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The Cool Kids [Interview]

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The Cool Kids

Chicago, ILAntoine “Mikey Rocks” Reed, the 19-year-old artist of the Chicago-based hip-hop group, The Cool Kids, converses with a burgeoning rapper about his frustrations prior to enjoying success. “To be honest with you, I was in the same boat. But I was hangin’ with the wrong circle, and I had to be around positive people if I wanted to make things happen.” As Mikey schools the youngster, his partner, Evan “Chuck Inglish” Ingersoll, 23, the beat maker/DJ of the group, casually talks on his cell phone.

It’s 4:30 on a Sunday afternoon and after a long but productive day, both my interview and photo shoot with The Cool Kids have finally wrapped up. Today will be subsumed with the myriad of press they’ve already done since their faces have become ubiquitous with a nouveau, sub-section of rap music; what the media has been thirsting to call “hipster-hop” (yes, it really does exist). They’ve been praised as the freshest new sound to surface in hip-hop since its stagnant epoch. Their ephemeral sense of fashion has been labeled an ode to 80’s throwback. And apparently, they’ve even proclaimed themselves to be the “Black Beastie Boys,” whatever that means. Their debut single, “Black Mags” about riding their BM X bikes in the suburbs has become something of a cult-classic among a new generation of hip-hop aficionados (I’m trying to refrain from saying “hipsters”).

After eavesdropping on Mikey Rocks as he lays his wisdom on the inquisitive up-and-comer, I had to ask myself, “Is this kid for real?” because he’s ridiculously wise beyond his young years. Then again, if ever you have a conversation with Mikey, or Chuck, as humble and cool as they are, you know every move that they make is calculated. The measures they’re taking to bang out this success really only happen with those who carry the prodigious element that they do. There are many that want to be where The Cool Kids are right now, and they haven’t even started to make any real noise yet. But Canadians who aren’t knee-deep in the indie hip-hop scene may not be familiar with The Cool Kids. And the show that almost never happened in Toronto the night, before my interview with them, was greeted with mixed reviews.

It’s Saturday night, and a crowd of hipsters (there’s that word again) have filled Toronto’s latest “it” spot, Wrongbar, anxiously waiting for Chuck and Mikey to set the stage. But things aren’t running so smoothly. It‘s already going on 2AM, and Toronto’s nightlife usually shuts off by 3. Nasty Nav, the promoter and owner of Wrongbar, grabs the microphone to announce that The Cool Kids were just crossing the Canadian border and were speed racing on the highway to make it to the venue. Mid-way through the announcement, the crowd in unison, fill the room with exasperated groans. Not cool. The DJ of the night, originally spinning indigestible techno for what seems like hours, finally slows down the pace with some hip-hop.

Just as the restless energy of the crowd is about to become vile – there’s a short pause. “Breakin’, boppin’/ni**as beat-boxin’” erupts from virtually out of nowhere. It’s the intro from their latest single “88.” Chuck breezes on stage as the beat blasts from the sound speakers. “88” is a sample-heavy track off of Jay-Z’s “99 Problems” single, produced by Rick Rubin. It proves to be a good kick-off, turning hecklers into fans. By the time they break into “Black Mags” the whole crowd is on the “dyno” with the “Pedal down the foot hills/Wheelies on the front.” When Mikey breaks into the semi-self-titled “I’m Mikey,” his lyrical niceness circles around a Neptune-friendly beat. And as each of these guys continue to move the crowd like veterans of the game, the coincidence is that The Cool Kids don’t even have a full-length album in their blueprint (as-of-yet). But they were able to turn out an hour of “rocking-the-crowd” off of the power of a to-be-released EP, The Bake Sale, on indie-label Chocolate Industries. With each song, the energy that The Cool Kids dispersed only became more intense. While Chuck is the “cool” of the two, Mikey’s got that fire. They know their audience, and they deliver accordingly (body surfing and rhyme-dropping on a Beastie Boys instrumental). To end the line up, they give the crowd an encore, playing the infectious “Black Mags” again, making way for a sea of people to flood the stage. If they weren’t told they had to wrap-it-up, they would have kept rockin’ – because for The Cool Kids, it’s just like that.

