All Entries Tagged With: "Spotlights"

Bernice Is Back w/More Tow Drama, But Stays Humbled By the Love From Fans

Our favorite tough girl is back!  It’s been a minute since STACKS Magazine spoke with Bernice [READ HERE]. At the time, she was adjusting to the new fame, her role, and the overwhelming support from her fans.   At one point she was released from her duties as a tow truck driver. But the Tremont Towing family welcomed her with open-arms. Since then, she’s been working hard on nights and weekends in the city of Miami and South Beach. Her hard work and dedication is all for the benefit of her lovely mother. Coming from humble beginnings, she’s on a mission to build an empire so that her mom won’t have to work anymore. She truly has a heart of gold. Of course, though, once you piss her off all hell can break loose.

In season 3 and 13 episodes later, the fans can expect to see some interesting conflict from the Miami-native and the Tremont crew. “It’s a lot of drama. It’s a lot going on, man. Definitely, inside house [Tremont] it’s a lot going on. Basically, the dad got hurt last year (Season 2). People who he trying to get to take over to pretty much run the company while he deal with his health issues…so it’s a lot“, says Bernice.  With the show premiering tonight on Tru TV, Bernice is somewhat limited in what “tea” she could spill. But she ensures that the fans will get a more in-depth look into the interactions and emotions that flow within the Tremont office. The health issues with Robert Ashenoff, Sr (the Boss) and the newborn of Christie Ashenoff has made way for someone else to manage the day-to-day operations.  This new turn of events has caused a huge stir in the office. From Bernice’s point of view, it’s a matter of control. Unfortunately, everyone can’t be the boss.

Basically, it’s the drama. Everybody want to be the boss. Everybody want to be chiefs, but don’t nobody want to be indians.  It’s crazy. Christy have had the baby and she was out for a while just dealing with trying to run stuff. But, everybody help each other out. But, it don’t usually work out like that when money is involved. And everybody trying to get a couple dollars. It’s just crazy! Exciting, crazy, and a lot of drama. This year is going to be more drama-filled I would say.

South Beach Tow started off with the crew towing cars and reactions of random individuals who didn’t follow parking instructions. Over the seasons, however, each crew member’s personalities started to shine. The viewers became in love with the characters and not so much with the act of towing a car. Apparently, the producers of the show has recognized this and will continue to push the stories behind the cast. In season 3, this will be evident as more drama with the crew jumps off.  While the company is in a management transition, the staff will be more emotional and conflict will arise. According to Bernice, yes there will be “hella” conflict. She says, “You know, depending on who take over and who’s the boss, everybody don’t like everybody. It’s just like a family. Some people can be good as a friend, but can’t be good as a boss. You feel me? It’s just crazy. A lot of bumping heads.”

Drama makes for good television. But fans don’t worry, there will still be a lot of car towing going on. Unfortunately, Bernice couldn’t give any specific situations that will occur this season. But rest to sure that there wil be some wild and crazy stuff going on with the citizens of Miami. And the people of Miami sure do love them some Bernice. After mentiong to her that our first interview garnered a boat load of comments and support from fans, Bernice is still humble. She hasn’t let the fame get to her head and probably never will.  Fans see her all the time in the streets of Miami. She humbly stops to take a photo or even sign an autograph. Despite what we all see on television, she’s very nice and a lover of the people.  All of this is still a bit overwhelming though. But she’s handling things quite well with her longstanding friendships and support from family.

One thing about it, I’m from Miami so people will definitely recognize you. I love the people. I’m a people’s person. It’s pretty much the same. It’s still overwhelming, like, I communicate with the fans. I try to stay as humble as I can. Before all this, I knew a lot of people. So now, you got a lot of people on your side, backing you, and who want to see you do well. Of course, you got the people who hate. As long as they hate to the point that they are watching (the show) to hate, I’m fine with that sh*t.  It’s all the same. It’s the same with everything. It’s just surreal. I have to tell the truth. I’m just thankful that people are really f**king with us like that. It’s good for me.

Stalkers stand back though!  LOL.  With the popularity, Bernice has encountered a few strange occurences. We tend to hear about strangers showing up a celebrities front door step. Not only this is crazy, but it is also dangerous. And it will be if you show up at Bernice’s house. Luckily she has not received an unwelcomed visitor as of yet. But she says that she has had several strange phone calls.  “No, but somebody been calling my damn house. I don’t know how they got my number. They must be paying for that sh*t to get all your information. [laughs] But, I’m about to change it and block it. Listen, I have no clue. My number been the same since I was in middle school. It never been listed“, Bernice explains.

You got to love her.  She upfront and don’t take no mess. And she appreciates all her fans. With her filming schedule being as hectic as it is, she does plan to get out and meet some of the fans.  So, there could possibly a city-to-city tour on the way. Bernice understands the importance of having a fanbase and would like to reach and touch them and show them some love. One thing is for sure, she never wants to lose touch from where she came from. She states, “they say “you don’t change, people change around you.”  That is so true because you know people change around you everyday. But, I still got the same friends. We still hangout. We still love each other. We still have fun. If I f–ks with you, I f–ks with you and if I don’t I don’t.”

Catch Bernice tonight at 9:30PM on Tru TV’s South Beach Tow.  Follow her on Twitter @Bernice_SBTow! 

Exclusive: ‘R&B Divas’ Nicci Gilbert Switches It Up for Season 2; Talks Self-Improvement, Syleena Johnson Beef & Expanding Her Brand

In the heaving world of reality television, one things for sure, the cameras don’t lie.  Meaning that, although some trickery may occur with the editing, we visually get to see a person for who they truly are.  The almighty lens tends to capture truths about a person. But, it is during the playback that each cast member get the opportunity to see their flaws first-hand.  At that point, it is up to that individual to decide if change is needed.  This is true for one star of TV One’s hit show R&B Divas, Nichole “Nicci” Gilbert.

Despite the rumors that were swirling around about Nicci’s separation from the show, she confirmed that those rumors weren’t true and will indeed be a part of season two.  However, her portrayal in season one led to many negative comments from viewers. This didn’t sit well with Nicci. So much so, she acknowledged her flaws and dedicated herself to making positive changes in her life.  Not many women can call themselves out and act on it.  This is what makes Nicci a “real” woman.

As creator and executive producer of R&B Divas, her transition from music to television has been a trying one.  As one-third member of the 90′s R&B group, Brownstone, over the years her passion for music diminished.  This caused a fair share of disagreements amongst her cast members in season one.  Some friendships remain while other friendships hit a low blow. But, her new found love for production and clothing design has launched Nicci into another creative space that is just as self-gratifying as music.

STACKS Magazine had the pleasure to talk to Nicci recently to get an exclusive in-depth look into who she is as a celebrity and businesswoman. She went into detail about her involvement as executive producer and the R&B Divas franchise. Also, Nicci spoke candidly about her feelings towards the other cast members, the effects of reality TV on the Black community, empowering full-figured women, and various projects she’s working on.

In the later part of 2012, several rumors were floating around about you being fired from R&B Divas. You then released a statement stating otherwise and that you will indeed be on the show. Well, it’s great to know now that you will appear in Season 2. But what is even better news, to me, is that you are one of the Executive Producers of the show. Is that true? Can you confirm that?

Nicci: You are correct. I’m actually the creator and executive producer of the show. So I actually cast all the women that you see on the show and some of the women in LA as well. It’s a new age in media. So I understand that anybody with a laptop can start a rumor. I just think that all is well is good because it gives us instant access to our fan bases and resources to promote our brand. It also can be a little convoluted and full of s–t. So that’s pretty much what that was.

I definitely have differences with my producer partners. Not with the network. TV One and I have a great relationship. But, I absolutely have differences with my producer partners. You know what it’s like when you are building a business and you have ideas and you get partners. We don’t always see eye to eye. So some of that stuff that you were getting from sources and other producers or whatever, you know where just people leveraging and using their relationship to make official statements. None of those statements were official. As I’ve expressed on numerous occasions, until you hear it from TV One or from me, don’t believe everything that you hear. But yes, unfortunately, I was the victim of some fraudulent recordings by some people who were in a “semi-official” capacity who happen to be partners that Faith and I brought on board to be a part of this as well. I understand now that’s what people want to hear. Most people aren’t interested in the upwardly mobile, empowering stories with black women. So this is something we’re still working to get to.

As Exec. Producer, what was the vision behind the show? Do you think that the show accomplished this?

Nicci: As people get a little bit more comfortable you’ll see the truth. You’ll see a little bit more of the truth come out. You’ll see a little bit more drama. Originally, the idea was that I didn’t see any real representation of the relationships with other women that I knew (i.e. my girlfriends, people I worked with). As far as us representing truth, us being honest and forthright, us all being singers, what makes us tick and what make some of that great soul music come out our spirit and out of our voices. That part of it, I think, is amazing. I hope that it continues to grow and evolve from there. I didn’t know that when you are playing the TV game sometimes you got to have a little extra drama. Sometimes you got to plant a couple seeds of B.S.. I hope that doesn’t overshadow and I hope that we don’t feel the need to compete. Because of course, when you have somebody blowing their brains out on TV, there’s going to be a million people that will want to see that. I hope that we can continue to be the example of a positive show. The truth is that we all have a little bit of ratchet in us. That’s nothing surprising. Everybody knows somebody like somebody on Love & Hip Hop or whatever. But typically, when you don’t like somebody you don’t want to be around them. You don’t have to sit up and be friends with them. You don’t have to sit and have cocktails with them. Unfortunately, that’s the formula for a successful show. Get a bunch of people who don’t like each other. Create reasons for people not to like each other. BOOM! There it is…two or three million [viewers]. My goal was to have a group of people that were friends and that like each other, empower, and uplift each other. Hopefully, we’ll stay that.

Bels: In the media you caught flack for being bossy and rude…

Nicci: You know, anything you say can and will be held against you in the editing room, right out. You know what I’m saying. I said everything that came out of my mouth. One of the things I wanted to encourage us to do as a people, just in general, is we hear something and we see something and we believe that sound bite. We believe the 15 sentences that come out of a person’s mouth on the television. None of these women are weak. None of these women are going to let me disrespect them and be rude.

Based on these things and how the audience itself put you in this box as being this type of person, did you find yourself having to change anything in this upcoming season as far as how you interact and communicate with other cast members?

Nicci: Absolutely! Last season, which people would never believe because again, we believe the sound bite. But last season, I spent a lot of time because I was executive producer and creator. I was a boss. We were literally trying to make sure that some of the things that were happening behind the scenes that people didn’t see [some of the cursing out and flipping out and all that stuff when the cameras were not rolling]. When the cameras were rolling, it was my objective to be kind of like, “yall let’s not do this.”

This season, I’m nobody’s momma. We’re all grown. Going into this, the ladies agreed to do this because they were like we’re your friends. We love each other and as long as you’re involved and it’s not going to damage our careers. So I was holding on my chest the responsibility of making sure that it didn’t turn into that show. Clearly with this particular group of people it could turn into that in a heartbeat. And it did behind the scenes. This season, I came into the situation and said “aye look, we’re going to just put it all on the table. I’m not going to look crazy by my damn self. I’m going to say exactly what it is. I’m not trying to protect anybody. I’m not trying to mother hen anybody. I’m going to handle my business and do what it that I need to do for me. But I am going to let you know that on camera that I’m not going for that this time. This flipping out behind the scenes and when the cameras are rolling “ooh no… NO.” We’re going to just keep it real and if this is what this is.”

I learn to just be more honest. I learned to be more honest and not try to control grown women. And that’s exactly what I was trying to do last season. Not because I wanted to control someone’s career, but because I wanted to prevent us from going down that road, which you’ll see this season. There is definitely a lot more drama. Some people are going to love it. Some people are going to not care one way or the other. Some people are going to definitely see that some of this is definitely drama….A LOT of drama.

Bels:  Yeah a lot of times in any situation when there’s a group of women, especially strong minded women…

Nicci: Right! Like, I’m on the only strong minded one in the group. News flash! That ain’t the case. Yo, do y’all really think I could just flip out on them and they just sit there looking at me. Half the time, I was talking to the producers off camera. But because it came out of my mouth, it made for good TV.

Who would you say is the person(s) whose personality you just can’t seem to mesh with? On the flipside of that, who do you consider a “friend” or someone that you enjoy their company and spirit?

Nicci: Syleena Johnson. And as plain as simple as this…I don’t do “putting hands on folk” in any capacity. I don’t do because I’ve have a couple cocktails and flipped out. I don’t do any of that. I’m grown. Not only am I grown, I’m the person who brought you into the situation. For that reason alone, I think I should be respected a little bit more. I just don’t get down with people that don’t accept the truth. If you can’t handle the truth, you don’t need to be friends with me.

Well I mean… I think all of the ladies on some level have a good spirit about them. But, Faith (Evans) and I have been friends for the longest time. She is hands down. I’m older than her by a year or two. But, she is my counselor. She is such a resource for me because she’s been affected by this industry a lot longer than I have and in a lot more serious situations. Faith is definitely my friend, my sister. We go back 20 or so years. Anything I need, she’s there for me. Our children know each other. That is genuinely my friend.

Keke (Wyatt) is one the most honest women I’ve met in my life. I love her so much for her honesty and her truth and her vulnerability. I learned so much from her about not caring what everybody else thinks as long as you can get to a place of healing. I think Keke is a star. I think she is the star of this franchise.

And Monifah is obviously “Iyanla” to everyone. [laughs] Mo’ and I go back 10 years.

