Radio Free Hipster Ep. 146: Larry, Did You Know?

Season's greetings, faithful listeners. Apologies for delaying this particular episode, but things have been… complicated.

Unlike the Halloween eps, which I see as a treat, these Christmas shows always strike me as a bit of an obligation. But that being said, this one is probably the best I've done so far.

I hope you dig it, and I further hope it helps you through this most joyous season. Which always seems to come bundled with its own unique complications.

Download Radio Free Hipster Ep. 146: Larry, Did You Know? [hosting provided by Antisoc] Size: 65.6 MB Running Time: 45:07 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
I probably should've looped a jingle bell sample behind this one, right? That's the poor man's holiday podcast theme.

Track 1: MisCast – "Christmas Don't Be Late"
Jay shared this cut with me early, and I marked it as this show's opener weeks ago.

Z's 1st interlude: "We say 'the holiday season' around here."
Because, y'know, of all the holidays

Track 2: Chaz Kangas – "A JCVD X-mas"
Nothing says the Christmas quite like Jean-Claude Van Damme.

Track 3: Doctor Octoroc – "Super Jingle Bros."
Doc's 8 Bit Jesus is a holiday classic.

Track 4: Uncle Monsterface – "Jingle Bells"
This one is a favorite of my four-year-old.

Track 5: TXL and dj BC – "Rock the Jingle Bells"
A holiday hip-hop track like no other.

Track 6: The Doubleclicks – "Happy Holidays, Too"
My thoughts are with all you poor bastards currently suffering through the hazards of air travel.

Track 7: DJ Flack – "O Chanukah Dubstep Bassline Remix"
Happy belated Chanukah, guys and gals!

Track 8: Paul and Storm – "Backward Santa"
P&S as TMBG.

Track 9: Helen Arney – "Christmas 1994"
In the Dark Ages before DVR.

Track 10: dj BC – "8-Bit Hip-Hop Christmas (Black EL vs Bit Shifter)"
Another inspired dj BC cut.

Z's 2nd interlude: "Let's keep the holiday mash-ups coming."
If you don't already have Santastic 7 in your collection your yuletide playlist is sorely lacking.

Track 11: lobsterdust – "Sister Christmas (Silent Night Ranger vs. The Temptations)"
Pretty much the best title ever.

Track 12: 8 Bit Weapon & ComputeHer – "God Rest Ye Merry Gentlemen"
'Tis the season for vocoder.

Track 13: Mega Ran – "'Twas the Night Before Christmas"
This one runs a little long, but it just felt right in the show.

Track 14: John Anealio – "Winter Day"
Probably one of my favorite Anealio tracks. Not as Christmassy as the rest of the EP, but so beautifully textured.

Z's final interlude: "At month's end for 2012's last hurrah."
I already have some quality tracks lined up for this one.

Track 15: Kirby Krackle – "Baby it's Cold Outside (Hoth Version) feat. The Doubleclicks"
Fact: The Doubleclicks make everything more awesomerer.

I ain't gonna lie to you, guys; I have likely never felt less like dispensing seasonal pleasantries in my life. But any way you slice it this is the season of giving, and the least I can do is give y'all some tunes to help you through your own holiday hassles.

With that in mind, I'd like to point out that the name of this episode – while continuing my tradition of bad jokes – references my good friend Datavortex. We've been homies online and off for a long time now, and he and the Missus recently sent me a gift that once again helped me level up my podcasting rig.

Happy Crimbo, Larry!

Radio Free Hipster Ep. 139: Kneesles

Full disclosure: The title of this episode comes from a very old, very bad joke. I just wanted to get that out of the way up front.

This show is a weird blend of brand new material and older cuts I felt like revisiting. The most obvious example of the latter is the YTCracker track, which I sort of have to include because of the relevant Sheriff Blubs sample.

Download Radio Free Hipster Ep. 139: Kneesles [hosting provided by Antisoc] Size: 55.4 MB Running Time: 41:39 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
It's a song about me. And you can't take that away.

Track 1: Supercommuter – "I Like It! (ft. MC Frontalot, Beefy) [DMG remix]"
"I like it cybernetic, I like it engineered / I like it at the party when everybody's weird."

Z's first interlude: "This little slice of plagiarism."
I dunno, I mean I did cite Beefy.

Track 2: Kirby Krackle – "Booty Do Math (feat. Adam WarRock) [Live]"
Such an amazing performance of this joint!

Track 3: Sean NH – "Betiking Poputok (Rarity vs. Ke$ha)"
Feels like I've been neglecting the brony listeners lately, so here's a mash-up.

Track 4: MC Lars – "Annabel Lee R.I.P"
Extra points for Tegan and Sara.

Track 5: Flip-Flop – "Sanctuary"
This Micro Techno collection is pretty damn tight. You should check it out.

Track 6: Shinobi Ninja – "Ill Ish"
That sample is from Don't Be a Menace, right?

Z's 2nd interlude: "A delightful combination of space travel, illicit drug use and Gravity Falls dialog."
That about covers it.

Track 7: Lenich – "Opening Theme (8 bit)" / Gravity Falls dialog
This cover made the rounds a week or two ago, but on the off chance you missed it here it is.

Track 8: YTCracker – "Take a Knee" / Gravity Falls dialog
As heard on episode 102.

Track 9: Spamtec and Hairetsu – "Isaac Kneeton"
Isaac Kneeton is my new go-to username.

Track 10: Kool Keith – "Livin' Astro"
I thought I'd played this one on the show before too. Turns out not so much.

Track 11: Andrew Allen – "Star Trek: The Next Generation"
Much respect to the SalesGeek for pointing me toward this album! Somehow I missed the original project pitch.

Z's final interlude: "That periodical of our collective childhood."
Okay, that's kind of a lie. I didn't actually subscribe to NP until I was in my 30s.

Track 12: Mega Ran – "Nintendo Power"
A nice new freebie from Random. I'm sad to see the mag go, but such is the way of the world.

I reckon as this episode posts most of y'all are either en route to or maybe even already at PAX or Dragon Con. Whichever you're attending, please wander around the show floor listening to this podcast – even if it's just for a minute.

That way it'll sort of be like I'm there too!

Sheer Tourture

I reckon with all that's been going on this week it's difficult to remember that there are more geeky rappers than just mc chris, but, alas, 'tis true! There's this one cat named Random. Perhaps you've heard of him.

Ran is currently celebrating the successful Kickstarter campaign that funded his recent multimedia project with The Summer Sessions Tour. He's on the road throughout July and August with cats like Open Mike Eagle, DN3 and K-Murdock. Later dates also put him on the Monster Hunter Tour with mc, Richie Branson and Powerglove.

Tour Dates:
*With Open Mike Eagle and DJ DN3
^With Richie Branson, mc chris and Powerglove
#With K-Murdock
7.16 Berbati's Pan, Portland, OR*
7.17 Nectar, Seattle, WA*
7.18 The Glow, Bellingham, WA*
7.20 Velvet Lounge, Washington, DC*#
7.21 Capital Comics, Annapolis, MD*#
7.24 Dobbs Upstairs, Philadelphia, PA*
7.25 Cameo Lounge, NYC*
7.26 Empire, Portland, ME*
7.27 Con-Bravo, Burlington, Ont, Canada*
7.28 Pixel, Ithaca, NY*
7.29 Precinct, Boston, MA*
8.1 White Rabbit, San Antonio, TX^
8.2 Mohawk, Austin, TX^
8.3-5 Nerdapalooza @The Social/Beacham, Orlando, FL#
8.6 The Haven, Winter Park, FL#
8.7 Granada Theater,Lawrence, KS^
8.8 The Waiting Room, Omaha, NE^
8.9 Varsity Theater, MPLS, MN^
8.10 Gabe's Oasis, Iowa City, IA^
8.11 Subterranean, Chicago, IL^
8.12 Intersection, Grand Rapids, MI^
8.14 Blind Pig, Ann Arbor, MI^
8.15 Mickey Finns, Toledo, OH^
8.16 The Grog Shop, Cleveland, OH^
8.17 The Basement, Columbus, OH^
8.18.12 Mr Smalls, Pittsburgh, PA^
8.19.12 Mohawk Place, Buffalo, NY^

Now on to the elephant in the room. A few people have asked for my thoughts on Redditgate, and they are as follows:

Well goddamn that was uncomfortable to watch.

