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Akrobatik - One Man Show
Interview By: Silver Garnier
 Once upon a time the city of Boston, Massachusetts was synonymous with the famed “Curse of the Bambino.” The legendary hex that Babe Ruth ‘supposedly’ placed on the Boston Red Sox for trading him away to the New York Yankees, and that kept Red Sox nation from a World Series championship for generations on top of generations. But if urban legends are something that sparks your fancy, then the curse of not having any musical outlets in one of the biggest metropolitan areas in the country should be right at the top of list as well. In the past, some light did shine down Beantown from the 80’s straight to the 90’s (circa New Edition and New Kids On The Block). But after New Edition turned more into a retraction, and the Caucasian kids with an attitude had to bow-out due to the new phenomenon known as Nirvana, it felt like the plug on musical experimentation all but ceased in Boston. Even with the biggest Hip-Hop magazine (at the time) The Source having its roots planted in Boston; what should’ve been a steady of stream of talent, was reduced into a trickling drip of obscurity. Years later, the members of those celebrated bands from way-back-when did re-emerge; but as movies stars, Reality TV stars, and stars of courtroom dramas. Trading in their microphones for prison numbers, Hollywood scripts, and as the butt of jokes for late night talk show monologs.
If anyone does hold a PhD in Hip-Hop history, then they’ll know the front man of what used to be Gangstarr, was born there. But now Guru represents Brooklyn more than Jay-Z, and the rest of Brooklyn-born rappers all together. Some would say that’s his choice, because Boston is well documented as a city filled with of haters. Most people use the “crabs in a bucket” philosophy when the million-dollar question is brought up on why the city isn’t bigger than it is. To this day, Edo G. is the only MC that the general public has a recollection of when Beantown rappers come into a conversation. Another fact of life just might be that if you’re not on the radio, or MTV’s TRL talking about how the ice on your watch is colder than Santa Claus’ front lawn, then you’ll be branded with the dreaded ‘underground rapper’ tag. And basically that’s the rep a lot of Boston MCs get these days. But one MC that wears that label like a medal of honor is Boston’s own Akrobatik.
 His rhymes are filled with references to his hometown as if he was trapped in a cocoon, and never traveled outside the city limits, even though the same Massachusetts metaphors have brought him all around the globe. This one-third of the trio known as The Perceptionists can usually be spotted wearing something that lets the anyone who comes in contact with him know exactly where he’s from, via New England Patriots or Red Sox jerseys. With his full beard, trademark dreads, a physical stature resembling a linebacker more than an MC, and his conscious way with words—he can easily be thought of as the anti-Christ of commercialism and an A&R’s worst nightmare. But luckily for you, he’s not the type to give a damn about what you think. He first came to prominence back in 1998 and by 2000, his sociable content and his ability to pronounce words properly caught the attention of hookah-smoking rebellious college students everywhere through college radio. By 2003, his first album released, Balance, and he had placement for his material on shows like HBO’s The Wire. With five years removed from his first project, he returns in 2008 with Absolute Value. And the title fits the LP that boats a lineup that would make any artist salivate, mainstream or not. During this conversation he assures those that choose to read it why he has no plans on changing to secure a spot with the “in-crowd,” and how a safety net is not needed for his tight rope act, because he doesn’t plan on falling down anytime soon.
Nobodysmiling.com : What’s good with you these days Akro?
Akrobatik : It’s crazy, it’s been unbelievable for like over a month right now, and it’s staring to catch up with me. But physically I’m geared up right now, so I’m good.
Nobodysmiling.com : Are you still feeling any effects from the Patriots hangover? [Laughs]
Akrobatik : Oh we going right to that huh? [Laughs] Yeah it was a tough one man, definitely. It was a tough game to be at, but it was a fun trip. Like everything leading up to the game was a good time, I can’t really complain. It would’ve been nice if the boys pulled it out, but the reality is—they’ve already given us three Super Bowl victories and that would’ve been the icing on the cake. But we’re still a good squad, and we’ll be back next year.
Nobodysmiling.com : So what’s the difference between 2003’s Balance and 2008’s Absolute Value?