Getting back to Sunday, the Kids and I are sitting around chatting about any-and-everything. We’re joking about my music selection. “I don’t have Soulja Boy or anything like that,” I tell them as they look through the CDs that I brought for entertainment. “What makes you think that we listen to that?” Chuck asks me, sounding annoyed. Well, isn’t that what dudes in your age range listen to? (Never mind that he’s just two years younger than me). They catch an eye on my k-os CD. Mikey thinks “k-os is mad dope,” and asks me to tell Mr. Brereton he would “like to do a show or collaborate with him.” Actually, they both dig a lot of Canadian artists (and now you know). The Cool Kids haven’t been signed to a major label, they have no major distribution, no multi-million dollar backing, yet they’ve been rated by Rolling Stone Magazine as the next big thing to watch for 2008.

There’s a collective of artists that are indirectly a part of this colourful indie hip-hop circle. Examples are the LA-based rap group The Pack, the “Pro Nail”-happy Kid Sister (also from Chicago), Philadelphia-based Spank Rock, Canada’s own Thunderheist, and of course, the lady who may have just started the phenomenon, England’s trendsetter M.I.A. (who The Cool Kids have opened for). This rainbow catalogue could go on for pages. But, the focus right now is on The Cool Kids. And after two days of observing them and their movements very carefully, it’s evident that The Cool Kids are something special.

HipHopCanada: Now that the success has come through for you guys, do you find that you have to be more difficult when it comes to deal with people? I mean, with everything that you do. Whether it’s at photo shoots, talking to journalists, I mean all aspects of the industry.

Mikey: Nah, it’s not [about being] difficult. But you definitely have to put your foot down. Whether it is [dealing with] an interviewer or a photographer…

Chuck: Everyone wants a piece of you…

Mikey: Yeah. People got agendas. People look at us like – billboards.

HipHopCanada: Really.

Mikey: Think about it, man… [breaks into an exploitive voice] “Everybody looks up to them!” I guess people are figuring out that kids of our generation are looking up to us, whether it be what [younger] people are listening to, or wearing, and stuff like that. So, older, out-of- touch, corporate suit [types] are like, “Hey! Maybe we’ll use them to market this product!” And [that's when] we just got to be like “No, we’re not doing that, man.” We’ve turned down a lot of stuff that came [our way], just because, if it’s wack, we can’t do it. No matter [how much money we're offered] or whatever it is, if it’s wack, we c annot do it, because that will hurt us more than anything. With our fan base, we’ve built a good reputation on not doing wack stuff, and not giving our integrity away for whatever the purpose may be. As soon as we [subject ourselves to that], our core audience [will start saying] “Aw man! They’re on that now? They’re fuckin’ willing to sacrifice their integrity for this wack shit?” And, those people will bounce in a minute when they see us starting to change. So, we just got to keep being ourselves.

HipHopCanada: Actually, I have to call this out. I think your opinion is very important on this particular matter, because there are a lot of people that want to define what real hip-hop is. There’s going to be people that judge no matter what. Can you address your opinion on what people may say in terms of calling you guys “gimmicks”? When I saw you guys perform last night, it was a different situation to me. What I saw were two people that genuinely cared about what they do. But what people are going to see are two eclectic young black kids that are marketable. And because of this, there will be people in the game that will say “Look at these dudes! I’m trying to get mine, and these dudes are blowing up easy! They’re a gimmick.”

Chuck: A gimmick! Listen to the lyrics! People [may look at our sense of fashion and get a misconception], but try to catch us on a day off. We don’t have days off… this is us. This is not a game, or a marketing tool. It’s just me and this kid all day long. We don’t have to try to be anything. Can’t nobody say, “Oh yeah, they’re trying to be like this, when they really mean that.” You know what I’m sayin’? We’re like this all day. We’re just very chilled out dudes, like you said. Mikey’s one way, and then you look at me and [it really is like], “Chuck’s this cool.” And it doesn’t take me much [to be who I am]. If you got any questions, listen to our songs. What is a gimmick about that? We got like, eight songs, we have no album, and everybody knows the words to like, 12 of the songs that we’ve done already. That’s not a gimmick. A gimmick is when you got one song that you don’t hear, but you keep on getting press. So, if you’re that band then you’re a gimmick. You can’t call us a gimmick; we’ll outlast you. You know what I’m saying?

Mikey: I think we’re moving past the time limit that a gimmick has. I think that if we were a gimmick, we would have been found out and thrown in the wind already. So, we’ve pretty much ended that time cycle. I think a gimmick [type of] dude has a couple months before people [catch on]. We’ve been rollin’ and we’ve continued to snap on every song that we do. I know we don’t have a smash single out or anything like that, but the ‘one hit wonder’ stage [is done]. I think we’ve pretty much sealed the deal on that stuff. Now, it’s time to keep making new shit and drop this album. That’s about it though.