Yeah, that pretty much sums up my take on the whole thing from start to finish. I could say more, sure, but given that a legitimate tragedy recently unfolded on the periphery of nerd culture, it seems rather pointless to dwell on it.

If you're looking for sharp but even-handed commentary I suggest you check out Beefy's post from yesterday. He's a dude that's closer to the source than most – not to mention a guy that I genuinely trust – so I tend to believe that his words hold a good bit of water.

Plus he has a pretty fuckin' great new track too, so you should probably head over there anyway.

Always Honest

Earlier this week I blogged about MC Lars's latest video, an interesting piece that uses rap to relay a lesson on the finer points of poetic meter, over at GeekDad. Interestingly enough, that's actually not the only example of educational hip-hop currently making the YouTube rounds.

Mega Ran recently released the first single from his Kickstarter-funded Language Arts multimedia project, subtitled "First Day of School." It's another solid slice of lyrical positivity that boasts stellar production from Richie Branson, nicely organic direction by Tom Larkin and a bridge in which Random takes a moment to explain the proper function of the musical bridge. #meta

The first volume of the 3 EP set is available now, as is a browser-based video game and digital comic. Check out all three, and look for Ran on tour throughout the summer.

Mutant Liberation

Due to what he and I laughingly refer to as "a conflict of interest," I did not review You Dare Call That Thing Human?!?, the latest, greatest LP from pop culture rapper Adam WarRock. Some of you have probably noticed that. Y’know, because the album was a big fuckin’ deal.

The delicate nature of the internet means that I spend the bulk of my time attempting to distance myself emotionally from the work of folks that I both like as people and respect as artists as I thoroughly, clinically dissect their flow and lyrical content. It's not always easy, but it's the job I chose.

Eugene wrote most of YDCTTH?!? while in the throes of his first big tour with Random, MC Lars and mc chris. And at irregular intervals while on the road – which is, as I hear it, a lot like being in a war: long stretches of boredom punctuated by moments of adrenaline-soaked exhilaration – he'd holler at me and we'd talk. As a result I probably know a bit more about the sheer quantity of blood, sweat and tears poured into that particular product than the Average Joe. How the sausage is made and all that.

I won't bore you with the details, but I will say that having a front row seat as one of the most creative cats I've ever known talked himself through his second proper full-length effort was pretty amazing. Not to mention goddamn inspiring.

Between the easy thematic cohesion of his debut and the runaway success of follow-up projects like his Firefly mixtape with Mikal kHill, Adam was rather concerned about the album that would eventually become this release. But he used that anxiety. He leveraged that energy.

The idea of the sophomore album slump is generally rooted in two distinct places; on the one hand a performer does not want to disappoint his fanbase, on the other he doesn't wish to limit himself artistically. Adam added to this an as yet unheard-of third hand: the disconnect between the booth and the stage.

But I've already said too much.

I didn't review You Dare Call That Thing Human?!?, because I was too close to the source. I was there, more or less at its birth, so I will instead flash back a few months to that more relevant moment in time. It’s a little interview I did with Euge right after the album’s proper release, and I think it gives you a real idea of his head-space at the time.

-


I imagine you've told this tale countless times, Euge, but never to me. So, uh, how does one go from being a lawyer to being a professional hip-hopper? What was your journey?


I think what it boils down to is that a lot of people with a creative background or urge try to convince themselves that they can relegate their creative impulses to hobbies, or side projects, and work a dayjob in the meantime. And somewhere along the way, you get a mortgage, you get kids, you settle down and your job becomes your life, because that's your responsibility. The creative stuff fizzles away. I was lucky (if that's even the word) to not have any of those things to contend with, and I was pretty miserable trying to push back my creative urges, and my creative urge happened to be making hip hop. So I quit. There's a long list of lawyers, PhD holders, engineers, etc., who have become comedians (Greg Giraldo), or TV writers (anyone on the Simpsons/Futurama), people who turned their back on a more sure thing, and did something wonderful and creative with their lives. There's a long list of success stories, more than you'd think there were. You just have to find them, and take inspiration from them, hope that it will give you the strength to believe that something good can happen.


The short story is that my boss sucked, and I was never really a very good lawyer either.

Your proper introduction to the nerdier side of the underground rap scene was 2010's The War for Infinity. Since that time you've repped every series from Chew to the West Coast Avengers. How long have you been into comics, and at what point did this interest begin to inspire you artistically?


It's funny, I still own the first comic I ever had, and remember very clearly what year it was. I was 9, I bought an Avengers annual at the grocery store, and I became addicted to comics. I had been a baseball card collector up until then, and when I found comics, I realized, "Wow! You mean there's something I can collect AND emotionally invest in?" And from there, it was off to the races.


I guess comics always sort of inspired me, I used to sketch and ink as a kid. There was a time when I took art classes and wanted to be an artist. But rapping about comics was never a conscious thing. I just wanted things to rap about when I started doing music again, and I was really into comics, so I did that. No grand plan. It just sort of worked out that way.

In addition to comics you've also begun to mine television properties like Firefly and Parks & Recreation. How important is pop culture in your creative process?


Pop culture is everything in my creative process. Everything I do, from watching TV, to reading comics, to seeing movies, I see through the lens of something that can give me inspiration, even if it's just for one stupid throwaway line. One of the great things about the era we live in, and maybe it started with guys like Chuck Klosterman or other writers like that, there's no stigma about low brow culture. Music has always been "low brow," or at least lowest common denominator. TV has always been that. Most movies are. They were seen as low brow culture, and yet, could still elicit these wonderful emotional reactions, these great binding experiences, and yet they still got stigmatized as something less important that purported "high brow" things. What a crock. If sharing an experience in popular culture brings you closer with other people, it's important. If you are moved by a Justin Bieber song, it's important. You can't point and say one form of art or expression is more important or worth more than the other, it's a subjective discussion. I don't care about Sartre or Monet, does that make them less important in history? No. But does it make it automatically important to ME because they are deemed high achievements in their field? No. I'd rather read comics and watch TV.

You've become quite the tour horse over the past several months. Has this transition from recording musician to touring musician been difficult?


It's not really more or less difficult. There is a certain amount of existential pain in sitting in an apartment and just waiting for the world to come to you, sitting in a cafe and trying to break a song. You trade that for the pain of lifting boxes of merch, getting through these long drives, but at the end, you're rewarded with great fan interaction and really satisfying live shows.


The only thing that I can't seem to get used to is how to figure out when to do laundry. I can never figure out how much clothes to bring on the road.

You hit the road last year with mc chris, MC Lars and Random as part of a national tour before teaming with Illbotz, The ThoughtCriminals, Dual Core and Tribe One for a smaller regional affair. And now you're playing a series of West Coast dates with fellow comic book geeks Kirby Krackle. Have you noticed any underlying commonalities between these contrasting settings and lineups? Are there any recurring motifs that you always encounter on the road, or is each experience vastly different?


