After leaving the Fashion Institute of Technology in Manhattan Garroudi opened up his first small boutique. A year later he moved his business to Soho Manhattan where he stayed for ten years and eventually opened two more boutiques, one in Chelsea and one in East Village.
Now Garroudi has decided to take the leap and move to London where he feels the people are more open minded to fashion. “Every one comes to London, people come to study, they come for the fashion, they come to shop, to go clubbing, they come for the music, they come to improve their English. There is so much attraction in London, people are wild!”

So lets go back to the beginning, you studied at the Fashion Institute of technology in New York. What aspects of this institution have you taken away with you and helped your career as a designer?

How I feel is that school is good, but it is not the main ingredient. The main ingredients is your will, your stamina, your passion, if you have passion for something you will make it.

Where did you discover your love for fashion? And what pushed you into perusing it as a career?

I have always been creative. Creativity is an ingredient you put into fashion, but it can be used for many other things, I paint, I make lights, I would love to make furniture and architecture. I think of it as different containers that your pour your creativity into.
When I was a child my mother had a big Singer sewing machine that I always watched her use it. When I was a teenager I started to wear unusual clothes and I was the only one in my neighbourhood so I guess my love for fashion started there. I feel that you don’t know your talent until you grow and gain confidence. So I just love creating and fashion is one part of that love.

Who do you respect in the fashion industry?

Of course late McQueen, Galliano, Comme des Garcons, Yohji Yamamoto, Victor and Rolf, John Paul Gaultier, mostly the creative crowd.

I bet you get asked this question all the time but where do you get your inspiration?

Let me tell you something first, nobody invents anything, all they do it copy them. So when you start on a project, the more you do the more you find. You face problems and you work around them to solve them. So I started by doing a lot of draping in my black collection with small manipulation details. I listened to feedback and everyone loved the details so I decided to do full manipulation on my next collection. I saw the responses again and people were excited. So I created my red collection but in this I used a lot of wools and satin, which were too heavy, so the next season I used poly-cotton. I am constantly learning from myself, people say my work is origami but its not. People say Issey Miyaki but he pleats and the work is made by machine, mine is by hand. I am creating a new trend.

What kind of girl do you see wearing you your clothes?

It is hard to say, different people have different characters. If you put something different onto some one it can change who they are, this might provoke a different characteristic from them. This is like wearing a mask; you can walk into anywhere and feel confident because no one can see you. With my dresses you need to feel confident to wear them because they are going to attract people.

What are your favourite fabrics or materials to use in your collections and why?

Organza, silks, chiffon satins because they are so light and work well with my methods of manipulation.

I have noticed your work doesn’t follow a set trend, but more of a creation. Are trend forecasts something you stay away from? And if so, Why?

The thing that differs me from the rest of the industry is that I use one colour only per season. Some designers might use black for a collection, but they don’t change to one particular colour every season. The other thing is that I manipulate all my fabric and no one does it how I do, it is a very long process.
The trends and the industry is too commercial for me, if you follow what every one else is doing you won’t make, you must set the trend. There’s a saying, you better be the first class of you than to be a second-class version of somebody else. So be yourself, you don’t have to hide behind something.

What is your preferred method of designing? i.e pattern cutting? Or draping?

I do not use any patterns. I make the ribbons myself, manipulate it then drape the ribbons into a dress.

Wheres your favourite place to go clothes shopping in London?

All of my money goes into my fashion. It is hard to be a “fashionista” and at the same time create, because you don’t have the time. To be a fashionista you have to go out, mingle, see whats around, this takes lots of time. If you want to create you cannot do both, you need the time and all your energy to be a creator.
If I had the time to do more shopping I would go to the designers I have mentioned, John Paul Gaultier etc. I also love boutiques for something very different.

What advice would you give to aspiring designers?
Follow your passion, there’s a saying, if you do not stand for something, you will fall for anything. You cant do everything, you have to tell people your busy, if they ask why you tell them its because I want to be a fashion designer, or the greatest fashion journalist, the next Anna Wintour.

Has any of your friendships suffered through your years due to your fashion?
You are who you hang out with, if you have friends even family members who do not lift you up they will pull you down. Then you have to get the “big scissors” and cut them off… why?… because it doesn’t help you. You are not in the business of following people; you are in the business of following fashion or what ever it may be. That is what you need to pay the price for.

Where do you see your self in 5 years time?

I believe I am going to become one of the creative directors of one of the couture houses in Paris. I would also love to do as many lines as I can because I know I am capable of doing it, you just need the right team that know what they are doing.

And finally, is there anything you would like to add? Or a message to our readers?

My gallery is always open for people to come in and see my work. I am available for interns; I get a lot of interns from all over the world wanting to work here so I am happy to have more people. I also want to send a message to all the couture houses that I am available.

(picture of London fashion week and a friend of WeAreHQ Sarah-Mei modeling in the top left hand corner)

Here is a sneaky peak of Garroudis detailing for his next collection!

If you would like to see Pierre Garroudis full collections visit his blog on,
http://www.pierregarroudi.blogspot.com/

Or check out his website on,
http://www.pierregarroudi.com/

Let’s get in to the convo…

Lamar, thank you for seeing us. How did it feel to win the NBA championships this year?

What’s funny is, when you win a championship, the feeling is great for that moment. 5-4-3-2-1 you did it… It’s great. Then after the press conferences and the champagne, you kinda have to put it behind you. It does something for you as far as basketball and as far as your confidence, and for how your team thinks- but now the mission is to do it again. So you can carry it with you, but there are some things you have to leave behind.

How important is it for you that Phil Jackson is coming back next year as head coach?

Yeah, it’s very important! Especially for me, (reaching) towards the end of my career than the beginning, but I’m glad he is coming back. It’s funny because even without Phil, his system will still be there on how we do things. I have become more than just a ‘player’ of his, but he is also a friend.

How hard do you think Miami is going to make it for you to make it a Three-peat next season?

It’s going to be tough! But like this USA Team, a lot of people ask me, “What do I think about the other teams?” And honestly- not to be cocky- I don’t! I feel like we do what we need to do and play our game…

OK, so are you planning on coming to check for us in London in October? (NBA Europe game)

Yeah, my whole family will be there. I have a family full of women who love to shop (laughs). I’m pretty sure they are looking forward to that trip. I have never been and I’m looking forward to it myself.

Obviously 2012 Olympics are going to be in London, so it’s a nice warm-up and you get a head start on finding out all the good spots to go to before the rest of the team, right?

(laughs) Yeah for sure, when 2012 comes I hope that I can have my spot on the team and yeah I can let all the guys know where to hang out and have fun, ‘coz I will be a veteran when its comes to going to London! But yeah I am looking forward to that, having the Olympics in London is going to be an amazing experience and I’m sure a lot of people are looking forward to it.

OK, moving away from basketball… Since marrying Khloe Kardashian, how has that changed your life and the media interest in you?

It’s different, I guess ‘coz you have 2 demographics of people coming together. The people that didn’t know about or care about basketball, now know who I am and the people who didn’t ‘keep up with the Karshashians’ now know who she is! We feel like anything is possible for what we want to do or places we want to go and things we want to seek out. It’s cool, but the paparazzi is still something I’m getting used to, but other than that its cool.

So since getting married, do you find yourself doing less washing up and less cooking?!

(laughs) Yeah, a little bit less washing up and less cooking! Well I was never the type of guy who did that…. I always got someone else to do that for me! (laughs)

Shout out to Emrah from Basket.de Germany and UKs newest basketball lifestyle magazine MVP.

Founded by Mark Durston, the festival began in Abersoch, North Wales back in 2000, when it was a Wakeboard contest with a party in a car park for 800 people, and from then on played host to some of the industries leading bands and DJ’s, along with the biggest Wakeboard competition in Europe. In 2010 the festival enters its second decade and becomes part of the World Wakeboard Series.

The festival is split over three sites – the main festival site at Penrhos, Pwllheli Marina hosts the main Wakeboard competition and Abersoch Bay hosts the Big Air Classic competition. The festival prides itself as being at the foot of the Snowdonia Mountains and looks out over Cardigan Bay a real beautiful view.

The festival has its own Wakeboard ‘Pool Gap’ that allows the Wakeboarders to showcase the Wakeskate style on the festival site. The Pool Gap consists of two pools containing a total of 200,000 gallons of water. They are connected by street style handrails that the wakeboarders slide along being towed by an overhead cable system.

I got to catch up with Stuart Galbraith one of the seminal forces behind Wakestock and ask him a few questions.

Stuart Galbraith first got into the business after going to Leeds University and becoming the social secretary there in 1981.As former MCP, SFX, Clear Channel and Live Nation promoter Stuart Galbraith is a series producer and director and CEO of promotional group Kilimanjaro Live Ltd the people who put together Sonisphere, Download and Ozzfest. Kilimanjaro is a joint venture with AEG, the world’s second largest promoter.

HQ: Hey Stuart can you tell us a little about your involvement in Wakestock and how it started?
Stuart: I’ve been involved in Wakestock for 4 years, but Wakestock originally developed as a party that followed a Wakeboarding competition on a beach, in Abersoch . It literally started off as a party in a car park and just grew year on year from there.  It’s now full on down in the Marina,  with Big Air competition.

HQ: As Europe’s biggest Wakeboarding event, why did you remain in Wales?
Stuart: There is a real Water Sports scene here, and Wakeboarding was a big part of that anyway. It’s got a great bay here;  Flat and great for the Big Air competition.

For more information on Wakestock, visit: www.wakestock.co.uk

HQ: Your sound is quite unique and its understandable why based on your background. You have lived in Brazil, New York and London, how has this influenced you and shaped the music you have created to date?

