Category: Calling the Bluff

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Calling the Bluff Music

Q & A with Starlito

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More than 200 miles east of the Bluff City, Nashville, a place that many consider to be the nation’s “Music City,” continues to birth fresh talent.

Largely known for being the mecca of country music, the city also boasts an impressive hip-hop catalog. Such artists as Platinum-selling lyricist Young Buck, independent heavyweight Quanie Cash, and more so lately, a witty and charismatic artist by the name of Starlito (formerly known as All $tar), have taken “Cashville” by storm.

The latter of the three aforementioned Cashvillians, Starlito, began to make a significant impact in the underground rap realm with his 2005 single, “Grey Goose,” which featured Young Jeezy and Yo Gotti on its remix. The standout club heater, along with other bangers, would lead to him signing a deal with Memphis rap forerunner Yo Gotti’s record label, Inevitable Entertainment, and subsequently land him a spot on Cash Money Records.

However, after playing the background on the label for a couple years, and the shelving of his Cash Money debut, Streetball, Starlito declared his independence. Forming his own label, Grind Hard Records, he’s released a solid collection of mixtapes, along with a couple independent albums over the last few years. He also collaborated with Memphis artist and Interscope Records signee Don Trip for the duo’s well-received mixtape, Step Brothers.

Starlito took time out to speak with me about his latest mixtape, Funerals & Court Dates, nearly giving up rap, some of his favorite artists to listen to, Step Brothers 2, his upcoming mini-movie, and a lot more.

Follow Starlito on Twitter: @Lito615
Download some of his music here.
Purchase some of his clothing at Grindhardapparel.com


Was music always what you wanted to do as a career?

It was probably sports at one point growing up—way more than music. But it got to a point where I realized the odds were way against me to make a living playing sports. With that, I gravitated toward taking music seriously. It was first a hobby that people always told me that I was good at, and I pursued it from there.

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You released the mixtape Funerals & Court Dates in December 2012. Was there a message that you were trying to convey with the mixtape?

The message behind it is pretty clear and obvious if you listen to it, and it’s that we, and when I say we, I’m speaking to likeminded people, or people who experience similar things, or come from similar upbringing, we, as people of that demograph, don’t have much to look forward to. I narrowed it down to funerals and court dates. The message was, not just to glamorize the darkness of it, but to bring in the reality to the forefront. As an artist, I choose not to paint an inaccurate picture. I’m more familiar with the picture that I paint on Funerals & Court Dates more so than anything that I could have said with any message and purpose to it.

Judging by your catalog, it seems like you stay in the studio a lot. How often do you record?

I don’t record nearly as much as I used to a couple years ago. The end of 2009, all through 2010, I was in the studio four or five days a week for no less than ten hours a day. It was a job. I looked at it like I was being deficient if I wasn’t in the studio for forty hours a week, because I want this to pay. Since then, I’ve fallen in and out of love for making music, and music in general. So many things are bells and whistles these days, and I’m just really, really intent on being real and bringing the reality back to the culture. That’s pushed me to not recording as much honestly. I’ll get disconnected with the trends and how music is going so far in one direction. It’s like people forget to be themselves. So sometimes that will keep me out of the studio.

A large amount of your music is on original production but you release it for free. Do you worry about this affecting your sales?

That’s not my primary concern. The music business is different now. If I was still signed to a label, still an artist underneath a company’s guidance, I wouldn’t make money off the units sold. That’s just the nature of the game. That’s not how I would make my money. If you consider that, I guess it was never my concern. Understanding that I’m in a transitioning period, or understanding how virally my music moves, I’m willing to sacrifice one for the other, because if they meet in the middle then I see a benefit. If I was putting out a CD just to make money off of it, I would have to compromise my audience, or I would have to compromise my material, and I’m not willing to do either.


So how do you stay afloat financially with your career?

All of my releases are available on Bandcamp.com, where you have the option to donate whatever you want. I tour. I might have done 30, 40 shows last year. I’ve been charging between $5,000 to $15,000 a show for the last two years. The basis for that is the music. As a businessman, you sometimes make certain concessions for things in order to see a return elsewhere. My audience is definitely growing. And as a businessman, I’m constantly trying to evolve my ideas and my visions to how I can turn that audience into revenue, but I don’t ever want to lose myself in-between. That’s what keeps me going. Knowing that I’m being true to myself through it all. Whatever I make in-between is a plus, because I used to do this shit for free.

You had a stint with Cash Money Records. Do you ever regret leaving the label considering its success throughout the years?

I don’t deal so much with regret. I think it’s one of the unhealthy emotions. When I was growing up and music became interesting to me, before I became an artist, during my time there and after, I’ve always found a lot to learn from what [Cash Money has] had going on. I admire success. If you don’t, you almost fall into the hater realm. I’m happy with my independence. I’m satisfied with it, and I think there’s certain liberties of an artist that are necessary for you to be at your best. Not saying that you can’t have that in any other way than just being a complete independent [artist]. They’re cons just like they’re pros, but I’m satisfied with it. I try to appreciate things more than regret things.


Are you considering signing back to a major label?

I’m open to any lucrative business endeavors where I don’t have to lose myself in-between. At the same, I enjoy making my music on my terms and putting it out when I want to. Without being an independent, I’m not sure if that would be possible.

Do you feel underrated within the rap game?

I don’t look at myself as part of the rap game. I don’t see myself as playing the rap game like everybody else. I didn’t make Funerals & Court Dates for you to rate it against project X, Y and Z from artist one, two, three. Appeal and all that, I don’t go to sleep and wake up on that. I kinda feel love more than the fame. I hear and see people telling me that they love what I do everyday. There’s nothing to call underrated about that. That’s overwhelming. The fact that I have an audience is a blessing. I’m just pushing to make growth. I couldn’t live with myself bitching about being underrated, or ‘I’m not where I should be.’ I think I’m beyond where I ever dreamed I’d be.


A lot of people know you from being with Yo Gotti, but there’s been a lack of collaborations between you guys lately. What caused the change in the relationship?

I don’t really know.


Is there an issue between you guys?

Naw.

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Outside of Yo Gotti, you’ve collaborated with other Memphis rap artists such as Young Dolph and Don Trip, which you released the mixtape Step Brothers with. How did you develop a relationship with Don Trip?

[Don] Trip and I met on the road with Yo Gotti a couple years ago. They were trying to work something out, and I don’t think it worked out in terms or whatever. During that time period, we began doing some music together and kinda put the idea of the Step Brothers mixtape together. Right around the time I released At War with Myself, I was about to quit rapping. The only other thing I had on my agenda to do was the Step Brothers project with [Don Trip]. We probably had four songs at that time. We had two more studio sessions and the CD was done. It just happened like that. He got his deal some time in between that. We were able to push. We did hella shows together all over the country since it released. I think it’s just a blessing for each one of us just to be able to contribute to each one of our careers.

