SOUTH PARK COALITION

SOUTH PARK COALITION

South Park Coalition (S.P.C.) is a coalition of Houston hip hop rappers which K-Rino started in 1986, wanting
 to unite the talent in his South Park neighborhood and the city of Houston.

INTERVIEWS Post New Entry

Welcome to South Park Coalition's Buzz Blog, where you will find interviews, album reviews, fan posts and more.  Use the catagories to navigate!  Comments are welcome!

If you are a SPC artist or fan of the website, you can submit an interview post on our blog too!  Just share, add pictures and submit!  All content must be about South Park Coalition, it's artists and/or real rap related content with an SPC viewpoint.  All posts are moderated.

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SPC Thursdays on OPTIMO RADIO

Posted by SOUTH PARK COALITION on November 29, 2012 at 11:50 PM Comments comments (0)

Is it Thursday?

TUNE IN

www.optimoradio.com


Saturday Night: South Park Coalition 25th Anniversary At Numbers

Posted by SOUTH PARK COALITION on April 16, 2012 at 3:35 PM Comments comments (0)

Aftermath

Saturday Night: South Park Coalition 25th Anniversary At Numbers

By Nathan Smith Mon., Apr. 16 2012 at 1:00 PM

reposted from : http://blogs.houstonpress.com/rocks/2012/04/saturday_night_south_park_coal.php


K-Rino  : Photos by Jody Perry

South Park Coalition 25th Anniversary

Numbers

April 14, 2012

Over the past 25 years, few rap cliques anywhere have been as prolific and consistent as Houston's South Park Coalition. To celebrate a quarter-century worth of underground rhymes and grinds on Saturday night, the S.P.C. brought both the quality and quantity of music it's known for to the dark, dank confines of Numbers.

It was an interesting pairing of artists and venue. Much like Numbers, the S.P.C. seems as though it's been a fixture of the Houston music scene since the dawn of time. Both have weathered constantly changing trends in the music industry by doing their own thing and never apologizing for it.

Though the corner of Westheimer and Taft is about as far away culturally from the corner of Bellfort and MLK that it's possible to get without leaving the city, the long-lived dance club somehow seemed an altogether fitting place to celebrate the legacy of one of Houston's most influential musical forces.

 

The show started late in the evening -- it was 11 p.m. before anybody turned up with a mike in his hand. Longtime local hip-hop fixture Wickett Crickett served as the evening's master of ceremonies, directing artists from the stage to deliver their CDs to the sound man and cracking jokes and telling stories between the openers' sets.

There was no shortage of S.P.C. affiliates ready to warm the room up for the Southside legends. Short, fat-free sets from Chucky the Killa, Shan-No, Poosie Lee, DJ Icey Hott, Cl'Che and more kept things bumping right along as the club's battered and tattered dance floor continued to fill.

 


After the clock struck 12, the curtains closed onstage as the Coalition assembled for an epic session of pass-the-mike. Announced one by one, S.P.C. mainstays PSK-13, Murder One, Ganksta NIP, Point Blank, Sniper, Rapper K and K-Rino took the stage together along with more than a dozen more rappers, friends and family.There were a lot of hugs and handshakes going around, both onstage and in the crowd. Clearly, this was a special night for all involved.

The clique's set blasted off to a powerful start courtesy of -- who else? -- Ganksta NIP. The whole group (and a large portion of the audience) shouted along with the South Park Psycho's opening rhymes to "Horror Movie Rap:" "A tisket, a tasket, a bloody, bloody basket/ Cut his head and ate his leg, now he's in a casket."

That charming nursery rhyme was immediately followed up with his verse from "Bring it On," the hard-hitting track from the Geto Boyz' 'Till Death Do Us Part album featuring the whole Rap-A-Lot family. It was a fantastic opening salvo.

After a couple more raps from NIP, the mike-passing began in earnest. The whole clique came together for a few rhymes from 2002's Personal Vendetta album. Point Blank delivered verses from "High With the Blanksta."

The crowd was into all of it, but nobody was having more fun than the Coalition members themselves. Apropos of the occasion, the S.P.C. was engaged, energized and having a hell of a time up there.

The most exciting moment of the night came as K-Rino delivered shout-outs to the Coalition affiliates who spent the group's anniversary behind bars.

"Free Pharaoh!" he shouted. "Free Dope-E! FREE KLONDIKE KAT!"

 

And as if by magic, the Kat was freed, indeed. Apparently fresh out the joint, Klondike burst through the stage curtains and immediately jumped right into "I'm Gangsta." It was an oh-shit surprise that highlighted just how deep and loyal the S.P.C.'s roster rolls.Cool as that was, K-Rino took the mike next and just killed everybody with his "Book #7" and "Ghetto ABCs." If this guy's not the best rapper in Houston history, he's on the short list.

The music kept on and on as it got later and later. Everybody got a turn on the mic, with cameras, camcorders and smartphones crowding around each. The crowd started to thin out after 2 a.m. or so, but the S.P.C., true to form, displayed no intention of going anywhere.

At times it felt like they were trying to fit another 25 years' worth of music into a single night.

In an attempt to wrap things up, the clique came together one more time for Point Blank's "Slipped Into a Coma." K-Rino thanked everyone for coming and praised fans' loyal support.

"If it wasn't for y'all, we'd be up here rappin' to the sound man," he said. "Please eat this cake! We got way too much cake."

I slipped out of the club to head home at 2:36 a.m. Inside, S.P.C. members were still rapping away. After 25 years now, it seems pretty clear that they'll never stop.

 

Personal Bias: Caucasian.The Crowd: A diverse group that managed to fill out Numbers pretty well. Mostly over 30.

Overheard In the Crowd: "Free Dope-E!"

Random Notebook Dump: Sometimes these "event" shows can feel like little more than a prelude to the afterparty. Not this one. For the S.P.C., rapping together onstage is the party.

 


MisanthropikOne - K-Rino "Alien Baby" Album Review

Posted by SOUTH PARK COALITION on March 30, 2011 at 12:30 AM Comments comments (0)

K-Rino "Alien Baby" Album Review

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Rap Verbals Interview

Posted by SOUTH PARK COALITION on January 30, 2011 at 11:47 PM Comments comments (0)

 


Was there a situation or a person who inspired you to rap?

I’ve been rapping for a long time. The person that inspired me to pursue a career in music after all these years, is K-RINO. I’ve featured on numerous SPC songs. I also got tired of hearing all the trash that’s being played on the radio.


 

Tell us about your latest release and why people should buy it.

My latest release is a collaboration that I did with my SPC family member SNiper. It’s called ” I’M ALL IN “. It was a blast working with SNiper. Look him up online. You won’t be disappointed.


 

Describe the music that you make in five words.

Relatable, amusing, entertaining, smooth, and straight-forward .


 

What do you enjoy the most? Playing live, recording in the studio or battling?

Since working with SNiper I must say performing live. He brings so much energy to the stage which makes being up there a lot of fun. The response from the crowd is incredible.


Read more from Rapper K's interview on Rap Verbals.com


002 Interview

Posted by SOUTH PARK COALITION on December 13, 2010 at 11:45 PM Comments comments (0)



http://002mag.com/wordpress/2010/12/02/recording-december-2010/


Rapper K and Sniper

by Lance Scott Walker

Photography by Anthony Rathbun



How did you guys come together?

Sniper: I’ve known K-Rino and Rapper K for a long time. We always triedto do something together, man, but it was always kind of that we wereon different paths and when we kind of started coming around and doingsome recording and stuff with Rino, and me and Rapper K just finally gottogether to do 1 or 2 songs, and right after that it was like,well, the chemistry was there. We did a few more and before we knew it we were trying to do an album.


K, you were rapping for 20 years before your first full release in 2008.