The one unifying characteristic is the underlying current of positivity. People are so open to experiencing new music, and while you may not always win over new fans, they are at least going to give you the opportunity to appeal to them. That's a really new thing, something you don't see in a lot of traditional music shows, where most people (myself included) just wait through the opening act, or don't care about the bands they don't know. Again, it goes back to speaking on pop culture and common things that everyone can relate to, you have the chance to give people a new perspective on important things to them, and they most often respond really well.


Of course, every time we play The Milestone in Charlotte, that show always sort of stands out as way more… what's the word, insane? Punk? Hardcore? I don't have shows like that in many places, and I think my punk/hardcore roots come out when we're there. It almost makes it worth having to use those bathrooms…


You Dare Call That Thing Human?!? seems to harness a lot of your stage energy. Was it hard to reproduce that sort of performance in-studio?


I don't know if it was hard, I just don't think I ever even thought of that before. When I did The War For Infinity, I hadn't performed live in YEARS, so it wasn't on my mind. When I did Human?!?, I had just come off a 3 months of live shows, so it was still on my mind when I went to record a lot of songs.

You've got a number of really impressive guest stars this time around: Tribe One and kHill, Beefy and int 80, Lars and Doc Awk. Was there anyone that you desperately wanted to spit on a track that just didn't work out this time around? Any guests you're already eyeing for your next project?


Ha. This is one of those Z. trick questions, where you try to get me to reveal secret plans I'm working on. I will say this, I was really bummed that the schedule didn't work out to get any of the Fake Four guys on it, as I've gotten to know guys like Ceschi and Louis Logic recently, who I was already huge fans of. But I never even asked anyone, so it's not really a disappointment. I also am definitely going to do a track with YTCracker sooner rather than later, we've been talking a lot, and I think it would be fun.


As for people I'm eyeing for my next project, well, let's just say I have some surprises in line, and I'll let you know as soon as I can talk about them.

The songs on YDCTTH?!? are interesting in that, while you seem to be playing a number of different characters this time around (as opposed to the singular protagonist of Infinity), many of the tracks seem much more personal in nature. Do you feel you're putting more of yourself into your music or perhaps you're simply more comfortable adding more personal elements to your story-songs? Or am I just totally full of shit?


I think that Human?!? is just an overall more personal record than WFI by the nature of it not being a narrative concept album. I'm always comfortable talking about myself in a personal fashion, whether in conversation or music. I'm a pretty open book. I've always put it into my music, but I just kinda felt like coming out with a debut talking about myself, with no context, doesn't make a lot of sense. It's ironic, because Human?!? is much more of a "debut" than the last one was, but it never would've made sense to make it as my debut.

You tend to play around a bit with established hip-hop tropes. On this album, for example, you begin with a variation on the classic-style intro track, you include a vague skit or two and you even riff on the "no homo" thing. You also entertain a number of additional rap aliases (compliments of Baron Vaughn) at the conclusion of the song "Civil War," but I notice you missed a few. Most specifically Ahn Like Donkey Kong, Eugenics and Alan Moore-Rock. I realize that's not a proper interview question, but, y'know, I just kinda had to say it.


I find it so hilarious how many people think that's ME on the introduction. Yeah, that's Baron Vaughn, who is not only an incredible actor and stand-up comedian, but is also a fellow nerd, an amazing beatboxer and hip hop fan, and also just a great guy to talk to. He has a podcast called Deep Shit, which everyone should check out, it's amazing.


I just wanted this to be a regular ass album. It's my version of the regular album. There's some thematic things in it if you want to dig for it, but it's as regular an album as I'll ever make. Enjoy it. The next one will probably be weird and out there, in comparison.

Speaking of "Civil War," issues of race and culture seem to crop up regularly on the new record, both via the mutant allegory and through some pretty candid personal statements. Do you actually still encounter those who can't fathom why an Asian-American is involved in hip-hop culture, or was this experience more confined to your formative years?


Honestly, I have never encountered someone who has a problem that I'm Asian, and that I rap. It seems like a lot of people WANT me to have those experiences, want any success I achieve to be a big "fuck you" to those people, but I don't find that happening. The only thing I've ever experienced is: "just be good." Nothing to do with anyone's race. Fat, skinny, tall, short, Asian, black, white, whatever, just be a good rapper.

One of the many standout tracks on the new release is "Sensitive Side." What was the most recent movie that made you cry, and is 2012 the year of the sensitive rapper?


Oh shit. Probably The Grey. But I can't imagine any guy seeing that movie and not being kind of devastated by the end of it. It's just a movie about men coming to grips with death and their lives. I mean, what the hell.


I don't know, are there other sensitive rappers out there? I just know I am a huge pussy, and that's the reality of it. I think that came out of me writing some really aggressive raps, and laughing because I was like, "Man this is not what I am like at ALL." So I wrote "Sensitive Side," and put it all out there. I do love rom coms.

"I Kill Giants" also manages to make quite the impression, thanks in no small part to Vince Vandal's delicate backing beat that contrasts strongly against joints like "MLF." Was there any discussion about musical eclecticism during the creation of the project, or did the disparate nature of the production simply occur organically?


It's funny you say that, because I think Vince thinks the album is too cohesive in tone and sound. Honestly, the album started out as an EP, and we had so many beats lying around, it became an LP. So there wasn't a lot of conscious thought behind the beats and the nature of them. We just sequenced it as best we could when it was all done. I will say this much, "Beast I.Z." was the last song we did, literally a week before we sent it to masters, after we nixed a song off of the final album. And I think that's a beat that really stands out, because it's so different from the rest of it, probably beccause it was so late in the process after we'd listened to the rest of the album a million times.

There are a lot of obvious musical triumphs on YDCTTH?! – the interplay between opener and closer, the raw power of "The Kids Table," the fact that our eternally stone-faced buddy kHill actually sounds happy for a brief and shining moment there at the end of "Booster Gold." (Just playin', Mikal! :P) If you could distill the entire work into a single moment, just one brief line or passage that explains where Adam WarRock is right now and where he's going, what would it be?


I think "Retcon" is a pretty good slide of where I'm at right now. That was the first song I wrote and finished for the new album, and I have a feeling that it's going to be a recurring experience of starting over at new levels, of looking back on why you do the things you do. You can have a plan, and if you're lucky, the plan works. And then you get to this point where you stop and say, "Uh oh… what's next?" and just kind of look around, and hope that you can figure out some direction to go in. You can't plan out 10 steps ahead, you can only really see a few ahead of you and then get ready to have your whole world turned upside down again when you get to that next stopping point. "Retcon" definitely represents that constant metamorphosis to me, especially that third verse. It's that sense of triumph, without getting to enjoy it, because you're immediately back to wondering, "What the hell am I doing!?"

Lastly, Euge, when I think about Adam WarRock I think about both quality and quantity. How do you explain your inexhaustible productivity? What's the secret, man?!


I drink a lot of coffee. I eat a lot of high-sugar breakfast cereals. I also am convinced that this won't last much longer, so I'm trying to get as much done while this ride goes on, for as short or long as it goes.


I'll sleep when I'm dead.

-

I'm not sure if you've been fortunate enough to catch Adam live, but, as composed and well-tempered as WarRock typically is on wax, he is a goddamn monster on-stage. A monster!

If anything, You Dare Call That Thing Human?!? captures that. It leverages not only that energy, that dynamism, but also Euge's unique swagger. It's a rare bird like that.

