1. A D V E R T I S E M E N T
Search Elmore
NEWS PREMIERES REVIEWS FEATURES CONTESTS PHOTOS MERCH ADVERTISE
A D V E R T I S E M E N T
MUSIC NEWS
The Third Rebirth of Mr. Fantastic
Elmore Chats with recent Grammy Nominee, Fantastic
Negrito, About his Fascinating past and the Issues that
Abound in his Latest Record
Features Music News | December 12th, 2016
Fantastic Negrito by Kristian “Dior” Harper
By Mike Cobb
Mike Cobb talks to Xavier Dphrepaulezz, more commonly known by his musical
moniker, Fantastic Negrito, about his amazing life journey, including running away
from home at age 12 and surviving a near fatal car crash that left him in a coma for
three weeks to an incredible rebirth, from winning NPR’s Tiny Desk Concert Contest in
2015, talking blues with Robert Plant and putting out The Last Days of Oakland, which
just scored the multi-faceted “Black roots” performer his first Grammy nomination. For
tour dates and more information on Dphrepaulezz, head to his website.
Elmore Magazine: You grew up in rural Massachusetts in a Muslim family, but when
you moved to Oakland you shed that?
Fantastic Negrito: Yeah, I wasn’t cut out for organized religion. I knew that at a very
young age. When I was twelve, I cut ties with the family, never saw my dad again.
EM: Wow. So how did that work?
FN: I just walked out the door and didn’t come back.
EM: No kidding?
In Mono [14 LP Box Set]
THE BEATLES
$319.99

2. FN: No kidding. I knew what I wanted at 12.
EM: Which was what?
FN: Freedom and insanity.
EM: And did they come your way, both of them?
FN: Oh yeah!
EM: So where did you go?
FN: I just hit the streets.
EM: I know Oakland has changed a lot, but
it’s had the reputation in the past for being an edgy place.
FN: I like edgy, and that’s why I left, because I prefer edgy. Because, out of edgy places
and environments, that’s usually where great things happen. If you wanna get some
you gotta pay! When we run away from edgy, as artists, things become boring, things
become plain, and I’m not really that interested in that.
EM: So you would stay where you could?
FN: Yeah, you’d stay where you could; you know, at that age there were other kids that
were kind of doing it, and you’d stay wherever you could, abandoned cars. If there was
a nice, really nice square kids… I used to, you know, befriend them and make copies of
the keys to their house, then you know the schedule, and then their parents leave and
I’d go eat. You have to be crafty to survive at 12-years-old in the Bay Area. I don’t
recommend any 12-years-old kids leave, but I just- I know my dad kinda prepared me
in a very bizarre way. He was a very bizarre individual. He was born in 1905. He was
from that old school, where kids probably did leave at twelve back then, you know?
EM: So you must have seen a lot out there on the streets of Oakland? What was it
like at that time?
FN: It was edgy, it was exciting, it was dangerous, it was creative, it was irresponsible,
violent, beautiful- all those things at the same time. Like, you know, the whole
spectrum of life. But it was alive, I’ll give it that, and that’s what I really appreciated.
EM: I know it’s known for being the place where the Black Panthers were centered,
but also the Hells Angels… so you had all that going on.
FN: It’s the birthplace of counterculture; the free speech movement took off there. Just
the music that came out of there, the spectrum of the music, from E40 to Metallica to
MC Hammer to Creedence Clearwater Revival; it’s just extremely diverse.
EM: I wonder why?
FN: Well in the Bay Area, I think we strive to be very original, and I don’t think we really
worry about labels. We just worry about if it’s good and it’s original. It’s a pretty
incredible tribe, the Bay Area.
EM: I haven’t been to Oakland in a long time, but from what I read, today it’s really
changing, getting gentrified, and pushing a lot of the old out.
FN: That’s a lot of why I wrote The Last Days of Oakland, because it’s also the last days
of Brooklyn, it’s last days of New Orleans. It’s just the acknowledgment and the peace
of saying– You know what? If you keep looking for that thing that existed, you’re gonna
be miserable. But if you just understand that everything changes, it keeps on changing
all the time, I think it’s a much happier existence. And I like to be the bridge.
