If you’ve ever had the pleasure of catching a Rosetta Stoned show, then you already know the deal. Mental Stamina (Tyrone Norris) and Stoney Ashes (Chris Carr) have been twisting lyrics and smashing crowds along the East Coast for quite some time, and they have no plans to slow things down. This two-man show currently operates out of DC and Brooklyn, and we caught up with Mental Stamina to chat about elephants, kisses, and being an individual.

Rosetta Stoned – “Witchcraft” w/ Bucket (of Future) @ DC9 from DC Rap on Vimeo.

What is the philosophy or mission statement behind Rosetta Stoned? The name of the group must have a dual meaning and you released your album, “Kingdom of Kush” on April 20th. What’s up with that?

If there were a mission statement, it would be to just change shit. The name was a play off the kind of music and rapping that we do. People are always asking us, “What are you talking about? What does that lyric mean?” The basic thought is that there’s some type of inner translation, where it makes sense but not to everyone.

The Kingdom of Kush is a pretty important empire, but when people hear the word “Kush” they immediately think, “They’re talking about weed,” as opposed to, “They’re talking about one of the greatest empires that existed on the planet.” With so many things that deal with Africa, society makes them not exist anymore. When you think of the Rosetta Stone for instance, you don’t think of the artifact used to translate the hieroglyphics, you think of the language software. When you think about Kush, you think about weed. The first thing you think about when you hear Hannibal is The Silence of the Lambs, not the Carthaginians.

The philosophy behind what we do is to try to make new, creative, and innovative music, and try not to rap like anyone else, but at the same time try to rap better than everybody else and just blend genres together and be innovative.

Your icon is an elephant. I read that elephants symbolize strength, power, creativity, feminine energy and out of control masculine rage. Which one of these best describes your musical/artistic direction?

All of them. From the masculine rage, our music is real aggressive. We try to make strong powerful statements, but at the same time we try to do things that embrace feminine qualities like, we throw a party called Cake and Kisses. When we first named the group Rosetta Stoned, people weren’t even really talking about the weed thing or the language software. They heard Rosetta and thought it was a female’s name. It’s interesting using that icon. I use it just because it’s an African elephant. To me, it was powerful and strong.

You mentioned Cake and Kisses. Is that a monthly event?

It’s a monthly jam session. We have free cake, it’s a free party, but it’s also an open mic, so any artists who come through can just hop on stage. I call it an “organic open mic” because my concept was to get rid of the traditional open mic set-up where it’s only rappers there, no fans, you sign up on a list, people wait, and they rap in front of other rappers.

With Cake and Kisses, I put a live band, free cake and made it a party atmosphere. People come out, it’s always a good crowd, and it’s a lot of people to perform in front of so it becomes a cool platform. I’ve been doing a monthly in DC since August ‘07, I actually re-branded it as Cake and Kisses in November ‘08. I’m starting it in Baltimore in July and then I’m gonna try to get it in Philly and New York.

Cake and Kisses…when was your first kiss?

I don’t even remember, I think the first time I had my first kiss was the first time I had sex. I think it was all one package. Everything pre-pubescent is kind of a blur. Maybe I had a kiss back then, but I would say maybe 15, 16, something like that.

When people dig up your albums and music 100 years from now, what do you hope they’ll say?

That’s how I look at technology. It’s such a huge explosion of media right now. All of this stuff isn’t going to be digested and appreciated in our lifetime, so I’d love for people to dig it up in 100 years. I think in 100 years our music would probably make more sense than it does right now. Hopefully it will be something where they can go, “Yo, this is still kind of refreshing.” Something where it’s still relevant, or the emotional response you’ll get in 100 years may be even more passionate. I’m going to make it available for people to find it in 100 years. I’m just trying to figure out more efficient ways to document and distribute media.

If you could play a show with anyone dead or alive, who would you share the stage with and why?

Bjork. I think Bjork is just the pinnacle of an artist in any genre. I love Bjork. I saw her at the Apollo. She was fuckin’ amazing. I’d probably just stand there and worship at her feet.

DC has always been on some other shit in terms of a distinctive music, style, and overall culture. How do you think your sound contributes to this ongoing sense of individuality?

