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ChiLove, IlliNoize FebLoveary 2005 V03.02 \\ FREE

photo by bboyb

100 /0 JUICE 0

Chicago’s natural conglomerate brand Juice is made from fresh beats and Rhymes NOT from concentrate


fact // inform// recognize // review declare // utterance // analysis opinion // truth


and we don't stop... by JS Lee


We’ve all heard it before. “Hip hop is the reinvention of numerous cultures and genres of music.” This well-known truth was the topic of conversation at the Chicago Cultural Center’s panel discussion and performance “and we don’t stop… jazz to hip hop.” A panel of respected members in the jazz and hip hop communities refreshingly presented the parallels between the two. Panelists included jazz vocalists Dee Alexander and Maggie Brown, Capital D, b-boys Chris Courtney and Brandon Breaux, graffiti artist Rahmaan Statik and music critic for The Reader, Peter Margasak. Moderator David Boykin led the artists through a range of subjects including how a jazz drum solo from Thelonious Monk’s piece “Light Blue” was used by Gangstarr to devastating effect in “Speak Ya Clout.” The pairing proved to be a move that helped hip hop advance and revive its sound. Other topics such as the similarities between scatting and freestyling, the concept of selling out, and the fact that parents and kids rarely agree on what music to listen to, were the focus of the lively talk. < continue pg 6 —> shameless plug:

Lyric District

Souliliquies (2004, Stepping off an El train, an armpit tucks a worn notebook, a shoulder acquires a wax sack, and a SLAP is heard as the LD image is adhesively backhanded onto the departing train. Lyric District might be slick with the ghetto marketing, but for the most part they’ve kept to wordof-mouth publicity and their honest networking skills to keep the District within ears’ reach. With a FREE EP, a distinct sound and a respectable affiliation set, Ban Alpha, Mr. Rha.gers and Kenny Keys are countering the stereotypes that we in our own U.G. culture have created out of repetition and blatant assumptions. The idea that anything FREE can be really worth anything is the biggest hurdle the LD three have hopped since the extremely recent Souliliquies release. Not only is this freebie one very welcome summer jam (as this year’s winter is especially in need), it won’t leave my car CD visor. Between all the new releases that I purchased this past week, Souliliquies is perhaps the most digable, honest and repeatable, and it didn’t cost shit. With noticeable nods to the crews and artists behind the glass and outside the studio that continually influence them, LD’s ability to keep


Lab-O Records

Available at:

When I purchase a new Lab-O CD, I usually find the track name that is the most ridiculous and listen to that one first just to get my giggles out, and then start from the beginning to scope the whole ting-ting. BUT HOLY SHIT, the only possible farce track on the whole collection is entitled “Acoustic Jazz Cupcake;” but even that doesn’t sound very Lab-O-ish, in fact it sounds pretty damn schweet. So what’s the deal here, people? No “Pocket Pool Tourney at Youth Group,” or “Cattle Prods Make Great Sex Toys,” or “Let Me Stick My Finger Where I Know It’ll Smell Funky,” or “Shit, I Lost Your Diaphragm Playing Poker”??? You guys with the skinny waists and wrists are slippin’...

UPRISE 773.342-7763 1820 N. Milwuakee, Chicago Street Lingo 773.281-7273 4619 N. Broadway, Chicago

CHICAGO FLY PAPER VOLUME 3 ISSUE 2, Got Juice Issue publisher/editor/designer >BboyB whitey tha snowman > Tha Don wordsmith-n-wesson >LoLow staff writers > Joel Frieders, BabylOn, contributorz > ToliRock, (grafhead), JS Lee, Lolow (Paris Photography), Gia sales >Fly Paper is STILL looking for advertising sales people. HELP! people, graphic designers and photographers northside distributor >Breaker Rey southside distributor>FrekOne street team >Brave Monk, Officer Ryan, Pez1, Asad contact > send all your FLY stuff to > CHICAGO FLY PAPER PO Box 47441, LoganSquare Chicago, IL 60647 Thanks for the letters, drawings and ideas, keep them coming. Happy B-Day LoLow & Silver Room Eric, two people that the FLY PAPER can't live without.