BG: Being raised in Brazil was probably the most important thing as it helped me to create knowledge about harmony – I have my father influence to thank for that. Then in the early 80s I started listening to lots of different music, anything from Micheal Jackson to Sade. It’s around this time I started forming my profile as a musician. After being in New York for so long I felt it was kind of necessary for me to refine my taste. I came to London between 1998 – 2000 and this is when I really started to learn new things. I met many important people in that time such as Nina Miranda, Chris Frank, DJ/Producer Amon Tobin as well as many other people that I admire. All of these things helped to shape my sound.

HQ: What are your favourite things about London?

BG: The people that live here. I love the fact that there are so many bars around the city. I like to hang out with friends in the park during the summer if possible. It’s a beautiful city. As for food, I’ve found some nice vegetarian places here in comparison to other places around the world… but I’m not a fan of fish and chips [laughs].

HQ: Apart from our love of music, we also like fashion – what best describes your dress style and when in London what are your favourite shopping spots?

BG: I would say a mix of trendy, classic and improvised. I love Portobello market – I think you can find many, many interesting things there and obviously Harvey Nichols is Harvey Nichols [laughs].

HQ: What artists are you listening to at the moment?

BG: To be honest I don’t listen to too much music, I usually decide to listen to something specific and then I will keep listening to it. But lately I have been listening to a new artist called Otto, I recommend his album. Its Brazilian mixed with everything.

HQ: Have you ever heard of Dubstep or funky house? If so, would you consider doing any songs in those genres?

BG: Its fun but not my cup of tea. But if MIA invites me to do it, I would readily jump on stage tomorrow [laughs].

HQ: Are there any genres of music you want to add your own twist to?

BG: Turkish – I was in Turkey just before coming to London and I admired it a lot. I was trying to get some samples from there so I should definitely be doing something and maybe collaborating with a Turkish artist.

HQ: In your songs, your singing switches between English and Portuguese? Is this a conscious decision?

BG: It just happens, it just comes naturally.

HQ: Did you feel any pressure when working on your fourth album like you did when making your 2nd album – when following up on the success of Tanto Tempo?

BG: After making such a successful album that was so successful for those times and still sells – its forever pressure.

HQ: Do you end up with tracks you recorded that actually don’t get released? If so would these see the light of day?

BG: Yes, I have some songs to be released very soon on my new website.

HQ: Has your recording process changed much since your first solo album? In the sense that technology has changed a lot since 2000 and that many artists will take a laptop on tour with them so they can capture inspirations and ideas on the go instead of waiting till they get into the studio. Is this something you have found yourself doing?

BG: Yes it’s so easy now since you can have Pro Tools on your laptop; it’s just like a portable studio. But you got to have a good microphone. We have been sponsored by Shure who nicely gave us lots of toys and microphones.

HQ: Speaking of technology, are you comfortable with sending sessions and takes over the internet with your producers and other musicians?

BG: Oh yes, I have a home studio so it makes it easy and people do send me stuff. I’m open to most of the collaborations that come to me.

HQ: On your latest album, you had a track produced by Mark Ronson (The Real Thing). How did that come about? Did you reach out to him or was it the other way round?

BG: It actually came about through a friend of a friend. One evening we all went out for dinner just before I was about to finish my album and the idea just came out, we kind of both decided, it was just a natural decision.

HQ: Finally, we know you’ve made tribute to her live, but would you consider doing a studio tribute album in honour of the legendary Carmen Miranda?

BG: Why not…. I love Carmen Miranda!

HQ: Thank you for your time and we look forward to seeing your show!

BG: Thank you very much.

Interview by: Manish
Photography: Germaine Joseph for WeAreHQ

Oddisee has been someone I have kept an ear on, since first hearing Musik Lounge (a track he produced on The Magnificant LP, by DJ Jazzy Jeff). Since its release in 2002, Oddisee has made great strides in his talented skill set, rapping and producing with some of hip-hop’s more respected artists such as J-Live, Bumpy Knuckles/Freddie Foxxx, Little Brother, and Lil’ Fame of M.O.P. to name a few. He also takes pride in working with people that are less established, as his love for music is not only based on mainstream hearing, and since starting his Oddisee Music movement, he intends to bring hip-hop to the masses how he sees fit.

A member of Low Budget, he has taken his sound worldwide, working and performing all over the globe. A notable piece of his work that I’m interested in, is his impending LP with London’s Tranqill. I got to spend an afternoon with Oddisee in Hackney’s Clissold Park. There we engaged in conversation varying from our faith and cultural upbringings, to how much food we like to consume! Here is what he had to say in regards to his music, and his visits to our city:

We know an Odyssey to be an extended, adventurous and eventful journey. Is the same definition applicable to your name or is there a different meaning behind it?
Well, the meanin’ of my name very much still holds true to the Odyssey in The Iliad. I read it when I was younger, and I liked the adventure and journey he went on; I want my music to do that for people, you know? Like, I want them to listen to my music, and it take them some place else; for them to see where I’ve gone, through my music, yah’ mean! I feel it very much holds true: the fact that we are sittin’ here in London, and I’m from [Washington] D.C., means its workin’. It means I’m still holdin’ true to my name, yah’ mean!

Describe when them moment you decided to get physically involved with music was, and what your first experiences with rhyming and production were like?
Well, what got me involved in music was a curiosity turnin’ into a love, and that love turnin’ into a hobby; that hobby turnin’ into an obsession, and that obsession turnin’ into a career. I started off really rhymin’ on the lunchtime table in school, and all the cats were sayin’ “Oh, you nice wid it.” My man Sean Born said I should rhythm over his beats. I started battle rappin’ in school; Sean got me over to the crib and started recordin’ me. Through that, I got curious about hip-hop production, and he taught me how to make beats, and that’s when it really started. From there, started sellin’ tracks to local MC’s, performin’ in talent shows back home and open mics; fast-forward to it bein’ my career now, yah’ mean.

How would you say you have evolved since then?
My evolution has been practically a textbook one from what I’ve seen of MC’s and of hip-hop artists, meanin’ that love and that hobby becomin’ a career. Then, you’re slammed into a wall of business, where you have to learn real quick to be savvy about your business, or you’ll be destroyed. Not only can it destroy your career, but it can also possibly destroy your love for what you do in the first place, so you grow a thick skin and a business mind real fast if you wana survive. If it really is your love and your obsession, and you wana do this for the rest of your life, you learn your business real fast, in order for yourself to continue. I’d say I went from makin’ music for the love, to lovin’ to make music to make a livin’. I always say it: I make music for a livin’, so I can live to make music. That’s the evolution right then and there: knowin’ how to make money from what I used to do, just for the love of it. It does put you in a tough situation for cats who are further down the totem pole than you are, or are walkin’ that path that you had already walked over. They can’t understand why you wana be paid to do this or why you won’t rap wid them after a show; why you won’t wana come to their studio at 3 a.m. after you just finished performin’, and you gotta be in another city the next day. They can’t even comprehend it!

Which do you prefer more and why: rapping or producing?
That’s a tough question. They’re both a part of me, and they both give me the same feelin’. It all comes from the same place. When I write a dope rhyme, it really makes me wana make a beat and vice versa. I swear it’s the same relationship. I can’t even pick one or the other! Monetarily, beats make more money. It’s far easier for me to have 10 beats on 10 different artists’ albums, with them payin’ me each, than it is for me to just be an MC, tryin’ to get people to pay me to collaborate on their albums, or find show to do. You have to put more work in when bein’ an MC. You have to have a product out, so that you can tour and promote it, and get collaborations. I don’t have to do any of those things when stickin’ to producin’. I just have to have hot beats, and the connections to send them out.

How much does your Sudanese heritage influence your music?
My Sudanese heritage influences the business side of my music, more so than it does the artistic and creative side. I’d say my Black-American side is more the creativity, simply because I was raised in the States, in a predominantly Black city; so culturally, my music is affected by my Black-American side. My business side is very much owed to my Sudanese background; not necessarily because of it bein’ Sudanese but simply because of it bein’ my immigrant side that came to the West, to exploit the West and come up in the world. I had a really good example of hard-workin’ individuals around me, who came really from nothin’, to create somethin’ for themselves. I have that mentality instilled in me: to go out, get it, and sacrifice. You know, it was nothin’ for cousin’s from Sudan to come over, who had nothin’, sleep in our house on our couch, get a busted up car, do pizza delivery or be a taxi cab, work in a parkin’ lot, whatever they had to do. Next thing you know, they put themselves through school, they save their money, move out to a one-bedroom apartment with six other Sudanese guys. Within five to six years, they’re home owners. It’s that very same reason why I can tour, and I’ll say “I don’t need the hotel. How much is it a night? Cool. Give me that extra money in my payment and I’ll sleep on your floor.” To this day, I’ve been tourin’ Europe for four or five years, and I’ll take someone’s floor over a hotel room, any day. That instinct directly comes from being the offspring of immigrants.

What influenced the ‘Odd Season’ instrumental series (Odd Autumn, Winter, and Summer)?
The ‘Odd Seasons’ came about, as a way to display versatility. I pride myself in sayin’ I’m a versatile producer. If I left it up to MC’s, you wouldn’t hear half of the beats I can produce and create, because they come to me for a select sound. They come to me for their sound, or they come to me for a sound they heard on another MC’s album, and they want me to replicate that; they want me to reproduce what they loved about somethin’ I made for someone else. So, if I didn’t come up with projects to show my versatility, my career would be a real short one. That’s how your sound becomes redundant. Then your fans will start sayin’ “Aaahhh, your beats sound the same!”, when in fact it’s just that all the beats that artists are pickin’ from you sound the same.