All Access: The …
$59.94
Born to Run
BRUCE SPRINGSTEEN
$19.50

3. I’m from the old Oakland, but I’m an artist in the new Oakland. So, I know what that old
Oakland was, and I know why you want to move there. It’s cool for a reason. People
made it cool, and so it’s great to have this new energy come in; it’s amazing to see the
city growing. It’s doing something different. But, don’t forget why it’s great, or it’ll cease
to be that. You have to keep some of those broke ass artists around, because they’re
gonna make it cool. And you have to make cities livable for people or they become
these elitist enclaves. And we don’t need that in Oakland. We don’t have to open bars
everywhere, and price everybody out, or it would be boring.
EM: Mm. Yeah, same thing happening here in Brooklyn.
FN: New Orleans, everywhere I go.
EM: Really– New Orleans? You’re feeling that?
FN: Oh yeah, everywhere man. But “the last days” just means “Hey, you know, it’s over!
Something new’s beginning.” And it’s just very uplifting. I feel very optimistic, and I
hope that people get that from the record. Some people are like, “It’s dark, it’s an angry
record.” [laughs] I don’t feel like it is, and I can make an angry record, but that ain’t it. It’s
just, as artists I think we have a responsibility. We need artists to filter all that and to
be the voice of people and tell the truth, because I think we’ll be much healthier and
happier that way.
EM: Talk to me about the interludes on the record. You’re getting a lot of messages
across there, both through the songs and then, for example, on “What Would You
Do?”
FN: I wanted to make that one because I want to contribute something. I’m part of this
human family, part of this earth, and I think it’s really good to contribute. It’s new for
me, because I used to be such a taker. I always call myself a recovering narcissist. Now
I love to give something, and I wanted these kids to know, there’s tools when you’re
stopped by the officers.
I’ve been stopped by the police all my life, but my father gave me tools. He would say,
“Son, when the police stop you, you know this is what you gotta do. You gotta say “yes
sir,” with no aggression.” When I was twelve on the streets, I had the tools to deal with
these officers, and these officers who are committing these shootings are completely
wrong. But at the same time, we have to know that this is what you’re gonna have to
come up against, especially if you’re a young black or brown kid.
It’s the reality. The police stop me; they’re terrified. I see it. And I’m a weird dressing
older brother now. [laughs] But there’s still this nervousness. I asked a police officer in
Fantastic Negrito - What Do You Do (Interlude 1)

4. Oakland, “Hey, so what do you think about these white cops that are shooting these
black kids?” At first he was giving me the line, “We’re cops and black folks, we do kill
each other.” But then he really started talking, and it came out. He’s like, “You know
what it is?” He’s like, “They are not used to the actions and the attitudes of these
brothers out here.” He’s like, “I know because I’m black; I grew up in these
communities. So I know when somebody’s mouthing off or not complying all the way
it’s just like looking at one of my cousins,” and I’m like, I agree– that these white
officers are terrified. They think something’s gonna happen to them, and so they’re like
“Fuck it!”
EM: Yeah, they equate simply being black with being ready to, uh… to I don’t know
what!
FN: To get you! And since I was a kid, I’ve known this. I would look at cops and I’m like
“Wow, they’re scared of me”– I could see it. But my dad was always there; before I ran
away, he gave me these tools. So with these interludes, I really thought, why don’t I ask
people on the streets, “What are you supposed to do when the cops stop you?” I’m not
saying it’s fair; it’s not fair. I’m not saying that it’s right, it’s not right, but do you wanna
keep your life? Do you want your mothers to keep burying these kids? And so my
message is the same, that you have to learn that we’re up against the Gestapo here;
you’re up against people who will kill you. Again, I’m not saying it’s fair. But we have a
responsibility on the other side, and there’s always two sides. Whether you like it or
not, there’s two sides, and I like having the conversation. I kinda like being the artist
that’ll have the conversations that people don’t wanna have. If people wanna be in this
relationship with America, all of us, we gotta start talking very real to each other. And
that’s what I think the album is about, just talking real. Really looking for the solution,
and looking for the roots of the problems and how we can deal with life.
