Endorphin
Bath & Todd E. Jones presents...
Interview:
DEL THE FUNKY HOMOSAPIEN
“The
11th Hour Of Del The Funky Homosapien”
An Interview with
DEL THE FUNKY HOMOSAPIEN
(OCT 2006)
Interview
by Todd E. Jones aka The New Jeru
Poet
toddejones@yahoo.com
Del The Funky Homosapien states, “Time is too expensive.” A
true hip-hop legend, Del has maintained his credibility and eccentric
nature through his consistent musical evolution. He knows what his
“love is worth”. Cousin of Ice Cube and leader of Hieroglyphics, Del
has earned a mythical reputation due to his work as a solo artist,
producer, and in side projects.
Released on Elektra Records, his 1991 debut album,
"I Wish My Brother George Was Here" spawned the hit, “Mistadobalina”.
His sophomore 1993 album (also released on Elektra), “No Need For
Alarm” displayed a major growth with an extremely brutal edge. The
thick grooves and sharp melodies coincided with Del’s signature flow
and aggressive lyrics. “No Need For Alarm” included the classic tracks
“Catch A Bad One”, “Wrongplace”, “Wack MC’s”, and “Boo Boo Heads”. One
specific track, “Worldwide” claimed to feature a pre-teen emcee named
Unicron. The mysterious and aggressive Unicron was actually Del
performing through vocal effects. Many people still believe that the
kid was a real person. As Del continued to artistically evolve, Elektra
Records did not share his vision. Although Del completed his third
album “Future Development”, Elektra refused to release the recording.
With the help of his own wisdom and his crew’s
loyalty, Del decided to take the road of independence by creating the
label, Hieroglyphics Imperium. The funky human being has been traveling
the independent road ever since. Hieroglyphics Imperium was one of the
first independent hip-hop labels that successfully utilized the
Internet. The company has set the standard for profitable independent
hip-hop labels on the web. As a crew, Hieroglyphics consist of Souls Of
Mischief, Casual, Pep-Love, Jay-Biz, Domino, and others. A
multi-dimensional artist, Del began to also produce beats for himself
and his fellow artists. The debut crew album, “3rd Eye Vision” by
Hieroglyphics was a classic collection of tracks that made Del fans
yearn for his next solo effort. Del staked his claim on a variety of
tracks including “You Never Knew”, “The Who”, and “No Nuts”. His solo
track, “At The Helm” was one of the strongest and most memorable songs
on the album. The follow up Hieroglyphics album, “Full Circle”
displayed an overall maturity from the entire crew.
The new millennium marked Del’s resurrection. Not
only did he begin to study music composition, but he also began to
learn other languages. His solo album, “Both Sides Of The Brain” was
unique project with wild electronic hip-hop beats. A lover of video
games, Del produced the majority of the album inspired by the video
game sound. “Proto Culture” is a track where Del expressed his love for
video games. The song, “Catch All This” was actually used for a video
game. Guest producers for “Both Sides Of The Brain” included Casual,
A-Plus, Domino, and Prince Paul. Guests included Casual, El-P, Khaos
Unique, and A-Plus.
Side projects continued to be an essential element
of Del’s success. Released almost simultaneously with “Both Sides Of
The Brain”, Del released a side project with Dan The Automator and Kid
Koala. The concept album, “Deltron 3030” (75 Ark Records) is a
magnificent timeless classic in the form of a space opera. Stand out
tracks included “Madness”, “Virus”, “Positive Contact”, and “Things You
Can Do”. Guests included Damon Albarn (of Blur), Mr. Lif, MC Paul
Barnum, and others. His most successful work to date was on the
self-titled Gorillaz album. Songs like “Clint Eastwood” and “Rock The
House” earned him money, respect, and exposure. Del also worked on both
Handsome Boy Modeling School albums. His contribution to the “Think
Differently: Wu-Tang Meets Indie Culture” LP (Babygrande Records) was
also a shining moment. Del toured with Haiku D’etat and Zion I, which
led to the compilation CD and DVD “Calicomm 2004”. Del remained
extremely prolific without releasing a full-length album.
