Donuts: The Leftovers [from the Top 10]

Without even seeing responses to the recent “Top Ten,” we can already see the outrage of why so-and-so isn’t on the list. Of course, your favourite Donut isn’t on the list and you are mad and that automatically makes the rest of our list void, correct? Yeah, sure, whatever. Anyways, take that as yet another testament to the beauty of Donuts. I mean, I walk into Tim Hortons and grab a Boston Cream or a Sour Cream Glazed, but the person right behind me will grab a Honey Dip or an Apple Fritter. The donut in this case for J Dilla seems to be of symbolic nature, in the fact that you may not like this one, but you’ll like this one; alluding to the notion that one that stands out as your favourite will be someone else’s least desirable beat.
With that said, there aren’t too many “bad” beats on Donuts. In fact, from a technical and musically aesthetic point, they are all of high skill and relevant value. Some tastes won’t match up. This is different than, let’s say a Top 10 MC list where particular attributes and accomplishments may define the character at hand. Donuts intends to provide the listener with a variety of flavours, and from this batch of 31, surely some will stick out for better or worse. We present to you, the leftovers.


Donuts (Outro) – Having the “Outro” at the beginning was something I always pondered about with Donuts. I guess it was an early slap in the face that, really, this musical experience was going to be unlike any other.

Waves – The titles of these Donuts kind of set a prelude for the actual song, and also set the tone both orally and visually. This is certainly the sailboat-song equivalent to “car-cruising,” simply because it is such a relaxing, smooth flowing harmony throughout. It’s not the most challenging Donut, but is undoubtedly has its own ripple effect.

The New – This isn’t really my favourite Donut, for a few reasons. The Beastie Boys sample is used quite a bit now (but, even 4 years ago I never dug this), and while the horns are hypnotizing, part of me wishes that even in the 50 second display, the horns would have a quick change up. Fortunately, though, it slides quite nicely into “Stop,” and it works as a great “introduction” to the song.
*Editor's note, No youtube video

People – The drums are thoroughly addictive on this Donut. It has that junglistic aesthetic to it that we see Madlib use quite a bit. When that drum picks up (around the 10 second mark) the interest peaks and then J Dilla’s got you hooked. Mesmerized by the drum? Sure, don’t feel dumb (contrary to Masta Killa’ claim on “Triumph”), we all got hooked.
*Below is the original sample.

The Diff’rence – As a diehard Premier fan, I became entranced by the use of the piano sampling in hip hop. It’s easily one of my favourite instruments. When the horns kick in is when “The Diff’rence” gets really exciting, but still, the first minute is calling out any emcees to tear into this one. This beat is J Dilla being the masterful producer he is, providing a canvas for his emcee, then taking the spotlight role on what could be a bridge or chorus. This is definitely a tasty treat.
*Below is the original sample.

 

Glazed: Those horns, man. They are absolutely ruthless. You know how Pete Rock made a living off of his horn usage? J Dilla seldom used horns, but when he did, like on “Glazed,” they are pulsating, climactic throughout, and show stealing. Of course, the messages "wake up world" chime in throughout the track, and how could this alarm-clock-esque beat repetition not be one of the best donuts to rise up to, literally and metaphorically? 

 

Stepson of the clapper: Everyone has heard these samples before. The “Long Red” yell (thanks Kanye West, you've used it enough) and of course, the "clapper." This particular Donut doesn't do anything extraordinary, but damn, it allows you to appreciate those drums; those hard hitting, career defining drums that hit the soul like a fruitful thanksgiving dinner. It truly is a feast of thump and boom and pound.
*Below is the original sample.

The Twister: Huh, what? Yeah, this one gets loud and in your face. It is relentless in causing mayhem, but it is true to its title as it shifts from the Stevie Wonder vocal to this whirlwind of insane sound. Once again, listen to those drums, that pattern and cymbal figuration is magnificent. It's a simple pattern, but how it is done in such a crisp matter? That's the secret of the recipe.
*Below is the original sample.

