THE TRUE STORY
Sheepdog David Grant
When creating characters for a short-lived web show, I came up with Whitey McChalkskin (middle name: Ivory), a man who insists on being called MC Chalkskin. I suppose coming in second place in a rap contest when I was in seventh grade had given me the confidence to try my hand at creating the raps we needed for the show. They were meant to explain heavy facts about each episode's subject in an interesting and funny way, but since I neither had the proper equipment or experience, they really just served the purpose of being embarrassing.
Boy, would I have been surprised to learn that all these years later MC Chalkskin is still alive and kicking!
Okay, let's take a brief station break to go back in time for a minute and introduce the important characters in this saga.
Boy, would I have been surprised to learn that all these years later MC Chalkskin is still alive and kicking!
Okay, let's take a brief station break to go back in time for a minute and introduce the important characters in this saga.
Kariem, Rich, and Jason
Kariem Marbury
In 1999, I was a theater student at Kent State University. (That's right! This west coast rapper is from Ohio!) I wrote a play about a man and his killer toaster (this was high art, mind you), and a few of my nearest and dearest friends and I set out to make it into a film (I'm still near and dear to a couple of them too!). We held an open casting call, and one of the people that showed up was this handsome, intelligent guy named Kariem Marbury.
It wasn't long at all before we saw the potential in Kariem (although it should be noted that it was NOT the reading he did in his audition that tipped us off). And we had a dynamic chemistry when working together. It just clicked with this guy. We had a similar sense of humor and outlook. So much so that the other producer started saying we were twins (which is still a long standing joke between us).
To make a long story short, Kariem has acted as a muse of sorts for me. I love to write for and work with this guy! So years later, I'm in San Diego, and he's in Los Angeles. And I'm working on a relaunch of that ill-fated web series. Only this time we wanted to work with people that we could rely on. People we knew would be great on screen and on set. People like Kariem. One of the characters we developed with Mr. Marbury for the new series was the Jazzy Jeff to Chalkskin's Fresh Prince, D.J. Pop'N'Fresh.
Okay, so that show never happened, but that doesn't mean the story ended there (obviously).
It wasn't long at all before we saw the potential in Kariem (although it should be noted that it was NOT the reading he did in his audition that tipped us off). And we had a dynamic chemistry when working together. It just clicked with this guy. We had a similar sense of humor and outlook. So much so that the other producer started saying we were twins (which is still a long standing joke between us).
To make a long story short, Kariem has acted as a muse of sorts for me. I love to write for and work with this guy! So years later, I'm in San Diego, and he's in Los Angeles. And I'm working on a relaunch of that ill-fated web series. Only this time we wanted to work with people that we could rely on. People we knew would be great on screen and on set. People like Kariem. One of the characters we developed with Mr. Marbury for the new series was the Jazzy Jeff to Chalkskin's Fresh Prince, D.J. Pop'N'Fresh.
Okay, so that show never happened, but that doesn't mean the story ended there (obviously).
Richard Baker
Enter Richard Baker. Rich is a legit rapper. He's been grinding in the game since he was a kid.
I guess I should explain how I fell in with him. Don't worry; it isn't a long story.
At the time - this is early fall 2010 - I was managing a retail store that will go unnamed. Let's just say that it's a Fortune 400 company and that it specializes in the sale of a popular entertainment. (Okay. Video Games. Stop! I won't tell you the name no matter how much you ask.)
Rich had turned in his resume for a spot as a seasonal employee, and he and I were in the midst of an interview in the backroom when it happened. My style isn't exactly typical. I want to get to know what kind of person you are before I hire you, so I'm very interested in what makes you tick. If you are passionate about something, I want to know the what's and why's and how you're going about making it happen in your life.
Rich was passionate about rapping.
So here I am, a make-believe white rapper talking to a real white rapper, and he's inviting me out to the studio to see what I've got. I still don't know if he was joking, kissing up, or seriously interested in watching me make a fool out of myself, but I took him up on the offer.
I guess I should explain how I fell in with him. Don't worry; it isn't a long story.
At the time - this is early fall 2010 - I was managing a retail store that will go unnamed. Let's just say that it's a Fortune 400 company and that it specializes in the sale of a popular entertainment. (Okay. Video Games. Stop! I won't tell you the name no matter how much you ask.)
Rich had turned in his resume for a spot as a seasonal employee, and he and I were in the midst of an interview in the backroom when it happened. My style isn't exactly typical. I want to get to know what kind of person you are before I hire you, so I'm very interested in what makes you tick. If you are passionate about something, I want to know the what's and why's and how you're going about making it happen in your life.
Rich was passionate about rapping.
So here I am, a make-believe white rapper talking to a real white rapper, and he's inviting me out to the studio to see what I've got. I still don't know if he was joking, kissing up, or seriously interested in watching me make a fool out of myself, but I took him up on the offer.
Jason Nestler
Now, before we get to that, there's one more person I'd like for you all to meet. He had been my assistant manager at said store, but I trained him so well that he was now managing his own store (just around the corner from me in the same mall, which is probably too much information if I don't expect you to power up a name of the company we worked for. Not like I'm some kind of game informer or anything though.)
When word got out that I was going to record a rap song, I had several people come up to me and offer to be on my track. My response was always the same. I'd ask them if they could rap, and when they'd say yes, I'd tell them to demonstrate their skills right then and there. That generally did the trick. Either I'd see they couldn't cut it or they'd simply chicken out. Jason Nestler did neither.
Nope, Jason nodded, smiled, and then spat some serious bars right there on my sales floor. He wasn't in yet, but I was willing to give him the next challenge. He had to write a verse for the song. If it was good enough, and if he delivered in the booth, he was on the track.
When word got out that I was going to record a rap song, I had several people come up to me and offer to be on my track. My response was always the same. I'd ask them if they could rap, and when they'd say yes, I'd tell them to demonstrate their skills right then and there. That generally did the trick. Either I'd see they couldn't cut it or they'd simply chicken out. Jason Nestler did neither.
Nope, Jason nodded, smiled, and then spat some serious bars right there on my sales floor. He wasn't in yet, but I was willing to give him the next challenge. He had to write a verse for the song. If it was good enough, and if he delivered in the booth, he was on the track.
Party Singles!
Godson
I was kind of a fish out of water at Full Clip Studios. Here I am, this albino viking in gamer tees and tore up sneakers. . . and I don't smoke or drink or swear. . . and I'm the one paying for studio time? Saying I'm going to rap of all things?! But it was great! We all had a common interest and common goals, and everyone there was so incredible! I was giving pound hugs and dap like I grew up - well, just knowing what those things are, really.
The thing is, I honestly am a hip hop head. I mean, my era is the 80's and 90's with a little bit of knowledge about before and after those decades, but I can drop some serious science about NWA or Snoop or Public Enemy or Tupac or Eminem or. . . Okay, you get the picture. Before too long, Godson and I were speaking the same language, and I think we really vibed on one another.
Still, those first couple of raps were a proving ground for me.
The first song we did was "40 Oz.," and it's exactly the way you hear it today. It was kind of like catching lightning in a bottle. You have to realize that pretty much the only conversation we had before recording that song went pretty much like this:
The thing is, I honestly am a hip hop head. I mean, my era is the 80's and 90's with a little bit of knowledge about before and after those decades, but I can drop some serious science about NWA or Snoop or Public Enemy or Tupac or Eminem or. . . Okay, you get the picture. Before too long, Godson and I were speaking the same language, and I think we really vibed on one another.
Still, those first couple of raps were a proving ground for me.
The first song we did was "40 Oz.," and it's exactly the way you hear it today. It was kind of like catching lightning in a bottle. You have to realize that pretty much the only conversation we had before recording that song went pretty much like this:
Pop, Chalk, and Rich at Full Clip
"Hey, guys. I want to record a song about drinking forties. I have a pretty good hook, and I'd really like you guys to just write a verse and get on it."
We hadn't even figured out what we would sound like, and since Kariem and I were - as actors - coming with characters that weren't fully fleshed out, we were about to commit them to history perhaps prematurely. For me, that led to the greatest discovery of all.
I had some input into who D.J. Pop'N'Fresh was going to be. I wanted him to be a counterpoint to Chalkskin, and it was important to me that while my rapper was from a background that was definitely not "street," Pop'N'Fresh had a legitimate claim to that legacy. Basically, I wanted Kariem to have total control of steering the character, but I did have a few general directions to get things rolling. For his vocal style, I remember saying, "The voice I hear in my head is DMX."
Kariem laughed, cleared his throat, and then bravely entered the booth. It was now or never.
The voice that came out of Kariem Marbury that day was a revolution. He set the bar.
Jason took the next spot in line, and he knocked it out of the park too. I mean, aside from Rich, none of us had any experience doing this kind of work, but we were in safe hands with him and Godson acting as coaches. The truth is that if we had sucked from the beginning, there wouldn't have even been that first song. But there was potential there, and thanks to the hard effort of Mr. Baker especially, we were able to learn a lot from our crash course in rap.
We hadn't even figured out what we would sound like, and since Kariem and I were - as actors - coming with characters that weren't fully fleshed out, we were about to commit them to history perhaps prematurely. For me, that led to the greatest discovery of all.
I had some input into who D.J. Pop'N'Fresh was going to be. I wanted him to be a counterpoint to Chalkskin, and it was important to me that while my rapper was from a background that was definitely not "street," Pop'N'Fresh had a legitimate claim to that legacy. Basically, I wanted Kariem to have total control of steering the character, but I did have a few general directions to get things rolling. For his vocal style, I remember saying, "The voice I hear in my head is DMX."
Kariem laughed, cleared his throat, and then bravely entered the booth. It was now or never.
The voice that came out of Kariem Marbury that day was a revolution. He set the bar.
Jason took the next spot in line, and he knocked it out of the park too. I mean, aside from Rich, none of us had any experience doing this kind of work, but we were in safe hands with him and Godson acting as coaches. The truth is that if we had sucked from the beginning, there wouldn't have even been that first song. But there was potential there, and thanks to the hard effort of Mr. Baker especially, we were able to learn a lot from our crash course in rap.
Rich in the Full Clip vocal booth
I really think my first major moment came during the recording of my second song.
That day, the studio was full of other rappers. People who have had songs on the local radio. People who were in there to discuss major deals with Godson, and they weren't taking me very seriously. The attitude was along the lines of "It's nice that you're paying for the studio right now, but what I'm talking about is important." It was pretty obvious I was being dismissed by everyone there.
Everyone except Godson. He just told me to get in the booth and nodded his head at the window as if to say, "Watch this."
Sure, Godson asked them to pay attention, but that doesn't mean they did. Right away at least.
If you've heard "Hit (The Floor)," you'll know I brought a little bit of the dirty South into my voice for it. After just a few bars, the rappers in the control booth were leaned all the way over in their seats, peering at me through the glass. They saw me go into the vocal booth, but they had to make sure it was still me in there, delivering what they were hearing. They gawked at me for a few seconds, and then their heads started bobbing to the beat.
That's when I knew.
That day, the studio was full of other rappers. People who have had songs on the local radio. People who were in there to discuss major deals with Godson, and they weren't taking me very seriously. The attitude was along the lines of "It's nice that you're paying for the studio right now, but what I'm talking about is important." It was pretty obvious I was being dismissed by everyone there.
Everyone except Godson. He just told me to get in the booth and nodded his head at the window as if to say, "Watch this."
Sure, Godson asked them to pay attention, but that doesn't mean they did. Right away at least.
If you've heard "Hit (The Floor)," you'll know I brought a little bit of the dirty South into my voice for it. After just a few bars, the rappers in the control booth were leaned all the way over in their seats, peering at me through the glass. They saw me go into the vocal booth, but they had to make sure it was still me in there, delivering what they were hearing. They gawked at me for a few seconds, and then their heads started bobbing to the beat.
That's when I knew.
Bowling for Donuts, Part One
Yochanan Sebastian Winston, PhD
I went in to Full Clip Studios a few more times. We recorded "Don't Hassle Me," and we got to rap both as kids and in the style of 80's hip hop for that one. It was a lot of fun.
We also did the beat for "Load Up" and may even have done the vocals. I honestly don't remember. The only reason I mention that is to stress the fact that what we did next was ambitious to the point of insanity.
For months I prepared obsessively, getting very little sleep and searching for the most talented people I could find. I was going all-in on this, and needed a crack team.
We also did the beat for "Load Up" and may even have done the vocals. I honestly don't remember. The only reason I mention that is to stress the fact that what we did next was ambitious to the point of insanity.
For months I prepared obsessively, getting very little sleep and searching for the most talented people I could find. I was going all-in on this, and needed a crack team.
Kathy Robbins
The biggest challenge was finding the other artists for "Peace in the Mid East." I needed a singer who could speak Hebrew and a rapper that could speak Arabic. I spent countless hours searching for people who had the skill, were capable, and enthusiastic about the project and the message of the song.