Del The Funky Homosapien is on the verge of his next
chapter of artistic creativity. Del recently released “The 11th Hour”
DVD. The film features live performances, documentary footage,
interviews, and more. The absorbing DVD hides nothing from the fans.
Del emotionally expresses himself without holding back. He discusses
the music industry, Gorillaz, money, family, relationships, violence,
sex shops, food, and more. We get to see where and how he creates his
own music. The film is an intense portrait of an inimitably creative
individual.
As the Summer of ends, the year of 2006 begins to die. On a late
weekday afternoon in September 2006, I had an in-depth dialogue with
legendary funky homosapien, known as Del. Like his DVD, Del had no
problems expressing himself, stating his opinions, or letting his guard
down. Without a gimmick or a fake persona, Del is one of the most down
to earth and realest artists I have interviewed. We discussed
independent labels, his music, relationships, technology, hip-hop, and
a myriad of other topics.
As “The 11th Hour” approaches, Del The Funky
Homosapien has a plethora of new projects in the works. The audio
album, “The 11th Hour” will soon be released. Del is also working on
another Deltron 3030 project too. The more Del studies music
composition and music technology, the more he becomes a well-rounded
artist. “Time Is Too Expensive” but, Del tries to utilize every single
second.
T.JONES:
“What goes on?”
DEL THE FUNKY HOMOSAPIEN: “I just wiped out an HD filled with all
of my work and applications that I owned. A Hard Drive, a Lacie
Firewire drive about 200 gigabytes worth of music, applications, from
like the last 5-6 years… gone. So, I'm just shook up. I'm trying to
recover the drive now.”
TODD E.
JONES: “In your new DVD, ‘The 11th Hour’ displays how you truly
engulfed yourself in music technology. How did this happen? What
inspired this? Since there are so many programs and hardware to
utilize, where did you begin?”
DEL: “Yeah, I been computer literate since 5 or 6th grade. Well,
reading about computer programming, I saw what was going to be the new
wave of composing. A lot was just being aware of what the advances were
in music. A lot of different theories.”
TODD E.
JONES: “Your new DVD, ‘The 11th Hour’ was just released. Tell us about
it.”
DEL: “Me and Grant, the director of the DVD, just kind of let it
formulate and come together, naturally. He thought that my lifestyle
was interesting enough to do. The DVD centered around it, as opposed to
just tour footage that I pulled from different places, helped me
formulate my own theories.”
TODD E. JONES: “You get very personal on the ‘The 11th Hour’ DVD. Was
this an intentional move?”
DEL: “Naw, I'm just open. Once you get to know me, I really don't
have nothing to hide.”
TODD E. JONES: “What happened to that crazy girl who came after you
with a knife?”
DEL: “We got into mad stuff. We could've killed each other. I
eventually moved to the crib I got here to get away from her because
she was going to get it, eventually. She did mad stuff. The worst was
hanging herself in my garage… twice.”
TODD E. JONES: “When she hung herself, did you save her or did someone
else save her? What happened?”
DEL: “I saved her, although I hate to say it like that, like I'm
some superhero.”
TODD E.
JONES: “After you released the album, ‘No Need For Alarm’, did you get
some negative reactions about some of your lyrics about women? For
example, ‘Boo Boo Heads’ was particularly angry.”
DEL: “A little, but you know, there's nothing I can do about some
chicks and how they do things. Dudes ain't no better though. I'm equal
opportunity dissing.”
TODD E.
JONES: “So, are you in a romantic relationship with a woman now? In the
'Calicomm 2004' DVD, you were talking about how love is not a big
priority for you now.”
DEL: “Yes. I’ve known her since high school. So, we good. She
doesn’t really destroy stuff like the other two chicks I was with. So,
it's all good. The last two relationships I were in were more like
pimp/ho type relationships, although I wasn't pimping. I just had to
turn on my pimp motor to prevent them from clowning me.”
TODD E.
JONES: “Do you think that there can be a balance of power between a man
and a woman in a relationship? Or, will one always play the dominant
role while the other plays the submissive role?”
