Wordburglar
08 January 2010 15:33:31
Wordburglar
Whether you love or hate hip hop, you can’t deny how important it is to those who live for it. Respect is always due to those who continue to evolve and push the boundaries. One particular artist that has infused hip hop with his own distinct technique is Wordburglar. Hailing from Canada, SJ Volpe aka Wordburglar is a craftsman of lyrics and a wizard of words, best known across the globe for his unique, intelligent and outlandish rhymes. Alongside writing and releasing his own music, he’s also a member of the Backburner crew, a collaboration of Canadian MCs, producers, DJs & artists; including More Or Les, Beatmason, Fresh Kils, Toolshed, Ghettosocks, Jesse Dangerously, Uncle Fes, Thesis Sahib and more. They are currently working on an album together and Wordburglar is due to release a cd of b-sides, rarities and remixes titled Burgie’s Basement, the follow up to his 2006 LP, Burglaritis.

Pulse: When did you start writing lyrics and performing your songs?

Wordburglar: In grade six some friends and I snuck into a classroom at lunchtime and borrowed one of those old school all in one tape deck-recorders. I remember we brought it into another room that had a stereo in it and put on some old rap tapes (either Maestro Fresh Wes or one of the Rap Trax compilations) and recorded ourselves kicking some really bad raps. After that, it was over. I was hooked...

Grade 8 was probably the first time I ever actually rapped in front of an audience. It was at a school coffee house night and I dropped some rhymes about going on a shitty school trip with a few of my friends. We called ourselves the Dregs of Society and it was fairly ridiculous.  I’m pretty sure no one had any idea what I was doing [laughs].

Do you have influences from other styles of music or has it always been hip-hop for you?

My parents used to play a lot of Motown & the Beatles, and my cousin introduced me to Zeppelin, The Doors and other bands that I guess you should know but my main love was always rap.

Any rap I could get my ears on, from Schooly D to the guy who rapped for C&C Music Factory  – if there was rhyming on a beat I had to check for it. Now of course I check out anything, and I love all kinds of seventies music & old jazz, but Rap is and always will be my number 1.

Is there any method behind writing your tracks or is your head just filled with lyrics waiting to come out?

Jerry Seinfeld once said that he was just a vehicle for jokes. He has no idea where they come from; they just use him as a vessel and pass through. Sometimes I feel that way about rhymes, stuff just pops into my head from who knows where and I have to immediately just spit them out. This of course is also a good excuse for any shitty rhymes I ever kick ‘cause, y’know, it’s not really my fault.

You’ve enjoyed much success with your album Burglaritis, how long did it take you to write it and what was your experience like working on it?

All said and done it was probably an accumulation of about 2-3 years worth of work from start to finish, which seems like a long time but I went through a lot of personal shit in between the start and finish of that album and looking back I’m kind of amazed I got it out at all. It was an amazing experience though and I’m proud of it, and it never would have happened without my Backburner homies, so much love to them.

The album has some wicked guest artists like Pigeon John and some guys from the Backburner crew; what was it like recording with them?

Pigeon John is one of the realest, friendliest and most talented guys in the biz hands down. The fact that he isn’t a household name yet is testament to how fucked up the rap game is. Recording and writing with him and all the cats on the album was great, I love working with other artists and feeding  off each other’s creativity and bouncing ideas back and forth.

For the track “8 Rappers and the Mason”, eight of us literally spent the night in Beatmason’s basement fleshing out ideas and rhymes and somehow we all managed to get on the same page – that track still blows my mind when I listen to it because when we settled on the concept we each pulled a number out of a hat and that was our place on the track and what we had to rap about.

Each MC on there takes it to a new level and comes with their own style and over that insane Beatmason beat it just came together so well…also, Fun Is #1 and Spit Fresh were great to work on. I love collaborations.

I read you have plans for another solo album, have you started working on it yet? Do you have any guest artists in mind?

Oh yeah, that thing [Laughs]…. Seriously, yes, there is a new solo album in the works and I’m very excited about it and there will be some awesome guests and producers and you should hopefully be hearing lots more about it in the not too distant future...