HipHopCanada: With the ailing state of hip-hop, and the whole hip-hop being dead phenomenon that’s been going around, is there this cumbersome burden on you to clean up the mess that your predecessors have made?

Mikey: I don’t feel pressure to fix hip-hop, or save hip-hop or shit like that. I don’t believe my own hype. People say that kind of stuff to us all the time, and, I’m like, “It ain’t dead. It’s alright.” [Breaks into a reporter voice] “You guys are saving hip-hop, and you’re the greatest thing to come out in years,” and shit like that. That’s a great compliment, and I feel honoured to hear that from somebody, but it ain’t dead. I guess in a way, we could clean some shit that got messed up by just continuing to make dope music. That’s just our main concern, that’s all we want to do, make ill songs. And just make this shit cool again, because, it hasn’t been cool in a while. It’s either been thugged out or, super-emo, crying about girls, or way too super-abstract.

HipHopCanada: Abstract?

Chuck: There’s people that put words together that don’t make sense.

HipHopCanada: Like, Yezzir?

Chuck: Like, what is an example of some shit. Like, [that whole] metaphysical [thing], and just rhyming to rhyme words.

HipHopCanada: But couldn’t that be part of the art of being an MC?

Mikey: Nah.

Chuck: No!

Mikey: [That's when] you’re going through a dictionary, searching for the largest words. That’s not rapping, man. I mean, who cares?

Chuck: Nobody talks about how hip-hop first started. It was South Bronx, park parties. The DJ put it on and, the dude [with the mic] controlled the crowd. Master of ceremonies. Everything he said made sense. Or, [his skill was crafted on] how he could control the crowd: “Put your hands in the air, wave ‘em like you just don’t care.”

HipHopCanada: Chuck, it’s good that you brought that up, because a lot of people don’t.

Chuck: Yeah, I mean, I constantly have to talk to people about the fact that everybody has this idea of what hip-hop is. Hip-hop’s not that. You don’t say a car is not a car. You know what I’m sayin’? A car has four wheels, and that’s how it started off. Like, just because all this other shit is on top of it, doesn’t make it a car. It doesn’t not-NOT make it a car. [Hip-hop was] party shit first. It was basically gang members that were deciding to do something better [for the people]. To have parties for people in the projects. That’s exactly how hip-hop started.

Mikey: People do forget that a lot of the time.

Chuck: So, anybody who says me and this kid aren’t hip-hop, should go kill themselves. [Laughing]

Mikey: People who get mad at fuckin’ – Hurricane Chris, and, Soulja Boy. [Irritated voice] “Man, that ain’t hip-hop man! They doing all this!” Man! Those dudes are hip-hop.

Chuck: If you’ve never heard the word hip-hop before, and [it's thrown at you], it sounds like a fucking fun time. It doesn’t sound like a whole bunch of crap! Or, a bunch of mean-ass shit.

Mikey: You can’t deny that the stuff [that Hurricane Chris and Soulja Boy put out] doesn’t not make you want to have a good time. Are you pissed off? If they put on “Ay Bay Bay!” Does that make you mad? Does that make you depressed and start thinking about your bad childhood and stuff like that?

HipHopCanada: You see, the thing is, it’s about these MCs that, for example, are not signed, that are saying “I have the dopest skills. I can spit…”

Chuck: So do it!

HipHopCanada: BUT! “I’m not getting my shine and these dudes are getting their shine.”

Chuck: You know why they’re not getting their shine? ‘Cause they’re complaining about getting their shine.

Mikey: If you’re really, really good…

Chuck: If you’re good, there’s no problems.

Mikey: You’re going to be straight.

Chuck: Yeah!

Mikey: That’s all. Either you think you’re really good and you’re not, or… You’re just not good! If you’re really good, you’ll be fine. I guarantee you.

Chuck: Do a show. Quit trying to sell your CDs to people on the street.

HipHopCanada: [Shaking head in disagreement]

Mikey: Trust me! You’re going to be fine. If people love your music, you’re going to be straight.

HipHopCanada: Mikey. Come on. You cannot tell me that you have never heard an artist that got signed, and you weren’t like, “Yo, this is shit!”

Mikey: Yeah. There’s a lot of [not-so-good] ones that get breaks. Tons of ‘em that get breaks.

