“Kleptomaniac, my rhyme is psycho /
A Ricky Ricardo / a Guy Lombardo /
Sporting a rag top, an El Dorado”– Poppa Large – Kool Keith
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Last week, I was surprised to learn that Kool Keith was on the calendar to perform at the U Street Music Hall in Washington, D.C. I quickly gathered supplies for a new portrait, and tried to carve out some time to work on it.
‘Kool’ Keith Thornton is the enigmatic frontman from the Bronx-based Ultramagnetic MCs. He has more A.K.A.s than ‘Picasso got paint‘: Dr. Octagon, Dr. Dooom, Black Elvis, Dr. Ultra, Crazy Lou, and Poppa Large,to name a few. Since the 1990s, he’s released several solo efforts, and continues to tour around. An incredible rhymer and odd-ball lyricist, Keith has churned out an admirable catalog of strange, yet addictive, tracks. I was excited to see him perform.
In order to get the new drawing done, I locked myself in the studio all day Saturday. The show would take place on Sunday night. I was determined to have something ready by the time he took the stage.
Before I headed to DC, I remembered to grab the Madina Design Golden Era poster. Keith is in the bottom row, sporting his Black Elvis ‘helmet of hair’:
Kool Keith signed the Madina Design Golden Era stamp poster – “Black Elvis” (at the top)
I got to U Street around 5:00, and walked to see the Big Paul Robeson mural that we put up last year. Visiting the mural has become a personal tradition over the past several months. I hope to continue this ritual for years to come.
Around 7:00, I got a text from Malcolm that said he was walking up towards the venue. Once we met up, we went right in.
There were a few opening MCs, and we were caught up in their energy and their message. We were impressed with each of the opening acts, as they got the intimate crowd primed to see Keith.
Right before he went on, we managed to get backstage for a meeting. Keith was, in a word…Kool. He signed the portrait with lyrics from Poppa Large, and tagged the Madina Golden Era poster. Mission: Accomplished!
Andy Katz and Kool Keith – photo credit Malcolm Riddle‘Finished’ Kool Keith portrait – Graphite and White Charcoal on Cardboard – 11.13.16
Seeing him perform was a great experience. He is a comfortable MC who flows effortlessly. While it was a Sunday night, and the crowd was small, KK, with the help of DJ Indiana Jones, treated us to an epic performance. After the show, Malcolm and I grabbed a 1/2 Smoke and some chili fries at Ben’s Chili Bowl. It was another special night. Thanks, Keith! – AJK
“Okay, if knowledge is the key then just show me the lock /
Got the scrawny legs but I move just like Lou Brock /
With speed I’m agile, plus I’m worth your while /
One hundred percent intelligent black child /
My optic presentation sizzles the retina /
How far must I go to gain respect? Um” –
Check the Rhime – A Tribe Called Quest – 1991
Lou Brock’s Cleats – on display at the National Baseball Hall of Fame – Cooperstown, NY
Lou Brock – Watercolor on Paper – Signed and Inscribed by Lou Brock – “Okay, If knowledge is the key then just show me the lock.”
Here’s Mr. Brock signing the Tribe lyrics on my painting!
Today, a new Tribe album dropped, a bitter-sweet gift from a quartet that had left us wanting more over a decade ago. Sweet, because Hip-Hop needs this. Voices from the past, reminding us of what Hip-Hop could be; what it should be. Bitter, because back in March, our man Phife Dawg left us with a finite catalog of music. We miss him terribly, and yet somewhat miraculously, we get a taste of new music from this troop of Hip-Hop icons.
We Got it From Here…Thank You 4 Your Service – A Tribe Called Quest
A year ago, November 14th 2015 to be exact, A Tribe Called Quest reunited to perform on the Jimmy Fallon Show. Their sudden reemergence evoked a wave of nostalgia and more than a spark of hope for some new music. A few of us caught wind of the possibility of a public performance a few days earlier, and quickly scooped up tickets to an event at Santos’ Party House in Lower Manhattan, scheduled for the day after the Fallon appearance.