Rapper K: Yeah, but I was on the business end for a long time, and withK-Rino I was doing features here and there. We always rapped together,me and K-Rino, since high school. It’s crazy that in 2008, wasn’tnobody talkin’ about nothing. It seemed like everybody was just talking about they rims on they cars or how much weed they done smoked and just this nonsense. I was tired of hearin’ all of the garbage and I knewwhat I could bring to the table lyrically {{{http://002mag.com/wordpress/2010/12/02/recording-december-2010/}}}[email protected]@-{{{{snip}...}}}

 

Read the rest of Sniper & Rapper K 's interview in 002 Magazine by clicking here!!


Southern Hospitality Interview

Posted by SOUTH PARK COALITION on October 14, 2010 at 1:12 AM Comments comments (1)

 



From The Vault: Interview With K-Rino




I caught up with Houston legend and South Park Coalition leaderK-Rino shortly after the release of his ‘Book Number 7′ LP in thesummer of 2007 for Hip-Hop Connection magazine. And with his new album‘Speed Of Thought’ set to drop in September, Southern Hospitalityproudly presents the interview in full, available for the first time.Enter the mind of a lyrical legend…


 

You and Scarface started Houston rap in the early ’80s, right?

It wasn’t just me and ‘Face, there was people that came before us even.You had people like Wicket Cricket, Jazzy Red, and there was people whostarted around the same time I did like Klondike Kat and Dope-E [bothmembers of Rino’s South Park Coalition army] – those guys might havestarted a year or two before me. I just was fortunate enough to be oneof the first artists in Houston to release a record. I released myfirst single in a group called Real Chill in ’87. The original GhettoBoys [original spelling], before Scarface and Willie D joined thegroup, they dropped the same year, so those records were really thefirst two records to drop out of the city of Houston. And I wasdefinitely the first one to drop out of South Park. So, we wasn’t thefirst, but we was right there.


What was the scene like back then?

It was real primitive back then because it was new. Hip-hop was justbeing exposed on a nationwide and a worldwide scale. It was juststarting to bloom and blossom on a mainstream scale with people likeRun DMC, Whodini and Kurtis Blow. Back then we was just doing it forthe fun because we used to admire those groups, but once we got to thepoint where we started realising we could make records as well, thenthe scene started accelerating a little more and it’s been goingnon-stop since then.


People treat hip-hop from New York’s golden era as beingsomehow more authentic than southern rap from the same period, how doesthat make you feel as someone who’s been rapping since ‘83?

Well, I disagree when they say it’s not as authentic as New Yorkhip-hop from the same era because we grew up in that golden era, sowe’re rooted in that era. Now, a lot of the stuff that we did wasdefinitely influenced and based on artists that was doing it in NewYork. We admired those cats, we respected them and a lot of what we didwas based off of them. Now if they were to say it’s not the same now asit was in the golden era then I would agree, because we were on somemajor, major heat back then and Houston has a lot of respectability inthe underground.


 

Do you feel any sense of fatherly pride when you see young Houston artists getting rich and famous?

Yeah, actually I do. It’s more big brotherly as opposed to fatherly,it’s just a situation where those guys came up listening to our musicand we had some degree of influence on them and when we come acrossthem the majority of them tell us that and pay homage and show love tous, so it’s a situation where I’m proud of anybody that comes out ofHouston that’s doing it big on the mainstream level, I just want thesubject matter to improve. I want the relevance of topics to improve.And I think that’s one of the things that’s missing from the Houstonscene and that’s contributing to the lack of longevity of some of theseartists. They remain stagnant because of the superficial subject matterand their light goes out after a short period of time.


What separates K-Rino from your average rapper?

Relevance – the blessing of having the ability to be timeless insubject matter. The greatest thing is to be able to put in a record youmade 10 years ago and have people not know if you made it 10 years or10 days ago. And I think that’s because of the things that I’ve beenblessed with and a lot of the people from SPC are blessed with, basedon the fact that we came up in an era where diverse topics and subjectmater was the order of the day. You couldn’t make an album with 10, 15songs on it and you talking about the same thing on every song, you hadto mix it up. That’s the purpose of an album. People tend to tell methat the words I speak on my records still hold meaning and still carryweight today, even when its some of the older stuff. So I know that thebiggest quality you can have as an artist, whether its rap, R&B orwhatever genre of music you’re into, is timeless music that can spangenerations and bridge the gap between generations. and can pick up newfans and new listeners that might have been in diapers when you firststarted doin’ your thing, but now they jumped on board and say ‘I’m afan’.


 

Is it hard to make a living when you’re not signed to a major label?

Not where we from. Houston is the independent record label capital ofthe world. Because we came from the south, and they don’t respect thesouth, the east coast look at us for some reason as having a lack ofintelligence and look at us like we dumb. They never respected us. Itwas always anything associated with the south was below them. So we hadto start our own labels because the major labels wouldn’t sign us. Andwhen they did sign us, the deals were so beat up and messed up thateventually we would either lose the deal or just get out of it becauseit was nothing that was ever in our best interests. So we started ourown labels and sold tens of thousands of records independently by goingthrough regional distributors, making eight dollars a unit as opposedto being on a major and maybe making less than a dollar a unit. Downhere we making more money than guys that own major labels and weselling 50,000 units and make more than those cats that’s going gold onmajors. So we really pioneered that out of necessity because nobodywanted to deal with us. So now they respect our hustle, they respectthe fact that we doin’ it the way we do it, but they still don’trespect us from an intelligence standpoint because they feel superiorto us for some reason. We’ve got some of the most intelligentbusinessmen and business-minded individuals to ever enter the game, butbecause of the southern drawl that we have they think we country so weslow. Hip-hop originated on the east coast and we all know that, werespect that and honour that, but at the same time you’ve got to let itgo at some point and respect the fact that God blesses everybody. Beingfirst, that’s a blessing in itself but don’t disrespect people who camealong and grab the torch or baton and run with it – now we’re all inthis together.

 





Houston was in the spotlight a couple of years back with thesuccess of tracks like ‘Still Tippin’’ and ‘Sittin Sidewayz’, but nowthe spotlight seems to be moving westward to the Bay Area. What canHouston do to maybe get back in the spotlight?

The first thing that has to happen is the artists who are already inthat position have to grow. Because you cant talk about rims and carsand sippin’ drank forever. It’s so continuous, its so redundant, but itdoesn’t stop. And that’s what irritates artists like myself who’ve beendoing it for years, who’ve seen it when it was good out here. Andthat’s what irritates people from other regions and parts of the worldand gives Houston a black eye. Because any time we go anywhere aroundthe country or the world, one of the first things to come out of theirmouths is ‘what’s up, you got some surp?’ But don’t everybody mess withthat stuff. That’s not what Houston’s all about. So, the fact of thematter is, the second thing they have to do, is those labels who arereaching down and saying Houston got something going on, they gottastop searching for that type of artist and they gotta be diverse intheir search and say ‘let’s see what else they got going on down here.We got some lyricists down here. We got some political rappers downhere. We got everything any other major city or region has as far astalent, we got it down her in Houston. They just have to reach for it.It’s like a line of robots that are copies of a formula that workedfive years ago.


 

You’ve been described as a soul nourisher, why do you think you get so much respect as a lyrical emcee?

One reason is because longevity always constitutes a level of respectto people, because they can look at it and say ‘this man has been ableto do this for this many years and … make a libving and …’ – and thatwarrant some respect in itself. Also, the things that I try to talkabout are things that can help an individual out of a situation. Metelling you how pretty my watch is and how many diamonds I’ve got in mymouth is not gonna help you when your lights are about to get cut outor your husband is beating you or you’re hooked on dope. Those thingsare not going to help you, so I try to speak to those things in certainsongs so if a person does come across one of my CDs they can possiblyget something out of that that will nourish their soul and maybe turnthem in a direction that might help them. The best thing that somebodywill tell me is that my music helped them through a hard time or liftedthem up. I think that’s what garners me a little respect and makespeople appreciate what I do.


You frequently rap about spirituality and you dissect a lotof the myths perpetuated by different interpretations of Christianityespecially, do you think there’s a need for more religious debatethrough rap and what do you think God has planned for your career?