DEL: “ Of course! I think women need to be able to submit though,
as well as men. But women, definitely, sometimes, need to learn to shut
up and listen because a lot of women can't accept the truth coming out
of a dude’s mouth. They got to be right, even if they wrong. Let me
elaborate on that thought so that there is no misinterpretation,
because there will be anyway. Let me be clear on the subject. A lot of
women, because of whatever they have been through with men, do not hold
much respect for their word. Therefore, I have been in situations where
I may actually be correct, but still, it's an argument where logic
should reign. Notice I said, ‘correct’ and not ‘right’. I don't believe
in right or wrong. That's opinion. But, a lot of women can't stand
being wrong, like it's a defeat or something. Even though we all cannot
be correct all the time, it's like giving it up. You know? It's like
‘Hell naw, n*gga! You still wrong!’ Find something else to drag into
the argument, just to be right about something. It's like denial. Like
I said, dudes are just as bad, if not worse. They are the ones who
started the chain of events anyway. But, to submit is simply to give
someone their respect, ‘Okay, you got that, my bad or error, my
mistake.’ Some can never do that. They got a thing about being
wrong in front of certain people.”
TODD E.
JONES: “‘The 11th Hour’ is also the title of your new album, yet to be
released. Tell us about that. Why did you release the DVD first?”
DEL: “Happened that way. No particular reason. Some things just
happen. You can't really plan it all. The album wasn't finished yet,
due to, well, you seen the DVD. More concentration.”
TODD E. JONES: “How is ‘The 11th Hour’
album different from your past albums like ‘No Need For Alarm’ or ‘Both
Sides Of The Brain’?”
DEL: “On quality, content, musical consistency, and what people
wanted to hear versus what I wanted to express.”
TODD E. JONES: “What is the meaning behind
the title, ‘The 11th Hour’?”
DEL: “It's too late or just in the nick of time. Allah is one.
Humans try to dictate the outcome of everything.”
TODD E. JONES: “I love the song, ‘Press
Rewind’ (featuring Sadat X) on the ‘Both Sides Of The Brain’ LP. What
was it like to work with Sadat X? How did the collaboration happen?”
DEL: “That was just a cut. (laughs). But, I know Sadat though.
He’s mad cool. I was trying to get him some music production for his
next album, as a matter of fact.”
TODD E. JONES: “When creating a track, do
you have a set theme and pre-written lyrics, or do you start with an
idea or the music first?”
DEL: “As a musician, I usually come up with an inspiration for
some kind of musical theme or motive. This is musical or rhythmical.
So, not really anything lyrical yet.”
TODD E. JONES: “Each Del album has a
signature sound, style, or vibe. How would you describe the sound of
‘The 11th Hour’ LP?”
DEL: “I tried to finally present something more comprehensive.
Like, okay, this is Del. Expect this from now on, not every
other thing I'm into mixed into one, just Del. Save the rest for other
projects like ‘Deltron 3030’. I thought that my fans deserved that.
This next Deltron Event 2 is going to be better.”
TODD E. JONES: “I think 'Deltron
3030' was one of the best hip-hop albums in the last 10 years. It is
one of my all time favorites.”
DEL: “Thank you.”
TODD E. JONES: “How did the ‘Deltron 3030’
collaboration happen? How did you approach the album? How was the
recording process and creative process different from your other work?”
DEL: “Like the Del project, it was more comprehensive, by chance,
which is why this time, we are going at it more with a mind on it. I
think the people deserve that for they hard earned.”
TODD E. JONES: “Tell us about the 2nd
‘Deltron 3030’ album. Are you still working with the same people?”
DEL: “It's still me, Dan, and Kid Koala. Dan and Koala are more
involved in the theme and motives of this one here. I'm glad they are.
I want it to be a group effort. It's completely different from the last
one, but still relative to the space opera theme. Not music-wise
really, but theme-wise. This one definitely has more of an underlying
theme to it, but it's kept basic so anyone can enjoy it, like ‘Hunger’
or ‘Greed’.”
TODD E. JONES: “On the song, ‘Power,
Money And Influence’ from Guru’s ‘Version 7.0: The Street Scriptures’
album, Talib Kweli remarks that Pro-Tools made producers lazy. Do you
agree?”