Akrobatik : On this album, I feel like I had more of a focus on just keeping it funky, man. I didn’t necessarily have too many conceptual songs on this record—I just wanted to have fun. Just to put out some quality Hip-Hop. I feel like that is what Hip-Hop is missing man, just having fun with some dope rhymes. Everybody is so focused on just coming up with a formula, to sell something. So I figured that if I just put out a quality CD, it would speak for itself.
Nobodysmiling.com : Why such a long layoff in between albums?
Akrobatik : Well there were groups projects that took a lot of time and energy, and plus we were touring. I spent a lot of time on the road. And also I had to take the time to secure the project because there are so many people on it. There were so many different things I had to get. Like people had to write their verses, and I had to get-up with so many different people. There was a lot of legwork involved.
It was those kinds of things, and plus overcoming some issues in my personal life and sh*t. You know? I just had to get it all together—it took me a while to get it all together. But the actual timing of the release couldn’t be better, I’m happy its coming out when it is. Physically, for the most part I just needed to get some rest. But other than that, I’m good, and I’m ready to go.
Nobodysmiling.com : Speaking of the people on your new record, you have appearances by Little Brother, Chuck D., Talib Kweli, Bumpy Knuckles, and B-Real. Was there anyone you had trouble reaching out to for the project?
Akrobatik : Two people that I wanted to get on the album was John Cena, I wanted to get him on the joint with Bumpy Knuckles because they’re both my homeboys and he’s my man, but his schedule is crazy busy. And um, Black Thought—I was trying to get Black Thought to put the stamp on it. But again, scheduling is crazy even though I didn’t have every single artist on there that I wanted, I’m glad at the way it worked out. I’m real happy with it.
Nobodysmiling.com : Also on your project, the song you have with Talib [Kweli], “Put Ya Stomp On It,” it was produced by J Dilla. Was that a track you got before his passing? Or was it something that you were sitting on for a while?
Akrobatik : Oh I got it after his passing, definitely. You know—I only met Dilla one time, so it wasn’t like me doing that track was some serious connection between Dilla and I. It was more like my man from Fat Beats had worked some business out with Dilla before Dilla passed away, so he had some beats that he was holding on to. And he asked me if I wanted to use a Dilla track, and I love Dilla, and I just wanted to do that track justice. I felt like the only way to take it to another level was to get Kweli on it. You know?
Nobodysmiling.com : Boston is only three hours from New York, but the Boston Hip-Hop scene doesn’t seem to be as diverse. Do you think that’s true?
Akrobatik : I think that’s true nowadays, yeah. But for me, I’m totally involved with Boston Hip-Hop. I started rapping sooner than most of the cats out right now. But then it goes back to people just coming up with different formulas man, to try and sell records.
People just try and piggyback off what whatever is hot, and right now the South is hot. A lot of rappers in Boston right now are sounding like “Southern Gangsters.” It’s kind of crazy, but people are trying to do what they do, just trying to make some money. So when that’s your motivation, it’s going to come out like that. Rappers from Boston all of a sudden now have Southern accents, and to me that’s just not cool.
Nobodysmiling.com : So is Boston Hip-Hop progressing in your opinion?
Akrobatik : Yeah of course, it’s gotta be progressing. It’s just that right now, there’s really no industry presence in Boston. Boston needs labels to step up on the business side of things, because there are plenty of good artists out here. The reason why Boston is so behind on the musical side of things is because there are no outlets.
Like if you’re from Beantown, you gotta go to New York to get heard. You gotta get the attention of the big companies that are actually putting stuff out. Right now everybody is a “rapper.” With the whole “Hip-Hop is dead” thing, I really feel like that has a lot to do with what’s going on right now. Because it’s like there is no more fans, everyone is just trying to get on, and make money off of it. So that just turns it into something ugly. And I think that’s with every Hip-Hop scene. What’s up with the New York Hip-Hop scene? What’s really popping in New York right now for Hip-Hop? I remember when it dominated the airways, and it wasn’t all commercialized either—it was just dope.
The whole country is hurting right now in terms of Hip-Hop, just with everything, and the fact that there will be Hip-Hop [fans] in a crowd with someone that’s trying to give you their CD so you can hear their sh*t. You can’t knock people for wanting to follow their dreams, and you can’t knock people for wanting to make music. But at the same time, the cats that are really pros at it—they need the support of the fans. And not just people that feel like they can be doing the same thing.
Nobodysmiling.com : Does it bother you when you hear people say things like, “Oh yeah, Akrobatik, he’s just an ‘underground rapper.’”