Is there a release date for Step Brothers 2?

Circa 2013.


Do you think it will have a larger impact than the first one?

We’re going to do a tour, and I think that will naturally make us reach a lot of audiences, and help us do more numbers. There’s the whole sophomore jinx thing, and I guess [Step Brothers 2] would fall under that. The good thing is we’re only competing with ourselves, and what expectations we created with that. At worse, we hope to match it. Expectations are subjective. What you’re expecting of it may be completely different than what we expect ourselves. The worse you’re going to get from it is our best.


I understand you went to Middle Tennessee State University (MTSU) but didn’t finish. What were you taking up when you were pursuing school?

I was doing music business the most recent time. The first time I went to school, I wasn’t taking up anything. I was just there. A year after being there, I was passing out CDs, selling CDs, and trying to come up, because it was 10,000 people there and the majority of them were in that rap demograph. About four or five years later, by the time that I was re-enrolling into college, I was rapping. I had a record deal and all that. I tried that for about a year, but my road schedule was really demanding. I was paying about $7,500 to miss classes all the time. That’s kinda silly. On top of that, I was leaving to go make money. It was kind of a no brainer to put school on pause. I put it in my music, because it’s a lot of people in those crossroads. I’ve got friends that graduated from college or got multiple degrees, and can’t get a job or are not doing anything they love. I’m on the other side of that. I didn’t finish, but I’m doing something. I’m working with what I’ve got.

You created the Grind Hard Scholarship, something that’s out of the norm for most rappers. How’d that come about?

I put the idea out there when Mental Warfare [ a digital album Starlito released in 2012] dropped. At the time, one of the reasons I was trying to sale Mental Warfare as an album was to generate money for the scholarships. Being a small business owner, it’s another one of those tax deductions. I would rather give the money to somebody going to school than to send it off in an envelope to Uncle Sam. I know the core of my listening audience is between 15 and 25, high school and college age. I was trying to peep the interest of those high school age people, because I know they’re hanging onto every word that you say. Even if they don’t apply for the scholarship, I just want them to be aware that they have options.

[Graduating high school seniors were given the opportunity to apply for the Grind Hard Scholarship in 2012. Two winners were selected. Each scholarship is $1,000. Starlito said he plans to provide two more scholarships to graduating seniors in 2013.]


Your style can’t be compared to any rap artists in particular, but I’m sure some had an influence on you. Who’s some of the artists that you can listen to forever?

I like Tupac a lot. I like Lupe Fiasco’s music. I wish Andre 3000 had more music to consume. I really like all of his old stuff. I think he’s a really, really creative artist. I’ve really been a fan of Jay-Z for a while. I like Lil’ Wayne. I’ve always liked Lil’ Wayne since I was in middle school, high school. Where he’s taken his career, man that shit is awe-inspiring. New artists, I like Kendrick Lamar, Future, Don Trip. Gucci Mane is one of my favorite artists. I think it’s something raw and pure about what he does. I like Snoop [Dogg]. Scarface. I listen to Scarface about as much as any rapper. UGK. 8ball & MJG. I listen to everything.

What’s up next for you?

I don’t have a title, but I have a mini-movie that’s coming out real soon. It’s going to be based real closely off a lot of my 2012 music. If you remember For My Foes, which was like a musical, mixtape stuff, it’s going to put you in the mindframe of that, but with original music. It’ll be like a mini-film. That’ll be something to look forward to. Other than that, the stuff with [Don] Trip is what’s in bold letters on my calendar.

Follow me on Twitter: @Lou4President
Facebook: Louis Goggans

Categories
Calling the Bluff Music

Christian Hip-Hop in the Bible Belt

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In a city known for street-oriented rap, influencing listeners to embrace hip-hop with a Christian message is a massive task.

Despite the disadvantage, several hip-hop artists in Memphis have decided to take on the challenge.

Terence June Gray is among the group of lyricists that have chosen to exhibit a Christian worldview in their music. Although not as popular as secular rap, Gray said there’s a substantial market for Christian rap in the Bible belt.

“Initially, I saw a little bit of hesitation of people wanting to hear it but the culture has warmed up to it more,” Gray said. “By hearing a lot of the negative, it makes you want something positive. We have so much pain, trials and so many issues [in the city]. We have a significant amount of crime. We have a significant gang issue. It’s a lot of hurting, a lot fatherlessness. I think a lot of young people are looking for some hope, and I think my message of the gospel speaks right into that desire for hope. When I share a song or a new CD, people tell me that there’s certain songs they listen to when they’re struggling with something, or certain songs encourage them, or certain songs give them hope.”

While a senior in high school, Gray gave his life to Christ and subsequently tapped into the world of Christian hip-hop. He’s currently prepping the release of his mixtape, Mission Muzic Vol. 1. The musical installment, which will be available for download late January, is being released through his Mission Muzic imprint.

Gray recently released a video for a track off the mixtape titled “One Million Views.”

Christian rap was introduced in the 1980s—a few years after secular rap made its mark. The first full-length Christian rap album was Bible Break (1985) by Stephen Wiley.

Nearly three decades later, artists such as Lecrae, GRITS, Trip Lee, the 116 Clique, and Flame have helped the movement obtain worldwide appeal.

It’s introduction in Memphis dates back to the cusp of the new millennium. One of the founding fathers of the city’s Christian rap movement is Delmar “Mr. Del” Lawrence.

On Easter Sunday of 2000, Mr. Del returned to the Bluff City to visit his family and church home. At the time, he was a member of Three 6 Mafia’s Hypnotize Camp Posse collective.

“I was on tour. Living the rap life. I came home [with plans] to surprise the church and the family, and that’s when I heard God speak to me,” Mr. Del said.

Prior to experiencing God’ presence, Mr. Del had signed a contract with Hypnotize Minds, and was featured on the album, Three 6 Mafia Presents: Hypnotize Camp Posse (2000).

However, his interest for the secular rap world changed when he accepted Jesus Christ as his savior. Stepping out on faith, he left Hypnotize Minds and pursued a profession with Christian hip-hop.

More than a decade after transitioning into what he calls “holy hip-hop,” Mr. Del is prepping the release of his seventh solo offering Faith Walka. He’s owns the record label Dedicated Music Group, has been featured on B.E.T., and nominated for a Grammy.

“It was no way I would have known that Holy hip-hop would get to the level where people are making millions off of it,” Mr. Del said. “Now, we’re in the same circles as mainstream rap artists and that’s a blessing, because it started out as a joke. It’s making an impact now more than ever, because of the time put in and just the message in the music. People want a message of hope. They want to hear something other than murder music, trap or dope music.”

