017: Q&A Interview With Man Knows Hip Hop
017: Q&A Interview With Man Knows Hip Hop
Catching up with knowledgeable OGs who spit their game effortlessly
Friends,
It gives me great pleasure to have my second ever Q&A with the E-Major and Slack, the creators and hosts of the Man Knows Hip Hop Podcast.
These two guys have been on my radar for quite some time, and it’s been a pleasure to follow and interact with their hip-hop related tweets and content. I’m excited to share this Q&A with you all, containing gems and insight from them both.
Many thanks for their time and participation.
But anyway, let’s get back to business…
Q: Let’s start with an introduction to yourselves, your backgrounds, and what the work you’re both currently doing is all about. Can you tell us how and why Man Knows Hip Hop was created, what the lightbulb moment was that made you two want to pursue this project and move forward with creating this podcast?
EM: “My name is Easton, I was born and raised in Tottenham, North London. I’m 41 years old and in love with hip-hop. Well, I’m in love with music on a whole but hip-hop is my biggest love when it comes to music. From a young age - with my big sister, friends in school, college and social circles, colleagues at work - I have always loved discussing hip-hop. So when the thought of a podcast came to mind, I definitely entertained it. I was thinking about doing a podcast, but I wanted to do it with someone I respected and had good hip-hop conversations with previously. I thought of asking Slack when one day he messaged me and said that a friend of his, who had a platform called ‘Man Knows Football’ asked if he would be interested in heading up a similar platform called ‘Man Knows Hip Hop’ which would be dedicated to rap discussions. Slack liked the idea, but like me, he preferred the idea of doing it with a co-host, so he reached out to me at that point which, for me, confirmed it was meant to be.”
S: “Slack aka Jigs to my friends, Caribbean origin born in London, been a hip-hop fan for over 30 years. MKHH started from a guy on Twitter reaching out because ‘I know my stuff’ and asking if I wanted to start a pod with that name. I reached out to Easton who was also thinking to start a pod, he was up for it so we started recording after coming up with a few ideas. We just wanted to create something that fellow hip-hop heads would appreciate.”
Q: Describe your respective journeys and relationship with hip-hop as a musical genre and culture. I’m curious to know what it was like for you both as Londoners absorbing it all throughout the years. Are your bonds with hip-hop the exact same today as they were in earlier stages of your lives, or have you developed different insights and attachments throughout different stages?
EM: “I was introduced to hip-hop by my big sister who was obsessed with the culture. In the late 80s before I was even 10 years old I was hearing both American and UK classics. Once I was introduced to it, I fell in love with it for myself and would listen to her collection regularly until I was about 12yrs old and started using my own pocket money to start building my own collection. I was hugely impacted by the sound, the fashion, the slang, the live shows, and the culture on a whole, which was fresh, new, exciting and different, in a lot of ways, to what we were experiencing here in the UK. My parents are Jamaican, so I had a nice variation of cultural impact. My bond with hip-hop has not changed and I honestly don’t believe it ever will. As an adult with much more responsibilities it will always have a different impact on me than the way it did when I was a teenager for example, but the bond is lifelong. I found that it grew with me, and I would discover new artists, sounds and content for each mood and stage of my life.”
S: “I started listening to hip-hop in the late 80’s as a very young boy. My dad would play a lot of Gil Scott Heron and Public Enemy. My uncle got me onto De La Soul and I was in love with it ever since. The culture is very similar to reggae/ragga/dancehall which is a close cousin of hip-hop - this is what my mum and aunties would play around the house so it was an easy transition. Growing up I became more entrenched along with my lil crew in high school. I would buy everything with my allowance. I bought west coast, east coast and southern hip-hop, didn’t discriminate, I wanted it all. The culture over here is very reminiscent of New York. We had the sneaker culture, fashion, Graffiti/tagging and freestyle Thursdays. Some artists are shocked when they come here and realise some parts are so reflective of where they grew up. I loved the aesthetic, the language, the excellence of the top MCs, how clever they were with the wordplay and metaphors, the producers making new music out of something completely different. I was fascinated by it all and fully lived the culture, I still do. Hip-hop is more than music to me. I have definitely developed a tinge of dislike for hip-hop at a couple times in my life, I didn’t like the direction it was heading, mainstream was messy and horrible, it still is today. I’m older now so I look for substance and music that makes me feel something, but there is something for everyone.”
Q: Where do you see and feel influences from hip-hop in your day-to-day lives? I feel like you both embody the spirit of hip-hop so well, so it’d be interesting to know how your passions for hip-hop transcend into your everyday routine and general way of life.