While we were unsure whether or not there would be a performance, we were surprised to find out that all four members of ‘Tribe’ would be in attendance. Feeling fortunate to get tickets for such a coveted event, we prepared for our journey up to New York City.
The plan was to drive up early. My buddy Malcolm would come to my house, and we’d meet our friend ‘Mike from Philly’ in New York. The three hour drive into Manhattan seemed to take no time at all as we reached Soho by 7:00pm. Doors were scheduled to open at 11:00pm, so we had time to walk the streets and explore a bit. We made a point to stop by Square Diner, where Tribe filmed their video for Electric Relaxation, and double-backed to find the famous Katz’s Delicatessen on Houston Street.
Square Diner – NYC
Katz’s Delicatessen – NYC
As we moved closer to the venue, we found ourselves walking through Little Italy. We settled on a spot for dinner, and reminisced about Hip-Hop and movies that were filmed in the vicinity.
Wu Tang / Care Bear Mural – NYC
Beastie Boys Mural – Rivington and Ludlow – NYC – by Danielle Mastrion
Rivington and Ludlow – NYC – It was here that Jeremy Shatan shot the cover photo for the Beastie Boys Paul’s Boutique album cover
We made our way over to the Santos Party House, and hooked up with Mike. The wait was longer than anticipated, but they let us in with my artwork and big folder. It was a packed scene, and we staked our claim next to a velvet rope off to the left side. We could see the raised stage area, and we would have a good view of any performances.
Much to our surprise, Malcolm spotted Phife Dawg up on a platform. It was a little balcony that was bathed in blue light. He was sitting quietly, as person after person went up to pay tribute. Unfortunately for us, there was limit to how many people were considered VIP and allowed to enter the stage areas. We’d be watching from the floor.
Malcolm was spotted by photographer Zoi Ellis. Here, he’s holding up my J Dilla painting during the show.
Just then, from behind us, the crowd seemed to swell a bit. Bodies were pushing through, and a small entourage emerged from the thick crowd. In the middle, greeting people politely, was none other than Q-Tip – Jonathan Davis – The Abstract Poet Incognito. He shuffled by, hugging those he recognized, and made his way to the safety of the lower stage.
A few moments later, Ali Shaheed Muhammad politely made his way to the front of the room. This time around, we were ready to say our ‘hellos’ and shake the man’s hand.
While I don’t remember Jarobi White arriving to much fanfare, he appeared, as if by magic, on stage with the others.
Q-Tip was behind the turntables into the wee hours of the morning – Photo by Zoi Ellis
Although they never did perform any Tribe songs, the group seemed to be in their glory, surrounded by their friends and fans. There were many hugs and huge, authentic smiles. It was a party. It was a celebration.
As a special surprise, Redman also showed up. He electrified the crowd with an amazing, energized freestyle. It came out of nowhere, and when he stopped, he walked through the crowd out into the street. We scurried after him, and got a few pictures before he went off into the night.
Redman and Ali Shaheed Muhammad – photo by Zoi EllisRedman – signing the Madina Design ‘Golden Era’ poster – ‘DOPE’‘Mike from Philly’ and Redman
When the show began to wind down, it was close to 3:00 am. Everyone spilled out into the street, and began going their separate ways. Among the crowd we noticed a few Hip-Hop dignitaries: Dinco D (LONS), Busta Rhymes (LONS), and Sadat X (Brand Nubian). They had each come through to pay tribute their friends.
In a flurry of activity, Q-Tip, Ali, Jarobi, and Phife all made their exit. It was difficult to know which way to go, as there were so many people. Q-Tip went over to a taco truck and found a few friends. When he turned around, I was there with the portrait I had painted. He threw it up on the stainless steel counter, and quickly signed it. Zulu Nation security was in force, and they ushered him over to his car. It seemed that he would be driving tonight.
Q-Tip – watercolor on paper – signed by Q-Tip
I also brought my J Dilla watercolor. I’ve been adding signatures to it, ever since Phife signed it at the Howard Theatre at the 9th Annual DC Loves Dilla show. He was the first, and I hoped that the others would continue the tradition. I was not disappointed. Once Q-Tip got into his car, he was just sitting there. Malcolm and Mike encouraged me to go over to the driver’s-side door, and ask him to tag the painting. Reluctantly, I stepped into the street. Almost immediately, a Zulu Nation security guard put his hand up, indicating I shouldn’t approach. I decided it would be best to return to the curb, and back off. Q-Tip, witnessing my being turned away, motioned to the security guard. He then turned to me, and waved me over. He quickly added his name to the Dilla painting.