I love themed projects. I wanted to do a project that people could relate to and connect to, beyond just listenin’ to it. I wanted it to be theme music; a soundtrack, and what better thing than the weather! Come up with somethin’ that gives me some room to breathe, come with my own sounds. Be creative, without consequence of it being a failure or success. I have read some reviews, and it seems to be workin’. There’s somethin’ for everyone on there. I can tell that hip-hop purists, who’s musical palette isn’t as developed as mine will say “What was he thinkin’ of doin! That shit sounds like some Maroon 5 nonsense!” Then I’ll get a female fan, and I’m like “Wow, a female fan!” She’ll be like “Oh my God! I love that track that you did, its dope.” So in essence, it’s somethin’ for everybody. The great thing is, I don’t have to compromise myself ‘cause it’s all true to what I like to create.

Travelling Man is a great listen. Your musical thoughts of different cities you have visited. What were the influences on your London and Brixton songs?
Well, when I made London, the influence was the generic visits that I’ve had to London. When I labelled the next one Brixton, it was because I had a chance to visit different parts of London and see their differences: different cultures and influences, and different boroughs and neighbourhoods, so that’s basically what it was. Brixton almost seems like its own world to me, you know? Like, it seems like a different place form the rest of London, and it made sense to me when I visited there, and kicked it around there. It felt like its own city.

We are fully aware that you have your own movement, called Oddisee Music. Are you still part of the Low Budget crew, and will Low Budget be releasing any collective LP’s in the near future?
I’m definitely still apart of Low Budget; One of the original members. That’s never gona change. Will there be releases as collectives? Yes and No. You’ll never hear a Low Budget album; it’s never gona happen. I say that, hopin’ that I’m proven wrong. I say that, so that I piss my fellow Low Budget members off, when they hear about interviews like this and they wana prove me wrong. As the story bein’ told so far? Naw! Cats be all over the place, doin’ their own things, busy workin’ on their own projects, and I just don’t ever see us comin’ together, bein’ able to focus on one project and create it. Where at different points in our personal lives as well, and some of us have more time to make music than others, etc. We live further and further outside the city, and it’s difficult to hook up with our schedules. I mean, I haven’t been in D.C. for three months, yah’ mean! Will there be one? I don’t know. I wish there would be one; that’ll be nice, but until there is one, until we come together and really actively do it, I gotta do me and push what I’m about to survive.

Outside of Oddisee Music and Low Budget, who have been your favourite artists to work with?
It was dope workin’ with Lil’ Fame [of M.O.P.], on A Rosenberg Oddisee. He just came through, and was meant to a verse but we ran out of time, so he did the chorus. Hilarious dude! Sat there and watched YouTube video’s with him, seeing how M.O.P. put together their adlibs. It was for a track he did with Saigon [WW4], and Saigon be like “Yo, I think you need to put an ‘ooooohhhhh’ right there.” Fame’s like “Right there?” Saigon: Na, na, na, na, not this part…….for this part.” “Ooooohhhhh” goes Fame! I’m like “This is ccrraaazzzy”. That was definitely an experience, yah’ mean; really enjoyed that.

What stories can you share with us, about the people you have worked with?
I was tourin’ with J-Live and The Living Legends. We had just finished workin’ on some records with J, and I think he was dietin’ or somethin’. I just went to Subway, and he was like”Yo, I ain’t never been to Subway.” Stunned, I asked “you’ve never…been to Subway?” “Nah, nah nah, I ain’t ever been there” he said. You have to understand, J-Live is like a Jedi when it comes to food. So, we head over to Subway, where he had a sandwich, and the look on his face was real straight. He’s like “…this is good…I, I think I can have this…”

When I say he is a Jedi, he’ll tell you somethin’s good, and you should try it, and you WILL eat it. So it’ll be 3 or 4 o’clock in the mornin’, you really don’t wana eat somethin’ heavy, but we’ll be at some random diner out in the middle of nowhere. He’ll wave his hand and say “try this Stake and Eggs, its good”. Next thing you know its four in the mornin’ and you eating Stake and Eggs! Love hanging out with J-Live; that’s the homie.

So many crazy stories though. Most of mine happen from tourin’. To sum ‘em up:

Bein’ chased by Nazi soccer hooligans in Eastern Germany; crazy story.

Being cussed at by a Scandinavian gipsy; crazy story.

A promoter gettin’ so drunk, that he wouldn’t take us back to our hotel or pay us, until we went to a club with him where invited us to come eat some vagina; crazy story.

Sleepin’ in a funeral parlour, because I opted to stay at private accommodation over a hotel, but I didn’t know the private accommodation was a funeral parlour; wild story.

They go on and on, and a lot of my artist friends are there with me a lot of the time; Kev Brown, and cats like that.

What are some of your favourite tunes you have produced/been a part of?
One that stands out right now? Road Trip. It’s a track that I produced for Critically Acclaimed featuring Phonte of Little Brother. I like that track cause it came about, based on what we did: Little Brother invited us to come down to North Carolina, to just hang out and record with them. This may be just before The Listening came out, or just after, I can’t remember. All of Low Budget took a road trip to North Carolina. We chilled in the studio and I was playin’ some beats, and Phonte was like “What’s that? We need to do somethin’ to that.” Phonte did the track with Quartermaine and C.A.L.I.B.E.R., two MC’s from Critically Acclaimed, and the song was called Road Trip. It’s a beautiful record. The vinyl is a hand-drawn photo of Critically Acclaimed in a car, drivin’ down. Definitely one of favourite songs and collaborations I was apart of, cause just lookin’ at it and listenin’ to it brings back real memories.

Who would you personally like to work with?
Alive? I would really like to work with Van Hunt. Yeah. I think he’s one of the greatest writers of all time, and his musical genius of producin’, singin’ and song writin’……he’s a force to be reckoned with. I would LOVE to do some work with him man, for real! I listen to him all the time. Was listenin’ to him this mornin’!

Every producer has a method to working with other artists. Some send beat CD’s, others like to work in the studio with the artists. What’s your preferred method?
I guess I don’t have a method. I use all of them! Whatever is convenient, and whatever can be done. It’s happened here, and in numerous cities. For example, when I’m home in D.C. I make beats nearly everyday. I take one day off every week. I make beats, and then I send those beats out to people in New York, L.A. etc, directly to artists. I sell tracks, and send them through the internet, and you take care of business; so that’s one way of doing it.

Other ways? Let’s say I’m in London, and someone will call me and me like “Yo, you here right now? You should come past the studio”, and I’ll come past. For my own music and for the artists I’m workin’ with for Oddisee Music, I’m in the studio with them when we create, solely so I can understand where they come from, when we create. I actually like to go to their home town, so that I can understand where they come from and experience life from their eyes, so I know how to make music for ‘em. That’s ‘cause it’s so much bigger for me, it bein’ my Oddisee Music thing, I afford myself that luxury by sellin’ tracks through the internet. Really, I’m a fan of all processes. I’ve done sessions through Skype before with two video camera’s, and pluggin’ our speakers in so we’re listenin’ to the same track at the same time, lookin’ at each other as we give opinions, goin’ back and forth straight through the internet! There is a feature that allows you to see eat other’s screens, so I can load up my Pro Tools screen, and they can see my mouse. They be like “No, take this part out?” “No, no, no, that part.” It’s allowed me to do my job and create anywhere in the world, as long as I have a Wi-Fi connection or internet.

What have you enjoyed about London on your visits here?
The reason why I love spending so much time here? The quality of life here is better than where I’m from, as far as what I’m into. I love the fact that pretty much one of the only cities in the States that can compare is New York. I can walk out on the road, and can get fresh fruit at 4 o’clock in the mornin’ from a Turkish grocery store, right around the corner. You can just do that! You don’t have to eat McDonalds!

There’s a million-and-one exhibitions and galleries, that just pop-up and open. All kinds of amazin’ film and independent film, and just general things for the arts that I’m a really big fan of. Being from D.C., we have a Smithsonian Institution, so all of our museums are free and we are lucky enough to get a decent amount of exhibitions come through each year; it’s like that times ten here. I grew up with my mother takin’ me to free museums, and gettin’ me open to art and culture. To come from that background, it’s like a paradox, you know? My quality of life in London is way better: I eat better, I’m less stressed out here, I’m more creative ‘cause I can focus on bein’ creative, without a lot of the hassle. The weather, even though it’s raining all the time, is mild, which for me is less stressful. In D.C., the summers are cold as shit and the winters are hell-fire hot! You get a break in Spring and Fall. The humidity is just crazy! I’m just overall, more chilled out here.

You have hooked up with the UK rapper Tranqill to produce a few tunes. How did you become acquainted, and will there be an extension of the work you have with him already?
Me and Tranqill linked about four years ago, when he realised I didn’t have a show in London. He was like “You should still come through.” I was like “Are you serious”, “Yeah, you should still come through” he said. “Aiight cool!” I was in Paris when I got that email, so I just caught the train straight here. He met me at the train station. Me with my bags in hand, we hop on a train, and he’s like “No, you don’t have to worry about paying.” I thought he meant he was payin’ for me………we just wasn’t payin’! Next thing you know, some ticket inspectors come, and he’s like “Yo, yo, we gotta move, we gotta move.” Hop off the train, and we wait for another train. This dude had me hoppin’ trains the first day I got here! Took me to the hood, took me to a Chicken shop, and again he was like “Ya hungry?” Here I am, thinkin’ I’m bout to get a good meal; takes me to get some Chicken and Chips and a fuckin’ Mango Rubicon! That was my first experience of London.

Again, he was like “You need to check your email or anything?” I’m thinkin’ he’s gona give me the code to his Wi-Fi. “Yo, there’s a Somalian shop right there, a little cafe. Go In there and he’ll take care of you. 50p. Cool.” Thanks! Really, I’m so blessed for those experiences, ‘cause I got to see a real side of London that tourists don’t see, and I love that. He became a friend first. Didn’t even push to let me know he did music. Maybe a year and a half to two years later, he started letting me hear his beats and rhymes, I was like “Yoooo! How you didn’t tell me!” He’s like “Yo, I didn’t want you to think this is what it was about.” I told him to get out of here with that! Then, we started workin’, and have been workin’ on music since then. His album will be done soon, produced by he and I. It’s him rhymin’. I’m producin’, but may be on one song. I’m mainly producin’ it, and executive producin’ it. Real excited for that project.