I think that rap is a platform that allows that type of expression.Whether there’s a need for it is a matter of opinion. I would saypossibly there is a need for it especially if you feel lies have beentold to a society and you have come across the truth to thosefalsehoods, then yeah that needs to be exposed and cleaned. If one ofyour missions in your music is to save lives and help people then yeah.I think God has put me in a position to learn that things that werebeing perceived as truth are falsehoods and, if I can prove them, it’sonly right that I express it in my music. It’s an each one teach oneconcept. I’m blessed to know it, but I don’t talk like it was ‘of me’,like I created it. A lot of things I’ve learned and talk about in mymusic are directly from the teachings of the Honourable ElijahMuhammed, so I don’t take any credit for those things.


It’s hard to imagine any emcee, past or present, reallyhandling you on the mic in terms of intelligence and delivery, do youthink there’s anyone out there that stands a chance?

You know the thing is that I look at God as being such a great God thathe’s not just gonna sprinkle one person with that kind of talent. Godlikes to prove over and over again that he’s God and he’s the supremebeing. So, yeah, he gave me a strong dosage of it, I’m not gon’ lie,but I can listen to people like Canibus, KRS-One from back in the days,Chamillionaire from Houston, Papoose from New York, Rakim – there’s alot of artists I came up to and some that have come after me, so Idon’t ever put myself above anybody but I know that I can stand next toanybody. Don’t get it twisted, I can stand in the room and if a cipherbreak out I can hold my own with anybody, but I don’t put anybody downand try to say I’m superior or that nobody’s on my intelligence levelbecause I don’t know what the next man knows. So I’m just grateful tobe in the conversation. At the end of the day I just want to be in theconversation whey they talk about all the greats. I don’t mean the MTVor VH1 version of the 50 Greatest Rappers list, because they mean thewatered-down cats. You’ll never see Canibus’s name on that list but itshould be. You’ll never see mine on that list. But when the realconversation breaks out, and people who are knowledgeable on everyregion, every mainstream and underground artist are involved, when thatconversation breaks out and my name’s in it, I’m cool. I’m cool.


Your albums are always very cohesive, with strong concepttracks, messages and the tendency to educate more than entertain. Canyou describe the mental process you go through when writing andrecording a K-Rino album?

It’s funny because I’ve never told anybody this: when I write, Ivisualise people. I see people, I see faces when I write. I visualisepeople listening to the song as I’m writing it and visualise theirresponse to the words I’m writing – and I know that helps because itgives me an idea of how they’re gonna react and what they’re gonnalike. That’s why when I come up with a line and its a good line, I seepeople instantly. I try to look three or four times past the surface,so when I think of a good line I’m not going to stop after writing thatline down, I’m gonna think of three or four other variations or ways tosay it that could possibly make it better. So it’s a tedious processwhen I write, I can’t speak for anybody else but when I write it’s atedious process and it’s very detailed. It’s like a film because onceits recorded people will dissect it and trying to decipher the words,so I could put together a bunch of pretty words and flow it and say itnice and when it first touches your ear it sounds good, but when youbreak it down it gotta be right.

 





What is ‘Book Number 7’?

If you look on thecover there’s seven notebooks on the ground. A lot of peoplemisunderstand and think it’s my seventh album. It’s not my seventhalbum, it’s my seventh rhyme book. In other words, all the songs andalbums I ever made are contained in those particular books. Just bychance I started writing a new album at the beginning of starting a newbook. So the first line I wrote was written on the first page of theseventh book. Number 7 of course is also the number of God, the numberof perfection, so it was really right on time.

 

There’sa track ‘Imagination’ on your new album that’s almost impossible todecipher, can you explain it and has anyone cracked it yet?

[Laughs] ‘Imagination’ was really just a song where I was trying toreally go deep and just twist people up like that. Sometimes I getconfused when I dip back through it but I was in a zone where I waslocked into the full comprehension of where I was going with it. Butreally it’s just me making up a bunch of stuff, crazy thoughts. I don’tget high but in my mind I was thinking that people that smoke week orget high are gonna love this song. Put it his …. To what the nextthought might be.It migh have been a blade of grass or a door knob.It’s jus t a situation where whatever particular person that I wasthink ing of whe.. I made from him of and whatever that person thoughup that made him think of him. It could go on and on. That songs ..have never stop

.

On ‘The Me You Don’t See’ you say “Ignorance seems to get more blessing than realness” – why do think that is?

Because the masses of the people are ignorant. The masses of the peopledon’t have knowledge, wisdom and understanding, so ignorance is morerelatable. Like I was saying, when people are talking about sippin surp…. And booty bouncin’, –and that’s cool, whatever turns you on – but atthe end of the day its not saving lives, its not helping, its reallyhindering. So ignorance is getting more blessings than realness becausethese are the records that’s going gold and getting played in the clubor on the radio. So realness is a turn off to people because if anartist doesn’t know how to relay it and comes across as preachy itsgonna turn people off because, like you said, they want to beentertained rather than educated. People would rather be fed garbagethan good food. People eat donuts and candy all day but when somebodysays you gotta eat these vegetables, they like ‘ah man I don’t wantthat’.

 

How different is K-Rino the rapper to K-Rino the man, do you philosophise to your peers as well as your fans?

K-Rino the man is still struggling to be a manifestation of some of thethings I write about in my music. When you hear me say things on ‘TheMe You Don’t See’, that’s really me in confession. It’s me telling youthat I’m still struggling with the same things you go through. I’m nodifferent, I’m no saint. As a person I’m still working on myself. Idon’t smoke or drink but I have other issues that I struggle with justlike anybody else. I had song on ‘Worst Rapper Alive’ called ‘Who AmI?’ It went [raps]: “Who am I? I’m only a man just like you/So don’tput me on a pedestal, I’m just like you”.

 

Itseems like the mental process you go through and the album end productmakes for a very personal relationship between you and the listener…

Without a question man, and that’s how it has to be. It has to be amirror. I have to see myself in my words and when that person listensto that CD they have to be able to see themselves. That’s where theconnection comes in. I believe a person has to get their money’s worthbecause the ones that still have faith and go and buy records aregetting cheated when they’re getting 20 tracks with only two good songson it.

 

You’ve got a mix CD out on WolftownRecordings – an independent British label – what drew you to Wolftownsince you’re not someone who generally does the mixtape thing?

They reached out to me some years ago because my buddy LATE listens tomy music. We connected and I just seen how cool those cats was and theywere some individuals that really really believed in my music andthat’s always a good thing when you have people who really feel thesame way you do. And since then Tricksta, LATE and Jai Boo and allthose cats have been on a quest to get me heard in the UK and I’mreally grateful to them for that because its like they’re going out oftheir way to make sure that I’m heard. And I listened to their album‘The Villains’ album and now me and a few of my SPC boys have been afan of them. It’s just a situation that was meant to happen and I’mglad to be collaborating with them on this mixtape.

 

K-Rino– ‘A Lyrical Legend’ is out now on Wolftown Recordings. ‘Book Number 7′and ‘Triple Darkness’ volumes 1-3 are also out now on Black BookInternational. ‘Speed Of Thought’ is out in September.


A shorter version of this interview was published in Hip-Hop Connection magazine.

 


Thugstar - The Hip Hop Villiage Interview

Posted by SOUTH PARK COALITION on May 30, 2010 at 7:30 PM Comments comments (0)

Thanks to member Thomas for sharing this!

ThugStar of the S.P.C.

brand-new Interview by Jai Boo for http://thehiphopvillage.com


So Thugstar tell us about this horror movie called ‘Swine' that you've just finished working on.

It's an independent movie about the bigger scale of the how swine could be, but the guy who put it together has turned the situation into a horror film. The part that I'm in isn't really a major part but the character that I play turned into a bigger role. It's a pretty good movie, it's like a plot but I don't really want to give too much away! It has a lot of twists and turns and when you see it you'll think ‘Wow!' I found out recently that it will be out by February 2010.

 

 

How did you get the part in the movie?