The market for Christian hip-hop in Memphis continues to blossom as time progresses. Throughout the years, more rap artists have followed in Mr. Del’s footsteps, making a transition from jotting rhymes about worldly topics to being more Christian-oriented in their songs.

Among other Christian rap artists within the Bluff City, Adrian “Fro” Johnson has made a notable name for himself. He managed to sell more than 30,000 records independently with his debut album, Highway to Heaven. Since then, he’s released three more albums and created the label, Gods Wheel Records.

“With my music, I talk about real things. I talk about how life is a struggle. Everyday you’re tempted to do something that you might not want to do,” Fro said. “I want people to know that you can change. Jesus loves you and He wants you to change and He’s waiting on you. Christian rap is the new way of getting the gospel out.”

To the average individual that listens to underground or mainstream secular rap, Christian rap is something that may take some time adjusting to. Although it doesn’t focus on uplifting sinful practices, it does acknowledge them, the adversity they can bring forth, and how to overcome them through Jesus Christ.

“Sin is fun. People living in their flesh like to hear people rap about drugs and sex and all that,” said Christian rapper Latrell “Yung Titan” Freeman. “That’s why Christian rap is hard to get into, because a lot of folks don’t want to let go of what they’re doing. When I was listening to [secular] hip-hop, it was kind of difficult for me to listen to Christian music, because it wasn’t what I was used to. I just want to encourage everybody to give us Christian rappers a chance, because we’re not doing it for the fame, we’re doing it actually to help people and build the kingdom.”

Follow Mr. Del: @mrdel

Follow Terence June Gray: @missionmuzic

Follow Fro: @Froministries

Follow Yung Titan: @Titan_Flash

Follow me: @Lou4President

Categories
Calling the Bluff Music

Q & A with DJ Squeeky

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Hayward Ivy, better known as DJ Squeeky to the music industry, is a pioneer in the Memphis rap scene. A native of Orange Mound, he grew up immersed in the same musical culture that bred such hometown legends as 8ball & MJG, DJ Zirk, Three 6 Mafia, Playa Fly and Kingpin Skinny Pimp.

Most notable for his trunk-rattling production, DJ Squeeky’s signature sound has filled the ears of more than a million listeners across the country. His extensive music catalog includes production credits on the albums (or mixtapes) of Pastor Troy, Young Jeezy, Young Dolph, Criminal Manne, 2 Chainz, Yo Gotti, 8ball & MJG, and a long list of others.

He’s also released several albums independently under his record label, Mo Cheda Records. Among these, albums such as DJ Squeeky & The Family’s On a Mission, Tom Skeemask’s 2 Wild for the World, and Project Playaz’s Til We Die remain Southern rap classics.

Stepping away from the drum machine and Pro tools, DJ Squeeky took time out to speak with me about how he got into producing, his involvement in creating the “signature” Memphis rap sound, having his style mimicked by Platinum producers and Three 6 Mafia’s remaining members DJ Paul & Juicy J, who he wants to work with in the future, and much more.

Follow DJ Squeeky on Twitter: @Djsqueeky4Eva
To purchase one of his beats call (901) 878-9208 or email djsqueekybeats@gmail.com (SERIOUS INQUIRIES ONLY)

How did you get into music?

I have a lot of family members that go to church. Some sing. Some play instruments. I used to play drums at my church, so that really gave me a lot of good interest for the music game. Everyone was a fan of music back then. Either you were rapping or you were beat-boxing or you were DJing. You were doing some form of hip-hop. I started off being a DJ, but being a fan of hip-hop, I didn’t just want to play the music. I wanted to be involved with making the music.

What inspired you to primarily focus on the production aspect of hip-hop?

I think production came when I started doing mixtapes. I was DJing at the clubs but I wanted to start doing the mixtapes too. I really got inspired by DJ Spanish Fly (legendary Memphis DJ and rapper). He used to be on the radio at 12. Club Expo. If you were a young cat, you were waiting to hear the Spanish Fly mix. You knew it was fixing to go down. I used to be like, ‘I want to do that too.’ I was still more curious with producing, because everybody was involved with the rapping part. [That’s] what everybody got into, but you had to have music to rap.

How old were you when you first started producing? And who were some of the first artists you produced for?

I was probably about 15 [or] 16 years old. I did some work with 8ball & MJG, Criminal Manne, Project Playaz and Tom Skeemask. We all kinda grew up together in the same neighborhood. My house was the place that we came and put it down at. I had [Kingpin] Skinny Pimp, Al Kapone. Anybody that had a little name back then was at my house.

Did you have a studio setup in your house?

Yeah, it was in my bedroom. The mic and everything was in there. We were young cats, you know. We didn’t know nothing about mic booths and all that stuff. We had the mic booth, all the equipment, and everything all in one room. We had the microphone standing in the middle of the room. You just come in and you drop.

I noticed you haven’t done a collaboration with Three 6 Mafia. . Why was this? Were you guys in competition with each other?

It really wasn’t a competition, it was an issue with them re-making my music. They were really on the ‘stealing people’s music thing back then.’ Their whole style, their beats, hooks, everything were based on shit I did. All the hooks that you heard from them [earlier on] were samples they took off my mixtapes. They were making their own songs off them. That’s how they got started.

Did that cause an issue between you guys?

I had a real big problem with it back then. I felt like, I’m just a dude over here in the ‘hood trying to do my own thing with my music, and I see another guy trying to jump in on what I’m doing, sample what I’m doing, and steal the style of what I’m doing. Then you want to make beats like I’m making and everything. It was like they weren’t sticking to their own shit, which is what they should’ve been sticking to instead of trying to be a DJ Squeeky fan. I know they couldn’t help but be a DJ Squeeky fan, because I was the only thing around back then. But the thing about it was instead of sampling me, [they] should have been apart of what I was doing.


Are you referring to DJ Paul and Juicy J in particular?

I’m referring to both of them. I just look at them like they took what another man worked hard on doing. You want to be like him. You want to sound like him. You want to work your music like he works his music. And try to be me. Every album by Three 6 Mafia that’s came out to date got some DJ Squeeky on it. It’s got a DJ Squeeky hook, a DJ Squeeky sample, a DJ Squeeky beat pattern. It’s got something on that record concerning me.

Would you say that you helped establish the early Memphis sound production-wise?

Fasho, I did. Back then, everybody was doing it, but I took it to the streets. I was doing the mixtapes, putting them in the stores. Nobody was putting rap mixtapes into stores. Everybody was trying to get into record stores. I was going to Mr. Z’s, the stereo shops, and all that.

At what point did you decide to take your music career seriously?