Angie (Stone) and I have known each other for a while. But, it’s different when cameras start rolling. When you see people like NeNe Leakes, Evelyn Lozada, and Tami Roman, who all of which are “go-get’em” girls. I’m not mad at anybody getting their checks. Especially NeNe, you put the work in for this money that you’re getting. But, when you have this kind of success and you see that as the blueprint, you’re going to get all kinds of characters that feel like “I can scream and curse and fight better than all of them.” And it’s just not that important to me.

Speaking of NeNe Leakes of Real Housewives of Atlanta, do you think there are too many shows? Plus, do you think African-American women are tarnishing the culture?

Nicci: Yes. I think it is unfortunate. But, I think it used to be where we were really concerned about the black man. I come from the age of crack. If they weren’t smoking it, they were dealing it. I’m from Detroit. Unfortunately, all of my cousins are locked up. Now, “they” figure because we had to learn from a lot of our mothers who were single mothers and had to learn that male/female hustle. Unfortunately, they realize “oh it’s not the black man we have to deal the degradation and all that stuff that need to happen. Damn, they’re over there. Those [women] are the ones that are going to empower the black man.” Not to get too deep, but it’s really unfortunate. It’s like crabs in a barrel. It’s the only thing you can get…is drama and ratchet-ry. If that’s the only thing that’s going to pay your bills and feed your kids, what are you going to do?

So the problem isn’t the African-American woman because we have African-American women who are not ratchet. I love the Gossip Game. Love that show. I love Mary Mary. I love Kim Whitley’s show. I don’t think there are too many reality shows. I think that they are not going anywhere. They are cheap to make. I think people having a platform, is amazing. I hope that R&B Divas becomes the franchise for TV One that ‘Housewives’ is for Bravo. I hope that people come to realize that all that is left in our community is the black woman. I mean…not ALL that is left. Unfortunately, the women who are holding the community down; the people that are holding the families down are black women. Now, these kids are flipping out. Girls walking up to people doors beating them down like, “you said something to me on Twitter.” It’s ridiculous. I think yeah, you can show that. We all want to see that ratchet-ry. Everybody, when they were a kid ran to see the fight. I didn’t. But, a lot of people did run to see the fight in the circle. But, where are the shows that help to inspire and empower. I looked up to Patti Labelle. I looked up to Gladys Knight and Aretha Franklin and we could see them in their gowns singing on stage. We respected them as icons and legends. We can’t allow this to happen with this franchise. And if and when it does, I’ll be building another one because I’m not going to do it.

Bels: and it starts with the producers….

Nicci: You know what’s really crazy. This is what I definitely want to get out.

This was Faith and I first TV experience. So, yes we are partners in the franchise. We are executive producers of any spin-off, any extension of the brand or any franchises or whatever. But, we do not make the final call on edit. That is Think Factory Media. Think Factory Media does not consist of black women. They are great. They are amazing. But, they are not us. TV One is the network. We brought Think Factory Media on board and introduced them to TV One to do this. We created it. We spent our own money shooting the pilot and flying everybody down. We cast the show and everything. But from there, we kind of washed our hands of it. It wouldn’t be fair for us to be on camera and have the ability to edit ourselves any ole kind of way.

Let’s say… we look like angels and the other ladies looked horrible. To level the playing field, we had to have a neutral party during the edits. But, what I didn’t expect is the disrespect that I experienced as a new producer. So now, I can empathize with Shaunie O’Neal. I can empathize with Mona Scott (Young). Because I understand that at the end of the day, I mean I don’t know what their deals are but, I would assume that Shaunie is not sitting in the editing base saying don’t do that. It may not be difficult for Mona because she’s not on the show. But it is difficult for someone on the show to be unbiased in the editing room. I’d be worried about myself. I’m not even going to hold you up. [laughs] I’d be worried about my brand. So, we do not.

However, I do agree that we still have to be accountable. My way of being accountable when it comes to that – I’m still going to get my check and I’m still going to get my credit. But, I will not be on the camera doing that.

In season 1, you made it clear that singing was no longer a priority for you and that you were diving into ventures outside of music. One of those ventures was Curvato Clothing Line. How’s the clothing line going?

Nicci:  It’s going really well. We are about to launch our 2013 collection at “Full-Figured Fashion Week 2013” in New York City. I’m really excited about that. It is going to be sexy. It’s going to be confident. I’m a new designer so I’m learning. Our business will be a year old in August. So I’m definitely learning how to be better. The beauty of the whole Curvato movement is that it was born of me being subconscious and insecure about my body. I’m a big girl. So you know back in the day it wasn’t as accessible as it is now. It is a lot more accessible to be curvy and larger. You can be empowered. So, I really want the clothing line to represent that more than anything. I’m not trying to beat out Versace or Donna Karan or anyone. I’m just trying to create options for plus-size women. More important than anything, empower and inspire little girls who may need to see a reflection of who they are, looking fly. Know what I mean? And not like a mumu. So, the clothing line is a brand and a lifestyle for me. We are expanding the brand.

We’re launching a new online destination called AllThingsNicci.com, which houses all of the different brands. Along with that, we are re-launching Curvato Lifestyle this year. It will include a Facebook-like community for big women, curvy women and girls. So you’ll be able to set up a profile. You’ll be able to interact. I’m excited about that. In addition to our boutique, we are going to be updating it much more often. I finally got a styling team together. We’re excited. I think the clothing line is here to stay. We are going to reach for big box retailers in a minute. I kind of wanted to be in business and learn things and have an understanding of what it was before we started really reaching out to some of those larger retailers and trying to get things in stores. I just wanted to live in it for a minute. Now we’re ready to take it to the next level. I’m going to do a curvy pageant next year in 2014. Which I’m super excited about. So, Curvato is here to stay. You’ll see us…I lost some weight like Jakeem (Smith), Nicci’s executive assistant and a PR contact. He has lost some weight. We’ve been on our fitness grind. It’s been a long process. But we are getting there. So, I’m really excited about sharing that which is something I’ll be sharing on Curvato as well.

Are there any other business ventures in the works? Checking out J. Smith’s website, I noticed an announcement that you were in search of comedic script writers. Is this something you can talk about?

Nicci:  Yes. In addition to that, we have Divas and Wildflowers, which is my daughters’ Brandy charity. I’m super excited about that. She’s using her love of fashion and makeup and all things girly to help inspire young girls. So, I’m helping her put together a series of events and fundraisers for that. R&B Divas L.A. will air this summer. I’m really excited about that. Faith and I are working. In our little prayer basket, we have R&B Divas New York, hopefully coming soon. Hopefully, TV One will be pleased with the whole franchise and the momentum to give us that. Of course, there’s my baby which is called Divas & Cocktails. Divas & Cocktails, in short, a fun little late night show. It’s kind of like “Watch What Happens” meets “Wendy Williams with a little bit of “SNL”. So it’s sketch comedy, standup, live musical performances, lip service, the talk, the tea, and celebrity interviews. It is coming every Wednesday night, at 11pm, right after R&B Divas online at DivasandCocktails.com. I’m definitely very excited about the possibility of that being picked up by a major network. It is in the hands of some cool people as we speak. So, I just want to continue to build my brand as a producer and content provider. That’s sort of it.

Throughout this process, what have you taken away? Are there any life lessons or food-for-thoughts that you can share with our readers?

Nicci: Yes absolutely. I learned a lot of things about myself that I’d probably would not. Anytime you see a mirror of yourself in any capacity, you’re like “ole Lord Jesus I need to lose some weight. I need to stop talking so loud.” I learned a lot of little things about Nicci that I didn’t really realize. I mean it is one thing to be loud. It’s another thing to be doing it on TV with a microphone. So, I learned that I could fall back a little bit and evaluate a little more, which is always good in any career. As a human being, if we’re not growing, you know what the alternative is. I definitely see that I’ve influenced and inspired a lot of young people, which has been a passion for me. I want to continue to do that and continue to build. I’m actually developing a show around Jakeem and Brandy and some of the other kids. They are grown, but, young people that I work with.

So you know…just seeing what works, what is effective and what’s not; understanding the business of television a little more; understanding what it is I need to stand for and represent. I’m very pleased with the fact that in spite of all the horrible “she’s terrible, she’s a bitch, she’s mean, she’s awful.” In spite of all of that, as hard as it is, any human being waking up to negative press every week, eventually, it’s going to break you and you’re going to be like “what the hell did I do? This isn’t what this was supposed to be.” But, then you realize who it’s coming from. Then you realize who the comments are coming from. You really sit back and think it’s ridiculous for me to have such an ego that I would think that that stuff really mattered and defined who I was. Faith and Mo’, these women are still (most of them) my friends. My husband and I are still happily married. The people in my life who matter and know me they understand it.

Now, it’s the real hard thing for me too. It really affected my mother in a negative way. My mother is like “you are the nicest person ever and you’re my child and I know you better than anybody else.” You know what I’m saying. So, it’s hard for her to see all of that. “Oh my God they fired you and you created it.” And I’m like, “Ma!” So, that’s tough. The affect that it has on my family is very very tough. And that’s when I will…you’ll get that “Detroit coming from Chicago-Mansfield” Nicci. And I have to remember that at the end of the day we’re here, we are breathing. For the most part, we are successful. To live in the moment that it’s real and to not allow the moment that is reality TV to define who I am in my real life as a woman.

Tune in tonight and watch the Season 2 premiere of R&B Divas, at 10PM on TV One! 

You can follow Nicci Gilbert on Twitter @niccigilbert and stay connected 24/7 at www.allthingsnicci.com.

Special thanks to Jakeem Smith of J.Productions!

On The Block: JStavo…Bringing Pop/Soul To The Forefront

In case you’re wondering if all up-and-coming artists are here to duplicate what’s currently hip in music, guess again.  As far as R&B goes, there’s a lack of originality, especially with male singers. Well, there’s a new crooner on the scene who’s ready to change the game.

Hailing from Virginia (by way of Texas), JStavo is prepping his first EP that he contends will be eclectic, refreshing, and something you can feel. He’s calling his sound Pop Soul.  Well, STACKS Magazine recently got the opportunity to find out more about JStavo and this Pop Soul he ‘s bringing to the industry. Several interesting tidbits were learned during our conversation  with JStavo.  Check it out…

Tell our readers who you are, how long you’ve been singing, what was the inspiration for you to want to become an artist.

My name is JStavo. I’m from VA by way of Texas, just moved to Atlanta a year and a half ago trying to pursue the whole music thing. My inspiration for music ever since I was two, I always wanted to sing. I would always get caught dancing in my room. My mom would play music to sit me down and shut me up. Anything with music I would be a good person. Other than that, it wouldn’t happen. So basically, from two years old I knew what I wanted to do.

Where does the name come from?

My first name is Josh. And then it was sort of a middle name/nickname that my family, my cousins we’re all crazy so they used to call me Gustavo. Because…don’t ask me because I still don’t know. So at that point, when I knew I wanted to pursue music full time, once I got a little older. I just put the first letter of my first name which is Josh “J” plus “Gustavo”. Plus it sounds dope. Not Italian, but it sounds dope.

How would you describe your style of music?

I actually put myself in my own genre, Pop Soul. It’s basically, if you take popular music (whether it be Dance music, whether it be R&B, whether it be Alternative) and then you always add soul to it. That’s kind of where I’m at. ‘Cause I can kind of get on any type of track period. I’m very eclectic when it comes to music. I just make sure I add soul to it and Pop Soul.

What was your reason for moving to Atlanta?

A lot of producers and songwriters usually come here. When I first moved here, I know for a fact, it’s like anybody you meet their either doing music, acting or modeling, or they have their own company. I just needed a change. I definitely needed change to where I could grow and network better around music. So, Atlanta was the next best step.

Who were your influences growing up?

Well, my favorite singer of all time is Donnie Hathaway. Point blank period, it’s Donnie Hathaway all day. From him to Genuwine to Babyface to Gladys Knight. It ranges from old school to the 90’s ‘cause that’s the era I grew up in.

Have you worked with anyone yet? Any collaborations?

Well I’ve done…that’s really all I like to do is a bunch of collaborations with independent artists and artists that are up and coming. I truly believe in everybody coming up together. So, instead of going for the big names and this that and the other, you know just try to make sure my name gets out there. I’d rather do a collaboration with somebody that I believe in as an artist and believe in their artistry. Then kind of come up with them and everybody helps everybody.

Do you think male singers get enough shine? Do you think there is something lacking?

I really think currently a lot of the new artists that are coming out, and even some of the old artists that are come back out, they are getting stuck in a box. It’s kind of like the whole thing where they see what’s hot right now and their going for it, but it’s consistently not refreshing. It’s not refreshing. Where back in the day you had your Marvin Gaye’s, you had your O’Jays, everybody in the same genre, but you knew who everybody was. Everybody was unique. I think the reason why the make industry, as far as R&B artists or singers period, I really think that we are lacking in creativity and pushing the envelope. I remember Bobby Brown was always pushing the envelope. Like and it wasn’t that long ago when other artists were pushing the envelope. I just think now we’re stuck in just trying to either make money or be a sex symbol because that’s what sells right now. When in reality, you don’t have to do all of that.

How do you plan on competing with the others (artists)?

I actually feel that like people are waiting for something new. I think we’re so content with what we have right now. That we’re just like “oh ok, that’s fine.” But I really think people are waiting for new artists. Like Miguel came, and he’s like the new age Prince. Frank Ocean came out. None of them are doing what a lot of artists that are out right now are doing. They’re doing what they want to do, being creative. So I think what’s going to set me apart is my uniqueness and my sound. However, making sure that it’s refreshing and people can actually understand it (or it brings them back somewhere to a feeling). I think at the end of the day, nobody is really looking at the content. They’re really, like, looking for that feeling…and that’s what I’m trying to give them. Bump the content, bump what I’m saying if you can’t understand it, that’s cool. But, if you can feel it, then I’ve done my job.