EM: “First and foremost, I would have to say It would be the consumption of the music, I can’t go a day without listening to hip-hop and that has been the same for the last 30 years of my life, so for every occasion there is a song or lyric that usually comes to mind. I believe hip-hop is a whole culture in and of itself, it’s a way of life, from the expression of fashion and the way you dress, the way you talk and the impact it has on your life. Hip hop is an identity, a voice and a meaning. The comradery when you meet a co-worker or someone you’ve never even spoken to before and find out your both hip-hop fans and the discussions that follow. I’m very passionate about the culture and seeing it thrive.”
S: “The way I speak, the way I dress, my sense of humour all has a hip-hop influence”
Q: You’re both very opinionated and have a lot of knowledge to share. What do you want your platforms to do for yourselves, for others and for hip-hop overall?
EM: “As a lover of hip-hop I absolutely love discussing it and having respectful debates about it. In my younger years the conversations were less respectful and definitely more heated. My hope for the platform is that it creates a space to discuss this beautiful genre of ours, openly and honestly, even when the opinions are not popular. I hope that the platform will introduce or re-introduce artists or albums to the listener while sparking nostalgia and also providing info at the same time. I love when we get messages from a listener thanking us for introducing them to a specific album or artist. We also aim to shine light on upcoming artists who keep the culture alive.”
S: “We just want our platform to be somewhere that people who love hip-hop culture as much as us can go and hear us chop it up just as we would do in the barbershop or social clubs. They can agree, disagree or be put onto music they may have missed or forgotten about.”
Q: Man Knows Hip Hop is currently still in its early stages, but you’ve touched on a good range of subjects in such a short time – album reviews, celebrating careers of artists and general discussion points. You’ve had interesting guests on too. Walk us through the process for your podcast, how you both stay on your toes and up to date to spark your creative outputs.
EM: “From the start, Slack and I agreed that we wanted the episodes to be as unscripted as possible and more of a general discussion type thing, like the type of discussions and conversations we would have had back in school or college. We obviously decide on the topic and some key points prior to recording but we aim to keep it as free flowing as possible, we also inform any guests we have on of this. In regard to staying up to date it’s not a task or a challenge as we are genuine supporters and investors in the culture so it’s a natural thing to know what’s happening to a degree. Even things like discussions and interactions with people we talk to on and off social media bring new situations to light, just as it did before social media existed, just in a different form.”
S: “As a creative process we just decide on a topic and discuss just as we do in real life, no editing, no second takes. We want to keep it organic. Guests are chosen depending on the topic and we’ve been lucky to have great guests who have added their twist to their respective episodes.”
Q: You’ve discussed the differences in the generational divide between fans and artists on several occasions. Do you aim to help bridge this gap? Is this even possible to do? What do you think a modern hip-hop fan can do to ensure they’re grasping the art and culture in the right way, and not consume repackaged, recycled content in the age of social media echo chambers and clout chasing?
EM: “I definitely believe the gap can be bridged, I even wrote a blog on this called ‘Hip-Hop’s Civil War’ but what is needed first and foremost is a desire to bridge that gap. Hip Hop is a culture, not just a genre, it is 50 years old which means it has history. Just like anything else we can be a part of, an understanding of its conception will lead to an appreciation of the architects of this thing we all claim to love. To keep it simple, I think modern hip-hop fans, who actually want to understand the culture and not just be casual fans, should take some time and understand the history and conception of the culture. But I think it’s equally important for older heads to not just shut down on anything modern but to understand the current sound and why certain things are the way they are while helping the newer generation appreciate the blueprint. I often discuss modern hip-hop with my kids and allow them to show me music from their era, but they also know a lot about and enjoy music from my era.”
S: “I’m always open to bridging the gap between generations if they are genuinely in love with the culture. Most don’t want to look back and that’s ok, as long as they respect what came before what they’re hearing now. The culture has become very diluted and scattered, it would take a big effort to bring that back. In the age of social media it’s more difficult than ever to hold peoples attention, everyone wants a microwave meal and NOW.”
Q: One thing I can’t ignore whenever I tune in is your excellent rapport as a dynamic duo. I recall Slack saying that when the opportunity to do the podcast presented itself, he insisted on E-Major being involved. I feel like this a really dope aspect of your podcast, because the most prominent podcasters/media personalities work individually. Do you think this element of comradery is missing in hip-hop journalism and content? Was this something you guys thought about when strategising the work?