Akrobatik : No man, because for the most part—I am an ‘underground rapper.’ But the reality is that when you’re signed to a label that can only press-up 10-15,000 copies of your CD off the bat, it’s going to be hard to compete with some of the people who are on major labels. Now that’s not to say I wouldn’t take a major label deal, because it would only make sense.
If it was the right one, maybe I would. But I enjoy making the music that I make—I have fun making it. And I don’t have to worry about ‘commercial hits.’ Especially since I don’t work for a company that puts out commercial hits either. People can call it what they want, but I think if they’re listening to my album from beginning to end; they’ll see I’m not much different than anybody else. I put out music that can stand up to what everybody else out there is putting out. And I definitely feel confident about that, especially after being here for this long.
Nobodysmiling.com : Earlier you touched on the whole “Hip-Hop is dead” thing. Speaking of that, on Nas’ album Hip-Hop Is Dead, he has a song called “Let There Be Light.” And he has a line on that song where he says, “If I sound too smart, people will runaway.” Do you find that to be true in modern day Hip-Hop?
Akrobatik : [Pauses] Well I don’t know too much about running away. But I know people that only listen to the radio, and if you’re not on the radio, MTV or BET—then they’re not going to be checking for you. They’re going to consider you small time.
We live in a country that manipulates people’s minds; you know what I mean? With television and the radio. I don’t worry about that too much, man. I feel like there are enough right-minded people in society for me to make a living making the music that I make. And as long as that’s the case, there’s no reason for me to ever try and switch it up just because I want more.
Nobodysmiling.com : So even with your subject matter being filled with a lot of social issues, when most people just want to know how much the new Bentley GT Coupe cost, you don’t ever worry about your lyricism going over the heads of the majority of people?
Akrobatik : Nah—because there’s already enough of that stuff out there for them to listen to. I think that if I was just another cat trying to do what everybody else is doing—what’s the point? I don’t see the point in that. I like being my own man, and I like the fact of being able to challenge people to open up their minds.
And hey man, over the years I’m sure I have fans now that I didn’t have 2-3 years ago. And I think I can slowly keep building up a fan base, and its always going to make me feel like I’m a fresh new artist. If the stuff is going over people’s heads man, that’s more of their issue than mine. There is a lot music out there to listen to. I just want to make sure that people who would like ‘me,’ find ‘me.’ And that they can check my stuff out.
Nobodysmiling.com : You also do the “Sports Rap-Up” on Boston’s Jam’N 94.5. How did that come about?
Akrobatik: They came to me and asked me. I’ve been living in Boston for so long, I pretty much know everyone in town that’s doing music, radio, and all that other stuff. So once they came up with the idea, they came up to me. And one of my homeboys works at the station, so I was just a phone call away. I made a demo for them, and I was on the air the next week.
Nobodysmiling.com : Is there a chance for another Perceptionists album with you, Mr. Lif, and Fakts One anytime soon?
Akrobatik : Definitely. I mean we’re always together working on stuff. We’re going to put an album out within the next year. Definitely.
Nobodysmiling.com : Nowadays, artists are more likely to sell more tickets for a show rather than their own album. Is that something you think about?
Akrobatik : Everyone seems to feel like Hip-Hop is in a state of despair. Like, “How are you going to hold on?!” “What are you going to do?!” I tell people look man; I’m making a good living with this music dawg. This is what I do, and nothing else, and it’s lovely. I’ve traveled the world, and I’ve been able to see pretty much the entire world. And I think people are going to be checking for my new album more than my last one. And now I’m bringing in more and more fans through the radio.
Things are going well man, I’m just gonna keep touring, and the shows are going to keep getting bigger. Things are good, and I understand that a lot of other artists might be in dyer straights, but I really feel like I operate independently of what’s going on in the music industry. If you know what you’re doing business-wise, then there’s no reason for you to feel like Hip-Hop is dead, or that there’s nothing left. If you’re dope and you know what you’re doing, people will be able to find you. And they’ll be able to appreciate what you’re doing. And for me, I feel like I’m coming of age now, and I’m really confident. It’s really not all bad in Hip-Hop, if you know what you’re doing. Everyone wants to do it, but not everyone knows what they’re doing, and that’s where the problems come in.
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