Basically I’ve been tied up in an 12-way major label bidding war and once that clears up, 3rdburglar will arrive to blow your ears into your brain [laughs].

Can you tell us about the Backburner album you guys are working on?

It’s sounding pretty good at the moment. It’s got just about everybody in the crew and everyone is bringing their A-game. It’s something we’ve been talking about for years and I’m really psyched to see it finally coming together. Basically, if you love rap like we love rap there's a pretty decent chance you're gonna love this thing.

What music / artists are you getting into at the moment?


Lately, the More or Les & Fresh Kils EP, Raekwon’s Cuban Linx 2, Bike for Three, Buckshot & KRS One’s Survival Skills, Selfhelp’s Old Friends is really good, so is everything that Modulok has been putting out…Esoteric’s Saving Seamus Ryan is a dope concept album, Funkdoobiest, Ghostdini, Wale…all good stuff

Who do you want to collaborate with that you haven’t already?

Kurtis Blow, Kool Keith & Lord Finesse. And probably about a 1000 others...

Where do you see Wordburglar going in the next few years?


Hopefully Australia... hint hint

Your music is described as unique with an emphasis on wordplay and humour. I think it is a pretty good description, how would you describe your music?

Like having Kool Herc, Don Rickles, Happy Gilmore, Indiana Jones, Comic Book Guy & Al Waxman at a dinner party DJayed by Mr. T and catered by Bea Arthur’s ghost.

In your opinion, how could we make the world a better place?

We need to stop fighting each other and prepare for the aliens and/or draculas.

If you could turn yourself into a super hero (we all wish we could right?) what would your super powers be and what would your outfit look like?

I’d have the ability to transform into an invisible animal that could sneak around and spy on other animals and or naked ladies and get lots of free food and not have to pay for amusement park rides. In human mode I would wear a vest made out of reflective glass like Zartan and in animal mode I’d wear a collar with my name on it and instructions on how to revert to human/visible form just in case I ever lost my memory and was stuck as an invisible animal.

There are countless lines in your songs that I think are just brilliant, do you have some favourite lines and do you still laugh when you hear your music?

Aww thanks, I’m glad you dig ‘em. My rhymes are like my children, I could never pick just one.

Are there plans for a world tour? Have you had enough interest for shows outside of Canada and America?

No set plans at the moment, but there's been some talk. Stay tuned.

Burgie's Basement drops internationally on iTunes, January 19th.

Wordburglar MYSPACE

Casey van Reyk

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08.02.10 Australian Recordings Post First Gain Since 2003...
Perhaps this is just a numbers game, but Australian record sales actually managed to improve in 2009.  According to figures shared by the Australian Recording Industry Association (ARIA), wholesale recording revenues gained 4.8 percent last year.  That represents the first improvement since 2003, and offers a glimmer of hope for another troubled market.

But was 2008 a bottom?  Both a-la-carte and digital album sales remain high-growth, and digital as a category gained 46 percent to $79.2 million Australian ($68.4 million US) last year.   More hopeful projections - for Australia and other countries - call for digital to eventually reverse broader declines.  Of course, the majors would like nothing better, though a healthy bit of caution is being applied.

And, like other countries, the Australian recording business is stumping for ISP-level monitoring and enforcement.  "We remain hopeful that the ISPs will work with us to address this pressing problem and help the growth of the legitimate market, something that will, of course, also be to their benefit," said ARIA chairman and president Ed St. John.
04.02.10 The Grammy Bounceback: It's Bigger Than TV...
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The recent telecast scored an audience of 26.6 million, up 35 percent from 2009.  In 2006, that total was 15.1 million, an audience eclipsed by American Idol.

A number of factors probably contributed to the recent upswing, including a collection of younger winners.  But the Recording Academy also triggered a number of online initiatives to coincide with the showcase.  That includes everything from an iPhone app to a Twitter account to a YouTube channel, a serious shift that makes year-to-year comparisons more difficult.

Indeed, many of these categories hardly existed in previous years.  The online stats for 2010, according to the Recording Academy:

*125,760 Facebook fans.

