#shemar

2. Where do you write? Do you have a routine time you write? Do you discipline yourself, or just let the words come when they will? Do you typically write on a daily basis?

I tend to solidify my ideas at home. Lines come to me pretty frequently, but organizing those lines is a super mood based thing. There are times where I’ll draft up at least a verse a week for months, and there are times where I’m in an organization drought. I’ve been writing heavily for seven years at this point, and have moved on from the fear of “losing the magic” recently. It’s less that I don’t think I can lose it. I think, if I do “lose the magic,” then it’ll come back when it’s ready or I’ve done everything I can in this medium. It is what it is. I deeply admire those who have a consistent, disciplined writing schedule. That’s just not me at the moment.

3. What’s your medium—pen and paper, laptop, on your phone? Or do you compose a verse in your head and keep it there until it’s time to record?

My process bounces between my Notes app and a notebook. When I come up with lines, they stay in my phone. I have a “Poem Thoughts” note on my phone just for this purpose. My notebook comes in once I’m ready to organize those lines into a larger idea. Once I have that solid first draft, I bounce it onto my phone. From there, I might make little edits on my phone as I memorize the verse for recording. The written word is most important to me, but I care a lot about how it feels coming off my tongue. A lot of my smaller edits are just to make the verse easier to one-take. I appreciate having my solidified ideas in two places because if something happens to one tool, I can still refer to the other. I almost lost an older verse from not following this process, so I’m very particular about it.

4. Do you write in bars, or is it more disorganized than that?

I think I write in a pretty disorganized manner. My biggest rapper fear is someone I admire asking for a feature and being like, “Give me a 16,” or whatever. I can count bars; I never think about it when I’m writing though. If anything, I care more about how much time my writing takes up. I don’t really like taking up space, so my verses/songs are usually shorter to reflect that. I could never see myself having a solo song that hits four minutes, or an album that hits 40 minutes. It’s just not me at the moment.

5. How long into writing a verse or a song do you know it’s not working out the way you had in mind? Do you trash the material forever, or do you keep the discarded material to be reworked later?

It’s all in the feeling for me. Each step in my process has a moment where I can discard what doesn’t “feel right.” Sometimes when I’m in an organization drought, it might be because I’m overwhelmed by the quantity of loose lines in my “Poem Thoughts” note. So I’ll just delete the whole note and start over. The lines that are meant to be will stay with me. I practice rapping each line while I’m organizing. If anything feels wrong I just scrap it, be it an individual line or a whole verse. Earlier on into rapping, if a song got a demo that solidified, it’ll come out. Lately I’ve gotten comfortable scrapping demos, usually because I find a better beat for what I’m trying to say / how the idea needs to be presented. My favorite example of this at the moment is this song (unreleased) I have called "whomp’s fortress." The original demo was on a very different beat, a dope one still, but I’m much more comfortable with/confident in the current version. I’m very adamant that everything comes together how it’s supposed to. That keeps me from being scared about reconstructing an idea.

6. Have you engaged with any other type of writing, whether presently or in the past? Fiction? Poetry? Playwriting? If so, how has that mode influenced your songwriting?

I’ve always wanted to be a writer. When I was a kid, I wanted to write sprawling YA novels akin to Percy Jackson. Those never got past a few chapters at most, but I would envision the plots from beginning to end every single night. I started writing poetry in early high school, honestly because I wanted to be a rapper. I fucking sucked at rapping, so I thought focusing on poetry would help me become a decent rapper. I took a hella long route but I guess I was right in the end, huh?

I have many poems that I’m still proud of, and occasionally incorporate lines from them into my verses. The self-plagiarism is personal. I like the idea of treating my older self with the same reverence I give my other influences (Amiri Baraka, Henry Dumas, etc.). When I wrote poems, I was very focused on making every sentence hit. I don’t like being stripped from the full context, but if someone is gonna do it might as well make the line hard as fuck ya know? It was to the point where my poems just became bricks of text. Hearing Fred Moten’s work at a poetry festival put that idea into my head, and I just ran with it. I think that writing philosophy is still foundational to what I do now.

7. How much editing do you do after initially writing a verse/song? Do you labor over verses, working on them over a long period of time, or do you start and finish a piece in a quick burst?