Do you have a 5 year plan?

I used to have 5 year plans and 10 year plans. For some reason, plans never work out. I do, however, set goals for myself as big as getting a Grammy or performing at Madison Square Garden. I make sure I do big goals like that and speak it into existence and I just let God do the rest. Whatever comes in between that, then I’ll take it.

But, I don’t really believe in the 5 year plan because you really don’t know.

Who would you like to collaborate with?

I would really like to collaborate with Kanye just because he’s controversial. I don’t even know what we can create. But, just on his PR…just as a business move. Jay-Z. I would love to do a song with Jo Jo. Ciara. I love soft voices. So, Ciara would be one. I would love to do a song with Sting. He is crazy incredible. I think that would be it. As far as collaboration goes, for like my EP that’s coming out, I made it adamant that I was not going to have a lot of collaborations. I feel like that puts you in that “you can’t have a hit song” or “you can’t stand on your own feet.” So I want people to grasp my music. You know how rappers do with mixtapes. If they want to remix it, they can flip it around. Oh and A$AP Rocky also.

When can we expect the EP?

Actually, what we’re doing right now, we’re setting it up formally because there’s not an actual release date, because we actually do not have the single out yet (the official single). Right now, we’re just worried about pushing the buzz single to network and get a fan base and let people know I’m out there. So, as soon as we get the single out, then we can figure out exactly what’s the next step for the EP.

Any thoughts on the content on your EP?

For one, I’m not crying on any of my tracks. [laughs] As far as the EP, its’ going to be very eclectic. It’s really going to bring all ages back. When I say back, I don’t mean it’s going to be old school. I’m just that feeling you get when you hear a song. I’m going to bring that back. So, you’ll get dance tracks, smooth tracks, everything will be smooth though, I’ll say that.

What do you want the readers to know?

I have a website called www.jstavoworld.com. You can get any type of information from there. Twitter, Instagram, etc @ JStavo.

I just want the readers to get ready. If they want something refreshing, something new, but something they can feel…JStavo is the route to go.

If you’d like to hear JStavo’s music or see him perform, he’s scheduled for several upcoming shows.

2nd Annual Rip The Runway – Birmingham, Alabama (April 2013)

Sweet Auburn Festival – Atlanta, Georgia (May 11, 2013)

Underground Atlanta – Atlanta, Georgia (May 12, 2013)

9to5 40th Anniversary (September 2013)

In The Studio: Windsor Jones NEW Single “Tax Money” [Produced By D. KiD]

When our homeboy Windsor Jones isn’t running around the city chopping it up with Atlanta’s hottest artists, he’s in the booth doing what he do best.  He’s been in the game for a while, took a little break, but he’s back cooking up some heat. Check out his latest Hot Beats studio session laying down vocals to a new track “Tax Money” (production by Chris “D. KiD” Lawson).

Peep the video below…

Exclusive: Super Producer Cheeze Speaks On Wale, French Montana, His Grind, & Reason To “Never Quit”

When it comes to music production, Atlanta houses some of the hottest and most notable producers in the game. You can safely say, there isn’t one artist who hasn’t traveled to the city for beats.  Well, in 2013, there’s one super producer in the A that will get his fair share of artists seeking his services. Like, the Maybach Music Group.  Yes, Cheeze recently pinned down production credits on Wale’s Folarin mixtape with “Back 2 Ballin”, which features French Montana.

The grind will continue in 2013 for Cheeze, though.  After producing cuts for Yung Joc for many years, the Swagg Team affiliate plans to work with Rick Ross, Wale, Meek Mill, and others.  Tronzai Media and Windsor Jones recently caught up with Cheeze to talk about his grind, present/future projects, and his advice to young producers trying to make in the game.

Check out the exclusive interview below:

Follow Cheeze on Twitter @ CheezeBeatz, Instagram @ IAm_Cheeze !!!

Exclusive: Rap Duo ‘Rich Kidz’ Talks Being Young & Successful, New Label Deal, & Their Love For The Ladies

In the world of music where styles are forever evolving, history sometimes repeats itself and just about  any and everything goes, some artists struggle to establish their identities while there are others that emerge in full force with a clear vision, a solid identity and in full command of their craft. Well hailing from the ATL’s infamous Bankhead area is the rap group Rich Kidz who has secured their spot and stand out in the latter category.  While they originally started out with six members, the redefined and revamped group is now a powerhouse duo that is RK Kaelub and Skateboard Skooly. 

It’s no doubt that the fellas are paving their own lane and have deemed themselves as “an Atlanta-based musical force of young entrepreneurs achieving success.”  On their quest for success, the Rich Kidz not only want to enlighten the masses through their music, but also show others who are serious about their grind how putting in work for real, for real pays off. Having already gotten off to a booming start with their early career hit songs “Wassup” and “My Patna Dem”, Kaelub and Skooly have managed to keep the party and their grind going with their more recent success songs, “We Was Supposed to Stop, But Didn’t” and “Straight Like That”.

After having to jump a few hurdles, then founding and deciding to sign themselves to their own label, Rich Kidz Music Group, to their Straight Like That 3 mixtape and now having landed a deal with Columbia Records, everything seems to falling into place for the Rich Kidz as they ready for their major label debut. Their success is undoubtedly eminent and fortunately in the midst of all the Rich Kidz have going with their hustle and flow, STACKS Magazine got the opportunity to briefly chop it up with these rising stars. As far as what’s different about the duo since they’ve grown up some, Kaelub says, “we’re evolving now.”

Check out the interview below to get a little more in-depth as to who the Rich Kidz really are, their connection to Grand Hustle and what the future holds for the Rich Kidz. Oh and for the young ladies that are big fans, listen up to find out if the fellas are single and what kind of women they like.   

Rich Kidz & Janda (STACKS Mag)

Exclusive: DG Yola Says He Originated “Broke Da Knob” + Speaks On His Past ‘Grand Hustle’ Affiliation, The Fans & Haters [Part 2]

In Part 1 [Exclusive:  DG Yola Explains Why He Won't Let Up After Attempted Murder & Jail Time] of our exlcusive interview with the Atlanta rapper, DG Yola spoke on the moments when his life changed from good to bad.  From once being one of the hottest new rappers out of the ATL to his unfortunate shooting incident then jail time, Yola’s life has truly been a rollercoaster.  Nevertheless, he’s prevailing.  Soon to be released from the halfway house, Yola has big plans for his future in music.  But, first he has some shit to get off his chest.

In this second part of our sit down, Yola explains where “broke da knob” originated. He clears up any speculation about his former affiliation with Grand Hustle and if he prefers to be signed to a major label or stay independent. Lastly, Yola shares some words for all of his loyal fans and haters.

Check out Part 2 below…

So you just had a recent mixtape, ‘Mr. Broke da Knob’…what is “broke da knob”?

DG Yola: (Laughs) You know when I was in prison right this how I came about that right there. When I was in prison you know a nigga tuned in to what was going out in the streets or whatever and everybody turn up, turn up, turn up, turn up, turn up’ so boom

And that ish came out of nowhere

DG Yola: It came out of nowhere right! So I analyzed that and you know y’all couldn’t hear me ‘cause I’m confined. But I got my campaign going down in chain gang. So I come up with the “Mr. Broke da Knob” situation cause everybody turning up and to speak on that situation… why these niggas talking bout they breaking knobs now? What happened to turning up? What happened to going hard? You know that Kanye…”I go hard, go ham”…whatever they was doing. But now they wanna “break some knobs”. They be biting the swank. You feel what I’m saying, these niggas be biting my swag and stealing my bars and all that shit. Man, you know what I’m saying. But I commend y’all niggas though. ‘Cause one thing about it, I got so much of this shit. It’s so much of this swank it don’t even matter. I’m talking about for real you can bite that shit, whatever…keep it! I’ma come out with something else on your ass. Yeah all these niggas wanna break da knob now. Yeah.

So as far as that particular mixtape [Mr Broke Da Knob] with it being your most recent one, what was your thought process behind it? What story did you want to tell?

DG Yola: I really just wanted these folks to know that Yo ain’t went nowhere. Yo went and did that time, bossed all the way up, came all the way back even harder than how he left. That Yo don’t really care to much about nothing cause my patna Alfred and my patna Jesse and my patna Logan gone. I ain’t got no regard for y’all niggas or whatever. I want these folks to know that yeah you can do your thang but I’ma do my thang. ‘Cause I ain’t got no deal. Y’all niggas got these majors behind you and you hiding behind this cash and you hiding behind all this shit here but I’m doing this shit out my pocket, in the streets with it and I want these folks to respect this shit and they gon respect it regardless of the situation. So that’s what Mr. Broke da Knob doing. That’s why the first song on there say ‘fuck niggas I don’t fuck wit’em…live real die real’. So at the end of the day, that’s what it is and they respect it and that what it is. Yo ain’t went nowhere. Yo way harder than he used to be. I ain’t the same nigga I used to be. So that’s what this CD was about. We dropped that in July (July 25th) and I got in trouble for that. I had did some shit on YouTube. I did a whole bunch of shit that I wasn’t supposed to do and word got back to the warden and he sat me down for like 40 something days. I could’ve actually came back out if I would’ve been listening to what he was saying but I wasn’t paying attention cause I thought I was going to get shipped or something. But he sat me down and now I’m back out. I’m bout to drop ‘Mr. Shine Wit No Lights On’.

So that’s your next mixtape [Mr Shine Wit No Lights On]?

DG Yola: Yeah…that’s with DJ Holiday .

As far as you catching that next big hit, because you will, so we’re just going to put that in the atmosphere…

DG Yola: You know I got a whole lot of hits. It’s just that I don’t think the world, I don’t think my fans and my associates and my peers give my music time to grow on them. ‘Cause I think they be stuck at that one hit hang…the “Ain’t Gon Let Up”. You know what I’m saying cause if you go back to “7 grams”, “14 grams”, “Never Gon Stop”, “Still Standing”, “Been in the Streets”…it’s so many songs that I’ve put out that got potential to be hits. But they just won’t let’em be hits. They just stuck on “Ain’t Gon Let Up” and I feel like really that song been riding since 05’ right. If that’s what y’all want…I’ma give y’all that. I swear to God…I’ma just keep putting music out and we can keep riding to “Ain’t Gon Let Up”. It don’t matter…however y’all wanna do it. You feel what I’m saying, but I got so many other songs. You just got to give’em time to grow…give’em time to grow on you. But folks so caught up on that to where…that’s what it is..we ain’t gon let up. That what it is!

At one point you were affiliated with Grand Hustle, were you signed to Grand Hustle?

DG Yola: Nah, I wasn’t never signed to Grand Hustle. I was signed to Atlantic Records. I signed my record label Power Hitters Entertainment to Atlantic Records and from my understanding they didn’t know how to market me. So they put me with T.I. so he could market me ‘cause he was like the closest thing they had to the streets, Grand Hustle or whatever. And really I wasn’t feeling that ‘cause I didn’t want to go up under T.I., no disrespect to T.I. I just saw Tip the other day…no disrespect to Tip. But I didn’t want to go up under homes ‘cause I was looking at his track record with other artists. And I did this at a young age. I saw what happened with all his other artists where they didn’t never really fully do what they needed to do…nobody but Dro. And I just didn’t wanna get caught up in that. But I respect Grand Hustle. I respect the whole Grand Hustle movement, but I just didn’t want get caught with that. I didn’t want to be locked in with something to where I can’t branch off and do my thang. He the King, I’m the Great you know what I’m saying so I bucked the whole situation.

So, do you have any plans with any major labels or are you going to try to stay independent?

DG Yola: Man really man, I’m open for opportunities. I open for opportunities. Whoever feels like they wanna work with me, I’m willing to work. I ain’t the same person I used to be…not the lil hard head snot nose running around. I’m more business minded right now…on my grown man shit. So I’m willing to work with whoever wanna work with me. But from what I see it’s like they scared of me or something. It’s like they don’t wanna touch me. They got so much bad shit to say about me.

You’re a liability, they don’t know if you’re going to stay out of trouble.

DG Yola: I guess my bad outweighing my good. But I’m not going to do that no more. I’m not going to get in trouble no more. So it’s just a chance. Life’s about risk. You got to take chances you know what I’m saying and I’m the best thang smoking round’ here straight up. I’m the best thang smoking…the solidest thing you finna get to really being in the streets. So if you ain’t fucking with me, you really ain’t fucking with nothing. You watered down to death. Ya’ll folks really watered down man. You ain’t fucking with nothing. I’m the realest thing going. I can go in any hood right now. Any hood, it’s all respect from the Westside of Atlanta, Martin Luther King, all to Panola Rd. in Decatur, all the way to Buckhead and Chamblee, Dunwoody…all up through there them folks know Yo and Yo get plenty respect. Cause I’m out here and they see it. The streets see it! I live by this shit…I’ma die by it. It’s real…100!

So as far as last words…anything you want to say to your fans, to people that’s been down and/or to the haters?