One eleven: For some odd reason, I can hear the vocals on “Fu*k the Police” fitting perfect in here. Yeah, Rapper Big Pooh was nice on it, but this is another Donut that is aching to get artist collaborating on it. It seems to develop ever so subtly without really changing at all. Just a small change of the violin sound, a vocal drop here and there, and things seem to change drastically, without changing at all.

Don’t Cry: This Donut is one of those long-walk-home in the rain joints. When it begins picking up around the 40 second mark though is when it really begins to hit home, especially with the split second clips of what J Dilla gets to sound like “baby.” Well structured, well executed, and well compiled. This is typical J Dilla. No complaints here.

Anti-American Graffiti: Yet another Donut I just can’t come to gripes with. I appreciate its aesthetic value and it would make an absolutely perfect interlude or skit on an album with some depth, concept, and heart.

Geek Down: The “UFO” sample is used quite often, but here it seems like such a natural fit in. Like many of the Donuts, there’s a cinematic feel to it. This would be perfect in a Quentin Tarantino flick, but for musical sake, the unsettling electric guitar quips in-and-out are quite timely and profound. Ghostface certainly did this one justice.
*Below is the original sample.

Thunder: Not an overly complicated beat at all, but that dark piano is the type that illuminates that trouble is afoot. Here, I’m thinking “Keep it Thoro” alongside “All 4 the $,” but in a really distinct manner. Part of being a great producer is knowing what to not touch, add, or change and here, J Dilla does the right thing by letting the piano loop do all the work. There aren’t even any hard hitting drums to back it up, which is marvelous and slightly daunting.
*Editors note, no youtube video

One for Ghost: The title alludes to “Whip You with a Strap,” the Ghostface Killah gem that perfectly tells the story of his mother beating him out of love. Frankly, Ghostface lyrically says what the beat speaks to audiences, as well. If you ask me, the alarm horns throughout kind of ruin the sentimental and somber moment of the beat, but aside from that, the song is an artistic work that is simple and blunt about what it wants the emcee to talk about. This is J Dilla taking control of the song right from the get go.

Dilla Says Go: This Donut is similar to “Waves” in that it has a pace that it sticks to and really glides along as it sets out to do. It’s not out to snap necks or to cause ruckus; it’s a perfect beat to just sit back and vibe to, as is. It is the subtle additions are wonderful, and how they contribute to the song is what makes it such a delicate and fine product. It’s a perfect beat to really display the love you have for hip hop on, and with that said, this beat should be handled with care (as Talib Kweli did on “Kweli Says Go”).

Walkinonit: The lyrics “broken and blue” chime throughout this Donut over simple and soft strings. This is a Donut that screams out reflection and disturbance. With that said, the scratching and adlibbing seem out of place and a little un-tasteful with such delicate subject matter and soulful vocals (courtesy of The Undisputed Truth).

The Factory: “The Factory” is a definite head-nodder that is relentless in its pace and attitude. Backed by various instrumental elements throughout, this Donut is a thoroughly futuristic and complex dialogue a la Jaylib (because really, only Madlib would have that I-don’t-give-a-f*ck attitude to rap over it). It works well in a convenient setting, but could prove a little annoying to any unsuspecting listeners new to this unorthodox sound. Screw ‘em anyways, though.
*Editors note, no youtube video.

Hi.: Ghostdini blessed this J Dilla Donut (with “Beauty Jackson”) with one of his vivid and entertaining stories. Once again, J Dilla seems to set the pace and concept of what the song needs and should be able. This has that under-the-light-pole or at the bus stop feel to it, and it would be an injustice to this beat, which really is simple and elementary in nature, if the lyrics weren’t matching that of a concept that the beat already carried.