I had left Memphis for about a year and a half. I was staying with 8Ball & MJG down in [Houston], Texas. They were doing real good. They were like in their second album and going into their third album. I was on their third album, On Top of The World. When I went down there, they really motivated me on what I really need to be doing in life. If I wanted to do the music, I needed to really get focused on doing the music.

[DJ Squeeky left Houston to come back to Memphis and raise his newborn daughter. He would later reconnect with Criminal Manne, Thugsta, Yo Lynch, and Tom Skeemask. The group would come together and create the album, On a Mission—DJ Squeeky’s national debut.]

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How did people respond to On a Mission?

I sold 10,000 records the first week independently. We had a deal a couple months later. That’s when Relativity Records came down and signed me (and his record label Mo Cheda) and they signed Three 6 Mafia. We were on the label with Bone, Thugz-n-Harmony, 8ball & MJG, the Dayton Family, and a lot of other people.

[Relativity Records ended up folding, and the contracts of its signees were sold to Loud Records. Frustrated with waiting on the sideline for a release date, DJ Squeeky to his imprint elsewhere. Mo Cheda would have a short stint with Warlock Records before deciding to pursue the independent route once again. The label has been releasing music independently ever since.]


Who were some of your musical influences from a production standpoint?

We were more or less listening to Dr. Dre and them. 8Ball & MJG with T-mix and them making the music. M.J.G. taught me how to start working the keyboards and stuff. I didn’t know anything about the keyboard. I had a drum machine back then. MJG used to come back to Memphis [with his] Sonic keyboard. He used to show me a lot of tricks.

With my music, I wasn’t trying to sound like [my influences]. Their drive and the love for the music that they have, that’s how I looked upon them. I wanted to be that person to have that same drive to really, really make it happen.

What are some of the machines that you use to produce?

I’ve used the SP-1200 [drum machine]. I had a Boss Dr-660. I had an old Roland keyboard before Mini came out. My music back then was more like a sample thing. I was sampling things that I heard and was putting beats to it. I’m still using the drum machine to make beats. The MPC-3000. I’ve been dealing with Fruity Loops too.


How long does it take you to produce a song?

A few minutes. It all depends on what level I’m on. If I’m on a good level and got some good cheeba, it’s going to be a couple seconds. I know a few musical notes, but my music is based off feel, how I’m feeling at that moment, what I’m on at that moment.

Do you feel like you’re underrated?

Hell yeah. It’s like I know all the stars, but they slick want to fuck with me. But they slick don’t want to fuck with me. Some do and some don’t, but they know that I’ve got talent. It’s not like I’m some new cat that just started a few years ago. I look at it like they’re sleeping on me.


Who’s some of your favorite artists to work with?

I like working with Pastor Troy, Criminal Manne, Young Dolph, Playa Fly, I dd some stuff with [Young] Jeezy. He’s cool. I’m just naming people on work ethics. Not just people who’re saying they rap. I like to work with 2 Chainz. That’s my homie. He’s a good dude.

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Are there any artists that you want to work with in the future?

I want to work with Young Money (a record label founded by Lil Wayne). That’s the camp I’m trying to get into right now. Young Money and Rick Ross. I’ve kinda touched base with everybody else that’s doing something.

You have a massive catalog of production credits. Is there a favorite song that you’ve produced?

I’m going to have to say “Lookin for da Chewin.” [A song off of DJ Squeeky’s album In Da Beginning: The Underground Volume One, which features Kingpin Skinny Pimp, 8Ball & MJG, DJ Zirk and Kilo G]. A lot of people don’t know that I made that song, because that’s another episode of DJ Paul and them trying to sound like me, trying to be like me.

What advice would you give for up and coming artists and producers?

All I can tell you is that you’ve got to believe in what you’re doing, and the best thing that you can do is to try to keep loyalty with the people that you’re dealing with. It’s hard trying to keep people in a group or a situation when you’re trying to make a dream come true. You have to really be focused on what you’re doing. I’ve had a lot different distractions from people who just tried to get me out of my direction in life. You just have to stay focused. If you don’t believe in yourself, nobody’s going to believe in you.

What’s up next for DJ Squeeky?

I’m in the process of putting a mixtape together. I’m getting ready to come back out in 2013. I’m fixing to kill the game. They haven’t heard anything new from me in a minute. I haven’t dropped a record since 2004 [or] 2005. I’m going to come back with the mixtape and get it back going again.

Follow me on Twitter: @Lou4President

Categories
Calling the Bluff Music

Memphis Author To Appear On The Maury Show Today

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Today, Marcus Matthews, native Memphian and author of I Am Not the Father: Narratives of Men Falsely Accused of Paternity, will be featured on the nationally syndicated program, The Maury Show at 4pm CST.

On the show, Matthews will discuss his book, upcoming documentary, and his personal story of being falsely accused of paternity when he was a 17-year-old senior at Westside High School.

“False paternity is something that affects so many people. It’s something that the public needs to hear [about],” Matthews said. “Getting the opportunity to talk about it on Maury accomplishes the goal of getting it out there. More than three million [viewers] will get to hear my story in brief and have the opportunity to learn more about my story if they purchase the book.”

Matthews released his book, I Am Not the Father, in August 2010. It profiles his personal account of being falsely accused of paternity, along with stories from four other men who were also falsely accused. He’s currently prepping the release of a documentary centered on the same topic.

In February of this year, I wrote a cover story on Matthews and the false paternity epidemic. You can read it here.

Nationwide, about 17 percent of all paternity tests reveal that a child’s alleged father is not, in fact, the biological father. In Tennessee, 25 percent of paternity testing reveals the man not to be the biological father, according to the Department of Human Services

In Memphis, the percentage of men excluded by DNA paternity tests is significantly higher than the national average. Stephen Conn, director of Medical Testing Resources, says from 55 to 75 percent of the paternity cases he handles each month in Memphis are found to be “exclusions.” His company does about 90 percent of the private paternity tests in the city.

To find out how Matthews’ experience on The Maury Show went, pick up next week’s edition of the Memphis Flyer.

You can order I Am Not the Father exclusively on Matthews’ website: marcuslmatthews.com
Follow him on twitter: @MarcusLMatthews

Categories
Calling the Bluff Music

Tomorrow Isn’t Promised: My reflections on a fatal accident along I-240

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Yesterday (Nov. 26th), I took a detour to get to work. I usually take Poplar or I-55 to get to the Memphis Flyer headquarters.

Traffic had been backed up lately on I-55 due to road construction, so I decided to take I-240 instead.

As I took the I-240 North exit toward downtown, I noticed that cars were backed up. It appeared that I decided to take this exit on the wrong day.

After accelerating 2mph every so often for about five minutes, cars began to increase pace. That’s when I noticed southbound vehicles on I-240 were backed up as well.