Well actually I already knew the guy who was working on the film basically I was just going to do the soundtrack for the movie. When I got there he offered me a part! I wasn't really the type who wanted to be an actor, but I read the part and liked it so I took on the character. (Laughs)

 

 

Do you actually have a talking part you're not just there in the background are you?

Yeah I talk in the movie and I also have a couple of fight scenes! It's pretty cool!

 

 

Is this your debut into the acting world ?

Yeah it's pretty much my first time of acting in a movie but I wasn't really trying to act. I tell people I'm not an actor but it comes natural and I actually enjoyed doing it. The fun thing about it was being around the whole cast and we got to like each other.

 

 

Who else is in the movie? Anyone who we may know? Or is it just mainly up and coming actors and actresses from the area?

There's a lot of local up and coming actors that have done some acting before. The other person who you know from the movie is SPC member Shan-no. The director actually gave Shan-no a big part in ‘Swine', she's in it from beginning to end. (Laughs)

 

Well that's a good look for Shan-no! So, Thugstar do you turn into a zombie in ‘Swine'?

No! I actually live in the movie! I have my little fight scenes and everything I don't let any Zombies stop me! (Laughs)

 

 

Now you've a little taste of being in a movie do you think it's something that you would like to move into?

As far as right now, maybe but I'm not too sure. If another movie came and there was a part available that I liked and the money was right then I'd probably do it. But that wasn't really my main goal to start acting.

 

 

Let's stay on the acting subject for a while. I've heard you've got a porno coming out!! Are you acting in that one too!? Tell us about that Thugstar.

(Laughs) Oh that one! Basically I had a birthday party and a couple of my old college frat brothers got together. It was one of the wildest parties that I ever threw! That's basically how that came about! The footage is from my party and I started shooting it on my camera so I'm not actually in it but I narrate it. It's pretty cool.

 

 

So everyone else is going wild and you're there filming it!

Yeah it's something that I've always wanted to do. The people that were in it where asking if I wanted to do another one! So we'll probably start another one in December. I haven't released it yet because I've had so much material that I wanted to get out.

 

 

 

Will you be following in DJ Yella's footsteps and be a porn director?

Hopefully if I get the chance! You know when you were younger and you had dreams of wanting to do this and that? When I put something on my mind I will do it. It actually gave me a chance to see how this business really operates. I've talked to a lot of people and producers in that industry and I just enjoyed putting it together and seeing what happens with it! (Laughs)

 

 

(Laughs) Would you ever star in a porno?

Would I ever star in one? Hmmmmmm.....I'm not sure....I've been tempted but not at this time right now but.....I'm tempted and really want to.....but I'm not sure. (Laughs)

 

As well as acting, filming and directing porn movies! You also rap as a solo artist and with your crew South Park Coalition (SPC) now you've linked up with SPC UK affiliates LATE and Tricksta to drop a mixtape called ‘Block 2 Block.' Can you tell us about that release?

Oh Block 2 Block! That came about by Tricksta hitting me up and asking me if I wanted to do a mixtape. I decided to do it because of the exposure and basically everybody over there is my favourite type of artist. Anything that exposes me more to different people and cultures and with your support behind it. All of you did a pretty good job on it I really like it.

 

 

You've also dropped your own mixtape in the US called ‘All in yo Face'. Can you tell us about that release?

The ‘All in Yo Face' mixtape came about when I was doing the porn movie. I put it together to fit the mood of where I was it was supposed to be a double release with the movie. My management team told me not to do it! (Laughs) They told me to separate the two, I do everything on my own but I have a team around that help me. I would have run wild with it! But the songs on the mixtape fit the expression of how I was feeling at that time. When I was younger I used to DJ in strip clubs and stuff like that and that's the era that I went back to with the types of songs they were playing. That's really how the mixtape project came about. I have another one that will probably be released next year.

 

 

Will the tracks from ‘All in Yo Face' be featured in the porn movie?

Yeah some of those songs will be featured in the porn movie as well as some of the songs that didn't actually make the mixtape. It turned out good because I networked with a lot of artists from the Ukraine and other different countries; their songs are actually featured more in the movie. It adds a pretty good twist to it as well.

 

 

Now you also launched a website called Glowbal Ent. Can you tell us more about that?

Glowbal Entertainment is basically the birth of my own independentlabel. I was sitting there going through names with my management teamand that's what we came up with. We just started putting the sitetogether, it's still in the process of getting done there's a few morethings I need to add to it. It will show my independence and thingsthat everybody will be able to keep updated with what I'm doing. I'vealways wanted to push my own label so that's the beginning stages ofwhat I'm doing. There are a couple of projects slated for release. Thefirst release is Shan-no's new album called ‘So Seductive' she has afew more songs to finish then we can get ready to do the mixing downprocess of the whole project. I've also got my ‘Speaker Music 2' albumto mix down; there are a lot of projects getting ready for release.

 

Will Shan-no's album be dropping this year or next?

We've spoke about and we're going to try and get it out aroundNovember. If I don't get a November date for it to be released then itwill be January.

 

If some one wants to book you or wants you to appear on a track what's the best way to get in contact with you?

The easiest way is to hit me up on www.myspace.com/officialthugstar and just let me know what they want to do and we can get it done.

 

Rap Reviews K-Rino Interview

Posted by SOUTH PARK COALITION on October 27, 2009 at 1:26 AM Comments comments (0)



RapReviews.com Featured Interview, October 27, 2009

http://www.rapreviews.com/interview/krino2009.html 

 


K-Rino Interview

Author: Pedro 'DJ Complejo' Hernandez

 


P: For those who don't know, tell us a little about your history in the rap game, when you started rapping, et cetera.

K:Actually, I jumped in the game in 1983 if you're speaking about when Ifirst started writing. If you're talking about getting into theindustry side of things that was 1986 when I first started makingrecords. That's when I first took it seriously as far as making aliving, so I've been in the game for 22-23 years now. P: You mentioned getting into rapping back in 1983, what was the hip-hop scene in Houston like back then?

K:In 1983 there wasn't a scene! You had some people rapping on streetcorners, in clubs, and at talent shows but it was all smaller. This wasall until someone actually put out a record. There was a group that hada record called "McGregor Park," dedicated to this park we have inHouston that was real popular especially on Sunday people would comeout and hang at the park. But outside of that, the scene was in itsinfancy at that time. The scene really did not get popping until acouple of years later, maybe 85 with Kiss Jams. There was this collegeradio station called KTSU and they had this show called Kiss Jams everySaturday morning and that crew that they had was so dynamic! In termsof expanding hip-hop and breaking these new records and playing a lotof the stuff coming out of New York and LA, not to mention the factthat as new artists, the local artists could always walk into the radiostation and they would play it on the spot. That was the first platformwhere you could really be heard.


P: Back in '83, who were your influences? What rappers influenced you to start rapping?

K:Well around that time I was influenced by the old pioneers back in theday, that was the Sugar Hill Gang, Kurtis Blow, and Run DMC. Thoseearly pioneers of rap and hip-hop were the people that influenced me. Iwould learn the lyrics to they songs word for word, performed theirrecords like they were mine, and that was one of the things thatinfluenced me to start writing. I just loved what they did and was justtrying to do it myself and never looked back.


P: You mentioned you dropped your first record in 1986, what record was that?

K:I did a song called "Rockin' It," I was in a group called Real Chillback in the day. It was me and a friend of mine called GT and anotherfriend of mine called Preppy Jay. We all went to school together,middle school and high school. We did all kinds of battling back in theday against each other, but we befriended each other around high schooland decided to form a group. That record that we dropped was the firstrap record to come out of South Park, to my knowledge. It was one ofthe building blocks of rap in the city. The record itself didn't makemuch noise as far as record sales, as far as popularity wise, but likeI said, relating back to Kiss Jams, Kiss Jams would play it all thetime. It was a good experience for us and allowed us to travel aroundthe country and promote it. It was our first experience with that.


P: When did you decide to start the South Park Coalition?

