Rashid is, to date, the author of 120 own songs, distributed in his mixtapes, singles and studio albums, not to mention collaborations that include Criolo, Mano Brown, Xênia França, Max de Castro, Izzy Gordon, Emicida, Luccas Carlos, Rael , Fresno, Duda Beat, Drik Barbosa and others. In the first studio album, “A Coragem da Luz” (2016), he stood out for the compositions that combined the synthesis of beats with the organic of instrumental arrangements, a musical and visual aesthetic that has since left his live performances more dynamic with the interaction between MC, DJ and band. This format was also used to promote the following album, “Crisis” (2018). Still in 2018, he launched his first book, “Ideas that rhyme more than words” - Vol. 1. For his current work, “Tão Real” (2020), he brought together the attributes of his entire career - the vast lyric, the musical diversity and good release strategies - to make a long-term record, released as a trilogy and formatted in seasons, within which, in addition to the songs, it features a documentary, podcasts and a strong visual side, proven by the album's special posters ( which became collectible items, with free download on the website www.taoreal.com.br), for the production of the music videos and even clothes, with the launch of t-shirts for the disc, produced by Foco na Missão, its producer and accessories brand and clothes.
Rashid, should art have a social role in any sense?
Art portrays faces and phases of society, so it has a well-established social role since forever. Whether as a historical record of a time, denunciation or even a way to bring relief, as we have seen in this moment of quarantine. For example, the sad period of the dictatorship in Brazil still reverberates today because of art. Music, books and films that do not allow that period to fall by the wayside and that the story of so many people who fought against it be forgotten.
Our country is a pit of inequality, unfortunately, so art has a wide role to play in that atmosphere. When we talk about duty ... in this case, if the art or the artist should, I feel that there may be confusion. Because the person who is committed to making art, must do his art. If this work reflects something specific and / or causes an impact outside, it will depend a lot on the aspirations and influences of this (a) artist. If we establish that artists should play this role, we will put everyone in a more political than artistic position. And although our art is political too, first of all it is art, it is impulse, creativity. I gave this whole speech to say that I defend that art is free, but I myself chose to bring these issues to my music and my writing.
How do external observations influence your work?
Once, watching a Nina Simone documentary, I remember that, at a certain moment, she said something like: "It is difficult for an artist not to reflect the events of his time". The phrase was not exactly that, but the intention was. And she answered this precisely when asked about the strength of her compositions, in this political, social and racial sense. Since then, I always make her words mine. With all humility, of course. As an artist, my antennas are constantly connected, receiving signals. News, comments, conversations, discussions, jokes ... I often end up picking up deeper layers in the things people say or do. I was always that type, the observer. So, when I'm going to compose, I like to take those details. A love relationship, for example, does not need to be the inspiration for just a romantic song. Because there is a whole universe there. There's the love, there's the fight, there's the hug, the conversation, the friendship, the intimacy, etc. When we bring it to the street then, everything is raised to maximum power.
And the internal reflections?
Precisely, as an observer, I was always one of the quietest. Like all quiet, shy and / or introverted people, I spend a lot of time with my own thoughts. Talking to myself, making things up and watching me. Since 2019, when I was composing my last album (“So Real”), I came face to face with a phrase that became part of my life experience: “To be a great artist, first I have to be a great person” .
I live because of that, to improve as a human being and let it influence my art. I think a lot about myself, about people, around me, how I deal with them, how I read them ... if I am inconvenient, if I am needed at that moment, etc. I take all this to my writing in the most sincere way possible. Because the music that I like to hear is like this ... and I try to make the music that I like to hear.
Was there a "call" moment for your craft and what do you consider to be the starting point of your musical career?
That call was in my teens, when I started to dream of making, living from and to Rap. Because, from that moment on, everything I did seemed to direct me towards Rap and Hip-Hop. I've always been obsessed with it. So I managed to turn my schoolwork presentations into moments for me rhyme or develop my drawings, which were my graffiti. Then, at 17, I started attending the Rap events. In these events, there was a moment of open microphone, in which anyone could. Get out there and show your talent. I got to face my friends. The more I wrote rhymes, the more I wanted to write. That culture pulled me.
What is still in your current compositions that come from your first verses?
Hunger. That battle-hungry famine. To want to be the best at what you do and not be afraid to show it. It is not about challenging others, it is about challenging yourself with each new verse. Where are you going? Are you going to say that again? You used that word a lot huh ... This hunger there. (Laughs)
At some point did the prosecutor Rashid come into conflict with the businessman Rashid?
I never caught myself in this conflict, but sometimes I am afraid. Because they are different things, even distant, even though the core of the business is music.
But the launch strategy, the development of the projects, the clothes, the meetings and everything ... It demands a lot from us all. So sometimes I’m afraid of making this curve too close for business and then when it comes time to get lost again. But that I think comes from the same hunger that I talked about above. It looks more like a neurosis than a real possibility. The fact is, I have the same 24 hours for everything. So, if I take my day off for strategy, the song will have to wait until the next day. This leaves me with a tight heart, but I like being inside the bureaucracies.
Is "Crisis" the reflection of these two selves?
Total! Part of my most passionate songs are on this record. In parallel, it was perhaps our best launch strategy so far. But on this side, I have a great person at my side, Dani Rodrigues. She is very good at reading the market and coming up with these plans. I am enlightened to have such a person with me.
What are the remnants of previous work that is in “Crisis” and that few have noticed?
I believe that it has no specific remnants, that it is not about evolution, about searching. In 2013, in the mixtape “Confundindo Selhos”, I got very close to the style of rhyming and acting that I liked best, for my voice and my type of composition. From there, everything I did was around developing that. When I arrived at “Crisis”, I had already established that style for myself. "This is Rashid's way."
Can "So Real" be considered your most visceral album?
For sure. The wounds that I started to expose in "Crisis", i will gap in the "So real". This is an album about humanization, about trying to be the great person who will reflect on the great artist. There are many very personal things there, very passionate music, very deep and private reflections.
You are an artist who has a very assertive outlook on the various media. How do you find your space in a world full of options and dispersions?
Today I have a very loyal audience, who understand me and interact with me the way I am. To build this was a little hard, because it is difficult to hold people's attention in this era. Everyone has a good life to show on the networks. I am a music worker, what I have to show is work. I travel, meet great artists, go on TV, give interviews, etc. All of this is the result of this day-to-day discipline, so I have no way of getting away from it to offer something I am not. This gradually drove many people away, but it also brought many more. At this moment I believe that whoever follows me through the networks, has already understood how I am and how I behave there. Thanks to this mutual understanding, now we have a huge bridge to communicate with these fans.
Today we live in a world of experiences. What will be the great differentials of this project “So Real” for those who want to dive deep into their emotions?
“So Real” is already different because it was planned and released as a series over three seasons, each season with a beginning, middle and end. Trailers instead of teasers. The documentary turned into a visual series as well. This is the difference on the strategy side. On the musical side, I think that depth is a differential. I'm not the first to do that, but right now we certainly don't have that many artists opening up like a book. Or as a series, in our case.
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