Last Donut of the Night: The strings on this are addictive and gut-wrenching, and The Moments “all I give to you” vocal clips in and out are haunting and drive even more emotion throughout the track. What’s even slightly haunting is that the vocal clips cut in and out like a piece of classical black-and-white film does during a voiceover that explains what is about to happen or has happened. I love this soulful, and slightly saddened sound, I just think that a beat like this carries a lot of punch that emcees may (or may not) be able to muster up to. Busta Rhymes and Rah Digga did fine with it though.

Donuts (Intro): A fine way to conclude (or is it begin) this collection of Donuts. By the time you get to this song, you realized you’ve kind of had an experience more unique and different than that of any you have ever had. And, in a Memento-type of fashion, one could probably conclude that you could listen to this album front-to-back and back-to-front and it would make perfect sense. The Intro provides that perfect “welcome” feeling, but it also presents that “welcome to the end of your destination” atmosphere. Regardless, perfect way to finish tasty treats. 
*Below is the original sample.

By: Sean Deezill

Check out the Top 10 Donuts here.

J Dilla's Top 10 Donuts

When Donuts first came out, I think every hip hop listener was taking it as a curveball. It wasn’t a “hip hop album” per se, it was an instrumental album that contained a variety of flavours, like a box of donuts. One thing people couldn’t deny was how good it was. Highly regarded as one of the most important and best albums of the 2000-2009 decade, Donuts provided listeners a unique listening experience; one that seemed as if a radio was turned on and being turned from channel-to-channel every 85 seconds. It provided listeners with grips from every genre, while being able to intake the beauty and meanings attached to each track. Most importantly, it provided listeners a new way of listening to music. Hip hop fans especially, who have been notoriously closed minded and unwilling to change, were taken on this musical rollercoaster and were going to have a good time on it even without a catchy chorus or a witty punchline.
      Donuts acted like a C.S. Lewis novella, inviting the audience to step inside the wardrobe and experience a world beyond what they knew, and hopefully a world they would grow to love, enjoy, and want to stay in. To say that it was an outer-worldly experience would be correct, but to say that it was unlike J Dilla would be invalid. Donuts comes from a producer who constantly pushed the boundaries of hip hop, always tried new things, new sounds, and always incorporated a variety of tasty treats in each beat he produced. Unlike most producers, J Dilla was able to tell stories in his beats, sometimes forcing the emcees to step their game up remarkably. His beats more-or-less stole the show and really were able to stand alone.
      While the cover of the project shows only the defining grin of J Dilla himself, the album is overloaded with a mixed bag of emotions, attitudes, and atmosphere. There is no set picture one can frame over the 43 minute time span, and there is no need to. J Dilla sets the picture for you, and that smile, even when on the hospital bed making these no acclaimed beats, is the product of the completion of what may be one of hip hop’s finest masterpiece.
      Sit back and watch as Freddie C and I, Sean Deezill, return to form and present iHD readers with our opinions and explanations of J Dilla’s Top 10 Donuts.

Sean's list: 
Posted with J Dilla instrumentals

10. “Bye”
à Of course, right after “Hi.” is “Bye.” (both have periods after their title, by the way). Doesn’t it have that cliché end-song theme to it? Not that that’s a bad thing, in fact, it begins the end of Donuts perfectly in that Mr. Rogers type of way. It’s a friendly goodbye, hoping we had enjoyed our stay. The beat doesn’t slouch at all though, and it is proof that Donuts had never let up as an instrumental piece or as an artistic dynamic all together. The drums and the Isley sample is really gorgeous. Common did it justice on The Shining, not sure if what he did on Finding Forever matched that caliber though.

9. “Mash”
à A haunting and slightly unsettling piece of beauty that keeps on intriguing the listener as the song goes on. It's one of those songs that keeps you thinking as it keeps going, especially with the "don't be mash" notions from the voiceover. Do you think Doom and Guilty did this beat justice? It certainly presents a challenge to any emcee that would step to it, however, it could be a great beat to provide a concept to as well.