I eventually found the Music Doctor. Yochanan Sebastian Winston, PhD. is a versatile musician and teacher. I contacted him through the university's website and asked him if he knew someone that would work. He did, and he invited me to his synagogue to hear him perform the Friday night service with cantor Kathy Robbins.
The service was so beautiful - and Kathy and Yochanan were so great - I asked both of them to help out on the album. Each contributed an incredible amount of energy and skill when they came in and did their parts. Their contribution could never be understated.
And Kathy LOVED the attention at the music video shoot!
I eventually found the Music Doctor. Yochanan Sebastian Winston, PhD. is a versatile musician and teacher. I contacted him through the university's website and asked him if he knew someone that would work. He did, and he invited me to his synagogue to hear him perform the Friday night service with cantor Kathy Robbins.
The service was so beautiful - and Kathy and Yochanan were so great - I asked both of them to help out on the album. Each contributed an incredible amount of energy and skill when they came in and did their parts. Their contribution could never be understated.
And Kathy LOVED the attention at the music video shoot!
Mahmoud Maanaki
For the Arabic parts of the song, I was sought out by a fledgling rapper from North Carolina. Well, Mahmoud Maanaki was originally from Lebannon (and lives there now). He was kind of green, but he was extremely excited about the idea of getting on the song. I decided to take a chance on him.
The man who goes by Arab Money had a rough road. An immigrant with a bit of a criminal past, it became apparent that he was struggling with the message of the song. He expressed concern with what his people would think of him, what they might do to him, when they found out about the song.
Sometimes creating "Peace in the Mid East" felt like negotiating a peace treaty in Israel. I was relying on a rapper I didn't know to write a verse in a language I don't speak about a subject he felt morally conflicted about. I can't tell you how satisfying it felt when after I delivered the last verse, he jumped up, saying he was excited by my passion. Mahmoud pushed his way back into the booth to deliver the speeches at the beginning and ending of the song. Without those parts, all we would have had in Arabic would have been a verse about a guy that rejects a woman at a club because she was Jewish. Certainly, it wouldn't have carried the weight we intended.
The man who goes by Arab Money had a rough road. An immigrant with a bit of a criminal past, it became apparent that he was struggling with the message of the song. He expressed concern with what his people would think of him, what they might do to him, when they found out about the song.
Sometimes creating "Peace in the Mid East" felt like negotiating a peace treaty in Israel. I was relying on a rapper I didn't know to write a verse in a language I don't speak about a subject he felt morally conflicted about. I can't tell you how satisfying it felt when after I delivered the last verse, he jumped up, saying he was excited by my passion. Mahmoud pushed his way back into the booth to deliver the speeches at the beginning and ending of the song. Without those parts, all we would have had in Arabic would have been a verse about a guy that rejects a woman at a club because she was Jewish. Certainly, it wouldn't have carried the weight we intended.
Arab Money and Chalkskin
While Arab Money's inexperience and ambivalence showed itself at the recording studio, the opposite was true at the video shoot. There, he was charismatic, photogenic, and a natural. Full disclosure, if it hadn't have been for his incredible performance on set and the insistence of the video's director that we work with Mahmoud until his delivery was on point, we would have certainly tried to find a replacement.
In the end, Mahmoud pulled it out and did a great job for what I still view was the most important track on "Fresh Donuts" (although his part on "Still Kickin' It" was not exactly up to par). After everything was said and done, he told us that the experience had opened his eyes to a whole new world of possibilities.
I'll always have a special place in my heart for Mahmoud, and I wish nothing but the best for him.
In the end, Mahmoud pulled it out and did a great job for what I still view was the most important track on "Fresh Donuts" (although his part on "Still Kickin' It" was not exactly up to par). After everything was said and done, he told us that the experience had opened his eyes to a whole new world of possibilities.
I'll always have a special place in my heart for Mahmoud, and I wish nothing but the best for him.
Andrew Grant
With Kathy, Mahmoud, Richard, Jason, and Kariem on board, I still needed one more vocalist. I knew exactly who I wanted for the mighty and evil alien Lord Xylor. My brother.
Andrew Grant used to be the front man for a death metal group called Dead Breed Dying, and I wanted the guttural, angry delivery for the invading commander.
Working with my brother on "Alien Police (Theme from the Major Motion Picture)" and "Still Kickin' It" is one of the highlights of the whole experience for me.
Andrew Grant used to be the front man for a death metal group called Dead Breed Dying, and I wanted the guttural, angry delivery for the invading commander.
Working with my brother on "Alien Police (Theme from the Major Motion Picture)" and "Still Kickin' It" is one of the highlights of the whole experience for me.
Bowling for Donuts, Part Two
Chase Pado
In case the involvement of Yochanan didn't sell the point to you, I wasn't going to be satisfied with simply creating beats out of loops and samples. That's one of the reasons why I like working with producers like Godson. It's important to me that the music is good, and while I think we may not always have hit the mark, the effort is always made.
A lot of the piano and keyboard work that you hear on the album is from a child prodigy named Chase Pado. At sixteen years old, he was one of the most accomplished and experienced musicians on the album, and that probably played a part in how well he was able to take the insanity that a hip hop studio can be.
It was truly an incredible thing to watch Chase work. Any time we wanted to make a song more complex and textured, we'd sit him down in front of the synthesizer and let him go to town. His contribution may seem difficult to pinpoint on the tracks, but it is truly all over "Fresh Donuts."
A lot of the piano and keyboard work that you hear on the album is from a child prodigy named Chase Pado. At sixteen years old, he was one of the most accomplished and experienced musicians on the album, and that probably played a part in how well he was able to take the insanity that a hip hop studio can be.
It was truly an incredible thing to watch Chase work. Any time we wanted to make a song more complex and textured, we'd sit him down in front of the synthesizer and let him go to town. His contribution may seem difficult to pinpoint on the tracks, but it is truly all over "Fresh Donuts."
The Sneaker Kings
(Michael Magnuson, Dennis Ingram, Jim Lakin)
Dennis Ingram, Jim Lakin, and Michael Magnuson have been rocking in San Diego as The Sneaker Kings for decades. Luckily I was dating Dennis's daughter Stella, because otherwise I don't know how I could have gotten their experienced and luscious licks on the album. They were able to construct songs in record time and play with such accomplished skill that all Godson could talk about was how impressed he was with them.
Unfortunately, the studio wasn't really equipped for a rock band, and with the time constraints that we were dealing with, we ended up with sub-par recordings of exemplary work. Even so, while "I'm So Angry!" and "Butt Dialed You" are clearly the weakest songs on the album, "Still Kickin' It" is pretty good and "Party 'Round Back" is one of the best.
If you're seeking out accomplished musicians for your next album, do yourself a favor and call The Sneaker Kings!
Unfortunately, the studio wasn't really equipped for a rock band, and with the time constraints that we were dealing with, we ended up with sub-par recordings of exemplary work. Even so, while "I'm So Angry!" and "Butt Dialed You" are clearly the weakest songs on the album, "Still Kickin' It" is pretty good and "Party 'Round Back" is one of the best.
If you're seeking out accomplished musicians for your next album, do yourself a favor and call The Sneaker Kings!
Rama
Even though it may not be culturally accurate, I really wanted a sitar for "Peace in the Mid East." I knew it would give the song a power that would transport the listener to an exotic location where we could unfold our little parable.
What I expected was a mystical instrument plucked with a reverent distance. What I got was Rama, a man who carries an aura of peace around with him and shreds on his sitar. Seriously, he makes that thing weep like a rock star.
When you layer in Godson, Rama, Chase, and Yochanan, the result is a rather potent musical cocktail that was better than anything I could have imagined.
What I expected was a mystical instrument plucked with a reverent distance. What I got was Rama, a man who carries an aura of peace around with him and shreds on his sitar. Seriously, he makes that thing weep like a rock star.
When you layer in Godson, Rama, Chase, and Yochanan, the result is a rather potent musical cocktail that was better than anything I could have imagined.
Bowling for Donuts, Part Three
Brian Canini
Once I found all the people I'd need for the sound of the album, it was time to focus on the visual appeal.
Brian Canini was a natural choice. He had been involved in MC Chalkskin's origins and was currently completing his degree for graphic design. In fact, Brian and I go way back and have worked on many projects together both under the Wolf in Wool and Drunken Cat umbrellas. I knew he'd be able to do the album art, the photo shoots, the website, and add creatively to anything else I asked him to be involved in.
Brian Canini was a natural choice. He had been involved in MC Chalkskin's origins and was currently completing his degree for graphic design. In fact, Brian and I go way back and have worked on many projects together both under the Wolf in Wool and Drunken Cat umbrellas. I knew he'd be able to do the album art, the photo shoots, the website, and add creatively to anything else I asked him to be involved in.
Tiffany Williams, Kei Min Kim, Angela Lynn Cousins, Cristina Leduc
I knew that a picture of me could never sell a rap album, even if it is mostly a comedy piece. The idea for the album, one dozen songs entitled "Fresh Donuts" yielded the opportunity to go with something different. What if the album came in a pink pastry box? And what if that box was adorned with beautiful women? In fact, the marketing aspects of everything Chalkskin was going to fully embrace this concept.
Thus, Chalkskin's Dope Hunnies were born! The concept was to create fun and funny characters and photo shoots based on a comical focus on one or two aspects of the model's personality.
For the first album, we went with these four:
GOTHIC HUNNIE is the stunning Angela Lynn Cousins. She has been a professional gothic model for a long time. In fact, when I was looking online for influences and typed in "hot gothic girl" into Google, she was one of the top images that popped up.
SCHOOL GIRL HUNNIE is the lovely Kei Min Kim. I found her on a modeling site and loved working with her.
BARRIO HUNNIE is another awesome friend of mine, Cristina Leduc. She's also done a lot of pro work, and when she isn't at the Playboy Mansion, she's hula hooping.
And HOOD HUNNIE is the gorgeous Tiffany Williams. She's another professional find from online, and has always been a dream to work with.
Thus, Chalkskin's Dope Hunnies were born! The concept was to create fun and funny characters and photo shoots based on a comical focus on one or two aspects of the model's personality.
For the first album, we went with these four:
GOTHIC HUNNIE is the stunning Angela Lynn Cousins. She has been a professional gothic model for a long time. In fact, when I was looking online for influences and typed in "hot gothic girl" into Google, she was one of the top images that popped up.
SCHOOL GIRL HUNNIE is the lovely Kei Min Kim. I found her on a modeling site and loved working with her.
BARRIO HUNNIE is another awesome friend of mine, Cristina Leduc. She's also done a lot of pro work, and when she isn't at the Playboy Mansion, she's hula hooping.
And HOOD HUNNIE is the gorgeous Tiffany Williams. She's another professional find from online, and has always been a dream to work with.
Mike Maletic
I chose Michael Maletic to direct my first few films (Including "Toaster," which was my first feature film. The one I worked on with Kariem Marbury). Wanting to be sure that the interviews were conducted with thought, creativity, and enthusiasm, I couldn't think of anyone that I trusted more for the job than Mike.
We spent some time coming up with the character of Richard Cheswick. Using Nick Bloomfield and Louis Theroux as a basis, he became a British journalist who stood amidst insanity with serious, hard-hitting questions that could be spun with comic answers. Cheswick could act as a straight man and become the worried voice of reason.
I deeply believe that we've barely tapped the potential of this character and Mike's abilities.
We spent some time coming up with the character of Richard Cheswick. Using Nick Bloomfield and Louis Theroux as a basis, he became a British journalist who stood amidst insanity with serious, hard-hitting questions that could be spun with comic answers. Cheswick could act as a straight man and become the worried voice of reason.
I deeply believe that we've barely tapped the potential of this character and Mike's abilities.
Jen Kolhagen
With all of these pretty faces - and the not so pretty faces of us rappers, we needed someone who could cake on the make-up, spray up the hair, and make us all look as good as we possibly could for the cameras.
I stumbled upon Jen Kolhagen on the same professional modeling sites where I found Tiffany and Kei. She lent a calm, maternal energy to the set, backed it up with exciting, evocative conversation, and managed somehow to make me look pretty good.
Jen is also the one that came up with the name "Chalkskin's Dope Hunnies."
I stumbled upon Jen Kolhagen on the same professional modeling sites where I found Tiffany and Kei. She lent a calm, maternal energy to the set, backed it up with exciting, evocative conversation, and managed somehow to make me look pretty good.
Jen is also the one that came up with the name "Chalkskin's Dope Hunnies."
Bowling for Donuts, Part Four
Candice Thiem and Peter John Ross
I also wanted competent filmmakers to work on the behind-the-scenes footage, interviews, and music video, so I reached into my past and invited a member of the Ohio filmmaking community to come out and work with an accomplished cinematographer and art director from San Diego.
I've known Peter John Ross of Sonnyboo Productions for a long time. At one time, he ran a consortium for creative people in Columbus, and as a member, I came to highly respect the man and his contributions. He has a knack for getting crisp, clear video on a shoestring budget. He's a visionary that has always been extremely supportive, and it was really great to have him there to talk with and consult during the production.