K:Well, I had it in my mind in '86, around the time we put the recordtogether. We actually didn't make it official until '87. In thebeginning we only had 5-6 artists in the South Park Coalition and theyall consisted of guys who went to school with me. Then it grew to 7-8guys that I hung out with and we all hung in the same circle. Once westarted branching out and being cool with guys from other areas webefriended those cats and added them into the mix. That strengthened usbecause there were so many hard rappers in city of Houston at that timeand the competition was so great. Prove yourself anywhere you might be.If you got caught up in a battle or someone tried to prove you weren'teverything you said you were cracked up to be. The majority of themeventually ended up becoming a part of the South Park Coalition. That'swhat expanded us.


P: Now the Coalition is quite famous and quite large, go into some detail on some of the members and their history in the game.

K:Oh yeah man, just to name a few. Ganksta Nip and myself we had a rapbattle in '87, if I'm not mistaken it was the winter time of '87, Ijust remember it was real cold that day so it had to be winter time.Before that we had been enemies, we were arch enemies, it was justanimosity. So that battle lead to mutual respect for both of us becausewe went so long and so hard against each other that no one couldactually say who won. Everybody said "Man, it's a tie!" So everyonewanted us to keep going more and more rounds. That just gave us respectfor each other that neither one of us may not have had at the timebecause we were both set to the fact that we were the best. When Nipcame in he brought in all people that went to his high school. Hebrought in A.C. Chill, Murder One, and Klondike Kat, so he brought hisside over. It made us stronger. Later on I met Rapper K and he took meby Dope E's house because he said he wanted to do some recording. Dopegot cool and we brought him in. Dope was real skilled in production andas far as rapping and DJing too. That strengthened us man and the Dopesigned to Rap A Lot and when they put their record out they wererepresenting the SPC. Now they were representing us on the globalscale. Point Blank, PSK-13, all them other cats came into the circleand started putting out albums. That started that whole phenomenon andinterest in the South Park Coalition. We were different from everybodythat was out at the time, nobody was doing what we were doing, nobodywas rapping the way we were rapping, no one had that large or diversemix of emcees. None of them sounded like the other one. You just didn'tsee that back then.


P: I have noticed that the South ParkCoalition is made up of many different styles, from Dope E's politicalrap to Ganksta Nip's psycho rap, was that planned?

K: I meannah, that's what made it so beautiful because everybody was just doingwhat they did. Now Dope E, he grew into the conscious political rapjust based on his life experiences coming into that particular wealthof knowledge as I ended up doing later on myself. When I battled Nip hewas rapping the way he raps right now, you know, he was doing thepsycho rap. When I met Blank he was just hard edge, hard nose, hardcore, reality based street lyrics. Same with myself, I've always been afan of lyricism and that aspect of rap. So everybody brought thesedifferent personalities to the table and those ingredients made one bigrecipe. It was just a natural , it wasn't like we sat down in a roomand said, "Okay, you're going to be the political rapper and you'regoing to be the gangsta rapper."


P: You mentioned that you yourself did some growth, what was K-Rino like 20 years ago and how is he different now?

K:20 years ago I was a lot more fiery than I am right now, because mycompetitive nature in rap was to the point where I just wanted tochallenge everybody. Everybody that I saw that rapped, it didn't matterif you wanted to be my friend or not I wanted to battle you and takeyou out, decapitate you. I was in high school, I was probably in mylast year in high school, probably 18 or 19 years old. I was just aloose cannon man, like a lot of us at the time. And I wrote every daybecause my passion for the rap game was so intense that I ate, slept,and drank rap music. I breathed it. Even though I had experience inbusiness side of it, I hadn't been as deep into it as I am right now 20years later. I'm the not same guy anymore, I look it now more as abusiness, though I still got love for the art form. I'm more to thepoint where I write when the situation calls for it. Back then we werewriting with no aim or purpose, we were rapping with no aim or purpose.So that's probably the only difference. Also, as far as experience, Idid not have then the experience that I have now. I had a song where Ispoke about if I could combine the me then and me now it would be amonster, because it would be the experience mixed with the passion thatI had for the game.


P: When did you drop your first solo album?

K:I dropped my first solo album in 1993 when I did "Stories From theBlack Book." I had done the Real Chill group before then. Then me andDope E were in a group called COD and that dropped in 1990. That wasafter I left Real Chill. After that, Nip and Dope signed with Rap A Lotand did their solo thing so I started my own label with my father, thatwas Electric City Records in 1992. Then we dropped my first solo in1993. We had real good regional success with that and sold a lot ofrecords and got radio plays. That was my first, first taste of solofame and I never looked back after that.


P: What ended up happening with Electric City?

K:Well what it was is that we carried it on for about 8 years all the wayup to 2000. My dad wanted to do something else, he wasn't into themusic anymore like he was back then. I was still doing it so I decidedto carry it on and take over the label, but I decided to put more of myown personality into it and changed the name to Black BookInternational, which is my label now.


P: And during that time, you've dropped how many solo albums?

K:Awww man! I've lost count. From that time to now I don't know, becauseI've done a couple of group projects that I include. As far as my wholecatalog and pure, strictly solo albums it's up in the double digits,the high double digits, but I don't know the exact number.


P: How do you get prepared for the next album? What do you do, or what is your though process going into a new album?

K:I mean, it's a natural process. It's very rare when I sit down and say"OK, it's time to do a new album." It's more of a situation where Itake a break after an album I had just done and then once months andmonths pass and the inspiration just comes and I start getting ideasand concepts and they just come to you. Rhymes come here and there andbefore you know it you've accumulated enough material you say "Okay,it's time to work on something new." I think time tells when to do it,it's not something you do yourself.


P: When did time tell you to start working on "Solitary Confinement?"

K:Awwww man, about 3,4,5 months ago. What the deal has been lately isI've been coming out with complete projects at a whole faster pace thanI had in previous years. I can remember a time when it would take me 4or 5 months to put out an album. All the way from "Time Traveler" tonow I've been knocking out albums in record time. I mean as far asrecording wise, I've been recording projects in three weeks to a month.Literally, that quick of time. The writing process may take a littlelonger, it may take me a couple of months to get the writing done, butas far as recording I've been knocking that out with the quickness."Solitary Confinement" I started writing for that about 4 or 5 monthsago and just took off with it. My brother works fast and I work fast.


P:"Solitary Confinement" is coming out October 27th, what is the conceptfor that album? What can fans expect when they pick that up?

K:Well, I mean basically they can expect the same thing that theynormally get any time they purchase a K-Rino album. As far as thosefamiliar with my work, they know that my work is always rooted in twothings, reality and lyricism. That hasn't changed even with this album.I tackle topics that are going to be relevant in the world today andthat can help in transforming somebody's life for the better. I want toturn someone into an introspective individual and say "Okay, I canrelate to this and pull something from it." On the flip side of that,just certain songs on the album are where I just kind of like to workout lyricism and bring that style of rap as far as the word play sideof things, people really appreciate that side of the game. There havealways been fans who want that style of rap coming from me. So"Solitary Confinement" is no deviation from what I normally do. Everyalbum takes on its own personality and this album, I don't want to sayits dark, but it is deep. There are a lot of introspective things goingon to make you look inside of yourself.


P: Being from where you are from, where to you get the inspiration to keep trying to motivate and uplift people?

K: Imean, it's just that, the things that you go through and the personalexperiences. For some people, it can depress them, the bad times it candepress when it should be used as a teaching tool especially when youcome through it. Because it is like "Okay, you know what? I canactually speak on this as a qualified individual." You can say "I wentthrough this problem, I made it through this problem and I can educatesomeone or I can prevent somebody from possibly going through it."Experience is the best teacher, it's all about being able to relate tosomeone, especially on paper and through music in a way you can connectto a person and make a difference in them for the better.


P:Do you ever feel your at a cross road or conflicted when some times itseems people in your own circle, like the South Park Coalition, don'talways get that message?