Are there any other UK artists you are keen on, and would you like to work with more UK artists?
Yeah! I’ve always loved Hudson Mohawke and Mike Slott; Electronic producers, but they get down with everythin’. Big fans of them. I actually like Professor Green’s flow; I mess wid him. Tinashe, who is an acoustic singer; he’s dope; I’ll love to work with him. It’s long overdue ‘cause we were at the Red Bull Music Academy, but I’ll like to work more with Andreya Triana aswell. We did a song, but would love to do more work with her.

Other UK artists can send their stuff through. Send it all through. I’m down to listen. I mean, I’ll get back to ‘em in time that you think will be respectful, but I will listen.

Have you been to any of the Hip-Hop nights in London? If so, how did you find them?
Yeah, I go out to a lot of events here. That’s one thing I love about London that’s different from D.C.: there’s numerous nights at numerous venues. In D.C. it’s like one night maybe, at the same venue; small town shit. I love ‘em, as there’s something for everybody. You got PAUSE, which was dope for the crowd that just wanted to do something but chill on Sunday’s, having a good time without it potentially becomin’ pretentious. Doctor’s Orders, if you wana hear your real hip-hop, and just cater to the heads. I’ve been to Livin’ Proof, Deviation, you name ‘em, I’ve been to ‘em.

London’s a scene town. Lots of people love to subscribe to scenes, more so than lovin’ their music. I can’t front. As an outsider, I see it. I stay away from that. I just go, ‘cause I like the music. If I don’t like the music, your not gona see me there. I don’t care what you got on, you know? Your Stussy this, or your Carhartt jacket. I don’t care. Don’t give a fuck about that! You’re funny looking haircut, none of that shit, ya know what I’m sayin’? I just like that real shit, which comes in many shapes and forms, and different colours. It comes to you in different ways, and if its there and I like it, I subscribe to that.

How would you describe the current state of hip-pop, and where would you place yourself in it?
I think the current state of hip-hop, and it has been, is on an up-and-up for quality artists, and on a down-and-down, for sub-par artists. Artists who put marketin’ over music are gona suffer. Artists who maintain their integrity, and put music over marketin’ will prosper, if they keep their business sense up. I think it’s a great time to be an independent artist, as record labels are fallin’ left and right, tryin’ to find a new formula to sell records. I think independent artists have long since found a way to do it. That’s where people like myself come into the picture: self managed, I book my own tours, I executive produce my own records, I mix them, make my own beats. You name it involvin’ music, I do it. That ensures that you can make a good livin’ from being an artist, with the majority of people not even knowin’ who you are!

I’ve definitely seen an increase in hip-hop listeners back in the States, which I’m really excited about. This is the first year in four years, that I’ve had more U.S. shows than European shows. When I go back home, it’s about to be crazy. You see the change of Europe goin’ back to more electronic music, and the States goin’ into not just hip-hop, but quality hip-hop.

I think it’s an exciting’ time to be a hip-hop artist, and independent artist, and entrepreneur. It may not seem it, but we’ve got some quality artists comin’ out that are makin’ people excited about rap again.

Who are some of your favourite artists to listen to, and why?
Of course Van Hunt: I love how he tells the same stories but different, which is always my method when I’m tryin’ to create music. He’ll give you a song about love, but its gona be abstract. It’s not gona be the typical ‘I love you, you love me’. I love that he challenges the way of song writin’ like that. I take a lot from him for hip-hop. Of course I can’t sing, but I attack subject matter that all men are familiar with and can relate to, but in a way it hasn’t been given to ‘em yet.

I feel fucked up for sayin’ this, but I listen to a lot of what I’m behind, because it’s the music that I wana hear. Not necessarily my rhymes, but I’m listenin’ to Stik Figa, Trek Life, Tranqill, and Diamond District, because that’s the kind of music I wana hear! I’m a bit over a lot of the legendary cats. I listen to their music too, but I don’t only listen to that. A lot of the new stuff comin’ from the legendary cats is dated to me, and is not challengin’, not progressive enough. I’m not gona listen to it, just for the sake of that they were in the past.

I’m not really up on a lot of the blog-famous rappers, who in their fifteen minutes of fame, somehow manage to release 30 albums. I don’t know how they do it, but I’m not interested.

I’m a big Black Milk fan; love his stuff. I like Finale, Blu. There’s a few in hip-hop that I listen to, but if you look at my iPod right now, it’s all over the place. The last two albums I bought off iTunes were Declaration of Dependence by Kings of Convenience, a Scandinavian singer/songwriter duo who just play guitar and sing, and I bought Small Talk by Sly & The Family Stone. That’s kinda what I’m on right now. I listen to that, and that affects my hip-hop.

What does Oddisee to do to relax?
Watch movies, eat really good food, hang out with friends doin’ absolutely nothin’; just sit around on the couch makin’ fun of eat other, play video games, read, walk. I walk A LOT. I love to just walk and look at everythin’ as I pass. I’m a very observant person. I notice everythin’. I do that a lot, to just clear my head. I love goin’ to museums; I go to ‘em constantly. New exhibitions, galleries, I’m always up on it. I know when they’re goin’ down, and I’m there.

I’m very much a home-body. I see goin’ out to clubs as work. When I don’t have to be on stage, I normally don’t prefer to be in a club. I prefer to stay at home, and stay there for days! Just makin’ music, and chillin’.

What’s next for Oddisee?
A million and one shows back in the States, and in-between those shows, finishin’ albums for all my Oddisee Music releases: Stik Figa from the Mid-West, Diamond District from the East coast, Trek Life from the West coast, Tranqill from the U.K. I’m gona bring back regional pride in hip-hop: cats that specifically relate to one demographic, and if they crossover to numerous ones, great. If they don’t, they weren’t designed to. My benefit: I eat off of all of it, but I want cats to really put what their about and where their from back on the map, and stop tryin’ to have this ‘one size fits all’ rap, yah’ mean! Be okay with takin’ that risk of everyone not likin’ you. Fuck it! Have a core audience that will follow you for the rest of your career, and get to buildin’ them now. That’s what Oddisee Music’s gona do. Cats who like Diamond District probably won’t like Stik Figa. Cats who like Stik Figa, maybe won’t like Trek Life; doesn’t matter. The cats that do like them, are gona love them, and they gona stay with them for ever. I’m buildin’ long-lastin’ careers.

Finish the sentence: WeAre……?

Progress, open minded, no nonsense, no gimmicks. WeAre real beyond being real to hip-hop; real to ourselves. WeAre risk takers, and we’re dope!

He did say he is all for doing a London show, but has no idea of if he has a audience here! To get him over here, holla at him via his blog.

Just to finish off, here is a video of Song For That, taken from Oddisee 101:

Click here to view the embedded video.

For more on Oddisee and his music, visit his Myspace, and Band Camp.

To contact him, visit his blog.

Words and photography by B.

Last year I attended a night called ‘Bitches Brew’ hosted by PUT ME ON IT, and was in awe with an artist I witnessed performing live art on a canvas. Watching the piece come to life with each stroke, I found myself zoning out from the music and people around me. Once the piece was finished, I had a brief convo with it’s creator and I have been wanting to see more work since. That time came when Sri had her first solo exhibition with sponsorship from Barefoot Wine, at The Print House Gallery in London’s Eastern quarter.

Sri invited me down to her Private View of the exhibition, where I got reacquainted with her, and was instantly hit with the feeling a kid has in a sweet store, turning my head in all directions, rapidly moving myself between canvases to framed pieces. I got to ask her a few questions about herself, her work, and art…

Sri, I had the opportunity to become acquainted with you last year, but for those that don’t know who you are, please introduce yourself
Hey! Yeah I met you last year at ‘Bitches Brew’, an all female event promoted by our good friend Ameila at PUT ME ON IT. ‘Bitches Brew’ was organised as showcase to platform a selection of female DJ’s, musicians and singers and I provided the ‘live art’ or drawing element for the night.

So that’s the background to our meeting and now for the introduction. I’m Sri (pronounced ‘Shree’ as in Sri Lanka!)  I’m an artist/illustrator of dual heritage, which I would say plays a significant factor in where the inspiration, content and sense of style of my work comes from.

Is Sri your birth given name, or artist name?
Sri is my given name. Very short and to the point! (Kinda funny because  it confuses people and even to this day, friends who have known me for years still mispronounce it!) Its Sanskrit and is quite a common name in South East Asia, particularly throughout India and Indonesia.

When did you discover your love for the arts and illustration, and what encouraged you to pursue a career in the field?
I always enjoyed drawing throughout my childhood, but didn’t actively pick it up again after leaving University. Having completed an Editorial Photography degree I then went on to work in independent music PR/promotion for a while before finally giving the art and illustration my full focus. Have always had a healthy interest in the visual arts, particularly contemporary and traditional illustration, animation, anime, graffiti and street inspired styles and aesthetics. Having worked in the independent music industry for a good while I decided to make the transition into more visual and illustrative based work. So far so good, as it appears that you can cross-pollinate the two! My most recent example of this was being commissioned to do the J Dilla Tribute flyer, tee shirt and poster. Was an honour to contribute to the man’s legacy and a great feeling seeing your tee design being worn and hopefully appreciated by a wider audience!

Your works seem to have varied influences. Tell us about some of the things that you incorporate in your work and the types of things and people that inspire you.
My dual heritage and upbringing in both the UK and Indonesia have played a significant part in providing inspiration for subject matter, as well as exposure to a diverse range of visual and cultural references. I would say that I’m particularly interested in exploring different cultures, with ideas being generated from an abundant spectrum of visual, mythological and multicultural sources.