Andy Katz and Phife – Howard Theatre – Washington, D.C. 2014 – DC Loves Dilla Concert
Before we left, we also managed to catch up with Ali. While the meetings were brief, Ali and Tip were both friendly and accommodating. With all that was going on, I really appreciated them taking time out. We went back to the car, tiredly walking on air. It was to be a long drive home.
The ‘Ever-Evolving’ J Dilla Watercolor – signed by Mah Dukes, Questlove, Q-Tip, Pharoahe Monch, Black Thought, Maseo, Trugoy, Posdnous, Common, Phife, Ali Shaheed Muhammad, Pete Rock, DJ Scratch, Grap Luva
As I crossed into Maryland, the sun came up. Malcolm was sleeping in the passenger seat. I was extremely tired, and I would be for over a week afterwards. I kept driving, feeling secure in the decision we made to make the trip. It was worth it. I think about it often, and I use the memory to remind myself to enjoy each day. Life is short. Listen to good music. Travel. Be with Friends. Seek out exciting adventures. – AJK
“Like the E-Double, or the PMD / He drives a Corvette,
I drive a Samurai Suzuki” – Strictly Business – EPMD
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Strictly Business by EPMD is one of my favorite Hip-Hop tracks of all-time. Naturally, when I had the opportunity to catch them live, I jumped at the chance. As luck would have it, my buddy Malcolm, and his son Justin, decided to meet me at Ram’s Head Live in Baltimore, Maryland. Apparently, Malcolm had offered Justin a choice as to how they would spend their Friday night: Watching the new movie Dr. Strange, or taking in the EPMD concert. Justin made the right choice!
Malcolm, Justin, and I met before the show, and immediately began talking top-five, sharing stories, and making a point to appreciate that these guys come around to perform their quintessential catalogs. We continue to show up, because they continue to show up. Whether it’s Rakim, Public Enemy, Big Daddy Kane, or EPMD, we never want to take for granted that another live performance provides us with a jolt of nostalgia and an opportunity to perpetuate the genre.
My EPMD watercolor – signed by both Erick and Parish – tagged with my favorite lyrics – Howard Theatre – Washington, D.C. – 2014
This time around, I brought no new artwork, although I’m planning to prepare something for another show in December. Having empty hands provided me with the ability to move close to the stage. It was a great perspective, and I was truly able to enjoy the view.
After a great opening performance by Sugar Bear from E.U. (Yeah, you remember Da’ Butt), Erick and Parish opened with Strictly Business, and moved through several of their classics songs: Rampage, The Crossover, Gold Digger, The Joint, You Gots to Chill, and a great rendition ofJane.
They are high-energy, and they seem to enjoy their reunion and their place in the Hip-Hop family tree. Join us in December for their show at the Howard Theatre in DC. I’m sure it will be another memorable night!
