The University of Pennsylvania is historically known for molding MBA’s from the Wharton School of Business into professionals that have the ability to alter the fate of the economy. In recent years though, the Ivy League college has managed to produce a few alumni that went on to establish successful careers in the field of music (singer/songwriter John Legend and producer Devo Springsteen), changing the bottom lines of record labels instead of investment banks. Continuing in the Quaker tradition of talented recording artists to graduate from the prestigious Philadelphia institution is the rap group, “Kidz In The Hall” (not to be confused with the comedy troupe that spell their name with a “s” from Canada).
Introduced during their undergraduate years in school, the duo of Naledge (MC) and Double-O (DJ/producer) made the choice of officially becoming a unit while in L.A., during the creation of a mixtape for the rapper. After realizing that the people they were affiliating with to compose the record seemed to disappear, the two friends figured the best option to advance musically was together. Arranged in the MC-DJ/producer format of legendary rap tandems such as DJ Jazzy Jeff & the Fresh Prince, Gang Starr, Pete Rock & CL Smooth, and Eric B. & Rakim, the pair set out to leave their mark in music by creating “hip-hop for the ordinary person.”
In October 2006, the group released their first and last album, “School Is My Hustle,” under the independent label Rawkus Records. While the debut garnered a respectable level of acclaim from critics and supporters, the twosome felt dissatisfied with their situation at the imprint and made the decision to explore new options. During the Kidz In The Hall’s period of limbo, the group remained active by recording music and touring, enhancing their sound as much as possible in the interim.
Things changed for the better after Naledge and Double-O reached out to Duck Down Records CEO Dru Ha in an attempt to collaborate with one of his artist. “We were in between deals and we were reaching out to them to work with Sean Price. We were in this position where we were trying to get a project out…‘cause we felt like to stay relevant we had to put something out,” says Naledge.
The fated phone call aroused the curiosity of the Boot Camp executive after hearing a number of songs the group intended to use for an upcoming record. After numerous meetings and conversations between the label and group about the direction of their project, both parties realized the potential of forming a partnership, eventually leading to their deal with the company.
Now officially signed to the roster, the Kidz In The Hall have a new outlook on their career, clearly content with the level of attention and exposure they’re receiving. In examining the difference between the promotional efforts of the group’s former label and current situation, Double-O explains, “it’s starting to connect. That was the biggest thing. I think there was a decent amount of buzz—not where it is now.” Not only have they witnessed an increase in publicity, but also a decrease in manual labor. “Outside in, it looked great because it had the razor blade stamp on it. But for real, we had shows putting up our on posters,” states Naledge.
One of the criticisms commonly associated with modern day hip-hop is that the art form no longer lends its voice to more worldly issues, yet the Kidz In The Hall feel that it’s the everday topics that influence their musical output. “Life is probably the biggest inspiration as a group for us because we can take experiences that we have together, take experiences that we have individually and really just try to inject that into most of the music,” says Double-O.
Something the group members certainly have in common is their keen understanding of how important this year’s presidential election is. During the Democratic primaries, the group released the song “Work to Do” in support of Barack Obama’s nomination as the party’s representative, sampling the The Isley Brothers’ record of the same name. In the song, Naledge shares Obama’s progressive and optimistic thinking, penning the lyrics: “some live in the world and some try to change it, others look at the world and some try to paint it.”
But it’s this “consciousness” that has been sort of a gift and a curse at times for the group. “A lot of people tried to put us in a political box—we’re just social. So if there’s something going on—it’s something to comment on, it’s something to have an opinion on, we’re gonna do that,” says Naledge. Unfortunately, escaping the “scarlet label” as being a member of the “backpack” fraternity is a title that many rappers have tried to shake in their attempt to obtain mainstream notoriety, but which few have had success overcoming (the primary exceptions are Kanye West, Lupe Fiasco, Common and Pharrell Williams).
Even though it remains a reality that some smart kids still encounter levels of ridicule and derision from the popular set, the Kidz In The Hall find themselves at ease in any situation and with any group of people, even when the personas are the exact opposite of Naledge and Double-O’s. The group decided to compose their current album, “The In Crowd,” with that lunchroom mentality in mind. “When I was thinking of the title, that’s what I was thinking—if hip-hop was this one big cafeteria, what table would I sit at? And the reality is, I can sit at any table ‘cause I got friends that reside in the gangster realm; I got friends that reside in the fly boys; I got people who reside in the backpack realm; I got people who reside in the drug rap realm; anytime type of rap you name I’m comfortable with them,” emphasizes Naledge.
“In hip-hop right now you got means and extremes, or you have what I like to call ‘cereal and milk.’ We put both of them together ‘cause it tastes better together … We can make you think without getting a headache.”
Released in May 2008, “The In Crowd” is the Chicago MC and New Jersey producer’s attempt at reaching a larger audience, upping the ante from their first release. What was originally intended to be an EP suddenly turned into something more. “It started off with this idea of doing six songs with our friends. And then it just got bigger and bigger and bigger, and then the records just got better,” notes Double-O. Making the most of their social status, the doublet enlisted their pals to participate in the effort, each artist representing a different lane in music. With a diverse lineup that intermixes polar ends of the mainstream and underground musical spectrum, the album is connected by its thread of authenticity. “We were able 2 put this record together because the people respect and love what we were doing,” the producer adds.
Despite the Jambalaya of sounds and textures, “TIC” offers something for everybody without feeling forced. For hip-hop purists, there are songs like “Paper Trail” featuring Phonte of Lil’ Brother, “Mr Alladatsh—t” featuring Donnis & Chip Tha Ripper, “Middle of the Map” (Part 1 & 2) featuring Fooch; Black Milk and Guilty Simpson respectively, and “The Pledge” featuring underground favorites Buckshot and Sean Price; and for fans of popular music there are songs such as “Drivin’ Down The Block (Low End Theory)” featuring Masta Ace, “Lucifers Joyride” featuring Travis McCoy of Gym Class Heroes, and the Estelle assisted dance tune “Love Hangover.”
While the potpurri of musical styles blend effortlessly throughout the disc, no track explains how people of different backgrounds can mesh together more than the remix of “Drivin’ Down the Block,” which features Bun B., Pusha T. of the Clipse and the Cool Kids, with each rapper painting the song a different color. In spite of the album feeling like one big leisure encounter amongst comrades, Naledge makes things more personal on “TIC’s” most gripping song—“Inner Me.” On the track, he steps away from all the revelry for a moment to address all the emotional challenges of being a part of “the in crowd.” The rapper puts his frustation into context writing: “stress in my rearview, evil in the passing lane, driving toward fame at times can be a lonely game,” and then makes a startling revelation: “ironic, the product of two shrinks would ever need a shrink.”
If there’s one positive that has come from rap music’s recent decline in sales, it’s that artists of varying styles and sounds can now compete on a relatively equal playing field. Double-O confirms that things are definitely changing: “The whole idea of the independent label and the independent movements have kind of broken through to the point where they’re getting the same mentions. You have Nas talking about a Jay Electronica; you have Bun hitting us up to get on a record. There is no in between anymore in terms of the independent movement and the major movement.”
Fortunately for the Kidz In The Hall, the group’s strength lies in their ability to adapt to differing environments, exhibiting a balance both personally and musically. “In hip-hop right now you got means and extremes, or you have what I like to call ‘cereal and milk.’ We put both of them together ‘cause it tastes better together,” states Naledge. “We can make you think without getting a headache.”