I like to create intriguing head-scapes, curious creatures and ethereal characters a lot of which are evoked by my interest in myth, legend and folklore.  Plus there’s the very strong female element which runs throughout, and the tendency towards nature and elemental themes. As mentioned, interest ranges from contemporary illustration and design, to the old masters, art nouveau, traditional folk arts, graffiti art, hip hop culture and record sleeves all the way through to psychedelia, graphic novels and anime, you name it! Basically its all a mash up of the multitude of styles and subjects I’m interested in, but far too numerous to comprehensively list in one sitting!

Are there any projects that you have been a part of in the past?
Yeah, I have been fortunate enough to be invited along to contribute to a Selfridges window display as part of The London Design Festival and was featured artist at ‘Heavy Pencil’, The Institute of Contemporary Art’s live art and music event.

You’ve recently had your first ever solo exhibition and from what we saw, you had a number of beautiful pieces on show. What are the overall aims of this exhibition?
For me, personally speaking, the solo exhibition had been a long time coming! Its took years of sitting on a multitude of ideas to finally have the courage and confidence to step up and give it your best shot. So, it was really just part of an ongoing process and the first significant milestone of what I hope will continue to be a long and fruitful journey ahead!

In terms of achieving specific aims, I did the show primarily for exposure purposes and to showcase my work to a wider and more varied audience. Am happy to report that the Private View attendance exceeded my expectations and feedback wise, its been overwhelmingly positive!

I understand you have done some work with Diesel. How did that come about?
Ah yes, it was a commission as part of the Diesel Wall Project. I got the hook up from Sketch City in Manchester and was fortunate enough to be invited to customise some shop space in both Manchester and Kent.

Talk us through the process of completing a piece from start to finish
Preparation is key! You need to know what the function of the piece/space is and what the purpose of the work is so that you can work backwards. In terms of a commission for a client, it primarily needs to fulfil their brief as well as act as good advertising for you, so its good to hone and develop your own recognisable style. In terms of the live stuff which you do in front of an audience, you don’t want to get stuck half way through, so again preparation is paramount.

What are your feelings on London’s art/illustration scene?
This is a huge question which we could spend hours debating about and compartementalising! Lets just say its very healthy and there is room enough for everyone to express themselves and get their message across.

Have you worked with any other UK or London based artists/illustrators?
I have contributed to live art jams up and down the country, namely in Manchester and Leeds but haven’t done for a bit. Music wise, have worked with soul chanteuse Andreya Triana on our live music and art collaborative project ‘ Dreamscape Soul Sessions’. We performed at Cargo for Karen P’s ‘Broadcasting’ night in association with Red Bull Radio. Andreya is an incredible talent, watch out for her forthcoming début album dropping on Ninja Tune later this year.

More recently I was invited by Charlie Dark to collaborate at his ‘School of Dark’ Sessions. Charlie is a UK legend in my view, responsible for the genre-busting ‘Blacktronica’ sessions, he is a poet, writer, producer, DJ and all round super inspiring individual. We worked together for a series of live art and music events held at the Concrete Bar, Hayward Gallery and there are further developments for collaborative projects in the pipeline.

So, what’s next for Sri?
I am working on a series of private painting commissions, logo designs, album covers and general illustration work, whilst simultaneously maintaining my personal work. Was recently commissioned to do a bespoke tattoo design which as an honour! It was unique and tailored to the specifications of the individual person. Plus, now that i’ve completed my first ever solo show, have had time to let the experience sink in, am excited about pursuing and exploring future projects and opportunities.

When will your next exhibition be, and how can we keep in touch with you?

My next exhibition is titled ‘Archipelago’, at the Eastpack Gallery on Carnaby Street. Click here for more info.

Please keep in touch by peeping the website directly at: www.srimckinnon.com and signing up to the mailing list. All the pieces from my show will be available as prints direct from my website, so watch this space and sign up if you’d like to be kept updated. Plenty of exciting things in the pipeline, so keep ‘em eyes peeled!

Any last words for us?
Big up Blanchard! Thanks for taking the time, effort and initiative to do this, appreciated my friend. Big up Amelia at ‘PUT ME ON IT’ for the connection. Thanks and appreciation to all my friends who have consistently supported and encouraged me along the way. The best is yet to come!

As mentioned above, you can contact Sri and view more of her work here.

Questions and photography by B

The court has encouraged more young people to make a positive contribution to basketball in the capital by providing them with a space to improve their skills as well as their lives. The morning was centered around a coaching clinic for a number of London’s best Point Guards, Chris Paul witnessed a number of boys and girls going through numerous skills-enhancing drills and he took his time to visit each group, watching and listening to the coaches and children, as they sought to improve their ball handling and footwork.

After watching, he gave the children an opportunity to ask him any questions that they had, some of which were really thought provoking and Paul, true to his professional and extremely humble self took the time to answer them back as well as sharing some very with inspiring and encouraging words for them to take away from the day.

The day was capped off with Chris, Gentry Humphrey (International GM of Jordan Brand), and London coach Junior Williams officially re-dedicating the court.

We were given the opportunity to sit down with Chris Paul, and ask a few questions:

HQ: What brings you to the UK?

CP: Rededicatin’ the Lilian Bayliss court, and gettin’ the opportunity to see the kids. Most of all, to be a part of all the action.

HQ: We know this is your first time to London. Have you been to any other cities or countries in Europe?

CP: Naw. First time, first time.

HQ: Basketball’s seen as an American sport. When you go to Paris, are you going to be raising awareness or the sport over there?

CP: Yes, yes, definitely. We’re also participatin’ in The Quai 54, a huge 3-on-3 outdoor tournament. For me, playin’ so much basketball, the way the game has grown is unbelievable. It’s global now. Especially when you go to the Olympics; it was always ‘the USA was gona win by so much’, but now it’s up in the air. If you went to the NBA and went through the top 25 players, there are a lot from Europe, China, etc. I’m sure for a lot of the older guys in the league, that’s pretty rare for them, cause they were around when there were not as many European players. For me, that’s all I’ve known, you know, because me and Luol Deng were in High School together at the same time, and played in the McDonald’s All-American game together at the same time.

HQ:  Does that change the style and feel of the game, because the European players tend to have a good long distance shooting element. They bring a different dynamic and intensity to it. Do you find that progresses the game?

CP: I love it, I love it. I think it has progressed the game. Just think about it: year’s ago, no one knew what a Euro-Step was. Putting both blends of the game together is progressin’ the game amazingly. I tell people I didn’t start that huge Euro-step until the playoffs in ’08. I didn’t do that when I was in college; I didn’t know about it; and its funny, cause now I see my AAU teams, and younger kids when they play, they do these moves that I didn’t start doin’ until I was in the NBA. It’s really good to see how fast the game is progressin’.

HQ: Are you consciously watching how the game is played around the world, because we look towards America, the powerhouse that is the NBA and Jordan Brand as our main point of focus. When you think of basketball, you associate it with America. Are NBA players looking outside of their own?

CP: Yes. Well, if you’re a basketball junkie you are. Like, I watch basketball all-day everyday! Jada (my wife) will probably tell ya, before I go to games, a lot of times on NBA TV they’re showing The Eurobasket, and I’m watchin’. It’s a different intensity, cause all those games over there, are almost like Olympic games. Like, if you loose, you might die! I actually have a lot of my friends that play overseas, so I also get the opportunity to see them.

HQ: At 25 years old, you’re fairly young to captain a team. How much pressure is on your shoulders, and how to you deal with it all?

CP: I don’t think there’s really any pressure. I think its more responsibility, in that, being a captain at a young age is all about credibility. You know, in anythin’ you do, any profession, any field, say your not the captain, say your the boss, the only way people are gona follow you, is if you lead by example.  You have to be the hardest worker; you need to be the first to arrive and last to leave the gym. I think the best quality of a leader, is bein’ able to follow. Sometimes people can’t lead as well, cause if somebody tells them somethin’, they don’t wana hear it.

HQ: Does it help to have a veteran ear to be a kind of counsellor to you? I know you have James Posey on your team, and he has been around for a while, so has probably experienced a lot in the league.

CP: Yes. Its funny, cause Pose been around for a while. He actually called me last night when we got to the hotel, and we talked for a while. In my rookie year, I had P.J. Brown. He really was that guy for me, that taught me what it’s like to be a professional. What it means to carry the load, and to be a leader. Now, being a leader, you have guys like Pose. When you say somethin’ you always need a guy that’s gona reemphasise it. He’s that guy for me.

HQ: As well as being a member of Team Jordan, your one of only 3 players to have your own shoe with the brand. How did that deal come about?

CP: It came about after my rookie year. Like you say, the only three players to have their own shoe are [Derek] Jeter, myself, and Melo [Carmelo Anthony]. I know you guys are sneaker heads, and I’m the same way. I remember as a kid, bein’ in those lines outside Footlockers and stuff like that, trying to get Jordan’s and different things. You guys have no clue what its like for me to know MJ now, and to have my own shoe under the brand. Like, it’s something that you don’t get used to. Seriously!Like, I can get a new t-shirt, and open the plastic bag and pop the tag…I may not always say it, but there’s a feelin’ that goes through me EVERY single time. Not some of the time, EVERY single time. Its like ‘Wow, look at this’. It’s amazin’!

HQ: What’s your favourite shoe?

CP: I’ve always said the 13’s.

HQ: How closely do you work with Senior Footwear Designer Jason Mayden in creating the feel, look and performance of your shoe?

CP: Very very close. Jay May has been a blessin’ to me. His been unbelievable: not only on the shoe side of it, but as a friend to just talk about different things with. I think he understands it and he gets it, you know. He knows me, so he knows what I’ll like in a shoe. I think the thing that he also understands is it’s about performance too, not just about how it looks. I know that’s a huge part of it, but at the same time, he knows what I like, and it makes everything so much easier when you have someone who wants you to do well and wants you to succeed.