I've known Peter John Ross of Sonnyboo Productions for a long time. At one time, he ran a consortium for creative people in Columbus, and as a member, I came to highly respect the man and his contributions. He has a knack for getting crisp, clear video on a shoestring budget. He's a visionary that has always been extremely supportive, and it was really great to have him there to talk with and consult during the production.
Kurt Braun, J-Man, Pop'N'Fresh, and Laine Perry
When I first moved out to San Diego, I met a man who I would later refer to as a "MacGyver." While assisting him on the first production I worked on in California, I learned how to build an entire set in one night out of the things we could find and salvage from dumpster diving in the area surrounding the sound stage.
Kurt Braun has taught me more about making movies with a creative mind than anyone I've ever met. He knows that it's all about constructing what will be seen in the frame, and you can make that image out of sweat, imagination, and magic. You can take a wad of chewed up gum, a ladder, and a handful of Popsicle sticks and make it look like your actor is in a prison while he's really just standing in front of your bathroom wall.
Kurt Braun has taught me more about making movies with a creative mind than anyone I've ever met. He knows that it's all about constructing what will be seen in the frame, and you can make that image out of sweat, imagination, and magic. You can take a wad of chewed up gum, a ladder, and a handful of Popsicle sticks and make it look like your actor is in a prison while he's really just standing in front of your bathroom wall.
Pop, Laine, and The Hodges Boys (Christian and Nate)
Kurt brought along a couple of people with him to make sure that things continued to run smoothly.
Laine Perry worked as the production designer for the shoots and kept the morale up on the set. It's also her laughter and Kurt's voice that are heard on the intro for "Still Kickin' It."
Candice Thiem was brought in as the production assistant, and she kept everyone on task and everything ahead of schedule. She also played Daphne on "Mystery Track."
Finally, Kariem's business partner, Debra Plante, was an easy addition to the team. She took additional photography and was in charge of transportation. I asked Christian and Nathan Hodges to come out and take care of the basic needs of the creative team. Christian is a childhood buddy, and Nate had also worked on Kariem and my first feature length film. Nate and Christian do the countdown on the opening "Alien Police (Theme from the Major Motion Picture)." To round out the ground troops, I added David Shoemaker, this great kid that I know from the community, and Pandora Special Effects' Charles Castro as grips and stagehands.
Laine Perry worked as the production designer for the shoots and kept the morale up on the set. It's also her laughter and Kurt's voice that are heard on the intro for "Still Kickin' It."
Candice Thiem was brought in as the production assistant, and she kept everyone on task and everything ahead of schedule. She also played Daphne on "Mystery Track."
Finally, Kariem's business partner, Debra Plante, was an easy addition to the team. She took additional photography and was in charge of transportation. I asked Christian and Nathan Hodges to come out and take care of the basic needs of the creative team. Christian is a childhood buddy, and Nate had also worked on Kariem and my first feature length film. Nate and Christian do the countdown on the opening "Alien Police (Theme from the Major Motion Picture)." To round out the ground troops, I added David Shoemaker, this great kid that I know from the community, and Pandora Special Effects' Charles Castro as grips and stagehands.
Sarah Melick
You might know Sarah Melick from "The Sheepdog Show." She's a really awesome person who loves her dogs. She graciously allowed us to turn her backyard into our video studio during for the production. She just gave us one stipulation, really.
"DON'T TOUCH MY HOPE CHEST."
This is my biggest regret on the whole thing. Seriously. I couldn't believe it.
Sarah, I'm still really sorry about those scratches. Honestly, I feel terrible.
Sarah also plays one of "The Hot Chicks" in the music video for "Peace in the Mid East."
"DON'T TOUCH MY HOPE CHEST."
This is my biggest regret on the whole thing. Seriously. I couldn't believe it.
Sarah, I'm still really sorry about those scratches. Honestly, I feel terrible.
Sarah also plays one of "The Hot Chicks" in the music video for "Peace in the Mid East."
Monique Flemming
The other "Hot Chick" was played by actress and comedian, Monique Flemming. And our dream girl, of course, was Misha Sedgwick.
I had met both of these ladies while working on an indie film, and was impressed with their talent and by the fact that they were really fun to have on set. Naturally, when I was thinking of who I wanted to cast in these important roles, they came to mind.
As for the "Hot Guys," I recast Mike Maletic and got Haydar Aliyidi. Haydar was instrumental in making sure that Arab Money's lyrics were on point, since I couldn't speak the language. I got him and any other friend I had that could speak the language to listen to it. They seemed enthusiastic and moved, so I have to assume that we did our job okay.
I had met both of these ladies while working on an indie film, and was impressed with their talent and by the fact that they were really fun to have on set. Naturally, when I was thinking of who I wanted to cast in these important roles, they came to mind.
As for the "Hot Guys," I recast Mike Maletic and got Haydar Aliyidi. Haydar was instrumental in making sure that Arab Money's lyrics were on point, since I couldn't speak the language. I got him and any other friend I had that could speak the language to listen to it. They seemed enthusiastic and moved, so I have to assume that we did our job okay.
Misha Sedgwick
Having come from a cinematic background, I actually felt more comfortable working on the video aspects of the album.
However, since I was spreading myself thinly across all aspects of production, I can't express how important these people were in all of this. They were on the ball and kept my butt out of the fire more times than I can fully express.
I didn't give them anything in the way of pre-production, and I was solely responsible for post-production. And shooting a video for a song that wasn't even recorded against a green screen in a backyard isn't the easiest thing to ask anyone to do.
I am forever grateful for the efforts taken.
However, since I was spreading myself thinly across all aspects of production, I can't express how important these people were in all of this. They were on the ball and kept my butt out of the fire more times than I can fully express.
I didn't give them anything in the way of pre-production, and I was solely responsible for post-production. And shooting a video for a song that wasn't even recorded against a green screen in a backyard isn't the easiest thing to ask anyone to do.
I am forever grateful for the efforts taken.
Bowling for Donuts, Part Five
Pop either working or napping
So I've talked about a number of the songs on the album, but I think you might be interested in the story behind all of them. Let's just take this track by track.
The "Intro" is sort of a basic origin story of how Chalk and Pop got to know each other despite having very different backgrounds. I thought it was important information to start off with.
"Don't Hassle Me (1985)" is our "Parents Just Don't Understand" from the Fresh Prince, but it's mixed with a little bit of The Fatboys, Kid and Play, Kris Kross, and The Beastie Boys. It was conceived as a way to show that MC Chalkskin and DJ Pop'N'Fresh have been in the game since they were tykes.
"Still Kickin' It" is inspired by "Still D.R.E." It's a way to catch you up on the backstory and get you to the present day. Of course the inside joke is that while Dr. Dre redefined rap, Whitey McChalkskin is a boy band member turned gangsta.
"I'm So Angry!" was originally conceived of as a bit of a style parody of Eminem. Marshal is a rather angry fella, and I wanted to do a song that explored that emotion from Chalkskin's point of view. By flipping out over minor annoyances and perceived professional slights, I hoped to lampoon first world problems with overly-violent rhetoric. The sound changed in the studio, because I didn't have the experience yet to incorporate a rock band into a traditional rap song. And so I don't keep repeating it, this same issue became exacerbated in "Still Kickin' It" and "Butt Dialed You."
The "Intro" is sort of a basic origin story of how Chalk and Pop got to know each other despite having very different backgrounds. I thought it was important information to start off with.
"Don't Hassle Me (1985)" is our "Parents Just Don't Understand" from the Fresh Prince, but it's mixed with a little bit of The Fatboys, Kid and Play, Kris Kross, and The Beastie Boys. It was conceived as a way to show that MC Chalkskin and DJ Pop'N'Fresh have been in the game since they were tykes.
"Still Kickin' It" is inspired by "Still D.R.E." It's a way to catch you up on the backstory and get you to the present day. Of course the inside joke is that while Dr. Dre redefined rap, Whitey McChalkskin is a boy band member turned gangsta.
"I'm So Angry!" was originally conceived of as a bit of a style parody of Eminem. Marshal is a rather angry fella, and I wanted to do a song that explored that emotion from Chalkskin's point of view. By flipping out over minor annoyances and perceived professional slights, I hoped to lampoon first world problems with overly-violent rhetoric. The sound changed in the studio, because I didn't have the experience yet to incorporate a rock band into a traditional rap song. And so I don't keep repeating it, this same issue became exacerbated in "Still Kickin' It" and "Butt Dialed You."
Pop and Chalk at Universal Studios
In my opinion, "T 'n A" is the first banger on the album. J-Man as the party guy, doing a duet in a Sir Mix-A-Lot, 2 Live Crew, and Digital Underground motivated style. The change over to cosplay in the third verse was done purely by accident. I would stay up late every night to work on my lyrics and the logistics of the album for months before production. This part was written at three am one night, and I remembered asking, "What am I writing?" and deciding it was time to go to bed. The next day, I reread the lyrics and really liked the twisty turn. It stayed.
Big Bubba Jr is my chance to flip the script and add in a new flavor to Chalkskin. The idea of combining country and rap has always been one that I feel is ripe for comedy. "Party 'Round Back" is my way of combining the stereotypes from both genres and blending them into a song that I hoped would be better than the serious attempts done by famous recording artists. I may be out of my mind in saying this, but I think we succeeded. It's my second favorite track, partly because one of my goals is to play at least one instrument on every album. That's me on the jaw harp!
My love for Cypress Hill inspired "Tijuana." I had originally wanted to get a mariachi band on the hook, but it wound up not being financially feasible. Of course, we didn't realize that fact until we were in the studio. Rich came through with a new hook, and Yochanan knocked the "samples" out of the park. This is one of the few times when I wrote lyrics for Kariem.
Big Bubba Jr is my chance to flip the script and add in a new flavor to Chalkskin. The idea of combining country and rap has always been one that I feel is ripe for comedy. "Party 'Round Back" is my way of combining the stereotypes from both genres and blending them into a song that I hoped would be better than the serious attempts done by famous recording artists. I may be out of my mind in saying this, but I think we succeeded. It's my second favorite track, partly because one of my goals is to play at least one instrument on every album. That's me on the jaw harp!
My love for Cypress Hill inspired "Tijuana." I had originally wanted to get a mariachi band on the hook, but it wound up not being financially feasible. Of course, we didn't realize that fact until we were in the studio. Rich came through with a new hook, and Yochanan knocked the "samples" out of the park. This is one of the few times when I wrote lyrics for Kariem.
We ran out of plastic wear at the hotel, so I invented the birthday cake burrito!
I have always liked how Will Smith does a single for some of his movies. "Men In Black" and "Wild Wild West" are the parents of "Alien Police (Theme from the Major Motion Picture)." As I mentioned before, I got my brother to portray Lord Xylor. He's not the kind of guy that smiles a lot, so it was a blast watching him grin from ear to ear as he delivered his verse and adlibs. Again, this is one of the few times where I wrote lyrics for Kariem.
When working out the collaboration for Rich on the album, I decided not to plan anything. I knew we could come up with something on the fly. All I knew was that I wanted to call it "Mystery Track," in reference to the popular practice from the 90's. The idea of making it about Scooby Doo was actually inspired by the t-shirt I was wearing. This was the last song that we recorded, and by this point, Rich's voice was toast. That lent him a smokey sound that made him sound really cool.
"Butt Dialed You" was conceived as an Usher take-off. Obviously what it ended up as was very far from the target. I still think it's the most deliberately funny song I've ever done. I just wish it was more pleasant to listen to.
As an avid lover of gangsta rap, there was no way I was going to do my first album without having one of my own. Since I'm more of a studio gangsta (or a whankster if you're being mean), I thought about the most serious crimes I've committed. Having also been inspired by MC Lars's "Download This Song" and "Weird Al" Yankovic's "Don't Download This Song," I felt there was still room for one more. "Load Up" is my way of glibly telling the world to pirate my music. And that I'm hard and street because I do so myself. This is almost the last time I came with pre-written lyrics to Kariem (this time co-written by Stella Ingram). After this, I decided unless the narrative was to be extremely consistent (as in "Hobo Song"), he should come at it with his own unique and creative voice.
When working out the collaboration for Rich on the album, I decided not to plan anything. I knew we could come up with something on the fly. All I knew was that I wanted to call it "Mystery Track," in reference to the popular practice from the 90's. The idea of making it about Scooby Doo was actually inspired by the t-shirt I was wearing. This was the last song that we recorded, and by this point, Rich's voice was toast. That lent him a smokey sound that made him sound really cool.
"Butt Dialed You" was conceived as an Usher take-off. Obviously what it ended up as was very far from the target. I still think it's the most deliberately funny song I've ever done. I just wish it was more pleasant to listen to.
