Amir Sulaiman Speaks To YBW On Music, Love & More

Interview with Spoken Word Artist and Activist, Amir Sulaiman, by Tolu Olorunda.

Amir Sulaiman is a renowned poet, activist, recording artist, and a 2 time HBO Def Poet. Sulaiman is a household name in the world of Spoken Word Poetry. His brand of poetry has garnered him much adulation from those who have come across his unmitigated-ingenuity. Amir has performed – and still performs - at countless colleges, universities, high schools and community centers. He has shared the stage alongside such artists as, Talib Kweli, Mos Def, Lauryn Hill, KRS-One, Pharoah Monch, Floetry, The Roots, Goapele, Stevie Wonder, The Last Poets and Dead Prez. As a member of “Youth Speaks” in the Bay Area, California, Amir works in mentoring and teaching kids, by way of spoken word, and a focus on the union of art and education. He is a visionary and a monument of inspiration, who believes that the power of love can disempower the stranglehold of narcissism in our society. With a passion comparable to none, Amir Sulaiman has managed to prolong the legacy of such trail-blazers as “The Last Poets.” I had the pleasure of speaking extensively with him on issues of direct relevance to our society, and the world at large:

Thanks for joining us, Bro. Sulaiman; can you start by informing us of your musical background, and the pathway leading up to “Cornerstone Folklore” – the album?

Well, Cornerstone Folklore was my very first album – which very few people have. It was composed of just acappella poems, and these poems were a collection of everything I had done up to that point. I started writing around the age of 12, and continued through Junior High and High School, but I got a lot more intense with it in college. Cornerstone Folklore in some ways is my origin and my favorite album. Cornerstone Folklore has a double meaning. The “Cornerstone” aspect of it is, giving honor to the ancient tradition that we have – involving the didactic stories, inspirational stories and cautionary tales that we have in our tradition -- as black people in America, and also as Africans. And, the Folklore element of it is the urban element – particularly the Hip-Hop era – from the ‘80s, ‘90s and present.

Now, it was in 2006 when you stormed the stage of HBO’s Def Poetry Jam, and delivered the mind-gripping poem “Danger.” Can you dissect Danger and explain its symbolism?

Well, Danger is what most of my poetry is about – expressing for those who can’t express for themselves. So, there are people who don’t have a voice – whether it’s because they are disenfranchised, impoverished, their economical status, their age, or incarcerated – but need their stories told. Danger was meant to facilitate their voices to be heard, and give them a platform to be noticed. So, I started off saying, “I am not angry, I am anger;” and that was meant to show that this wasn’t just about me, but about the collective membership that I represent. And, most people have informed me that the poem inspired and motivated them when they first heard it.

Following up the “Danger” performance, the ACLU and Amnesty International broke reports of you being questioned by FBI Agents; can you enlighten us on that exchange?

Six days after the poem on HBO, the FBI came to my house and followed me around. They did it in a fashion that alerted me -- so it wasn’t clandestine. They also came to the school where I was teaching, and got the names and personal addresses of my students. So, that process showed me the power of the word, and reminded me that most of my heroes we’re in like-manner, known for the power of their words and brought into questioning by the same organization. After that encounter, I wrote an op-ed about it, called “The High Cost of Freedom of Speech.”

Your classic album, “Like a Thief in the Night,” was released in May last year. Pls. explain the process of creating that project, and your motivation during production?

Well, the project artistically went in a new direction for me, because I was inspired to blend poetry and instrumentals on it. On the album, I was craving poetry songs, and so the format was different from my earlier projects. It was also different because it was my first album to have a major distribution, which opened me up to an international audience. It was more so different, because this was the first time that I had featured multiple guests and producers on my album. I consider poetry a solo enterprise -- where one writes the poems and recites the poems. So, cooperating with other artists brought something out of me that I couldn’t bring out on my own. In that sense, Like a Thief in the Night was very influential to me as an artist. I chose that title, because I believe the purpose of life is to stay awake; and if we could stay awake to witness our honor, beauty and miracles, it would inspire us with the power to achieve whatever we were designed to achieve. But, if we fall asleep to depression or a victim-mentality, we won’t be effective; so our spirit has to be awake to witness God.