EM: “I think both the individual aspect and the team aspect can work well when the chemistry is right, just as it can be horrible to watch if the chemistry isn’t right. I wouldn’t say the element of comradery is missing, as its present in a lot of platforms but what I would say is more focus needs to be on WHO you collaborate with rather than on just collaborating. The reason I didn’t have to give teaming up with Slack much thought is because we had many interactions and discussions in the past so I knew his style and preference, he’s open with his opinion and even though we share the same opinion on things, our opinion on a lot of things differ also but the chemistry was right and the respect is present.”
S: “Yes comradeship is missing in hip-hop. The crews, clans, posses and cliques are no longer in existence, grown men are backstabbing each other all the time, dwarf rappers are shooting at women, it’s a very different time and hip-hop was MUCH better when there were groups and labels and crews. And the same in the journalism and content aspect of the culture. Everyone is for themselves.”
Q: You are both fathers, so I’d love to know what kind of role (if any) hip-hop plays towards this?
EM: “A couple things I’d say is that my kids are used to hearing hip-hop around the house and me listening to hip-hop, so it’s become a part of our lives. The other thing I’d say is that there are a lot of examples in hip-hop where fathers are not present which is an all-too-common reality so I ensure my presence is felt in my children’s life at all times, especially in regards to my son learning how to navigate through life and my daughters understanding how they should be treated by a man and self-worth.”
S: “I’ve ensured my boys were surrounded by hip-hop culture from the womb, they had no option but to be hip-hop heads.”
Q: I feel like you guys are very objective analysts. You both give praise where it’s due but also do not hold back from criticising when it’s called for – they are always fair assessments as far as I’m concerned. You could argue that this type of honesty is a risky game, but it can also be rewarding. Is it something you’ve both had to think about and dwell on? Do you enjoy the pressure, responsibility and accountability that comes with this?
EM: “This goes back to what I was saying about the nature of our podcast, those natural and genuine discussions we would have if no cameras were watching. We always aim to be open, honest, and real at all times, if we love something we will say that, if we don’t, we say that also but with as much respect as possible. This is not something we dwell on or think about, it comes natural due to the nature of our podcast. We add a little humour of course but we keep it honest. Due to this we have been asked to review/listen to new projects from some artists and we do the exact same thing in these cases, we keep it real respectfully. And we are always grateful that an artist will ask our opinion.”
S: “I’m just me, I like what I like and don’t like what I don’t like. I don’t let media or Twitter deter me from how I feel about something. I like to joke around so I’ll often post jokes about a rapper that people will see as inflammatory. I find it hilarious how angry people get to defend someone they don’t know. I accept full responsibility and accountability for my tweets.”
Q: Tell us about your names/tags and where their origins lie?
EM: “The name of the podcast was given to us by the creator of ‘Man Knows Football’, but my name is just a play on my nick name, 90% of my friends/family call me ‘E’ so I just threw on the ‘Major’ as a nod to my love of music.”
S: “My nickname was born at a young age because my government name initials sounds similar to Jay-Z, that then got broken down into Jigs which I’ve been known as since about 16 years old.”
Q: I’ve picked up some sound bites during Man Knows Hip Hop episodes that would suggest you’ve both dabbled in working the music industry at some point in the past. Are you able to expand on your respective involvements? Furthermore, does what you know affect your breakdown and consumption of hip-hop as a fan or commentator as far as the podcast goes?
EM: “Like most hip-hop fans at some point, I tried my hand at rapping for a few years and was pretty good at it! My godfather is a music producer and manager, so I spent a lot of time in and around his studio in London along with other studios. I personally know a few professional music artists and DJs, so I’ve always been surrounded by both sides of the music. Other than that, it’s mainly my consumption, investment, and overall love of hip-hop that I tap into for the podcast.”
S: “I worked for a label for some time and was receiving promos and all that good stuff in the 90s, it was a great time. What I’ve learned through the years has maybe tainted my view as the industry is dirty, a lot of artists are caricatures and that’s made it become the biggest genre in the world. I never thought that was possible as a kid listening to what was ‘this thing of ours’. You see what has happened to a lot of artists through the years and it’s not the easiest career to have.”
Q: Can you share some thoughts on the current scene and general ecosystem of hip-hop, from commercial to underground and everything in between? Where do you stand on the quality that’s available, the talent on display and if the landscape is in a healthy state or not?