EM: But it does seem so polarized these days, don’t you think? How do we cross
that bridge? When you let the genie out of the bottle you can’t stuff it back in there.
FN: I think we gotta tell the truth, the truth helps, but it also hurts. And I just dropped
my video of “In the Pines,” which pays homage and respect to women who bury their
children. It happened in my family– my 14 year-old brother was a victim of guns. My 16
year-old cousin was. My friend growing up was, so that’s why. I always looked at the
mothers, and I was like, oh god, what strength you carry raising these babies. You raise
them, and then you bury them. And that’s a reality in our country, and we all gotta deal
with it. If we don’t, what are we gonna do? We won’t grow as a country or as a society.
So I’m not an activist. I’m not a political musician, none of that stuff. I just think about
what’s going on. You talk about it if you’re an artist.
Fantastic Negrito - In the Pines (Oakland)

5. Fantastic Negrito by Robbie Welsh
EM: But it’s pretty unusual to have that old Americana, whatever you want to call
it– blues, bluegrass even, worked into this. It’s an interesting mix.
FN: Well, I like to call this music I play “black roots,” black American roots, and it really
came from an experience. It came from, these people came over here, you know, and
worked without getting paid, and something came out of that dark, edgy tragedy, like
this music came out of it, and then this music spread out to everyone in the country.
And it spread out to everyone in the world, and as you travel the world you can see the
influence and results of this, what I call “black roots.”
When I was in England, Robert Plant came to my show, and so it was really interesting
sitting in the East End, you know he’s watching me– it was a small pub. Then
afterwards he calls me over and talk, and this is exactly what we talked about, you
know, this. He was like, “You know I saw Skip James!” And I was just thinking like, Wow!
This black American tradition is far reaching. They take it and then they do something
incredible and they feed it back to us. And I go, “Wow! This is amazing!” Then I hear it,
and “Here let me give it back to you!” And I think it’s just incredible! It was probably the
best music conversation I’ve ever had.
It’s a far reaching hand, because it’s in everything. I hear it in E.D.M., disco, funk,
electronics, in Metallica. It’s in everything! Those people that came produced
something amazing. But they don’t have names. You don’t know who those people
were. That’s why I call myself Fantastic Negrito, because it’s a tribute to them. The
people that came over on ships; they had no name, and they really gave us all a gift.
It’s exciting and inspiring and that’s why I did this project.
EM: I know you had a terrible accident,
you were in a coma, and you’ve come out
strong from that, from such a traumatic experience. You’ve obviously turned it
around. From your point of view, what would you say you got out of that?
FN: I got everything out of it. It’s probably my third rebirth. And it’s probably the best
thing that ever happened, because I could really see life for what it is. I could really
appreciate every moment to this day, because I’ve been in that situation where you
couldn’t even wipe your own ass or feed yourself– literally. And um… I’m grateful for
everything. Whatever it is, I just take it and keep on moving, you know. I don’t know
how to do anything else. I don’t know how to stop.
Everything that happens, it’s gratitude. Gratitude’s a good religion. You’re much
happier and you’re much nicer to people ‘cause you’re just thankful. I’m breathing, this
is incredible! I remember when my arms didn’t work, I couldn’t sit. The rehab for me
was, you sit in a chair for three minutes. You know how many muscles it takes for us to
sit? My God! So, it’s just such an awesome experience. I don’t wanna do it again.
[laughs]
EM: Winning NPR’s Tiny Desk Concert Contest was a big breakthrough for you. I’ve
seen it, and it was great.
FN: Thank you. Well, Bob Boilen, what a man, what a friend, what a genius, what a set
of ears, you know? The Tiny Desk contest, when I heard about it I said, Eh, NPR, they’re
not gonna be into what I’m doing. Even my lyrics. I’m clearly not politically correct all
the time, and I’m offensive to some people. But I never would have imagined that they
would put their neck out for me like that.
