Alexander Fruchter aka DJ RTC (Roosevelt Treasurechest) is a local DJ, writer, educator, entrepreneur and all-around music virtuoso. His highly coveted mixtapes have quickly made him one of the most in-demand DJs in the city, but his real bread and butter for the past two years has been RubyHornet.com, an independent, web-based publication that specializes in urban fashion, culture and music. Since 2008, RubyHornet has been a virtual nexus for all things hip-hop with its in-depth interviews, music reviews, DJ mixes and web-based TV, all of which is compiled by a team of expert journalists.
Recently RTC has been spending more time in the studio, maximizing the potential of his newest project “Closed Sessions,” which so far has featured some of the underground’s finest including Rhymefest, Tanya Morgan, Bun B, Rapper Big Pooh, Amanda Diva, Kidz in the Hall and Hollywood Holt. With RTC’s resume growing bigger by the minute Centerstage ,thought now would be a perfect opportunity to catch up, and chat about everything from his collaborative projects to his top five favorite records.
You cite Hyde Park as an influential place for you. In addition to it being where you grew up, what else about the neighborhood speaks to you?
When I was a kid I really thought I lived on Sesame Street because of how diverse Hyde Park is and how the neighborhood looks. Obviously there were no huge birds walking around, but the plethora of cultures and experiences are there. You have a little bit of everything, and I’m really lucky to have grown up there. Hyde Park is where I listened to music overlooking the alley behind my house and really thought, “I want to be a part of this.” Hyde Park will always represent that for me, and whenever I hear something that really touches me it reminds me of how Hyde Park looks and feels.
What about Chicago as a whole? How does the city inspire you as writer, DJ and educator?
The buses, trains, the buildings, the intricacies of each neighborhood, the politics, the rough edges and friendly cores, the White Sox, all of those things inspire me on a day-to-day basis. The more I travel the more I see the uniqueness of this place we call the Windy City, and how it influences us, both good and bad.
When did you start DJing? Was there a particular person who got you interested?
I got my first turntables at the age of 21, during the summer between my junior and senior years of college. I was attending Indiana University at the time, and was also the president of IU’s Hip-Hop Congress. I was in Chicago for a few weeks for my brother’s wedding, and my parents planned to get me a used car so that I could finally have a vehicle to use in Bloomington to get around, and take girls out and what not. I think we were actually about to go look at some cars when I was flipping through the channels and caught a segment of the movie “Scratch” in which they were interviewing Z-Trip and he was demonstrating with some of his skills.
I was always drawn in by turntablism since I first heard it through groups like Gang Starr, Dilated Peoples, Q-Bert, etc. The segment ended, I turned off the TV, walked into the living room where my dad was reading or something and told him I didn’t want a car anymore. The whole setup of a mixer, turntables, needles etc. cost pretty much the same as the car. They said they would buy that for me instead, but would not get me a car. So, I walked everywhere my senior year of college and never looked back. It’s interesting how one morning of channel surfing has changed my life so much.
People are just as familiar with your writing as they are with your skills as a DJ. What were some of the most memorable stories you’ve covered over the years?
That’s a really good question, and the funny thing is that it is hard to answer. I cover so much, and have been lucky enough to be a part of so many cool, powerful, and inspiring events that I really don’t reflect enough. I get caught up in the present a lot and really don’t pause to think about what I’ve done. One thing that comes to mind now is the Fader Fort in Austin 2008. There was a G.O.O.D. Music showcase there last year and Kanye West literally brought everyone out from Common to GLC, Kudi to Erykah Badu. GLC snuck me a backstage pass and it was great seeing so many people from Chicago living it up in Austin. It was like our own Lava Lounge back there. RIP to Lava Lounge, my favorite place to DJ.
You’ve also interviewed some legendary hip-hop artists. Any outstanding moments in particular?
Definitely. In 2004 I interviewed the Beastie Boys at the United Center. It was the day after the election, and there was kind of a deflated feeling especially since the Beastie Boys were pretty outspoken during that time. The Beastie Boys were a huge influence on me, and it was always kind of a dream for me to meet and interview them. It was also the last interview where I was really nervous, and to be honest, it wasn’t even that great of an interview. I’ve improved tremendously since that time.
After the interview Mike D. and MCA were talking to me and asking me how I got my DJ name. They thought I reminded them of someone they knew from Chicago and were convinced they’d met me before. I had a mixtape on me and told Mike I would give it to him if he wanted and he said, ‘yeah definitely.’ Giving the Beastie Boys one of my mixtapes was a great feeling. Even though they get a lot and may have never even listened to it, not a lot of people get to give music to a band that has really inspired them and that is something I’ll never forget. It also taught me a lot about myself and my own goals. For so long meeting the Beastie Boys was a pinnacle in my eyes, and I really didn’t expect it to happen at the age of 22, but it did, and the next day I was right back at Henderson Elementary teaching 25 second graders how to read and write. They didn’t really care about the Beastie Boys, that I stayed up all night at their show, or anything like that. It put everything in perspective and helped me form new goals.