the traditional fresh and the obscure even fresher will convince many more to scoop the free ish and keep an eye out for some future LD ish. A dash of J5 with a couple wanks of Common’s live, each emcee encapsulating the lyrical drawl of a lazy afternoon puffin’ B’s, this CD will not leave one needy. While chill and steady through each of the six original beats and two commersh-promo tracks - each song holds its own potential for crowd participation, and your car is the perfect venue. Instead of listing fave tracks, peep the track listing of my favorite EP of 2005, thus far: 1. The Program 2. El Dee Professional 3. Girl Song 4. Everyday 5. On the Up! 6. No Need/Discombobulated (7. El Dee Vocation 8. Done Proper!) Course Meal” leading an impressive solo barrage of interesting and quite listenable mish-mash. Elphamail will confuse you, MM&Rhyme will do the same but different, Apoc tries some philosophical preachy shit then laughs it off ‘cause he just likes the way his tongue hits his teeth when he says ‘sassafras’, Verbal sounds as tight as last year’s jeans on this year’s ass, Anacron made me spit coffee onto my steering wheel (peep track 17), and it’s a solid listen at 22 tracks long.

The Zooey Files (2004, Lab-O)

Lab-Oratory Records, the only Chiindy set to actually decide if an artist can associate with them by the amount of ribs showing (Apoc excluded, fatty), sketched a pretty fair resume of its fellow seamen on board this battleshit. Consistent production from Earmint (or Earmind if you read is spat on from the likes of Anacron, Apoc, Brendan B, the EL, Elphamail, Definite, Iomos Marad, MeMyself&Rhyme, Rel, Undecided,

Dynamic Vibrations The New & The Used (2004, Dynamic Vibrations)

Do you know who Wes Restless is? Damn, where the hell have y’all been if you don’t know who Wes be? If I may, I’d like to rehash my first introduction to the vibe that is Dynamic Vibrations. It’s the eve of Thanksgiving. 2:45am. Impatiently waiting for Juice to kill it with the crowd at the Metro. Broke as hell. Standing with two vatos, watching other people drink while I chew gum. I’m not bored, just ready to see my boy rip shit up as always. A chant starts: DYNAMIC! VIBRATIONS! Madadam hits the decks, as the emcees emerge from behind the curtain. Two out of the vocal trio, Mecanix and Wondur, start bringing the crowd alive. Then out of nowhere I hear this voice. This perfectly relaxed and sweet set of pipes pumps through the speakers, and I look to the

and let’s not forget the venerable remote control car enthusiast, Verbal. Two cuts give more than ample room for the shit DJ Once-A-Month be twiddlin’, and it’s hard not to want more wicky, but the manner in which this entire compilation is laid out gives the label (and its subsidiaries) an actual college graduate’s chance in a Wal-Mart interview. And that’s a good thing. One specific pair of tracks that kind of caught me off-guard were instrumentals from Minka Red, as going from complete “which words sound cool” foolishness to an extremely melancholy corner of some random producer’s dome was a shock; but once he steps in the rest of the project doesn’t seem so obnoxious after all. The group tracks hold the most cellulite, with “Pass It On” and “4 man behind the turntables, thinking it’s a sampled hook from heaven. A swat on the arm and finger point from my partner next to me surprises me, as he was thinking the same thing but noticed the big guy stage right bellowing that shit live. I was floored. Where the fuck has this guy been? His spit style is clear, correctly attached to each cadence, syncopated with each thump on every individual track - it’s the emcee I’ll pay attention to even if there’s a brawl going on around me. And OH SHIT, the BOY CAN SING! Not to take away from the fellow members of the DV; but shit, I bet each cat involved had a similar awakening just with different pretenses. Not only is his presence unexpected, it’s a welcome escape from the usual run of the ill ‘3 emcees and a super DJ.’ Constant heavy beaters from Lx Beats, Alo, J-Bless, Prototype, NoRequest, and Reno bring the entire group forward as

