Many musicians talk a good game when it comes to their craft but it’s those who are committed to the art by educating others and making music with a purpose who understand the true fundamentals of their artistry. Brooklyn emcee Tah Phrum Duh Bush who recently curated the ongoing Black Brooklyn Renaissance Black Arts and Culture celebration is more than just an emcee, he’s also dedicated to using his talent to serve a purpose. With a soon to be released single, “Semi Reserved Closet Maniac” the Flatbush native spoke with rolling out about how he differs from other northern rappers, the program he created to assist underserved youth and how hip hop has been distracted from its original purpose. –felicia j. barclay
What are some songs people would recognize from you?
“Phlatbush” (Flatbush) which is an anthem that became very popular in Brooklyn. “Up In It Raw” is another song that was popular for quite some time. I would say that my most popular song is “Micro P-H 101” otherwise known as “Microphone 101.” It’s a song I wrote about using the microphone appropriately after years of going to hip-hop shows and open mics and seeing people abuse the mic and then proceed to call themselves “Maters of Ceremonies.” You can say it’s a class on the basics of microphone usage.
You’re described as an artist who brings a Northeastern flow to your music. How do you differ from the other ‘Up North’ rappers?
I have been told that my flow could never be mistaken for anything but an East Coast, New York Style. I believe it is because of my New York accent. I would say that I differ from a lot of others in that I articulate my words very well. I also feel that I do not emulate anyone else’s style. I believe that hip-hop’s five elements started out as individual crafts [and] one held pride in having one’s own style.
Tell me a little about Urban Artbeat and why it was founded.
Urban Artbeat was founded to provide underserved youth with innovative opportunities in the arts during and after school. The children learn about the roots of hip-hop arts and culture throughout the program. They are taught the structure of songs that they listen to on the radio. We teach them the basic units of musical measure without getting technical. We have also built a project recording studio at South Bronx Prep where the students record their songs. The crew of mentors has grown and the program has now spread to other facilities.
Do you think the recent passing of Guru will affect hip-hop music or do you think it’s already too removed from its essence?
I think it will and has already had a grand effect on things. It has opened the eyes and ears of a lot of younger listeners to who Guru and Gangstarr were. Unfortunately, many people are not appreciated until they are dead and that is when they tend to have a significant impact on people who should have been exposed to them in the first place. Hip-hop has not gone from its original essence, it is simply distracted.
What are some projects we can expect from you in 2010?
This year I will be releasing my sophomore full length project called Luminous Dark Alleys: The Insomniac Works in late June. It is a combination of recorded music, a complete tangible literary work with cover art and line art by Demostina and additional line art by myself. I will be doing a joint album release with Coole High as he is releasing his album Futuristically Speaking. We commissioned Gustav Gauntlet to direct the stage presentation into a theatrical combination of the themes of our two projects. The name of the event will be Future Insomniac. I will be releasing an album with emcee/visual artist Demostina in October called Right Eyes Only. It is an odd project of tag team emceeing in a macabre yet not “Horrorcore” fashion.