EM: “Contrary to belief I actually think hip-hop is in a very good place right now. The underground and independent scene is on fire, its profitable, its supported, its authentic and it’s gaining more and more momentum. I’m not one of these heads that only think underground hip-hop is good - if its dope its dope, I don’t care if its underground or commercial, but I definitely believe it’s the underground/independent scene that is keeping hip-hop alive. Personally, I’m not a fan of the current sound of a lot of commercial hip-hop at the moment but it annoys me when people say hip-hop is dead because its not dead at all, in fact it’s very much alive and if you know where to look, you will most definitely find anything that your taste desires. Many of the now legends my generation grew up on were not initially appreciated by the generation before them, but things grow, evolve and branch out, so change is inevitable and to be honest, its needed for survival. But the wonderful thing is that there will always be those who have not strayed too far from the blueprint. My point is, whatever you want from hip-hop, you can find.”
S: “I think the mainstream and the underground are both suffering from similar diseases… copycats! Hip-hop used to be about more than copying everyone else, now we have so many acts that sound alike, look alike, talk alike, rap alike and it’s hard to differentiate. I don’t think that’s healthy, I was inspired by rappers who dared to be different, say jungs that regular people wouldn’t say on a record. It used to be the music of the streets but it feels too safe now, less rebellious and much more conforming. There’s 200,000 rappers now and most of them want to sound like everybody else, it’s the lowest hanging fruit of music because everybody now feels that rapping is easy when it used to be the opposite. It can come back but I’m not sure it will.”
Q: Tell us about some your favourite artists from hip-hop and beyond during your younger years and now? Has there been a change or progression in what moves you and what you seek?
EM: “There has definitely been a change in what moves me and what I seek, nostalgia and past favourites will always play a huge part in what and who I enjoy listening to today, but I love when music is relatable. I want to see and hear growth and situations I can relate to. I go to concerts and hip-hop shows regularly but not general clubbing so songs about being in the club popping bottles are boring to me, that was 15 years ago for me. My life is different now so if its relatable and sounds good too, I’m more than likely going to enjoy it a lot more. Obviously this isn’t always the case, for example I gladly throw on a Pusha T album but I’m not on the streets selling cocaine! But I’m sure you get my point.”
S: “B.I.G. is my favourite ever rapper for many reasons. I also love Phonte, Wu, D’Angelo, Nas, Busta and Redman. I listen to a lot of reggae and Neo Soul music when I’m not listening to hip-hop. There hasn’t been much change, I still listen for wit, charisma, originality and sheer talent.”
Q: Who’s in heavy rotation now or in general for you both, and who’ve you come across that we should keep an eye on over the coming years – new, unsigned, or even just enjoying a late bloom/renaissance.
EM: “There are certain MCs who remain in heavy rotation for me and have done since the 90s, these are the likes of Mobb Deep, Heltah Skeltah, LOX, Jay-Z, Nas, Scarface, 2Pac, Wu-Tang, Redman, Outkast, DMX and many more from that era and the 00s. But a few who I have been listening to a lot over the last few years are Eto, 38 Spesh, Flee Lord, Conway The Machine, Benny The Butcher, RJ Payne, Che Noir, Freddie Gibbs, Dark Lo, Rome Streetz and Hus Kingpin. In regards to who I think you should keep an eye on over the coming years, I’d say IAMGAWD and Backwoods Sweetie immediately come to mind but there are so many others.”
S: “I’m listening to Conway a lot and artists like Foreign Exchange, Robert Glasper, Terrace Martin. I really like Naps N Dreds, Blackwood Sweetie and IAMGAWD as far as Indy artists. Nas’ renaissance has been great to witness, I’m not the biggest fan of Hit Boy’s sound but it’s great to see Nas find a pocket he feels comfortable in and just dropping music when he feels like it, no pressure and still killing it.”
Q: Where would you like to see yourselves and MKHH being in the short term and long term?
EM: “Short term: just continue to have fun with the podcast, informing and entertaining listeners and having some dope guests on the show too. Long term: It would be a dream to have a platform like this being my full-time focus, to expand in other areas of media and really help to keep the culture thriving giving ear and focus to the consumer, the underground artists and celebrating those who are still with us.”
S: “I’d just love to see people saying they enjoy our show and our pages and catching new artists, albums they might’ve missed and just generally enjoying and sharing the discussions. We’ll see where it grows to we’ve already had some really great interactions and opportunities from the show but we’re enjoying making it, the interactions have been so positive. And we appreciate that greatly.”
Q: Any final thoughts and comments you’d like to put out there before we wrap it up?
EM: “First of all, thank you for this interview and thank you to everyone who has supported the MKHH podcast since we launched. Every view, every subscription, every share, every liked video and comment, we appreciate you. If you haven’t seen our work yet just type Man Knows Hip Hop into YouTube and Twitter to check us out. This is all for the love for the culture. Peace.”
S: “Just keep checking us out at MKHH and @slacksupremacy. Thank you for the interview.”