After that initial draft, I spend a lot of time reflecting on my verses. I usually know what each individual line means, but I rarely grasp the personal depth of my verses until I really sit with them. I might make little changes to a verse to better emphasize certain ideas that feel urgent. I also consider my audience during editing, something I never do during earlier parts of the process. I’m not necessarily interested in being understood, but I don’t wanna be misunderstood either.

I consider unlearning a very urgent process. One major aspect of unlearning, in my opinion, entails being aware of possible violence you could be perpetuating, even in something as “small” as a word. I’m always striving to present an honest version of myself, good or bad. Simultaneously, I fucking hate those who say personal things / mistakes just for the shock value. Oftentimes shock value is just an excuse to spew reactionary bullshit. I don’t ever want my work to be reduced to that. I deeply admire artists like billy woods and Fatboi Sharif, who have really mastered shock value that isn’t regressive as fuck. All and all, when it comes to editing I try not to get in my own way.

8. Do you write to a beat, or do you adjust and tweak lyrics to fit a beat?

It’s rare that I come up with lines while listening to a beat, but I always work with a beat when I’m organizing lines. Even if the lines don’t end up on that beat, just having a backdrop to hear how the words fall is so helpful to getting that solid draft.

9. What dictates the direction of your lyrics? Are you led by an idea or topic you have in mind beforehand? Is it stream-of-consciousness? Is what you come up with determined by the constraint of the rhymes?

My lyrics are super stream-of-consciousness, a byproduct of my process. I take from my experiences with the world with the intention to reflect and learn.

Not gonna lie, I don’t care about rhyming at all, as blasphemous as that feels to say. I obviously try to do it, but I prioritize getting my shit off. There are times where I just won’t rhyme. I’m not particularly proud or disappointed about the fact. Sometimes shit just happens that way. I think as I’ve become more comfortable with / better at rapping, I’m finding those pockets where I can say exactly what I want while rhyming. It’s a cool feeling. I will always prioritize saying what feels right though, rhyming or not.

10. Do you like to experiment with different forms and rhyme schemes, or do you keep your bars free and flexible?

I used to be extremely one-track minded regarding how I rapped, but I’ve been opening up to trying more. One of my homies, baegull, has been a huge reason for this. He has a clear style, but I don’t know anyone who’s so open to molding the way they rap like him. It’s quickly becoming his biggest strength.

Recently, I’ve been focused on rapping a little slower. I think there’s always an urgency in what I write, but I’m interested in articulating that feeling differently. I don’t think I rap fast per se, but I’ve been told that all the words can be overwhelming at times. Once I start, I don’t really stop until the song is over. I enjoy that about my work a lot; it’s the style built from my work as a poet. I’ll never let go of it. Still, I’m experimenting with letting lines breathe a tiny bit more, putting heavy emphasis on certain words through my delivery alone.

11. What’s a verse you’re particularly proud of, one where you met the vision for what you desire to do with your lyrics?

"skytrain! skytrain!" captures who I am in a way no song has. I really feel it’s my best song so far. It’s genuinely difficult to describe how “me” that song is without saying “just talk to me then listen to the song,” but that’s really it. This song is a collage of people and events from my life, and even beyond it: writing during D.E.A.R time in 1st grade, visiting my grandfather in Alabama during late elementary, and references to friends from high school / early college, and more; all written under land that existed in my family long before I did. I was also just going dummy all through this song. Some of these lines are so fucking nuts, in my opinion. If you (the reader) have not listened to me before, I’d suggest that song to start (and then the rest of the EP, please and thank you).

12. Can you pick a favorite bar of yours and describe the genesis of it?

A portion from "if you can read this (morning breath)," the sixth track on obtuse ways to say that i love you:

useda watch sun and moon play favorites now resort to tentative hope uncertainty, comfortable place could never claim clairvoyance my portion of love freedom rooted

This was the first song that I intentionally wrote for that project (I wrote "speakeasy" a couple months prior). I’d consider it the closest thing to a title track for the album. I spent a lot of that time reflecting on how I love and why. I think the track as a whole, but especially these lines, captured it extremely well. I really appreciate how I used the image of the ever-present sun / moon in the  sky, specifically how it seems like they’re always following us, as a representation for childhood. Like just the genuine main character syndrome we all had as kids, ya know? At those times, everything literally orbited around us. Of course that’s something to outgrow, but I also feel there’s some wholesomeness in being able to boldly claim, “I matter, I’m important.” It’s a very different feeling from the “tentative hope” that I live with now. But uncertainty has become a beautiful, comfortable place for me. The last line explains why, because my portion of love is freedom rooted. I’m uninterested in ownership, being followed, anyone’s world orbiting around me. Traditional ideas about romance haven’t served me well. Real rigid traditions aren't for me at all honestly. Who I love, when I love them, how I love them, and why, is not something I will ever apologize for. I can only hope I’m accepted for it. I think I captured that in a cool way here.