I want to move on to politics and then back to music in a second. As an outspoken Muslim, what is your assessment of the rise of Islamic consciousness -- following Senator Obama’s announcement of his presidential-run, and how do you gauge the Obama campaign’s response towards it?

Well, the question of Obama for me is two-sided – as I have to look at it from a Black Man’s perspective and a Muslim’s perspective. It is hard for me to put a finger on it, because he represents a symbol of hope, and appeals more as a person than as a politician; but, with the two incidents involving the Muslim Women wearing Hijabs, and Rep. Keith Ellison, it is a definite blow. It is unfortunate that Barack Obama has a problem with the Muslim community – which overwhelmingly loves and supports him. Also, his defense to the controversy surrounding him being an alleged Muslim, insinuates something fundamentally wrong with being Muslim. He treats it as though it’s an insult, and being a Muslim is problematic. So, I want to observe how he navigates this moment, and see if he lives up to the expectations; also, I’m aware that the pressure of the presidential office sort of bends candidates against their will.

Now, if you don’t mind, I would like to select certain songs from Like a Thief in the Night and have you deconstruct the science behind them. On “They don’t know,” you speak of our past – comprising of victories and losses – having an impact on our present state; can you explain that dynamic, and how we can draw both correction and inspiration from our history?

Well, generally for anything, the past always impacts the present, and the present is a product of the past. So that, in one way, for Black people in America, we have this idea that our home is Africa, and in other way, we say our home is in America; and I think both of those things are true. We are an indigenous people, and we had a pre-Columbus presence here. We are as indigenous as the Bush and Cheney family – and probably even more so. So, with that, one half wants to leave this land, and the other half says, ‘This is my house -- which my grandmothers and grandfathers built.’ Now, with that comes a certain responsibility and mental-determination to fix the problems we are experiencing, and “They don’t know” explains that reality. So, I want us to think for a moment, on topics such as, the history of crack, and if indeed it originated from some random person in L.A playing around with baking soda and cocaine; and, I want us to think beyond the present to find the answers from the past.

“How beautiful” was a soul-stirring ballad, where you lamented the degenerating self-esteem of Black Women; please elaborate on that?

It is a well-known fact that our women are treated most poorly than any other demographic in America – which is a shame on us. So, out of that shame, I wrote the poem expressing the beauty of Black Women -- in hope that they recognize it.

On the closing theme, “Killers,” you presented a different context to homicide within our community -- nevertheless pointing out the ramifications of such atrocities; can you break down the line of “Most killers don’t want to kill,” and “most of the dead don’t want to die?”

Well, “Killers” was one of my favorite songs when creating the album. But, if you can imagine in your mind, a young man killing another young man - with the realization that the killer doesn’t really want to commit the murder, and the victim certainly not wanting to die - you start asking certain questions like, “why is this happening?” Most of the time, both parties more than likely don’t want to be involved in that situation; so they become “Gladiators” -- even without the will-power to act in such manner. And I was pondering with that idea, that thousands of homicidal victims have been killed, without the desire for it -- which is a very peculiar and strange circumstance.

Lastly, on “I love you” – an emotional tribute to black heritage – you wanted to stress the importance of caring and selflessness. As a messenger of love – with the understanding that most black people are suffering severely from self hatred – how can love heal the wounds that have scarred our community, and what are effectual means of injecting that ‘serum’ back into our communities?

Yes; this question is ‘the question’ – as love is the cure of all ailments. All the cooperation that goes on between elements of the universe is a manifestation of love. Without love, there is no life, and if you find hatred, you find death. Hatred cannot generate life, and you cannot live simultaneously with hatred in your heart. Every time you hate, something in you has to die. So, love and selflessness necessitates surrendering one’s ego. Ego feeds off hate, and has the need to defend itself. Our level of love therefore has to transcend our ego. If our love transcends our ego, we will remain infinite, but if our love fails to transcend our ego, our life will only be as big as an ego – and an ego is only an illusion, in and of itself – which would make us meaningless; and only when we achieve selflessness, can we expect the Kingdom of God on Earth.