As an avid lover of gangsta rap, there was no way I was going to do my first album without having one of my own. Since I'm more of a studio gangsta (or a whankster if you're being mean), I thought about the most serious crimes I've committed. Having also been inspired by MC Lars's "Download This Song" and "Weird Al" Yankovic's "Don't Download This Song," I felt there was still room for one more. "Load Up" is my way of glibly telling the world to pirate my music. And that I'm hard and street because I do so myself. This is almost the last time I came with pre-written lyrics to Kariem (this time co-written by Stella Ingram). After this, I decided unless the narrative was to be extremely consistent (as in "Hobo Song"), he should come at it with his own unique and creative voice.
Brian Canini doing the crap work
A perfect example of what Kariem can do when the gloves are off is "Padded Rooms." I don't recall who came up with this concept, but it was certainly rooted deeply in Pop'N'Fresh's backstory. It was a way to let the world know who Darius Limner Jackson was, which of course was also a way of introducing them to the mad and twisted mind of Kariem Marbury.
And finally, there is "Peace in the Mid East." At the time, I really felt like there should be one serious song on each album. I perceived the content that Chalkskin would release as based in "character driven comedy hip hop," the genre I felt we were creating. This was the effort for "Fresh Donuts," and I decided to take on what I perceive as one of the largest issues facing the world today, the Israeli and Palestinian conflict. Even with my inexperience showing, I'm very proud of this song. When I would tell people I was going to make a song in English, Hebrew, and Arabic but had no idea how, they would sometimes call me crazy. But with persistance, determination, and literally half of the weekend's studio time assigned to it, my favorite track on the album turned out to be an astounding success.
And finally, there is "Peace in the Mid East." At the time, I really felt like there should be one serious song on each album. I perceived the content that Chalkskin would release as based in "character driven comedy hip hop," the genre I felt we were creating. This was the effort for "Fresh Donuts," and I decided to take on what I perceive as one of the largest issues facing the world today, the Israeli and Palestinian conflict. Even with my inexperience showing, I'm very proud of this song. When I would tell people I was going to make a song in English, Hebrew, and Arabic but had no idea how, they would sometimes call me crazy. But with persistance, determination, and literally half of the weekend's studio time assigned to it, my favorite track on the album turned out to be an astounding success.
Bowling for Donuts, Part Six
Debra Plante and Pop
Now, I saved the biggest, most important detail for last, because I think it will make the largest impact. Everything that you just read, all of the songs you hear on "Fresh Donuts," all the photo shoots for the album art, the entire music video for "Peace in the Mid East," all of the interviews and behind-the-scenes footage, the logistics of housing and feeding an army of people from all over the country. . . All of that was done over the course of a marathon three-day weekend.
And then the next day, we did our first show, where we performed songs that were just theories a matter of hours before.
Chalkskin's First Annual Benefit for the Unloved was on February 14th, 2011, and it marked the very first occasion where any of us performed together outside of a vocal booth. It was held at The Stage Saloon in beautiful downtown San Diego, and if nothing else, it really just showed us how much we still had to learn.
And then the next day, we did our first show, where we performed songs that were just theories a matter of hours before.
Chalkskin's First Annual Benefit for the Unloved was on February 14th, 2011, and it marked the very first occasion where any of us performed together outside of a vocal booth. It was held at The Stage Saloon in beautiful downtown San Diego, and if nothing else, it really just showed us how much we still had to learn.
Charles Castro
Not to say that our work was done without difficulty.
Close your eyes and imagine this. I call you to come out to San Diego, stay in a set of hotel rooms packed with artists, hang out with beautiful models, get a bunch of camera time, and spend the majority of your time at a rap studio. Sounds like a party to you, right?
Yeah, you see, there's the rub. Balancing the fun quotient and the fact that you are there to do a job is a difficult act for some people. I don't want to get too deep into this, but let's just say that sometimes the scales tipped too far in the wrong direction.
Close your eyes and imagine this. I call you to come out to San Diego, stay in a set of hotel rooms packed with artists, hang out with beautiful models, get a bunch of camera time, and spend the majority of your time at a rap studio. Sounds like a party to you, right?
Yeah, you see, there's the rub. Balancing the fun quotient and the fact that you are there to do a job is a difficult act for some people. I don't want to get too deep into this, but let's just say that sometimes the scales tipped too far in the wrong direction.
David Shoemaker
The truth is that the production of "Fresh Donuts" was a whirlwind of baptisms by fire, sleepless treks out on limbs, and bankrupt check-writing, but it was also a veritable love fest. If you're going to embark upon something as risky and ambitious as we did, I highly recommend surrounding yourself with the most encouraging, talented, wonderful people you can. The journey will still be exhausting, but you'll do it together. And that's a wonderful, irreplaceable thing.
I could never give up my memories of that weekend.
I could never give up my memories of that weekend.
Three Tears for Donuts
Kathy, Chalk, Arab Money, and Pop at The Stage Saloon
The night after we finished production and before we did the show, I was driving back from the airport, having taken Mike Maletic to return to Ohio. I was sitting in the darkened car and listening to the first copy of the unmixed CD on my radio. I was worn out after expending everything in getting this thing done, and here it was playing beautifully over my speakers.
When I got back to the hotel, where the wrap party was at full tilt, I hid in Peter John Ross's room so I could limit the amount of people that would see the tears. I simply sat on his bed and tried to put my feelings into words.
"I'm listening to 'Peace in the Mid East' and I'm thinking about everything we've done here and. . . And everyone's worked so hard on this," I said, sputtering between sobs.
Ross smiled at me and said, "Because we all love you."
Great. Now I was never going to stop crying.
When I got back to the hotel, where the wrap party was at full tilt, I hid in Peter John Ross's room so I could limit the amount of people that would see the tears. I simply sat on his bed and tried to put my feelings into words.
"I'm listening to 'Peace in the Mid East' and I'm thinking about everything we've done here and. . . And everyone's worked so hard on this," I said, sputtering between sobs.
Ross smiled at me and said, "Because we all love you."
Great. Now I was never going to stop crying.
The concept art I gave to Brian Canini
That first CD went straight from radio and up to Los Angeles. I had a plan for it.
The day after we performed our show, Kariem, Debra, Stella, and I went up to Universal Studios. And then the next day, we went to a book signing where I would give that first copy of "Fresh Donuts" to a very special person.
If you only pay half attention when I'm talking or listen to only one or two of my songs, you'd probably still come to the conclusion that I am largely influenced by the work of "Weird Al" Yankovic.
I have a similar story to a lot of Al's fans. Awkward, sensitive kid that was just trying to get by in a world that seemed like it was out to ridicule me. I moved around a lot, had few friends, and was picked on a lot as a kid. I get into this more in my other biographies, but I wanted to give a general refresher just so I could point you to just how important Al's music was to me.
He was speaking my language. He was talking to my soul. He was making me forget my troubles with laughter and embrace who I was. And he was doing it really, really, really well.
It goes without saying that if I had never discovered Mr. Yankovic, there would be no Chalkskin.
The day after we performed our show, Kariem, Debra, Stella, and I went up to Universal Studios. And then the next day, we went to a book signing where I would give that first copy of "Fresh Donuts" to a very special person.
If you only pay half attention when I'm talking or listen to only one or two of my songs, you'd probably still come to the conclusion that I am largely influenced by the work of "Weird Al" Yankovic.
I have a similar story to a lot of Al's fans. Awkward, sensitive kid that was just trying to get by in a world that seemed like it was out to ridicule me. I moved around a lot, had few friends, and was picked on a lot as a kid. I get into this more in my other biographies, but I wanted to give a general refresher just so I could point you to just how important Al's music was to me.
He was speaking my language. He was talking to my soul. He was making me forget my troubles with laughter and embrace who I was. And he was doing it really, really, really well.
It goes without saying that if I had never discovered Mr. Yankovic, there would be no Chalkskin.
"Weird Al" Yankovic with MC Chalkskin
Al was doing a signing for his first children's book, and I slid the disk across the table.
I said, "I've been 'Skipper Dan' for thirty years of my life, Al."
"Really?" he asked.
"Yes, but you've inspired me to follow my dreams."
Then I wept like a little girl. And I'm pretty sure I scared the crap out of my hero the first time I met him.
A couple years later, I heard him on a podcast talking about how failed actors really seem to feel a deep connection with the character in his song about the thespian who has to swallow his pride and work on The Jungle Cruise Ride to make ends meet.
I wonder who he was talking about.
I said, "I've been 'Skipper Dan' for thirty years of my life, Al."
"Really?" he asked.
"Yes, but you've inspired me to follow my dreams."
Then I wept like a little girl. And I'm pretty sure I scared the crap out of my hero the first time I met him.
A couple years later, I heard him on a podcast talking about how failed actors really seem to feel a deep connection with the character in his song about the thespian who has to swallow his pride and work on The Jungle Cruise Ride to make ends meet.
I wonder who he was talking about.
Chalk and Pop at the album release party
The album party was held on the day of the release, April 1st, 2011. The event was called "Droppin' Fools," and it featured a performance of every song.
The party was held at Queen Bee's and was catered. To make a long story short, I lost my shirt on this one. And after expending all of my resources on making the album, I was really hoping to turn things around and start making money.
I still have that hope.
The performance, however, went pretty well. It was the humble beginnings of a stage phenomenon that would prove to be contagious, and I, overwhelmed by my gratitude to all of those who had contributed to this project, gave my thank you's with saline pouring from my eyes.
And those, are my three tears for donuts.
The party was held at Queen Bee's and was catered. To make a long story short, I lost my shirt on this one. And after expending all of my resources on making the album, I was really hoping to turn things around and start making money.
I still have that hope.
The performance, however, went pretty well. It was the humble beginnings of a stage phenomenon that would prove to be contagious, and I, overwhelmed by my gratitude to all of those who had contributed to this project, gave my thank you's with saline pouring from my eyes.
And those, are my three tears for donuts.
Getting Animated
Pop and Chalk in "Alien Police"
In order to make a live action music video for "Alien Police (Theme from the Major Motion Picture)," I would have needed an unattainable budget. I hadn't planned on creating an animated video for it, but I tend to get a bit obsessive when it comes to efforts of creativity.
When I stumbled upon Go Animate! and started playing around with the character designers and scene editors, I found myself laboring intensely on something that was far too ambitious for the software.
Seems a bit like a trend, does it? Yeah.
After a mostly sleepless week of creating, I had made a music video that I'm pretty proud of. Maybe the lip syncing is off, but I think it captures the fun and energy of the song. It's loaded with cameos and jokes, and I had once again proven to myself that when I put my mind into something, I really could surpass even my own ridiculously high expectations.
When I stumbled upon Go Animate! and started playing around with the character designers and scene editors, I found myself laboring intensely on something that was far too ambitious for the software.
Seems a bit like a trend, does it? Yeah.
After a mostly sleepless week of creating, I had made a music video that I'm pretty proud of. Maybe the lip syncing is off, but I think it captures the fun and energy of the song. It's loaded with cameos and jokes, and I had once again proven to myself that when I put my mind into something, I really could surpass even my own ridiculously high expectations.
Going Viral
Chalk directing "T 'n A"
I've never been an industry insider, but I do know the industry has changed. The gatekeepers who once decided what people would and wouldn't listen to have lost much of their power. We live in an age where a kid can make a youtube video and turn around to become Justin Beiber. Where people can make a living by finding a tribe of fans that will consume their product through less and less traditional means.
Now, I don't do all of this for the fame or fortune, but this is expensive! I'd really like to be able to make enough money to keep doing it.
Thus, it would be helpful to get some material out there that is specifically designed to go viral.
The music video for "T 'n A" seemed like a natural choice. The 2 Live Crew and Sir Mix-A-Lot inspired song is about a pool party filled with beautiful women, and the third verse explores the exciting world of cosplay.
Now, I don't do all of this for the fame or fortune, but this is expensive! I'd really like to be able to make enough money to keep doing it.
Thus, it would be helpful to get some material out there that is specifically designed to go viral.
The music video for "T 'n A" seemed like a natural choice. The 2 Live Crew and Sir Mix-A-Lot inspired song is about a pool party filled with beautiful women, and the third verse explores the exciting world of cosplay.
Chalk with Jessica Nigri
I did a ton of research and found Jessica Nigri, the most Google searched cosplayer in North America. I went out on a limb and contacted her about the video and was pleasantly surprised that she was game. Having become a fan of her work, I made my costume requests and prepared my storyboards.
There were so many other amazingly talented models, actresses, and cosplayers involved in the shoot, and I took every pain I could to create a fun and friendly environment for all. Kloey Hanson, Brittany Skipper, C.J. Eddy, Shawna Kimball-Price, Cienna Buchanan, Sasha Janea Miller, Angela Lynn Cousins, Sarra Hansen, Cristina Leduc, Elaina Pajimula, Amanda Hernandez, Tiffany Williams, Aimee Lynn, Anna Von Winter, Kry, Dominique Gaylord, and Kaeden Nelson filled the pool with beautiful girl flesh. Dylan Boisvert played the ugly girl to perfect, and Kawika McGreggor played the eye candy for the ladies. I even worked in cameos for The Sneaker Kings and my brother. With Jen Kolhagen doing hair and make-up and Charles Castro, Stella Ingram, Katesh Law, Tiffany Tocco, Deidra Welch, and Aaron Frantz filled out the crew.
