I had to write 3 original songs in 1 week, and perform them live with no effects, on camera and in front of industry judges, and be the best. Lucky for me, I won : ) I got a fat check (which bought Rico and I tickets to Barcelona for a month), recording equipment and a trip to Cali to record a track for a Scion AV Compilation. It drops next month. It was a huge blessing.

BF: What lessons have you learned since living in Brooklyn?

SW: I’ve learned you have to know what you want. If you don’t, you will never get it. Also, I’ve learned how to network my ass off. Its a business, really.

BF: How would you describe your sound, and how has it evolved since living in Minneapolis?

SW: I’ve have have difficulty describing my sound because its a fusion of so many, but people have called it soul, hiphop, triphop, nujazz, rock and even folk. I feel like since I moved to NY I have done more experimenting and genre-pushing, so Ive branched into more house, harder rock, grimier hiphop (is that a word?) and more soulful melodies. Just kind of turned it up a notch.

BF: Are there any places you frequent, or things that you do when you are missing the Twin Cities?

SW: Yes. That happens very often lately. I have found a few spots ran by Minneapolis people out in NYC, so I go eat there to get that Midwest vibe when I need it most. When I’m missing the music scene, I stalk everyone’s Myspace pages and videos, in complete shock at how dope everyone looks in Minneap. I still think musicians in Minneap are far more experimental and emotional than most cities. They push the art in the music and I love it. Miss it. So.. I google it.

BF: What can’t you live without from the Twin Cities?

SW: The wedge, Tao Foods, Bryant Lake Bowl’s granola pancakes and egg sandwich with veggie sausage, Origami Sushi, Drea and Emerson, My family!!!, Lava Lounge, Smitten Kitten, block parties, backyards and discounted shopping. I’m drooling right now…

BF: What are your plans for 2010? Any new projects? What should we expect from Sarah White?

SW: Everyday I’m hustin’. Expect to see more music! I will be releasing an EP from my new acoustic project, Via Barcelona, along with my full length album, coming soon. Also watch out for the project with M.anifest (S & M) which I’m recording as we speak, and a few singles/remixes. I am also excited to dive back into Hip Hop and getting back on my flows in 2010.

BF: If you could work with anyone in the industry right now, who would it be, and why?

SW: Wow! So many people. I guess I would love to do a track with Yukimi from Little Dragon. I love that band! They remind me of Minneapolis but turned up 100 notches. I would also love to work with the BLK JKS– they blow me away.

BF: Anything else you would like to say? Any shoutouts?

SW: Thanks to B FRESH for being so FRESH. Also check me out on Wronglips & Twitter! Shoutouts to Interlock, the Southside, White-Mendez-Johnson-Hughes Fam, and all my people in NY & Philly that keep inspiring me day to day! Thanks to Bagpak, SNS and my boo Rico!

For more information, please visit:

sarahwhite.bandcamp.com

www.mysarahwhite.com

wronglips.blogspot.com

fotosforbarcelona.blogspot.com