On the subject of your ministry through music, Abi Odun from “The Last Poets” joined you on the track, “We Are the Revolution.” Do you consider your musical-style more in tune with the legacy of the last poets?

Very much; they are my fathers – without a doubt, and they invite me into their house, to counsel me and advise me. I consider myself in their tradition, and find my music in line with them. I also want to be an inspiration to the up-and-coming generation of poets -- so “The Last Poets” are very essential to my music.

Finally, what are your upcoming projects and ventures?

Well, one of my projects is the Cornerstone Folklore tour – which is a very important venture for me. We did the tour in Atlanta and Sweden, and we’re looking to perform in Africa very soon. I try to present new artists and showcase new talents with the tour. Also, I’m working on my next project, which is called “The Meccan Opening.” I’m almost done with it, and it is expected to be released early next year or later this year.

Thanks for the time, Bro Amir.

This interview was conducted by Tolu Olorunda, Staff Writer for YourBlackWorld.com

Prof. Griff Speaks To YBW On Issues Of Concern

Interview with Public Enemy Artist and Lecturer, Prof. Griff, by Tolu Olorunda.

“Prof. Griff” is a Hip-Hop artist, community activist, lecturer and so much more. He has accumulated enormous knowledge, over the years, in his struggle for the liberation of young black and brown minds. Prof. Griff is a member of the legendary group, Public Enemy, but he has also branched-out and pursued solo projects, in his musical career. He is a vociferous lecturer, who has taught at Colleges and High Schools for some time, while trying to stress the importance of understanding the texture of the new wave of Hip-Hop in the 21^st century. Along with fellow lecturer, known as “The Black Dot,” he has spoken extensively on the “vibratory frequencies” and “chakras” that influence the majority of music, news and entertainment packages -- which dominate the mainstream-channels today. In 2007, he was featured in an underground documentary, entitled, “Turn off Channel Zero.” The documentary was constructed for some candid-analysis of the dynamic effects of Media Empires – such as Viacom – on the minds, hearts and souls of young black and brown youth. Professor Griff is a dedicated and relentless fighter for Truth and Justice, who has steadfastly criticized the Hip-Hop Industry for its opulence, materialistic-obsession, misogyny and destructive-content. I had the opportunity to speak with him on issues pertinent to Black America – focusing on three pivotal pillars – with regards to the incivility of today’s young folks, the responsibility of the adults, and the complicity of commercial Hip-Hop in the destruction of black heritage:

YOUNG FOLKS

Thanks for joining us, Professor Griff. I want to go right-off-the-bat to an issue that is deeply pressing: Teenage Pregnancy. Psychologist, Frances Cress Welsing, speaks of teenage-pregnancy -- being as a result of an emotional-overdose in young black girls? Do you agree with that inference, and what are effectual means of combating it?

I agree with it wholeheartedly, and in order to combat it – just as the great philosophers and teachers who came before us advocated – we need to “know thyself.” And in order to know thyself, we need to know our open enemy also. There’s a DVD out now titled, “Medical Apartheid;” it explains in detail the experimentation on young black girls during slavery. When you look at how the black woman was used in slavery – to produce multiple slave children – and you put it under a microscope, you then incorporate it into the education of young children in the home. We can also ‘offset’ teenage pregnancy (in our community) by changing certain behaviors.

TV and Radio seem to be the primary sources of entertainment and stimulation for young black/brown kids. How does one utilize those channels in order to reach them?

You don’t; you turn them off. There’s nothing that our open enemy would put on his major networks – as far as entertainment – that would educate our children. We need to stop thinking that way; that’s absolutely ridiculous. Several years ago, investigative researcher, Cory Johnson, put certain cartoons under the microscope. He talked about the perversion of subliminal suggestions and advertising that goes on in the context of three-minute cartoons. Furthermore, most of our actresses and actors are not concerned with what goes on in the lives of the younger ones.