It was a blast to film!
There were so many other amazingly talented models, actresses, and cosplayers involved in the shoot, and I took every pain I could to create a fun and friendly environment for all. Kloey Hanson, Brittany Skipper, C.J. Eddy, Shawna Kimball-Price, Cienna Buchanan, Sasha Janea Miller, Angela Lynn Cousins, Sarra Hansen, Cristina Leduc, Elaina Pajimula, Amanda Hernandez, Tiffany Williams, Aimee Lynn, Anna Von Winter, Kry, Dominique Gaylord, and Kaeden Nelson filled the pool with beautiful girl flesh. Dylan Boisvert played the ugly girl to perfect, and Kawika McGreggor played the eye candy for the ladies. I even worked in cameos for The Sneaker Kings and my brother. With Jen Kolhagen doing hair and make-up and Charles Castro, Stella Ingram, Katesh Law, Tiffany Tocco, Deidra Welch, and Aaron Frantz filled out the crew.
It was a blast to film!
Elaina Pajimula, Cristina Leduc, CJ Eddy, Jessica Nigri, Kloey Hanson, Brittany Skipper, Shawna Kimball-Price, Tiffany Williams, and Sasha Janea Miller at the shoot for "T 'n A"
From Duet to Foursome
Chalkskin at their America's Got Talent audition
After "Fresh Donuts," we spent a lot of time on stage. We did shows all over San Diego and at the House of Blues in Hollywood. We made mistakes, had triumphs, and honed our stage personas. No one could get a party started like we could.
All of these shows were as a foursome, so it only became natural to start billing ourselves not as MC Chalkskin and DJ Pop'N'Fresh, but as Chalkskin.
We found our footing at Tiny Nightmare's Nerdcore Nights at the Ruby Room (now The Merrow), where we became fast friends with Broken Pixels, El Gun Legro, Dez Thrill, MC Ohm-I, and Doc Awkward. We performed with some of the top talents in the genre, including MC Lars and MC Frontalot.
If you wanted to get the show to jump off, you had Chalkskin on the bill.
We auditioned for "America's Got Talent," and while they sent us all the way upstairs and had us do song after song, we never got the call back from the show's producers.
We were invited to conventions, were on Jace Hall's 1137Lounge Live several times, were doing podcasts and Comic Con cameos.
We rocked out nerdcore crowds, and we surprised ourselves by getting straight up urban crowds to chant "Grape!" while we did our silly dances. We were winning hearts and minds.
Things were getting hot for us. We were making a name for ourselves. But we had another giant challenge ahead of us, and when it was over, we would never be the same.
All of these shows were as a foursome, so it only became natural to start billing ourselves not as MC Chalkskin and DJ Pop'N'Fresh, but as Chalkskin.
We found our footing at Tiny Nightmare's Nerdcore Nights at the Ruby Room (now The Merrow), where we became fast friends with Broken Pixels, El Gun Legro, Dez Thrill, MC Ohm-I, and Doc Awkward. We performed with some of the top talents in the genre, including MC Lars and MC Frontalot.
If you wanted to get the show to jump off, you had Chalkskin on the bill.
We auditioned for "America's Got Talent," and while they sent us all the way upstairs and had us do song after song, we never got the call back from the show's producers.
We were invited to conventions, were on Jace Hall's 1137Lounge Live several times, were doing podcasts and Comic Con cameos.
We rocked out nerdcore crowds, and we surprised ourselves by getting straight up urban crowds to chant "Grape!" while we did our silly dances. We were winning hearts and minds.
Things were getting hot for us. We were making a name for ourselves. But we had another giant challenge ahead of us, and when it was over, we would never be the same.
Chasing PayDay, Part One
Jaz "The Hookmaster" Williams
I made the proclamation that while we had proven we could make an album with "Fresh Donuts," our next effort would prove we could make one that was even better. The goal was to make a more sleek and popcentric effort. We would call it "PayDay" in a sarcastic joke about how much was spent/lost on the first album and how we needed to figure out a way to become financially solvent if we wished to continue pursuing this dream AND continue to eat every day.
While Godson is extremely talented and a joy to work with, we decided to go to a producer that had taken a more traditional path into producing music. Someone with a lot of professional credibility, vision, and understanding. Someone who would push us harder for the best work possible.
Rich suggested Jaz "The Hookmaster" Williams from the Batkave. I liked the name of the studio, and he had produced the album that got El Gun Legro nominated for Best Hip Hop Artist in San Diego. Being the sole financier up until this point, and having found "Chinese Connection" (El Gun's big single from "The Return of the Future") to be too repetitive for my taste, I wasn't confident he was our guy. So we looked around a bit, talking with multiple producers before visiting the BatKave.
While Godson is extremely talented and a joy to work with, we decided to go to a producer that had taken a more traditional path into producing music. Someone with a lot of professional credibility, vision, and understanding. Someone who would push us harder for the best work possible.
Rich suggested Jaz "The Hookmaster" Williams from the Batkave. I liked the name of the studio, and he had produced the album that got El Gun Legro nominated for Best Hip Hop Artist in San Diego. Being the sole financier up until this point, and having found "Chinese Connection" (El Gun's big single from "The Return of the Future") to be too repetitive for my taste, I wasn't confident he was our guy. So we looked around a bit, talking with multiple producers before visiting the BatKave.
El Gun Legro
What should have been a quick, two-way conversation turned into a monologue from Rich as he attempted to sell us to Jaz. Of course, I was much more interested in finding out if Jaz was good for us, and I got that information pretty quickly.
Jaz sat quietly and listened to the tirade and would occasionally say, "I see what you guys are doing. You just make sure the concepts are on point. The music is the easy part."
While Rich kept on talking and talking, I had already made up my mind. Jaz was our guy.
I didn't know it at the time, but I was adding to my growing family. Jaz and Dominique Gilbert (El Gun Legro) have since become two of my best friends in this game. Rachel Evans, Jaz's girlfriend that grew up in the music industry, says she's Chalkskin's biggest fan, which is awesome, because I'm her biggest fan too.
Jaz sat quietly and listened to the tirade and would occasionally say, "I see what you guys are doing. You just make sure the concepts are on point. The music is the easy part."
While Rich kept on talking and talking, I had already made up my mind. Jaz was our guy.
I didn't know it at the time, but I was adding to my growing family. Jaz and Dominique Gilbert (El Gun Legro) have since become two of my best friends in this game. Rachel Evans, Jaz's girlfriend that grew up in the music industry, says she's Chalkskin's biggest fan, which is awesome, because I'm her biggest fan too.
Chasing PayDay, Part Two
Pop, J, Rich, Chalk, and Jaz at The Batkave
The night after we had performed at The House of Blues in West Hollywood, Charles Castro, Jason, Kariem, Stella, and I had gone out for a late meal at Pink's Hotdogs. I ordered a grape soda, which resulted in a freestyle spit session. We were warned three times to keep it down, but eventually the cops had to throw us out.
A classic was born.
"Grape Drink (Purple Stuff)" was not only the first song that we did on "PayDay," it was also the first song that was proceeded by the new ethic of intensive rehearsals and collaboration session. It was also a test to see how well things could go with Jaz.
I watched as this producer again and again went the extra mile to assure that the song had all the bells and whistles it needed to be great. He wasn't above calling in favors from his friends or plopping me down at the controls to record him adding vocal layers.
Everything "PayDay" is was because Jaz lifted our eyes to what it truly takes to create something of unquestionable quality. I owe him everything.
A classic was born.
"Grape Drink (Purple Stuff)" was not only the first song that we did on "PayDay," it was also the first song that was proceeded by the new ethic of intensive rehearsals and collaboration session. It was also a test to see how well things could go with Jaz.
I watched as this producer again and again went the extra mile to assure that the song had all the bells and whistles it needed to be great. He wasn't above calling in favors from his friends or plopping me down at the controls to record him adding vocal layers.
Everything "PayDay" is was because Jaz lifted our eyes to what it truly takes to create something of unquestionable quality. I owe him everything.
Karl Olson
Having met some amazing people on the first album, it became my intention to utilize as many of those talents as possible and to grow the album musically. I ended up being able to bring Yochanan, Kathy, Rama, and Godson back, and Dennis worked on "Hobo Song," which ended up being put on "Singles and Rarities."
I had read a tweet from MC Lars about a producer he had worked with. He said the guy's work was "next gen," and since that was a descriptor we wanted for our album, I decided to contact him about creating the beat for the title track.
Karl Olson, aka Ultraklystron, turned in a beat that kicked off the album with a gripping power that makes you want to listen to everything that is to come after.
I had read a tweet from MC Lars about a producer he had worked with. He said the guy's work was "next gen," and since that was a descriptor we wanted for our album, I decided to contact him about creating the beat for the title track.
Karl Olson, aka Ultraklystron, turned in a beat that kicked off the album with a gripping power that makes you want to listen to everything that is to come after.
Mark Shapiro
We wanted a really strong guitarist for "PayDay" and for "Someone Else," another song that ended up on "Singles and Rarities." Jaz insisted that we go with Mark Shapiro, and I can definitely see why. In just a short period of time, he rocked out rhythm and melody guitar parts for both songs and licked out my favorite musical break on any of this era's songs for "Someone Else."
He brought in a library of guitars, pedals, picks, and other equipment so he could strum out the most appropriate sound for each part. If we wanted something dirtier, he had it. If we wanted clean, he had it.
He's a gifted guitarist that elevated the musical quality of both songs to a new dimension.
He brought in a library of guitars, pedals, picks, and other equipment so he could strum out the most appropriate sound for each part. If we wanted something dirtier, he had it. If we wanted clean, he had it.
He's a gifted guitarist that elevated the musical quality of both songs to a new dimension.
Dominic McNeill
Now, Jason and I are pew buddies at church. As a pastor's kid, I was weened on hymns. I also had learned to really appreciate a scene like the one in a favorite film, "The Blues Brothers," where Jake and Elwood are called by God to put the band back together in a raucous musical number with James Brown at a Chicago chapel.
We had an obvious parody we could do, and it was right there on the tip of my funny bone. The old spiritual "Aman" could easily become an overly glib hype song for the braggart, J-Man.
And that's where "J-Man 3:16" came from.
For it, we needed a choir of singers (Kathy Robbins playing every part) and an organist. Jaz wanted authenticity, so he called on his own worship leader, Dominic McNeill, to lay down the parts. What we ended up with is my favorite song on the album (even if I'm not on the track!).
It should be noted that Dominic wasn't really sure of what he was getting into. I mean, we tried to explain it, but how do you describe something like "J-Man 3:16" before it even happens? He was a bit. . . shocked? Yeah. He was shocked when he heard the final product.
Mission accomplished.
We had an obvious parody we could do, and it was right there on the tip of my funny bone. The old spiritual "Aman" could easily become an overly glib hype song for the braggart, J-Man.
And that's where "J-Man 3:16" came from.
For it, we needed a choir of singers (Kathy Robbins playing every part) and an organist. Jaz wanted authenticity, so he called on his own worship leader, Dominic McNeill, to lay down the parts. What we ended up with is my favorite song on the album (even if I'm not on the track!).
It should be noted that Dominic wasn't really sure of what he was getting into. I mean, we tried to explain it, but how do you describe something like "J-Man 3:16" before it even happens? He was a bit. . . shocked? Yeah. He was shocked when he heard the final product.
Mission accomplished.
The emblem of the mysterious Beat Kingdom
I wanted to go old skool for my solo track, "Hip Hop Inhibited." That meant I wanted two turn tables and a microphone. I asked Jaz if he knew any scratchers, and he recommended Beat Kingdom.
I still don't really know who Beat Kingdom is, but the mysterious being took my pay pal payment and sent me back some really great deejaying for the track.
It's kind of weird to work with people that you never meet. I have still to meet Ultraklystron either, and I'd really like to sit down with him and B.K. Maybe over a nice meal? Perhaps a fine zinfandel for them and a grape soda or Dr. Pepper for me.
I digress.
I still don't really know who Beat Kingdom is, but the mysterious being took my pay pal payment and sent me back some really great deejaying for the track.
It's kind of weird to work with people that you never meet. I have still to meet Ultraklystron either, and I'd really like to sit down with him and B.K. Maybe over a nice meal? Perhaps a fine zinfandel for them and a grape soda or Dr. Pepper for me.
I digress.
Sangeeta Singh
For songs, I'm all about the concept. If the idea isn't strong, it isn't really worth working on. And if you can't explain the concept in one short sentence, it isn't usually strong enough. The rare exception to that is when Kariem is bringing the idea.