DEL: “Not really, because an idiot can't work Pro-Tools. You are
going to put some work in, as far as the art of the music. Maybe
computers or any advancements are supposed to make things easier. That
is the whole basis of invention. But yes, there are those who will
always try to use things to get over. But, it doesn’t overpower the
real juggernauts. The key is application. It don't matter how skilled
you are, if you don't know how to apply your skill to the advantage.
It’s like going to college, doesn't mean you are going make it.”
TODD E.
JONES: “What is the meaning behind the song title, ‘Clint Eastwood’ by
Gorillaz?”
DEL: “You got to ask them. I just filled in the blanks. It was a
chance that I was glad to be able to take part in.”
TODD E.
JONES: “The songs (‘Clint Eastwood’ and ‘Rock The House’) that you did
for Gorillaz earned you massive publicity and money. What was it like
to work with Gorillaz? How did the collaboration happen?”
DEL: “It was Dan. We were working on the last of Deltron. He was
simultaneously working on the Gorillaz project. He needed to replace a
rapper on that song, so he picked me, knowing I could do it that night,
then and there. I had just finished reading How To Write A Hit Song and
applied what I learned to that song.”
TODD E.
JONES: “Were the songs ‘Clint Eastwood’ and ‘Rock The House’ recorded
while everyone was together in the same studio or were the songs done
separately at different times or in different studios?”
DEL: “Nope. Well, initially, yes. Without me, I guess. Like I
said, I was a last minute adjustment, lucky for me. Good looking to Dan
for that.”
TODD E.
JONES: “What are some songs you are most proud of?”
DEL: “Probably ‘Eye Examination’ and the songs I did for ‘Full
Circle’ (Hieroglyphics). ‘Love Is Worth’.”
TODD E.
JONES: “My personal favorites are, “Madness’, ‘Love Is Worth’, ‘The
Undisputed Champs’ (with Q-Tip), ‘Cheque It Oooout’, and ‘Press Rewind’
(with Sadat X).”
DEL: “A lot of those songs, back then, I didn't really think
about. If you asked me, I would say I just did them, which to me,
doesn't mark a great composer. But, we got to start somewhere. That was
the beginning of where I'm at now. I think I was good, but I held
myself back from more success in a lot of ways.”
TODD E.
JONES: “Did people think Unicron, from the song 'Worldwide' (from ‘No
Need For Alarm’), was a real kid?”
DEL: “They still do. It's funny. I just tell people that he
finally got arrested. Now, I just say what I feel without hiding behind
Unicron. If it offends people, well, I can't do nothing about that
cause it's real. Get used to it.”
TODD E.
JONES: “What inspired that heated 3rd verse on 'Cheque It Oooout' (from
‘No Need For Alarm’) about a journalist?”
DEL: “Being young and immature, everybody got opinions. I
shouldn't have gotten heated so bad over her’s. It's nothing. I
apologized, actually, to her because she didn't deserve that at all.
But that's one of the things that kept me from more success. We cool.”
TODD E.
JONES: “What was the origin of the term, 'Boo Boo Heads'? Did you make
it up? What exactly is a ‘Boo Boo Head’?”
DEL: “Actually, 'Boo boo heads' came from J-Biz. He was the first
dude saying it around me. It's basically a term for bitches or
hood-rats. You know?”
TODD E.
JONES: “The ‘Future Development’ LP was recorded for Elektra, but that
label never released that album. Many years later, you released ‘Future
Development’ on your own label. What happened with the ‘Future
Development’ LP? Tell us the story about that album.”
DEL: “Well, I started out with the same outrageous budget, around
$300,000. We get it in parts, in thirds, I think. So, we went to work
with that first 3rd. I already had the album basically mapped out from
my mom's house. I was living with mom again, at that point, I believe.”
TODD E. JONES: “Why wasn’t ‘Future Development’ released on Elektra?”