DG Yola: Yeah. I wanna say rest in peace to Alfred Person, Jesse James, Big Logan, Big Meat, Kenny, Cheese, Mike Mike, Alvin, Head, Keon…all my fallen Allen Temple soldiers. I got so many to name. I could just go on and on. To all my fans, I wanna tell y’all I appreciate y’all for staying down with me at the hardest of moments and for staying down with me at the best of moments. I love y’all the same way y’all love me. As far as my hood, Allen Temple, Reed Circle til the death of me, y’all already know I got this here. Westside bound, Martin Luther King you understand, Eastland Dr, Middleton Rd., all that…one hundred Allen Temple. And all my haters…y’all can lick the bottom of these Gucci’s. Y’all can suck my toes. Y’all can do everything y’all wanna do…just hate me. ‘Cause without y’all I wouldn’t be a motherfucking thang. ‘Cause if y’all wasn’t hating that mean I wouldn’t be doing shit. And the crazy part about the haters right…I ain’t getting too much hate ‘cause they know I’m dead serious. They know I’m dead serious. So I ain’t getting too much hate. But for those of you who do hate me…Fuck you straight up! And at the end of the day I wanna say I appreciate y’all for coming through sharing this time with me and giving me the opportunity to do this. I appreciate y’all so much. Thank You! It’s Power Hitters…Lady B what’s happening…Midnight Black ‘preciate you for giving me the opportunity. Straight Up!

To stay updated on DG Yola and his music, go to www.DGYolaonline.com. Follow him on Twitter @DGYola, Instagram @dagreatyola and Facebook @BrokedaKnob and his FB fan page is DGYola.

Special thanks to DG Yola, Lady B,  & Power Hittas Entertainment!

Exclusive: DG Yola Explains Why He Won’t Let Up After Attempted Murder & Jail Time [Part 1]

In the early 2000’s, a young gunner stepped on the southern rap scene who personified what the real Atlanta streets were about. Anybody who’s familiar with the Westside of Atlanta, and the infamous Allen Temple Apartments, understands the tough nature of its youth and the environment that raised them. Da Great Yola aka DG Yola is a product of this environment. You can hear it in his rhymes bar after bar. You can trace it in his years of unfortunate circumstances (i.e. being shot in the face in 2005). You can even feel the passion and discord when he speaks about his long hiatus from music due to being incarcerated.

Despite his misfortunes, DG Yola is a household name amongst his southern rap counterparts. His classic banger “Ain’t Gone Let Up” became a staple in DJ rotations and signified his spot in rap. Yola’s incomparable voice can’t be duplicated. This is why no one has really captured his essence while he’s been gone. But, the question is “is he ready to return and pick up where he left off?”

Well, DG Yola says YES. After all the trials, tribulations, and deaths he’s dealt with in the last 7 years, he has more to prove to himself and the critics. This is why he released the mixtape “Mr Broke Da Knob” in the summer of 2012. The project dropped to good reviews. For Yola, this was the motivation he needed to keep pushing. Although, he is currently spending days in a half-way house, Yola is using his nights and weekends to his full advantage. As such, STACKS Magazine was lucky enough to get the opportunity to sit down for an exclusive. When we say “exclusive”, we mean EXCLUSIVE!

Check out what DG Yola had to say regarding his start in the game, the shooting incident, jail time, and how he feels about the haters and fake niggaz in the rap game.

Tell us where your name comes from and little bit of background about yourself and what made you start rapping.

DG Yola: Well first all of grew up in Allen Temple…It’s on my birth certificate originally. About the name, first I had Yola da Great. That came from Rudy Ramone, but once I got signed to Atlantic or whatever, somebody in China already had the name. So I changed Yola da Great to DG Yola. DG stands for Da Great. So it’s Da Great Yola, you know what I’m saying. That’s how I came about the name or whatever cause I used to sell crack on Martin Luther King and all the Mario’s in the hood, they call’em lil Yo. So they called me lil Yo and I just put the ‘la’ on it. That’s how I came up with Yola.

So you chasing the dream…05’ you come with this hit ‘Ain’t Gon Let Up’. How did that song come about? Who produced the track?

DG Yola: My patna Wynn produced it. Big shout out to Wynn…ATM. The song actually came about…I was mad at one of my best patnas Alfred Person rest in peace. I was mad at him and I went to writing and that’s how the song came about. We didn’t think it was no hit or nothing. We thought it was another song. But once I did it and we put it in the club or whatever…it just blew up! Yeah that was like was of my first little songs to blow up.

So the song itself, it’s a classic now. Like you know if they play the song now everybody knows it word for word. So at that moment when you realized like “damn this song is about to take me to another level” how did that moment feel for you? Was it like “I’m there”?

DG Yola: That moment was crazy. ‘Cause during the process of that song taking me to where I was, I was geeked up all the time. So shit, that process there was crazy. Because when the song took flight, I was high as a muthafucka and I stayed high. We stayed high so it was like…it was just crazy. I didn’t wanna listen to nobody. I didn’t wanna do shit. I just wanted to do what I wanted to do when I wanted to do it and how I wanted to do it. And that resulted to me getting shot in the face you know what I’m saying shooting people, going to prison ‘cause I didn’t listen. I wasn’t nothing but 19…20.

So yeah that shit…and then the money really drove me crazy…that shit really drove me crazy. I was buying everything then when I went broke it was just like…I sold everything. Shit I had to start from ground zero. But now that I don’t get high, I appreciate life and I appreciate everything a whole lot more than I did back then. So it was crazy…that whole lil thang. ‘Cause you know you got everybody in your ear. Everybody wanna hang around you. They got they’re hand out. That shit drove me crazy!

They say when that fame and fortune come…

DG Yola: Hell yeah…it drove me psycho

…you got to be tough to be able to handle it and maintain.

DG Yola: Yeah and I stayed in the hood a lot too. I didn’t branch out…I didn’t ever leave the hood. I stayed in the hood at all times. That was my base. That’s where I was…right there in Allen Temple. I didn’t never leave…still ain’t left.

So you talked about kind of the misfortune of you getting shot during the moment you was about to probably become one of the hottest rappers on the scene. Since that occurrence, I don’t know if you can speak on your current situation…

DG Yola: I can speak on anything!

As far as being in the halfway house at this point…can you speak on that?

DG Yola: Yeah…Hell yeah. Imma give you the raw. As far as the halfway house, that’s a part of my prison sentence. I got sentenced 12 years, serve 5 and I did like 4 of the 5…well 3 ½. So really the halfway house, I had just put in for it not knowing I would get accepted to go you know what I’m saying. I’m still fucking up right now cause at the end of the day I got to do my music. They want me to work…go to work every day but I ain’t never had a job. This is what I do so shit when they see this, if y’all see this…this what it is. I told y’all!

So shit with that situation right there, it’s a blessing ‘cause I’m not in prison and I’m able to be around you all, my family and everything like that. But I gotta take advantage of the moment. I got to seize the moment. So with the halfway house… shit they don’t want me to do this. They don’t want me to do no interviews, no music, no none of that shit and if I do it, they want me to be on the low key about the shit you know what I’m saying. But how can you be low key? How can you halfway do something? In this profession anyway, you can’t halfway do this shit. You got to go at it. So if they was to catch a whiff of what I was doing, 9 times out of 10, they’ll probably just move me out of Atlanta. They’ll probably just take me to LaGrange or some country town like that or whatever and let me do the rest of my time there. But it really wouldn’t matter ‘cause I’ll still work my shit out there. But I should be getting out that shit in a minute though. Like if it ain’t this month, next month, it’ll be some time next year or whatever. It’s just trials and tribulations.

Will you have any restrictions when you get out like as far as traveling out of state?

DG Yola: Naw, I don’t think so cause for parole, this a job too. Then like with my current situation with manager and them, I got a job in their eyes. That’s how I’m able to do this. So I don’t think it’ll be a problem. I think I’ll be able to travel or whatever. I just got to get that understanding with my parole officer.

With that situation and not to dwell on it, but as far as for advice for the guys that’s out there rapping or that’s in music but still like you said are heavily connected to the streets because we so much about rappers going to jail, doing this or getting in fights, shooting or whatever the case may be. What kind of advice can you give to the young adults to try to help them maintain and focus on their career if they’re really trying to be successful?

DG Yola: Well I can tell them the same thing I told one of my lil patnas. You can’t do both of’em. It ain’t no way in the world you can do both of’em. You can’t sell dope and rap so one of’em gotta go. You’re going to either be a drug lord in the streets or you’re going to be a successful rapper. I had to make that transition too when I used to sell drugs. I couldn’t sell both of’em. Rap outweighed the dope game so that’s the route I chose.

So if you out there and you doing your thang and you doing both of’em at the same time something gon have to eventually give. You gon have to give one of’em up and I say go with the one that’s making you the most money. Rap made me the most money so that’s the one I went with. You feel what I’m saying? But you can’t do both of’em. Hell nawl cause if you selling dope and catching cases you ain’t gon be successful cause ain’t nobody gonna wanna touch you. That’s just like me and my situation. I wasn’t supposed to go to prison how I feel. I know what I did was wrong . I shot my people… I shot my cousin two times over some bullshit or whatever. But he ain’t the only one I done shot, but I shot him. So I had to do what I had to do and that shit put a strain on my shit. It stopped a whole bunch of stuff so it was like really…I won’t do that again. I’ll think before I do it again.

Do you think there’s that fine line when it comes to what rappers talk about in music and like you said at some point when you start selling music, albums and getting this money in…they aren’t really in the streets?

DG Yola: You know man I think all these rappers fake. I think all of’em fake, all of’em putting up these images, all of’em putting up these smoke screens… to fool their fans. Cause I’m out here every day straight up and if you don’t see these niggas in the club or whatever, you ain’t gon see these niggas out here interacting in these hoods. You ain’t finna see these niggas out here on these corners. You ain’t finna see these folks fucking with these real dope boys out here. I’m out here so I don’t see’em. You hear a whole bunch of shit about niggas in space, niggas doing this, niggas balling and all that…I don’t see that shit brah and I don’t fuck with it. You know what I’m saying…like I made that song “Live Real, Die Real” dog you know what I mean. So the thing about that…man I don’t see these niggas. These niggas fake to me straight up. I push up on niggas, niggas act funny cause they got that money. It don’t even matter. It don’t matter to me ‘cause I’ma do me regardless. I’ma keep it all the way 100 regardless of what the situation is. I’ma keep it 100, keep it street not industry…keep it in the streets. Ya feel what I’m saying.

Stay tuned for Part 2 with DG Yola…

The Demonstrator: Scrilla Talks CTE, His Respect for Jeezy & Why He Reps The “Real” Atlanta

Demonstration (dem-on-stra-tion) n. – the act or process of showing the existence or truth of something by giving proof or evidence.

When you think of a person who “demonstrates”, first thing that comes to mind is a person who has something to prove.  In music, proving that you are the best can be quite the task if you lack real talent. For rappers, it’s even harder if you lack swag too.  But, the city of Atlanta is known to breed the best when it comes to emcees with the total package: swag, charisma, and talent.  Well, the city may have just bred their next demonstrator.  Meet CTE World’s signee, Scrilla.

Hailing from Zone 4, Scrilla cleverly emodies all of those charactertistics mentioned above. After listening to his debut mixtape, The Demonstration, I could tell he was out to prove something. Not only to the cats he grew up with off Campbellton Road, but also to his boss Young Jeezy, his label mates, and any other doubter out there.  His rap style and content clearly signifies that he wants this [fame & fortune] real bad. Ask any rapper who’s been spitting rhymes since the age of 11 and just now receiving his chance at the spotlight. Oh, he’s definitely ready to “demonstrate”.

On Saturday, STACKS Magazine got the opportunity to chat it up with him during a pre-show interview at Vinyl.  That evening, Scrilla was headlining his own show. Before he ripped the stage, we touched on his start in rap, his respect for Young Jeezy, The Demonstration mixtape series Part I and II, and why he feels he represents the real Atlanta.

Interview + Performance of “Everythang” (10:00 mark)

For our readers, who don’t know who Scrilla is, can you give a brief history of where you come from, how long you been rapping, etc…

I’m from Atlanta, GA. Campbellton Road [Zone 4]…signed with Young Jeezy. CTE (the label) and No Line Gang Ent. You already know what it is. I started writing my own lyrics when I was around 11 or 12 years old. I’ve been interested in music all my life. But, I started writing my own music around 11 or 12 years old. Dreams do come true. If you work hard, dreams do come true.

Did you have it set out to join CTE? I read that you were performing in a club and Jeezy saw you and heard a song (and that’s how the link came about). But, I’m assuming that you had already seen the movement with CTE. It’s apparent, since you’re on CTE, that you said, “OK I can be down with this clique.”

You know I always respected his music. I’ve always been a Jeezy fan. When a person makes good music, I want to be a part of that too. I want to be what he is right now, a legend. I’m not trying to be here for one hit and then gone. But, when a person makes good music and you can vibe to it, you want to be a part of something or you gone venture off and try to be bigger than that sometimes. Basically, he gave me a chance. So I’m here to take my chance right now and show the world what I got.

‘The Demonstration’…

That’s my first mixtape on CTE. I put a lot of work in there. ‘The Demonstration’ was really easy because it was so much hype built around it, with me just being signed and all that. Like when I did ‘The Demonstration’, I was recording in my own basement. I had my own studio. So, I finished that whole mixtape on my own. Freestyling…not even writing nothing or anything. It came out to be really big, minus a setback, it came out really big for my first debut mixtape on CTE. I got a lot of features from CTE World.

The most recent song/video is “Movie On”. That’s a hot song. As far as any other songs on the mixtape, ‘The Demonstration’, what are the ones that are special to you? Or ones you feel as though will really penetrate the streets?