Andy Katz and Erick Sermon (Coney Island, New York) 2016 – Art of Rap Festival
6 in the mornin’ police at my door /
Fresh Adidas squeak across the bathroom floor – Ice T – 6’N the Mornin’
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This past summer, I decided to generate a list of all of the musical events I wanted to attend. I circled a few all-important dates on the calendar, and I set to work. I didn’t want to show up empty-handed, and I wanted to take full advantage of the opportunities coming my way. July 29th loomed large, as this was the day the Art of Rap Festival was coming to the east coast. The line-up had my head spinning, and included Public Enemy, Ice T, EPMD, Sugar Hill Gang, Melle Mel and Scorpio, Naughty by Nature, Mobb Deep, Smiff and Wesson, and Kurtis Blow. I had plenty of lead time, and crafted a list of new artwork that I intended to bring along. My meeting goals included EPMD (Parish Smith and Erick Sermon), Chuck D, and my first chance to meet Ice T. I carefully rendered each new piece, and gathered up my Glen E. Friedman tome – My Rules. I was more than ready with my Madina Design Golden Era poster, the new cardboard compositions, and a quiver of Sharpie markers. I just needed to get up to the Ford Amphitheater in Coney Island, NY. My path was clear, and the weather was perfect.About a three hour drive from home, Coney Island is a destination that I’ve passed about a hundred times, but I’ve never made time to visit. Seeing the defunct and iconic Parachute Jump structure from a distance always seemed to evoke strong memories from my parent’s past. I was overcome with a mysterious nostalgia as I approached this storied destination. As usual, I was unnecessarily early for the show, so I decided to take in the requisite tourist traps – Nathan’s Hot Dogs, The Boardwalk, and Key Bank Park. As the son of a Brooklynite and a Brooklyn Dodger fan, I was grateful to see the Jackie Robinson and Pee Wee Reese sculpture that graces the entry to the ballpark. I felt that it was a sign that I was in the right place at the right time.
Nathan’s Hotdogs – Coney Island, New York
Jackie Robinson and Pee Wee Reese – Coney Island, New York – Key Bank Park
As I ventured toward the boardwalk to find some grub, I wandered past a few rollercoasters. I was struck by the juxtaposition of the amusement park atmosphere, and the backdrop of older tenement buildings. It was decidedly New York. Lost in my thoughts, I glanced up to to get my bearings, and staring me in the face was the Eric Haze MCA mural, recently completed for the Coney Island Walls initiative. Now I knew – I was in the right place, at the right time; another sign.
Adam ‘MCA’ Yauch – Mural
Eric Haze – MCA Mural – Coney Island, New York
As ‘game time’ neared, I moved closer to the venue. I struck up a few conversations, and tried to pace my obvious enthusiasm for the upcoming show. I was fortunate to obtain an ‘all-access’ wristband from a secret source, and I weaved through the backstage hallways towards an elevator that advertised ‘second floor dressing rooms’. I entered the small box uninterrupted, and collected myself, as I realized that I’d soon be amidst some of the greatest names in Hip-Hop.
Kurtis Blow – Photo by Glen E. Friedman (from the My Rules book)
When you’re backstage at a show, it can be a long wait. I always enjoy meeting the people who make the machine work. There are security guards, tour managers, fans, family, and talent all intermingling as the vibe rises to a fever pitch. In this case, there were so many icons under one roof, that the hallways were filled with hugs and shouts of recognition. Turn one way, and there is Treach from Naughty By Nature. Turn the other way, and here comes Parish Smith from EPMD. I was but a fly on the wall, armed with my folder of art, and a collection of pens.
The ebb and flow of the hallway was controlled by Mick Benzo and the Chief Rocker: Busy Bee. He was the Master of Ceremony for the night, and he was running back and forth from the stage to the backstage hallway. He was working diligently to get people on stage in a timely manner.
As I looked down the long hallway, I spotted Mr. Chuck D from Public Enemy. He dutifully and sincerely stopped to greet everyone who met his gaze. Each person in the hallway seemed to pay tribute to the man. When he got close, he stopped in front of me, and said “AK, what have you got this time?”. I pulled out my most recent drawing, and he surprised me by introducing me to the small crowd of people. I had used a Glen E. Friedman photo as reference image, and I was thrilled to get this new ‘Black Steel’ composition in front of the legend that uttered the words – “I GOT A LETTER FROM THE GOVERNMENT…”. In fact, that was my plan. I wanted to ask if he’d tag those lyrics on my work. My drawing was inspired by a photograph that was taken during the video shoot for ‘Black Steel in the Hour of Chaos’. To have those lyrics added to my composition, was to collaborate with Hip-Hop history. Mr. Chuck delivered. He enthusiastically and graciously added the first bars of the song. I could hear people reacting in disbelief, as the collaboration was completed. Unreal.