From its poignant spoken-word introduction to the electric refrain of "Retcon" – merely the latest in WarRock's continued collection of personal anthems – to the gorgeous key-heavy hook of "I Kill Giants," it's every bit as eclectic as the lyricist at its heart. With stellar production by Vince Vandal, the requisite bevy of top-shelf guests and a strength drawn from a shared cause of quality, it set the bar for 2012's new releases unimaginably high early on.

But Eugene hasn’t exactly been wiling away the hours since. He’s continued to drop regular freebie singles via his site. He’s played another SXSW and rocked that tour with fellow comic nerds Kirby Krackle. And he’s released an incalculable number of EPs.

And now, as we stand mere days away from his proper foray into yet another proper flavor of pop culture music, I remain ever awed.

Because Adam WarRock is a genuine musical superhero.

Radio Free Hipster Ep. 129: Straight Down the Middle

As I type this I am not playing Mass Effect 3. That likely goes without saying, but it's an important point. Because I want to be playing Mass Effect 3.

Instead I'm writing podcast notes for you, my friend. Much in the way that when I sat down to record and edit and mix the show itself I wasn't playing Mass Effect 3.

All I'm saying is that I care enough to compromise my gaming for your amusement. I don't need your pity or your gratitude or anything; I just figure it's never a bad idea to tell folks that they mean something to you.

Download Radio Free Hipster Ep. 129: Straight Down the Middle [hosting provided by Antisoc] Size: 58.9 MB Running Time: 44:51 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah - "Radio Free Hipster Theme (feat. Beefy)"
My podcast theme song could beat up your podcast theme song.

Track 1: Klopfenpop - "Stillwield (Klopfenpop vs. Jonny Nero Action Hero)"
I really dig this track. It's got a different feel for Klopf—sort of a spoken-word kinda thing—and I love how it plays off Jonny's chiptune backing.

Z's 1st interlude: "Really happy that you are."
Thanks so much for listening! I feel like I don't say that enough.

Track 2: Adam WarRock - "Active Squad (feat. Beefy, Mikal kHill and Kabuto the Python)"
Mordin died in my game. I don't reckon that's spoilery, as your play-through might be completely different. But in mine he is dead. It was a noble sacrifice, and I miss him.

Track 3: Nosaj Thing - "Fog"
This one's for Larry. For some reason it reminds me of the Mass Effect 3 home screen, which I guess explains its placement.

Track 4: DJ Le Clown - "Do You Really Want to Tchiki Boom?"
I'm only just realizing that a significant portion of my listeners likely have no idea who the fuck Culture Club is. #old

Track 5: Service Lab - "BouncingHead Volleyball"
There's a strong electric groove in this one. I dig it.

Track 6: King Pheenix - "Bottle It (feat. Dale Chase)"
I'm kinda hoping Dale and KPX form some sort of hip-hop duo side project. I love how well they play off each other!

Z's 2nd interlude: "Hip-hop and electronic-music focused set."
I usually try to mix things up, stylistically-speaking, but this time around stuff seemed to gel into two distinct sets.

Track 7: Finntroll - "Trollhammaren"
Again, I blame this one on Steve. And also on the fact that I just found out I can watch Trollhunter for free via Amazon Prime.

Track 8: Alestorm - "Keelhauled"
Church turned me on to this one. He knows I dig metal and pirates.

Track 9: The Aeronauts - "My Marvelous Toys"
You might remember these guys from my recent "Steampunk Boba Fett" post.

Track 10: The Doubleclicks - "The Way I Glow"
This one is actually the counterpoint to the Molly Lewis track I played a couple shows back.

Track 11: The Boom Bang - "TEENAGE MUTANT NINJA TURTLEZ"
This is not my first atonal "Ninja Turtles" cover.

Z's final interlude: "Specialty metal."
That totally needs to be a thing.

Track 12: Shael Riley and The Double Ice Backfire - "Area Dolls Guy"
If you missed Songs from the Pit the first time around—which may be the case, as it was a cassette-only release in its original iteration—you need to snag this one. Hell, even if you do have the original, this one offers lots of expanded material.

I feel like I should be writing something thoughtful about how I usually piece together shows and how this one was a little different, but I reckon I've already elucidated enough on that. So instead I will simply bid you adieu.

Have a great St. Pat's! And if you're down for some multiplayer, holler at a scholar!

Mega-Mania

As music fans, hell, as consumers we're a pretty difficult lot. I mean, we want our favorite artists to be consistent—or, more to the point, consistently good—but we also want them to do new and exciting things.

Basically what I'm saying is that listeners are assholes and that the acts we love are unquestionably screwed.

Okay, I'm just playin'. Sort of.

Still, I think we've all gotten frustrated in the past both by bands cashing in on the same sounds and concepts, "phoning it in" as the kids says, and with artists trying to reinvent themselves (sometimes even to the point of delegitimizing their own previous output) at every turn.

So what's the happy medium? Sometimes you have to break with the old for the sake of the new. Recently the Blue Bomber himself, Mega Ran, announced that he was abandoning that moniker as he moved forward.

Always one to be willing to talk about the long, hard walk of the independent artist, he took some time to answer my questions about this decision and to reflect on his own unique musical evolution.

--

It's been a while since we've talked, and in that time you've done–well, I'm afraid "a lot" is rather underselling it! Mega Ran 9, Forever Famicom, Black Materia, Mega Ran 10; all things considered you've dropped no fewer than eight releases in the past three years. Is being prolific more an art or a science, and what's your own secret for keeping your output fresh?

I don't know if I could call it a secret, but the only way for me to keep things fresh musically is to experience more. When something gets boring, I have to move away from it and try something else. Retraining your brain is important. I've read books and studies on it, and it really does help you to think differently. Drive a different way home from work... tie your shoes another way… I don't know… anything to keep your brain on its toes. One day a week, I watch TV, and when I do, I may watch documentaries, another day it's The Office or Walking Dead, most days I'm trying to experience life and write about it. Definitely a combination of arts and sciences to my approach.

It's been six years since your RAHM Nation debut The Call. A dozen albums later, how do you feel you've changed as a songwriter?

Wow, those numbers make me feel very old... 6 years, 12 albums, oh my. It's strange, because I look back and listen to albums like The Call and things I did while a part of RAHM Nation, and I don't even feel like I'm the same person... heck, I don't even agree with a lot of the things I said on some of those records anymore, ha. I really see the growth, and though it makes me somewhat ashamed of who I was, I'm also very proud of what we accomplished and how far I've come. I'm not where I want to be yet, but I'm better than I was last week, baby steps I guess, as some poet said. Wow, just wow.

In that time you've made a lot of interesting connections. Obviously you've toured with guys like MC Lars and mc chris, but, more importantly, you've managed to create some really amazing collaborations with cats like Lost Perception and K-Murdock. How do you feel these collabs have altered your creative process?

I love bringing someone else on board because it creates such a different type of energy that keeps me on my toes. Between K-Murdock, Lost Perception and DN3, these guys challenge me in unimaginable ways with what they're able to do with music. I just try my best to keep up. I love collaborating; in the early days, before Random was Mega Ran, I'd make tapes at home with my crew, and I would feature a different artist on each song, mainly because I hated the sound of my voice, and wanted it to be on a song as little as possible. Today, I still hate my voice, but I like to collaborate to help both of us bring something out of the other that may not have been there in the past. I'm so thankful for the times I get to sit down with great rappers and producers and craft songs, because they give me ideas for rhymes and subjects that I wouldn't have come up with had I been sitting alone. K-Murdock said his original plan for Forever Famicom was an all-instrumental album before I came along... I don't know if either of us would have been the same had it remained in beat-only form.