Approaching the exit for South Parkway, I saw multiple police cars, a fire truck, and several cars parked on the side of the road. People were standing outside their cars in the rain, looking on at something I could not see. As I drove a few more feet up, I saw a Mack Truck with a white car smashed on the side of it.

The image brought a cold feeling across my body. Inside of my mind, something told me that it was a good chance whoever drove the car didn’t make it.

Still in awe, I slowly drove on to take the Union Avenue exit. I was in shock as I drove through the traffic lights along Union. The image of the crashed car was burned into my mind.

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It made me reflect on a roadway accident that I was involved in, where I could have lost my life. It was my sophomore year at the University of Memphis. Christmas break had come around, and I was heading home to see my father in Chattanooga.

I was in my Honda Accord, which already had some wear and tear on it (prior to leaving, I had been involved in two fender benders and a hit and run with an old Silverado pickup truck).

As I came off of I-565 East in Madison, Alabama, I traveled down a small hill. I drove calmly in the right lane as I went through several lights, passing gas stations and fast food spots. I noticed an 18-wheeler in my rear-view move over into the left lane.

As the 18-wheeler got halfway in front of me, the driver — a middle-aged male — began to merge over into my lane. It seemed as if he was oblivious to my much smaller automobile.

The semi-trailer portion of the big rig slammed repeatedly into the driver’s side of my car. The impact sent my Honda swerving in and out of the lane. I was eventually knocked off the road and into a ditch.

I didn’t see my life flash before my eyes as I swerved, but it definitely terrified me (I was scared as a turkey in November). Fortunately, I came out of the accident without any bumps or bruises. The only casualty was the driver’s side of my champagne Honda Accord, which was completely dented in and lacerated.

After it was over, my perspective on life changed. I learned to appreciate everything much more — good and bad.

Looking back on the experience years later, I’m thankful that the Lord spared my life. I know that so many more people are less fortunate. In Tennessee alone, there have been more than 900 roadway fatalities this year thus far.

Furthermore, Memphis has the third highest roadway fatalities percentage in the state with 132 so far, according to the Tennessee Department of Safety. Nashville has the highest amount with 181 roadway fatalities this year. Knoxville has the second highest with 146 roadway fatalities.

The incident on I-240 bothered me so much that I looked up the accident as soon as I got to my desk at work.

When I googled information on the crash at I-240, the search engine instantly revealed that the wreck left one individual dead and one person in critical condition.

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As the day went on, I received an update from the Memphis Police Department’s Public Information Office that revealed the crash’s details:

On Monday, November 26, 2012 at approximately 8:00 a.m., officers received a Fatal Crash call to I-240 south of South Parkway.

Upon arrival, officers located a three car crash at this location. The preliminary investigation revealed that Vehicle#1, 1997 Chrysler Cirrus, was traveling southbound on I-240 in the middle lane when the driver of Vehcile#1 attempted to change lanes striking Vehicle#2, 2000 Ford Taurus. After striking Vehicle#2, the driver of the Cirrus then struck Vehicle#3, 2009 Mack Truck, which was also traveling southbound I-240.

The driver of Vehicle#1, 24-year-old Monique Howard, was pronounced deceased on the scene. A passenger of Vehicle#1, 24-year-old female, was transported to the Regional Medical Center in critical condition. Driver#2, 35-year-old female, was transported to the Regional Medical Center in non-critical condition. Driver#3, 48-year-old male, was not injured.

I’m still in awe that I saw the aftermath of the scene that left one person deceased, another critically injured, and many more with the wake-up call that it’s important to drive carefully, defensively and stay alert at all times.

It’s safe to assume that the driver of the Chrysler Cirrus didn’t think she would lose her life yesterday. It’s extremely unfortunate that it happened in such a gruesome manner.

Stating that, I’m a firm believer in the saying, “everything happens for a reason.” This should be another solemn reminder that life is not promised. You can lose it at any second.

May God be with all of the families involved and affected by the crash on I-240. I’ll keep you all in my prayers.

Categories
Calling the Bluff Music

Memphis Emcee Skewby is Humble But Hungry

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As a young journalist, the first artist I interviewed was Memphis emcee Skewby. It was for a story I wrote in 2010 on Memphis rap for the University of Memphis student newspaper The Daily Helmsman. The article, “Rap: the good, the bad, the ugly,” focused on whether or not rap music has the power to truly influence its listeners.

A couple years later, I got the chance to interview Skewby again — well, actually twice. He’s one of the 10 influential Memphians I interviewed for the Flyer cover story, “How Do We Change Memphis?”

A week later, he took some more time out to speak with me about growing up in Memphis, his musical career, why he’s refraining from signing to a major record label, and who influenced him musically. I learned some cool things about Skewby’s upbringing and his introduction into the hip-hop culture.

A military baby, Skewby moved often with his family. They eventually ended up migrating to Memphis from Charleston, South Carolina. He quickly took a liking to the local rap scene.

“When I got here, all the kids looked up to Three 6 Mafia,” said the 24-year-old emcee. “They had personal stories of meeting Project Pat or meeting 8-Ball at a barbecue spot. They were like idols. It pushed me to express my opinion in that same way.”

Known for boasting a laid-back, soulful flow, he admits that, as a kid, he spit his verses in a fast-spaced fashion similar to Koopsta Knicca or Lord Infamous (both formerly with Three 6 Mafia).

He was also heavily influenced by artists who told stories in their verses, such as Project Pat, arguably one of the best southern storytellers within hip-hop.

“Project Pat had his own style. His flow patterns were different,” Skewby said. “He was actually a lyricist, which was something that a lot of Memphis emcees weren’t doing. I mean 8-Ball and MJG told stories, but outside of them, Pat was the new wave of that. He used to make you feel like you were in the movie theater when you listened to him.”

Skewby began doing his own share of storytelling within his music. Releasing music independently since a youth, he made his national introduction into hip-hop with the 2009 mixtape Proving You Wrong Since 1988.

The mixtape received great responses and helped him earn a placement in The Source magazine’s “Unsigned Hype” column, which has also featured artists such as Nas, the late Notorious B.I.G., DMX, and Eminem before they went on to sell millions of records. He was the first Memphis rap artist to be featured in the famed column.

“I had a complete album done with all original music before I released the mixtape, and I just didn’t like it,” Skewby said. “I listened to it all the time and it really just sounded like what was going on at the time [within] mainstream hip-hop. I thought, ‘what do I really just love?’ It was that ’90s hip-hop. It was that late ’80s feel. I wanted to pay homage, because I feel like a lot of kids, as time goes on, don’t know where hip-hop comes from. I thought it would be cool to pay homage [to that era] while making some dope music that people can listen to today at the same time.”