K: I mean, it's a situationwhere any time you're speaking on topics that's based around real life,in this day and age where the music industry is based on a lollipopworld, neverland, and just fairy tales and frivolous garbage that theyplay on the radio and you see on the video shows, it is always gonna bea struggle to get your message across and to make sure your message isfelt. That's not supposed to stop you from continuing do what you do,you're still supposed to go forward with it. There is a scripturalsaying that many are called but few are chosen. So, your message isgoing to be heard by a lot of people, but it's only going to be a fewthat accept the message and take it in. Your job is to just deliver,whether it is a total stranger or somebody in my circle, my job is tospit what I spit, that's what comes from my heart, people can take ithowever they want.


P: You mention the scriptures and it isclear from your music that religion is a big part of your life. Was italways your intent to put that into your music or did it develop overtime?

K: I mean, I've always been rooted inspirituality, that's just how I was raised. I was raised in the Baptistchurch through my grandmother and my mother. God has always been thecenter of our family, so even in my deviation the remembrance of God isalways there. Even when I started coming across different knowledge anddifferent theologies like the Nation of Islam and religion of Islam,which is what I follow now, I felt the obligation to pass on and teachwhat you know. Once I came into that body of knowledge I was doublefired up to express it through my music because I felt that was one ofmy purposes in life to do anyways. So definitely, without a doubt, Itry to make sure that I inject spirituality in my music. I try to do itin a way that is not too preachy and will not make people rebel againstwhat I'm saying. I'm not throwing fire and brimstone at you that's toohard because anything I say in a rap I try to make sure I got ametaphorical mirror up when I'm writing. Anything I say I relate it tomy own self. When I speak on certain things I like people to know thatI'm talking to myself too.


P: A few years back Chamillionaire made noise by committing himself to not cursing on reacord, I've noticed that while you do curse on record, it is not as pervasive as it is in most rap records today. Is that intentional?

K: Well,when I first started rapping I didn't use any profanity in my raps whenI was young. I used to massacre people cleanly. When I got older, goinginto manhood, you start that type of language and sometimes you misuseit. If there is such a thing as using it properly, there is such athing as misusing it. Now I had to grow into the understanding of thedifference between cursing and content, because I'm more focused oncontent than on the fact of whether I'm cursing or not. Because I canuse a bunch of curse words and say something very positive, but I cannot curse at all and say something very negative. I can say "I pushedyour mama down the stairs, kicked her in the face, spit in her eye, andurinated in her mouth." You didn't hear one curse word, but the contentwas just terrible! I commend any artist that weed out the profanityfrom their music because you are supposed to do that. You are supposedto enhance your vocabulary to the point of not having to use thosewords because usually that's why people do it in the first place.People feel like "okay, I really have to express myself, I have to getthis F word into the song." You have to challenge yourself as anindividual to try to get your message across without having to use theword. Over time if you look at my music and look at "Stories from theBlack Book" there maybe one, maybe two, but I just know there is oneclean song on the entire album. Every song was cursing on it and somecursing didn't even belong there, it was unnecessary. So as timeprogressed I realized that I was more intelligent than that and Ioperate in circles where you use better language. I speak to kids. Iperform at churches, I perform at juvenile detention centers, I performfor older people and I have to be able to speak without hearing thatkind of language. So you grow out of it, I mean you still hear itsprinkled in some of my songs but if you study it you will see agradual decrease in the profanity from project to project. I commendanybody who does it and I think everybody should work towards itbecause I see a lot of younger rappers now where every other word is acurse word and that's not cool.


P: What about the N-word specifically? I have rarely heard you use it, what are your thoughts on the word?

K: Imean, I have used it, but I have never used in the kind of context thatit is normally used in or that that rap fans are accustomed to hearing.If I use it I use it in a way to let you know I'm not using it in thatway, if that makes any sense. It's a word we need to distance ourselvesfrom, because even though people like to say "well, n-i-g-g-a, that's astreet word, that's our word, we put our spin on it" it stilloriginates from n-i-g-g-e-r and we know that word is a negative word.That word is a word the enemy used to bring us down, to degrade us, andto insult us. It's an issue that's not agreeable to us. Now it hasbecome fashionable for everybody to say it, the Blacks say it,Hispanics say, whites even say it. The whites will come around you andsay "hey, what's up my nigga." I mean, that's what you hear and we haveto weed that out because we instilling that in our younger generation.They growing up feeling like it is no big deal. We have to go andresearch that word and research all of the negative effects it had onus as Black people and we have to take pride to not use it amongstourselves to make other people feel like they have a path. They aregonna use it behind closed doors anyway. A racist is gonna use itanyway, we gotta make that it gets back to how it used to be where youwouldn't dare say that in our presence. .


P: Is it ever achallenge to get that message across to your international fans who maynot understand all those cultural and social factors you just mentioned?

K:I mean nah, because for me it's about me being me and me being who Iam. The thing about those international fans is that they know me andthey are familiar with my work. Only the few that may not necessarilybe familiar with the whole body of my work, they may not understand,they may be just bandwagon cats who jump on because everybody else isgoing to the show. But the people who are truly familiar with my work,when I go overseas, when I've seen whole crowds of people reciting myword s lyric for lyric. You can't script that, you can't make that up.These people truly are familiar with my work, so they know what I'mabout. It would be foolish of me to represent one thing when I'm in thestates and I'm a safe place and in my own circle representing onething, and then to go around another set of people who may not beinvolved in what I'm involved in and then I change up because I'm inthat circle now. "Oh, well, you know I'm not actually in the Nation,I'm just kind of with the Nation." I can't do that. Whoever accepts methey accept me for who I am. If they have some understanding of whatI'm involved they will know for a fact that it's nothing but goodanyway. Sometimes people take different beliefs and differentphilosophies that on the surface may be controversial and they takethose things and run with it without even understanding orinterpretation of what it means. I don't have a problem with sittingdown anyone and explaining to about what I believe to the best of myabilities. So they will understand, if they have any sense in theirmind, they can say they understand it even if they don't agree with it.


P: Did it come as a surprise when you found out you had somany international fans? When did you become aware that you could sellout crowds in other countries?

K: I didn't become awarethat I could sell out crowds until I actually went over there andstarted selling out crowds! I became familiar with the internationalfan base way back to the early 1990s when I started releasing solostuff, but I still didn't know it was as big as it was. This was beforethe internet jumped off and gained the popularity that it has now. Thiswas before the time where every household had internet. We'd get a fanletter every now and then from Germany, every now and then fromAustralia, or Spain somebody would send a letter. Or you'd pick up amagazine and somebody had written an article in a magazine from Brazil.But that was just isolated incidents. You appreciate it, but you don'treally look at it like, "Okay, the whole country is really on us likethat." It wasn't until I actually went to Finland in 2005 that I got achance to see the full, full comprehension of it and experience itfirst hand. At that time I knew we had big fan base in Germany andAustralia because the internet was in full spring then, because I wouldcontact these people and had contact with these people. But even thenit was 15 or 20 different people or 20 or 30 different people. But togo over there and it is a packed building and they all came to see you,that let's you know just the reaction. You go over and feel like youare Michael Jackson in this country and that's when it hits you.


P:Going into your music, where do you come up with some of the conceptsfor your songs? Like in "The Debate" where you play the role of bothsides of a debate as well as the moderator, did that just come to you?

K: Well,sometimes concepts come, sometimes you get ideas off of experiences."The Debate" was based on one day I was on Youtube and I saw a debate.I saw a Christian minister debating an evolutionist and I watched alittle of the debate. I didn't watch much of the debate because it waskind of boring, but I started clicking on other videos of peoplearguing and I looked at both sides. I saw a video entitled "how todefeat Christian in a debate if you're an evolutionist" and another onewould say "how to defeat an evolutionist in a debate if you're aChristian." I would read the stuff and I was naturally familiar withthe creationist side of it because I grew up with that, but I wasn'tfamiliar with the evolutionist side of things. So I learned and I juststudied it and I thought, "you know what? That would be a real tightsong if I were to just to do that." Knowing me, I always wanted to dothings in way that no one else would do it or in a way that no one elsehad done. So I came up with the idea to do that and give a fair debatefor both sides. Even though I don't believe in evolution I still wantedto make that I spoke on it the best I could for their behalf. I didn'twant to come out just destroying the evolutionist because I believed inGod. I wanted to make sure that both sides were represented to the bestof my ability and hopefully I did.


