As a journalist who has spoken candidly with many of Hip Hop's elite, I was honestly surprised by Pharoahe Monch. I've grown up listening to his music, dating back to my first listen of Organized Konfusion's 1994 album, Stress: The Extinction Agenda, but wasn't fully prepared for his sincerity. Too often are we blessed with emcees, producers, and deejays that believe whole-heartedly that they are the most gifted, most honorable, most iconic, and most creative spokespeople for their generation. Unlike his suggestive high title of the same vein, Pharoahe Monch sat down with SoundSlam to deliver thought-provoking and earnest assessments on a variety of topics. From conceptual work and political motivation to self-analysis and what type of cereal you should buy, Pharoahe shares his thoughts. We even delve in and discuss Diddy, breasts, yoga and more! Check it.
SoundSlam: Let's discuss your new "Gun Draws" video. One thing I noticed about that track is that it's entirely conceptual and right now in the Hip Hop community, with the exception of Nas' record, there aren't a lot of songs and videos that showcase concept tracks and albums. Why did you decide to go that route?
PM: Well, this is what I do. It wasn't even a decision, really. I don't want to sound "away" or anything, but I don't really pay a whole lot of attention to what's going on out there except for what's good and what's really wack. And I've been doing this for some time now, as far as concept records, and "Gun Draws" is in fact a spin-off of a song I did with Organized Konfusion called "Stray Bullet." So it's not even that far-fetched of a concept, but something that's been touched on with Organized and then with Nas' record from It Was Written. My thing is that there's no room to be boxed in right now, so I'm real limitless with ideas that I have. For instance, I did a remake of "Welcome To The Terrordome" on the album as well, and I think that what comes into play when you do these types of songs is integrity. I think that it's risky doing a concept record, in general, and then the stance that I take on the gun issue is risky as well, but it comes from an artistic place... and I think that's easy to see. And by virtue of how it's done, it's venturing into new territory. It's not about 'let's use an old technique to try and sell new records,' but it's about awareness. And at the core of it, I think people get that and take it into consideration. And because it's a concept that's been touched on before, I think that even if I were to do a "Part 3," the risk would be 'alright, come on already!?' but that is the challenge, which is to make it great.
And that's the same really with filmmakers because as an artist I push and challenge myself, but you know how people feel about sequels in terms of movies... I think that applies to records as well. By virtue of the songs I chose, it's obvious it's not about selling records or me trying to remake "You can find me in the club," but the P.E. record is a timeless record and relates to now. And emotionally, I am involved and have involved myself with what's going on in the world politically. And I can't remove myself from that so I'm writing about it instead.
SoundSlam: Yeah, and I had heard that you refused to create an edited version of the video specifically for major network rotation. That in itself seems to inherently be a political move... an unapologetic move, really... can you speak on that?
PM: Yeah, I think people need to see it as raw as it can be. The other things I wanted to do were more shock value just to let people know that it's not a game. Things like the government passing a bill so that media can't cover the coffins of the bodies of the soldiers that come back from the war. That alone quiets and desensitizes us to casualties. We understand the reason why they're doing it, but it is done for a reason. Therefore the average person that is looking at war isn't really looking at war as graphic as it really is.
SoundSlam: Yeah, audio alone often isn't as powerful as the audio-visual that people can get with a video so it makes sense what "Gun Draws" was saying and why it was made the way it was. Anyways, I wanted to ask you about going to work for Steve Rifkind. Do you think that he has the same vision for SRC now as he did for Loud back then, respective to both line-ups?
PM: One thing I respect about him from what I know is that first of all, you have to respect that movement. That movement helped allow me and Hip Hop to get where it is now by virtue of those records and who those records influenced. So, respect has to be paid in that manner. For example, "Gun Draws" was recorded when I was a free agent so I came to the label from the gate with that. I had that vision before, but this project had to be approached the same way that Def Jam and Loud and even Rawkus approached their records back then. I need to put records in the marketplace, but not just do a single with the winner of American Idol on the chorus, and then follow it up with an album. I think people are tired of that s**t!
SoundSlam: (laughing) No doubt!
PM: So many records are being played on heavy rotation on the radio right now that people just are not buying into at all. It's a weird market right now, and then by virtue of digital impact, we have to gauge record sales differently. So, I took it upon myself to see myself maintain being relevant, but also maintain putting out something that gives an artist integrity. I think this is what keeps somebody who hasn't gone gold relevant in the marketplace. I mean, if it's about branding yourself as 50 (Cent) has illustrated to us, and finding your lane, then this is the goal I have, business-wise. My goal is to say 'when it comes to these type of topics and concepts, then you're going to get this when you listen to Pharoahe, so if you're interested in it, then go into the supermarket and buy his cereal. You know, it's Akon cereal, it's 50 Cent cereal. It's Talib cereal, it's cereal that has sugar, cereal that is healthy. Ultimately, it's about how Pharoahe implements what he's doing and try and get the consumer to be like 'let me try this for a month and see if I like it'.
