Hot Karl Interview

Intervied by R.Motions

Video
Behind the Scenes with Hot karl




Hot Karl. I saw your funny DVD which talks about how you got that name, but for those that are not familiar with you or your name, where and how did you get it?

- When I was 13, I was manager by dudes in Ice-T's Rhyme Syndicate; most notably Donald D. Working with them was like Hip-Hop Boot Camp, since they had me writing rhymes and freestyling for entire weekends when I was off school. They used to make me battle all their friends too. So, I was killing all these dudes that Donald was friends with, and I finally get to meet Ice-T one weekend, and he asks Donald, "So, this is the dude that was shitting on everyone?" And I think Tracy, another Syndicate dude says, "Yea, he's Hot Karlin' them." I had never knew what it meant until college, but once I did, I figured it would make for a weird hip-hop name that would at least get people talking.


I read your bio, heard your album and seen your DVD. They state that you were on Interscope, how did that come about and what happened with your departure?

- I entered an LA radio contest with the Baka Boyz where you battle every day with 2 line bars a few years back. I ended up winning about 45 days in a row, and eventually retiring myself and getting the all-time championship. After that, lots of labels approached me about making an album. One was Interscope. They gave me a HUGE record deal, and I ended up making an album with them and Kanye West, Sugar Ray, Fabolous, Redman, DJ Quik, DJ Clue and lots of others. Then after spending like $750,000, they just decided they weren't gonna release the album. They never gave me a real explanation, but rumors about Eminem's camp stopping the release ran rampant. I'll never know the truth, but it was a fun time.


I also read that you run an art gallery, what is all that about?

- When I left Interscope, making new music was pretty much the last thing I wanted to do. I was looking for an escape from all the industry BS. I was becoming friends with some underground LA painters and was buying stuff for my apartment. They all complained that they didn't have a spot to sell their stuff, since they were too affordable for the expensive, high-class galleries, and I knew people my age would LOVE their stuff. So my partner and I opened Gallery 1988 (which is named after the year YO! MTV Raps was first aired). It specializes in selling affordable art from up-and-coming artists. It can all be seen at www.gallery1988.com. We have tons of dope prints too. The vibe from underground art right now is a lot like hip-hop used to be. Everyone isn't doing the same style and the money isn't crazy yet, so you get a lot of creativity and originality. It's very fun for me.

I would presume that there would be tons of comparisons between you and eminem. At this point in the hip-hop game, it seems that all Caucasian mc's are compared to eminem. How do you feel about not being compared for skill but just against the fact that you are Caucasian?

- It's always been weird for me. I mean, I do understand that I have a nasal-ish voice and I'm funny, so people who don't really "follow hip-hop" could see a comparison. I recently read an interview with Saigon and he was saying that all white rappers seem to add an "-er" at the end of their words, cause that's how they've been taught in school growing up. And since we all do that, it makes us sound alike, even though in reality, we're all a lot different, and bring different things to the table. Just we're not really given a chance because of slight similarities. I actually kinda liked that theory. It was the first time I heard it. But as far as bunching us all together just cause of our skin color, it's just lame. I mean you don't hear people comparing Redman to Loon just because they're both black. Hip-hop is so big now, the least we can do it diversify the music without acting like only one of each thing can exist.

You dont match anything associated with the hiphop culture except for your lyrical skills, and i respect that if thats you, did you get alot of pressure to change your look or lyrical content?

- I have been asked a lot in the past to change up my lyrical content (like in the Interscope days), but I just don't feel comfortable lying in music. I have to be myself. Everything you hear in my music is really me. It's just like sitting down for an hour and talking to me. I might not fit in with hip-hop culture, but I promise you I know more about the history than 95% of all rappers. I've studied this shit since I was in 3rd grade. I know the past, cause I lived it. It definitely would be easier to change my look and lyrics to fit in with the rappers on the radio now, but I wouldn't feel comfortable with myself if I did that. If I fail and I was being honest, at least I can say I did it my way. I can't just be another rapper talking about pushing crack and my ice. Mostly because I would have no clue what I was talking about.


We recently wrote a review on your album and pointed that in my opinion your album was reminiscent of Eminem’s first album as far the comedy involved in your punchlines and songs, but they were more "g" rated. Have you heard that before and how do you feel about that?

- Um, being more G-rated than Eminem isn't a very hard thing to do. He's kinda the extreme of dirty. But in my mind, I think Eminem's first album sounds like Crustified Dibbs (RA The Rugged Man) old 90's record on JIVE or Chino XL's first CD. Eminem wasn't the first dude to be punchline driven, just the most famous. I mean you can even make subtle comparisons between what Tim Dog was doing back in the day and Em. I don't hate on being compared to Eminem cause I think he's a great rapper (although I think the last album was super bad). I especially thought Em's first record was cool. But, in the same manner, it's stupid to think he was the first dude to rap this style. Sometimes I think I stole too much from Chino XL, but you NEVER hear people say that. I think it goes back to the white thing.

