New Jersey rapper Mach-Hommy rarely grants interviews — he usually averages one per year. In a Q&A with Rolling Stone‘s Andre Gee, the critically acclaimed artist relates wild stories of “big game hunting” for elk, being in harmony with nature, future tour plans, and the inspirations behind his new album with Tha God Fahim, Duck Czn: Tiger Style. “And just say something like ‘reclusive,’ what does that mean? That is a very negative projection to the audience’s mind,” he says when discussing his enigmatic reputation and how he avoids photographs without his face covered. “Niggas is starting to think about Howard Hughes with the long fingernails. It’s fucking negative. It’s like niggas is cursing you, damn near. Just cause they don’t be where you be at. But that’s all a part of the corporatization and the bastardization of the culture.”
Freedom Archives, an online database focused on progressive and radical historical movements, has documentation on BLU magazine, which was published between 1998 and 2001. While most press at the time limited their coverage of politically minded rap to dead prez and Black Star, the New York magazine threaded between overlapping scenes like spoken word and Afro-Cuban sounds, featured interviews with activists like Geronimo Ji Jaga Pratt and Yuri Kochiyama, and dedicated issues to the Puerto Rico independence movement and women’s right. Each issue includes a CD from major names like Tony Touch as well as lesser-known acts like Rico Pabon. All together, BLU’s 14 issues depict a complex hip-hop movement that’s often omitted from histories of the period.