P: I know SPC International has taken off in recent years and you've worked withWolftown Records in the UK and just released a collection of songscalled "Speed of Thought," tell us about that.

K: Wellit was a collaboration between myself and Late and Tricksta, theyreached out to me. They were fans and then they sent me some music andI became a fan of their music. And we decided to do a collaborationbecause they showed me love and they've been on a mission to promote meover there and get my name bigger over there. People know me but it'snot like here or places like Germany or Australia. So they've beenworking just tirelessly to blow my name up over there so we have areally good working relationship. We just dropped another projectcalled "Speed Of Thought" on the SPC UK label and we just trying topush this thing and hopefully go over there and do some shows.

 

K:"Speedof Thought" is a situation where I wanted to give them the opportunityto pick certain songs from my previous albums that they felt would goover in UK, because I wouldn't have good judgment of what type of musicis going to win over there. I just make my songs. They can tell mewhich songs would go over so I just let them pick the songs out on thefirst project. On the second one we kind of just came together andpicked them out and did a lot of new stuff on their production.Tricksta is their producer. I know any K-Rino that's got all my albumsis not going to want to purchase something they've already got, so wealways try to add 4 or 5 new tracks that will be exclusive to thatproject alone.


 

P: Looking at your entire career, does itever frustrate you to know you've been in the game for so longproducing quality music and yet you are not at the level of some ofyour east coast and west coast contemporaries?

K: Imean yeah, at times it has, I go through stages where I go to thatlevel of thinking. On the same token you have to put everything in itsproper perspective. The fact being number one, whatever is meant happenis gonna happen and no one gonna keep you from it. Also, you have tofactor in mistakes that you made in your own life and your own career.Things where I say "maybe I messed up." In my growth I also look at thepoint now where a person like me could never reach too high of apinnacle in this game anyway because of the belief system that I'munder and the things that I stand for and represent would be in directopposition to the powers that sit in those big seats. I couldn'tpossibly on the level that Jay-z is on as far as status wise andpopularity wise and record sales wise, because I'm a different type ofcat. I'm going to walk into the office and there is going to beproblems when they tell me I can't talk about problems in blackcommunity or can't mention Minister Farrakhan in my music. There'sgoing to be problems if I couldn't do that. So I look at that in theway that I will never reach that level because there is a ceiling on mebecause its only so far that they let you go when you try to be thatreal and when you really care about bringing people up. With that sideof it, it don't bother me at all. I just have to strive to reach asmany people as I can reach in the way that I do it. Latch on to peoplewho want to push that cause with me.


 

P: Speaking aboutyour message and the things you have going on, I know you have Justice Allah you are pushing as part of the Coalition, tell us about him:

K:Justice Allah was on the 144 Elite project and he just dropped a solo album, "Supreme Mathematics," on his own label. We're actually going tohave a big show out here in Houston and we are going to have a joint album release concert for my new and his new album on the 15th of nex tmonth. His album is on Elite World Records and he actually did the 144Elite album, they dropped that on Dope E's label, Akasha Records. He's trying to get his label off the ground. I dropped 3 projects on mylabel recently. I dropped B-1 – "Off Hook Part 2" and the Kuwait album"Face of God" and the Rapper K album which is under my label. We didn't release it in the stores though.


 

P: Along those same lines, are there any new members of the South Park Coalition or new projects you are working on?

K:Actually, we got so many people in the click that there's always goingto be people that nobody knows about. We have been on a campaign tobring in new members. We working on some internship type things we havegoing on, because certain people who may not have the experience, we'llbring them in on like an intern basis. We pretty much have to show themwhat we're all about and we have to show them what it takes to be downwith us and slowly walk them through it. We also have a couple of otherestablished individuals in groups that we are possibly bringing in nowthat have always been avid supporters of the SPC and we're going tobring them in. We've got Big Sniper and Re-up entertainment, they'vebeen some real close affiliates over the years and have always reppedus to the fullest. I actually met with them last night and did somerecording with them and I'm actually going to bring them into the SPCon an official basis. Also, with Late and Tricksta, the duo in the UK,I made them official members this year. We lifted the affiliate tag off of their title and made them official members. We got to grow,everybody is familiar with myself and the main members, we have to growso we have to bring in new people that will continue this thing on andbring in new styles. That's the only way in this game to stay relevant.


 

K:And we are looking for people! So anybody reading this, we looking forpeople but you've got to be real. You can't come in thinking this issome record label that you can sign to with some big contract, yougotta be down with the team. The SPC Showcase this summer wasdefinitely a big part of it. We have a couple of those groups that weare bringing in right now as far as the intern basis. The Showcase wentover well. One of our purposes was to scout groups from a talentperspective first and then meet with them and see where their headswere at and if they would be ready and able to come in and be a part ofthe clique.


P: I know you have your new solo album"Solitary Confinement" coming out this Tuesday, October 27th, is thereanything else coming from the SPC anytime soon?

K: LikeI said, Justice Allah is available now. Murder One just did a projectwith Wolf Town records in the UK and it's available now. Also, MurderOne solo is getting ready to drop. The Rapper K solo is about 2 songsaway from getting done. I was working on that last night. Ganksta Nipjust finished his new project and it's ridiculous! Everybody is stillactive and still doing a lot of work. It's just a situation where yougotta make sure all of our supporters and fans know where locate us.You can always find us at the website southparkcoalition.webs.com,and at any of our MySpaces. If you google my name the first thingyou'll see is my Myspace page. So there's no excuse to not be able tokeep close tabs on us and what we're doing

.

P: Will all those projects be available on the web site?

K: Alot of them will. We got some guys in the clique who like to sell theirown product from their own base and that's totally fine with us. Butanything we can sell in the store will be available and you can orderfrom the site. And if there's something anything that you know that isout and is not available from any of the SPC members, you can inquireand we'll point you in the right direction and provide you theopportunity to order it from any entity you can order it from.


P: On the website you have the forums where people can talk to other SPC fans as well as with you and other artists right?

K:Oh yeah, we're totally accessible. We're not in the stratosphere wherepeople can't reach out and talk to us and ask us questions personally.That's what the forum was really set up for. It was set up for faninteractions among themselves where they can discuss SPC relatedthings. It is equally important for them to be able to talk directly tous and ask us questions and have us answer it directly. If there issomebody who may not be on the net or get online and you want to knowsomething about them, either me or a couple other cats can alwaysanswer a Point Blank question or a Klondike Kat question. That's whatit is for, the myspace and the web site. There aren't many artistswhere you can actually get on the website and talk to them directly. IfI don't get with you right that second, I will get with you.


P: Finally, is there anything you want to say to the fans?

K:Yeah, all I can say is first of all praise to Allah for the strengthand everything else he provides. I appreciate you for interviewing yourboy, it's all good, it's all love. True fans, make sure you purchasethe album. I had the 1000 list which was project I started where Iwanted to get the email addresses of 1000 people who were truly goingto support the album and purchase the album. I got a lot of goodresponses from that so I'm just encouraging anybody may not have knownabout that and wants the album to just hit me up or go to the site andorder the album. You know, don't burn it, don't download it, order thealbum. I can put a guarantee on it that it's worth your purchase andyou're not going to feel like you wasted your money.

 


Government Names K-Rino Interview

Posted by SOUTH PARK COALITION on October 24, 2009 at 12:37 AM Comments comments (0)



THE GOVERNMENT NAMES K-RINO INTERVIEW

http://governmentnames.blogspot.com/2004/10/government-names-k-rino-interview-dude.html

Posted on Goverment Names on October 24, 2004 By Dylan


the dude that first put it down for houston, recruited all the realest fromhis neighborhood and figured out how to put out records without a majorlabel. he's messed with all the major figures, screw, klondike kat,z-ro, geto boys (look closely and you might see him in their newvideo), ganksta nip (the south park psycho!), j prince, point blank,and a hundred other rappers and producers from the south. you can heark-rino in chamillionaire's wordy punchlines and z-ro's sad raps to jesus christ.