It’s no secret that the majority of Black and Brown kids are dying mentally, morally and spiritually. What is your diagnosis of the state of the young community, and what are the prescriptions that you offer?

You have to primarily put those dynamics under the microscope. If we’re dying spiritually, we’re dying simply because there are no diets -- as far as the educational element is concerned. If what Dr. Cress Welsing said in “The Isis Papers” is correct – with regards to Racism and White Supremacy being both local and global -- we need to take this issue more seriously. We are letting our open enemy destroy the minds of our young people in the third and fourth grade. If our kids are spiritually-educated in religious institutions on Sunday Mornings, what do we expect at the end of the day? And to write a prescription for that, the hearts, minds and souls of our young people’s destiny must be put back into our own hands; and until we take the daunting task of educating our young people, we’re going to remain in this position.

ADULTS

What’s your overall-assessment of African Americans in the mainstream of the media beltway?

Well, that’s a very political-oriented question, and in most cases, the average-person answering it would tend to be more politically-correct. But, if the belt tightens within the beltway; what do you think would happen to Black people attempting to be more politically-correct in the arena of politics. First of all, let’s define politics: Politics is the science of governing people. If black people can’t govern themselves, then who are we governing? We presently have a fundamental disconnect with our young people. I sat on a panel at Martin Luther King Library, in Washington D.C - where the focus was “Bridging the Gap: The Civil Rights movement vs. Hip-Hop community” - and we couldn’t even come to amicable terms. So, we need to bridge the gap, and work on those agendas that never reach the news stations and TV networks.

In the documentary “Turn Off Channel Zero,” you spoke of “raising the dead;” can you elaborate on that?

What I mean by raising the dead is, raising the mentally and spiritually dead, from the grave of ignorance. And, ignorance is bliss; a lot of people just want to remain deaf, blind and dumb. We also have to understand that it is not going to be an easy task; to tell someone that ‘Lil Wayne’ is not “the best rapper” of all time, provokes a fight. And, we need to understand that dynamic.

As an historian, what role did slavery play vis-à-vis the present crisis of Black and Brown disunity?

Well, slavery was three-fold, and it depends on how you view it. The way I view it, nothing good came out of it; and those in the struggle for liberation and mind-revolution feel the same way too. So, as far as I’m concerned, slavery did nothing good for black people, and that’s the bottom-line.

HIP-HOP

Moving on to Hip-Hop; how destructive is - that element of what you coined “disposable music” in - Hip-Hop today?

Well, we’re talking of Hip-Hop being co-opted; i.e. the upper/middle-echelons of the music industry having the ability to market and develop the new Hip-hop sound. Also, N.W.A (Niggaz with Attitude) was used sort of as a template for every other Hip-Hop act that came after it. And then the movies that came out such as, Boyz n the Hood, and Menace II Society, set the template and frequency for what the future Hip-Hop sound would be. Prior to Hip-Hop being “niggerized,” we put out images that uplifted the people, but now Hip-Hop has grown to be very destructive. I’m doing a lecture-series now, called “Destroying Hip-Hop’s Appetite of Self-Destruction,” because unfortunately, all we’re deriving right now from Hip-Hop is low-vibratory frequency. Hip-Hop was once the voice of the voiceless, and a sub-culture of our ultimate/grand culture, and those are some of the things we need to understand.

In the late 1980’s Public Enemy emerged and changed the industry and culture of Hip-Hop forever. But, can you rewind and take us back to the beginning -- and how oblivious you might have been to the significance of what you we’re doing at the time?