8. “U-Love”
à Sing that ish Ice Man, sing it. What a treat for those who haven’t heard Jerry Butler to hear Dilla bring this sample out and back these vocals up with perfectly timed horns, a relaxing and soothing drum rhythm, and various other instruments for any keen ear listener to feast on. It’s just a same that this Donut seems to end quicker than any of the others.

7. “Airworks”
à Even though my favourite moments of this donut come from the beginning (the vinyl skip intro) and toward the end (when a split second bleep of “Lightworks” can be heard), “Airworks” is similar to that of an artistic collage. The vocal sample is cunning and sharp, as every note hits home as it trails in and out. It's when It uncharacteristically flows off suit and vibrantly seems all over the place that it is at its best and it's also at this time that Dilla is more in control than ever with his production. Don't believe me? Revisit "Drop" and witness who perhaps mastered the unorthodox.

6. “Workinonit”
à It’s hard to pinpoint where the genius in “Workinonit” is at its peak. Is it the engine revs? Is it the “workinonit” clips throughout? Is it the in and out electric guitar strums? The longest Donut is also one that would most likely succeed beyond an instrumental, simply because it is fully in tact with vocal drops throughout, an intro, a climax, and a conclusion, and a spaced out ambition to take listeners to yet another musical dimension. This Donut set the bar remarkably high for the rest of the disc.

5. “Stop”
à I do love the way Khrysis flipped this same Dionne Warwick sample up, but something about Dilla’s “Stop” really screams a really cinematic and epic romantic scenario. The structure is really the most beautiful part about it, simply because the climax is built up and when it delivers (“you better stop! And think about what ya doin”), “Stop” is at its most satisfying. It comes to a marvelous close with the electric guitar backing Warwick’s voice. It’s really, really nice.

4. “Gobstopper”
à No lie, I could listen to this beat all day. Sure, it’s possibly the most repetitive Donut; it has the same pattern, there’s no surprise inside of it, and it sets the record straight from the beginning via the horns. But, those horns are so perfect. They don’t hit as hard as “Glazed,” and they aren’t as timely used as heard on “The Diff’rence,” but they are so satisfying, so enjoyable, and so soulful that they beg to be heard over and over again. They pack an emotional punch and the horn throughout is a nice touch to add a little additional flavour.

3. “Two Can Win”
à This is perhaps the most addictive Donut, let’s say the Krispy Kream of the batch. Yes, we all see you repeating “only one can win, only one can win.” Yes, we’ve seen those same lyrics on your Twitter, Facebook, and MSN. We don’t blame you at all. The message is instilled in the song and The Sylvers vocals throughout would in most cases be somewhat annoying and redundant. I can’t picture this song being any different though. Note the irony of the lyrics (and original song title of the sampled song) and the title Dilla gave it. Hmm…

2. “Lightworks”
à In retrospect, it took time for “Lightworks” to grow on me. Further in retrospect, I can't understand why. What may be Dilla's tastiest Donut has been blessed with the likes of Q-tip, Talib Kweli, Busta Rhymes, and MF Doom. And unsurprisingly, the beat even with all that talent on it, still remains the star of the show. It's fast pace while being so smooth and hard hitting. Those stick-on-stick-like drums are so perfectly timed and the various ingredients (the alarm horn, vocal sample, Dilla’s adlibs) are marinated in so evenly that not one bit of this donut is over-sprinkled. The spacey elements give it this futuristic feel, and the Dharma Initiative-type (shout out to all my lost fans) of introduction set the tone for what really is an instructional video on dope beat making. One has to wonder though, is the vocal sample really saying "light up a spliff?" ha.

1. “Time: The Donut of the Heart”
à This is without a doubt my favourite Donut and arguably one of Dilla’s best beats. We were lucky to have this beat graced by Black Thought on Game Theory, but this beat could always stand alone as a strong two minute zone out. The emotion pours out all over this track and without saying anything, it tells listeners entire stories; stories of heartbreak, uprising, victory, defeat, and education. It tastes good however you want to eat it, and only a select amount of beats hold this kind of depth and proverbial nature. How perfect of an “end credits” song would this be? 

