Download PDF Version Revolt Magazine, Volume 1 Issue No.4

KC: The Apostrophe collective, working with other
people. So you’re clearly not totally down with
this sort of mainstream commercial leviathan hip
hop has become these days, so to speak. And yet
many others still uphold this notion of a codified
movement that is hip hop in the historical sense
with certain rules and codes. A big element of
this is community, what is the significance of
community in your life and work?
SF: My community is important, communication
is important, knowing and making an effort to
be in harmony with the people around you. I’m
with the community, that’s why you see me as a
collective or a posse. There’s a vibe. It’s important
to have like minded people around who you are
learning from who are learning from you and who
are adding to the cause ready to be artistic, ready
to do something positive, passionate, trying to
grow. It’s important to be able to maintain good
relationships, it’s a part of growing, it’s a part of
being able to hold something together. It’s just
natural, if that’s hip hop than great. I feel like I
been a part of hip hop before I realized this life of
being an artist. A lot of things I just grew up doing
naturally and now I’m starting to be more aware of
how what I picked up naturally back then are the
cornerstones holding this thing together.
KC: Ryan – so in terms of your studio work that’s
flowing into the collaboration with Salomon, I was
interested in the mask concept because like music
there’s this idea that in many cultures the mask
is what channels the spirit, linking both art and
hip hop back to a type of urban or contemporary
Shamanism.
RB: Shamans are still in all different cultures,
Asia, Africa – Witch doctors would wear masks
that were uglier than diseases that they were
trying to expel trying to scare the sickness away
or something like that it’s like an ancient way of
handling things. I don’t know if I would use the
word spiritual. I just have very particular visions of
what I see translating into what I make. The trance
occurs when I’m making something. I get into this
rhythm or this zone where what’s happening is very
natural and very intuitive. I’m not always aware of
what I’m making until it’s finished. It’s spiritual but
it’s almost so natural to me I don’t like to label it
as something along those lines, and it’s difficult
because the word shaman has so much baggage
that comes with it. I’ve always been drawn to
things that shamans use like masks. Once I started
learning about these things I started to realize this
is really sort of what I’m channeling in a way, it
became the most appropriate label for my process.
KC: How does that relate to the bashful bags I’ve
seen in your work and on the Apostrophe crew? Is
that related to the mask concept – it seems to me
like it’s this very pop and very accessible way of
expressing it.
RB: It is very accessible, the bags are to me like
more fun, you know what I mean? It doesn’t have
to be really serious.
KC: How did you come to do this collaboration with
Salomon? What is “Quest” about?
RB: To me it’s very much like realizing your own
individual path, your own individual journey.
Everyone experiences it differently. Instead of
forcing a lifestyle on people it’s more of just a call
to question what’s true to you.
SF: Following the vibe of what is feeling right.
Walking where your intuition or your instinct or vibe
takes you - that’s the quest. Ryan said it best, the
key word “realization” of someone’s path. That’s
what it really is, realizing your being. The whole
Bashful Bags, Ryan Bock, at Apostrophe Gallery in Bushwick.
quest is about not being afraid to step into that
realm of uncertainty, of questions. Walk through
the fire or you’ll be tossed in the flames because
you have to do it anyway. We’re already in it. The
question is are you going to walk through it or
become apart of the Fire that inevitably burns us
all. One way to think of this Fire is “The system.”
KC: And so what is Quest? Is it a music video? Is it
video art? How are you showing it I mean it looks a
bit like a painting.
RB: It’s a work of art. We’re calling it “motion
painting.” We’re trying to have an opening for
it at a gallery. It’s like two of the oldest forms
of communication, painting (art) and music,
combining the two and not necessarily labeling
it as a music video or as video art but more of
a collaborative effort to create something that’s
both timeless and very original. Especially in light
of what people are working on today when they
make a music video. We’re not as concerned with
labeling one thing or another. It's a great way to
reach more people and different groups of people
– people who are interested in hip hop, people who
are interested in art - and just to combine forces.
KC: What’s the Love flow illUZiON performed
at Irving Plaza? I feel like everyone has a lot of
negative things to say about hip hop and yet you
see this full spectrum of ideas and experiences
conveyed in the music, what is the significance of
your message about love in this day in age?
SF: That message – it’s about being honest with
myself and being comfortable where I’m at and the
impact I want to have as a musician. I want to play
music so a song like that is a success to me,
it’s communicating and conveying my message
with clarity. On a song like that talking about Love
- that’s what it is yo. It’s just really being able to be
me in the best level.
KC: And I feel like too what’s different about it is it’s
not connected to a very specific closed narrative
about love that is strictly romantic and strictly
heterosexual love, this song really seems to be
more open, a joyful message about love in the
most expansive sense?
SF: Love in the sense of community, god, respect,
gratitude, honesty. This is what I communicate and
this is my code. These things are part of my code
Love-Faith-Gratitude.
KC: Another ancient concept I’d like to connect
to your work is the African idea of Nommo “the
word,” believed to be life force itself (to speak is
to make something come into being). As Mos Def
says, “Speech is my hammer bang the world into
shape now let it fall - HUH!” Based on what you’re
saying it feels like you have brought a great deal
of consciousness to your speech. Can you relate
to this idea – that when you spit rhymes as a
rapper you’re actually bringing things into being,
changing the very fabric of existence through your
consciousness and verbal sparring?
SF: Yeah. It’s definitely true. You can utilize
thoughts, speech, emotions and deeds as tools in
a way that creates your reality. I’m conscious of it
that’s why I speak most clearly in a song but even
in everyday life I practice being aware. I don’t
resonate with and I don’t acknowledge negativity. I
speak with purpose and put thought into what I am
creating. It’s not just as simple as every word like
woosh – life! But your thoughts and emotions they
create a reality. It’s what you focus on whatever
you’re thinking about most of the day your thoughts
your words your heart your movement if it’s all
synchronized and focused on the same intention
then the world is responding to it rapid like
instant you’re just connected and every moment
is so precious. It’s being present, God Is always
present [makes illUZiON hand symbol] You see
that? Smooth right? That’s a sign, you peep that?
That’s Love Faith and Harmony, Gratitude - this is
the code of illUZiON. You want to be down?! Get
with the code!! LOVE FAITH AND GRATITUDE. Give
thanks, be thankful for what you have. Are you
complaining about what you don’t have? What do
you have? What do you have young man?
EL: Yo listen shit is not going to be handed to you
for free -
SF: Shit is not going to be handed to you for free
nigger. I know, I know about the success we have
and how this is about to be -
EL: WOW we worked for this shit!
SF: This ain’t luck nigger, WHAT? WHAT?