Sometimes he doesn't know exactly what he wants yet, but if he's passionate about the idea, I know he'll put in the extra effort needed to give the thing wings.
The idea for "Fluffy Stuff" was one of those hard to define concepts. Kariem was insistent that he show the other side of Pop'N'Fresh. The side that "Padded Rooms" and "The Last Oorah!" ignored. The child-like part of Pop that had a rarefied appreciation for. . . Well, fluffy things. Bunny slippers and Tweety Birds.
While Rich wanted to steer the song towards a sexy song about women with fluffy parts, I saw Kariem very strongly oppose that idea. I'm not going to lie, there was a bit of a power struggle here. My motivations were to simply trust Kariem's vision even if I didn't understand it. To put in the effort and help him get what he wanted, even if he didn't yet know what it was.
Sometimes he doesn't know exactly what he wants yet, but if he's passionate about the idea, I know he'll put in the extra effort needed to give the thing wings.
The idea for "Fluffy Stuff" was one of those hard to define concepts. Kariem was insistent that he show the other side of Pop'N'Fresh. The side that "Padded Rooms" and "The Last Oorah!" ignored. The child-like part of Pop that had a rarefied appreciation for. . . Well, fluffy things. Bunny slippers and Tweety Birds.
While Rich wanted to steer the song towards a sexy song about women with fluffy parts, I saw Kariem very strongly oppose that idea. I'm not going to lie, there was a bit of a power struggle here. My motivations were to simply trust Kariem's vision even if I didn't understand it. To put in the effort and help him get what he wanted, even if he didn't yet know what it was.
Rahis Kahn
Not that I didn't have some of my own ideas for the track.
When I heard the concept, the vision I had in my mind was the inside of Genie's lamp on TV's "I Dream of Genie." It was a soft, cushion-y place, after all. I kind of heard Rama and Indian music in my head.
After having a conversation with Jaz about his musical influences, I was surprised to find the famed hip hop and R&B producer was really a big fan of Bollywood music. I brought that to Kariem's attention, and he wasn't entirely sure that was where he wanted to go with the song.
Jaz suggested we listen to some of the beats he had in his library. It wasn't really our style to not do a song from scratch, but if there was something in there Kariem thought would work with his song, we could focus the studio time instead on adding layers and textures to the existing skeleton. After tossing away a dozen or so melodies, Kariem found one he really liked, and we went to work on the song.
When I heard the concept, the vision I had in my mind was the inside of Genie's lamp on TV's "I Dream of Genie." It was a soft, cushion-y place, after all. I kind of heard Rama and Indian music in my head.
After having a conversation with Jaz about his musical influences, I was surprised to find the famed hip hop and R&B producer was really a big fan of Bollywood music. I brought that to Kariem's attention, and he wasn't entirely sure that was where he wanted to go with the song.
Jaz suggested we listen to some of the beats he had in his library. It wasn't really our style to not do a song from scratch, but if there was something in there Kariem thought would work with his song, we could focus the studio time instead on adding layers and textures to the existing skeleton. After tossing away a dozen or so melodies, Kariem found one he really liked, and we went to work on the song.
Rama playing the koto
Obviously, we wanted Rama back, and this time we had more for him to do. Jaz isn't just into Indian music. He loves music from all over the world, so producing the song for the intro track, the lilting Chinese music playing at Don Cho's Orange Chicken and Waffles, brought a pretty big smile to his face. Rama busted out his koto and erhu and jammed away for us.
We asked Rama if he knew any female singers who could speak Hindi (I kind of put my foot in it by asking if they could speak "Indian," which is NOT a language evidently). He didn't off-hand, so he put us in touch with his teacher, world-renowned tabla-master Rahis Kahn.
That's how we ended up with both Sangeeta Singh and Rahis on the album. You see, Rahis is a pretty expensive musician, well out of my budget. But he wanted to be Sangeeta's escort and ensure she was treated with respect. It's a cultural thing, and we were thrilled he was coming. And then he surprised us. Twice.
We asked Rama if he knew any female singers who could speak Hindi (I kind of put my foot in it by asking if they could speak "Indian," which is NOT a language evidently). He didn't off-hand, so he put us in touch with his teacher, world-renowned tabla-master Rahis Kahn.
That's how we ended up with both Sangeeta Singh and Rahis on the album. You see, Rahis is a pretty expensive musician, well out of my budget. But he wanted to be Sangeeta's escort and ensure she was treated with respect. It's a cultural thing, and we were thrilled he was coming. And then he surprised us. Twice.
The Hookmaster at work
The first time was when he said, "Just give me a [amount redacted], and I'll play tabla for you."
Uh. Okay.
And then he was having so much fun in the session that he asked if he could go into the booth and lay down some of his own vocal tracks.
Uh. Yeah, sure. Why not?
Now, it should be noted that this is the second time that we had difficulty properly explaining a song to the contributing musicians. If you couldn't tell from how I've been telling this story, this was a slippery song. I basically told Sangeeta and Rahis that it was a song about a hard man's inner child and how despite his exterior, he is unwilling to give up the joys of his boyhood.
I still think that's a pretty apt description.
After hearing the finished product, Rahis and Sangeeta reportedly shook their heads in disbelief and asked, "What is this buffoonery?"
Again, mission accomplished.
Uh. Okay.
And then he was having so much fun in the session that he asked if he could go into the booth and lay down some of his own vocal tracks.
Uh. Yeah, sure. Why not?
Now, it should be noted that this is the second time that we had difficulty properly explaining a song to the contributing musicians. If you couldn't tell from how I've been telling this story, this was a slippery song. I basically told Sangeeta and Rahis that it was a song about a hard man's inner child and how despite his exterior, he is unwilling to give up the joys of his boyhood.
I still think that's a pretty apt description.
After hearing the finished product, Rahis and Sangeeta reportedly shook their heads in disbelief and asked, "What is this buffoonery?"
Again, mission accomplished.
Chasing PayDay, Part Three
Hunter Bressan of West-One
Kariem and Debra Plante do interior painting as their day-to-day job, and one of their clients was West-One, a brand new recording studio right on Hollywood Boulevard. Hunter Bressan is a really great guy, and he heard their passion for Chalkskin and offered us some free time as he was getting things situated.
We took the trip up to Hollywood so Debra could take our photos for the album art and record "Chalk City" and the vocals for the sketches with that time.
All four of us were supposed to go, and we had each requested the time off from work. Unfortunately, Rich's boss decided he needed him those days, and he was told he couldn't go at the last minute.
Jason, Stella, and I drove up and stayed with Kariem and Debra for a couple of days. They managed to get an empty apartment in their complex for us to crash in, and that's where we took the pictures you see on the back of "PayDay."
We took the trip up to Hollywood so Debra could take our photos for the album art and record "Chalk City" and the vocals for the sketches with that time.
All four of us were supposed to go, and we had each requested the time off from work. Unfortunately, Rich's boss decided he needed him those days, and he was told he couldn't go at the last minute.
Jason, Stella, and I drove up and stayed with Kariem and Debra for a couple of days. They managed to get an empty apartment in their complex for us to crash in, and that's where we took the pictures you see on the back of "PayDay."
Stella Ingram
So I've mentioned Stella a number of times, but I haven't really given her all the credit she deserves yet. She's been a huge support for me, and without her, there would be no Chalkskin. Seriously.
She's also contributed in other ways. For example, she co-wrote the lyrics or "Load Up," came up with DJ Pop'N'Fresh's name (as previously noted), came up with the concept behind the sketch for "The New Fragrance" (on the ride up to Hollywood), and provided several voices on "PayDay." She's also been a kind of production assistant and even at times - I'm ashamed to say - a personal assistant for me. She's really been a huge, huge help.
Sure, she may push the forward button when we're listening to "PayDay" when she hears her own voice, but she did a lovely job.
You can also see her work on "The Sheepdog Show!"
She's also contributed in other ways. For example, she co-wrote the lyrics or "Load Up," came up with DJ Pop'N'Fresh's name (as previously noted), came up with the concept behind the sketch for "The New Fragrance" (on the ride up to Hollywood), and provided several voices on "PayDay." She's also been a kind of production assistant and even at times - I'm ashamed to say - a personal assistant for me. She's really been a huge, huge help.
Sure, she may push the forward button when we're listening to "PayDay" when she hears her own voice, but she did a lovely job.
You can also see her work on "The Sheepdog Show!"
Brittany Robinson
The primary "Hot Asian Chick" on the Intro for "PayDay" may be hot, but she's not exactly Asian.
At the time of the recording, Brittany Robinson was a friend of Jaz's, and he had been looking for an opportunity to give to her. I don't know if they're still friends after all of this.
She's the third person who didn't exactly know what they were signing up for, looked around, got a bit scared and perhaps mortified, and probably wished they had forgone my offer in the first place.
Still, I really liked working with Brittany, and if she ever wants to give this whole thing another try, the door is open.
At the time of the recording, Brittany Robinson was a friend of Jaz's, and he had been looking for an opportunity to give to her. I don't know if they're still friends after all of this.
She's the third person who didn't exactly know what they were signing up for, looked around, got a bit scared and perhaps mortified, and probably wished they had forgone my offer in the first place.
Still, I really liked working with Brittany, and if she ever wants to give this whole thing another try, the door is open.
Mark McKinney
Mark McKinney is a film buff buddy of mine that likes to do impressions and character voices. I figured he'd be a lot of fun to work with on the sketches.
Mark did Ice Dawg on "So You Think You Can Rap?" and the announcer on "Chalkskin's Payday Advance."
I still get a smile every time I hear him say "Everrrrrry worrrrd" and "Wiggity-wiggity-wiggity-whack."
Mark did Ice Dawg on "So You Think You Can Rap?" and the announcer on "Chalkskin's Payday Advance."
I still get a smile every time I hear him say "Everrrrrry worrrrd" and "Wiggity-wiggity-wiggity-whack."
Jesse Dillon Sorrells
Forget Chalkskin. The hero of the sketches is really Jesse Dillon Sorrells.
Another actor friend from Kent State University, Jesse's been making an impact in commercials and films. I knew he was a talented actor, but I had no idea how quick his wit is. Or his tongue.
When you listen to the side effects for "The New Fragrance," you have to realize that he and Stella came up with most of them between takes. I mean, sure I threw in a bunch of them when we were in the vocal booth, but what he eventually came with was a mouthful that he spat out in pretty much one unbroken take.
He also does several voices on "Chalkskin's Payday Advance."
Jesse's one of those guys that is a die-hard Chalkskin Warrior, and you'll be seeing a lot more of him.
Another actor friend from Kent State University, Jesse's been making an impact in commercials and films. I knew he was a talented actor, but I had no idea how quick his wit is. Or his tongue.
When you listen to the side effects for "The New Fragrance," you have to realize that he and Stella came up with most of them between takes. I mean, sure I threw in a bunch of them when we were in the vocal booth, but what he eventually came with was a mouthful that he spat out in pretty much one unbroken take.
He also does several voices on "Chalkskin's Payday Advance."
Jesse's one of those guys that is a die-hard Chalkskin Warrior, and you'll be seeing a lot more of him.
Debra Plante
After the recording session, Debra, Kariem, Jason, Stella, and I drove all over town to take pictures. Debra snapped us on Rodeo Drive, at Greystone Mansion (until we got kicked out), against the statues of Greenlawn Cemetery, and at the Biltmore Hotel (until we got kicked out).
It was really cool to take photos in the entrance way of the fictional Sedgwick Hotel of "Ghostbusters," and despite frustrations with LA traffic, it was a fun and successful day.
None of us had anticipated having to do these pictures without Rich. We tried to leave ample space for him in the photos, but we knew that a lot of time, effort, and luck would have to be on our side in order to use any of these images.
It would all be up to one man!
It was really cool to take photos in the entrance way of the fictional Sedgwick Hotel of "Ghostbusters," and despite frustrations with LA traffic, it was a fun and successful day.
None of us had anticipated having to do these pictures without Rich. We tried to leave ample space for him in the photos, but we knew that a lot of time, effort, and luck would have to be on our side in order to use any of these images.
It would all be up to one man!
Brian Canini
Brian Canini, who had done the album art and photography for "Fresh Donuts," would have to take pictures of Rich, matching the light and geography as best as he could, and plunk him down into the pictures in a way that your eye would never notice.
I think Brian did exemplary work!
He is also responsible for the photograph on the cover and the graphics that made the whole thing come alive.
I think Brian did exemplary work!
He is also responsible for the photograph on the cover and the graphics that made the whole thing come alive.
Sasha Janea Miller
Of course no Chalkskin album would be complete without a Dope Hunnie on the cover!
Sasha Janea Miller is a friend of mine with no previous modeling experience. She expressed interest to me during the shoot of "T 'n A," and since I was blown away by her screen presence in that video, I was motivated to try her out for "PayDay."
To say that Sasha wasn't thrilled donning Washington's powdered wig and jacket to play COLONIAL HUNNIE would be a bit of an understatement. She looked sexy as all get out, but she didn't FEEL sexy.