DEL: “Because I got dropped. I was difficult to work with. They
had a shift in personnel with Sylvia Rhone. Yeah, it was a fool. It was
just not happening like I thought. They just sent me a letter saying
that I was axed. I actually had a dinner with Sylvia. She flew out
here. That's big, but at the time, I didn't treat it like that. She was
asking me to possibly work with some other producers, like Premo, for
instance. Me, of course, being the Leo I am, was like, 'Hell naw!' I'm
sure she left feeling that I was too much trouble for the amount of
money I was getting. Add on the fact that my sales were actually
dropping from the 1st to 2nd album. So now, I understand the business
better. Then, I was pissed off. That's basically how it went down.”
TODD E. JONES: “Was it difficult to finally release the ‘Future
Development’ LP on Hieroglyphics Imperium?”
DEL: “Naw, not really, but the version you hear is not finished.
It was half mixed when I got dropped and that was it. I was even about
to do some songs with Redman and De La Soul, but the plug got pulled
before I could follow thru.”
TODD E.
JONES: “How do you think your sound has evolved with each album?”
DEL: “Well, let's see. It's a personal thing, I guess, that
reflects in my music. I feel like I'm a bit more stable now. Before, I
was wilding out. Yeah, I was just growing up, I guess. But now, I'm a
mean young man.”
TODD E.
JONES: “Do you still keep in contact with Ice Cube? What is your
relationship with him like these days?”
DEL: “He is a mega star, so it's hard to catch up with him. I
guess he still believes that I'm not into gangsta sh*t or his music,
but I support him 100%. He’s a black hero! That's real talk. Actually,
about 80% of what I listen to could be considered ‘gangsta’.”
TODD E.
JONES: “So, what was the major obstacle about starting your label,
Hieroglyphics Imperium?”
DEL: “Money, getting the paperwork handled, which Domino and
Michael Ashburne handled. Peace to Michael. We are blessed to have him
down. He has worked with Richard Pryor in the 70’s, so he’s hip.”
TODD E.
JONES: “How did you meet everyone (Souls Of Mischief, Casual, Pep Love,
Domino) in Hieroglyphics and decide to form group and label? Was there
a philosophy behind the group or label?”
DEL: “It was pretty much chance. I'm a Leo, so people tend to
gravitate toward me. I tend to let people in on the fun happening, if
they got it. So, everybody had it. It just worked. But me, A-plus, and
Tajai knew each other since 3rd grade. So, that's the core of Hiero
since 3rd grade.”
TODD E.
JONES: “I’m a Leo too.”
DEL: “Oh, excellent. Kelis is a Leo too. So is Krs-One and
Posdanus.”
TODD E.
JONES: “Who are some producers you would like to collaborate with in
the future?”
DEL: “I'm a producer, so it's the other way around for me. That's
what I'm into, composition. Ladybug Mecca and Joi from ATL are the ones
now who I'm really wanting to do stuff with because they believe in me!
Joi, Mecca, I love y'all!”
TODD E.
JONES: “Who are some artists you would like to collaborate with in the
future?”
DEL: “Anyone who wants to get down who got it. I'm trying to make
classical records, so open minded people.”
TODD E.
JONES: “Do you still feel that people pigeonhole you as ‘underground’
or even ‘trip hop’?"
DEL: “Nope. I don't think I could be pigeonholed, which is why I
decided to calm down and pick an avenue. I’ll always be underground
because I'm just funky and grimy like that.”
TODD E. JONES: “What LPs have you been listening to during the last
couple of days?”
DEL: “A lot, but the latest was Lil Kim's last one, Company Flow,
‘Kelis Was Here’ by Kelis, a little of Jaz-O, E-40, Parliament,
Bootsy’s Rubber Band, Snoop's last one, and DPG'z. I listen to a lot of
street stuff or funk. That's what talks to me in my daily grind, but
I'm usually trying to create music though.”
TODD E.
JONES: “Hieroglyphics Imperium does much of the business over the
Internet. What's your opinion on how the Internet has affected the
music industry?”
DEL: “Great! It has distilled the power to the man with the
product, initially more good than bad, with downloading being bad. But
I do it too, so hey, buy stuff too. But if I want it at 5:00 am, I'm
downloading it.”
TODD E.
JONES: “What was the last incident of racism you experienced?”
DEL: “I don't experience much, thankfully. Maybe, I don't attract
that kind of vibe. I'm cool with everybody, though I'm pretty militant.”
TODD E.