HQ: Give us an interesting fact about yourself?

CP: Golf! I do play golf now; I’m better at bowlin’ though. What do I do in my spare time? We play trivia games a lot. My wife like’s Monopoly, but that game’s too long. We play this game called Buzz on the TV, Scattergories, and Taboo.

HQ: The Olympics is in a couple of years, and the FIBA World Championships are around the corner. When you were speaking to the children earlier, you mentioned a scenario where you were running a break in practise. You looked around and you have all these superstar NBA players on your team. How was it competing alongside other NBA superstars for a gold medal at the 2008 Beijing Olympics?

CP: It was pretty surreal competin’ for a gold medal in Beijing, because the only person on our team that had a gold medal was Jason Kidd. So, when you’re in the NBA and you play for different things, everybody wants to win. You may have a guy on your team that’s won a championship before, that’s won two rings, three rings. When you get a group of guys like us that are all trying to get somethin’ for the first time, it brings out a different fire in you.

HQ: Leading on from that, due to the free-agent situation for some of the members of that Olympic squad (LeBron James, Dwayne Wade, and Chris Bosh), will that affect any of the dynamics of the USA squad for the FIBA World Championships?

CP: Possibly, you know. Different guys may have different things goin’ on, and if you haven’t signed a contract by the time the World Championships have started, I’m sure that’ll have a role in it. I’m not sure what’ll happen’ yet.

HQ: You mentioned that you’re a competitor. Injury is something that affects any athlete, and up until this season, you have been very durable. We know this past season you were hurt. Was that frustrating?

CP: It was VERY frustratin’, cause I hate to watch. I hate to watch basketball, cause I wanna play! With the injury, I think it helped me realise that it can happen and it’s a setback. The thing now is, I’m so excited about next year, because its almost like your startin’ over. Maybe not in the eyes of everybody else, but to me it gives me a fresh start. It makes me more hungrier than ever.

HQ: Any specific goals for the upcoming season?

CP: Stay healthy. That’s my goal, but most of all, I’m tryin’ to win an NBA Championship.

HQ: Thanks for having us Chris.

CP: It’s a pleasure.

We wish Chris Paul all the best with his basketball career, and would like to thank our good friends at Nike for inviting us to share in the rededication of the Jordan Legacy Court.

Questions and interview conducted by Blanchard, Davou, and Lemara.

Photography by Coach and Lemara

Since we love our photography and more importantly our food, she sat down with us to cook up an interview about all things food with a dash of photography and a hint of fashion…

HQ: What made you decide to start a cooking blog?

B: I started Rasa Malaysia in July 2006 to document my family’s recipes and also share my many eating trips overseas. It eventually turned into a cooking blog because my readers left me a lot more comments whenever I cooked and shared recipes.

HQ: Did you think the site would become as big as it has?

B: No, I never thought it could become the largest Asian recipe blog on the internet. Currently, Rasa Malaysia receives 1.2 million page views per month and it just keeps growing, thanks a lot to word-of-mouth by fans and readers, Google juice, and great content.

HQ: That is a LOT of visitors! I’m sure the snazzy design of the website also plays a part, who came up with the design of it and was the cool logo something you came up with?

B: I was an online marketing/web marketing/social media professional in my past life and I have a great understanding of web design and creative direction of a snazzy website. Thanks to my developer and logo designer because they were able to translate my vision into reality on Rasa Malaysia.

HQ: The fist thing I noticed about your website was the rather delicious photographs of the dishes – if I could print these onto rice paper, I would do so and happily eat away! Who is responsible for these great photos?

B: I shoot all the photos on Rasa Malaysia. I am currently working on my first cookbook on Chinese recipes and am responsible for food styling and food photography of the cookbook which will be released in Fall 2011. I have two cameras, a Canon 500D and Canon 5D Mark II. The former is an entry level DSLR, which is what I use for the site. The 5D Mark II is reserved for my cookbook, because I intend to impress and wow my readers with a more professional touch on the cookbook. I take all food photography in my small dining room, beside the windows so the light is coming from the right hand side of the food. I don’t have a fancy studio or whatever, and I just recently purchased a tripod for my cookbook. Great natural lighting is the most important ingredient in food photography. I got some artificial lighting, tried it once but it looks, well… artificial. They are sitting in my closet and collecting dust now!

HQ: Any tips for the budding young chef who wants to present the food on a plate in an appealing manner much like we see in your photographs?

B: Well, simplicity and being minimal are the two key elements in my food photography. Focus on the food, find an appealing angle, and capture the shot. I don’t rely on too much props, you need only some clean looking serving ware, a clean background and the food. I try to avoid serving ware with too much crazy patterns that compete with the food.

HQ: As a wannabe cook myself, I find it helpful if photos are taken during some of the steps. Do you think you would also try to include this at some point in the future?

B: I try to sometimes but it’s very hard because I am one person, secondly I have a dark kitchen so great food photography is challenging, and thirdly, the dishes I cook are mostly stir-fry dishes or dishes that are cooked in a jiffy so it means it’s hard to capture every step of the cooking process because I might just burn or spoil the dish!!

HQ: One type of cuisine which I was totally unaware of until your site introduced me to was Nyonya. I find it interesting that you have created a whole sub-site for this, why was this?

B: I came from a Nyonya background and there has been an increased interest in preserving the culture and recipes. I wanted to do my part. It’s a really fascinating sub-culture and the food is simply to-die-for. I would say that Nyonya food is one of the most under-rated cuisines in the world, and the world doesn’t even know it exists.

HQ: I think the Nyonya dishes are totally delicious and have single-handedly made me want to go Penang this year just so I can experience all these authentic recipes! The Malaysian and Penang tourist board should really thank you!

B: Thank you. One of my dreams is to become a travel and culinary ambassador for Malaysia, officially appointed by Penang Tourism or better still, Malaysian Tourism Board. Many people visit Malaysia or my hometown Penang because of what I do on Rasa Malaysia and I have many emails from readers to prove it.

HQ: Any plans of opening a Nyonya cuisine restaurant in the near future?

B: I don’t think I am interested in opening a restaurant. I think it’s a lot of hard work running a restaurant. But I might be interested in doing ad-hoc Nyonya food private dining, I think that will be fun, when I am in the mood and it doesn’t have to feel like work.

HQ: What is your funniest kitchen incident?

B: It happens all the time. My smoke alarm goes off every two days because I am trying to cook like a chef at home—lots of wok heat (wok hei).

HQ: Any historic disasters which you have kept secret until now?

B: I can’t bake. I fail all the time when it comes to baking because I have no patience to follow the tedious step-by-step in some baking projects so I usually cheat by combining a few steps into one, and you guess it, I fail most of the time. I should just give up baking, really.

HQ: You mentioned your upcoming cook book, how did that come about? Could you tell us a little about the book and what we shall expect?

B: The cookbook is about Chinese recipes, which is my strongest point (other than Malaysian cuisine). I am very lucky; the publisher emailed me and asked me if I would be interested to do a cookbook based on the strengths of my website, so there was no painful process of writing a proposal, finding a book agent, etc. It was pretty easy but the tough part is working on the cookbook. The cookbook will be out in Fall 2011. I am a Virgo and I try hard every day to make it as perfect as it can be. Readers can expect the most popular Chinese recipes, with well-composed and delicious food photography, and my secret tips and tricks in Chinese cooking.

HQ: Having visited our city of London, what restaurants or food markets really stuck out for you and wished you could head to for lunch right now?

B: I didn’t get a chance to visit any markets but I love Belgo in London – a Belgian restaurant. The mussel pot and the different beers are to-die-for.

HQ: Finally, to garnish this interview with a bit of fashion, if you were to describe your fashion style as a dish, which would best describe it?

B: Well, my fashion style reflects my tropical personality, so if I were to choose, I would say it’s fried eggs, sunny side up because I am really simple and well… summery! My fashion style is casual, carefree, simple, along with a bright smile on my face! I absolutely hate cold weather and still haven’t figured out why I still live in the US and not in tropical Malaysia… even though I am in sunny Southern California, it still gets cold.

HQ: So what does the future hold for you, apart from triggering smoke alarms at home every 2 days and giving us more great recipes and delicious photographs?

B: This year, my goal is to finish my cookbook and keep doing what I do on Rasa Malaysia. Next year, I would like to travel more and explore the local cuisines in Asia and also have a new blog/sub-domain dedicated to Penang food, and perhaps also travelling and spa. I love all the good things in life. I would like to turn Rasa Malaysia into a hub for Asian lifestyle, leisure, travel, and food.

HQ: WeAre looking forward to the book when it comes out! Thank you Bee Yinn Low, it’s been a pleasure.

B: Thank you, I hope the book will sell because I would love to work on a second cookbook about Malaysian and Nyonya cuisine. But I have to prove myself on the first.

If you fancy taking a look at the rest of the recipes, please visit the website – http://rasamalaysia.com

Interview by: Manish

Photographs: Bee Yinn Low / Rasa Malaysia

All photographs are copyright protected – used with permission.

With Portuguese family ties, worldwide connections, and a base in London, Alex Nash has absorbed all around him that he loves, and infused his favourite things into his hands. In turn, his hands have produced some pretty unique customised trainers, catching the attention of sneaker heads worldwide. Alex has been featured in world renowned publication Sneaker Freaker, worked with Vodafone, and recently collaborated with DC. With all of this attention, he still remains as cool as the little red spot that graced Sega consoles in the early nineties!

Alex has been hard at work customising some iconic Nike models, with results that have garnished high praise from some, as well as questionable liking from others. One thing that is always agreeable is his imagination and work ethic.