It was definitely one of those things that we didn’t initially recognize, but was guided by the spirit. We didn’t know that what we we’re doing – in the context of those 4 or 5 albums - was going to change the course. But, most important was what we we’re doing outside of the music – such as, the prisons we visited, the hospitals we visited, and the projects we visited – that made the larger difference. Of course, we we’re blinded in hindsight, because we didn’t know that we we’re going to raise a nation of millions or 5,000 leaders. Stevie Wonder said that, “when you believe in things that you don't understand you will suffer.” We we’re trying to resurrect and reflect back on the “Black Panther Party.” We didn’t know that we we’re going to start a mind-revolution, but we knew that we we’re going to start something, so we had a goal.

Public Enemy gaining access to Def Jam is still looked upon as a phenomenon today – as many ‘conscious-artists’ lament their inability to get ‘looked upon’ by a mainstream/major record-label. How did the Def Jam thing happen; and being that your message was black-nationalistic in nature, how come no one saw the threat you we’re posing?

They trivialized what we we’re doing. They thought it was cute; and just innocent kids with Malcolm X key chains. No one saw it coming, and they didn’t think that Public Enemy would hit that hard. They heard our music on a College radio station, and automatically assumed that we we’re clawless. Also, initially, they just wanted to sign Chuck D – not the other 6 guys. And then, Chuck D incorporated “The Bomb Squad,” my community activism and Flavor Flav. More so, with Flavor Flav, because they assumed that we couldn’t be dangerous with a ‘clown’ on the stage with us. So, when we stepped up to the plate, and they found out that we we’re raising the conscience-level of black people, we caught them by surprise. By the time they found out our true objective, it was too late. It was too late, because by that time, we had thousands of white kids devoted to our music. And, we incorporated those white kids into our thrust of revolution. Those white kids came to our concerts and carried the messages back to the suburbs. Finally, Def Jam tried to regurgitate our music, and slowly tried to chip away Public Enemy by eliminating its members, one by one – such as giving Flavor-Flav a reality show. From the looks of it today, they might have successfully neutralized Public enemy – and it was by design.

Lastly, what are your upcoming projects – both musical and social?

I can’t give my personal plans up - on an open-interview - but we plan on uniting the political-action networks. What’s wrong with Talib Kweli, Mos-Def, Common, Public Enemy and KRS-One sitting down together to put forth a 4-point agenda to be adhered to? Such as: NO more disrespect of our women in Hip-Hop videos; and NO more ‘bling-blinging’ of Diamonds out of South Africa, Sierra Leone and The Congo; and NO more ‘big I’ and ‘little u’; and NO more signing of contracts with Beer and Liquor companies – which inversely further the destruction of our communities. If we can put forth this platform out, and the artists give their words, things will certainly change.

Thank you so much for your input sir, we sincerely appreciate it. Prof. Griff can be contacted at: http://www.myspace.com/professorgriffofpublicenemy

This interview was conducted by Tolu Olorunda, Staff Writer for YourBlackWorld.com

Lauren London Speaks On Thuggish/Violent Men

To say that the recent statements of 'Actress', Lauren London - in a "King Magazine" interview - is disquieting, is both an underestimation and misunderstanding of the potency attached to the wordage of certain celebrities within our community. Young Black Women are continuously lusting after the aptly-described "ruffnecks" and "thugged-out" brothers within our culture. It was in 1993, when MC Lyte, rapped - on a song called "Ruffneck," from the album, "Aint No Other" -  "I need a ruffneck/I need a dude with attitude/Who only needs his fingers with his food/Karl Kani saggin' timbos draggin'/Frontin' in his ride with his home boys braggin'/Lying 'bout the Lyte how he knocked boots last night/But he's a ruffneck so that's alright." At the time, such allusions were looked upon as little other than artistic-expression, but with the rise in domestic-abuse among black households, such sentiments are beginning to lead to open clues vis-à-vis black-female misjudment. It is an ancient blurb that the good guy always finishes last, but Miss London seemed to put the L in Ludicrous with her recent morally-reprehensible comments. When asked by the interviewer of her choice in men, she replied: 

"An authentic gangsta—that deletes about half the rap game off your list. I love guys who are street. I won’t even give soft guys a chance. Menace II Society is my shit! Caine was like my first crush. Actually, O-Dog was my true dream guy. I was in love with him, from that opening scene where he pops the convenience-store worker. He had me from that gunshot [laughs]. He was ’hood, and I loved that."