The fact that her then boyfriend was driving her nuts with text messages throughout the entirety of the shoot is yet another reason she probably felt a bit tense and nervous, but thanks to Brian's eye, Jen Kolhagen's brush, and my gentle prodding, we ended up with an image that I think does everything it needs to do.
It's funny, sexy, and a bit off-putting. And THAT is Chalkskin in a nutshell.
Sasha Janea Miller is a friend of mine with no previous modeling experience. She expressed interest to me during the shoot of "T 'n A," and since I was blown away by her screen presence in that video, I was motivated to try her out for "PayDay."
To say that Sasha wasn't thrilled donning Washington's powdered wig and jacket to play COLONIAL HUNNIE would be a bit of an understatement. She looked sexy as all get out, but she didn't FEEL sexy.
The fact that her then boyfriend was driving her nuts with text messages throughout the entirety of the shoot is yet another reason she probably felt a bit tense and nervous, but thanks to Brian's eye, Jen Kolhagen's brush, and my gentle prodding, we ended up with an image that I think does everything it needs to do.
It's funny, sexy, and a bit off-putting. And THAT is Chalkskin in a nutshell.
Chasing PayDay, Part Four
Chalk at the Biltmore hotel
So I've talked about a number of the songs on the album, but I think you might be interested in the story behind all of them. Let's just take this track by track.
"Intro: Don Cho's Orange Chicken and Waffles" is the beginning of a new trend of having Sheepdog break down the forth wall and call Chalkskin and give him the mission of the next project. It's fun and funny and gets all of the exposition out of the way in an easy to consume capsule.
"PayDay" is our way of saying that this album will be one banger after another. Produced by Ultraklystron and arranged by The Hookmaster, the call to the world of Chalkskin sounds like a wardrobe cracking open to Narnia. Of course the idea is to sarcastically demand our fans pay us for our efforts, and it was born out of equal parts self aware deprecation and self aware desperation. Writing music about money in order to gain fans and make money is one of the great art versus commerce inequalities of all time, and I eat that stuff up!
"Pow Wow" was a concept that came in its totality from Rich Prophet. It was one of those "just trust me" moments, and I do trust Rich, even when I don't quite understand what "first we hit 'em with the uhh" even means. I really like this song a lot.
"The Last Oorah!" was an idea that came from Aaron Frantz, a guy who helped me organize the finances for "Fresh Donuts" and "PayDay" and hooked us up with the pool for the music video for "T 'n A." He was a huge fan of "Padded Rooms" and Pop'N'Fresh, and as an ex-Marine, he wanted us to tap into that element of the character's backstory more. With Aaron's help in research, the box set of "Generation Kill," and wikipedia, Kariem's sweat and toil created an anthem I hope the troops are proud of. And it isn't like we didn't put in the work. This song started off in the hands of Godson. When an argument in the studio threatened to get out of hand, we fled and made our way to Jaz. We spent an enormous amount of studio time on this one, because Kariem's marching orders were to get this to Hollywood score level.
"Intro: Don Cho's Orange Chicken and Waffles" is the beginning of a new trend of having Sheepdog break down the forth wall and call Chalkskin and give him the mission of the next project. It's fun and funny and gets all of the exposition out of the way in an easy to consume capsule.
"PayDay" is our way of saying that this album will be one banger after another. Produced by Ultraklystron and arranged by The Hookmaster, the call to the world of Chalkskin sounds like a wardrobe cracking open to Narnia. Of course the idea is to sarcastically demand our fans pay us for our efforts, and it was born out of equal parts self aware deprecation and self aware desperation. Writing music about money in order to gain fans and make money is one of the great art versus commerce inequalities of all time, and I eat that stuff up!
"Pow Wow" was a concept that came in its totality from Rich Prophet. It was one of those "just trust me" moments, and I do trust Rich, even when I don't quite understand what "first we hit 'em with the uhh" even means. I really like this song a lot.
"The Last Oorah!" was an idea that came from Aaron Frantz, a guy who helped me organize the finances for "Fresh Donuts" and "PayDay" and hooked us up with the pool for the music video for "T 'n A." He was a huge fan of "Padded Rooms" and Pop'N'Fresh, and as an ex-Marine, he wanted us to tap into that element of the character's backstory more. With Aaron's help in research, the box set of "Generation Kill," and wikipedia, Kariem's sweat and toil created an anthem I hope the troops are proud of. And it isn't like we didn't put in the work. This song started off in the hands of Godson. When an argument in the studio threatened to get out of hand, we fled and made our way to Jaz. We spent an enormous amount of studio time on this one, because Kariem's marching orders were to get this to Hollywood score level.
A founding father and George Washington
The sketches, which include "So You Think You Can Rap?," "The New Fragrance," and "Chalkskin Payday Advance" were an effort to not only show what we can do with humor outside of the structure of a song, but to give you some more of the characters' flavors.
"Hip Hop Inhibited" was inspired by old school rap. It was my intention to do a song that would prove to the haters once and for all that I can flow with the best of them. I don't know if I succeeded in that effort, but since I think the song is fun and I've gotten over my need for approval from people who probably just dig a different style of rap than I do, I'm happy with it. The "tangential" part of the rhyme was based on real suggestions from my facebook friends when I asked them to give me random subjects for me to rap about.
As I mentioned above, "J-Man 3:16" comes from an effort to tap directly into what we think is funny. No, not blasphemy! Wow. You just went there, huh? The second part of "PayDay" is intended to be a segment for the group to shine as individuals and to really show their voice and talent. I personally think this was the most successful of those songs.
"Fluffy Stuff" is another song we've already discussed in detail. One thing of note that I haven't mentioned is that I really wanted Kariem to have two songs on this album. As you can see, he's the only one with that distinction, myself included in that exclusion. It wasn't the intention, but it certainly became fact, that his two songs were also the most complex and expensive on "PayDay."
"Hip Hop Inhibited" was inspired by old school rap. It was my intention to do a song that would prove to the haters once and for all that I can flow with the best of them. I don't know if I succeeded in that effort, but since I think the song is fun and I've gotten over my need for approval from people who probably just dig a different style of rap than I do, I'm happy with it. The "tangential" part of the rhyme was based on real suggestions from my facebook friends when I asked them to give me random subjects for me to rap about.
As I mentioned above, "J-Man 3:16" comes from an effort to tap directly into what we think is funny. No, not blasphemy! Wow. You just went there, huh? The second part of "PayDay" is intended to be a segment for the group to shine as individuals and to really show their voice and talent. I personally think this was the most successful of those songs.
"Fluffy Stuff" is another song we've already discussed in detail. One thing of note that I haven't mentioned is that I really wanted Kariem to have two songs on this album. As you can see, he's the only one with that distinction, myself included in that exclusion. It wasn't the intention, but it certainly became fact, that his two songs were also the most complex and expensive on "PayDay."
Rich on quality control
I don't know why, but I always thought a song that boasts itself as the "Perfect Song (For a Pole Dance)" was a rather hilarious concept. Beyond that initial germ, the song is completely Rich's. He went in and worked with Godson on the solo and came out with a song that inspired a dance that you can't possibly forget even after drinking all the gin. The intro was then recorded during the mixing process with Jaz, and Rich's then girlfriend Elaina Pajimula (also seen in "T 'n A") played the role of Charity.
Speaking of Rich and Godson creating musical masterpieces together, "Nerdstock" was originally just supposed to be a part of a pitch package for a music festival that we were trying to put together. We wanted something inspired by LMFAO's "PartyRock," and what we got from those two maestros was better than we ever expected. It had to be on the album, and it was a natural selection to kick off the nerdcore segment of the album.
I love rap battles. And I love good old fashioned juxtaposition. The idea of a Trekkie and - well, whatever Star Wars fans call themselves - battling it out over which franchise is better to a hard rap beat was simply un-mined comedy gold. I think it was Rich's suggestion that we give it a dub step hook, but I could be wrong. Either way, I wanted this to be a J-Man versus Rich Prophet war to play up the sibling rivalry elements of the group. This song was a perfect example of why I love Jaz. We brought the concept to him, and he got more excited than he probably should have. We then spent the next four hours discussing our favorite episodes from the Star Trek library. A rap producer with street and nerd cred. That's my Hookmaster!
Speaking of Rich and Godson creating musical masterpieces together, "Nerdstock" was originally just supposed to be a part of a pitch package for a music festival that we were trying to put together. We wanted something inspired by LMFAO's "PartyRock," and what we got from those two maestros was better than we ever expected. It had to be on the album, and it was a natural selection to kick off the nerdcore segment of the album.
I love rap battles. And I love good old fashioned juxtaposition. The idea of a Trekkie and - well, whatever Star Wars fans call themselves - battling it out over which franchise is better to a hard rap beat was simply un-mined comedy gold. I think it was Rich's suggestion that we give it a dub step hook, but I could be wrong. Either way, I wanted this to be a J-Man versus Rich Prophet war to play up the sibling rivalry elements of the group. This song was a perfect example of why I love Jaz. We brought the concept to him, and he got more excited than he probably should have. We then spent the next four hours discussing our favorite episodes from the Star Trek library. A rap producer with street and nerd cred. That's my Hookmaster!
Somehow this guy's managed to work with world-renowned musicians
When I brought the beat for "Got Game?" to the "T 'n A" video shoot and asked Rich, Jason, and Kariem who they thought made it, they gave the names of Godson and Jaz. That gave me the confidence to try it out on the album. You see, I made it. It was based on something my brother and I used to do when we were kids playing the NES. We'd put in Contra, and during the second level, when that catchy little song was playing, we would start singing, "Whatchu gonna do about it? Whatchu gonna do about it?" When I told Andy I wanted to do a song about video games, he reminded me of that and suggested I use that as the hook. From that came four drafts in my recycle bin and finally one I was happy with. When Jaz took a look at it, he agreed. It needed to be on the album, and he salvaged it with his arranging skills and the simple answer of adding "I got game" to the hook. Since three out of four of the members of Chalkskin met while working at a video game store - and since Kariem was the model for a soldier in Socom 3 - we were able to bring some authenticity to the nerdcore cliche.
And finally, "Grape Drink (Purple Stuff)," the first song we recorded at the Batkave. I already told you about it's origins, but I haven't really stressed how Rich took our humble freestyle and structured it into the song that it is today. The hook, the insane grape down, and the outro were all his ideas. Of course his hard work inspired me to insist we give a shout out to the ingredients of grape soda, and all of us brought a renewed vigor to the track. I will say this, after we recorded the song and were listening to it with Jaz, I surprised the other guys when I said, "That grape down. That's the silliest we get on this album."
Yep, the guy that had done "Butt Dialed You" wanted to avoid "silly" for "PayDay."
And finally, "Grape Drink (Purple Stuff)," the first song we recorded at the Batkave. I already told you about it's origins, but I haven't really stressed how Rich took our humble freestyle and structured it into the song that it is today. The hook, the insane grape down, and the outro were all his ideas. Of course his hard work inspired me to insist we give a shout out to the ingredients of grape soda, and all of us brought a renewed vigor to the track. I will say this, after we recorded the song and were listening to it with Jaz, I surprised the other guys when I said, "That grape down. That's the silliest we get on this album."
Yep, the guy that had done "Butt Dialed You" wanted to avoid "silly" for "PayDay."
Chasing PayDay, Part Five
J-Man
During the course of making the album, I lost my job. I've never made much money anyway, but now I was living on unemployment for the first time in my life, searching for something to pay my bills, and digging deeper and deeper into my empty wallet to find the money it would take to get this album I committed to across the finish line.
I cashed in my 401K. I ran up credit card debt. I took out personal loans. I did everything I could just so I could see this through.
Full disclosure, the first album had cost me about ten grand. I don't even know where that money came from. I was living on a tight budget and wouldn't have been able to come up with that much money if I had been saving for a year. And yet when I sat down and added up all of the expenses on my spreadsheets, that's what it took. I wanted to spend less. I had to spend less on this one!
Even with a successful kickstarter campaign, "PayDay" ended up costing me another ten grand I didn't have.
I cashed in my 401K. I ran up credit card debt. I took out personal loans. I did everything I could just so I could see this through.
Full disclosure, the first album had cost me about ten grand. I don't even know where that money came from. I was living on a tight budget and wouldn't have been able to come up with that much money if I had been saving for a year. And yet when I sat down and added up all of the expenses on my spreadsheets, that's what it took. I wanted to spend less. I had to spend less on this one!
Even with a successful kickstarter campaign, "PayDay" ended up costing me another ten grand I didn't have.
Rich Prophet
A successful kickstarter campaign helped a little, and J-Man pitched in some too. But production never seems to cost what you budget for, and since we were living on a dream anyway, the budget was a pretty unattainable goal to begin with. It didn't take long for the financial worries to mount up and weigh down on me.
So where did the money come from? I can't really answer that question any other way than to tell you what I think.
