Tuesday, April 13, 2004

The Cutting Room Floor, Vol. 1 No. 5
This time MF Doom (full feature in tomorrow's Post).

On rapping: "It’s almost like a trick. like you can do magic. you know what i mean? the magic is the flow. As far as content, everybody got their own things to add."

On underground vs. mainstream: “When Biggie first came out — he was straight underground. But he transcended from underground to so-called mainstream and took that shit over. At that point, he still had underground fans, but sometimes by going to the mainstream you lose that underground thing. But I think in total yo, underground is underground because we’re in full control of what we’re doing. You get it straight from our hearts to the people. And in that way the people get a better feel for the music. It’s so raw that it can stand up against any so-called mainstream album. As long as it gets that distribution... [but] the way I look at it, I’m not trying to reach people that don’t want to be reached. So I don’t mind. whoever’s looking for the record, we got it so they can find it. The thing aobut the major is they almost force you into getting it, like, “Yo this is the shit, it’s all over the TV, you have to get it.”

And some bonus stuff that made the cut:

On conscious rap: "It’s not just you’re either thugged out or you’re the conscious rapper. We all conscious. A thug is conscious about what he’s conscious about. You know what I mean? it just shows that the area in between can be rocked too. You can be anything. As long as you can flow and the beats is right."

On underground vs. mainstream (again): “A lot of times in life people set it up like that. Us humans kind of need to get out of that way of thinking — that if things are opposite, they need to be at odds with each other. That’s not the case. Things that are different, that’s something we should celebrate. We should see the different things we can trade in those two different genres or races of whatever. I can only take hints from mainstream and it’s only making my business tighter. when I started rhyming there wasn’t no mainstream, everything was underground and it wasn't financially lucrative like that. That was twenty some years ago. Now this shit is popping — it’s like the main form of music on Billboard and the fucking Grammys. Cats that are doing that now are only helping the entire thing as a whole. 50 might have been the first hip-hop that someone took seriously. As ill as his shit is that might’ve been the first thing to bring them into the game. Then they find out about Madlib. We’re all opening doors for each other."

On his alter egos: "I consider myself a writer. It just so happens that the closest available venue for me to vent happened to be hip-hop. Not writing novels, I just happened to be a musician. I’m just a writer like any other writer — Stephen King or these cats who write novels. They have a myriad of characters and they don’t really involve themselves in it at all. I look at it as a combination of that with the music. I have a lot of different angles I want to come at. In order for me to do it and convey it in a way that’s understandable to the people — without them thinking that this guy’s crazy, he’s contradicting himself — you want to make sure they understand this is another person’s point of view."

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