HipHopCanada: Right. And I know, that you also know that there are artists that you have heard where ever you’ve gone, and it was like ‘Yeah! This dude is really, really good! How comes he’s not signed?’ That’s the point.

Chuck: Getting signed is not the trophy. That’s the trick. That’s the mental [stigma]…

Mikey: Back when stuff started getting messed up with hip-hop, man, that’s when this whole being signed thing became the crown jewel that everybody wanted to reach for. That don’t mean nothin’! Getting signed? What does that mean? It means you signed a record deal with a major company so these guys can own your music. [They are not doing anything] that if you had the proper infrastructure, you couldn’t do yourself. You know what I mean? They’re humans, just like you. It’s not like, they’re super robot men, that got nine arms and can do shit that other people can’t do. If you can get the same infrastructure and do it yourself – you’re straight.

Chuck: It’s the same thing as the conditioning from like, back in the day of segregation and shit.

Mikey: Yeah! This time thing, man.

Chuck: [Society will] make you think that doing it this way is the standard. Like, this house, this picket fence, this job, this education, this type of life, is right. Everything else is wrong. You know what I’m saying? [We’ve been doing this since ’04-‘05]. We signed at the beginning of November 2007. Are you telling me that we just popped off in November?

HipHopCanada: Well obviously not.

Chuck: Nah. So that means nothing. Being signed means nothing.

HipHopCanada: It’s easy for you guys to say these things though. There are a lot more opportunities in the US then there are in Canada for “urban” artists. Canada has one, maybe two, urban radio stations. I’ve gone to summits where you have record company executives, for example, the president of Sony or whatnot, all come to these summits, and they tell all these kids what they need to be, or, what they need to do to become the next Jay-Z.

Chuck: Those dudes know nothing.

Mikey: Yeah. I’ve been to like, two of those in my teenage years and goddamn it dude! It’s the wackest thing that you can ever [go to]. If this gets to any kids that are thinking about going to those, don’t go to those. They will mess your whole head up. I used to be sitting in those like “This don’t seem right man.” You get an A&R or two up there on the panel. Then you get the rap guy, some producer that made some stuff sitting up there. [Basically you're] listening to these dudes telling you how to do everything. They’re like, “You’ve got to make this kind of song man, first and foremost.” You give them your CD, and they play it, and they dictate whether your stuff is good or not. What the fuck! I don’t care what you guys think! You know what I mean? You got dudes that don’t know anything about what you’re doing, basically guiding your future and it messes up a kids whole game plan. Then the kids like, “Nah man. I can’t do that now. I’ve got to do this, and go by this protocol.” There’s like, a checklist and a formula. So, you have these guys up there teaching a formula to you. It screws a lot of kids’ heads up, man. You get locked into this mode of, “Nah I gotta it do like this way now.” And people are scared to like drift outta that.

Chuck: If you want to do something, you can do it! Doesn’t mean that you do what you want to do, and over think what has to happen next. You know what I’m saying? Two years ago, we were thinking about what’s happening right now. So two years from now, I’m already on to what I want to do next. You have to know what’s going on. You basically can’t have plan B. People always want to have a plan B. Like, “I want to rap, and then I want to act, and then I want to do this.” I only want to do this. I want to DJ at parties, I want to rap. I want to kick it. Make a living out of this. I want to meet everyone I could possibly meet across the globe, and see what type of stuff we get back from what we put out. I’m straight. I don’t need to take over the world, I don’t need to be the greatest rapper, and I don’t need to be the greatest producer. I’m just trying to be dope. Like when you see me coming it’s like, “Yo, he’s dope”.

HipHopCanada: That ties into what we were talking about before this interview. You have artists like Cam’ron and Jim Jones who are both about their business. They make it clear that “Yo, there ain’t no money in hip-hop. That’s why I’m selling vodka, that’s why I’m going into movies, I’m designing clothes.” So, you can say that right now, but when it’s time to make a decision, and you want to get where you want to be financially, then maybe that mentality that you have right now might change.

Chuck: We don’t do it for money. They do it for money.

Mikey: Like seriously. No joke. I’ma be honest on this interview and say this. We’re broke as fuck!

Chuck: But we don’t care.

Mikey: We don’t care. I’m not mad! It’s not like “I gotta get this money man!”

Chuck: We’re making as much as like, a 23-year-old and a 19-year-old, who would be in college [that happened to get] a really good job could make.

