Breez Evahflowin Interview

Another interview I dug up from the HHHead archives. In my opinion, this is probably the best interview I've ever done, just based on the depth of Breez Evahflowin's answers and his willingness to really go back in time and share those memories. I'm not the posting the whole thing, moreso like a highlight reel.

What is your hip-hop background? Did you grow up listening to hip-hop or was it something you fell in love with later on in life?

I grew up seeking hip hop. I used to stay up late sneakin past my mom and big sis to listen to the radio late nights on fridays and saturdays to tape the rap songs with my tape recorder pressed up against the speaker cause we couldn't yet afford the stereo with the built in tape decks. I used to watch Video music box when it used to come on only one day of the week, just to catch a glimpse of the rap stars I idolized. to be "up on" the latest hip hop was rare at that time, It was something only a few others were into. I saw some of the other kids b-boyin and writin. although I loved to draw, it was the MC that I wanted to emulate.

Hypothetically now. You get approached by Jay-Z to sign to the ROC and by Slug to sign to Rhymesayers. Who do you sign with and why?

They are both great labels for what they do. the Roc is a major label stronghold, Rhymesayers is the same for the indie hip hop scene. If I absolutely had to choose one or the other I would have to go with the ROC. Alot of what I do is limited by the reach of my budget. I try not to pander to anyone market anymore, I'm just rockin to rock and If I can get that to as many people as possible I'm confident I would succeed to an extent. Proof of which come in the form of last year's Troublemakers release on little ax records. After 5 years of no solo releases I decide to work on a producers project with Dirt E. Dutrch of indiefeed fame. When putting out a record most labels, indie and major, consider the cost of promotions. they have budgets for college radio, mixshows, video promotions, press and some club promotions. the only thing we could afford to do was college radio promotions. We banked it all on that alone and got up to #2 on CMJ in just 4 weeks with only Lupe Fiasco to block the way to #1. Now the benefit of Rhymesayers is probably a better profit margin, but, the exposure level of the ROC, that's the kind of stuff that got a lot of dude still touring the world dropping heavy on the indie market well after their contracts have expired. I would definitely come out of pocket for a real good lawyer before I sign anything.

You're on death row. Instead of a last meal you get to make a last song. And you can choose from anybody. Any producer, any singer, and any rapper. Who produces the track? Who sings the hook? And who drops a verse?

DJ Static does the track, I've learned from experience, when I need a dope track and theirs not a lot of time to wait he comes through with aces! Jill Scott is singing whatever her heart desires.

And there is no one who would be able to keep up with what I know are going to be my verses.

Who are some deceased artists you would've liked to have worked with?

Slang Ton from the Outsiders, he was amazing

How have you changed as a lyricist since you were freestyling on MTV years back?

From the DFX show with Funkmaster Flex and Sway, I got a sober perspective on how the game really works from an insiders POV. I talked with the singer Mya backstage after a show and she confessed with a sad look that she probably should have gone independent. Here was a person who from the outside seems on top of the world with success few could imagine. On another episode I stood near Funkmaster Flex to shoot commercial bumpers and it pained me to do so. He represented everything that i stood against. in my opinion he could never be hip hop. Until one day were standing near one another and as usual he doesn't acknowledge my presence until the camera's come on. we sign off for the commercial break on the live broadcast then the camera's cut off. Flex, oblivious of not only me but every one else in the room, just starts cutting up this break in the record. He is standing there fucking shit up for like three minutes! On some skillful shit!! then as if a man exorcized of a demon, the camera's come on and he's cuttin like DJ 101. Immediately I felt a lot less hatred and a lot more empathy for the man. As I prepared to dumb it down myself, for another cheap win, before an audience not quite ready for what hip hop truly is. I know earlier I said I'd probably sign with the ROC, and I still would, but I'd be mindful of the burden of success. My lyricism reflects and respects that part of it all. I understand why being a hip hop artist has been so important to me over the years. It started as an escape that became a release. A personal release that helps me to be content with what I've gotten and appreciative of those few who continually seek me out.