Have you ever wondered why so many musicians thank God when they win an award? I don't. I totally get it.
Why God would see fit to bless something like Chalkskin while there are so many starving kids in Samalia, that I can't answer, but I can tell you that from my perspective there is no questioning the fact that we were operating under grace.
It happened time and time again. So much so, that I learned to simply put my head down and run to the goal post without wondering too much whether I could keep a hold of the ball. We would need more money and my well would be dry, and somehow, some way, it would be provided.
I'll give you the most clear example.
So where did the money come from? I can't really answer that question any other way than to tell you what I think.
Have you ever wondered why so many musicians thank God when they win an award? I don't. I totally get it.
Why God would see fit to bless something like Chalkskin while there are so many starving kids in Samalia, that I can't answer, but I can tell you that from my perspective there is no questioning the fact that we were operating under grace.
It happened time and time again. So much so, that I learned to simply put my head down and run to the goal post without wondering too much whether I could keep a hold of the ball. We would need more money and my well would be dry, and somehow, some way, it would be provided.
I'll give you the most clear example.
Pop illustrates our delimma
This was at the end of production. Suddenly new problems arose where we needed to come up with a thousand dollars to finish the last song and get the songs we had recorded mixed. I had been out of work for months. We had already spent the money from the kickstarter. Every favor we could call in was already out. There were no answers, and I was getting pretty anxious.
We were at the goal line, but we had no way to cross it.
I get a letter. Ten years previously, while I was still living in Ohio, I had invested some money in a retirement plan. I barely remembered doing it, and since I had moved a half a dozen times since then, the company had no way of contacting me. This letter, it seems, had found me by no explanation.
I tore the envelope open and was knocked off my feet. My small, forgotten investment had matured into a little over one thousand dollars. After the fee to cash in, it was exactly the amount we needed to finish "PayDay."
That's just too many coincidences for me to call it anything but a miracle, and like I said, it's just one of many instances where I felt His hand on this project.
So if I ever get a Grammy, you'll know why I'm thanking God.
We were at the goal line, but we had no way to cross it.
I get a letter. Ten years previously, while I was still living in Ohio, I had invested some money in a retirement plan. I barely remembered doing it, and since I had moved a half a dozen times since then, the company had no way of contacting me. This letter, it seems, had found me by no explanation.
I tore the envelope open and was knocked off my feet. My small, forgotten investment had matured into a little over one thousand dollars. After the fee to cash in, it was exactly the amount we needed to finish "PayDay."
That's just too many coincidences for me to call it anything but a miracle, and like I said, it's just one of many instances where I felt His hand on this project.
So if I ever get a Grammy, you'll know why I'm thanking God.
Chasing PayDay, Part Six
Chalkskin
Still, "PayDay" was no weekend warrior business.
No, it was nine months of unrelenting sweat, tears, arguments, and worries. "Fresh Donuts" was a sprint. "PayDay" was an endurance run uphill.
All of the pressure and personalities began to be too much. We were fighting over finances and the creative direction of the group a lot. We definitely had different ideas of where we were headed. And I found myself the target of a lot of frustration.
The group wasn't gaining traction like we wanted. Must be our marketing.
The group wasn't being taken seriously enough. Must be our presentation.
The group could still stand to be better emcees. Certainly we could be as good as our mentors wanted us to be. Certainly we could overcome hurtles faster. Jump higher. Rap more like this. More like that. Lose our old style. Our old identity. Our old vision. Be more like this. More like that.
We all agreed we wanted to progress and to become better performers, musicians, emcees, and artists. The problem is that while we all agreed with our starting point, the places we wanted to go were very different.
It was tiring. It was infuriating. It was splitting us apart.
No, it was nine months of unrelenting sweat, tears, arguments, and worries. "Fresh Donuts" was a sprint. "PayDay" was an endurance run uphill.
All of the pressure and personalities began to be too much. We were fighting over finances and the creative direction of the group a lot. We definitely had different ideas of where we were headed. And I found myself the target of a lot of frustration.
The group wasn't gaining traction like we wanted. Must be our marketing.
The group wasn't being taken seriously enough. Must be our presentation.
The group could still stand to be better emcees. Certainly we could be as good as our mentors wanted us to be. Certainly we could overcome hurtles faster. Jump higher. Rap more like this. More like that. Lose our old style. Our old identity. Our old vision. Be more like this. More like that.
We all agreed we wanted to progress and to become better performers, musicians, emcees, and artists. The problem is that while we all agreed with our starting point, the places we wanted to go were very different.
It was tiring. It was infuriating. It was splitting us apart.
Creative Differences
Chalkskin on the nerdcore panel at ComiKaze in 2012
Things came to a public boil after our panel at ComiKaze in 2012. I was tired, disappointed in how some things had worked out during the weekend, and just ready to make the three hour drive back to San Diego. I verbalized my disinterest in having any kind of serious discussions, particularly as we were surrounded by the crowd as it poured out of the Los Angeles Convention Center and flooded the sidewalk around us. People who had just watched us speak with such authority on our work were now gawking at us as we gathered our things to leave.
Rich, on the other hand, was pumped up by the experience and understandably wanted to talk about our next course of action. The key to this entire discussion is in how we interacted with one another. In Rich's mind, I was the only one with all of the authority, which is not how I saw things. In my mind, this was a collaboration between four talented guys, and I was merely the guy who had to make the tough calls. The fact that I was basically the sole financial contributor (Jason had kicked in some, and Kariem was mainly responsible for his expenses when it came to travel and arrangements between LA and San Diego) had little to do with how I treated the other members and more to do with trying to keep the ship from becoming mired and sinking. I had always given a large focus on autonomy for the guys and creating an environment where they could do their best work without me impeding on their creativity.
At least that's how I saw it, and I had assumed it was how they saw it too.
Rich, on the other hand, was pumped up by the experience and understandably wanted to talk about our next course of action. The key to this entire discussion is in how we interacted with one another. In Rich's mind, I was the only one with all of the authority, which is not how I saw things. In my mind, this was a collaboration between four talented guys, and I was merely the guy who had to make the tough calls. The fact that I was basically the sole financial contributor (Jason had kicked in some, and Kariem was mainly responsible for his expenses when it came to travel and arrangements between LA and San Diego) had little to do with how I treated the other members and more to do with trying to keep the ship from becoming mired and sinking. I had always given a large focus on autonomy for the guys and creating an environment where they could do their best work without me impeding on their creativity.
At least that's how I saw it, and I had assumed it was how they saw it too.
Aubree Miller of Tiny Nightmare Nerdcore Nights
For his part, Rich had trouble seeing it that way. After all, by this point I had booked most of our gigs and planned our studio sessions and video shoots. I had spearheaded "Fresh Donuts," and based the production of "PayDay" on private and group conversations with the other guys. I had put together the track list based on their ideas, but in the end, it was me making the calls.
I can't tell you how important communication is in any group or organization. All I can say is that I hadn't effectively empowered these guys to realize their roles. I hadn't made it clear just how important they were to the project.
I think Rich saw me as the only one allowed to steer a ship he felt he was more capable of controlling, and he let me have it. Right there on the sidewalk in front of our public.
I tried to do what I thought was appropriate at the time and walk away from the argument. That resulted in some name calling, and that in turn resulted in a full on verbal war.
I can't tell you how important communication is in any group or organization. All I can say is that I hadn't effectively empowered these guys to realize their roles. I hadn't made it clear just how important they were to the project.
I think Rich saw me as the only one allowed to steer a ship he felt he was more capable of controlling, and he let me have it. Right there on the sidewalk in front of our public.
I tried to do what I thought was appropriate at the time and walk away from the argument. That resulted in some name calling, and that in turn resulted in a full on verbal war.
The panel also included Broken Pixels, Jaz, and El Gun Legro (not pictured)
I stormed off to my car with the full intention that Rich Prophet was out for good.
I took some time away. I flew to Florida to play Jesus at my dad's church for Passover and spoke with Jaz and El Gun and Jason and Kariem to get their view of things.
Jaz made an analogy that is too difficult to explain in short, but let's just say that it involved his favorite fighting game, Soul Caliber. The overall message was that Rich and I are two sides of the same mind, that we are prone to clash, but when we work together, the results are fantastic.
Dominique Gilbert (El Gun) mainly gave me encouragement and asked me to internalize my true feelings. Set aside the anger of the moment and think about what my future me would want.
I took some time away. I flew to Florida to play Jesus at my dad's church for Passover and spoke with Jaz and El Gun and Jason and Kariem to get their view of things.
Jaz made an analogy that is too difficult to explain in short, but let's just say that it involved his favorite fighting game, Soul Caliber. The overall message was that Rich and I are two sides of the same mind, that we are prone to clash, but when we work together, the results are fantastic.
Dominique Gilbert (El Gun) mainly gave me encouragement and asked me to internalize my true feelings. Set aside the anger of the moment and think about what my future me would want.
Outside of ComiKaze, smiling through the pain
While I childishly refused to return Rich's calls, J-Man was acting as the middle man, trying to understand everyone's point of view.
And Kariem fought me tooth and nail. He was upset over the whole thing, and he refused to let there be a Chalkskin without our mentor.
For the sake of being fair to Rich and his contributions, and taking into account everyone else's feelings on the issue, we all decided to at least finish "PayDay" before taking any drastic action.
Maybe when it was all over, we could have a fake beef and write diss raps about one another.
After that, I took every action I could to put the power of Chalkskin into everyone's hands equally.
And Kariem fought me tooth and nail. He was upset over the whole thing, and he refused to let there be a Chalkskin without our mentor.
For the sake of being fair to Rich and his contributions, and taking into account everyone else's feelings on the issue, we all decided to at least finish "PayDay" before taking any drastic action.
Maybe when it was all over, we could have a fake beef and write diss raps about one another.
After that, I took every action I could to put the power of Chalkskin into everyone's hands equally.
Without Pop
The talented members of Chalkskin
We finished the album. We auditioned for "America's Got Talent." We did our first and only cover for a little webshow called Fox and Jane (It was "Hey Ya" from Outkast).
I made a lot of concessions to simply help the other guys feel more empowered in their roles in the group, so they could feel what I always had, that we were all in this together.
We tried to move on and to heal.
I really thought things had gotten to a point where we would be able to continue, stronger than ever.
And then one day Jason and Rich were hanging out, and they decided to call Kariem. I only know what Jason told me about that phone call, but evidently there was a fight. Kariem had expressed his doubts about how well he thought we were equipped to work together and accomplish our goals. He told them he and Debra felt like they were being under-appreciated and thought of as being naive. And he spoke of his financial hardships and about how he wasn't in a position to continue contributing and not see at least enough reward to allow all of this to sustain itself.
That last point was the one that struck the argument. There were evidently rough words spoken on both ends, but I'm told by Jason that they had ended the call by making up and telling each other how much they love and appreciate one another. How they want to be there for one another.
I made a lot of concessions to simply help the other guys feel more empowered in their roles in the group, so they could feel what I always had, that we were all in this together.
We tried to move on and to heal.
I really thought things had gotten to a point where we would be able to continue, stronger than ever.
And then one day Jason and Rich were hanging out, and they decided to call Kariem. I only know what Jason told me about that phone call, but evidently there was a fight. Kariem had expressed his doubts about how well he thought we were equipped to work together and accomplish our goals. He told them he and Debra felt like they were being under-appreciated and thought of as being naive. And he spoke of his financial hardships and about how he wasn't in a position to continue contributing and not see at least enough reward to allow all of this to sustain itself.
That last point was the one that struck the argument. There were evidently rough words spoken on both ends, but I'm told by Jason that they had ended the call by making up and telling each other how much they love and appreciate one another. How they want to be there for one another.
Pop and Chalk outside of The Stage Saloon
And then the one guy I felt I could really rely on - the guy I saw myself working with for as long as our careers could last - Kariem Marbury - DJ Pop'N'Fresh. . . quit.
I can't tell you how hard I've taken it. I've tried to trudge on without showing the impact, how much I'm effected, but it's been a major blow to all of this.
I feel like I've lost my best friend.
We talked about it and decided to keep things going. We did "Zombies Tryna Eatchu" (Singles and Rarities) with MC Ohm-I and made plans for more songs, shows, and projects.
But it felt pretty empty.
I can't tell you how hard I've taken it. I've tried to trudge on without showing the impact, how much I'm effected, but it's been a major blow to all of this.
I feel like I've lost my best friend.
We talked about it and decided to keep things going. We did "Zombies Tryna Eatchu" (Singles and Rarities) with MC Ohm-I and made plans for more songs, shows, and projects.
But it felt pretty empty.
Chalkskin Comes Home
To find out what happens next in this story, stay tuned for the next chapter in the saga of Chalk.
Chalkskin Comes Home will be a show on June 11th in Columbus, Ohio at Skully's. There, the future will begin.
Chalkskin Comes Home will be a show on June 11th in Columbus, Ohio at Skully's. There, the future will begin.
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