When you talking about streets, like club joints, we going to go with “Ask About Me”. That’s a joint with me and Jeezy on there. The songs that mean the most to me on the mixtape, they’re not street bangers. It’s something that I’m really talking about my life. “Like See What The Fame Do” and “No More”…and “My Life”, those are the songs. I can make club music all day because I be in the clubs. That’s easy to make that. But when you’re sitting down and you’re talking about your life, you have to take the time and tell the people who you really are. So those are the tracks that mean something to me. Those three tracks “See What The Fame Do”, “My Life”, and “No More” …yeah I got to say them are my favorite tracks.

One thing you speak about is storytelling. I know that Young Jeezy is good at storytelling. When it comes to storytelling, were there any other rappers like Nas (who has perfected the art of storytelling) that you look up to?

Well, all of them did (i.e. Outkast, Jay-Z) all of them. I really couldn’t see where some of them were coming from because I’m not from there. What Jeezy was talking about, he was talking the streets where we come from, the South. We had Outkast do it. They perfected the art of storytelling (if you want to say) talking about stuff. But, at a street level, it was him [Jeezy] that put that whole movement behind the whole streets in the “A”. Him, Tip and a couple of other artists (i.e. Rocko) that talk about stuff I can relate to…everyday, because I see it and I’m around it and live it.

So the next project is part II [‘The Demonstration’], is it like a continuation? Is it something new? Will you be speaking on new topics? Or diving more into more personal things?

‘The Demonstration II’ is really showing you more talent from me from all levels. Demonstration I was street, club,… tell you the story. Now, you about to see the talent of what I really can do behind these beats. Even though it’s finish, I got 86 songs I can pick from. So, I will take time and pick out the right ones and give the fans what they want. Now, you got the right production. Now everybody wants to mess with you. You have other big producers that want to come in and give you tracks. Or you get more features on the Demonstration II. On the Demonstration I, which is a couple dudes I knew from the streets and my CTE family.

Bels – Now they know what you can do!

But, now we about to touch a whole other crowd. We’re trying to take all this F-k shit that folks be talking about. We don’t want to hear that shit. We want to know what’s really going on out there and that’s what I’m about to give you. People have seen what we did in the club. I don’t know about everybody else. People know what No Line Gang is. I can’t speak on nobody else because I haven’t seen it. I’m sorry. When it comes down, I’m about to give you the street side and I’m about to be more business minded about the whole situation. I’m bringing out everything. I’m hitting them with everything.

Any major features that will be on there?

Ain’t going to speak too soon. I got Jeezy back on there. I got Cap. I got Freddie Gibbs. I got Quan Rich (a new artist out there). I’m not even gone tell who all I got on there yet because it ain’t been official. But I got some surprises for y’all. I got Jackie Chan on there. Linking up with Don Trip. I ain’t even gone… [laughs]

So when do you plan on releasing that project?

Soon. We ain’t really put a date on it. It’s going to come by the end of this year or the first of the year. I’m not gone keep people waiting.

What do want your fans and our readers of STACKS Magazine to know about Scrilla? What does Scrilla represent?

I represent keeping it real (being real with yourself and never falling for bullshit). I stand for something. I stand for my hood Zone 4. I stand for Atlanta. I don’t know what other people thought Atlanta was. I don’t do all that other bullshit that other people be kicking. But, I just want them to know I stand for myself. I speak for my clique. I speak for CTE World, It’s the World. So that’s what I stand for. I stand for the world: a young average nigga that make money and talk about it and be free. I’m just a cool ass nigga. See me out I’ll say what’s up. I’m not arrogant. I might be arrogant sometimes. Catch me on a bad day I might flip. I’m a Gemini. But, I’m not going take it out on everybody. I take it on that certain person. If it’s that m-f, I’m talking to your m-f ass. But, just me, I’m just cool ask anybody in Atlanta. Other people got their opinions, f-k ‘em. At the end of the day, I stand for Atlanta. I stand for the world. It’s the world, CTE World. Zone 4 Campbellton Rd.

To stay updated on Scrilla’s world, check out his website at www.scrillaworld.com. Also follow him on Twitter @Scrilla !!

Skype Interviews #1: Numonics – Producer Extraordinaire

John Rosenfeld is just a regular guy. Numonics, however, is not a regular producer. In order to give a fresh perspective (and use technology), we decided to have our convo over Skype. Plus, he was feeling under the weather. So, talking wouldn’t have been his strongest point. Yet and still, Numonics gave a great interview into his music, his life, and what he believes in.

Mark A. Harris: In a previous interview, you noted that some of the Miami artists didn’t shed a realistically positive light for the music. At this moment, do you still feel the same way?

Numonics: Well I feel that way in regards to what’s being promoted nationally out of Miami. I don’t think it’s really indicative of South Florida hip hop, more so a portrayed image. And I think the best way to explain what I mean by “positive light” is the quality itself. I don’t feel Poe Boy, Maybach, to a much lesser extent Slip-N-Slide really showcase what great music is made down here.

Mark A. Harris: So basically, they are a pure misrepresentation of the dynamics that is South Florida hip hop?

Numonics: In my opinion, yes. what’s portrayed nationally is more Atlanta sounding or off the dance floor variety (i.e. Pitbull, Flo-Rida). Our scene here is as diverse as South Florida is culturally. We are unique to the south in the sense that people from all over the country decide to move to South Florida and it really has an effect on the music that’s embraced here. We have a sound more so potpourri than narrowly defined.

Basically what I’m getting at is there’s more to Miami music than that Rick Ross sound.

Mark A. Harris: Beautifully stated!

Numonics: Imagine when i don’t have the flu ha

Mark A. Harris: Musically, what has influenced your approach to producing? Whether it be past artists, past life experiences, or present situations: what motivates the greatness that is Numonics?

Numonics: For me, I grew up being almost compulsively obsessed with music. My childhood consisted of a lot of Tuesday CD shopping, music magazines of all genres, etc. I wanted to get into music to really be more a part of what I followed so closely. My biggest inspiration for my approach to music is the therapeutic nature of it. I always joke that I’ll never need a therapist because I can always just make a beat. Music, whether creating it or just appreciating it, has always been a way for me to deal with every day life’s trials & tribulations.

I think because it’s always provided this feeling for me is what has allowed me to progress as a producer. i never get frustrated or annoyed at my work. Specific producers: pete rock, dj premier, just blaze, the heatmakerz, evidence, j dilla, blue sky black death, j83.

Mark A. Harris: You mention your favorite music magazines. What magazines cross your whenever you reminisce?

Numonics: I read URB, The Source, XXL, EGOTRIP, Spin, one of the guitar ones (i believe Guitar World or some shit like that) …… lot of variety really. I’ve always liked a lot of different types of music. Basically id try mags out, get small subscriptions 6 issue or something. the most constant were URB & The Source.

Mark A. Harris: Impressive. I loved the Source when it was “real”. I was entranced by Urb the most, though. The way they displayed all music that was influenced by hip hop and such. It was so potent, focused, and enriching.

Numonics: For sure. I was heavy into trip hop (actually what i first started producing) and they would always have the ill articles on tricky massive attack DJ Shadow etc.

Mark A. Harris: Man! They would have the GREATEST articles on trip hop and all music associated with hip hop. I remember certain articles specifically…..

Numonics: Yea thats why I liked it so much and their compilation cd’s were too dope.

Mark A. Harris: Oh, Jesus……the compilations…..

Numonics: It got a little bad towards the end but they’re always be a couple gems on those cd’s. So crazy to get possibly every musical genre with the exception of rock on one cd. Thats what made em dope.

Mark A. Harris: Exactly. And their articles weren’t average stuff. They did an article about Massive Attack and how their members couldn’t even get a long to keep making music. LOL!

Numonics: God bless them for that….Massive attack have too many good songs.

Mark A. Harris: Way too manyWow…that went on a tangent. LOL!.

Numonics: Little bit ha…all good.  I think I maybe digging up some old cd’s to throw in the whip after this.

Mark A. Harris: You have worked with Co$$, J Nics, and will be working with other artists (Knowledge Medina, Reks, etc.) . Give me the reasons why you enjoy working with the artists that you work with.

Numonics: 1. Co$$ – Has the most unique delivery in the whole damn genre. Combine that with his ability to speak on the streets, his life and esoteric thoughts as well. It’s what makes him unique. Scarcity is important, that’s where true value resides. I feel how he raps is few and far between and an incredible talent.

J NiCS – Another guy that has the ability to do street records and deep thinking ones. He’s gifted with that voice of his but has continually progressed as a MC. he’s also one of the best human beings i know. i love working with good people. i want to see him shine.

Reks – Ive been a fan of Reks for so long. That fast paced machine gun flow coupled with excellent choice in production is what makes him special. He has some of my favorite songs (ie 25th hour) and im just honored to have produced a full album for him. Our album “Rebelutionary” drops July 24th on Gracie Productions.

In regards to my other projects (J57 x Numonics – LI FTW, Dynas x Numonics – Commercial Music, Saheed x Numonics – Not For Nothing, LMS x Numonics – I am the one and only, Gotham Green x Numonics – Untitled), I aim to work with high quality people who are great at what they do. For me, my music is personal so its important to have a good working relationship with who you make it with. It’s much better to make art with your friends.

I forgot to throw Knowledge Medina – Never Enough in there.

Mark A. Harris: MAN! You must be the hardest working producer in the 305 area.

Numonics: Technically 954 ! I’m in ft lauderdale. I figured I’d throw that in for journalistic integrity sake ha!

Mark A. Harris: Oh, word? Broward county? Yeah, I need that journalistic integrity here and there.

Numonics: I’m pretty much misquoted where I live in 90% of the shit you’ll see from me online. The funniest is when I’m listed being from California. You’ll see a lot of Miami and Tampa stuff listed for me but I live in the Ft Lauderdale area. I’m more in tune to live here than Miami. Rather drive 30 mins when I want to visit rather than live there but thats me.

Mark A. Harris: I hear ya. Makes sense to me. I live in Riverdale. Living in the heart of Atlanta is cool….but it interests me not.

Numonics: Exactly.

Mark A. Harris: Listening to your Champion Rizla (yeah, I listened to it extensively last year) and the Knowledge Medina joint, I noticed your ability to chop and alter loops. What do you use? Do you prefer sampling or your own created instrument sounds?

Numonics: I try to do a combo of the two. I use Logic, Kontakt, Reason for the sample stuff. I play guitar and bass (you hear the most of that on Never Enough). I look for a sample with that feel and add on top of it. I dont necessarily have a preference for one or the other, people tend to gravitate more towards the sample stuff.

Mark A. Harris: How long have you been playing the guitar and the bass?

Numonics: Not totally sure. I think maybe a year. There is no such thing as a realistic sounding synth guitar so I wanted to integrate it into my music. I played when i was a kid but I dont count that really. It did help when I first got back into it that I had a foundation. This next wave of releases have me on guitar on at least one song. I’m no master but I can compose with it, thats all I was aiming for.

Mark A. Harris: Excellent. How much of your childhood has played into the music you make and the approach you take?

Numonics: Good question. I’m stumbling over this one a little. The easy way to say it is this. I was raised in New york, my mother was sick for most of the time til I was 10. My family raised me with help of a Trinidadian and a Jamaican woman. I was exposed to great music as a child, diverse music. Hip hop has alwyas been the one thing that stuck. I went thru many music phases like most people do but hip hop was the constant. It was also my first music purchase. naughty by nature’s 1st album. Also as a kid I loved to read about revolutionaries and champions of people’s rights. Thats really what has defined me personally. I just want to make the best music I possibly can and make you think.

Mark A. Harris: Wow. And have you ever told people about all of this?

Numonics: Possibly. I’ve done a few interviews and I’m not embarassed about anything in my life so I try to just tell it how it is.

Mark A. Harris: Dope!  So, what music “takes you there”? What hip hop albums (besides Naughty By Nature) made you say “Damn, I love hip hop” and why?

Numonics: Pharcyde 1st 2 albums, De La Soul – Stakes is high, 1st 2 Public Enemy records, Common – Like Water For Chocolate, theres really too many to list. For me, i need to feel something. it can be from the beat, what you’re saying on the track, etc. just stimulate the brain a bit ,ya know?

Mark A. Harris: I hear/read that!  That’s all I got for this interview, sir. This was impressive!

Numonics: Thanks man, let me know when it comes out. much appreciated!  My official site is TheNuWorldOrder.com  and RebelutionaryMinded.com.  Co$$ and Numonics – Genesis drops in June. Ft’s from Ras Kass, Planet Asia, Reks, J NiCS + more.

Mark A. Harris: Dopeness!

Numonics: My album with Reks “Rebelutionary” drops July 24th in CD, Vinyl & Digital formats. Features from Jon Connor, Termanology, Krondon and more.

Thanks again! Have a good night. I’m gonna go pass out again. This flu/cold/whatever is the worst.

Mark A. Harris: I feel that, sir. Get some rest. And thank you for your time!

Studio Exclusive: Authenticity Complete- The Life and Times of S.L. Jones (Pt. 2)

In the previous article, there was a discussion about what makes S.L. Jones who he is. Musically, he is an artist that wants to establish his own sound. This drove him to work with DJ Burn One. Carving out their own niche with Paraphernalia, Jones was allowed to open a portal for listeners to walk through. That portal could easily lead to understanding or confusion. Still, it was the street mentality that helped mold this man into the artist that he is now.

This time around, we get to discuss important aspects of his career: the independent hustle, working with Killer Mike, and how he met up with Freddie Gibbs.

The Independent Hustle or Not?