Andy Katz and Chuck D – moments before he signed the new artwork‘Black Steel in the Hour of Chaos’ by Andy Katz and Chuck D – 24″ x 36″ – graphite and white charcoal on cardboard – reference photo by Glen E. Friedman
While that may seem impossible to top, my work and wait was not over. While Public Enemy readied themselves for their performance, I set my sights on connecting with EPMD. Just then, Erick Sermon arrived. As he approached the door to his dressing room, I propped up the new artwork. He smiled, and gestured for me to go into the crowded room with him. I met his son, and a few other people, as he agreed to sign the art. It was another highlight from a great night.
Erick Sermon (EPMD) signing the new artwork
Andy Katz and Erick Sermon
‘EPMD’ – 22″ x 34″ – graphite and white charcoal on cardboard
A few minutes later, I met Parish Smith. He also agreed to add his signature to the composition. While I neglected to get a photo with him, I did remember to pull out the My Rules book. It’s a heavy book, that was tough to lug around. That being said, I’m so glad I brought it along. Glen’s images are a thorough history of the early days of Hip-Hop. The men in that hallway each had a connection to the book and the imagery. I’m sure many of them went and bought a copy. My goal is to fill it with signatures and hear stories to accompany each photo. I have a lot of work to do.
EPMD – Photo by Glen E. Friedman (from the book My Rules)
The time between each set was arguably the most exciting. There would be a lull in the action and the volume of the corridor, when it would then erupt with an avalanche of bodies and the euphoria of a set well played. Hugs, backslaps, and wide grins conveyed the happiness of friends reunited. Oh wow, Kurtis Blow just walked by! Is that Spoonie Gee? Kool Herc? The history of Hip-Hop was on display, and I was absorbing each new interaction and new story.
Kool Herc and Chuck D
Kay Gee (Naughty by Nature) and Professor Griff (Public Enemy)
Spoonie Gee (The Metropolitician) and Andy Katz
Professor Griff signed the My Rules book by Glen E. Friedman
As if it were scripted, the last meeting of the night offered mystery and uncertainty. I was ready to meet Ice T, and his set was coming to a close. I moved towards his dressing room, when about fifty people burst into the close quarters. While there were a lot of people in the room already, Ice allowed five new people at a time to join him. Under the circumstances, it was all very organized. Before I went in, I met DJ Evil E. He gave me a little pep talk, and we posed for a picture.
DJ Evil E and Andy Katz
He really thought Ice was going to want the new drawing I made. I thanked him for his help, and got ready to go in. With that, Mick Benzo poked his head out of the door, and said “Five more! But, these are the last five!” He pointed to four people in line, and counted off “one, two, three, four…and that guy – five”. I was “that guy”. I was the last one to walk in, and saw Ice on the far side of the room. He was sitting on the end of a couch, and I pulled out the drawing. “Woah! Where did you get this?” he said. “I made it.”, I replied proudly. “You made this?” “And what’s your name, man?” “I’m Andy Katz”, I said. “Andy Katz?” “OK, Andy Katz, what do you want me to do?” I asked him to sign it, forgetting to request specific lyrics. A few people snapped pictures, and I was done. I strutted back out to the hallway to show Evil E my handiwork. Another mission accomplished.
The moment after Ice T ‘finished’ the artwork – Ice T and Andy KatzThe ‘finished’ piece – Ice T – graphite and white charcoal on cardboard
The Art of Rap Festival was an incredible experience. It was an exclamation point on my summer, and the inspiration for the setting of new artistic goals. Special thanks to Chuck D, Mick Benzo, Busy Bee, Ice T, DJ Evil E, Professor Griff, Spoonie Gee, Erick Sermon, Parish Smith, Kool Herc, The Sugarhill Gang, Melle Mel, Scorpio, Naughty By Nature, Mobb Deep, Smiff and Wesson, Kurtis Blow, Flavor Flav, Kate Gammell, and everyone else who was there that night. I was grateful for their time and attention. Most of all, I was grateful to experience Hip-Hop. It’s alive and well. It was a special opportunity and I’ll think of it often. – AJK
“Microphone Cool Chief, Releasin’ the Smooth Speech / I Get Nasty with a Pen and Some Loose Leaf” – Lord Finesse and DJ Mike Smooth – Baby,You Nasty
On Friday, I had the chance to take in a special performance by the producer, artist, and DJ – Lord Finesse. The event took place at The Fire Station, in Silver Spring, Maryland, and I didn’t want to miss an opportunity that was so close to home. In preparation of the show, I carved out some time to devote to a new cardboard composition. I found an amazing photo of Finesse in the recording studio, in front of a hot mic. After posting my composition on Twitter, I was informed that the photographer, who took the reference image was Cindy Baar, from QuiteButtery.com. I’m glad to be connected with her. The show took a long time to unfold, as there were at least five opening acts. While I love to support new talent and cultivate new connections, I was anxious to see Finesse arrive and get on the mic.