So, if used correctly in your vehicle for errand usage, this CD might not leave the player for a few days, basically because such a large number of artists contributed and the mood is, overall, pretty positive. Oh yeah, and it’s completely original, too. With the title and packaging reflecting some odd sort of missive to an actress on the up (FYI: Zooey is the older sister of the main character in Almost Famous), the guys from LabO are gradually proving that their music is what it is: honest, original, giggle-inspiring and fist pumping at times. Most importantly, they use the only quality that one cannot learn: they don’t take themselves too seriously. This may be why they don’t mind seeming creepy by naming this project after some broad. individuals from behind the voice that is Wes and allow each room enough to prove their skills worthy to share the same “hot spot” ear candy. Yet, it’s the cohesion, mixed with a small sense that everything is off the cuff that makes The New & The Used such a treat. With a running time that inches closer to an LP and an EP combined, it’s clear DV has acknowledged their fans and skeptics by tossing some live tracks on there, proving it can, does, and will remain a live art form at its most basic. The influences that each member brings to the tables are spread wide, as a Kool Keith intro, a definite hankering for the Josh Martinez flow, and an original take on the necessity of repping your city shows that the Vibrations are quite versed in the variables that make each track a brand new composition, a shoutout to heat from years past and a notable anthem for future heads to bump. Peep: Blood, Whirlwind, What R U In It 4?, Eruption among others

check this out :: :: :: :: :: :: :: :: ::


Got Juice? by Nick Clar “Babyl ON”

Some people just aren’t satisfied with what they have. It’s the desire. It’s the passion. It’s knowing that some are taking a piece of the pie when you know you should be helping yourself to a serving or two. And even though some are being served when they have no right being hungry, others are willing to take theirs without a waiter – and they deserve every crumb. Regardless of countless accolades; destroying one of the most successful and hottest rappers out now, a near-flawless battle record, several classic, underground Hip hop tracks and being touted as one of the best freestylers EVER, his Hip hop career remains incomplete. Although the majority of rappers past, present or future won’t ever build a resume like his, he’s still hungry. And Chicago has his back; where ever he ends up and with whatever he releases. He’s a legend. He’s Juice. Striving to add another notch onto his illustrious belt, Juice released his latest album, All Bets Off, the first with his label, The Conglomerate, in January. Straying away from what many regard as typical Juice material, he attests that this is his first real release. “I’ve got good songs out, but not a good album,” Juice says. “I think this is actually a collection of good songs that have a synergy to create a good album.” What began as a fusion of different companies that included John Williamson, formerly of Frontline Entertainment and now V.P. of operations, C.A.L.I., or Conglomerate Associated Labels Inc., formed The Conglomerate Music Corp., a label hoping to release their own brand of good music. Despite being a fledgling project with no real, official artistic squad besides DJ Emmaculate, the executive producer of Juice’s All Bets Off, and Juice himself, Juice remains adamant that with the hopeful success of his most recent release, noise will be stirred in the music industry. So eventually those affiliated with The Conglomerate, including his 10 year-old nephew, Unique, will have their opportunity to shine. “We’re going to be a very large, highly diversified corporation,” Juice explains. “We’re a company inclusive of smaller companies, all working together for a common goal, even if it’s an evil company that takes over smaller ones, like Verizon.” Although attracting a major distributor for The Conglomerate is an attractive and ideal goal, Juice also hopes to reach a broader audience that he was denied because of how people perceived him during his claim to fame. But don’t begin to think that Juice is selling out with this and any upcoming release, rather this is him reverting to his real self – or at least uncovering a part that most outside of his innercircle are unfamiliar with. “There are other elements that were missing in the complete Juice diagram,” he says. “A lot of hood cats know my name, but don’t know my music. They don’t really know why I have a name; they just know that I’m Juice. So I’m just trying to show the audience that there’s a reason I’m me.” All Bets Off includes several other producers besides DJ Emmaculate, including Kaz1, the Lab Technicians and No ID. Helping Juice bless his album lyrically over the No ID track is another Chicago great, Profound. However, Juice worshippers and Hip hop purists may need to heed the warning before listening because this isn’t the Juice that you have followed in the past. If all things evolve, then this appears to be the next level of Juice; like it or leave it. It’s hard to please everyone and especially in the city donned “haterville.” One man’s trash is another man’s treasure, and nothing seems to sum up All Bets Off more appropriately. With production heavily resting on DJ Emmaculate’s shoulders, there is undoubtedly a different feel than what we have become accustomed to from the previous Molemen-laden Juice tracks. However, Juice’s lyrical sharpness has not been dulled by the change of beat selection. His tracks, which once were underground bangers that made you want to take a shower afterwards, have become speaker-thumping bangers, to be listened to at high volumes. Even if you feel the current selection of beats don’t suite Juice well for the most part, there still are several hot beats that shouldn’t be argued about, including No ID’s “Weekend Girl,” Emmaculate’s “Black” and Kaz1’s “Thanks for Having Me.” Another critique involving this release that exists is the lyrical content. A major criticism of Juice has always been his inability to write a good song consistently. And despite previously released, underground classics such as “Sincerely” and “Freestyle or Written,” among others, All Bets Off deals with something that Juice has never tackled before; money, hustling and women. This now runs the risk of alienating older fans. So even though the content of his recently released tracks are nothing innovative or creative, they are still handled with a confidence and strength that only Juice can manage. Some of these tracks include “Weekend Girl,” which features Profound, Chicago anthem and banger, “What Up,” racially powerful, “Black” and the track reverting to his roots by telling us once again why he’s one of the illest, “I Rap Like.” A common saying surrounding this release has been that opinions are like assholes, everyone’s got them. And although this release will not be to the liking of everyone, it will definitely garner a new audience for Juice. “I’m a different cat and a lot of people don’t know how I came up,” Juice says. “A lot of that (street) stuff; I really didn’t have the audience for it. You know the Metro really doesn’t care who died. They want you to freestyle and rock that mic.” Regardless of if All Bets Off satisfies Hip hop palates, Juice has another release waiting to be dished out, Winner Takes All. Without looking into the future at the main course past his recently severed hors devoirs, Juice is optimistic that the release out now will have a significant shelf life. “My role in this is, if you look at Roc-a-Fella and the way they are arranged, J-Dub (instrumental in the formation of The Conglomerate and also formerly of Frontline Entertainment) would be like Damon Dash, I would be like Jay-Z and this album would be our Reasonable Doubt,” Juice maintains. “As years go by and projects start coming out, people will see why I chose that (The Conglomerate) name for the company. We’re about to swallow up a lot of smaller labels.”