Speaking of Murdock, you two just recently returned from Japan as part of the More B.A.R.K. Less Bitin' tour. What was that experience like, especially for artists so rooted in eastern pop culture like video games and anime?

Man... As gamers, nerds and cartoon addicts, Japan is our Mecca, our motherland, where we have learned, borrowed and taken so much culture from. It's a place I never thought I would see in my lifetime and I'm thankful to the folks at JTB Travel Agency and Tomamaru Entertainment for making that happen. It all started as a great idea from emcee Substantial, who then got DJ Asu Rock and then K and myself involved in an epic trip where we not only got to enjoy the land of the Rising Sun, but to perform there, AND to bring fans who also had never been. I had a blast. Time flies in Japan faster than anywhere I've ever been, that's for sure. Great friendships were forged, and hopefully we'll be doing another More B.A.R.K. tour this year.

Aside from your sojourn to the Far East, certainly the biggest news to come out of the Random camp of late concerned Mega Ran 10. Is this truly the last Mega Ran album?

It is. I hope the fans understand, but I feel like it was time to go out with a bang. Mega Ran 10 was an album to prove a point to myself, because it was probably my least favorite soundtrack of the Mega Man game series. I wanted to see if I could make something fresh that I enjoyed more than the original source material. It took about 2 years, but I managed to pull it off.

What motivated you to retire the Blue Bomber?

I think it's just time, man... I mean, all of the Capcom drama surrounding the character makes it pretty obvious that the Blue One doesn't seem to fit into their long term plans. The good news is just like we have countless Mega Man games we can pop in to relive the Bomber's heyday, we have 3 great Mega Man themed rap albums... I'd say that's more than enough. I thought a lot this past year about leaving a legacy, and though the title of "Mega Man rapper" tends to turn more than a few heads, I don't know if it fully encompasses what I have done and plan to do in the future.

Do you fear you'll always be associated with Mega Ran? Do you still plan to perform those fan-favorite tracks live?

Oh of course. I didn't choose it, but at every show this fall with Lars and chris, I was on the marquee as "Mega Ran." Those fans will forever know me as such, and I'm okay with that. As a full-time musician now, I realize the importance of owning your catalog. And though Capcom was extremely helpful to me, if God forbid that relationship were to turn sour, I'd like to know that I can still make a living making music that I enjoy. Any Mega Ran song I write, no matter how personal, how awesome or how catchy, it is only half mine. But I love to perform those songs, and as long as I can help it, "Grow Up," "Splash Woman" and "Lookin' Up" will be a part of any Random live set moving forward.

I've mentioned before that "Lookin' Up" is, in my eyes, the quintessential Mega Ran joint. What song do you feel best captures the spirit of that and highly successful ongoing project?

Thank you. I think "Lookin' Up" as well, but many others tell me that "Sick!!" is the one they replay the most... which is awesome because I first released the song on Capcom-Unity in mid-2010. So 2 and a half years later, for that song to still be talked about and a reason people bought the album is amazing. People always complain about the lack of patience in today's fans, but my MegaManiacs—I'm trying to think of a cool name for my fans, still working on that—came through and showed out big time. For an album to be 2.5 years from conception to execution in this day and age, with the fans being updated on every step, and for the album to still hit #2 on Bandcamp in sales, is amazing. I also love "Now Hiring" a song I conceptualized in London while watching my email pile up... Though I'm happy to say that now, I DO have a manager! w00t!

Next on the horizon from Random is a Black Materia remix album. What manner of new hotness can fans of the original expect from this release?

We've been working hard on this, honestly, since about a month after the original released last January. The cool thing about Lost Perception is that he's a perfectionist when it comes to beats, so he'll send me 8 versions of the same beat to choose from... so although I only choose one, several of those may be very dope, so I thought, let's rework the tracks and use some of these alternate mixes you've sent. We're also outsourcing some production to some great producers to give the tracks their own spin. I wanted to create something that wasn't a cheap cash-in like these video game developers do, but more of a re-imagination of the tracks they loved... add-ons and bonuses for people who want more of the same but in a new package... almost like the music version of DLC. So for that reason, the Black Materia: The Remixes album will only be available digitally and will only cost $5. The first single "Ninja Girl" produced by DN3, will release soon.

As you look to the future, do you feel you'll continue to mine video games as a source of musical inspiration?

I think it'll always be a part of my thought process... as time goes on, I'd like to do a little less direct sampling and more original chiptune styled hip hop beats. I feel like we've got something really good here and though I don't want to end it, I just want to extend it. If I were doing the same thing I did 5 years ago, that wouldn't be very Random at all. I want to help create an additional lane for hip-hop as well as music in general, moving forward. So the next album will be highly game, anime and comic influenced, but won't involve 8-bit samples.

There seems to be this never-ending drama surrounding nerdcore, with some clinging tenaciously too it and still others seeking to actively distance themselves from the term. For the most part, however, you seem fairly indifferent. How concerned are you with the labels that others may associate with your music?

Not very. It's funny though, when people say to me "You're my favorite nerdcore rapper!" I'm very humbled and thankful for that, there's no time, or reason to say, "Well actually, I consider myself a neo-nerdy-soul-core-chip-hop artist!" As I learned from many of my forefathers in this subgenre, there's no use trying to run from what people will say about you. People will classify you however they want. In 2007 while I was begging for the support of my peers in the underground-soulful-backpack rap crowd, it was the nerdcore fans who embraced me like one of their own, invited me to play shows, into their homes, and into their families. And I don't know who said it, but when you have family, you have everything you ever need. Even a dumb dog knows to go where he's wanted.

Lastly, Ran, if you could tell your 2007 self, that guy who was just getting' ready to drop his first Mega Man-themed hip-hop album, one thing, what would it be?

DON'T DO IT!! Nah, that definitely wouldn't be it. I would tell him to relax, take off his cool a bit, and embrace his creative self. When I dropped that album, I was so afraid of it losing me whatever I had thought I had gained in the hip-hop world, and all it did was multiply it. I was so afraid of ridicule that I created a separate MySpace page for it, and I dismissed it as a "side project" in interviews and everything. I quickly worked on new albums and foolishly rushed releases out to dilute the effect that I thought Mega Ran was having on my "true school hip hop" credibility. I didn't think my fans would be comfortable with that experience, and I really shouldn't have cared! That's what an artist is supposed to do, bring you into his or her world for that 50 or so minutes that you have their attention. I don't have many regrets in my career, but one of them is releasing Patches and Glue and The 8th Day so close together. I feel that both of those are 2 classic album experiences that everyone should listen to… In fact, go listen to them now!

--

And you know what? I did.

After completing this interview I went back and listened The 8th Day and Patches, as well as The Call. And something interesting happened; I had just as enjoyable a listening experience as I did with Famicom or Mega Ran 10.

You see, as much as Ran has changed, as much as he grown and evolved and, yeah, occasionally misstepped, as much as his voice and his swagger and his flow have strengthened over the years, I was reminded by a quick look back down his artistic path that he has always been a dope-ass MC. And I can't help but believe he always will be.

As sad as a part of me is to hear, all official-like, that he's abandoning his old stage persona, I certainly understand. He's no more required to be the same rapper he was 6 years ago as I am to be the same writer. Age and experience mold us, and that is reflected both in what we do and in how we do it. Art changes you, and that in turn changes your art.

Whatever's next for Random, we cannot possibly know. And it's impossible for even the man himself to anticipate where inspiration will ultimately lead him, but the one thing I know is that I'll still be here. Listening.

Mega Ran is dead. Long live Mega Ran.