When I met Bob Boilen and really got to know him, I understood the marriage a little
bit better, and it was something I didn’t wanna do. I’m in a collective, and I remember
they had a vote, and then I had to do it, because that’s what a collective does– you
vote. So it was like, one take, “I’m done! Goodnight!” I never thought of it again and
then… To win, it was unbelievable. And I’m grateful.

6. EM: It was good for you.
FN: They’re amazing! I think they’ve given me a new lease on life as an artist, so to
speak. Without them, it would have been a much harder hill to climb. Hi Bob Boilen!
EM: And the band is great too. Is that your regular working unit?
FN: No, I’m always changing it. Right now I have the guys that I took to Europe. I’m with
them now. We really have gelled over there. You know, I move people around because
I like to find people that don’t like what I’m playing. I don’t want “blues!” “I’m a blues
guy, man!” I hate that. It’s boring. The guitarist I have is a Chilean, and he likes world–
African music. But as I say, it’s one garden. You know it’s all from the same place. The
bass player, he’s like into old school funk, and I’m like, Oh, that’s perfect! The organ
player’s steeped in church! Perfect! They don’t even know who Skip James or any of
these people are, so I say, perfect! So I like to keep an interesting band like that.
EM: They all bring something different, outside the box.
FN: It makes it edgy. They’re like, “Are you sure we don’t have a change here?” I’m like,
No, there’s no change. Stay in E. I was like E man, I gotta stop writing in E.
EM: That’s interesting, because John Lee Hooker would usually stay in one chord,
and the band would work around it. But he got so much mileage out of that, so
much depth.
FN: Well, I think that it’s much more difficult to do a song with one chord. That’s
difficult! And to have it be interesting. You could have a bunch of changes all you
want– that’s easy. But I think that’s what really drew me into this old, black roots,
Robert Johnson, Skip James, all these guys staying in one place, but so much feeling. I
mean, just Robert Johnson alone changed the world. So, if it’s good enough for him,
shit, it’s good enough for me. [Laughs] And you know we feel it. You know if I’m not
feeling it, I know you ain’t feeling it.
EM: Yeah. Who else out there is doing stuff that you like?
FN: Um, obviously Chris Cornell; he’s amazing, especially touring in Europe with him.
His Higher Truth album, I learned so much from Chris Cornell as a performer, as a
guitar player, as a singer, as a human being, how to work a crowd. I remember when I
heard Chris Cornell was looking for an opener I was like, forget that. He’d never be into
what I’m doing. I was completely wrong. And when I got the call, I was a little terrified,
like, What? You mean I have to stand up there with a guitar? That’s just crazy! I
remember flying in from Austin, Texas to Oslo, Norway, and when I got there, there’s
Fantastic Negrito: NPR Music Tiny Desk Concert

7. Fantastic Negrito by by Lyle Owerko
all these Norwegians sitting around and I was like, Holy shit, this is crazy! I remember I
had a hat over my face the whole time playing; it was terrifying. But I watched Chris
Cornell command an audience with his guitar, how he talked to them. It was a whole
new skill set watching him.
I don’t like genres, I like artists. I love Kendrick Lamar. He’s inspiring. He’s doing things
that are new and amazing energy, lyrics. Bold, man! He’s a guy that I dig, and I got to
know a little bit about Sturgill Simpson, because I was gonna play with him, so I got to
listen to his stuff and I’m really impressed. I think he’s trying different stuff. I like artists
that are trying different stuff, like Kamasi Washington.
I’m not attracted to like the mundane, same old cliché stuff. I try to listen to everything;
there’s a few songs on even pop radio I’m like, Oh, that’s pretty cool, but I don’t know
who they are. [laughs]
Fantastic Negrito by Max Claus
EM: As you travel around the U.S. and Europe and the world, are there places you
find that are more receptive than others? What kind of energies do you pick up?