Mikey: And plus, we came into this game with the knowledge knowing what really goes on, ’cause again , with the misconception that people give up-and-coming artists and such. It’s like, they think artists that [just come out with] albums sell millions of dollars, that’s a lie. You know what I’m saying? Or that you’re going to make more than you spend on promotion and touring and all that stuff, that’s wrong too. You’re going to spend more than you make. I think that videos, the early 2000 videos, those screwed up a lot of stuff too because that’s when [flashing imagery and contorted perceptions] really popped off. Everything was super-exaggerated, and then it lead people to believe that everybody is rich and everybody doing this is going to make millions and billions of dollars and stuff like that. People that do it for those reasons, you can tell who those people are. You can tell who is in it specifically to get some dollars and then bounce, or, if it’s “I like doing this shit man. And I’m here to actually make ill shit that can change somebody’s view.” You know? Trying to do something significant.

Chuck: I know that I [may not come out] the richest off of this, but if you’re good, and you’re loving what you’re doing, to live comfortable and do what you love, what could be better than that? To be able to live real nice and your job is something that you love to wake up and do every day. As opposed to a dude that makes millions of dollars, but he’s an Investment Banker, and he’s about to commit suicide every other day. You know what I mean? I’d rather be the dude doing something that he loves than the dude making millions but hates his job, and is scared everyday of his life. ‘Cause I know there’s got to be a lot of rappers out that are like, “Man, I made a lot of money off of this one song, but I ain’t got no more songs, what the fuck am I gon’ do man?” And they’re pulling their hair out trying to figure that out. And they got labels trying to recoup that money back dog! That’s when you get into tough situations, and that’s when you can pretty much pick out who did it to try and make a bit of money. I already came into this knowing the ins and outs of the possibilities of making money. I was like man, “whatever happens – happens”.

HipHopCanada: When you walked into this game, I take it that you guys were very strategic in terms of the demographic that you wanted to reach…

Mikey: Nope. We had no idea of who would pick up on us and who would like us. We pretty much spent a year making songs and playing them for our friends and they were the only ones that knew about them. It was just like, “Let’s just put it out there and see who digs it.” And it’s a crazy-ass mix of people that dig the stuff that we do. That’s the best demographic. Metal fans [have come up to us and been like] “I don’t listen to anything but metal, but I like you guys.” Or, kids that are like, “I’m a super indie-rock kid, but I like you guys, and, I don’t even really listen to rap.” It’s gratifying when people are like, “I don’t really listen to rap, but I listen to you guys.” There’s corporate business suit dudes, like, fresh out of the law firm that are at the show like, “I just got off of work to come listen to y’all.” I like to peep into the crowd and see what kind of people are out there and it’s always a weird mix.

Chuck: I love that it’s everyone.

Mikey: Yeah, man. It’s people that really just like the songs. I can’t put a finger on it, it’s not just hipsters, it’s not just hip-hop kids, black kids, white kids. It’s all kinds of people.

HipHopCanada: You were told today that hip-hop artists don’t really get a lot of love when they put on shows here in Toronto, but you guys did. Is it nerve-racking for you when you have to perform in front of a crowd that’s hard to read?

Mikey: I like those. I look at it like a challenge. It’s like, I like to go in here with all these motherfuckers who hate on us and rock as hard as I possibly can. ‘Cause I feel like I converted a hater into a fan, that’s always the best feeling man. Like, “Man, I was gon’ hate on y’all but this shit is actually dope. I can’t even front. Go ‘head and do what you do.” I like when we’re goin’ into tough-ass crowds where everybody wants to initially keep their arms folded and look. Like, ‘I’m not bobbin’ my head, man.” We’ve done plenty of those. I’m like, “Alright, I see what’s going on”, and I just try to rock as hard as I possibly can. Sometimes at the end of the show, we get mad respect. Like that hard super-backpacker dude [who was like] “Nah that ain’t hip-hop.” At the end [of the show] they’re like, “ Man. I like this dog. It’s okay. That’s cool”.

HipHopCanada: When it comes to upcoming singles and albums, would you actually like to spend some time in another country to get some new inspiration?

Mikey: Yeah! I already know this UK tour is about to give me some fuel for the fire already, man. I get inspiration just by looking at new [things]. The architecture over there and the whole feel is going to jump my shit off harder than it already is. ‘Cause I’m in a pretty good creating mood nowadays as it is. So, to be over there and to see all that stuff. Just to connect with a whole new crowd of people who haven’t seen us before, it just gives me a feeling and just makes me [anxious to make new material].