*48,776 Twitter followers, and a top-trending topic for more than four days.

*1.5 million combined views on YouTube for 'We're All Fans' videos.

*2.1 million combined views on grammy.com for various "We're All Fans" videos.
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Just like the iPhone, users can flip the iPad up, down, or sideways, and buyers will be sure to impress their friends.  Indeed, this thing looks like a giant iPhone in some ways, and buttons are sparse. Underneath, the iPad employs the iPhone OS, and that means that apps translate.

Beyond email, photos, ebooks, Google maps, YouTube, an address book, a calendar, and apps, Jobs also displayed music-related functionality.  That essentially boils down to iTunes, and the audio and video content that comes with it.

The presence of the complete iTunes application opens more possibilities for iTunes LP, a more comprehensive, album-like format.  Whether that stirs a broader album renaissance remains unclear, though the first chapters are just being written on the next-gen bundle.

What else?  The iPad also has built-in WiFi, a 3G mobile option, and ten hours of battery life.  And the price?  At 'just' $499 to start, Apple could shift a lot of units, and Wall Street is expecting sales of between 4 and 5 million in the first year alone.  Other models are more expensive, depending on storage and 3G capabilities.  The highest-storage, 3G-capable model is $829.
26.01.10 Spotify Who? Vodafone Boasts 450,000 Mobile Music Subscribers...
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The growth arc looks positive.  In December of last year, Vodafone added an additional 100,000 subs, and smartphone growth could boost things further.  "We expect to see continued growth in our music service subscriptions driven by the increase in smartphone use, with their worry-free data tariffs and great value add-ons such as music bundles," explained Lee Epting, Director of Content at Vodafone Internet Services.
25.01.10 Midem 2010: If You Could Just Monetize This, That Would Be Great...
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And, plenty of companies trimmed their troops, the biggest example coming from Universal Music Group.  An executive or two from the publishing group surfaced, though the recording unit was absent. Others just sent less people, cooled the expense accounts of those who attended, or simply shortened the length of the trip.

Understandably, a major focus of Midem has been monetization.  That introduced a number of 'conference cliches' and platitudes, including tired jabs against major labels, consumers, legislators, and entrepreneurs.  But more constructively, Midem integrated executives from other industries, many of whom are grappling with similar challenges.  Some are making it, others are not, though the idea was to get the music industry to stop breathing its own fumes.

Great idea, though the takeaways were mixed.  Kodak CMO Jeffrey Hayzlett offered plenty of turnaround gusto and cowboy irreverence, though the reality is that Kodak is seriously struggling in a post-film world.  Getty Images CEO Jonathan Klein outlined success strategies in the easily-pirated images environment, and digital guru Gerd Leonhard offered lucrative examples from virtual worlds and book publishing.

Other examples flowed.  YouTube executive Patrick Walker announced that more than one billion videos - per week - are now being monetized by the video giant.  On the music side, Daniel Ek of Spotify announced a paid subscriber total of 250,000, though American label executives remain unconvinced.  Elsewhere, Shazam pointed to 300,000 paid downloads per day, according to a Music Ally report.

But the broader question is whether a serious and substantial recording and music industry can exist in the 2000s.  One perspective is that attempts to monetize the recording - at least in the wild B2C context - are mostly impossible.  The reason is that music and media assets are now abundant and infinitely replicated, a complete shift from the relatively high scarcity of the 90s.  Indeed, over the past ten years, most attempts to create scarcity in the digital context have faltered.

That is a difficult interpretation for anyone whose fate is tied to the recording.  But this business is bigger than the recording, and attendees talked of more controlled channels like B2B licensing, merchandising, touring, publishing, and gaming.  Dialing back decades, Midem was built as a music licensing exchange, and the trade floor remains a musical UN today.  But even that component is facing disruption, thanks to a global licensing marketplace that is increasingly moving online.

In the meantime, this is an industry still searching for solutions, breakthroughs and viable business models.  Right now, Midem is the forum for that discussion, a traditionally huge, over-the-top event.  But this is an industry that may need to shrink before it can grow again, and Midem may need to shift accordingly.