The independent grind may work for some, while others struggle to find their place. With S.L. Jones, he feels that your type of hustle is dependent upon your goals:

“The grind has been hella cool for me because it’s first nature. Nobody never gave me nothing and I don’t ask for nothing. So, it kinda go hand in hand with my mentality. Personally, I’m not anti-deals at all. To me that’s business. What you deserve and what they offer you are two different things. I feel you have to earn everything first off. Once you work hard, all I fell a person deserves is an opportunity. “

For S.L. Jones, it is mainly about making the most of a situation. Being a hustler first, rapper second, it is easy for him to look at major deals as “just business”. Realizing that, at the end of day, money comes first has molded Jones into becoming a smarter business man.

However, he is weary of those that sign major deals for the wrong reasons. To him, many artists sign deals “to look a certain way or to appear to be some way so bad”. Rather, he takes a more sensible approach. To him, if an artist signs a deal, “their life should change. They should be more than a tax write off. You shouldn’t still be doing the same thing”. S.L. only can imagine a deal if it bolsters his bottom line. IN the end, a major deal has to improve his livelihood or it isn’t worth the effort.

The Killer Mike Connection
The story behind his like to Killer Mike is actually a “right place at the right time” situation. S.L. would come out to Atlanta during the summer with his uncle. He freestyled for this guy named Malik at his studio (before S.L.’s true rapping days). With a microphone in a room full of rappers, the rhymes came. Killer heard him via Malik mixing his stuff down at Stankonia Studios. Once he found out who S.L. was, they linked up and started putting in work together.

The magical thing about it is that their relationship was built around respect. Then, it evolved into working together on music and touring. “He took me out on the road with him. We went everywhere! It was like 25 cities. I been around the country twice with him,” noted S.L. as he reminisced on his early days with Grind Time. Yet, he wanted to make sure people understood that Grind Time is not a company; it is a family. Nobody is around by accident. Also, he had to make sure that Killer Mike keeps a loyal team around him. S.L. made sure I understood that “Killer Mike is a business. There are people waking up every morning with Killer Mike on their mind.”

Jonesy and Gangsta Gibbs
What was even more interesting was how he became connected with Freddie Gibbs. From S.L.’s own words, all he did was “connect with him”. He didn’t need to contact a bunch of people to get to Gibbs. Rather, he connected directly with him. After trading music, what we have is the banging track “M.E.M.P.H.I.S.”

What was even more impressive was Gibb’s enthusiasm with the work. First of all, S. L. recognized the references Gibb’s made in his rhymes. Understanding the streets fully, he understood the references made about his Chicago Bulls references and his snapback being to the left. “I got family members that are GD’s. I got a homie that’s a Vice Lord. So, when I heard it, I knew he went it because anybody that know where he from know what he saying,” Jones noted. In laymen’s terms, game recognized game and SL is quite familiar.

At the end of the day, S. L. Jones wants to add some truth to what we call “hip hop music”. Everything may not be positive. He understands that. However, it is the level of genuineness in his rhymes that puts him over the top. Plus, he knows how he wants his music to sound. In summary, S. L. Jones is going to present the truth of the turf.

Studio Exclusive: S.L. Jones – The Voice of Authenticity

Authenticity: — adj – of undisputed origin or authorship; genuine: an authentic signature.

Authenticity is a quality that is lacking in this rap industry. While many claim to be authentic, it is rarely the case. Amongst these full frontal facades are the actors/actresses, the “wannabes”, and the hypocritical. Within the plastic frames and fragile mentalities lies the truth. Truth is this: authenticity and the rap industry are usually at war.

This is why many feel that the rap industry is “Hollywood”: it is who you know, not what you can do.

S.L. Jones, however, is not that type of artist. This Little Rock rep is known for his knack of honesty through his liquid lyrics, fluid delivery, and soluble swagger. Even more apparent is his past gang affiliation that he brought with him from Arkansas. The 23rd and Wolfe Street transplant will never forget about his home turf or his Crip affiliation. It is what taught him so much about the game, music or otherwise. Using all the game he garnered, Jones will now become an artist many will have to consider in this rat race called music.

Catching up with him after he put out Paraphernalia, his free album entirely produced by DJ Burn One, I took time to pick his brain about music, the independent hustle, and the reality behind the “glamor and glitz”. After the conversation, I was convinced that S.L. is in the position he is in due to pure wisdom and street savvy. Unlike many, he has chosen to transcend his past transgressions. Those lessons will only lead to legendary status.

PART ONE

The Music of Paraphernalia 
As far as the new album with DJ Burn One, it was originally supposed to be an EP. But, as S.L. let me know, “…it got finished so fast it felt like it was too quick. So, he was like ‘let’s just do a whole LP’.” What happened was a considerable amount of music using his past street life infused with original audible concoctions that ranged from Memphis pimp music to Texas Screw jams to even R&B interpolations. The smartest thing they ever done with the project was to allow it to grow on its own. Now, it is a free album that the world needs to hear.

There is more to why SL Jones picked Burn One. SL stated this:

“I tried so much, so I found myself at square one making music. You doing so many things, but as an artist, you are always trying to find your sound or a sound that isn’t defined. Once you popping, anything you get on goes. People are gonna look at it like a novelty. People get on a track and they define it as a sound. When you talk about a Lex Lugar track, there are certain voices that you hear on them: A Waka Flocka or a Rick Ross. Their voices are automatically tailored to the sound. So, when a track comes on, you automatically hear it in your mind. When you get on a beat like that, you are doing you. But, people want to identify you with a sound. With Burn, I had the opportunity to do something that sound like nothing”.

Additionally, Burn One also plays plenty of his own instruments. In fact, he was the guitar player on the song “Per Say”. With that given, SL Jones wanted to come with a sound that he would define instead of the sound defining him.

The Street Mentality Behind His Music
It is well known that SL represents the streets of Little Rock. From his perception, he notes that “It’s a gangland. You got everything: Bloods, Crips, GD’s, Vice Lords, the Mexicans. It’s really divided by sides. Crips are the minority and there are a lot of Bloods. So, you will have Bloods bang against other Bloods”. However, Crips don’t go against other Crips. Also, most rivalries are based on street politics. As SL would but it, “…there is a boss that is pushing the line; pushing their own agenda. That is why certain things (still) happen.” In addition, some issues are almost on the level of the Hatfield and McCoys: beefs from the past that are culturally ingrained. Thus, the street mentality is much more than simple rivalries based on “colors”.

Looking at how the gang mentality is today, though, SL notices a change. Actually, it is a change that he welcomes:

“It’s still poppin’. It’s still going down at the crib. But, it’s just different in the sense that you have other options. Your older brother might gangbang and you from the same neighborhood. But you on some hipster/cool shit. So, you ain’t wearing a Dickie suit, a flag, soldier Reeboks or K-Swiss. You ain’t dressed in the same attire as your uncle or older brother. But the affiliation is still there, so it’s still in you”.

Another relative point that was brought up was the effects of gentrification. Since so many projects are being torn down, SL Jones noted that “…Bloods, Crips, everything all in one projects. So you know it’s hot. At first, everybody had their own projects to live in. Now, they are tearing stuff down for the money. It’s a money thing, y’know. Class and money.” With government assistance as a way to control people of poverty, the government is having their way with housing situations. Thus, some of the gang situations is exacerbated by monetary greed.

Stay tuned for Part Two of STACKS Magazine’s Mark A. Harris exclusive interview with S.L. Jones…

Where Are They Now? Bass Music Legends Kilo Ali & Raheem The Dream

In the late 80′s, a new sound arose on the hip hop scene.  The sound was called “bass music”.  Originating in the South, bass music was the foundation to many artists who has since become known as legendary.  Not legendary in the sense of a past president or civil rights leader. But legendary in that they were instrumental in creating something new the music world had never heard.

Two gentlemen, whose artistic expression heralded for years on end, were forefathers of the bass movement.  Raheem The Dream and Kilo Ali set the pace for this new sound and has graced our radios and clubs with some of our most well-known rap records to date.

Recently, I had the opportunity to catch up with Raheem and Kilo at an Old School Sunday showcase event at Atlanta’s Major League Bar and Grill.  We discussed their rap careers, how the internet has helped their movements, business venutres, and much more.  Check out our STACKS Magazine exclusive below:

L to R: Kilo Ali, Bels (STACKS Mag), & Raheem The Dream

For the people that are not familiar with you two, let them know who you are.

Raheem: Well I’m most known for “The Most Beautiful Girl (In The World)”. I also put out a lot of groups like Dem Franchise Boyz with “White Tees” and Yola Da Great with “Ain’t Gone Let Up”. I put out Drama with “Left Right Left”. I put out The Dream (R&B star The Dream), Fa-Bo (D4L), Young Dro (Grand Hustle)…a lot of cats. So I’ve been pretty much behind the scenes in my later years putting out groups.

I started out in ’86 putting it down as Raheem The Dream in the south representing when they only had 12 inch vinyl and cassette. People nowadays they don’t even know about that. They like “what is that”. Aye, we did it from 12 inch, cassettes, to CD’s to what is now downloads.

Kilo Ali: I’m rapper Kilo Ali. I first started off as Kilo… Kilo G. I start doing the “Ali” when I moved to the Islamic field. I haven’t been up and practicing lately, but I was raised in that field [religion]. But I was like the 9th rapper out of Atlanta, out of Georgia. So, that’s when it was new. We laid a lot of ground for brothers to come up and enjoy themselves in music. I was the first rapper to do “bass music”. Some people in other places call it “go-go”. I was probably the first one to do a rap over it. It was a group called Success-N-Effect they did a bass beat. But in Atlanta, I was the first rapper to put a rap over it and started kicking it like that. I actually designed that style of rap in Atlanta. I designed “bass rap” in Atlanta. So I’ve been having fun. I’m from that Zone 1, that Bankhead, doing my thing. I just saw Shawty Lo just a few minutes ago. Carlos (rapper Shawty Lo) was little back in that day. Those guys were like 10, 11, 12 years old something like that. But, those kids out doing their thing. Shout outs to all the kids in Atlanta who have followed their dream and do what they wanted to do.

But, I had some songs like “Love In The Mouth”, which is now my biggest idea. My first single was America has a problem “Cocaine”. My second song was “Do You Hear What I Hear”. I had another hit called “Ghetto Drop” I don’t know if you guys heard that. I came back with another hit called “Tick Tock”. Then I went to “Show Me Love”, “Nasty Dancer”, and “Love In The Mouth”. Songs like that. I had fun. Professionally, I’ve released 7 albums under contract. I’ve been working now with a couple people. Raheem been working with me. Shout outs to his mom. She’s been doing a lot of bookings for us. We just want to give people a selection to do. I’m working in the studio now. Me and my partners, in Secret Services, are working at being a production team. Thank you for letting us get in the magazine.

Bels: I’m a big fan of your music. I grew up on it. It’s timeless.

Raheem: YES! Because today, they still book us. It’s 2012 and their still booking me and Kilo for shows. That’s timeless music. You got a lot of artists you don’t hear about them no more. Like MC Hammer and them, they were huge but you don’t hear about them no more. But certain music that we make is still here. Me and Kilo went in the studio just made two songs together. Believe that. They gone trip out on that it. Raheem and Kilo in the studio and made a record together! Yes, two records. [laughs]

What is the biggest difference in the music industry, then and now?

Raheem: Now, the way you buy music. That’s the only difference. We own our record labels so we use to be directly with the mom and pop stores and independent distributors. Now you don’t have no mom and pop stores and small distributors because everybody is downloading. Plus all the majors got ringtones, etc. So, if you’re trying to get your record in a deal these days, you have to have a lot of internet, a lot of ringtone action, download. We used to make promo CDs. But now they making like thousands of promo CDs as giveaways. They’re not putting a single on there. They are putting whole albums on there. I never did that. I love and appreciate my music too much to go in the studio and record 15 songs to give them all away to you free. I have to spend money on that, pay these producers et etc. This is our work. This is our lively hood. So what I’m saying is that we took time and put a real album together. That’s why we still here. We didn’t make them quick singles. We are here here.

Bels: Do you have a different opinion?

Kilo: No. I think that Rah hit that pretty decent. It’s the change in how products are being sold. You know it’s so many people that are talented because we all are born with inner talent. So everybody’s interested in ideas. With that, with it being flooded and the way it’s sold.

Do you think that the internet and technology are beneficial for you two?

Raheem: Yes, you can get it to people quicker now. When we used to do it, you had to hear it by word of mouth. They call it the “underground”. We’d get hot in this town, then hot in this town, then hot in this town. But with the internet, you can get hot worldwide in a week.

As far as the down time, I know that you’ve spent some time locked up. Did your music change? Did your mindset change before you went in to now? What are some of things you do differently?

Kilo: I don’t know. I think that every generation is adjusted to another ear. So, another sound another ear, that what makes it fresh to them. I would say that in order to save something you got to keep reviving it and make it younger. And have your own team. The guys do a good job. And fashion is top play now. Fashion and being able to host to people. Being able to take them out an idea. I see a lot of genuine ideas going on. And education is taking a bigger play and that’s what they want. That’s what they want to compliment themselves in their education. So that’s what they do.

What are some business ventures both of you are involved in?

Raheem: I’ve done a DVD. I’ve written three books, “How To Get Paid From the Record Game”, “The Record Game Can Be A Dirty Game”, and The Music Industry 101. I was given them information in the books because everywhere I went (and I go) everyone (artists, producers, managers) ask me a million questions. A lot of them were the same questions, so I decided to write a book because you don’t have to ask me a hundred times. You can thumb through pages and get all the information you want. They made me become an author to add up under my repertoire. I’ve done 12 albums, 3 books, a DVD, and put out several artists out of Atlanta. That’s pretty much all I’ve done since ’86.