Well right from the start of the album you permeate the essence of "real hip-hop” how do you define real hip-hop?

- It's tough to really pin down what exactly hip-hop is, which is why I hate when KRS-One pretends that it actually has a definite explanation. It has so many levels. But I consider real hip-hop to be genuine. Being original in both content and beats. In the 80's we had so many real artists. Listen to Kool G Rap or Rakim's intensity and originality. Listen to the fun that the Fat Boys, MC Lyte or Biz Markie had when they were creating tracks. Listen to stories Slick Rick would just break down. Everyone had their own avenues and were trying to bring something new to hip-hop. Trying to broaden its horizons. You don't get that anymore. Since 1994, people have taken less risks when it comes to rapping. The fact that the same 7 producers are the only ones we hear on the radio, proves this as fact. In order to get on the radio, you have to use a producer that already has 100 songs out there. Whoever is hot. Well, if we keep doing this, a lot of the songs (and subsequently the subject matters) will sound exactly alike. People should all be making different music. That's real hip-hop to me; original content and pushing the envelope as to what's "next." That's what I was raised on.


How do you feel about the state of HipHop right now?
- It's bothersome that so much of the lyrical content is similar. I mean, I think Fat Joe is a good rapper, but he's been saying that rapping is like acting. He lives out his (as well as the audiences') fantasies. He just keeps talking about how Joe on the mic is different than the real Fat Joe. That's not hip-hop to me. That's just following whatever other people are doing that is hot. Who cares what anyone is saying then? It could be anything in this case. If you REALLY lived what you're talking about (whether it be owning guns or selling drugs), than more power to you. But hip-hop doesn't need acting. This was built as a genuine art form. The writing involved in rapping is a very serious thing. It's supposed to mean something and represent the real you. Hence why I rap mostly funny. I'm a funny dude. If I feel sad, I write a sad song. I went to college for creative writing, so I also write stories. That's me. Acting and hip-hop aren't supposed to go together when you're on the mic. It's music based in reality, so I think we should stay there.


The first track on your album partners you up with MC Serch; a legend in the HipHop game, how did that come about?

- I had written that song based on all the weird stuff that happened when I would meet with record labels. I had one dude offer me a $400,000 record deal without even hearing my music. It was strange, So I had written the song with Serch in mind, especially since he had been my hero growing up. I had always loved 3rd Bass and even dide "The Gas Face" for my 3rd grade talent show. But I never thought I could actually get him. He hasn't done much rapping in quite some time, especially since (like in the song) he had moved on to the inner workings of the rap industry. We were gonna do the song with Eon from High and Mighty and then the producer of the track, C-Minus, had said he knew Serch rather well and would put in a call. Serch loved the idea for track and said he'd do it. I was like shaking when I first met him. He wrote some new lines in the song and I think he KILLED it. He should be rapping still. He's amazing. Also, we recorded the song in the same booth, facing each other, acting out what was happening in the song. So it's very genuine and I'm very proud of it. Not everyone can say they did a song with their hero.



You else do you have on your album?

- We also have Reggie Watts of Maktub, who's a great singer. And my friend since I was 11 years old, Ali Abnormal from the Handroids crew is on it also. Dave Gosset, Black Sheep's old A&R and heard on "Pass the 40" does all the skits with me, trying to capture some of the old Black Sheep skit magic. I tried to keep the big names and co-stars to a minimum since that's all I did will I was at Interscope, and that didn't seem to work.


I just want to say that by far my favorite stuff on your album are the interludes, and the "back/forth" with boobie poquito. Is that actually your ex, or was it just for the song? Cause either way the song is hilarious.
- Thanks, man. Boobie Paquito is actually Gurdrun Flaherty, a friend of mine. And naw we never "dated," we tried for a while, but just was a little weird. I think it would've been amazing if she actually was dissing my sex skills, but since we have only made out, she really has nothing to speak on.

who did the production on your album?

- Production from C-Minus, Ali Dee, Jamey Staub, She Wants Revenge (Justin Warfield and Adam 12) and Mayru. Lots of new names and new sounds.

So whats coming up next for Hot Karl?

- Just getting the word out there. I'll have a tour coming up that everyone can keep up on at www.hotkarl.com or www.hotkizzle.com. Also, I'll be on the G4 network at the beginning on August for the Attack of the Show program. Just taking everything as it comes.

well thank you for the opportunity to interview you.

- Thank you. I really appreciate the opportunity.


Do you have any last words for the people?

- Just let's force these rappers to bring hip-hop back to what it used to be: inventive. This shit is spossed to be fun and important. The music was born out of passion, and I'm not sure why we let so many people just recycle the same stuff over and over. Let's force these guys to be honest and make great music again. www.hotkarl.com, www.hotkizzle.com, www.gallery1988.com. Thanks again.