Freddie's List: 
Posted with the original samples



1. "Lightworks"
Of course this is the number one rank, this is one of Ma Dukes’ favorite Donuts.  MF Doom used it on his song of the same name, one of the highlights from Born Like This. 

2. "Workinonit"
Great example of the production style that made J Dilla and Madlib popular: a lot of samples, a lot of stuff going on, and yet it all comes together like all these clips were made for each other.

3. "Stop"
I LOVE the Dionne Warwick sample, absolutely love it. Sprinkle in a little Jadakiss and some scratching, “Stop” works wonderfully as an instrumental by itself instead of being rapped over. 

4. "Geek Down"
I’m a sucker for any beat that incorporates “UFO” by ESG.  Ghostface later rips it to shreds on “Murda Goons.”

5. "Time: The Donut Time of the Heart"
Aptly titled, as it’s seemingly the most heartfelt of the Donuts. The Roots wisely chose this Donut to use as their J Dilla tribute, “Can’t Stop This.”

6. "Gobstopper"
Not a complex beat, and it is rather repetitive, but it begs to be rapped over.  Big Pooh of Little Brother used it for “Plastic Cups,” and even Joe Scudda brings his A-game on it.

7. "The Diff’rence"
The piano gets put to work on this one, I would LOVE to see someone rip the first minute of this Donut.

8. "The Twister"
Another beat with a lot going on.  I nominate Ghostface to start rapping when the flute kicks in at 0:21.  Tell me that wouldn’t cause a scene from your speakers.

9.  "Thunder"
There’s something thuggish about that piano, like it’s menacing.  I want to hear Prodigy on it for some reason.

10. "Bye"
This beat has the almost-cliché  “heartfelt song at the end of the album” feel to it, but in a good way.  Talib Kweli used it for “I Feel You.”

By:
Freddie C. & Sean Deezill

*To purchase the Donuts album click here.

They Cool Like That Series Part 3 | DJ SUPERFOX

The modern day Renaissance Man is clearly someone who can do it all. A Justin Timberlake, a Jamie Foxx, or even a Kanye West. It is an unofficial title given to some of the most talented and multi-layered people in the entertainment industry (at least in our case here). Sadly, there are plenty of woman who should get this title, but never do (unless your name is Oprah). A prime example of a wonderful female who is about to take the reigns of this title is DJ Superfox. She does it all. A DJ, a VJ, a vocalist, a producer, and event host, and even a branding mixer. And that’s barely scratching the surface.
      Don’t let this beautiful lady fool you. Sure, she likes to have fun, she’s remarkably sweet, but she’s all about her business. The girl is lightning in a bottle, but in terms of rarity and energy and has shown the country her talents on MTV, ABC, VH-1, and Comedy Central. If that isn’t enough, her work has displayed during the Super Bowl, Good Morning America, The View, and even World N ews Tonight. 
Evidently, DJ Superfox is all over the map  and your television.  