After releasing the mixtape, he also got a chance to tour with Lil’ Wayne for his Farewell Tour, and received endorsements from the likes of famed producer 9th Wonder and Memphis’ own Yo Gotti.

Proving You Wrong’s follow-up installment came in 2010 with the digital album, More or Less, which was followed by the 2012 EP Humble Pie.

“I treated More or Less like an album. I wanted it to be me and I also wanted to get away from what I did on Proving Me Wrong,” Skewby said. “If you listen to More or Less, I sing on some of the records. I have different sounds and instruments. It was more like me trying to show people that I can make complete songs rather than just rap.

“Humble Pie is like a realization to me. As you get older, you get to know yourself better. The one thing that I keep finding out about myself is that I’m not the entertainer guy. For some people, it’s easy to sacrifice a certain part of themselves to obtain certain things. I can’t do that, and that’s what Humble Pie was about — [showing that] I’m comfortable with myself and enjoying my life just as it is. Is there anything wrong with that? Nah.”

In addition to rapping, Skewby also contributes some of the production for his releases. He’s even produced for other artists. The one song that stands out among the tracks he’s laid is “Southside (Grey Cassette)” by YMCMB artist Short Dawg. The song features the late Pimp C, which is one of Skewby’s favorite artists.

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Skewby recently jumped into the world of merchandising with the release of his Humble Hoodie. A black hoodie with the word “humble” emblazoned in the middle of it, it can be purchased here.

Before ending our interview, I asked Skewby to name the top five artists, dead or alive, he would like to work with if given the chance.

“I want to work with Common, UGK,” he said, “Curtis Mayfield on the hook, 2Pac, and a skit from Richard Pryor — he was the man.”

Skewby’s currently prepping a new EP and full-length album. He plans to release both in 2013.

Follow him on Twitter: @Skewby
Visit his website: Somethingaboutskewby.com
Follow me on Twitter: @Lou4President

Categories
Calling the Bluff Music

Young Dolph Releases Latest Mixtape, Blue Magic

Those familiar with the 2007 biographical crime drama, American Gangster, and its portrayal of heroin kingpin Frank Lucas know that he branded the product he sold as Blue Magic due to its high potency and purity.

Considering his latest mixtape to boast similar qualities musically, Young Dolph stamped his new body of work with the same moniker.

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“Blue Magic was the best product in the streets [in the movie],” Dolph said. “This mixtape is the best product in the streets. I’m the best product in the streets. That’s how I feel.”

Blue Magic boasts 20 songs and is hosted by legendary southern turntablist and Maybach Music Group’s own, DJ Scream. Memphis duo 8Ball & MJG, Houston hard hitter Paul Wall, Atlanta giant Gucci Mane, and Dolph’s Paper Route Empire labelmates Tim Gates and Muney Makkn Murda all make appearances on the mixtape.

Memphis-bred producers DJ Squeeky, Drumma Boy, and Young Neiman (the in-house producer for Dolph’s label, Paper Route Empire) handled the beats. Other contributors included Peezy and Izze the Producer, who has laid tracks for Young Jeezy, Future, Freddie Gibbs, among others.

“I want listeners to know that my music is authentic. It’s real. They’re getting the real,” Dolph said. “I’m telling them my story and where I come from. I want them to know that if I can come from where I come from and do what I’m doing then they can do anything.”

With five mixtapes under his belt, Dolph considers Blue Magic to be his best work yet. Among other bangers, the mixtape features the tracks “Dream” and “My Real Life” featuring Gucci Mane. He considers the tracks to be two of the best songs he’s ever recorded.

“On the songs, I’m explaining a whole lot and walking people through what I’ve been doing from day one [up to this point],” he said. “Overall, all my projects are better than the last one. You’re never gonna get a Young Dolph project and be like, ‘damn, I don’t know about this one.’ You know what I’m saying? When you get this one, Blue Magic, you might be like, ‘damn, this my favorite.’”

Dolph has no plans of signing with a major label any time soon, but he’s not opposed to it if the appropriate deal presents itself. In the meanwhile, he’s pushing his record label, Paper Route Empire. His labelmates, Tim Gates and Muney Makkn Murda will both drop mixtapes in 2013.

A few weeks ago, a video revealed Dolph seated next to Gucci Mane during his interview with Hot 107.9 Atlanta. In the interview, Gucci called Memphis rapper Yo Gotti a “busta” for dropping his mixtape “CM7: The World Is Yours” on the same day as his “Trap God.”

Despite Yo Gotti being a fellow Memphis artist and person whom he’s collaborated with, Dolph said the situation doesn’t concern him.

“I don’t feel no kind of particular way,” Dolph said. “I just look at it like everything else that ain’t got nothing to do with me. What they got going on is between them. I’m not about to turn down Gucci, because he said something or got something going on with somebody from the same city as me, because that doesn’t make sense to me. I mess with him and that’s what it is. I can’t control him from saying what he wants to say. He’s grown.”

Blue Magic can be downloaded here.
Follow Young Dolph on Twitter: @YoungDolph
Follow me on Twitter: @Lou4President

Categories
Calling the Bluff Music

Q & A with Turk

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Anyone familiar with the hip-hop scene during the late ’90s up to the new millennium has heard of the Hot Boys. Comprised of Lil’ Wayne, B.G., Juvenile, and Turk, the New Orleans-bred group was respectively one of the most successful rap collectives during that time.

Signed to Cash Money Records, the Hot Boys managed to snag a platinum plaque with their second album, Guerrilla Warfare. They also enjoyed individual success during that time period: Juvenile released 400 Degreez, B.G. dropped Chopper City in The Ghetto, and Lil’ Wayne dished out his debut effort Tha Block Is Hot. Each of the albums pushed more than one million units.

The last member to release a solo effort was Turk due to legal troubles.

In 2001, Young & Thuggin’, his debut album hit record stores. Although not as successful as his predecessors’ releases, he managed to go gold.

Turk would leave Cash Money shortly after Young & Thuggin’s release due to financial differences and pursue the independent route. He released Raw & Uncut and Penitentiary Chances independently through Laboratory Recordz and Koch Records. The success of the two albums combined didn’t equal the record sales of his debut, but they managed to keep his name buzzing.

Things appeared to be going well for Turk, but his independent success saw derailment in January of 2004.

A couple months after moving to Memphis, Turk would find himself caught in the middle of a drug raid at the Hickory Pointe Apartment complex. During the raid, a shootout ensued that left two Memphis S.W.A.T. Team members wounded.

Turk was accused of shooting one of them—a sheriff’s deputy—and convicted of attempted murder. He was sentenced to serve a 12-year sentence in the Forrest City, Arkansas Federal Prison. Prior to the murder conviction, he had received a 10-year sentence for being a felon in possession of a firearm and an unlawful user addicted to a controlled substance in possession of a firearm.

