"I’m out here trying to get shows and a lot of these dudes are taking my money you understand? It’s like a lot of these cats are taking my money. The Ugly Ducklings, Atmosphere, Aesop Rock, and all this s### that I ain’t even heard of. I guess it’s a lot of these young kids that always be on the computer that are into these MC’s and these groups that kinda represent and look like them. When I hear these n##### music I be like ‘damn that’s horrible man.’ This s### is straight garbage," – Defari, Interview with ThaFormula.com. Let me begin by stating that Defari is one of my favorite blossoming artists. I’ve purchased his independent albums, his twelve-inch singles, and even sport merchandise that supports his art. Last year, Defari and I even conducted an introspective interview together that covered topics few journalists care about, and dealt with issues privy to those who listen to the man’s words. How can it be then, that Defari’s words on another website: ThaFormula.com, don’t return that appreciation? Defari’s attacks on the white role in Hip-Hop are both astonishing and hurtful to this writer. As a white man, Defari basically says, that my existence is good enough to buy his records but not share his stage. That catch-twenty-two not only caused me to write this, but also generates some thoughtful conversation. Defari’s diatribe mentioned three Hip-Hop acts: Ugly Duckling, Aesop Rock, and Atmosphere. All three of those artists are also making music that I support with my dollars. All three artists, like Defari, operate from an independent platform, and make very authentic Hip-Hop, as does the critic himself. Slug, another journalistic acquaintance, has been making public records for over a decade, around Defari’s level of seniority. The same is close for Ugly Duckling, another group I’ve interviewed, and Aesop Rock. These artists, with Defari, are in the same boat, so to speak. In Defari’s argument, he has accused these acts of taking his money. I do believe that ALL Hip-Hop artists are, in a sense, taking each other’s money. If I’m deciding between two records, one artist gets my money, the other doesn’t. That’s life, and motivation to make such a f###### good record that we, the audience, can’t resist buying it. So to accuse three specific groups, doesn’t make sense – especially when Ugly Duckling, a Long Beach trio, has in a since, "come up" in the same territory as Defari Herut. Coming up in Los Angeles, or any city, is the very essence of competition. Next point: I think all three of these white acts pay homage to original Hip-Hop. The proof is in the pudding. Aesop Rock did work with a legend of the unsigned scene, Percee P. Ugly Duckling recently worked with veteran MC, Grand Puba. Atmosphere, who are decision makers on their Rhymesayers label, are putting out a M.F. DOOM LP this year by the KMD front-man. This isn’t Anticon: a group that seems to never expand into any Hip-Hop artistry besides their own. These are artists that are clearly in love with classic Hip-Hop, and pay their respects often, with return artist support from high on the totem pole. After all Defari, to be bluntly honest: had it not been for King Tee and E-Swift’s endorsement on your work, I may’ve never discovered you. You also accuse the "Internet." Oddly, the interview was for a website. Also interesting: from your Billy The Kid LP to most recently, Odds and Evens album, aren’t available in many stores. You, yourself are an "Internet" friendly artist. But granted, I don’t "look" like you. That’s pretty ignorant and simple thinking for a man with a diploma from Columbia University. Come to think of it….most of the Defari fans I know don’t look like you. You want me to return your product? Our money is all the same color, right? Should I stick to "Rock"? That is an archaeic system of reasoning you have. From the deepest depths of my soul, I do try to empathize. It frustrates me that Aesop and Atmosphere are the first Hip-Hop acts in a while to meet MTV2’s standards of excellence. But truly, what can we expect a white corporation of Viacom to do to sell records to a majority white audience? That’s not our problem, or the artists’ fault. But their music is far from "garbage." These artists are making the charts, and not exploiting Hip-Hop in any way that my critical eye can decipher. After all, you were on Tommy Boy, a label twenty years rooted in supplying great artists. These cats are independent, as you are now. Is it not a level playing field? Why not accuse Eminem? Then again, you do work in the same circles though. Still, if the artists you mentioned are making such out-there, "garbage", how can a track like "Stan" be any different? But if we doubt the 45 King’s production, we’re really s####### on Hip-Hop. If we accuse the fans of these artists, let’s expand our finger pointing. Have you been to a Del the Funkee Homosapien show or seen his demographic? That’s a white show in many places. In the Public Enemy House of Blues DVD, you’ll see a majority of white faces for a historically pro-black group, performing in the racially charged setting of Los Angeles. Chuck D, a personal hero, doesn’t "look like me." But he too, is involved in the Internet, let’s disregard him. I think you’re missing the big picture here Defari. As Pizzo, a Las Vegas Hip-Hop store owner that slangs your vinyl by way of the Internet made reference to, some of your producers are white. Evidence is the best example. The Dilated Peoples have a strong white following. What makes them any different from Atmosphere? Because they recorded in D&D? Because they’re from LA? There is no great difference. In our interview you mentioned three white producers: Evidence, Joey Chavez, and The Alchemist. These cats are dope whether […]