Not stopping with her music, Lady B (as she is also known) also dipped her foot in the advertising and marketing waters. This, of course led to her working with some elite fashion designers such as Kenneth Cole, some elite record companies such as Warner Bros, and some elite people like Russell Simmons. Superfox intends on touching every piece of land that there is in the entertainment industry, and being Brooklyn born and bred, you know that she has that rough, rugged, and raw mentality that will remain persistent and necessary to her success.
      For Part 3 of the TCLT series, IHD had a chance to catch up with Superfox and discuss various facets of her life in the industry. Of course, this interview flows in the same vein as the previous ones with the equally lovely Eternia and Lissa Monet. As a DJ, Superfox still has the difficult responsibility of being a “female that rocks the party,” but still, she may even use the X chromosomes to her advantage. We speak heavily about “Attention” in regards to DJs and those in the music world and why female DJs aren’t a “downgrade” from a male DJ. Lady B also gives us a behind the scenes look at the treatment of females in hip hop and helps explain why DJs have unfortunately become somewhat of a “faceless talent.” She also shares an interesting Craigslist story. Get a look at these hot topics from the eyes of Ms. Bianca Donaldson, aka DJ Superfox.
SD: What do you believe is the reason for the on and off attention span of others to the DJ? I mean, in 2008-2009, the DJ has resurged as a hot topic in hip hop and club scenes, why do you think so?
SF: Has it? Didn't even notice!  Most people I meet and know including myself have A. D. D., so not sure just how far that goes?!?! [laughs] Okay, okay, okay... Seriously, I have been a music LOVER my entire life so I have ALWAYS paid attention to the DJ's, The MC'S, the band, the music the background singers , dancers etc. Entertainment is entertainment.  If attention is what you seek then if done right you got "MY" attention.  The REAL question is for how long?  I am striving for LONGEVITY!  I honestly still see much more attention on the MC's plain and simple. That is just my opinion but rightfully so they are the ones with the microphone in their hands, correct?
I feel this so called attention has NEVER left! If you wanna go to a hot party, you’re gonna ask "Who's DJ'ing" and that makes a WORLD of a difference to whether or not you are going to the party half the time. If DJ JAZZY JEFF is spinning, best believe I am there, same as DJ EVIL DEE, Mark Ronson and so forth. The DJ's are responsible to get the party "CRUNK," the radio station on "FIYAH," etc... 
SD: Are they deserving of more attention? 
SF: Well, once again like I said previously, if attention is what you are looking for do the right thing and you might just get it. Howver, is "RESPECT" deserving or not? That's the better question. “Attention” may or may not be granted, but RESPECT is something one must earn.  Ya dig?  We can all get on stage and do the robot, I can wear a pink wig every time I spin and wear a cowboy hat just to gain attention. Sure, give it all to me, but RESPECT, THAT's my MISSION! 


SD: Interesting take, combining Attention and Respect. Sticking with the former though, do they, DJs, even want attention? 
SF: I think in some way or another WE ALL WANT ATTENTION! That's SHOW-BIZ?!!! The nature of the beast! FORTUNE and FAME!  Whether you are chasing after the dollar and/or the dream, you still need to get the attention of everyone around you.
  
Without some kind of attention, no one would give a damn who you are! You have to get your audience’s attention and KEEP THEM CAPTIVATED so they can stop, and realize who you are and what you are doing, what ya about and where ya trying to take them to. This place I like to call PLANETROCK!  whooooo hooooooo [laughs]. 

SD: What differs the Female DJ from the Male DJ?
SF: There are major differences between female and male DJ's in my opinion. I'm not necessarily even talking about the "skills" either. BEHIND THE SCENE alone, the FEMALE DJ gets treated differently!  As a female DJ, I have to work harder to prove that I deserve to be even RESPECTED as a "DJ."  When people see a female they automatically feel that she is going to be inferior or some sort of a down grade from a male DJ.  However, when I start my set folks become surprised: "WOW she really is a DJ, NOT just a pretty face. Oh, wow, she is playing some HEAT," like duh what the hell did you expect?
So, as a female DJ, especially being one that is NEW on the scene, I gotta work harder to prove to the world that I am NOT some kind of a GIMMICK. I am not going to wear a BIKINI and 15 inch stilettos to this party. I am gonna ROCK you till you DROP!  It's honestly, in my opinion, definitely more of a male driven arena we are playing in, that includes the MC's and all. 
Then there is always, for me, that extra element, the digital DIVIDE. Vinyl verses MP3, VJing verses DJing, turntables verses midi controllers, Serato scratch live verses Serato itch or traktor, etc. I am coming from the NEW-er breed of the DIGI DJ's. I am a huge tech nerd but we can talk about that some other time! [laughs]. 
I see it all the time, if there is a 2 floor party most of the time the FEMALE DJ is place in the smaller level or the level with LESS of a crowd.  It's a shame but that is honestly taking it back to the whole topic of "Venus vs. Mars" [laughs]. Guess what? I come from the planet JUPITER, so what does that say?  [winks] 
Also, one more thing. So, there was an ad in Craigslist, a club was looking for DJs and I answered it. They asked for head shots, so I sent them that. Then pow! "Please send body shots!" OK, COME ON, would they honestly ask a MALE DJ for BODY SHOTS? So, would ya like that with or without my bikini on? Whoa! Needless to say I didn't bother to respond. Whatever happened to listening to a DEMO?  Ya wanna see pictures? Go to my website in my gallery take a look, have a ball, but when ya done, check the technique and go to my downloads section. LISTEN to why I am called DJ SUPERFOX! [laughs].