13. Do you feel strongly one way or another about punch-ins? Will you whittle a bar down in order to account for breath control, or are you comfortable punching-in so you don’t have to sacrifice any words?

I don’t punch-in. I need to be able to do a verse from top to bottom, and I write so I can do so. It’s less a beef regarding punch-ins and more just a personal desire. I love performing my raps, so when I write/record I think about the performance a lot. Usually I perform my songs slightly differently from the recording, but I love having the “one take” energy.

14. What non-hiphop material do you turn to for inspiration? What non-music has influenced your work recently?

Interviews. I love interviews so much. I read them all the time. Listen to podcasts all the time. I love hearing other artists’ perspectives. There are artists who I’ve grown to love off of listening to their music with insight they gave in an interview. I think this underground “scene” has so many platforms with consistent in-depth interviews / music discussions. I’m immensely grateful. Love to The Rap Music Plug Podcast, Freemusicempire, Call Out Culture, The Next Movement, CineMasai with Reel Notes, literally Caltrops Press. I could go on and on. There's so many. My first interview was with my homie kiluhmanjaro for his platform: ANTII, and I know his goal is to have interviews on this level. We’re blessed in my opinion.

Lately, I’ve been tapping into a lot of movies. My goal is at least one new movie a week. I saw Mo’ Better Blues for the first time at the end of last year and that fucked me up. It was so good. I’ve been obsessed with this movie for years, Monologue, directed by Adoor Gopalakrishnan. I don’t even know why I enjoy it so much, but it’s just so moving.

There’s this book, Against the Loveless World by Palestinian-American writer Susan Abulhawa. It felt like I was a kid again the first time I read through it. I finished it in like three days. Such an amazing read on a variety of levels. This book had a huge influence on my upcoming work with Outside House.

15. Writers are often saddled with self-doubt. Do you struggle to like your own shit, or does it all sound dope to you?

I’ve definitely become more confident in my art. Everything I’ve done since I finished writing obtuse ways… in Spring of 2023 is at least pretty good. I trust my ability to write more than anything. When my gut says a line is good, then it’s good. Writing alone is easy. Rap is much more than writing though. I can be hypercritical of my pronunciation while rapping. Sometimes I get super into it and listening back there are moments that to me sound like syllables kinda just crashed together. I’m also aware that’s kinda just how I talk though. Despite this, I know when I have the right take. It’s a gut feeling, and my gut is the biggest reason I am where I am right now (maybe getting a better mic helped a bit too).

When I don’t trust myself I go to my friends, be it the ones who I make music with or those who aren’t as focused on music. My art would not be able to exist without community.

16. Who’s a rapper you listen to with such a distinguishable style that you need to resist the urge to imitate them?

ELUCID is my favorite rapper. I think it’s mad obvious he’s my favorite rapper. I’m genuinely struggling to write more, because I think listening to his music speaks for itself. Go listen to "Betamax," or "strength is admired humanity is denied," or "House Keys." I could go on, and don’t even get me started on Armand Hammer verses or insane features he’s done. What rapper wouldn’t want to be on this level? I’m grateful I’ve developed a strong sense of self because if not, I don’t know man. Fuck just living rent free, ELUCID has a city’s worth of mantras in my head. I admire what he does so much.

17. Do you have an agenda as an artist? Are there overarching concerns you want to communicate to the listener?

I hope my art communicates the main thing I want: liberation for all marginalized people. Especially Black people. That’s the throughline between every syllable. I also work my art to accurately capture who I am as a person. If the listener gets it, they do. If not, so be it. I’m not perfect, and I hope I never am. I hope to be able to learn from the world up to the moment I leave it, and my art is the best means for that.

RAPS + CRAFTS is a series of questions posed to rappers about their craft and process. It is designed to give respect and credit to their engagement with the art of songwriting. The format is inspired, in part, by Rob McLennan’s 12 or 20 interview series.