- With such statements, it is no wonder our culture is dissipating faster than the dreams of 'authentic' actresses who are more than qualified, but are turned around as a result of their stead-fast belief in integrity. That therefore 'deletes' Ms. London off any such list.

Lavena Johnson - Black Female Soldier Raped

In July 2005, 19-year-old Johnson became the first female soldier from Missouri to die in Iraq. She was found with a broken nose, black eye and loose teeth, acid burns on her genitals, presumably to eliminate DNA evidence of rape, a trail of blood leading away from her tent and a bullet hole in her head. Unbelievably, that's not the most horrifying part of the story. Here's what is: Army investigators ruled her death a suicide.

Beyond the obvious evidence of abuse, there was no sign of depression or suicidal ideation in Johnson's psychological profile. The bullet wound was in the wrong place for her to have shot herself with her dominant hand, and the exit wound was the wrong size to have come from her own M-16, as the Army suggested it did. The blatant lie the military has tried to sell Johnson's family is on a par with the cover-up surrounding football star Pat Tillman's 2004 death in a friendly fire incident. Unlike Tillman's widely reported story, however, outside the blogosphere -- where writers like Philip Barron have worked tirelessly to keep Johnson's name in the spotlight -- the LaVena Johnson case has rarely been noted. And sadly, it is far from unique. In a story in the New Zealand Herald on Wednesday, Tracey Barnett writes, "[LaVena's father] John Johnson has discovered far more stories that have matched his daughter's than he ever wanted to know. Ten other families of 'suicide' female soldiers have contacted him. The common thread among them -- rape..."

For more info, pls. visit: 

http://www.lavenajohnson.com/

http://www.waveflux.net/lavena-johnson/

http://www.salon.com/mwt/broadsheet/2008/06/27/lavena_johnson/index.html?source=refresh

http://www.nzherald.co.nz/section/2/story.cfm?c_id=2&objectid=10518131

Black Life Blog: Why I hate Same Sex Marriage

I’m against same-sex marriage as a heterosexual male that’s been married for 22 years. And, been having the same sex for 21 years. It gets a little old. “Turn out the lights, dear. Close the door, dear. Did you let the dog out? Did you let him back in, dear?”

And now the government is seeking to ban the only sex I’ve been having and assume I’ll be able to have the rest of my life. Since when does the government care about what happens inside MY bedroom. It’s not that “sexy”. It just is what it is. I’ve resigned myself to it – so why can’t the government?

For the record, I’m all for different sex marriage. But, you see, I’m not gonna bring it up to the misses. No, it’s worked pretty well the past 22 years and with any luck, for the next twenty-two years.

Oh sure, once in a while – when the kid’s not home, we may go to a room other than our bedroom – but that doesn’t happen all that often. And there was that time in a hotel on a trip to

South Carolina. But, for the most part, it’s been the same sex.

Oh, when we were married, I thought it’d be different all the time. We were so young then, and I was so foolish. But it became pretty clear, pretty quickly that once a pattern was established, it was pretty much set in stone.

The rules have never been discussed but they sure are crystal clear to me.

ONE, never ask for sex – same sex or different sex. If you get some, be glad that it’s come your way. And always be appreciative.

TWO, never ask for sex. Same sex or different sex.

THREE, always make sure the light is out.


FOUR, always make sure the door is locked – even when no one else is home.

FIVE, always make sure the dog is back in the house before instituting rules three and four.

So, you see, I know the rules. I know it’s gonna be same sex. And that’s good enough for me. And it certainly seems good enough for the misses. So, government. But out! Our same sex is none of your business. It usually is none of my business. But when I make it my business, I don’t need your help. And neither does the misses.

Ben Merens is a public speaker and a talk show host at Wisconsin Public Radio in Milwaukee.
He and his wife will celebrated their 22nd wedding anniversary on June 21st.
Ben’s website is http://www.benmerens.com/.