When we started, there really was no scene in DC for our style of music. We made our kind of shit, and so we automatically outcast ourselves from every scene. What happened is basically the dopest thing—we’re now trying to carve a niche in the area. I’ve got a collective called The Food Chain Collective, probably the biggest music collective in the city. I don’t really know yet how Rosetta Stoned will impact DC, but right now I’m in the scene on a regular basis. Everyday I’m doing something involved in the city. As far as our sound and where we fit in, I don’t know if we do fit in, or I’ve never really cared if we have, but I’m about taking your chisel and carving your own niche. It’s just really about how deep am I going to carve, or how long that stamp will last.

What’s your definition of  “cool?”

My definition of cool is honestly not giving fuck, but not in an I’m a nonconformist kind of way. Not giving a fuck as to this is what I wanna do. Not this is what I have to do, this is what I should do, but this is what I want to do. “Cool” to me is doing what you want to do mixed with what you need to do. It’s what makes me happy, what makes me feel comfortable, and what makes me feel like me. Otherwise, you could be wearing or dressing like what is supposed to be cool, but it’s really not you and at that point it’s just flattery of mimicry but it’s not you individually branding yourself as being cool or doing what you love. I guess individuality, uniqueness, innovativeness, all of that is cool.

Download your free copy of Kingdom of Kush and check out the band’s other projects: Hip Hop Database, DC Rap, Eat The Cake NYC and the apparel and creative agency One vs. Many.

Little Miss, by Francis Simeni

Francis Simeni’s art is striking.

There’s something about the color and texture contrasts, paired with the intensity of his subjects that makes his work jarring yet inherently tender. Born in Lagos, Nigeria and transplanted between Poland and New York City, Simeni has an impressive repertoire of oil and acrylic paintings on wood canvases.

Using the simplest color palette, he’s able to tap into the innocence and strength of individuals, with children being his most captivating and charming muses. A flip through the online gallery will reveal the artist’s African influences and his aptitude for contrasting joy, wonder and strength with anguish, fear and desperation.

“There has to be something in stillness or motion that captures a deeper feeling.”

“Thematically, I gravitate toward history, self-image, identity, relationship, and portraiture,” Simeni says. “Each can be utilized to express a person’s gravitas. There’s a connectivity that I’m striving to paint.”

Inspired by Keba Armand-Konte’s photographs printed on wood grain, Simeni’s creations are wholly authentic interpretations of life.

“Emotional images move me,” Simeni says. “There has to be something in stillness or motion that captures a deeper feeling. I look for that one moment that speaks a thousand words. I want to capture something: a certain look, a certain physicality, a gesture. But keeping in mind that the figure does not have to be moving to be captivating and powerful.”

He’s been honing his talents since the age of three, beginning with comic books and eventually transitioning into illustration and graphics. A graduate of New York’s Fashion Institute of Technology, Simeni hopes to “keep experimenting and explore as many different personal themes as I see fit. Regardless of media.” We look forward to following this evolution.

Check out Francis Simeni’s work and keep an eye out for his work at a gallery near you.

Stare, by Francis Simeni

The "Lalow" for Girls

Arthur Roberts and Jordan Freda’s Mumz the Werd clothing line is anything but quiet. Managed in California and masterminded in New Jersey, Mumz is tiptoeing its way onto the backs of trendsetters nationwide with striking hues and a distinctive style of character-based artwork. A chance encounter on Myspace led to the creative collaboration of Roberts’ tricked-out sketches of mummified cool kids and Freda’s business savvy and filmmaking background. The two innovators recently released their spring line of t-shirts featuring the funky new character additions, Minimus Grime and Merker Bezerker. TheCoolAid sat down with these dudes to chat about partnerships, their vision, and of course, what they think is cool.

Where did the idea for Mums the Werd come from?

Arthur: I always knew of the term “Mums the Word.” When I lived in Philly I used to go around looking at all the little characters that people would post stickers of. I would always think, “Damn I want to make my own character and start posting stickers all over Philly so people will know who I am as an artist.” So, I was drawing some little mummy character and called him “Mums.” Once it was finished, I thought it would look good on a t-shirt for a clothing line. The name “Mumz the Werd” just kind of came to me after I made [the character] Mumja. That’s where it all came from basically. That was in 2005.

What inspires your artwork?