JONES: “Where were you on the September 11th terrorist attack? How did
you handle it?"
DEL: “What was that? The planes? Or the bomb someone tossed in
the subway? Or am I tripping? You know what I think about it?
Somebody’s lying, but I won't get too deep into it. Everybody knows
who's who, at this point. It's well documented, way better than how I
could put it.”
TODD E.
JONES: “Word association. When I say a name of a name, you say the
first word that pops into your head. So, if I said, ‘Flava Flav', you
may say ‘Clock’, ‘Crack’, or ‘The Surreal Life’. Okay?”
DEL: “Okay. That was cold right there, but okay.”
TODD E.
JONES: “Method Man.
DEL: “Dope.”
TODD E. JONES: “Dead Prez.”
DEL: “Militant me.”
TODD E. JONES: “Public Enemy.”
DEL: “Same thing.”
TODD E. JONES: “Common.”
DEL: “My folks.”
TODD E. JONES: “Ice Cube.”
DEL: “The man.”
TODD E. JONES: “Happy Mondays.”
DEL: “Old.”
TODD E. JONES: “Phife Dawg.”
DEL: “The homey.”
TODD E. JONES: “Curtis Mayfield.”
DEL: “Dead.”
TODD E. JONES: “Atmosphere.”
DEL: “What up y’all?”
TODD E. JONES: “The Roots.”
DEL: “What up Black Thought?”
TODD E. JONES: “Lyrics Born.”
DEL: “What up fam?”
TODD E. JONES: “Jay-Z.”
DEL: “The master of the game now.”
TODD E. JONES: “Redman.”
DEL: “Hey hey hey, Red! Peace!”
TODD E. JONES: “Kool Keith.”
DEL: “What up Keith?”
TODD E. JONES: “George Bush.”
DEL: “Uuuugh!”
TODD E. JONES: “What is the biggest
lesson you have learned in your career so far?”
DEL: “Don't try too hard and there is such a thing as overkill.”
TODD E. JONES: “What are some major
misconceptions do you think people have of you?"
DEL: “That I'm out there. I'm just a weirdo on dope or something.
I'm deep, but I'm pretty mellow… for a rouge.”
TODD E. JONES: “What is the main thing
that every good artist needs?”
DEL: “Patience. You won't get anywhere if you can't wait because
God will make you wait.”
TODD E. JONES: “Do you still feel that
people think you are on drugs?”
DEL: “Yeah, and I’m not above it. But, I don't like depending on
anything or anyone. So, I don't abuse anything. 90% of the time, I'm
perfectly sober. I got to be in order to study.”
TODD E. JONES: “How have your parents
influenced your music?”
DEL: “My pops is an abstract artist. Moms worked in law
enforcement. So, those things definitely influenced my being in
general, than the music.”
TODD E. JONES: “Who else influenced your
music?”
DEL: “Musically, I was more or less influenced by the hip-hop
greats like Mark 45 King, Marley Marl, Prince Paul, Dr. Dre, and Howie
Tee. You know, I could go on.”
TODD E. JONES: “Do you have a favorite
sampler / drum machine?”
DEL: “Probably between the Yamaha or the MPC. But, I use the
computer mainly, Ableton Live and Stylus by Spectrasonics.”
TODD E. JONES: “What happened with
the major label deal with Elektra?”
DEL: “Fizzled. They were tired I was tired. We just split ways.
But, I'm still cool with a lot of people who worked with me up there.
Shelby actually helped out a lot with ‘Both Sides Of The Brain’. Also,
Sophia Chang is a good friend of mine as well. She helped out
tremendously, business-wise and personally.”
TODD E. JONES: “What are some of your
favorite films?"
DEL: “Man, that's tough. ‘A Clockwork Orange’ and ‘The Warriors’.
I play video games. Well, when I was younger anyway. But, I’ve seen
hundreds of films. I don't anymore, really. They are too
money-motivated. You got to get paid, but art is important too.”
TODD E. JONES: “Recently, what is a
typical day like for you?"
DEL: “Man, I be burnt out like a bulb. I attempt to get up.
