Reglar Wiglar
Picking the easy targets since 1993

Reglar Wiglar #10

WHITE BRED & HONKY M.C.

Part II: Keeping it Real (Stale) in '98


Published in RW#10, 1998


Interview by T. BONE

You could argue that rap music in 1998 has been gutted of any real social significance. You could make the case that rap has become bloated and blasé and therefore insignificant as a movement in music; that it simply celebrates the material and avoids the issues that continue to affect urban society and black culture and that which brought rap to the forefront in the first place. You could argue all these points if anybody wanted to hear about it and there ain't nobody 'round here that wants to do nothin' but shake their booty. With the Reglar Wiglar's national reputation for being somewhat unhip and yes, we can admit it, a little "whack" we were unable to get any legitimate rap acts to consent to an interview. We did however manage to, once again, get an interview with the notoriously desperate, terminally white rap group, White Bred & Honky MC. So . . . sorry.


RW: Hey guys, how the hell are yah? It's been awhile. I interviewed you guys back in '94 remember?

WB: Yeah, right man, right. So wassup, brotha'?

RW: Oh yeah, that's right, you guys think you're black. I forgot.

MC: It's all good though, you know. Keepin' it real, got to keep it real.

RW: So, I thought we lost you guys back there when the gangsta' rap thing was peaking and you two were nowhere to be found. What happened?

WB: Well, apparently some people felt that our shit wasn't as hard as some other stuff that was goin' down around about that time, you see.

MC: Yeah, the shit we were layin' down and the things we were sayin' in our rhymes about our struggles in the streets were fallin' on deaf ears in our community.

WB: Just 'cause we were—excuse me, are a couple of white brothers from the streets of Rockford, Illinois, people weren't hip to what we were sayin'.

MC: I to the L. That's right homey, just 'cause we from Rockford, I-L, and due to that fact that the color of our skin is a lighter shade of pale, the record industry felt that our rhymes were wack and somehow had no relevance in a late '90s type of musical situation.

WB: Let me ask you something bro, you heard our most recent record?

RW: Yeah, actually, I heard it at a party a couple of weeks ago.

WB: Ok, ok, then let me ask you this, are our rhymes wack?

RW: I don't know.

MC: You know that shit was the bomb, man.

WB: That's why the shit we cooked up for the nine-eight is heavy, funky, over the top, in your face, ya'll.

MC: White Bred and Honky MC definitely be in the motherfuckin' house in the nine-eight.

RW: Could you do me a favor and say ninety-eight instead of the nine-eight?

MC: Aiight! It ain't gonna be easy though.

RW: I understand, but please try.

WB: If we could bring this thing back to reality here and make an attempt to keep it real and get serious for a moment about this record. Our new album is about some heavy shit that went down in 1997. It didn't get shit for attention in the media but we had a homey who got it cut short back in the nine seven, sorry, back in ninety-seven. Little Big D.U.D.E. met up with his maker last year ya'll and me and the MC here, we had this idea to commemorate the brother's memory with a new jam.

MC: It's just our way of tippin' a forty to him metaphorically, or metaphysically or whatever you want to call it.

WB: We made this record to remember Little Big D.U.D.E., you know.

MC: Life is short ya'll. We just felt with this record that we had to give somethin' back to a man that inspired us, not so much musically but in they way he lived his life. To the limit. Goin' for that extra Twinkie when all the other brothers were sayin' they was done with the Twinkie. Big Daddy D.U.D.E. was that kind of brother.

RW: How did Big Daddy go out?

MC: He got hit by an ice cream truck.

WB: The same ice cream truck where he had just purchased several fudgecicles not two minutes before this incident took place.

RW: Kind of an ironic and tragic twist of fate, not to mention the human interest element, I suppose.

MC: Yes, but everything happens for a reason as the good lord can attest to.

WB: Amen, brother, keep it real.

RW: Are people still saying 'keep it real'.

WB: Shit, I don't know, aren't people still sayin' keep it real, homey?