FN: Every audience has a code, and it’s up to the performer to figure out what that
code is. And that’s challenging and great, because when you accomplish it, it’s the
greatest feeling in the world. Because you’ve made a connection. Music is the
language of humanity. It transcends all barriers of language and culture, and I think
people are receptive as far as you are willing to figure out that code. I played in Croatia
and have had amazing concerts in Croatia! Then there’s been other places where I
didn’t make the connection. But I look at it as it’s on me, not really on the audience.
How did I relate to them? If they wanted to drink and talk, how do I play that music so
you can drink and talk? And it’s fun!
Like Israel. They talk a lot, but you gotta figure that out. People get mad at me; people
are always mad at me. “You said bitch, or nigga. Why did you say nigga?”
EM: You know I wanted to ask you about that; that’s a very charged word obviously.
FN: It is!
EM: And for different people they’ll react to it different ways. How do you feel about
the power of language as a singer/songwriter?
FN: Well, I think that when you’re dealing with something that’s powerful and
dangerous, you handle it very carefully. I don’t think it’s something you should just be
frivolous about. You know you have a bomb; you don’t juggle it, kind of like
nitroglycerin. When used, it’s for a purpose. Are you contributing something? Is it of
value? Can people use it? And that’s why I wrote that song. “I dropped the E I added
the A and I killed the R to heal my scars. Unless your people hung from trees and
slaved ’til dawn don’t sing along.” It’s very simple.
I wanted to address that everything isn’t for everyone; that’s arrogance to think
everything is for you. I know that everything’s not for me. It’s respect. Empathy is very
good. If you’re contributing, be very careful, because you don’t want to create art to
hurt people. You wanna inspire people, you want to keep it edgy, but it doesn’t mean
to disrespect people or hurt people. I don’t wanna do that at all. That sucks. And
there’s enough of that in the world. Politicians do that, you know, so why should
artists? I think artists have a responsibility whether they want it or not, because we’re
feeding people!
MC: So what’s next for you? What do you

8. A D V E R T I S E M E N T
December 15th, 2016
A Music Tour Without Music
December 15th, 2016
Mike Zito Makes Blues
December 14th, 2016
Stream Weep and Willow’s
Layered, Loving Debut EP
December 14th, 2016
WOLF!
hope the future brings?
FN: Well, we’re gonna go up through the United States about twenty some odd dates.
Then I have a tour where I’ll open for Temple of the Dog, and that’s gonna be big.
I have a new record I’d like to make. I left when I was twelve and I never spoke to my
dad again, and I wanted to resolve that, and that’s a record I’d like to make. I think it’s
the age old battle of the father and the son. “You hurt me, but you’re my hero! I’m a lot
like you. Fuck you! I hate you, but I wanna be you! I mean, Why did you do this?’’
[Laughing] It’s fucked up.
EM: It’s the cycle.
FN: Yeah, but my father– I admire him so much. But man, what a tragic figure.
EM: How so?
FN: Well, he was born in 1905, if that doesn’t make you fucked up. [Laughs] He went
through some stuff, man! And he was very intelligent, this guy. My father had a
business here right in New York in the ’50s, and there was a lot of challenges, you
know? You weren’t really treated like a person. In those days, black men born in 1905, I
mean slavery was only, what, 27 years finished? He married my mom, she was 33
years younger than him, and he lost a lot of his kids. I wasn’t the only one who left and
went into foster care. Maybe, like, five of us did. I’m a parent now, and I just couldn’t
imagine losing my kid. I think that people will judge him for that. It’s very complicated,
and he was complicated. I think he loved his kids, he was just broken. I’m figuring it
out.
I’ve been writing, but The Last Days Of Oakland, it has legs. It just keeps on going. I’d like
to shoot some more videos to “Scary Woman” to “The Nigga Song,” actually, do a video
to the whole album. So, I want to just keep the conversation going and hopefully just
keep contributing and playing shows. I love playing shows!
SPREAD THE NEWS!
Facebook Twitter Google
RELATED STORIES
GOT SOMETHING TO SAY?
  

13. ADVERTISE SUBSCRIBE LINKS ABOUT PRIVACY JOBS CONTACT
©2016 Elmore Magazine. All rights reserved.