SoundSlam: Yeah, definitely. Well, you titled this Desire, which I think is a fairly interesting title because you've been making dope music for a long time dating back to the late 80s and early 90s. So, what does a veteran like you still desire?
PM: There's a lot, man! There's a whole lot. And there's so many facets, which is what's dope about music. And striving to be better, that you can place on that word. My desire to maintain through this hiatus in which I was kinda muzzled without being able to put out music by being trapped on a label that I didn't want to be on. It took a lot of desire for me to hold on and make it through those times. On a creative level, I'm nowhere near as good as I would like to be, and maybe I'm just not as talented as I imagine I can be. I hear vocalists and singers and emcees all the time that make me go 'Wow! I gotta put in more work and study!'
SoundSlam: Who are some of those?
PM: Lyrically, I like this girl named Georgia Anne Muldrow [on Stones Throw Records]. I just picked up her album and I'm already like 'I gotta go back in the lab!' Also, Jay Dee, errr J. Dilla, he was a phenomenal emcee to me just in terms of his timing, his funk, his soul and his choice of spaces where he chose to place things was just uncanny. So, there's room to grow and I think again, that's what keeps it interesting. I mean, just like a football player or a baseball player, when it gets to a point where I'm uninspired, I'll gracefully bow out. But I don't think the records have ever been about me trying to be 'King of New York' or anything. They're about me trying to inspire, get inspiration, and hopefully raise the level or add to the form of Hip Hop with the music that I do.
SoundSlam: If the music wasn't your calling, what would you desire out of life? Or is that even something that you can answer?
PM: Yeah, definitely. I can fathom being a writer. It's the same thing, really. Some books that I read, I get inspired from the first chapter, and have to put it down and start writing. Just the way that people put words together is inspirational. That's why I don't understand why this art form has gotten stuck in a rut and become so redundant... I don't get it really.
SoundSlam: I understand that! Now, based on the press photos that you've taken for this album, they're really serene and yoga-like...
PM: (laughing)
SoundSlam: In terms of mind state, where is the Monch that was doing the yoga photos and the Monch that was saying "Girls, rub on yo' titties" a few years ago?
PM: It's all there, it's all me. But what's both beautiful and sad about the hiatus is that people haven't been given a chart to see my growth. And maybe that's for the better because I think things happen for a reason. But I refuse to be boxed in so just when you think you're gonna get a greenhouse effect/ global warming album from me, you'll probably instead get a big breasted, titty album!
SoundSlam: (laughing)
PM: I love to keep people guessing! But the funny thing about those photos is that my new year's resolution is to meditate and learn how to relax and to take time to step outside of music and go to the gym everyday and devote time to the physical and take time out during some part of the day for just breathing and relaxing.
SoundSlam: We're 11 days in so far... how are you doing?
PM: I haven't picked up my meditation books yet, but I'm in Manhattan today so I'm gonna go to the bookstore later and pick them up.
SoundSlam: No doubt. Now, I gotta ask about this... you've seen this Pharoahe Monchichi doll right?
PM: Yeah, I had that on my Myspace page.
SoundSlam: Yo, that sh*t is creepy!
PM: (laughing) Yeah man, somebody took that doll and morphed my face onto it, but I didn't have anything to do with it.
SoundSlam: I know, it's crazy. Anyways, this could be hear-say, but word has it that you did some ghostwriting for Diddy's album, Press Play. Some have said that Diddy is flowing in certain parts in the same way that you put words together and what not.
PM: Yeah, I wrote two songs on the album. But I think people use the term ghostwriter loosely because people don't want other people to know you wrote for someone else. But I'm credited on the album, actually. It was really just more like a gig I took for a few reasons...
SoundSlam: You want to speak on the reasons you chose to do that?
PM: Yeah, I saw that as an opportunity to explore something I haven't done before. So in turn, sitting in his office and he's a Scorpio, I'm a Scorpio, and I could possibly get some insight into his world, I took the job. Then came the music. I heard the music and I was impressed. Then I played him some music and he was impressed, but I really learned a lot. I learned that Puff really never sleeps and has a high push and integrity level and so do I, so we gained a mutual respect working on that project. So the ethic that I took from writing those songs and going back and doubling it to write for my project because I thought my integrity was high in the studio, but you're in the studio and have music from Kanye and that person, and T.I. is in the studio and that person, and Puff is in there like 'It could be better, better, better! Let's do it again, again, again!' So, after that experience, I do what I do and write what I write, but going into things creatively, you're like 'I could do it better... Let me do it better... Shoot it again... Let's go again'... you get that added push from someone like Puff.
SoundSlam: Do you ever overwork something, to the point where you're pretty much beating a dead horse?
PM: Yeah, but then my friends will be like 'Man, let it go... you're beating a dead horse... you're good already!'
SoundSlam: Well, it's good you don't have a bunch of 'yes men' around you.
PM: Naw, I definitely don't... they'll diss me in a minute!