While I was waiting, I had the good fortune to get reacquainted with Lush from LushRadioOnline.com. We had an inspiring conversation about Hip-Hop and the recent direction of my artwork. She was very complimentary, and encouraged me to make good on my plans to have my own show. It was refreshing to hear such genuine support and kindness, without a hint of self-interest. It was the perfect conversation to occupy us while we were waiting.
Eventually, Finesse arrived. He walked upstairs to the landing above the restaurant, and I decided to follow. It was pretty low-key, as a few patrons recognized that he was in the building, and he settled at a high-top table in the middle of the room. I pulled out the drawing, and went over to him when the moment was right.
I should mention two things: 1) The music was incredibly loud, and it was difficult, if not impossible, to hear conversation. 2) Finesse had seen the drawing on social media throughout the week. He knew I would be bringing it to the show.
Through a few gestures and crude sign language, I asked him if he’d sign the work with lyrics. I had a favorite line written down in advance. He agreed, and carefully, wrote the line on the composition; making it a true collaboration.
After he signed the drawing, I remembered that I also brought my Madina Design ‘Golden Era’ stamp poster. This incredible collection of imagery, was inspired by Chuck D’s lyrics from Public Enemy’s Fight the Power, and designed by Mark Culmer of the United Kingdom. In many ways, it was the impetus for me to collect signatures at live music shows. It continues to serve as a record of the shows I’ve attended, and is one more way to display my love of Hip-Hop. Here is the most up-to-date image of my ‘Golden Era’ poster: While I always love when these Hip-Hop icons sign the original work, it is my ultimate goal to have them assign lyrics to each piece. If they’re willing to take the time and effort to write out their iconic words, it makes the experience more substantive. It becomes the larger vision for my project. I was grateful that Finesse seemed to appreciate the efforts too, as he enthusiastically retweeted my subsequent posts about the meeting. These connections and stories, remain the motivation behind my celebration of Hip-Hop. I’m already looking forward to the next mission. Thanks, Finesse! – AJK
Ok, so, I went out on a school night. For those of you that want to know why that needs to be stated – I’m a middle school art teacher. When I have one of my art missions on a week night, it ups the ante a little bit, and it makes the next day an exhausting challenge. It would be so easy to stay home, rest up, and conserve my energy for my classes. Instead, I take advantage of the opportunity to hear and see live music from the legends of Hip-Hop. This time around it was Pete Rock and CL Smooth performing together at the Howard Theatre in Washington D.C. Expecting to connect with some friends before the show, I went down to U Street a bit early to enjoy the beautiful weather. I went to Som Records to check out some vinyl, swung by Busboys & Poets to pick up a book, and found myself walking towards the Robeson Mural (1351 U Street, Washington, DC). It has become my routine to stop by the mural before each show at The Howard.
Seeing the ‘Big Paul’ Robeson mural fills me with a great sense of accomplishment and pride. I was fortunate to be part of an ambitious artistic collaboration. As a result, this enormous wall was transformed. It continues to celebrate the contributions, music, and activism of Mr. Robeson. I’ll likely post something more detailed about this at a later date. Suffice it to say, I walk away from this spot with a spring in my step. I hope it’s there for a long time.
Next stop was The Howard, itself. I wanted to do a ‘walk-by’, just in case I could meet either Pete Rock or CL Smooth before the show. I walked under the beautiful marquee, and around the corner, when I spotted CL Smooth trying to get someone to let him in the side door. I took a wide berth around him and noticed Pete Rock coming out the other side door. They were there, but for some reason, I decided to wait until I was inside to approach them. I thought it would be a little rude to rush up to them on the street.