Speaking of education, you’ve also weaved together hip-hop culture and learning into one with your “You Can Quote Me On That” program. Tell me a little about that.
I taught for two years through the program Teach For America. During this time I was also writing for SoundSlam.com. Hip-hop was a way for me to connect with my students and I used it in many different ways. My second year of teaching was spent teaching fifth grade, and kids that age are just looking for something more. I started every class with a quote of the day, which came from a lot of hip-hop songs, but also people like Abe Lincoln, JFK, various painters, politicians etc…The kids would be presented with a “Quote of The Day” and a question relating to it, which they would journal about as a way to ease into a day of learning. “You Can Quote Me On That” is a curriculum that came from those journal sessions. I wrote that curriculum and taught it throughout the city of Chicago. It uses hip-hop songs to teach basic sociology and psychology principles such as self-fulfilling prophecy, social stratification, self-efficiency, and other things that affect these kids every day. These are things that they can understand and would greatly help them evaluate the world around them, it’s just that no one ever tells or breaks it down. That’s the goal of “You Can Quote me On That.”
How and when did RubyHornet come about?
RubyHornet started in the spring of 2008. I was doing various work in the music industry and was growing tired of SoundSlam, it just wasn’t working out anymore. I actually was in the process of applying to graduate school and was accepted to University of Chicago when I met Virgil, Omar, and the rest of the team behind RH. We met through a mutual acquaintance and just really hit it off. They were looking for someone to take their resources and create a site, and I was looking for someone with resources to let me keep writing for a living. It’s another example of how a small decision can have a tremendous impact. When RubyHornet started I knew it would be successful, but couldn’t have envisioned all the great things that have come from it. I have a team of excellent people behind me, people dedicated to their craft, and we’ve been able to work with other talented and inspiring individuals.
In addition to a wealth of mixtapes, you?ve also started a really exciting project called Closed Sessions. How did that start and how is it going so far?
It’s going great. We just released our first project, Closed Sessions Vol. 1 (closedsessions.com), which is a free EP created entirely at SoundScape Recordings. The EP has gotten a great response from various artists, fans and the initial line of tastemakers. I’m actually writing this email from Austin, Texas where we are going to record Vol. 2 of Closed Sessions. It started from a chance meeting with Michael Kolar of SoundScape backstage at Rock The Bells a few years ago. I started to go to SoundScape more and more to do interviews, and Mike began to master all my mixtapes. We were both looking for ways to expand, and Closed Sessions was the natural evolution of our relationship. As RubyHornet we were interviewing, and working with really buzzing artists. We were doing shows with them as part of Dimes and Dozens, and I was also making mixtapes. We thought it’d be a great idea to bring an artist to the studio and just see what would come out of it. We put artists in the studio, gave them access to high-quality production, introduced them to talented artists they have not previously met and just got out of their way and let them do what they do: create great music. Our video/photo team is there to capture the full experience and we’re able to release the music along with a documentary for each session, original artwork and photos as well.
So you’ve had the opportunity to cross paths with some of the most influential artists in hip-hop. What’s your take on hip-hop now? I think people forget how young a genre it is, and it’s certainly one of the most misunderstood.
That’s a tough question. I will say for that there are times when I’m inspired by hip-hop, and times when I’m fed up with it. Meeting so many people as a journalist, a DJ, and now as the president of a record label has introduced me to the business and creative sides of hip-hop in different capacities. I like being able to wear different hats, and move around. Do I see hip-hop as I did when I was a kid and everything seemed so untouchable? No. Am I still amazed by it at times? Yes. I think at the heart of it, I’ve learned that not everything is as it seems. Hip-Hop is one of my first loves, and I hope to never lose my connection to hip-hop’s history and culture. If I ever do then it is time for me to leave.
What about the local scene?
Chicago’s local scene is one with a ridiculous amount of talent. The competition is great and really pushes people to perform at a high level. I think some people move a little too fast, or move in directions without really thinking. It’s like we’re all just scrambling around because there is no real business structure in the city. Everyone is forming their own blueprints, and it’s harmful at times.
This one is a difficult question for a lot of DJs. What are your top five favorite records?
Wow, I don’t even really know where to start this one. Here are some records I am really digging right now:
“Kindness For Weakness”-Dilated Peoples featuring Talib Kweli
“You Can Call Me Al” -Paul Simon (really anything Paul Simon)
“I Shall Be Released”-The Band
“Spaceship”-Kanye West featuring GLC and Consequence
“Hip-Hop”-Mos Def
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