Immediately, try to make some music. My girl, the one I have with me,
she gets on her laptop, starts drawing or writing, as well. From there,
that's about it. I try to generate enough energy to eat and stuff.”
TODD E. JONES: “Do you think success
and credibility are mutually exclusive?”
DEL: “I believe some people take your credibility away for silly
reasons, such as more success.”
TODD E. JONES: “How has your live
show evolved?”
DEL: “Physically, I put more into it. More interaction with the
crowd. I feel myself more.”
TODD E. JONES: “What is your favorite
part of your live show?”
DEL: “Free-styling, talking, interacting with the crowd, and Zac
Hendrix, cutting those records to death.”
TODD E. JONES: “Hieroglyphics are legends
known for their free-styling skills. Some people say that the
documentary, 'Freestyle' did not give Hieroglyphics enough credit for
their contribution to the culture. Do you agree?”
DEL: “Well, I haven't heard of that movie. But, even though
free-styling is not the ultimate, like a lot think it is, it's a good
tool. The main thing is conveying a fairly clear image,
conversation-wise to the listener.”
TODD E. JONES: “As an emcee, how did you
perfect the art of free-styling?”
DEL: “I just thought you weren't supposed to write or you were
wack, when I was young. Then, Cube told me if I wrote some down, maybe,
I could use it for something. I said, ‘Yeah you right’.”
TODD E. JONES: “What’s the best thing
about living in Oakland or Richmond?”
DEL: “I live in Richmond, been out here for a decade. But
Oakland, Bay area, it's all good because the people, in general, got
that kind of homey feel. There is a lot of culture out here.”
TODD E. JONES: “What’s the worst thing
about living in Oakland or Richmond?”
DEL: “It's madness too. Fools be getting popped a lot out here.
It's no joke. Crack heads still exist, but that game is kind of dead
now. It still goes on, but I think heron is bigger now, or ice.”
TODD E. JONES: “When you die, would
you like to be buried or cremated?"
DEL: “I would like to rise again from the ashes, as the phoenix,
and burn my accusers.”
TODD E. JONES: “What would you want
on your epitaph?"
DEL: “Fuck all who appose me. Love to all who is one with Allah
or whoever you give praise to.”
TODD E. JONES: “Do you consider yourself a
more spiritual person?”
DEL: “Very, but it's not overbearing.”
TODD E. JONES: “What religion or practice
do you identify with the most?"
DEL: “Islam, but I read 5% lessons too. It's direct, no beating
around the bush.”
TODD E. JONES: “What’s next?”
DEL: “Man, homey, everything! I like working with Joi and Ladybug
Mecca. They are my favorites. I got mega love for them two. We just
have been shooting the stuff, slanging ideas around. I send them beats
when I got the space to do so. They support what I do, vice versa.
Personally, they are like my sisters. Mec is around my age, Joi is
older.”
TODD E. JONES: “When is ‘The 11th Hour’ LP
coming out?”
DEL: “Next year, hopefully, 1st quarter. The new Souls Of
Mischief may drop first.”
TODD E. JONES: “What else is coming
out on Hieroglyphics Imperium?”
DEL: “Souls Of Mischief. Prince Paul is producing the album.
Also, ‘Last Good Deed’ by A-Plus and Pep Love’s ‘Reconstruction’.”
TODD E. JONES: “Final words?”
DEL: “Words are not finite. They last forever.”
HIEROGLYPHICS Website:
http://www.hieroglyphics.com
DEL THE FUNKY HOMOSAPIEN Official MySpace Page:
http://www.myspace.com/delthefunkyhomosapien
AUDIO:
"Phony
Phranchise" - DEL
"Press
Rewind" - DEL
"Eye
Examination" - DEL
"Undisputed
Champs" - DEL (f/ Q-TIP & PEP LOVE)
"The
Repo Man Sings For You" - THE COUP (f/ DEL)
"Magnetizing"
- HANDSOME BOY MODELING SCHOOL (f/ DEL)
>
"The
PJ's" - HANDSOME BOY MODELING SCHOOL (f/ DEL & Trugoy)
VIDEO:
"At
The Helm” – HIEROGLYPHICS (DEL)
"Clint
Eastwood" - GORILLAZ (f/ DEL)