Alex invites us to spend the afternoon with him in Cafe O’ Portu, a West London Portuguese cafe that had the pleasure of seeing him grow from young boy to present day man. WeAre presenting the man behind the highly acclaimed customisations…

We’ve known of you for a few years now, but for those that don’t, please introduce yourself:
My name is Alex Nash, some people know me as Nash Money or just Nash. I customise shoes, and now also design shoes. I’m from North West London, grew up in Westbourne Park, and spent the rest of my days in Kensal Rise. WEST IS BEST [said laughing].

How did the name Nash Money come about?
Basically, my first name being Alex is quite popular. Wherever I worked there was always an Alex, but for some reason everyone would just pick up on the Nash, and call the other guy Alex. Nash Money was just like a casual joke name, stemming from Cash Money. When I was managing an MHI store, I met Lupe Fiasco and he was really adamant on calling me Nash Money Dollars, so it really stuck from there. When ever he would big me up or was chatting about me, he would always call me Nash Money Dollars and calls my daughter Levi Angel Wings! I think people call me Nash Money anyway, but I think Lupe kinda cemented it. It’s just a casual thing, not something I want to market. I want people to know me as Nash or Alex Nash.

When and how did you get into trainers?
School. In the school playground it was about wearing the nicest crepes. Back then it wasn’t about collecting, it was just about having newest crepes. Mucking about in the school yard, I didn’t like Rugby cause it was too English; we all liked American Football but didn’t know the rules, so we used to play these games where we had a rucksack on two ends of the playground, and we would have to touch the ball on the other teams rucksack, with the opposing teams trying to stop you! It got quote ruckus, so at the end of the day our trainers would never last. As a kid, you would get a brand new pair of trainers, and after a month they would look a bit battered. You would do everything you could to ruin them, to get a next pair from your parents or whoever and that was a general thing.

I then got into skateboarding, so I was into éS, DC, Action, SLB’s, but again with skate shoes you couldn’t collect them, cause as soon as you skate you mash them up in all of two months. The rebirth of sneakers for me was when I started working in a sneaker store in Portobello. That was the real rebirth. Me thinking about the shoe: looking at it, as it’s designed, the art form. Some shoe designers are architects, design cars, etc. That’s when my in-depth passion for sneakers came about.

When speaking about your school days, you touched on being a kid. What were one or two trainers you had that would define your childhood?
Simple, the Air Max BW one time! I had a couple pairs of BW’s. I used to be into Grunge music, but was also really into The Prodigy, and if you watch some of Prodigy’s early videos, most of the band members had BW’s on which influenced me. Also the Adidas Torsion and ZX ranges were really the only Adidas I used to wear, mainly cause they had that Nike type of wide, soft foot bed. I would only really wear Superstars to skate in, but they would often shatter my ankles. Also used to wear a brand called Travel Fox. I was the only person in my school that had them, and no one at school knew the heritage of them, so I was a bit outcasted on them. After that I didn’t buy a pair again! I had an all black pair with nubuck on them. They are kind of what I do now, in terms of mixing the shoe with the trainer.

What was the first shoe you reinvented, and why?
I was working with my boy Alastair aka ALIST at the sneaker store in Portobello, and he was doing a lot of customs for G Max Sports. He was spray painting, had a bamboo stencil camo, and was spraying the stencil onto the shoes. He encouraged me to do stuff, as I would always come up with ideas and was creative. I had a couple of Air Force 1’s, and started mucking about with them. They didn’t come out well, but they were battered so they didn’t really matter to me.

About 6 months later, I worked on another pair which were all black with red embroidery and swoosh. I changed them up, and added jade colouring on them. In China, they have the jade lucky charm trinkets, which are a lucky charm. So they would have a jade tortoise which would mean good long life, and flip-flops which mean good luck in the walking path of your career, and they would usually be tied with a red ribbon. So I thought tying in the red with the green would work. I then added a suede tongue with my name on, gave them a moccasin stitch, did a chick-check midsole stitch, got a horse transfer from them aeroplane model kits, and put that on. I was born in the year of the horse, so it was kinda integral. Got tabs from the Year of the Horse Air Force 1’s, but didn’t put them on. I put them out there as a finished product, but they aren’t finished. I wanted to come up with a theme. I didn’t like the black and red combo on that Air Force 1, so I had to mix in another colour, and come up with a story of why those two colours would work with each other. With the moccasin stitch, at the time I used to have a pair of Snipe shoes which were moccasin and I loved them to bits. I wanted to change, to be wearing dapper shoes, to appeal to that dapper honey, and I thought wearing sneakers, women thought you would be immature, so I wanted to wear dapper shoes and dapper clothes. I messed those Snipes up, and couldn’t buy them again. So having a thought to myself, I said: you know what would look sick? What’s doable? A moccasin Air Force 1. That was the first thing: I wasn’t moccasin sneaker, it was moccasin Air Force 1. From that, it was a matter of executing. It was low cost, something I could manufacture at home. All I needed was a needle, thread, and Air Force 1’s, and I could come up with something. Realistically, I couldn’t manufacture any shoes. I don’t have the experience or know-how, and don’t have connections to make them. I could make a product at home that looks like manufactured product. I have control as I’m doing it, and if it goes wrong, I can go back and redo it. Quite a laborious task, but I didn’t mind it.

Your collaboration with DC on the Cad Well model is your first official custom/design with a major sneaker based brand. How did that come about, and what influence did you have over the colours, model, and materials used?
In 2007, I had a show in Barcelona during Bread and Butter, with a store called Trust Nobody. They featured all the sneakers I customized at that point. The guy that got me to do that show, I knew very well. We sat down and had dinner with DC. They really liked me. Got invited to Berlin and had a meeting with Damon Way (the co-founder of DC). Did a mood board, suggested an old English theme-styled thing. They really liked it. I designed the shoe from that point, and had a finished drawing that they liked.

I think there is a slight misconception out there though: I designed the shoe from scratch, no customising, working from the foot bed of the Monterey model. I chose a silhouette I liked, a shoe I liked. If you like the shape, then you work from the sole up. You keep the same silhouette, but then you can add all the design lines. I chose all the fabrics. Some parts were hard, like the moccasin stitch. I don’t think they got what I do completely correct, but it still complements the shoe. We also found it quite hard to find wax cotton. I wanted to go for that kinda Barbour jacket feel, but it was hard to source. I think the canvas on there is nice as it is. Everything on the shoe was up to me, all my idea: adding the crepe sole, hiking loops, all earth colours. So sneaker meets hiking boot, meets hunting shoe, that’s the theme on the visual design side. On the colour side, I have earth colours, but then the electric blue is a signature I like to use, one of my favourite colours.

In terms of the name Cad Well, it stems from old gentrified English wording, not CAD as in Computer Aided Design, but a Cad is an old English pimp; “Sir you’re a cad”, you know like a playa, a pimp. The Nash Cad Well, so pimp well, walk well, so to have a pimp walk.

So it’s fair to say you had near enough majority influence on the shoe?
Yes indeed. DC wanted to do it. They were doing a lot of work with guest artists, and wanted something a little more hands on. They really like my style, were confident in it and let me go with it.  Collaborations where they do the SMU’s on shoes is 10 a dozen, and everyone needs to up their game and come with something new. I think it’s not a risk, but a bold statement for DC to do that, and pave the path for other brands. Other brands do collaborations, but not on this open level.

Everyone in the shoe game seems to have a favourite shoe. What is your favourite shoe of all time?
All time greatest? Probably the BW. All the colourways when they first came out were amazing. I prefer the women’s colourways. Joint with the BW, the Visvim FBT. I wish I designed them! I could wear the FBT everyday, for the rest of my life. They are the epitome of what I’m about.

Your DC Cad Well has virtually sold out worldwide. We have heard through the grapevine that there are a few more up and coming Nash collaborations. Would you like to give us more of an insight into these?
I’m working with Lacoste on the same principal as DC, where I design the shoe from scratch. Really excited about that one, as I would like to work with different brands. I think it’s good, as I would like to further what I have with DC, and work with other brands too. Lacoste and DC don’t tread on each other’s toes. It’s like skate one end, lifestyle on the other. Currently doing work with Second Son on a t-shirt collaboration, due to launch early in the New Year.

I would love to work with Clarks, and do something brand new. It would be like a Wallabee meets something meets Nash. That would be sick! Really would be mindful of working with brands that have rivals so to speak, so if I worked with Clarks, it would be hard to work with Hush Puppies, as it would be like stepping on one of the brands toes. Both DC and Lacoste have been good to work with though. They love my designs, ethos, what I’m about.

Have you worked with any other UK based designers or customisers?
Um……No [said laughing]. No, no I did a custom with Will Kemp from Second Son. We did a dunk together. He did all the painting. I did the rest.

What is your affiliation with Second Son?
Second Son are like my fam. I met them at Bond International. Will was working at Bond and I really liked their weather pattern at the time. We just got talking; it was never a forced issue. We were both at the same stage within what we were doing, so me being Nash and doing my customs, and them starting out as Loki. It was never about business, it was just for the love. We were mates, and hung out. They would always help me out, offering advice, etc, and they started getting me into photo shoots for their look-book, which was a compliment to me, using me as a model. I don’t think so much for my looks, but more for affiliation and our friendship. For me, it’s always integral. I love what they do, and we are on the same vibe: the older English tip. I like the fact that they are different. They come from a different background: Will went to Oxford University and got chucked out. I mean, they aren’t street guys, but they are themselves, and that’s reflected in their style. They really are into their heritage.

If you look at a lot of UK brands, they kind of followed what happened with UK Hip-Hop: before a lot of artists used to sound too American, but now there is an English sound, style, using English slang, etc, and I think that’s the same with clothing.