GemStones Speaks To Your Black World On Life & Music

Interview with 1st and 15th Recording Artist, GemStones, by Tolu Olorunda.


GemStones (formerly known as Gemini), is a recording artist on Lupe Fiasco’s vanity record label 1st & 15th. He was raised in Jeffrey Manor/South C on the South Side of Chicago. In 2007, he shot the video for the first single off of his upcoming album, Troubles of the World called “We On” featuring Lupe Fiasco. He appeared on MTV for “MTV Diary” and in August 2007, he was a “featured artist on MySpace.” In December of 2007 GemStones was featured on Fiasco’s sophomore album, The Cool. He appeared on tracks “Free Chilly”, “The Die”, “Go Baby”, and Lupe’s first single “Dumb it Down.” He recently endured a startling experience, which he aptly describes as his “transition.” He lost over 70 pounds, and picked up a socially-conscientious style of Hip-Hop. A highly articulate and lucid speaker, he claims to still posses the lyrical-velocity that accrued fans in the first place. Fresh off “The Cool Tour,” GemStones is now ready to take his place in the Mainstream. His mixtape, Testimony of Gemstones was released June 20th and his debut album, Troubles of the World is due to drop in fall of 2008. I had the pleasure of speaking with GemStones on his life, his music, and his overall outlook on a broad swath of issues:  

Thanks so much for joining us, GemStones. Can you pls. inform us of your background, past projects and the struggle leading up to 1st and 15th records?

Well, I grew up in Chicago, as a rapper/singer. Originally, I adopted the name, “Gemini,” because Gemini is a sleek personality, so I was double-sided. My negative side was me rapping, and my positive side was me singing. I ran into Lupe (Fiasco) in 2001. I was recording in a studio, and Lupe walked in with the late “Stack Bundles.” At the time, Stack Bundles was also signed to 1st and 15th Records. When he heard my verses, he was so impressed, and before time passed, I was signed to 1st and 15th. I then began putting songs together for a whole year, by grindin’. I was living with a couple of producers, who made beats and offered them to me. After a while, I finally got a record-deal. Then I started recording with Lupe, and then he released his first major album, “Food and Liquor,” and I was featured on almost every song on it. And in 2006, when MTV did the special, “My Block Chicago,” I was featured as the headliner. I also hosted “Sucker Free Sunday.” And then late last year, Lupe released his 2nd album, “The Cool,” and I appeared on about 4 songs. I joined Lupe on “The Cool Tour” where we performed shows in almost every major city in the world. In the middle of the shows, Lupe would stop it for me to showcase my talents, and rock the crowds of sometimes, about 15,000 people. With all that, people began to notice me, and I got a whole page in the Source magazine, and a whole page in XXL magazine. And recently, I just released my major mixtape, “The Testimony of Gemstones.”

What are the lessons you’ve learned - musically and beyond - from working with Lupe Fiasco?

Well, I’m more conscious of what I say now, and what comes out of my mouth. In the beginning, I was just rapping to put rhymes together. I watched Lupe’s music evolve, and as I was around Lupe more, I saw the impact he was having on people, with his new brand. Lupe helped me find my voice; and his influence made it easier for me to find out what my calling was. My lyrics and my rhymes are a lot more potent than they we’re before. I’m still rapping with the same intensity that I was, but I’m just more socially-conscious.

Can you describe the radical makeover that you underwent, with regards to your musical and physical life?