MC: I don't know, White Bred. I gots to call some people on that one.

WB: We'll get back to you on the answer to that particular question, yo.

RW: Not to split hairs, but it's kind of ironic also that Puff Daddy had quite a bit of success last year immortalizing his friend, The Notorious B.I.G. in much the same way.

MC: Yeah, man this is very ironical, a very ironical type of situation where you get a couple of artists onto the same artistic idea at the exact same time. Life's funny that way, you know? But we couldn't get the rights to any of Sting's jams 'cause of legal reasons.

WB: Yeah, legally Sting ain't down with White Bred and the Honky MC. Apparently his management figured there wasn't any coin to be made bein' associated with the MC and myself, just bad press.

MC: But we're talkin' about a man's life you know? How can they be thinkin' of money when we just want to use Sting's name to get some records out there to the public so that we can all remember Little Big D.U.D.E.? We're talkin' about a man's life.

WB: Little Big Daddy D.U.D.E., we won't forget you Big Daddy.

MC: That brother could eat ya'll. That brother could eat a house.

WB: Amen. God bless Big D.U.D.E.

RW: All right moving on from the topic of Big Daddy D.U.D.E., if we may.

WB: All right we can move on but we got to keep mentioning him every five minutes. It's a contractual obligationary type of situation, you know, we're tryin' to promote our record here, you understand.

MC: We're artists, right.

RW: Right. I keep forgetting that for some reason.

MC: It's all good, baby, don't sweat it, baby.

RW: Let's not start with the "baby" thing all right?

MC: Damn, baby, it's cool.

RW: Back in the nine-three—shit, you guys got me sayin' it. Back in ninety-three, you guys were embroiled in controversy for sampling, not just other artist's music, but other artists samples of other artists and then in ninety-seven, it seems like you guys completely skipped the sampling aspect in favor of karaoke-style overdubs of your raps onto songs?

WB: Yeah, yeah, much easier, much quicker to get an album out.

MC: We didn't think creating music could get any easier than sampling until we busted out with that karaoke machine.

WB: In fact, we never really felt comfortable calling ourselves artists when we was just sampling but now it feels good, like the shoe finally fits, you dig?

RW: But isn't that just cutting more corners than you were before and giving your critics more ammo than ever?

WB: Look, somebody took the time to make a good jam, right? Who are we to say that there should be another jam out there that's better than that jam. Let's just use the jam that's there. People know the song, they recognize it. And if they're too young they'll think we wrote it and it will forever be associated with us by them.

MC: But we gave the song props by covering it so it's all good for every individual involved in the situation.

RW: Don't you think that alters music history just a little bit?

MC: Hey, it's not my job to educate the kids. I'm just making 'em buy records, ya'll gotta understand that. They're parents should be teachin' 'em that shit.

WB: What about music history, since you brought it up, these kids might have never heard that jam if we hadn't paid for it, put it out there for the people who don't know any better. Is it our fault if people are ignorant?

MC: Hey, we did our homework. We went out and found those songs for the karaoke machine our ownselves and found out who did it originally. It's not like they can't do a little research.

WB: Yeah, it's not like you can't read the little print on the CD, see who wrote the tune then go to the library or wherever or the Internet and research what other songs they wrote and what musicians originally recorded them and whatever. It makes music a challenge. It make it excitin' and shit.

MC: People are so damn lazy these days.

WB: Word.

RW: Any last words of wisdom.

MC: Yeah. I'll never forget what my boy Vanilla Ice once told me back in the nine-two, when we was just startin' out and he was, you know, doin' the opposite.

RW: And what was that?

MC: Save your money.

WB: Word.

RW: Alright, that's the interview guys. Maybe I'll check back with you guys in a couple of years and see how you're doing.

WB: Me and the MC would appreciate that, man. Keep it real 'til then aiight.

MC: Yeah, man, keep it real.

RW: I'll try.

Read Part I

 

 

 

 

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