Laboratory Recordz released two more albums by Turk during his imprisonment, Still A Hotboy and Convicted Felons.

Eight years, eight months and 16 days later, Turk was released from prison on Oct. 12th. Upon his release, he found himself heading back to the very place where he lost his freedom and picking up where he left off—musically.

I had the opportunity to speak with Turk about his new imprint, the Young N T.H.U.G.G.I.N. (Taking Hardships Using God’s Gift In spite of Negativity) Empire, possibly signing back to Cash Money, overcoming drug addiction, growing up in the notorious Magnolia housing projects, upcoming musical endeavors, and much more.

Follow Turk on Twitter: @TurkMrYnT
Follow Turk on Instagram: @Turk_Emani
Follow me on Twitter: @Lou4President

How did you get into rapping?

Just trying to find a way out the hood. Coming from where I come from it was hard. Either you rapped, sold dope or you slung pistols, or you did all three of them. I just so happened to choose the first one. When I started doing it, I wasn’t really serious with it. I was into sports. I was running back and linebacker coming up. But as I started playing around with it and more people started asking me to rap at parties, I was winning contests at radio stations and stuff like that, I just got serious with it. One day, I met Baby and Slim (owners of Cash Money Records) in the Magnolia Projects and I rapped to them. They gave me a card and the rest was history.

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You joined Cash Money in 1996, years before it gained mainstream exposure. What was it like to be apart of platinum albums, star in a movie, tour the world, and make all kids of money?

To be honest, I didn’t see it. When we “blew up,” I didn’t see it, so that’s why I didn’t take it serious like I do today. I see the influence that I have now and I see how big it can be now, but then, when I was young, I didn’t take it how people think you would take it. I was doing what I love to do. When you’re in it and you’re living it, it’s not like how other people see it. None of it got to me, because I still felt like the same person. I still felt like I could do whatever I wanted to do. I didn’t take responsibility for being a superstar. It was a job. Now I look at it more as a livelihood and a job.

After parting ways with Cash Money, you took the independent route. How was the transition for you?

As far as being independent, I like it because you call your own shots and you’re your own boss instead of having to report and do what other people say. I’m 31 years old now, so I’m not really trying to be no boy and have nobody looking over me. I’m bossin up.

Your debut album went Gold, but the independent releases that followed didn’t have the same success. Why do you think they didn’t do similar numbers as your first one?

All my albums that dropped, I was locked up, even on Young & Thuggin’. It would have sold more than that if I would have been hands on and had my face on it. That was selling by word of mouth. But as I started getting into all kinds of jail trouble, I started to fall out of favor with God. Once you fall out of favor with Him, everything else is going to fall apart. Because I was messing up that was the fruit of my labor. I take full responsibility for it. Just like I messed up and things fell apart, now I’m doing the right thing and things are going to be uplifted.

There have been rumors that you’re signing back with Cash Money. Is there any truth to this?

It’s in the air right now. We’re working and communicating. It’s about this Young N Thuggin Empire right now. All options are still open right now. I’m focusing on my own imprint. I have my book, the Autothugography of Turk, and I got the screenplay for that, Reckless. I got the double CD, the Audiothugography of Turk, and I’m doing this mixtape, Blame It On Da System, with Drumma Boy.

How did you link up with Drumma Boy?

When I came home, I was talking with Gangsta Boo and I believe she made a phone call to Drumma Boy, and he [direct messaged] me on Twitter and tossed me his number. He was like, ‘Let’s Get It.’ I had been talking to him off and on while I was incarcerated, so we developed a little relationship. When I came home, he said, ‘Man, I’m going to do your whole mixtape.’ So far I’ve done eight songs.

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Are you a fan of any Memphis artists—past and present?

Yeah. Me and [Don] Trip just did a song. Emani the Made Woman is my artist on YNT. She’s from Memphis. I fuck with Yo Gotti. 8ball & MJG, they legends, you know I fuck with them. I was just in the studio the other night with Tela. Criminal Manne. All the Memphis artists that got movements and are doing what they do, I got love and respect for them. I’m looking forward to doing something, if they’re about their business. Let’s get it.


You grew up in the Magnolia housing projects, which is synonymous for crime. How was your upbringing?

It was like the average project kid living in a single parent household. My momma was raising us. She was working two jobs trying to supply for the three boys that she had. I was just seeing and hearing things happen in the street. Just the average kid in the hood without a daddy.

Your younger brother was murdered during your incarceration. How did this affect you?

It was bitter and sweet. It was bitter, because I couldn’t be there to protect him. In my eyesight, he was still my young baby brother. It was sweet because it made me stronger. Even though that situation happened, I was able to gain strength from it—take a negative situation and turn it into a positive. Being locked away for eight years, eight months and 16 days, people would grow to be bitter but I came out sweet with love, loyalty and a whole new outlook on life and why people do things. I had to go through all the things that I went through, had to take all the hardships, and use God’s gift in spite of negativity. Now, I’m [helping] teach the next young brother on how to live and what to do and what not to do, and how to be responsible and man up.

[He’s forming the T.H.U.G.G.I.N. Foundation, which will involve traveling to schools to talk with kids and inform them about the trials and tribulations of indulging in the wrong lifestyle.]

Did you read and learn a lot while incarcerated?

Yeah, I did. I always had my head on my shoulders. I wasn’t the average project kid that was in the projects, that’s just people’s wrong perspective of the projects. You learn as you live and experience—life is the best teacher, experience is the best teacher. I didn’t have to pick up a book to learn common sense but it’s always good to pick up books to learn how to be on a whole other level. I did that while I was in jail. I didn’t really read no hood novels or nothing like that. I mostly read books like “Think and Grow Rich” and “The Richest Man in Babylon.” I read books on how to get money, be determined and find your way. Things that I had flaws and gaps on. I misused my money coming up, [so] I had to reeducate myself on how to count my money.

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What was the most beneficial thing you learned while incarcerated?

I learned how to manage my money, how to be a man, how to be responsible, and most importantly, I got my high school diploma while I was incarcerated. I was determined to get that just because it was a lot of people saying that it would be a waste of time. It took me six months to get. I put my mind to it and I thought it and I got it. I graduated in September and I came home Oct. 12th. Everything was in God’s plan. I’m a living example of change. I’m a living example of taking hardship and using it in spite of negativity, and overcoming drug addiction, and overcoming critics. I’m here to shame the devil.


You mentioned drug addiction? What drugs were you addicted to in the past?