Radio Free Hipster Ep. 127: Boy-Girl-Boy-Girl

Did I steal the name of this episode from my first grade teacher's go-to method for preventing lunchroom horseplay? Yes. Yes I did.

(This one's for you, Mrs. Byrd!)

After my recent trash talk I guess you could say I had a change of heart. If you guys don't wanna hear a straight-up romance episode for Valentine's Day, then who am I to force you?

So instead I went with a variation on a theme, and, truth be told, I'm pretty pleased with the results.

Download Radio Free Hipster Ep. 127: Boy-Girl-Boy-Girl [hosting provided by Antisoc] Size: 59.3 MB Running Time: 45:05 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah - "Radio Free Hipster Theme (feat. Beefy)"
I honestly can't tell you which of these fine chaps is the dreamier of the two. #swoon

Track 1: A-1 - "Golden Girls"
More rappers should rhyme over old TV show theme songs.

Z's 1st interlude: "Self, what is it at the root of all these songs?"
Did I still that bit from Bill Cosby? Yes. Yes I did.

Track 2: Random - "City Boy"
Though both his writing and his flow have improved over the years, this is still a personal favorite Random track.

Track 3: Adventure Time dialog / Dr. Awkward - "What's My Otaku Girl's Name (MasDaMind’s Rihanna Mashup)"
I suppose I could've easily gone with the original, but there's something really interesting about this particular remix.

Track 4: DJ Schmolli - "Rude Boy Resort"
Wow. That was a lot of Rihanna.

Track 5: John Anealio - "Steampunk Girl"
This is Mr. Anealio's latest. You should probably cop it for the steampunk lady in your life.

Track 6: killsaly - "Nancy Boy (Placebo Cover)"
I've always admired the strong undercurrent of glam in Placebo's work.

Z's 2nd interlude: "Exploring the story of a relationship in verse."
Which we actually do far less in this episode than even in many non-Valentine's shows.

Track 7: Death-Star - "Any Girl (feat. Brittany Dixon)"
What C0s and 3P lack in traditional vocal power, they more than make up for in raw lyrical acumen.

Track 8: DJ Mashup - "Franchize Boys at Large"
From way the hell back in episode 51.

Track 9: Childish Gambino - "My Girls (My Girls)"
I'm still trying to figure out how I've managed to not pick up Camp yet. It sort of defies logic.

Track 10: Molly Lewis - "My Bioluminescent Boy"
The old school, almost Andrews Sisters-vibe of the vocal layering in this one really plays to Molly's strengths.

Z's final interlude: "Because attraction is wonderfully varied force."
And on a vague, tangential note, let me give it up to Washington State. Three cheers for fairness!

Track 11: Down With Webster - "Rich Girl$"
Wait; is this song about Ke$ha?

With today likely already proving an all-out aural assault of love songs – surely punctuated by the late Whitney's most grating anthem – I hope this show provides a suitable musical alternative.

It's really the least I could do.

Basic math tells me that I have, give-or-take, 21 more shows to do in 2012. And though I've got lots of musical ground to cover I am certainly more than willing to entertain your song requests and show ideas.

Again, it's the least I can do!

New Year, New You

It's officially been 2012 for a few days now, but I've had trouble pulling together a proper new blog post as I have been playing Skyrim very busy doing super important stuff and in no way goofing off. Since this is my first piece of the year, I kinda felt as though it should be both indicative of the one we just left behind and – how shall I say? – prophetic of the 12 months to come. And thus it seemed rather fitting that I present some new hotness from two of the biggest movers/shakers of 2011.

The first serving of awesome is from none other than our pal Mega Ran. It's a distinctly old school video for Mega Ran 10 joint "Lookin' Up." That's a song that I recently cited as one of the most important single tracks of the year, as well as a new personal favorite from Random's always satisfying repertoire.

The second is a new track from my brother Adam WarRock. It's the debut single (and de facto teaser) from Euge's upcoming release You Dare Call That Thing Human?!? While the full album is slated to drop on February 13, you can enjoy "616," resplendent with lyrical allusions to Marvel's prime continuity, right the fuck now.

Radio Free Hipster Ep. 123: Merry Xmix

It's mid-December, and that means it's time for my own little holiday episode of RFH.

I imagine many of you – particularly those in the States who've been forced to listen to it in department stores for a month already – don't care much for Christmas music, and newcomers might be eyeing this show suspiciously. Let me just assure you that I'm already sick of goddamn holiday-themed radio rabble, and this regular feature is my antidote.

I find the weirdest, wildest, dorkiest songs, and I wrap 'em up just for you.

Download Radio Free Hipster Ep. 123: Merry Xmix [hosting provided by Antisoc] Size: 66.2 MB Running Time: 50:50 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Well, in Whoville they say that Beefy's heart grew three sizes that day.

Z's 1st interlude: "My annual holiday show."
It's my own little Christmas tradition.

Track 1: Illbotz - "Cold Chillin' Wit Jesus (Feat. Sequoya)"
Stevie D is the reason for the season.

Track 2: Troy and Abed - "Christmas Infiltration"
"I am Jehovah's most secret witness!"

Track 3: the great Luke Ski - "Black Friday"
The first of three FuMpers to make the cut in this year's ep.

Track 4: Community dialog / Square Wail - "Rockin' Around the Christmas Tree"
From Square Wail's new freebie A Merry Christmas.

Track 5: Andrew W.K. - "Silent Night"
Thanks to Dave the Knave for the request.

Track 6: Devo Spice - "Lean Christmas"
Okay, admittedly things get a tad bit depressing here.

Track 7: Doctor Octoroc - "Icarus! the Angels Sing"
Probably my current favorite from Doc's 8 Bit Jesus.

Track 8: Random (Mega Ran) - "Snow Business"
Be sure to cop Random's new Christmas-themed project as well.

Track 9: DJNoNo - "BlacKmasDub"
There are actually a couple of DJNoNo's. This one's my internet homeboy Tim of Radio Clash fame.

Z's 2nd interlude: "Our journey into the twisted heart of the holiday season."
Which probably would have made a much better episode title.

Track 10: Jonathan Coulton - "Christmas is Interesting"
I never realized how many damn Christmas songs JoCo has!

Track 11: 8 Bit Weapon & ComputeHer - "Greensleeves (What Child Is This)"
It's a Chiptune Holiday is currently a buck at Bandcamp.

Track 12: Big D & the Kids Table - "Christmas in Allston"
I actually found this one a while back thanks to a holiday mash-up comp, and I thought we could do with a Run DMC homage this time around.

Track 13: Abed - "Sad Quick Christmas Song"
From "Abed's Uncontrollable Christmas."

Track 14: Smashy Claw - "Chuck Norris is Coming to Town"
An unexpected seasonal delight.

Track 15: My Little Pony: Friendship is Magic Soundtrack - "Winter Wrap Up (The Living Tombstone's Remix)"
I think we all know who asked for this one. ;)

Z's final interlude: "I reckon family is what it's all about anyway."
Perhaps my most profound seasonal musing of ever.

Track 16: Helen Arney - "Traditional Family Christmas Argument"
Helen's It's Going to Be an Awkward Christmas, Darling is required yuletide listening.

I am presently torn between doing my usual end-of-the-year shit-I-missed wrap-up or a dedicated Illbotz show using the audio from my interview with Stevie D from earlier this month. Not sure which way the wind will ultimately blow, but whichever doesn't hit at the end of this year will surely kick off the next.

In the event that I lead with the former as opposed to the latter, feel free to hit me up with your tops tracks of the year. Particularly if they're songs I haven't yet featured.