Arthur: Some major influences would probably be the Teenage Mutant Ninja Turtles, Voltron, Power Rangers, Pokemon, Akira, Willy Wonka. I used to draw the Ninja Turtles all the time as a kid. I remember on Sundays we would get this weird-ass, obscure newspaper in Atlantic City and they always had Teenage Mutant Ninja Turtle comics in there. I used to just copy those every week. That was the beginning I guess.

"Mumja" 3D Gummy Shirt

Jordan, you’re based out of San Mateo, CA and Arthur works from Atlantic City, NJ. How does your partnership work on opposite coasts, and how have these two distinct markets impacted your style & overall creative direction?

Jordan: Sometimes it’s tough being on two different coasts, but with all the technology it’s basically like we’re sitting right next to each other. There are times when we’ll have communication problems, and we have our little scuffles here and there, but who doesn’t? As far as East coast meets the West coast? I think it’s like that slightly. Arthur has a very New York influenced hip-hop oriented background, and I’m the California kid, a skateboarder growing up and always into rock music. I think that when we talk to each other and throw ideas back and forth, our final product always becomes a hybrid of those two things. It’s as if we take the hip-hop aspect and throw the rock aspect in there. Traditionally in rock, people aren’t into the big shiny things, but we try to find the middle ground. So, we don’t make it too flashy and we don’t make it too boring, I guess we’re just trying to blend the two as much as possible.

Arthur: I think the East and West styles are basically the same; it’s just that the West coast has the sun so they can wear whatever they want because it’s perfect weather year-round. So that allows people to do more with their styles, and wear more colors. That’s what I think separates the two. The East coast focuses on a lot of greys and browns and boring shit. I think if you’re going to do the blacks and greys, make it artistic. That’s where I come in.

It was interesting to see that you’ve joined forces with bands that have completely different vibes through your “Shhhh Sounds” partnership campaign. How does the idea of bridging gaps play into the brand?

Jordan: We’re always going to be working on something new, but I think we just want to get involved with groups as much as possible, and don’t want people wearing our clothes to be labeled as anything. Arthur and I were talking at the Magic convention in Vegas asking, “Are we streetwear?” And no, we’re not. We couldn’t think of what we wanted to call ourselves, so I just said we’re “wearwear.” We just want people to wear us without being stereotyped. One of the problems growing up for both of us is either you’re considered a part of the rock crowd, the rap crowd, you’re a skater, you’re a thug, you’re this, or you’re that. Well, we’re just people, and getting involved with bands reflects that. Mumz the Werd as a brand also reflects the two of us. You have Arthur who’s into hip-hop, and into high-end fashion, and then me who, well I don’t even know what I’m into. Hopefully, by buying our products it’s almost like buying into our lifestyles because we’re two totally different people who can get along in unison.

Arthur: You just have to be true to what you do and good shit will follow you always. What’s apparent with this clothing line is that all I have to do is stay current. My art just kind of does its own thing, while fashion is in one day out the next.

"Minimus Grime" Oversize Print Limited Edition

So what makes your brand unique?

Jordan: The common thing I saw at Magic was brass knuckles, guns, and skulls. We don’t have brass knuckles, guns, or skulls. We have a big character-based line with huge characters across the shirt. It’s almost like direct advertising without even having to use lettering on the shirt. I also think we stand out because of the inks we use. It’s a 3D gummy-type ink that’s excreted off the shirt. People were coming up to us asking, “Oh my god, how did you print your shirt?  Oh my god, what is this?” We definitely stood out. I didn’t see anybody getting looked at the way we did.

Arthur: For you to understand what’s unique, you have to understand what we’re battling against. Everybody’s copying each other right now. The colors are all the same, the imagery is the same, there’s nothing fresh. What makes us stand out is that we have color and our product is put together really well. It’s not just a bunch of bullshit splatter color where we’re hitting you from all directions with neon.

Tell me a little about your current collection. Is it a part of a series? Is there a theme?

Jordan: There are three characters that I like to see as three elements. We have the “Speechless” shirt that appeals to the music crowd, because it has the cool character with the headphones and a backpack on. He’s sort of like the urban kid. And then we got the “Lalow” which is the character throwing his hands up, and it’s more of the hip-hop style shirt. Then there’s the “Mumja” which is the really cute character that the girls like, and all the guys think is cool too just because it’s a recognizable character. There isn’t really a theme with it; it’s just three main characters that we think will affect different demographics.