You touched on UK brands. How do you see the current clothing scene in London/ the UK?
I think it’s pretty good. It’s about the consumer. People are becoming a lot more proud of what we are doing, being very supportive of home-grown talent. You know, Second Son, Crossover, Cassette Playa, Trapstar, etc. Obviously they don’t all cater to me. I can’t wear all of their clothing, as some of it I might not like. They all have something to offer, and people are very supportive, helping it to get stronger and gain world respect. We are expressing ourselves in a London way.

With all that said, what is next for Alex Nash?
Keeping my options open. When I was younger, I never put myself in a position to have a long term plan. Now I wana do that, but at the same time, keep my options open. Now, I’m doing a lot of design work, but I wana carry on doing Nash customs, keeping it true to what got me here in the beginning. I find it easier and I’m more happy when I do my own stuff cause I’m fully in control. With the recent DC and Lacoste collaborations, it has taken a year from start to finish to see the product. When I do my own custom, its there. From theme to finished product, it’s a month, and I can execute it how I like. If I’m not happy with it, I can start again or do something different. I do wana do more design, getting into furniture. What I want, when I like.

I wana have my own brand, but don’t wana be restricted to seasons, so maybe one year I bring out 10 t-shirts, then the next year I don’t bring out any t-shirts but I bring out a mug. I’ve never really made a huge amount from my customs. Never sold any of them. I just wana keep them as an archive. No one really owns my customs. They are just for me. I’m too precious with my shoes, so really, I need to start thinking of the money side. I’m kind of doing that with the design side, but I want my primary source of expression to bring in money. My customs are good, as I can express myself through my passion, and they are a platform for me to show my work, putting me in a position to get seen. Doing to photo shoot for Second Son, they would blog it or drop it somewhere online, and my name is there. I may not have done anything, but I’m there. People see it. To be a part of Second Son, doing my customs, doing a shoe with DC, one with Lacoste, those are all goo. I’m blogging on Hypebeast now, and one of the things I wana do is have ‘How To Do It’ sessions where I show people how to do things with ease, at home. Keep your eyes out on my blog, and you’ll see!

Thank you for taking time out of your schedule to speak with us, and we wish you all the best.
Later!

Just to finish off, check out some of the videos about Nash. (One of them including our own WeAreHQ Coach – Magdi)

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

To get in contact with Alex Nash, visit:
www.nashmoney.com
www.myspace.com/nashatyourmumshouse

Questions and Photography: B
Interview conducted by: Howard
Videos: Victoria and Albert Museum, Foot Locker, and Vodafone.

He was part of the original NikeiD dream team, hand picked to give your soles some character. Besides success and recognition through Nike and design entrepreneurs, The Wilson Brothers, and the fact that this hardworking boy genius has a clientele list ranging from the likes of Ill Bill , Didier Drogba and beyond. There is far more to this DJ, than what meets the eye.

To add to his list of cool, he has recently joined the force that is, The Doctor’s Orders. In the words of Nas, this budding DJ certainly is “half man, half amazing”.
So if you haven’t met him at the Nike London studio as a former senior design consultant, or haven’t heard him destroy the Secret warehouse or hold his ground at London night and What’s Good you inevitably will at some point this year.

When you do, I ask you to take a breath, ex-spell all thoughts you have at the time and listen! He is a remarkable all-round across-the-board DJ, with such an eclectic medley of beats and breaks, you’d think he was a 50 year old teenager, plus not forgetting the skills and technique worthy of most up coming turntablists. I remember someone referring to him as a breaks encyclopedia. I can now say after hearing extensive mixes like Chew The Fat and Going In, and not to mention the new Love Is Blind mix tape that WeAre giving away today to all you HeadQases as a free download.
Chris P is seriously a ‘cuts’ above the rest!

I went to have an informal chat with him earlier this month on his thoughts for this year which then turned into a civilized mixing session- in civilized, I mean tea instead of tea-quila!

Without further a due, let’s find out a bit more…

First things,first, You’ve got quite an unusual alias, I got the idea you loved donuts…Where did you get you really your stage name from?
I’ve been a massive Fat Joe (Joey Crack) fan for ever. His first two LP’s are that real hip-hop shit! I was recording my first mix tape with my mate Dave and we started doing some voice overs pissing about, and he starts calling me Chrissy Cracks! That’s almost as stupid as Chris P Cuts! It basically evolved with a P and to Cuts as I got more cuts than a self harmer! So yeah, it’s ended up as Chris P Cuts, Chris P for short. Who knows!

If you had a dream line-up constructed of your favorite and most influential rappers & musicians. who would be in it?
There are just too many to name and I’ve started thinking too deep, like what personalities would clash.
Herbie Hancock would have to be in it. Vocals and stage entertainment from Ozzy. Rap and stage presence supplied by Pun or maybe RA The Rugged Man. Would need some soulfulness from someone like Bill Withers. Preemo would put some scratch hooks on there and help Herbie with production and if the group recorded an LP it would be done at King Tubby’s with the man himself, and Lee Scratch Perry mixing down the final cut.

Can you tell us about your first and any other early gig experiences?
Thinking way back we used to go to metal gigs. Skip the train there, pay 4 quid to get in, get 3 pints for £2 each and basically have the time of our lives for a tenner, then somehow get home.

My first DJ gigs were messy! One gig was spinning records in between bands. I played at a few house parties and played at the end of high school show which was hilarious. No one really knew I DJ’d- we had a band and thought we were Limp Bizkit or some shizz and I got a little solo at the end. I started scratching “smoke weed everyday!” It went down a storm- just ask Nathaniel!

What is your little pick me up track?
‘Your Time Will Come’ by Iron Maiden. Why? Who knows but it’s a banger. If I’m allowed another it would be Fat Joe – ‘Part Deux’. Joey goes in on that track!

How do you come up with the names for your mix tapes?
Mix tapes kind of come up with names themselves. I put a lot of time into doing tapes because I think as a DJ that’s what I should be doing. Others influences like stupid words being said at the time like ‘Going In’ or something that describes what I’m trying to achieve ‘DubWot’. Everything’s to be taken with a pinch of salt anyway.
I record all my mixes with my mate Stu, who is fucking hilarious and usually has something to do with the name. Plus he’s an awesome sound engineer and makes shit sound right. Cheers Stu!

What would you class yourself in terms of genre and ability?
I’m a hip-hop DJ and have always practiced as one. I basically play anything that’s good ranging from hip-hop to dub to electro and loads more in between. I’ve got mad skills and have put way too many hours in to DJ’ing, not to be any good. Pretty modest about it too! (smiles)

What is your favorite line or song catch phrase?
“Dead in the middle of little Italy, little did we know
That we riddled some middleman who didn’t do diddly.”

You also have an eye for design, and have worked with design entrepreneurs the Wilson Brothers. whats it like working with them?
Yeah I worked as a kind of intern for Ben Wilson. That was real cool as at the time I started, him and his brother were doing the Nike 1948 shop installation. Ben helped me out a lot and showed me what its like to make a living through design work. Not easy but rewarding and everyday is different. Ben taught me a lot about design and planning ahead, as it saves ball ache in the long run.

Are there any records that have changed your life?
The Prodigy – ‘Experience’ album was the first album I bought. That LP basically made me a music head and made me love heavy drums. Deftones – ‘White Pony’ was crazy good and came out at a time when I was a care free teen having the time of my life, so it always sticks out!
Task Force’s EP – ‘Voice of The Great Outdoors’ was the one though! At the time I didn’t know much about US hip-hop and couldn’t really see its appeal as I couldn’t relate. I had bought things like Busta’s ‘Woo-Ha’ when I was real young, but then got more into rock music. At about 16, I became UK hip-hops number one fan. Me and my mate Dave went to every rave that didn’t check our ID’s! Task Force – ‘New Mic Order’ and Mud Fams – ‘Mud Files’ were the pinnacle records that changed everything for me. I got hooked on hip-hop after getting into those releases. It’s kind of funny now that I know the guys I used to listen to religiously. Shout to Tom at Mr Bongo’s for pushing those vinyls on me.

I’ve caught and heard you at numerous nights and parties over the last three years, are there any that really stick out for you?
Anything at Commercial Road warehouse has been crazy, especially before it got done up! Think the first time was the best though. I remember dropping Skream – ‘Midnight Request Line’ and people going bananas. I got the record a day before and didn’t really know much about it, just stuck it on. Market Place is always fun too.

What has been the most slept on record for you last year? will you be waking people up with it, this year?
Everything by Samiyan is being slept on. I think he’s got the right balance between authentic hip-hop and the new electronic slash 8-bit sound. Look out for a tune called ‘Snake Cola’. It was the highlight of DJ IQ’s latest mix as he got Ransom Bad Bones spitting over it. I think a lot more rappers should be hitting up Samiyan for beats as they’re real good.
For all the other slept on records and some of the more well known ones from last year check my ‘Going In 2009’ mix.

Who do you appreciate on the scene.. who do you think we should keep an eye on?
I appreciate DJ’s who got skills! The Extended Players are for me the best hip-hop DJ’s in London and will kill any party. Benji B’s got the best radio show on 1xtra and does a real good job. Klose One and Rattus Tattus, the Urban Nerds are ones to watch as they smash any party.
One of the best names and shows I’ve seen is The Gas Lamp Killer, and musically Dam Funk and Joker are crazy and are apparently collaborating in 2010!
Another band to keep an eye are Die Antwoord, go check that on Youtube. You will not be disappointed!

Where can we hear or find you, have you laid out the blueprint for this year?
I’ve got a couple of sets coming up so come check me out:
3rd March at The Social at a new night called ‘Supa Lusa’
6th March is ‘Whats Good’ at Market Place
19th March at The Old Queens Head, Islington
I got my own night called ‘What’s That Sound?’ starting back up at The Westbury, Kilburn on the 22nd April and a website under construction.

Finish the sentence? WeAre…… Out of here!

My Funny Valentine Mix by chrisPcuts