HipHopCanada: You know what’s interesting? After interviewing people, I won’t say in your genre of music, but in your age range, you all seem to be type-casted in this hipster movement. But you aren’t a part of a hipster movement at all. It’s a completely different spectrum.

Mikey: [The term] hipster’s got a wack connotation to it. A hipster is somebody who is only on whatever is hot right now, then it’s like, “I’m not having that anymore. I’m out.” Why would you want to be that dude? So nah, [I'm not down with any] hipster movement. I’m straight on that. I think we’re just making ill songs, and if it just-so happens that [a wide mix] people are into it.

HipHopCanada: Would you guys pretty much collaborate with anybody?

Mikey: No. We barely would collaborate with anybody. I’m not into collaborations, period. Our collaboration is me featuring him, or him featuring me. People think you’ve got to make songs with everybody and they base their whole albums on features. “I got so and so, I got this dude. He’s making the beat.” Featuring so and so singing on the hook, blah blah, blah. It’s like a mixtape. You’re showing off everybody else’s skills and you’re barely on your own album. You’re featured on your album, you know what I mean? We’re not having features that aren’t essential. Any features that we have, they’ll be essential. They’ll play an intricate role to the song. You know how people have features on songs and it’s like, “That dude could have stayed off that song! Why is he on that song? He could have written his own verse! Why did he have to have him come on that verse?” Every dude [we feature] will be essential; it’ll play a strong role to the song and tie things in together. Useless features; I’m not a fan of those really.

HipHopCanada: What about that Lil’ Wayne collaboration?

Mikey: That was actually hooked up through a friend of ours, DJ Benzi. He was like, “I’m doing this mixtape for Lil’ Wayne. He has this song with an extra verse on it, and I want you guys on it.” And we were like, “Yeah that’s cool. We could do that.” That was Lil’ Wayne’s joint, that wasn’t our joint. It turned out cool though.

HipHopCanada: Who is the best MC, and I’m not asking who the best MC is out right now, or, who your personal favourite is. I mean, who is the best MC ever, dead or alive?

Mikey: I can’t answer that question. I can tell you my few favorites that are out right now. I hate the ‘of all times,’ man. It’s not fair. There were MCs that were super dope years ago, but hip-hop keeps getting more in-depth. Lupe Fiasco is super ill right now, but it’s not fair to compare him to KRS-One because they’re two generations of like, lyrics and lyricism—it’s kinda like apples and oranges. You can compare who’s good and who’s not, that’s always easy. But the greatest of all time is a hard one.

HipHopCanada: But we have to say that because of that particular rapper, they trail blazed the path for a lot of hip-hop artists that preceded them.

Mikey: Fucking Tribe [Called Quest] changed shit forever. They left their mark on hip-hop for good.

Chuck: Yep.

Mikey: They’re definitely one of the more influential groups to ever have been.

HipHopCanada: I’m kind of surprised that you wouldn’t say Tupac or Biggie.

Chuck: I’m not a Biggie or Tupac fan. I like it.

Mikey: I’m a pretty big fan of both of ‘em.

HipHopCanada: Lyrical-content wise.

Chuck: It’s not always about lyrical content, that’s what people don’t always understand. That’s not music, that’s poetry.

Mikey: A great artist is a whole package man.

Chuck: Go do slam poetry with your creative lyrical [braggadocio].

Mikey: Like when I told you earlier about the dude that likes to combine metaphysical and look through the dictionary and stuff like that.

Chuck: Yeah.

Mikey: That’s cool. But I mean, if he has a wack voice, and his delivery might be the same every time [what’s the point?]. Lyrical content is different. You can be the most intelligent rapper, spitting the most intellectual crap ever, but if you pick wack beats, it doesn’t matter. If your voice is monotonous and boring, or, if your delivery is just wack, and you don’t know how to switch up your cadence, it’s just not entertaining. You might be a great lyricist but what are you doing it for? It sucks!

HipHopCanada: I don’t think that question can ever be answered then.

Mikey: Yeah. I don’t think that question can ever be answered. “Who is the greatest rapper of all time?” Unless Jesus picked up the mic tomorrow and drops his debut album. I don’t think there will ever be a greatest MC of all time.

Editor’s note: For more information on The Cool Kids check out http://www.myspace.com/gocoolkids

Written by Safra Ducreay for HipHopCanada
Photograpgy by Harry Gils

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