How do you define “cool?”

Jordan: To me, everybody is cool. Cool is just the essence that’s around you. It’s the way you portray yourself to the world. I know there are negative images of “cool,” like guns and violence and shit, but that’s not going to get you very far. Cool is being comfortable with who you are, and being able to present yourself to the world in a positive manner.

Arthur: There is no definition of “cool.” Cool is how you are I guess, and people will recognize that.

Grab your Mumz gear for the summer, and be sure to say hello to Arthur and Jordan at this year’s Van’s Warped Tour.

Mother Hip Hop is calling for her children, but something has rendered their screaming voices speechless. In this video, Wise Intelligent of the ’90s hip hop trio, Poor Righteous Teachers, schools us on the music industry’s exploitation of the African-American experience.

This year, Cooper and fellow collaborator, Henry Chalfant, celebrate the 25th anniversary of the bestseller, Subway Art, a book widely considered to be “the Bible of the graffiti movement.” Check out Cooper and Chalfant as they recount their experiences and discuss what to expect with the latest edition.

M (1931)

Combine a great story with stunning visuals, and you generally have a film worth at least one viewing.  Surprisingly enough, these two elements have been working their magic since 1931.  1931, you say?  Stunning visuals?  Perhaps you should pick up a copy of “M” to see exactly what I mean.  Set in Germany, the film depicts the hysteria caused when a child murderer appears on the scene and wreaks havoc.  The whole town takes up the case; the ordinary citizens, the police force, and even the criminal underworld.  The ordinary citizens begin pointing fingers, and as a result of business killing curfews and restrictions, the crooks set out to find the killer.  Brilliance.  In the end, the cops definitely have their work cut out for them.  Don’t let the release date of this movie fool you; the originality of this film endures through the ages.

Harakiri (1962)

A great script (with excellent dialogue) and convincing acting are two other make or break elements when it comes to film.  The proper mixture can leave an audience stunned, gaping, and breathless.  Harakiri does just that; takes the viewer on a surprising journey filled with compassion, justice, hardship, revenge, and love.  Following the story of Hanshiro Tsugumo is an intense task; the film is, for the most part, a story that he is relaying to another, which in turn sets the backdrop for a chillingly unexpected finale.  This poignant tale by director Masaki Kobayashi is a must for any Japanese film buff.

Der Untergang (Downfall) (2004)

Give me a director who takes a meticulous approach to detail any day of the week.  They generally know how to deliver the goods to the viewer.  Der Untergang (Downfall) is a classic example of the power that simple detail can bring.  The film essentially tells the story of Hitler’s last few weeks tucked away with his staff in a secret bunker during the final weeks of WWII.  It is replete with rampant confusion, frustration, ineptitude, and betrayal, but amazingly manages to extract a shred of humanity.  Told by a German director and with a German perspective, the film refuses to dignify the ill-fated leader, but rather, allows the viewer a realistic glimpse into the lives of those who accompanied him on his downfall.

Au Revoir Les Enfants (Goodbye Children) (1987)

Memories have often been the catalyst for history’s most timeless films, as many an epic masterwork was based on a writer or director’s life experiences.  French director Louis Malle drew upon his experiences at a Catholic boarding school during WWII to weave a tale of discovery, betrayal, and childhood friendship.  The film takes on a minimalist approach to the characters and the setting, relying on raw dialogue and stark visuals to carry the heavy weight of the subject matter.  This is considered one of Malle’s greatest works, and one that you should definitely add to your list.

The Razor’s Edge (1946)

While memories can create a thrilling movie, novels also have the ability (sometimes) to conjure up a film classic.  The Razor’s Edge is among author W. Somerset Maugham’s most triumphant books, chronicling the life of Larry Darrell and his quest to find the meaning of life, and ultimately, himself.  Larry abandons a life of privilege and embraces a path of self-discovery, a global journey that will ultimately shape his life and those around him.  The film adaptation attempts to replicate this saga, and with the venerable Tyrone Power in the lead, does an adequate job recreating the highs and lows of such a lonely road.

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