SD: Why has it gotten so bad in music, that even the DJ's who really are “faceless talents,” even get judged by their looks/sexuality?
SF: Ok, “"faceless talents," I got one word for you, ya ready?
... BRANDING! Branding is EVERYTHING!  Hell yeah, you will get judged on your looks as a FEMALE DJ especially. at first glance!  We have the Beverly Bond's and the Sky Nellor's. Come on, image sells. Then ya open up the package and you take a listen, and then ya ULTRA surprised when you actually like the music! But, it was the BRANDING that made ya buy it in the first place or it made ya bother to pick it up and look at it (CD's, book's, magazines, DVD's, etc.) Why on earth do ya think BEYONCE is one of the HOTTEST chicks in the game; looks and then TALENT!!!
Look at the India Arie's... hmmm... ok, I won't go there but,  as a female, once again new to the game, I am going to always get judged on my looks especially with the name DJ SUPERFOX.  Seriously how WACK would that be if I looked like a SUPER-MESS with that name [laughs]. But, back to the seriousness of it all; it's BRANDING AND TALENT... CRUCIAL!
SD: Here, be honest and don't hold back. Do you ever use your sexuality to your advantage, similar to how female emcees like Lil Kim and Foxy Brown did?
SF: Oh boy, here we goooo!!!!  [laughs]. Well, a little smile here or there, yes, but my "sexuality,” NO!
I am not a porn star so I want you to respect the "DJ" skills dammit! [laughs].
Every now and then I will wear some cool sh*t. Why? Because I LOVE FASHION and just having fun with doing what I LOVE to do so why not!?  But, using it to my advantage... hmmm... maybe I should! I might be spinning in VEGAS by now, doing calendars and such, but as of right now, NO! I want my work to speak for itself, not my body and the way I shake my hips! THUMBS DOWN! [laughs].


SD: [laughs]. Okay, last question. End on a positive note. If you were a rapper, would you prefer to be more of the Nicki Minaj-Sex Pot, or the Bahamadia-Street Professor, or even somewhere in between?
SF: To be honest, I would love to be FERGIE! [laughs hysterically]. No, seriously. Hm. Good question!  Some where in between: Lyrically gifted with looks to kill, but on a naturally sexy vibe, NOT in a raunchy way. I wanna just be ME, Lady B aka DJ SUPERFOX!  
-Sean Deezill (www.twitter.com/seandeezill)

Contact Info:

www.djsuperfox.com

www.twitter.com/djsuperfox

They Cool Like That Series Part 2 | DJ Lissa Monet

A humble undertone in hip hop is the DJ. Sure, they may be the Johannes Gutenberg’s of the musical industry, considering they relay music to a wider audience more than any pressed LP could, but they are greatly underappreciated and pushed to the background. With the recent passing of Roc Raida, DJs have come out of the woodwork and even an appreciation for the DJ was been reemerging. Enter: DJ Lissa Monet, a Toronto representative, award winning, highly respected turntable queen.