Eventually, after a pretty long wait inside, my patience was rewarded. I went behind the scenes, just before they took the stage. The dressing room was crowded with friends, family, and other acts. They called me in, and I introduced myself to Pete. We had met before, but it was in a giant bunch of people, so I decided it would be best to start from scratch. He graciously shook my hand, and I turned to get the new drawing out. When he saw it, his whole demeanor changed, and he happily recounted that he had posted the image on Instagram that very morning. He said “I was wondering who made this! It’s YOU!”. “Yes”, I said. “Would you mind signing the original piece and, maybe, add some lyrics to it?” He took my prepared lyrics sheet out of my hand and began to write! While he chose the shorter line of the two I had picked, I was extremely grateful for his willingness to tag his lines from ‘The Creator’ on my drawing.
“Tell Her To Hold ‘Cause I’m Kickin’ Rhymes to the Rhythm” – Pete Rock – The Creator
I also asked him if he’d tag the ever-evolving watercolor portrait I rendered of James Dewitt Yancey – J Dilla. He quietly agreed, and found a small spot on which to add his legendary name.
This piece has been signed by quite a few of Dilla’s contemporaries: Posdnous, Dave, and Maseo (from De La Soul), Phife, Q-Tip, Ali Shaeed Muhammad (from A Tribe Called Quest), Ma Dukes (JD’s Mother), Pharaoh Monch, Questlove, Black Thought, Common, Pete Rock, Grap Luva, and DJ Scratch.
I will continue to bring this orignal artwork to live shows, where I know his peers and fans will want to pay tribute. Check out the J Dilla Foundation to explore other ways we can continue to celebrate his life and musical contributions.
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I moved toward the back of the room where I found CL Smooth. This is where I need help in understanding what happened: I introduced myself to him with a hand shake and a wide smile. I was really glad to meet him, after spending so much time on his portrait and listening to his music. He took the drawing out of my hands, and said “what do you want me to do?”. I said “I’d love for you to sign it, and write some lyrics on it”. He said, “No! I’ll sign it, but I’m not writing any lyrics on it. If I did that, that would make it mine.” I said, “Actually, I do look at these as collaborations, I…” “Nah, I’ll sign it, but I’m not writing anything on it”. “OK, how about a picture with the drawing?
He said, “Sure”, which surprised me. He joked around about wanting a big painting for his big house – “Big shit, for big walls”. Someone in the room antagonistically asked me, “How are you connected to Hip-Hop?”, I said, “I love it. I’m a fan. I started a collection to show my love of this music”. With that, I pulled out the J Dilla painting. I asked CL Smooth “Would you add your name to this painting?”. He said “No way! Better get that out of here, before I take it!” I said, “Really, you don’t want to add you name on here?” He said, “Man, I’m telling you, if you don’t take that out of here, I’m going to take it!”. As I write this, I still have no idea how he meant this statement. Was he telling me that he liked the work? If so, why wouldn’t he sign it? If he wanted me to leave, then why sign anything? I’m still really confused by the whole interaction. Obviously, I was thrilled to meet both of these Hip-Hop icons, but this was a head scratcher.
I went back out to the floor, and soon after, the show started. Pete Rock and CL Smooth put on a great performance. It was a great night.
Looking back on those moments with CL Smooth, I still wonder what he was feeling. His approach was gruff and surly, but I detected a note of humor behind it. Is it possible that I completely misread the situation? Of course it’s possible. That being said, I’d love some clarification. It was a bit strange. I’m still happy that I went. Thanks, Pete! Thanks, Corey! Mission: Accomplished!