photo by bboyb

Yo, Fly Paper wants to thank all the advertisers that have supported financially. The Fly Paper would not be possible without your contribution. Good lookin' out.



graffiti // boming // tagging // scrawling // writing // piecing // art Officially, the FLY PAPER does not condone painting without permission.

This set of art was photographed by Lolow in Paris, France. I'm told that every truck in Paris is just bombed, and there is graf every where. Lolo is a photographer from France, and lives in Chicago. Lolo also helps the FLY PAPER with correcting editorial content, means my brokEnglish is corrected to some extent. Lolo also fuels the myth that Paris or Europe in general has more graf than the U.S. and that Hiphop in general has a larger role in society over seas. Graffiti is more widely accepted and that there are real graffiti shops out there, and companies like Montana (both of them,) not only support but encourage the act of writing. Yea the grass is looking greener there. easy,â&#x20AC;&#x201D;BboyB

5This group of photos are from LoLow.


This month FlyGrafFlix features graff from everywhere. The first set of art was photographed by Lolo in Paris, France. The rest of the photos are cats hitting up my emial addy. good lookin' out to all easy. Remember the Chicago writers bench opens this spring. (email flix to, with name/title/local/ etc... as name of the pic)



art // graffiti // drawing // tagging // sketching // writing // perfecting // piecing // painting // learning

Sketchbook contest The first 3 are the winners of the BrickHead party contest. They started with a blank page and given a few hours during the jam to convert into masterpieces. There were tons of entries and lots of prizes.

2nd place: Zeb/XTC

1st place: Melk/KWT

3rd place: Sketch

and we don‘t stop… by JS Lee <— Continued from pg 2 >

jazz to hip hop at the Cultural Center For Statik, the purpose of the discussion was to enlighten “those few that thought they knew hip hop from what they saw on TV and other media. I wanted to show them what else was out there, bring people out of the dark.” At one point, the b-boys explained their art to the uniformed saying that breakdancing is the act of using one’s body as an instrument, an expression of words and sentences through movement. Each move, or word, contributes to a larger meaning, and most often that meaning is “I’m better than you.” And isn’t that hip hop? The idea that I can do better so watch me, hear me? As cocky and self-assured as that is, isn’t that what makes us move forward as a culture? The title of the discussion was “and we don’t stop.” We don’t stop moving, we don’t stop showing each other up. Jazz, Funk, Disco are in our blood, and we pay homage to them with genuine gratitude, but we’re also progressive. We move forward to paint better, write stronger, and break faster. Innovation is our modus operandi. Take any subculture and you’ll find the dominant culture from which it derives. Yet at a certain point, the subculture achieves its own identity. Never forget the past, but there will be the day when hip hop is discussed in its own terms; a day when we can simply say, hip hop is.