Kilo: My next thing is… I want to get into the art world. I do abstract art now. I have a lot of paintings that I’m working on now. Just working around getting it introduced to the people in the correct direction. So that’s what I want to do, lay back and have my own gallery.

What’s next with the music?

Raheem: I finished an album it’s called “Back To The Future”. So I’m taking them “back” to the “future”. So it’s like a combination of where we started at because some people have to go back and sample records. We don’t have to sample. We just make them original.

Kilo: I’m sparring right now. I wouldn’t just say working on a project. I’d say adjusting a sound. Adjusting your lyrics, adjusting your swag, and it takes time to do that. So I’ll say I’m sparring. I’m in the gym.

If you are a fan and would like to stay updated on Raheem and Kilo’s next projects, following Raheem on Twitter @Tight2DefMusic, Facebook.com/Rah4Life, and Raheemthedream.com.  Kilo on Twitter @Talk2KiloAli.

Check out a few videos of their performance:

To see Raheem & Kilo’s perform other classics, go to our Youtube page, STACKSMAG!

Special shout out to KC & Tory of Major League Bar for the media access and Six08Portriats for the pics!

Women In Radio: Ebony Steele, of Rickey Smiley Morning Show, Shares Her Method of Making It In Radio

     STACKS Magazine recently got the chance to sit down and chat a spell with the witty and high-spirited co-host of the Ricky Smiley Morning Show, Ebony Steele.

     Lending her voice and wits to the one of the top rated morning shows in the country, it’s no doubt that she’s doing her thing and at the top of her game. In addition to her co-hosting duties, Ebony also lends her talents to the world of dance as the founder and Artistic Director of her own dance company, Ebony Arrington Dance & Performance Inc., which currently has 3 locations

     During our talk, she gave us some insight into what the journey has been like thus far for her as a woman in radio, her mentors along the way and who she admires in the industry. Check it out below!

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Bels: Tell us where you’re from and how long you’ve been in radio?

Ebony:  I’m from Birmingham, Alabama and I have been in radio for about 7 years now.

Bels:  What inspired you to get into the radio industry?

Ebony:  Well to be totally honest I went to college for engineering.  I really didn’t know what I wanted to do when I got out.  Me and Rickey have been friends for about 20 years now.  He had just started comedy and he told me, at the time he had only been doing comedy for about 6 months, that if he ever made it in comedy he would want me to come along and be his female co-host – a side kick.  So, as life would have it I was kinda going down a different path when he had the opportunity to do the radio thing he wanted me to come along so …my career path and made it happen.

Bels:  How has it been working with Rickey on the morning show?

Ebony:  Oh it’s great.  It’s an adjustment like anything else.  There are times when it super fun but then there are times when you realize ok I am still working for a corporation.  Rickey and all the personalities on the show… I don’t know how that got such great talent with such great
chemistry together both on the air and off the air but we have a great time.

Bels:  Has the journey been difficult, being a woman?

Ebony:  I think it’s challenging at times but I only know my journey so I can’t really compare mine to other people because I’ve only walked in my shoes.  There are challenges and whether or not they are gender based my come into play at times.  With anything that is worth having and worth doing well there are going to be challenges.

Bels:  What are some of the obstacles that you have had to overcome?

Ebony:  Getting up at 4:30 in the morning (laughs), you have to get up really early.  Also, you are in a position to be ridiculed just because you are somewhat of, I don’t consider myself a celebrity but, “oh she is cute, she ain’t cute, she funny, she ain’t funny”.  When you go to a bank or an insurance company where you may work you put on your game face for that particular job.  Well, my game face for my job is me.  If someone says you’re not doing it well it’s a direct hit on your person, you know, your personality is just you.  Sometimes you have to develop a thick skin in
that regard.  Those are some of the major obstacles that I may have faced.

Bels:  When it comes to the inequality of compensation between men and women, would you say that this occurs in the radio
industry?

Ebony:  I’ll be honest… I don’t really know what everybody else makes.  You know, you may hear certain things and feel like somebody may make
more than you or you more than them, but I really don’t know.  I mean, since it is his [Rickey Smiley] show I assume that he makes more than the rest of the cast.  I think at that point you have to get your side gig or side hustle and make life what you want it.  If you are truly talented and there are other things beyond what your base compensation then take time to develop you other talents and maybe make more money on the side.

Bels:  For young women wanting to get into the radio industry, what are some of the things that you could tell her to expect or tips on how to stay on top of her game?

Ebony:  I would just say be humble.  Be very humble.  Don’t be…people that want to do my job or do the radio job for free, because there are so many people that want to get into it.  Master your craft in whatever way you can, going to workshops.  And just know that in the beginning you will probably have to work for free but don’t let that deter you are committed to being in radio.  And sometimes it’s not about the person on the radio.  Sometimes I look at the producers and say “wow, I wish I could produce” or maybe I would be a good producer.  Some of the behind the scenes positions are very exciting.  The compensation may or may not be… The chart for how much money you can make in this game is so skewed.  It could be based on what city you’re in, or based on your negotiating power from another company you just left.  Sometimes you’re paid more than what people think you are worth, sometimes you are not paid enough.  Finding your way in radio starts out with finding out exactly what you want to do and what makes you happy because you know the old saying is that if you find something that you love it won’t seem like work because you will enjoy doing it.

Bels:  What women (in or not in the industry) have inspired you?  Do you have a mentor?

Ebony:  I do have a mentor, but it isn’t a woman.   I would say that my mentor is Hurricane Dave, who is my boss.  Another person I kinda consider my mentor is Roland Martin.  We don’t speak very very often but when we do he always gives me good nuggets of things in the industry.  I definitely look up to Wendy Williams because she has taken not just radio but you know her being the queen of all media I totally have to agree.  From the internet to tv to radio, she has truly mastered her craft.  Reading one of her first books she wrote, one of the lessons she said that she learned is “no matter what, go to work”.  As an intern there are a hundred interns that are working for free that are hungry that are waiting to take your spot.  So she, if nothing else, has instilled hard work in me.  That is one of the lessons that I have learned from her.  But, I would definitely have to say Cathy Hughes, being the founder of Radio One.  Being a single mother and to create a company and so many opportunities for so many people – I think that is pretty amazing.

Bels:  What business or organization do you own or operate outside of radio?

Ebony:  I own a dance studio or dance company I should say.  We have 2 locations in Birmingham, Alabama, my home town.  My sister runs those while I’m here in Atlanta.  I’ve expanded that company here in Atlanta where I actually teach onsite at some preschools and daycares.  That would be considered my side hustle.  And doing speaking engagements, hosting, those are some of the things that I do on the side as well.

Bels:  You have a foundation as well?

Ebony:  Me and my sister have an organization….inspiring sisters through the arts.  We have an annual golf tournament and had over 200 players this past June where we raised money for young ladies or young women that are interested in excelling in the arts.  So we offer scholarships through our dance studio and other organizations.

Bels:  As far as your future outlook, what are some of the things hope to accomplish, in or outside of radio?

Ebony:  Just to inspire.  Everybody’s not going to want to do radio.  Inspire, uplift, entertain and make people laugh.  And so, I just hope that I can do that.

Bels:  How can our readers keep up with Ebony other than listening to the morning show?

Ebony:  My Twitter is@EbonySteele, Facebook is Ebony Arrington Steele, and my website is www.ebonysteele.com.

Special thanks to Ebony Steele and Yolanda Manning (CMG-Birmingham)!

Photo Credit:  Ebony Steele

Midnight Black: Rap’s Street Impresario with the Platinum Touch

Throughout the evolution of rap music, there’s been an array of sounds that have defined the genre. From early hip hop to gangster music, rap artists have relied on their production to help translate their realities into songs. In the South, in particular, heavy drums and bass help tell the story of rappers who has grown up in the streets. Like Young Jeezy, Plies, and Eightball & MJG, these street lyricists all have relied on one man to musically visualize and transform their lives in beat form.

Meet Tracey Sewell aka Midnight Black.

This platinum-recording producer and songwriter has had a successful career that spans over 10 years. Born and raised on the Westside of Atlanta, Georgia, Midnight Black’s own realities of serving prison time and living that street-life, easily justifies why he is the “go-to” guy for rappers who want street and club bangers. The man who helped shape the Corporate Thugz Entertainment (CTE) sound, is about as low-key as Young Jeezy on a personal level.  Professionally, his production speaks for itself as he creates masterpieces in a basement studio adorned with numerous gold and platinum plaques. Not the one for the spotlight, Midnight Black is humbled by the accolades but wishes to one day receive that Holy Grail in music…a Grammy award.  So, let’s just say he doesn’t plan on stopping anytime time soon. In 2012, the “trap star of street music” wishes to expand his musical platform and give the world something they’ve never heard. With current projects in the work with Southside Atlanta rapper 2 Chainz, Plies, and CTE artist Freddie Gibbs, Midnight Black will pull in overtime in the studio to make sure he gives each artist “1000%…whatever it takes to get the job done”.

Right before Christmas and after the recent release of Young Jeezy’s TM:103 album, STACKS Magazine was given the opportunity to sit down with Midnight Black. We talked openly and candidly about his life, the long list of artists he’s worked with, what new producers can expect in this business,  the Midnight Massacre mixtape, and much more.

Here’s the full interview:

What city are you from?
MB: Well, I’m Midnight Black, I’m from Adamsville USA. For all of you that don’t know, that’s on the Westside of Atlanta, Georgia…where I was born and raised.

How long have you been producing music?
MB: This is my 10th year “professionally”. Professionally meaning, when you’re getting checks in the mail…that’s when you are a producer. Before you begin doing that, you’re just an “aspiring” producer.

What inspired you to get into the music business and become a producer?
MB: I always had a love for music. I got caught up in a bad situation. I had to choose another game and this is the game I chose. So, I dived in it…full fledged.
Tell our readers, who some of the artists are that you’ve produced tracks for.
MB: I started off producing stuff like “Mr. Big Time”, “Check My Footwork”, Trillville “Watch Me Do This”, Kizzy Rock, Pastor Troy, and DSGB stuff. My first placement was Greg Street’s “Vol. 1 6’oclock” when Greg Street released his mixtape nationally (and put them in stores and stuff) when he was signed to Atlantic. My second project was a Sammy remix I did for Dallas Austin, “I Like It” that went platinum. I did the Sammy Sam album “Step Daddy” album, DSGB album. And from there I went to make the Boyz In The Hood album with Young Jeezy and Block. And then I went to Jeezy…oh wait…no, I went to Ying Yang twins. I had two on that album that went platinum. After that album went platinum, Jeezy came through with his movement.  I had two on that album that went double platinum. Plies came…and he kept going gold, gold, gold with the work we did on all 3 albums. I’ve been on all four Jeezy albums: TM:101, Thug Motivation 101, The Inspiration, The Recession, and right now TM:103. I did “All We Do (Smoke & Fuck)”. I got the new Plies sh*t jumping the “28 Grams”. I f*cked with the DJ mixtapes that’s doing good in the streets right now.

What is your process when creating a new track? How do you get into your zone?
MB: My creative process is really spontaneous. It’s like I can be sitting here thinking about a beat. When yall leave, I’m going to make that muthaf*cka. Or I can be driving or I can be in there fishing and make a beat. It comes…I try to get it out when it comes.

What equipment do you use?
MB: I can’t lie. For every album and everything I’ve ever done, I never use the same thing. I always change it up because music is changing. They got some new sh*t that’s better than the sh*t they had last year. You got to keep up with that sh*t if you really doing that sh*t. So I make sure I invest in my sounds and sh*t. So me, I use everything. Ain’t no telling what the f*ck I’m going to do. It’s like “Go Hard or Go Home” that was live. That was live bass, live guitar, and some horns. Sometimes, I don’t Midi up to make a beat. That means, I’m going live into Protools…live with no sync. It’s a creation. So it’s like whatever I’m trying to get out musically, I got to get it out to and paint the picture. So when you hear it, you’ll get it. I don’t like doing stuff where you got to figure it out. Because you got to sit there and figure that shit out, that mean I didn’t do my job. When it comes on, it need to capture your soul. It got to feel like a drug. Like ooh, that sh*t feels so good…”turn that on again”. Music is supposed to motivate you. It’s like soup. Whenever you eat it, it’s going to be good for you.

{pause: Midnight wants to make sure he shout out a few people…}

     Oh don’t forget, these some ni**as I’ve always love…Eightball & MJG. I love working with them. Shout out to them and Big Duke, Slim from 112. I did his solo album. I executive produced for that. I had 7 songs on that. Me, Slim and a couple of other guys. Shout out to Pauly Calhoun and the Calhoun Boys and my boy Scooby-Do, Scooby-Do you what I’m talking about. So we had fun making that album. Faith Evans writing and stuff. Those were good times. Me and Sean Garret did some stuff together as well.

How long does it take you to create a hit? What are the key components to creating a hit song?
MB: To be honest with you, a hit is like “love”…you can’t describe it. It’s indescribable. When it comes on, when you get it…you feel it. That’s what a “hit” is. I go in there and try to paint the picture I’m trying to paint. But when it’s mixed in with vocals, whatever the projection is, sometimes you hit and you miss. It’s like gumbo. I don’t think nobody has the hand book or the road map for making hits. I don’t think anybody that’s ever been in the music game, stayed on top. Everybody has had dry spots. Even then, you just keep going and keep going and keep going until you can’t go no more.

Do you have a certain style of music (i.e. street, pop, R&B, etc) that you mainly create?
MB: I do like whatever’s for the cause. Or whatever I got to do to get the job done. If I’m f*cking with Jeezy, I know I got to give him that hard sh*t. If I’m f*cking with Plies, I know I got to give him that ghetto hard sh*t…that backwood hard sh*t. If I’m f*cking with Eightball & MJG, I know I got to give them that “pimping”.