In February 2016, I went toThe Howard Theatre in DC for the Arrested Development show. With hits from the 90s, such asTennessee,Mr. Wendal, andPeople Everyday, I was excited to see them perform. Inanticipation of the event, I chose to draw a portrait of Speechas he appeared in the videoTennessee. Once I arrived at the show, I was able to bring my artwork backstage. I was heartened to see that Speech was open to the meeting, and had his family with him for the performance. We took pictures, shook hands, and I was able to thank him and the band for their music. Eventually, others started to take pictures with Speech and the drawing. It was very gratifying. I went back out to the floor, and the show started. Arrested Development is a talented, conscious, and uplifting group of musicians and singers. It was a great show, and it was almost time to head for home. Just then, the most unexpected happened… they called me out on stage! Not at all sure what to do, or how to react, I just walked out with the drawing. Speech launched into a poignant story about the origins and inspiration behind the lyrics ofTennessee. I was just standing in the middle of the stage, trying to take in this new and surreal perspective. While I was uncomfortable and nervous, I was also exhilarated. I really tried to enjoy the moment. The band slowed the tempo of the song, and everyone sung along with the narrative, poetic verses. When the memorable line ‘I am Still Thirsty’ was reached, there I was, next to Speech in the middle of the stage, taking on the same pose illustrated in the portrait. Tennessee Reprise – Howard Theatre …It almost looks like I’ve been digitally added into the scene, as I still can’t really believe that it happened. Thanks to Gearni Thompson, Speech Thomas, JJ Boogie, Tasha LaRae, and Fareedah for allowing me to experience the sensation of being on stage and perpetuating my love of music. It was a great night. – AJK
Over the past ten months, I’ve been developing a special collection of images that pay tribute to Hip-Hop artists. While I had previously been using watercolor to render these depictions, I was drawn to the textured and toned surface of every-day, corrugated cardboard. The light brown surface allowed me to have a middle ground and value that afforded me an opportunity to work with white charcoal. Instead of just drawing shadows and edges with the graphite, I was now able to generate a glow or lit surface with the lightest touches of the white media.
The affordability and accessibility of the cardboard, as well as the texture that emerges in the drawings, has me looking forward to other experiments that I can attempt. In the future I hope to use text, collage, color, and perhaps tear and pull back the top surface of the board. There are many possibilities for this series, and I’m far from done.
Exciting connections have been established with the subjects of a few of these drawings, as I continue to seek out opportunities for meetings and collaborations -always with an eye on the musical artist ‘finishing’ the piece with a signature and lyrics. – AJK
Here is my fourth Rakim composition. I rendered this on cardboard with graphite and white charcoal. Rakim, himself, was gracious enough to tag some lyrics from Microphone Fiend on the drawing (7.17.16 – Howard Theatre DC) My Hip-Hop project has been the gateway for many incredible interactions with the icons of the genre. In this case, obtaining the penned lyrics, a photograph of the artist with the work, and securing a signature epitomizes my goal within the project. I’ll be sharing the complete Corrugated Cardboard Collection soon. Each of these pieces represent a ‘mission’, and is supported by an accompanying story. I hope to vividly retell each one. – Andy
About a three hour drive from home, Coney Island is a destination that I’ve passed about a hundred times, but I’ve never made time to visit. Seeing the defunct and iconic Parachute Jump structure from a distance always seemed to evoke strong memories from my parent’s past. I was overcome with a mysterious nostalgia as I approached this storied destination. As usual, I was unnecessarily early for the show, so I decided to take in the requisite tourist traps – Nathan’s Hot Dogs, The Boardwalk, and Key Bank Park. As the son of a Brooklynite and a Brooklyn Dodger fan, I was grateful to see the Jackie Robinson and Pee Wee Reese sculpture that graces the entry to the ballpark. I felt that it was a sign that I was in the right place at the right time.
The show took a long time to unfold, as there were at least five opening acts. While I love to support new talent and cultivate new connections, I was anxious to see Finesse arrive and get on the mic.
After he signed the drawing, I remembered that I also brought my 
While I always love when these Hip-Hop icons sign the original work, it is my ultimate goal to have them assign lyrics to each piece. If they’re willing to take the time and effort to write out their iconic words, it makes the experience more substantive. It becomes the larger vision for my project. I was grateful that Finesse seemed to appreciate the efforts too, as he enthusiastically retweeted my subsequent posts about the meeting. These connections and stories, remain the motivation behind my celebration of Hip-Hop. I’m already looking forward to the next mission. Thanks, Finesse! – AJK
'THIS MIGHT NOT WORK' 