I spoke to Capital D after the discussion about not only the past and evolution of hip hop, as described by the panel, but to get his thoughts on the future as well. Capital D’s vision of hip hop is one that revolves around solid foundations and the individual. For example, according to him, hip hop is only strong as a culture when it “forces people to think, forces people to evolve and change, forces people to connect with people that are different from themselves.” Capital D practices what he preaches. Some of his favorite writers are Franz Kafka, Ralph Ellison, James Baldwin, Ayi Kwei Armah (Ghana), and Ngugi Wa Thiong’o (Kenya). Music-wise, his current favorite is Coldplay, and he grew up listening to the Smashing Pumpkins, New Order, and The Smiths. As a member of the group All Natural, one might wonder how an all natural hip hop producer and emcee could have such diverse musical and literary tastes. This harkens back to the purpose of the panel discussion and the idea that hip hop is the result of various musical and cultural styles. For Capital D, hip hop “purity” and being all natural is at its best the attempt to “do hip hop in the way that it was done. And I don’t mean trying to bite the ‘old style,’ but being true to hip hop through evolving…evolving is part of being

a purist. Some people think that being a purist means that you only do what was done inside of the ‘80s, that you only do a 1-2 style, that you only wear certain types of clothes. To me that’s nonsense. Hip hop even then was about change.” So how is hip hop changing right now? “In the ‘80s it was new to do jazz, people had done the disco and funk. Then around Wu-Tang’s time, a lot of it was classical music and sampling strings and orchestras. People have rifled through so many different crates of records that they have pretty much run the gamut.” The new style “is playing music. Live bands, and even producers who are able to do something with those live bands. People who are trained musicians making beats, those are the beats that I like.” Thinking about Capital D’s words, I was struck by a memory. Have you ever watched an SNL episode just because a performer you like was featured, only to encounter massive disappointment as the live version completely sucked? The guitars sounded strange, even the drumming made the song sound lame. Another example of this occurred to me while listening to Raphael Saadiq’s “Get Involved” as performed at the House of Blues. It sounded awful with the live strings and strange keyboard accompaniment that served as substitutes for the studio production. If Capital D is right, and the new direction of hip hop is live instrumentation and production featuring less sampling and more direct musi-

cianship, how great would it be to forego that feeling of being let down? To have producers and hip hop artists with musical training on both sides of the glass? And in that same vein, emcees who read prolifically? Graffiti artists who have a strong sense of Caravaggio’s chiaroscuro along with a devotion to Twist’s style? This is the foundation of hip hop’s ongoing evolution: knowledge. It sounds cheesy, and when David Boykin said, “knowledge is the fifth element” I cringed and tried to hide. But it’s the truth. Knowledge doesn’t necessarily mean textbooks and school lectures. It’s more a mental openness and the willingness to learn. Ultimately, the “jazz to hip hop” discussion conveyed the paradoxical nature of hip hop. We need knowledge and to learn. And we need places like the Cultural Center to teach us, but that’s not where we belong. Hip hop takes different aspects from myriad sources of music and culture and owns it in a new way. It is simultaneously past, present, and future. Sitting in that conference room at the “Jazz to Hip Hop” discussion with the stark white walls and glass doors, I felt uneasy. Hip hop isn’t for museums just yet. In fact, I don’t think it can ever be sterilized and encased for static display. There’s too much movement, and the momentum isn’t letting up. We may never be institutionalized, and that’s not a bad thing.