My drugs of choice were heroin and cocaine. I started doing them at 14 years old, the reason being, it was glorified in New Orleans. All the rappers were rapping about it and I happened to be a rapper, so I felt like it was the right thing to do. We were partying and having fun, so we didn’t see any affects of it. It wasn’t affecting home like it started to as the years began to pass. The drug habit started growing and growing and you start losing more and more but you can’t see it, because you’re not conscious—signs are for the conscious mind. I had to go through everything that I went through to get to where I am now. I don’t regret anything. I was put on this earth to be an example for people and what they’re going through that you can overcome it, you don’t have to stay this way, and for the people that are not going that way, you don’t have to go that way.

How did you overcome your addictions?

I overcame my drug addiction while I was incarcerated. It took incarceration, because if I hadn’t got locked up, I probably would have been dead or in a worse situation, because I was doing drugs heavily. A lot of people didn’t know because I was hiding my addiction. At the same time, I knew and my family knew and the people close to me knew. I was hurting them and I wanted to stop, but I couldn’t. With an addiction, if you’re addicted to anything it’s hard to quit, addiction is not just drugs, it can be sex, the internet, or whatever. Anything you can’t control and it’s controlling you is an addiction. At that time, I needed those drugs. It wasn’t just a mental thing, it was physical. When I didn’t have those drugs, my body started to hurt. I’m just thankful to be able to kick those habits and tell about it.

You mention God a lot. What’s your view on religion?

When you get in a pit, you have nothing but time to yourself and you begin to hear your own thoughts and your thoughts really be your spirit and it becomes awakening to you and that’s your true self. I had plenty days and plenty nights like that. When you hear me talk about God, it really be something that’s took over me and naturally comes out. I can’t explain it. I’ve always been a believer of Jesus and that’s what I come from. I’m just not stuck into the traditional way of believing—I believe God is a spirit and those who worship Him, worship Him in spirit and truth. I walk in the spirit and I speak the truth and I stand for that.

Categories
Calling the Bluff Music

On the Come Up: Knowledge Nick

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If there were a search for a true emcee in the Bluff City, people wouldn’t have to look any further than 23-year-old Hip-Hop head, Nick “Knowledge Nick” Hicks.

The University of Memphis graduate and Towers Watson analyst has been dabbling with words since his mid-teens.

“Writing songs started off as something to do for fun, but as time progressed it became my form of relief,” Hicks said. “When nothing is there and nobody is there, music is there for me to release my innermost feelings.”

A hobby during his teen years has blossomed into a second career. Hicks has two albums under his belt, The Enlightenment and The Transcribed Sentiment, which he estimates have collectively moved more than 1,000 units.

He’s currently prepping for the release of his third album, “Memphis: The Soul of Hip Hop,” on December 8th. Along with his previous work, his latest project can be purchased on knowledgenick.bandcamp.com.

“The new album is like an ode to Memphis and all the influences from my upbringing,” he said. “This album broadened my track selection horizon. With my first two, it was more or less like I could only listen to them in a certain setting, which is cool. But I think with this album, it’ll reach so many different people and you can listen to it in different settings — when you’re riding, at home, whatever.”

Hicks released a four-song EP in September to provide fans with an appetizer while they wait for the full course this December.

On the EP’s opening track, “Livin’ the Broke Life,” Hicks finds himself expressing the hardships that come with pursuing a rap career while low on funds. At the end of each verse, he states, “Even though I live the broke life, I’m blessed regardless,” which conveys his dedication to stay driven despite any obstacles. Boonie Mayfield produced the track.

With the second song, “The Karma,” Hicks provides listeners with an earful on his failure to grasp the true meaning of love during his younger years.

He spits honest, heartfelt lyrics about seeking women primarily for physical satisfaction but over time developing a different appreciation for them. Over a mellow beat laced by Fathom 9, Hicks cites utilizing God’s unconditional love to help eradicate the old habit and enjoy growth.

The third track, “Reign Supreme II,” featuring Toby York, would make hip-hop legends such as KRS-One (Hicks’ favorite emcee) and the Wu-Tang Clan proud with the stellar lyrical deliveries provided on it. The song is produced by Arze Kareem and boasts an East Coast-oriented feel.

The EP’s final song, “Flexxin No Plexxin’,” featuring Sincere and A-Quest, finds Hicks and company showcasing their lyrical prowess once again. The smooth, bass-ridden track provided by Mark G is a great addition to the trio’s witty lyrics, which don’t disappoint.

Hicks’ music possesses a sound that’s different than the typical Memphis rap artist. He has the ability to cater to the raw and gritty hip-hop heads, along with those who prefer a more laidback and mellow delivery.

He credits his diverse delivery to growing up on a wide variety of artists that include Playa Fly, Three 6 Mafia, Gangsta Blac, KRS-One, EPMD and Gang Starr.

Although he’s chosen to take a musical lane that might not be every Memphis rap fan’s cup of tea, he’s not worried about this limiting his success.

“I think Memphis has to really embrace the fact that there are a crop of artists who are different, who are just changing. It’s not the same monotony of stuff just being infiltrated over and over and over again. I think change is good from time to time,” he said.

Follow him on Twitter: @kdotnick

Categories
Calling the Bluff Music

Flying High: My experience aboard the Memphis Belle

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A couple weeks ago, I had the chance to fly nearly 2,000 feet above the city on a replica of the legendary aircraft, the Memphis Belle. I wrote about the experience in the Memphis Flyer’s Fall Fashion issue (Oct. 18-24th).

Many are familiar with the Memphis Belle, but for those who aren’t, the aircraft was one of the first B-17 World War II bombers to complete 25 missions and safely return all of its crew members. When I boarded her replica, I prayed that I’d have the same fate.

My flight came courtesy of the Salute to Veterans national tour, presented by the Liberty Foundation, which began in March. The tour stops in a different city every weekend, and was developed to bring awareness to WWII veterans. According to the Liberty Foundation, more than 1,500 veterans die per day.

Since March, the Memphis Belle replica, which was used in the 1990 film “Memphis Belle,” has traveled to cities such as St. Louis, Tulsa, Minneapolis, and Chicago providing rides to locals. During each stop, local veterans also come out and share their war experiences.

“My goal is to let the local veterans know not only do we appreciate the sacrifices in WWII, but we wouldn’t be sharing this history today without them,” said Scott Maher, director of operations for the Liberty Foundation and one of the Memphis Belle’s pilots. “We want [people] to come out and experience these things in its natural habitat, which is in the air. The experience gives a history lesson that’s not in the pages of a dusty book.”

The original Memphis Belle is being restored at the National Museum of the United States Air Force in Dayton, Ohio. The replica I flew aboard was equipped with 10 seats, 13 50-caliber machine guns and bombs, and a glass nose, from which passengers can gaze down onto the city.

Flying throughout the city on the historical aircraft was something I never thought I’d have the opportunity to experience, but I’m thankful that I did.