I wasn’t eating good; I was out drinking and smoking, and wasn’t taking care of my body. I was injecting all kinds of toxic into my body -- and destroying it. I was up to 320 pounds, when I had a mild heart attack. I was out with Lupe one night in L.A, when I felt a numbing-pain on my left side, and all I could think of was the fact that I was about to have a heart attack. I thought about how I had survived the hood - with gun-shots and so much more - and how I couldn’t go out from food. After that, I went to the hospital, and got my body back on track. I started eating vegetables, chicken breasts, and drinking water. With regards to my music, I started transitioning from the bogus, negative style of rap I was performing, to what I’m involved with today. But, I didn’t plan for it to happen; everything just fell into place after my weight loss. Before I knew it, I became healthy spiritually, mentally and physically. In the past, I had catered to my fans and whatever they wanted to hear; I had degraded women, and with my mother listening to my music, it grew uncomfortable. With my new self, I wrote songs like “Skeleton” and “Good morning.” I realized that if I wasn’t part of the solution, I was part of the problem, and so I made a 180 degree turnaround.

Why the name-change from Gemini to Gemstones?

Well, I had some legal trouble, where someone already owned the name, so I had to make the fix and change it to Gemstones.

What is your overall perspective on Hip-Hop today - especially in the Chi – which is widely rumored to be the next biggest thing?

I think Hip-Hop will be good. I never thought Hip-Hop was dead, but I also thought it was on life-support. And, with cats like Common, Lupe and myself - keeping it strong when things weren’t going as good - we helped it. It was because of cats like that who didn’t sell out for a dime -- that Hip-Hop never died. And if you notice, things are starting to get better – it’s recovering. In Chicago, we hold the elements of Hip-Hop down. We have always made good music for the soul. I also believe that with my transition, I’ve made a big impact with keeping Hip-Hop alive. Even in the clubs; the music that is being played today, trumps that of 3 yrs. ago. Yet sometimes, I feel that rap has to be responsible for some of the more negative things that happen around us. And, whether we as rappers want to admit it or not, the kids are listening to us. When young girls start to believe that they can’t be lawyers and doctors anymore; that all there is to be is some video vixen, you have to take it seriously. The tongue is mighty, and when we realize that we can speak things into existence, we might become more conscious of our lyrical content. I think that if we could turn the negative to positive, we would become so strong as a people.

What’s your take on Barack Obama, and do you have any criticisms of his campaign?

I say thumbs up to him. It’s good to see a black person in a position like that. We’ve been held back for so long, and for any black person who’s doing something positive, I’m always with it. I wish him the best of luck.  

You come from a rich musical background. In fact, you describe it as being vital in your shaping. As an artist and entertainer; how concerned are you that many public schools are slowly but drastically losing their music programs?

I’m very concerned, and I think that we as adults and entertainers need to step up and step in. We need to put our foot down. As soon as we start doing our job, things would start to turn around; but I’m hopeful that we’ll be alright though. 

Can you tell us about the Testimony of Gemstones – which is your latest mixtape?

The Testimony of Gemstones is me testifying and apologizing to all my fans, who I might have misled in the past. I might have led people to destruction with some of my past lyrics. I don’t know what to call what I do, but it’s not rapping. I’m telling the truth; it just happens to come over a beat. Rapping seems to be ‘just putting words together because they match.’ The Testimony of Gemstones is all about real life and inspiration. I came from nothing, and I’m testifying to everyone who can relate to me, and the subjects that I touch on in the mixtape, are rarely touched on by most of these rappers. Ever since the release, I’ve been getting ‘5s’ all across the board, and people are going nuts over it. The response so far has been amazing, and it is an orientation before my album, “Troubles of the World” drops -- which is slated to drop later this year. I made the mixtape to prepare the public for Troubles of the World. The album is so raw, that I had to ‘dumb it down’ for them in the form of this mixtape. 

Lastly, what advice do you have for aspiring artists and entertainers, hoping to get ahead in the ‘wildfire’ industry of Hip-Hop?

Don’t sell your soul, and don’t ever sell out for a dollar. People chase the dollar and miss the pot of gold at the end of the road. Also, never give up on your dreams – which is the main thing. Kanye West once told me, “to be with greatness, you got to play with the greats.” Lastly, keep God first and stay humble; patience is a virtue, and you can ‘Touch the Sky.’

For more information on GemStones and his latest/future projects, visit: http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=66875165

This interview was conducted by Tolu Olorunda, Staff Writer for YourBlackWorld.com