Radio Free Hipster Ep. 122: Head Down or Chin Up

It seems as though I've been doing a lot of these shows lately: episodes wherein I desperately try to raise my own spirits through the power of music. I'm not exactly sure what that says about my mental wellbeing, but it's probably nothin' good.

Still, if I can somehow manage to squeeze even a little enjoyment for you the listener out of my whiny-ass angst, then at least it's good for something.

Download Radio Free Hipster Ep. 122: Head Down or Chin Up [hosting provided by Antisoc] Size: 58.6 MB Running Time: 45:38 Subscribe to RFH

Show Notes:

Track 1: Adam WarRock - "I Am (Not)"
This joint has served as Adam's opener during his past few shows. Really hoping he kicks off with it this Saturday in Charlotte.

Z's 1st interlude: "My very, very favorite people."
I'm serious, y'all, this is like my dream tour lineup!

Track 2: Mikal kHill & Romero Shaw - "ONLYFAM (feat. Adam WarRock, Sulfur & Tribe One)"
I've always liked the way kHill writes, but I gotta say I find the chorus of this track particularly satisfying.

Track 3: Insane Ian - "Say Accio"
Ian's Weezard EP has been a long time coming. Songs like this one make me happy it finally managed to make its way to the masses.

Track 4: Harry Potter dialog / Dedicated Servers - "S.O.S. (Save Our Selves)"
Minister Rufus Scrimgeour -- always the politician!

Track 5: Echelon High - "Voigt-Kampff (Antisoc All-Your-Blades-Are-Belong-to-Us Remix)"
Soc sent me this track a long time ago, but I only recently thought to ask for play permission. Yes, believe it or not I do sometimes do the honorable thing and ask acts before I play their shit.

Track 6: Wordburglar - "Forward Front Facer"
"I laugh when people ask if I'm nerdcore. / If you ain't smart what you listenin' to 'Burg for?"

Z's 2nd interlude: "A glimmer of light from… an adjacent tunnel."
Okay, admittedly I can sometimes turn a phrase.

Track 7: I Fight Dragons - "Down Today"
This was one of those unexpected covers that just served to remind me why I loved IFD in the first place.

Track 8: General Mumble - "Gator in the Tub"
The brony community goes out of its way to rep all the MLP characters, even lesser known critters like Gummy.

Track 9: Mikey Mason - "Me and Alan Moore's Beard"
This track runs a little long, but it's just so damned enjoyable!

Tack 10: Alan Moore interview dialog / Rae Sterling - "Blink (and I'm There)"
The bass mix in this one was a little funky, and that led to some leveling issues. Still, it's a brilliant track that I definitely wanted to share.

Z's final interlude: "Whatever kinda shit you're handling as well."
Whenever I feel down I try and remember that other people are likely struggling too. It does little to put things in perspective, but there's something about misery and company.

Track 11: Random - "Lookin' Up"
I'll go on record as saying that this is probably the ideal Random song; with a soulful hook, an uplifting message and a strong chiptune backing, it's got it all.

We only have two more shows left in 2011. The next one will, of course, be holiday-inspired, but my year-end episode is pretty open. I mean, just in case y'all wanna make any song or theme suggestions.

I don't typically look back at previous shows until year's end, and I was honestly a little surprised by my output this time around. I think the past 11 months have seen some of my best work to date. Of course that's just my own opinion, which may or may not be rooted in reality.

At any rate, I hope you've enjoyed 'em, and that you'll stick around for more.

The Decider

Counting this post (and our recent pow-wow on the GeekDad HipTrax podcast), I have interviewed geeky rap mainstay mc chris four times – more than any other single artist. This is interesting considering that mc is still often thought of as having a somewhat negative view of nerdcore, a term that is very regularly associated with my writing in general and this blog in particular. But that little aside is, alas, rather unimportant in the grander scheme of things.

For me, at least, what has typified each of my exchanges with mc chris over the past four or so years is his willingness to share. I fire off a lot of questions to potential interview subjects, and I always make it abundantly clear that he or she can ignore any that seem especially thorny. mc never seems to pick and choose.

He shoots back his gloriously uncensored responses generally within the span of a couple hours. And, while such candor can lead to some sticky situations, it does afford a proper look into the mind of the artist. It lets me as a writer and, hopefully, you as a reader truly grasp where mc is coming from at any given time.

He might not always give the responses you'd expect hear, but he always does it with a brand of wry honesty that has come to define him across his decade-long career.

--

When last we spoke you were preparing for the release of Marshmellow Playground. What was the fan reaction to a kid-friendly album from the generally foul-mouthed mc chris?

Awesome! A lot of my fans have been listening to me for ten years and in that time they've gotten married, had kids and now they want mc chris music they can listen to with them. I did it just as vague reference to the fact that George Miller gave us both Mad Max AND Happy Feet, two very different films.

I found that the reaction was awesome, except for the people that stole it and didn't know what it was. They were like, "What happened to you man? Rhyming about mommies and daddies and shit?!? You fell off!" Thankfully, families loved it and I got more than a bunch of reports about it helping kids learn to brush better and go to sleep. Lots of parents used it for car rides to school. It came in handy, so I'm excited to deliver the much longer sequel Marshmellow Campground in 2012.

You wrapped up last year's mc chris Goes to Hell with a "teaser trailer" for your soon-to-be released full-length Race Wars. Was the Mad Max-style musical concept already fully fleshed out by then, or were you just shooting from the hip with that closer?

Well, I had the album title for a long time. Since the Williams Street days. It gets referenced on all the old shows, but they're talking about all the races breaking up into groups and fighting for supremacy. I thought it would be more fun if it was about cars that are all racing each other. A Star Wars on the road.

I started to really develop the idea after seeing my nephew go nuts for cars. It reminded me of my own fascination with cars as a kid in the 80's. Every show had a car: Magnum, A-Team, Dukes of Hazard. And we loved the Cannonball Run series. It allowed us, in our own minds, to let anyone race with each other. Indiana Jones could race against James Bond. We picked the cars first, and then we picked who was driving in them. I think before computer generated effects, the most bad ass thing a movie or a TV show could do was show a car screeching around a corner. After touching upon things like Star Wars and GI Joe, I was excited to go back and investigate another facet of my toy-rich childhood.

As for it being a Mad Max thing, I think it just came to me as I wrote. The Ninjas vs. the Projects thing was thrown in there to emphasize Marshmellow Playground's innocence. We then just hit all the beats of a trailer. I recorded like 30 random things and then we went back and cut it up and threw in John Gemberling and Todd Hanson as well, who is the Senior Editor of the Onion and Dan Halen on Squibillies, by the way.

Your choice in instrumentals has changed a lot over the years, from the decidedly punk slant of Life's a Bitch and I'm Her Pimp to the classic DJ John era to the crazed pop of mc chris is dead and Goes to Hell. Musically, what can fans expect from Race Wars?

More instruments than ever before. New drum sounds. New instruments I can't pronounce from other countries I can't pronounce. Some fan made tracks. I can't really reveal what I did without spoiling it, but I can say that the album starts out very different and then goes into familiar territory.

I worked with some amazing musicians. They're on so much cool stuff it's crazy. Like they did the music for Red Dead Redemption, and you can hear a little bit of that sound in the track they did for me, "Tarantino." They were sending me all kinds of stuff. And my requests were varied, to say the least. The people that worked on this record definitely did this on the side. I'd be like can you we work on this tomorrow and they'd be like I have to tour with TV on the Radio or go be on Jimmy Fallon. The whole time I felt like it was so cool that they thought my little record was worth focusing on. And not only did they make music but they knocked it out the park. And Andrew Futral returned to corral all the music and turn everything into mc chris songs. We kinda eat music and then spit it out all fucked up.

