Chill Moody is a beloved and eloquent rapper, writer, activist and entrepreneur whose work — though blossoming outward with force — always touches base with his hometown of Philadelphia.
As communally and community driven – and, of course, chill – as the young Mr. Moody is, the rapper is a natural to be named both an official Philadelphia Music Ambassador, and, this week, The Mann Center’s 2023 Community Artist-in-Residence. Not only will Moody curate this upcoming spring’s schedule at The Mann in celebration of hip hop’s 50th anniversary, but he will also will write and perform epic works like “Black Metropolis” with the Philadelphia Orchestra.
Metro sat down with Moody to talk more.
What is your earliest memory of a hip hop moment that would have lingering effects?
I remember Public Enemy pulled up to the Muslim store on the avenue at the top of my block and Flav was standing on the roof of a car and they were blasting “911 is a Joke”, the whole hood was out there, I actually had to sit on my brother’s shoulders so I could see — that’s how young I was. Seeing the love that PE got let me know how special that moment and their movement was.
What was your first rhyme, and how did its beat come about?
I don’t remember the whole jawn, but it started with “Back in the days, I used to hate my teachers, and everybody said I used to wear bummy sneakers”. I was in first grade, and my homie Louis Marshall would do like a beatbox, then he would spit his verse. We won our class talent show six weeks straight.
How does it feel, on a personal and professional level, to be the official Philadelphia Music Ambassador as named by City Council. Do you get to wear a sash? A badge?
(*Laughs*) No sash or badge needed, but I do carry that title with a lot of pride. Personally, all I ever want is for talented people to shine. I do whatever I can to connect them to whatever they need in order to get the recognition I feel they deserve. Whether it’s adding them to a stage I’m curating or finding ways to connect their music with brands I work with, I’m always trying to find ways to connect artists to opportunities.
How did you become the first Community Artist-In-Residence at the Mann?
My being placed in this position is an amalgam of all the work I’ve put-in throughout the years — through my music endeavors and my civic engagement and community activism. It’s more than just performing music at the venue, which is why that “community” part is so important. I’m working with students from Overbook High and their music industry training program, doing community activations with PHLJuneeteenth, as well as The Big Cleanup Philly, finding ways to connect the Mann’s brand with things going on in our community that need amplification.
What does the Mann deal entail? How did you know who you wanted to bring in, like Diamond Kuts?
I’m curating various programs and concerts throughout this Mann season, selecting the talent for events such as their HBCU Festival in May, Voices Of Hope: celebration of Black Excellence in June, and their Young Peoples concert featuring DJ Diamond Kuts. I worked on an initiative, “Downstage @ The Mann,” where we convert its stage into a midsized venue – a stage on the stage – and invite the crowd onstage to create an intimate show. I’ll be performing June 29 alongside Low Cut Connie, hosting Aug. 10’s show with Dj Aktive and the legendary Cash Money and performing with Grammy-winning classical trio Time For Three, all in celebration of this year’s 50th.
Tell me all about working within the structure of Darin Atwater’s Black Metropolis: Improvisations on Paint Factory, its “architecture of sound” and its dramatic narrative? How do you think working with a 75-piece orchestra will affect you?
I can’t even find words to express how it feels knowing I’ll be performing my original music backed by the Philadelphia Orchestra in West Philly. It’s wild even saying it. I’ve sat with Darin and dug through my catalog to find the perfect songs to perform. We’re in the blueprint/formatting stages now, but can tell you we have an amazing show planned with a few surprises. It’s going to be a nice night. And the show is free. I need the whole city out there that night. If all goes right, I think this show will not only catapult me to a higher platform in the industry, but Philly as a whole as well.
You work within the community as a creative, an activist and an entrepreneur to make things — like your craft brew — that seem attainable, that are smart and socially driven. Why?
I appreciate that. It feels good to know the work doesn’t go unnoticed. I do it all because, why not? Why not lift as you rise? Why not set a good example for anyone watching, why not find ways to inspire? It just comes natural to me. I want to see us win. All of us.
What does 50 years of hip hop mean to you?
When hip hop started you heard statements like “hip hop is here to stay”, because people doubted the impact and longevity of the genre. Hip hop was much more than music, it’s a culture. 50 years of hip hop, beyond being “here to stay”, means that it has permeated every facet of damn near every culture around the globe. Being a part of maintaining that impact and finding ways to not only preserve but help hip hop culture evolve means everything to me. I’m in a privileged position.