            As if the challenge of being a DJ isn’t hard enough, DJ Lissa Monet deals with being a female DJ in one of the hardest-to-please markets in North America (Toronto aka The Screwface Capitol). Of course, someone as stone-tough as Lissa wouldn’t let a mere gender issue get in her way, and she has become a part of hip hop’s elite DJ core. Extending passed the regular club DJ sets, Lissa has also put out a mixtape with Andreena Mill (Ready to Fly) and continues to seek marvelous talent around the continent. Even spinning for high profile celebrities like Lebron James and Jay-Z is one thing, but taking full control of the driver seat in the so-called man’s road of hip hop is an even more powerful statement. This self-proclaimed Go to Girl is certainly a go-getter.

            IHD got to chop it up with Lissa during her busy schedule and was able to discuss her goals, her obstacles, her thoughts on “playing the background,” and the role of the DJ. Peep it!

SD:  In 2008, we saw a resurgence of going "back to the DJ" similar to the mid 80's to early 90's. That gave the spotlight back on the DJ's for a bit. With the death of Roc Raida, that spotlight has been shone back upon DJ's everywhere. What do you believe is the reason for the on and off attention span of others to the DJ?

LM: That’s a great question because even though DJs somewhat “play in the background” we are the most important element to an event. I mean, I always say, "if [we] don’t show up, then who will play the music?"

SD: So, they deserve attention for things beyond the turntable spinning?

LM: I believe DJs are deserving of more attention for their talents and ear for music more than anything else. Like, if a DJ discovers a critically acclaimed artist or producer he/she should be credited. If they produce a song, they should be acknowledged. It shouldn’t be about anything more than their god given talent and love for music.

SD: Did Roc Raida have an influence on you at all or at least affect you after his death?

LM: Unfortunately, he had no influence on me. It’s always sad when a highly respected person passes away before their time, but I don't think I was old enough to understand the impact he had on the hip hop and DJ community. I grew up listening to totally different genres of music (pop, r&b, soca & reggae) and didn't immerse myself in hip hop until the late 90s.

SD: Do you think there's an emphasis on being a remarkably fast, tricky, and skilled DJ, such as he was, in today's artform of DJing?

LM: To have that kind of talent is remarkable. Since the death of Roc Raida, I have actually been bugging my older guy friends to lend me videos and footage of DJ battles. It’s always good to learn the culture and see how it started to what it has evolved into now.

SD: So, what's your goal as a DJ?

LM: My goal, as a DJ is to just expose people to different types of quality music. To just spread the word about every amazing artist - Drake, Melanie Fiona, Andreena Mill, Trish - that crosses my path. I still love to rock a party, and I feel like I’ve kind of mastered that. Still, my heart really lies in spreading the word about music. If I could sit at home all day on Facebook, Twitter, and my blog (http://lissamonet.com/blog/) and hit people up with quality music, I totally would.

SD: Does this or can this differ from your goals of being Female DJ? Certainly, the gender aspect must include some certain extra weight you might have to bare?

LM: There's no [different] goal being a female DJ. At the end of the day, I’m a DJ and I have to learn how to play with the big boys. I should get no “easy button” or special treatment for being a female. F*ck that. The only thing that I can do different  is spin in heels for 5 hours and get it in doing that too [laughs].

SD: Just to wrap up, you're mixtape with Andreena Mill was extra dope. It was refreshing. Really, a quality hip hop female group hasn't been seen/heard since Salt-n-Pepa. How hard would it be for a Female DJ and Female Emcee duo to emerge in hip hop?

LM: I think “groups” [in general] are becoming extinct. There's not enough money to go around. It’s like every artist for themselves in the music industry these days.

SD: Thanks for your time DJLM. All the best.

-SEAN DEEZILL (follow on www.twitter.com/seandeezill)

Contact info:

http://lissamonet.com/blog

http://twitter.com/djlissamonet