 

he spit his first verse on record almost twentyyears ago and he's still putting shit out. check for that hitt list,new album, just dropped, and that family bizness, the s.p.c. clickalbum. hit up the website and put in your order.

 

 


GN: so what were you listening to before you heard rap for the first time?

 

KR:before that i was like any other kid, jammin' michael jackson andwhatever else my mother had in the house or on the radio at the time,mainly funk and r&b, 'cause I was raised in the 70s.

 


GN: what was the first rap track you ever heard?

 

KR:the first rap track i ever heard, i think, was either rappers delightby the sugar hill gang or maybe a kurtis blow song, i cant remember.

 


GN: do you remember the first rhyme you ever wrote?

 

KR:i remember writing for the first time but the actual rhyme, i can onlyremember parts of it, and most of those parts were lines that i bitfrom melle mel-- this was, like, in 1983.

 


GN: when did you meet dj screw for the first time?

 

KR:i met screw in high school, around '85, '86. i was in a corner in ahallway rappin and after i finished he walked up to me and gave meprops and introduced himself as dj screw. and that was interesting,that people dont know that's always been his name, long before heinvented the style of music that he's known for today. he was cool fromthe beginning and never changed even after he blew up.

 


GN: what did you think about slowed music the first time you heard it?

 

KR:when i first heard it, i thought of the days when you used to play withthe record player and slow the tempo down and speed it up. but then inoticed that he was actually doing a mix and that it was method to themadness. all of sudden everybody was bumpin it and it caught on.

 


GN: do you still bump screw?

 

KR:i never really bumped screw. i was always a dude who liked the regular version of a song but i always respected what he did, and i still do.

 


GN: did you ever sip lean?

 

KR:nah, i don't do any drugs. i don't drink or smoke, never have. iunderstand the people that do and why some do it but its not for me,and i hope that those who do it will one day stop and realize theeffect that drugs are having on them, physically and mentally-- evenweed. we only get one life and one temple, feel me? and when you'reyoung, we sometimes do things that seemingly dont have an effect on usbut as you get older it catches up to you. i have my vices just likeanyone else but drugs aint one of em-- not knockin you if you do,though.

 


GN: what did you think when z-ro got busted for codeine last year?

 

KR:i have no knowledge on the situation, so i dont have an opinion. evenif i knew the whole story i wouldnt have a comment because, number one,it's not my place or anybody else's to speak on or spread another man'sbusiness or to judge him in any way; number two, we keep familybusiness in the house, only sissys and punks gossip. i dont trustmedia, whether it be commercial media or what i like to call "ghettomedia," where fools on the street take things that they see or hear andrun around shootin off at the mouth about it. i dont know if it's true,and if it is, it still aint none of my business. all i do isbase my assessment of people on how cool we are with one another and idefend my homies from that kind of talk and slander, true or not. it'stwo sides to every story, sometimes three, so don't condemn a man untilhe speaks his piece. even then, dont do it, cause it could be you tomorrow.

 


GN: are you planning on doing more records with him?

 

KR:that's always a possiblity. z-ro is very busy and he's handlin hisbusiness on a daily basis, but its always love when we cross paths andwe always talk about doing more work together. i got love for that dudebecause despite all that he's been through, he always mentions me inhis interviews and gives me props and a lot of people dont do that. so,i'm down with him and trae for whatever they need.

 


GN: what other rappers in houston would you want to work with?

 

KR:i dont have any one particular rapper that stands out in my mind. i'mthe type of dude that i'll get down with anybody if you're real. i dontdeal with fakes and frauds but if you come to me right, we can work. irespect all the rappers in houston, known or unknown, although i amlookin for the next young cat to blow up out of h-town.

 


GN: everyone is getting a deal right now, cham, the whole swishahouse click, slim thug...

 

KR:i love that. i'm happy for all those young brothas. they worked forwhat they got, nothing was handed to them. the beauty of it all is thatthey didn't have to go to college for five or ten years or take somecourse or sell out to get it, this came straight up out the hood andthat's what's great about hip-hop. we defy the odds and the so-calledstandards of how to be successful in america. i hope they all do verywell. the names you mentioned are northside artists, i'm glad thenorthside is gettin their props and showing that they got talent andskill because the southside held it down for so many years but now thenorth is reppin h-town and keepin the legacy strong.

 


GN:can you speak on the situation with face going at lil flip, saying hewasn't real with how he was holding down his neighborhood and shit likethat? some people are saying it was a bad move and he should have goneat him on a record if there was beef.

 

KR: tothe people saying that he should have gone at him on a record, my question is, what's the difference? also, a man is entitled to his opinion. i don't know what flip does, or has or hasn't done, because idont personally know flip, so it ain't my place to say what's what. asfar as face goes, knowin how real face is, if he made acomment, then thats how he felt and whatever setting he did it in wasthe setting he was in at the time. face ain't the type of dude who'sgonna waste time writing raps about people. from my view point, it seems like people keep asking him what he thinks about flip and he'sjust responding to what was asked. and i ain't personally read or seenwhere he said that, so i cant go all in like that. i'll just say what ialways say, i hope that whatever the case is, it has a peacefulresolution.

 


GN: what do you think when youhear new york cats talking down on the south, like nas on 106&parktalking about "coonage" on the part of southern rappers?

 

KR:if he's speaking on southern personalities and people in general, theni would have a problem with it. but if he speakin on lyrical skills, iagree to an extent. but if he's sayin we ain't got no skills on a whole,then i got a problem with that because it's so many dudes out here thatcan rip with the best of em. it's a lot of tight rappers in the south,so respect is due. but once again i havent heard the comments.

 


GN: do you ever bump nas?

 

KR: a little-- very little. i loved ether.

 


GN: are you feeling any other new york rappers?

 

KR: i only jam old school new york rappers, krs, public enemy, t-la-rock, big daddy kane, rakim.

 


GN: did your experience with the nation of islam change the shit you were writing about?

 

KR:yeah, it woke me up. i was always a conscious rapper but the nationgave me base to stand my words on and a belief system to funnel mylyrics through. it woke me up and expanded my knowledge, allowing me tofeed others who need it through my music.

 


GN: when did you first get down with them?

 

KR: i got down with the nation in like '92.

 


GN: are you going to be voting in november?

 

KR:i wont be voting in the presidential election because until one of thecandidates speaks on an agenda that will benefit black people andaddress our condition here in america, then i ain't tryin to hear whateither one of em have to say. they're both fraud to me. voting for themwould be like choosing between satan and the devil.


GN: aight. what was the last song you danced to?

 

KR:i dont dance at all. the last dance i think i did was back in like '84at a house party, when i was 14. it was a slow drag. i only dancedbecausei felt like i had a chance to grab some booty. haha.


GN: describe the last car you drove.

 

KR: i've never owned a car, believe it or not. the last car i drove probably was my old man's truck.


 

GN: you just dropped the hitt list, right? who's on that?

 

KR:i got the whole s.p.c. on it except for klondike kat, who was on lockthe majority of the time span in which i was recording the album. hegot out in time to get on the radio version of one the songs but itain't on the actual cd. also i got z-ro and bam and others on theretoo. if yall reading this and dont have the hitt list album yet, go tothe store and get it or order it from me. i'll cut you a deal.


 

GN: last question. what else is coming out from s.p.c.?

 

KR:point blank and klondike kat got an album together. blank has two orthree projects about to drop. and ganksta nip is in the process ofputtin together a new cd. i got a new album already finished calledfear no evil, coming next year, GOD willing. other than that, we justbeen try to push the current product that we have out. yall be lookinfor all that, peace, GOD bless. 



 



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