BrickHedz Break Invitational Session BY Gia

It’s Saturday night in January, the 15th day to be exact, and it is bitter’ cold out there. Somewhere in Uptown on the North side of the city of Chi, a platoon of about 8 crews get ready to battle it out. The dance floor is decked out in plywood from Finland, the judges and spectators crowd around the blue tape of the so-called circle, which is actually a rectangle. Theater lights beam down from above, ‘90’s underground classics kick off the session as the Bboys get ready to rock the spot. “The spot” is a place called Alternatives, 4730 on North Sheridan where the Uptown kids gather for the arts and afterschool Bboy jam sessions. A great resource for the community and a pioneering place in the art of breakdance for the youth in the inner city. The emcee for the evening comes straight to us from LA in our beloved state of Cali, Anacron, much love for hypin’ the crowd and keepin’ it peace. The judges, Konee, Check-Itof Chicago Tribe and Popcorn of the BrickHedz represented our beloved city of Chi. They schooled those kids with their “grades” on a scale of 10. Thirty-eight competitors are in the line-up for the night. The set starts off a little laid back. Two circles, a dj, and of course the emcee. Sek1, E-Double, Hayce and Shaun Roka loaded up the decks with some classic funk tracks and new jiggy kind of shight. Wow, the expression of sound pressed on a medium like vinyl and crossing dimensions through time…much love djs.

The crowd was graced with some rhythmic up and down rocks from kids like Question, Adverse, and Yicky during the first quarter of the battle. Did I mention the freezes? Yeah, I saw you Tick Tock. Fact rocked out with a 90 that got headz hype. Air chairs, elbow and air flairs were favorites amongst the crowd. The cameras could barely keep up with you guys. I guess you just gotta flash to the rhythm. The second quarter was saved for the shorties ages 14 and under. Wreck-It (age 8) and Sony (age 12) rocked out for their crew, Chicago Tribe, and had a battle session against Lil’ Juan (age 14) and Big “L” (age 12) of M63 crew from Milwaukee, Wisconsin. The session ended with the Milwaukee kids going home with gear from UPRISE and a cash prize of an unknown amount. The battle may not end there for these young ones. Their future is vast and there are many more sets to wreck along the way. In the third, a call-out session was called into action. Ike from TNA crew kicked off the set against Jacob, Sin followed through with that ”I’m a better Bboy than you” attitude as his opponent, Elusive, rocked out to Jimi. Gabe Star showed a lot of love out there as he gets a call out from Darko. Ace ended the set with Evil Clone while the judges decide who will be the four that advance to the final round. We’re now in the fourth, Darko kicks off the set with a move that says “watch me” as he shows Colorado’s Elusive what it’s all about. Evil Clone was punkin’ out and showin’ respect to Jacob. It was a sweet one ‘til the very end. The final round of the battle was a one on one set. Twins Evil Clone and Darko were pitted against one another. It was all brotherly love with hugs in the beginning until Darko pulled a one handed fist-spin

90 that got shrieks from the audience and a rank of 1 out of 38 for the night. Look out for moves like that one in the 0-5. The winner gets a free entrance to a Battle Anywear event. Darko, it’s one on one with you and Waka for the next one. Chi-town’s finest came through to show their love…from the veterans of the break battle to those who aspire to be part of the crew. Sting, shorty keep dancin’ and never stop. Phase2 I saw you, TNA, Motion Disorderz and Chicago Tribe represented. It’s always good to see Ground Syndrome bringin’ it back to that time when New York cats used to break out with that 80’s punk style. It was strictly skill, no crews jumpin’ in to show off or defend which was a significant move for the Hip Hop Break Battle industry. Congratulations to the BrickHedz for such a successful event. Waka what’s next? Frisco maybe? Sketchbook battle session…no I didn’t forget. There’s no hatin’ when Zeb from XTC places in 3rd with a colorful reddishorangeish 3-d interlace. 2nd was taken by Sketch with a nice interlace of lettering with ramps that wrap in and out of one another and pop out from a 2-d surface. 1st was snatched up by Melk of KWT with a style that was just wild. Will Montana paints suffice, guys? Maybe some cash, UPRISE gear and some original Chicago shight from the Factorious Rocker? For those of us 200-250 headz that showed up in the bitter Chicago winter cold, just know that that’s love. Colorado cats, Toronto, St. Louis…Airsik, you’d better come back, Milwaukee and Indiana kidz, it’s not over…. another time another place, same city. Peace y’all,

Wreck-It and Sony rock a creative towering routine to rep Chicago Tribe.

Flypaper Feb 2005  

Flypaper Feb 2005

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