He also supplied lots of original songs this year that I like a lot. Listen to music he normally does (The Age of Rockets and Field Mouse) and tell me he doesn't do a 180 when working with me. It's like he's living a double life. Half the time producing female vocalists or he's touring the country backing up famous chicks and the rest of the time he's making some of the most catchy inventive underground hip-hop out today.

What about lyrically? Any recurring motifs or fresh vocal ground covered in this new material?

We definitely touch upon the nerd motif. I already leaked "nerd cave" which is kind of a bare bones description of a modern day nerd's life, living in a small apartment, not going out. It's not that cheery. But the song surprisingly is. Caves is a motif on the album. And bears. That's all I'll say about that.

An mc chris album has beats too, and we try to hit those beats. Some fun stuff in the beginning, some serious stuff at the end, a love song and skits. Way too many skits. Which people will at first hate, then love, then quote. Or at least, that's how it's gone every record so far.

Are you finally through with bounty hunter on vehicle songs, or do you reserve the right to sneak those into future releases?

You have to wait to hear. There's a new subject that I've taken up, it's NOT Star Wars but I think it's going to make my fans really happy.

Recently "hoodie ninja" made its way into a Honda Civic ad campaign. Was there any "sellout" backlash associated with such a high profile project, or has the taboo surrounding the licensing of music for commercial use finally been laid to rest?

Of course, but I think the people that make those comments just kinda look not-as-smart-as everyone else commenting. Most folks were like, "Congrats! Ten Years of hard work and now you have something cool to show for it!" It's very validating to exist in your own right without corporate help, but it's also nice to be acknowledged. You feel less invisible. And that commercial played everywhere, before just about every movie that came out this summer, prime time every night.

Blink 182 is on a Honda Tour right now and my song plays right before they come out. That's just cool to me. And I think it was a fun moment for a lot of long time mc chris fans to say that's my boy! I got a lot of flack for saving the money and not doing anything with it. But I have no idea how this all plays out and I want to be smart.

The recently announced Race Wars tour boasts a really impressive lineup; you're sharing the stage with MC Lars, Random and Adam WarRock. Did you decide early on to make this a more rap-centered tour, or did it just come together on its own?

I like to go with what works and then give those last two slots to some folks that deserve a chance to show everyone what they can do. I think this tour will be an eye-opener.

Former tour mates I Fight Dragons were signed by Photo Finish/Atlantic Records in 2010, just months after the conclusion of your tour. Is a traditional record deal still something to which you aspire, or are you content to continue to do your own thing in your own way?

Congratulations to I Fight, honestly. I would like to think getting that opening slot does indeed get you attention.

It's just not my way to leave things up to other folks, like labels and management, that don't care as much as I do. I have a firm base that I can launch anything from a book to a cartoon, I can make records whenever I want and I answer to no one but the fans. I prefer the freedom and the anonymity that allows me to create with abandon. Bands get dropped because they're numbers don't match up with projections and then they split up, or maybe they split up because they didn't get signed. After a flash in the pan is long gone I'm still gonna be on Facebook announcing new records and new shows. I decide when it ends and that means everything to me.

You're now a solid decade into your musical career. How has the landscape changed for the indie artist since those early days?

Well everything I did in the beginning that was so fresh and cool and innovative is now common practice with just about every artist. I see quantity has started to matter more than quality with mixtapes becoming the standard.

I feel older and older, like I'm doing a form of hip-hop that no one even recognizes anymore. I grew up on Native Tongues and Public Enemy, the Pharcyde. Now I find myself trying to imitate the sounds of the rappers of the turn of the century. The dirty south beats before Dungeon Family came into play.

I definitely hate the new rap. Or at least I can't get into it cuz all the hooks suck or are nonexistent. Smaller rappers are trying to rhyme faster but no one knows what they're saying and older, bigger rappers are trying to act like they invented rap when they definitely didn't, they're just rapping in a bow tie.

When I was in Junior High I dressed like all these hipsters do now, pretending it's the 50's, wearing plaid shirts and sweater vests. Of course I got made of fun of. But now it's hip as fuck and everyone is trying to copy the hipsters that were copying the Japanese and the tattooed rednecks in Atlanta that dressed like that before them. I take pride in the fact that I stick to what I know and every once in a while it becomes extremely popular.

I've had quite the summer on Twitter where I get told at least once a day that Kreayshawn and Nicki Minaj sound like me, "but not funny." Well... at least I'm funnier than Nicki Minaj.

Earlier this year you handily used Kickstarter to generate some capital for a very special project. What's the status of the mc chris cartoon?

It's very secret and very safe. My artist Nate Bellegarde worked his butt off all summer drawing some awesome stuff. We're bringing to life a bunch of things that I think my fans will appreciate. I meet with Titmouse before I leave for tour and we discuss the storyboards. I'm hoping to show everyone a trailer at Christmas. The backers have been getting the inside scoop all the while which is super fun, kinda like a secret club with decoder rings. So far everyone has been keeping mum pretty well. The trick is to keep it under wraps.

You also expend an awful lot of time and energy collecting donations in the name of your nephew Murray to fight CF. How much money have mc chris fans generated for the Cystic Fibrosis Foundation over the years?

I'm proud to report that we passed the $100,000 mark this summer. I'm trying to raise money every week selling anything of mine that isn't nailed down. This week I announced that this huge Captain America box from Hasbro that is up for bid on my eBay sale for CF has the first copy of Race Wars in it. I think it's at like $300 bucks now. When I send stuff out I try to include lots of what I call, "loot," candy, Legos, Magic cards. I want to make a bad day awesome with some surprise goodies and I also want people to see that doing something good can result in cooler crap happening.

You covered "I Lost on Jeopardy" for the Twenty-Six and a Half Weird Al tribute, and you previously covered his DEVO style parody "Dare to Be Stupid." How big of an influence was Al on your particular brand of humorous music?

I never got an Al album to honest. But I grew up on MTV so his videos definitely taught me parody. I remember singing, "Smell my feet!" to the GoGo's "We Got the Beat" at Summer Camp when I was little. So his influence goes back to my very early days of being an asshole.

For comparison, mc, you and I are the same age, but while you're touring the country I am decidedly stationary with a wife and two kids. Will mc chris ever settle down to a life of quiet domesticity?

Yes. As soon as possible.

Lastly, you've got an album ready to drop and a new fall tour all lined up. What else is coming down the pike from mc chris?

A song where if you memorize it you will know all the US Presidents.

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Is it weird that I hope that last answer means mc is covering Animaniacs' classic "The Presidents?" Probably, but I digress.

There was a time, in the far-flung days of yore during the height of their "feud," when fellow nerd rap pioneer YTCracker stated that, while he and mc chris failed to see eye-to-eye, he still "respected his hustle."

There was something oddly prophetic about that statement. Because now, years later, mc has managed to endure by doing just that – by making his own way through the generally fickle and surprisingly hostile landscape of modern music. By approaching recording, touring, marketing and fan interaction in his own indubitable fashion. By staying on that proverbial grind. And it has served him well.

With more than 10 years under his belt he has managed to make an indelible mark on not only the geek culture that is so often evoked in his lyrics, but also on the broader pop culture. His is the unique voice that crops up on television commercials and movie soundtracks, instantly recognizable even if not always expected.

Love him or hate him, Christopher Ward is now and forever your favorite rapper's favorite overblown cartoon avatar.

He is "the high-toned honky." He is MC PeePants. He is a zombie and a wizard and a bounty hunter and a basket case. He is mc chris, and he is in control of his own destiny.

And he is most certainly funnier than Nicki Minaj.