     I feel that I’ve done a lot. But it’s a lot that the world hasn’t even heard yet. When they hear it, it’s a wrap. I love music and I feel that sometimes I have to slow down. I’ll put it like that, I have to slow down.

{pause: Midnight’s phone started ringing…}
Have you ever said “No” to an artist who wanted tracks from you? What does the artist need to bring to the table when you work with them?
MB: Yes, I get a million people coming to me. I f*ck with the city and the ones who really trying to do it. The ones whose trying to do the same thing I’m doing. I invest my money in it. So, they got to invest they money in it and they got to invest they time in it. Ain’t shit in this game free. You ain’t gone make no money if you ain’t gone spend no money. Point blank period.

     The artists coming to me has really got to be developed. I ain’t got the time to play with a muthaf*cka. I aint got that time to sit down and baby sit a muthaf*cka. A muthaf*cka got to come to me ready. That’s how I really like it. When an artist don’t come to me ready, that shit is agitating. It’s agitating. I like money but time is money. So, I got to choose my time wisely. But, I think I’m getting out of that realm. I think I got a lot to offer. If I really paid attention and zoom in and tune in to the artist a little bit more, I probably could bring something out of it. That’s one of the things I’m doing this year like be on some Christopher Columbus sh*t…discover a muthaf*cka.

Are there any artists, who you have not worked with, you would like to?
MB: Yes, it’s some muthaf*ckas I’m waiting on. They know I’m waiting on their asses.

Bels: Like who?
MB: I’m waiting on a couple of my partnas. We all doing different sh*t and ni**as got different grinds. We all over the muthaf*cking place. But, I’m waiting to have fun in the studio with a couple of my partnas. I’m waiting to see how this sh*t gone turn out. I ain’t go lie to you. It’s about 20-30 artists that I’m just ready to go in on. But 10 of them are some ni**as that I really know, before the world knew who they was. I’ll keep it like that because they know who they are.

MB: Should I say who they are? {laughs}

Bels: Say somebody I know! {laughs} Anybody that we might know…say Rick Ross, would you work with Rick Ross?
MB: Ross will tell you this. Ross used to come to a studio in College Park that a friend of mine owned before when I was a nobody trying to get on. And Rick… it’s a ni**a around here with some masters. You might think I’m lying. It’s a ni**a around here with some masters with Rick Ross on some vintage Midnight Black sh*t. We did that when he was Teflon Don. I think he was with Suave House and running around with Block. I had just got out of prison. This ni**a I know that was locked up with me was like, “Man, I got this f*cking ni**a man that’s coming in from Florida that rap and I need some beats and a studio”. He brought the cash and booked out the studio and we was out there working. Those were the good days at T&S Studios. A lot of people used to come over there. Shawty Redd, Young Dro, Doeshun, Pastor Troy, Bobby Valentino, Block, Diablos, Mr. Big Time, Buck Power, and it’s a lot more I’m not naming and I’m missing. But, they were there too. If I missed yall and yall hearing this interview, I apologize. {laughs}

     I got to learn to watch what I say because I’m from two different worlds. So, I have done a lot of music independently and majorly. So, I got a lot of friends in music. And I got a lot of friends not music that be like, “Do that shit”. I got friends that push me. I got friends that will really push me and get on me like, “Hell naw, that ain’t no Grammy shit”. Then, they’ll come in here next time and I play it and they be like, “Yeah, that’s that Grammy shit”. That’s the only thing I haven’t got yet. We have been robbed twice over a f*cking Grammy. They owed us a Grammy on the TM: 101. And they owed us a Grammy for that f*cking Recession. “Yeah, yall robbed us for our fucking grammy on the Recession. I said it. And the TM: 101!”

     Excuse me yall, its Christmas time. The TM:103 just came out Tuesday [the album dropped Dec. 20]. And Jeezy hit the city yesterday, and it’s 7 o’clock [PM]. I just woke up and I’m back on it. F*ck it, I’m going to Crucial tonight. {laughs}

MB: The business side…I’m just gone be honest with you. I had to learn. I had my experiences. I had to learn one thing. The number one thing…regardless of who you know and what you doing and how you got there, you have to remember that every day, every second, 24 hours 365, 366…the shit is muthaf*cking business, business, business, business, business. And if you don’t treat it like business, somebody else gone treat it like they business. Simple. Or you gone get handled out of your business. Because this game right here, it ain’t gone wait on you. It ain’t gone put no muthaf*cking pacify in your mouth. This game right here going to run your ass the f*ck over. If you ain’t ready for it. And it’s work, work, work… consistent work. It’s damn near like I’m working out on this muthaf*ckin keyboard like a NFL player trying to make the Super Bowl. That’s how I look at it. Every time I’m trying to make a project, I’m trying to make the Super Bowl. Because I know if I make the Super Bowl it’s going to be a celebration. Going to the bank is the celebration. Cashing that check is the celebration. And being able to provide for my family that’s the celebration. That’s what this sh*t is all about. In this business, you got to love what you do first. Don’t get sidetracked by the business. You got to learn how to balance this sh*t. If you don’t, it’s gone eat you. You got to learn how to balance or it’s gone whip your ass up.

For an upcoming producer, could you give them some advice on how to sell and get their music heard?
MB: Everybody is making it in different kind of ways. Only thing I can say is bang…hustle. This sh*t is a hustle. This sh*t is all about your hustle. You sit there and wait on this sh*t to come to you. This sh*t ain’t coming to you. You got to go out there and get everything you trying to get. That’s what I learned. It’s like you trapping. It’s like I’m treating this sh*t now. I’m back in the trap like I got a bomb in my drawers and I’m serving everybody. This year, 2012 is my favorite year. So I’m serving everybody, C.O.D. Come with you’re A-game ‘cause my beats gone crush you! I don’t give a f*ck who you is. I got some intimidating beats.

     Yeah, I get pushed to come with my A-game too now. Doing what I do ain’t easy. Don’t get it twisted I’m talking sh*t. But, I got to come with my best sh*t too. And I got to keep coming with my best sh*t. Just like I’m sitting here talking, it’s a muthaf*cka sitting here looking at the video right now saying, “Sh*t, ni**a I’m trying to eat too and I’m gone eat.” And he’s trying to push my ass out the way so he can eat. I ain’t trying to push his ass out the way. But damn, I ain’t gone let your ass push me out the way. So I got to stay focus on what I’m doing. If I don’t stay focused, somebody going to stay focused on my shit. Somebody’s always watching. Someone’s always listening.

Is it important to have an attorney or manager? What can they do for you?

MB: Managers are very important. But it all depends on the nature of the manager. Some people get managers before they need them and they f*ck them all the way up before they even get to…the letter A.

{pause: referencing the recent Soulja Boy lawsuit allegations…}

A manager should never get 50%. Anybody shouldn’t. If a manager getting 50% of your sh*t, shoot’em! Tell’em Midnight Black said shoot’em goddamit. Say, “Midnight Black told me to shoot you. You robbing me.” He is robbing you. If your manager getting 50% of your sh*t, you never gone eat. Shit, you’re a slave. {laughs}

     A manager is there to help. You’re the one that get the money. But the manager is the one to keep things in order for you and go out and get things done for you. He takes a lot of responsibility too. But that’s a little bit too much. I don’t know what kind of agreement they in. You never know what’s going on. But that’s a little bit too much. The manager might be paying for everything like housing, studio time. If a manager is paying for you to live or the manager giving you a salary, yeah I can see some sh*t going down like that. But you as a grown man taking care of yourself, you show up at the studio and put in your time and effort too…that’s a little bit too much. To each is own. This sh*t is business. Like I said, you got to be on your business.

Besides Young Jeezy’s TM103 album, what other production credit should we look out for in 2012?
MB: 2 Chainz! 2 Chainz, some Plies. I’m waiting on some Slim stuff. He hadn’t cut it yet but I’m waiting on him to cut some records. I got some stuff coming out on Wingo of Jagged Edge (he about to come out solo). A new guy, St. Nick signed to DeVyne Stephens label. And USDA shit. I’m getting ready for Freddie Gibbs and whatever my homies over there at CTE needs. A whole bunch of shit. I’m going to be all over the place this year. I’m not even gone front. I’m really waiting for January 2. It’s going to be like muthaf*ckas open up the gates at the Kentucky Derby. Muthaf*ckas in the stands got that bag. I’m chasing that rabbit!

     I feel like that muthaf*cka on that commercial. “Today, I’m not going to be who you expect me to be.” I’m going to be all over the f*cking place. Do what I love the do. Over the years, I’ve kind of pick and choosed who I wanted to work with and just focused on that. This year, I’m just gone let it go and just bang, bang, bang. I got a few people mad at me about sh*t like that. I like to concentrate. I’m a producer. So like when I’m working on a artist, I don’t just like to give 200%. I got to go in and give 300%, 400%, 1000% whatever it takes to get the job done. I’m the type of muthaf*cka that gone be in the studio. We in there working on a song and the song coming out good and this shit take 72 hours and nobody went home in 72 hours that’s what it take to get the song done. I’m one of them type of producers. I ain’t like, “Oh man I got to go home and do this.” I’m gone sit there and get the song done and get all this f*cking work done too until everybody pass the f*ck out. That’s the type of producer I am. I go hard or I go the f*ck home. It’s simple. When you working like this, sometime it takes time. When I’m working I try to get in with the artist and figure out what I can do to give him my very best. I can’t give artist my very best just handing his ass a CD. We never spent time in the studio together for me to really know exactly what he trying to do. I’m a producer and a musician. So I don’t want to just be there shaking the dice trying to go see no fucking artist. I want to go in and it’s the same thing. Even if I got to do it from far away, I got to get on my job and send my best sh*t too. So it’s kind of like the door swing both ways. But it’s the hustle.

As far as your own personal projects , do you have any mixtapes out?
MB: Midnight Massacre that’s me coming back as a rapper and bringing my new sound and what I represent to the table. Basically, what I was doing on Midnight Massacre was telling you a story, a real-life story, a “once upon a time” of Midnight Black. From the past, present, what I’ve been through, what I’m going through. Not disrespecting nobody like that, I kind of felt like I needed to tell a story. A “once upon a time” in the Westside, from Atlanta, Adamsville. I needed to tell a trap story and some street sh*t. And represent where we come from and how we actually done it in a sense. As far as like from the streets, that’s another side of Midnight Black that the world don’t know. So I was like having fun at the same time and telling this story and paint a picture and bring a message to the table. I got a lot of homies in the federal penitentiary so it’s like…and a lot of homies in the state penitentiary. So I get a lot of calls. Calls be like, “What the fuck going on out here. Man, I got the CD in here reading the cover. I see your name on this b*tch. I’m like, My Ni**a.” So that sh*t be like keep going, keep going. “When I get back out, you showing me. Because you got hit first, so that let me know when I get out whatever I choose to do I can do it too. I just got to believe I can do it.” Some calls be from ni**as giving me motivation. And I got to give them motivation in a slick kind of way because they ain’t going home. They got life sentences. They got 30-40 years. O.G. partnas that got 20 years and 30 years. Ni**as that’s gone actually die in f*cking jail. That’s my friends that done did sh*t. That got real stripes. That done did the sh*t that everybody talking about. A lot of these ni**as talking about it, but a lot of these ni**as weren’t even there. And I think that’s what draw the line sometimes on what artist I work with and some I don’t. I sit down and listen. If you ain’t really representing what you talking about, I can’t fuck with you. Because I represent the streets for real and it’s like disrespectful. I got ni**as dead from that sh*t. Doing time for that sh*t. Did time for that sh*t. Ain’t going home for that sh*t. Ni**as missing Christmas right now. Ni**as in a cell right now going fucking crazy. Going through some sh*t you wouldn’t even imagine beyond your wildest dreams. Some sh*t I wouldn’t wish on no body. It’s life and that’s what keeps me strong.

What do you hope to accomplish in music…say 5 years from now?
MB: In 5 years, I’m going to still be doing music. I ain’t even gone lie to you. In 5 years, I’m going to be all over the place. In 5 years, I’m going to be on that fucking television…watch. Midnight gone be on tv on yall ass in 5 years.

What are you going to be doing on tv?
MB: I don’t know what the f*ck I’m going to be doing on tv. But I am going to ne be doing something. If I ain’t talking sh*t, I’m gonna be making hits. I’m going to be on that Quincy Jones sh*t doing Sanford & Son theme songs and sh*t. Quincy Jones is my musical inspiration. The stuff he does is timeless. That’s what hits are about timelessness. Just think about it, if you go play a Michael Jackson CD that “Off The Wall” sh*t that “Thriller” sh*t. You play that sh*t it’s like they made that sh*t like it’s supposed to come out today. But you think about it like, “What year is it?” Just imagine the kids that were into music that came along that was doing the sh*t Jeezy doing what Michael Jackson was doing. The “Off The Wall” album was the first platinum album that did a whole bunch of numbers and platinum albums like that. Now you got rap artists doing 10 million and stuff like that. Just imagine something like that. You turn that record on today and be like “Wow, that just came out yesterday.”

What is some advice you’d give to the young producers that aspires to get into the business?
MB: You got to have a plan, A to Z. You got to be dedicated to yourself and be loyal to yourself. You got to put the time in if you really want to do it. You got to be humble. You got to listen and know when to speak not to speak. You got to learn that the ego sh*t ain’t gone get you nowhere. It’s work. You got to choose your time wisely. It’s a lot of ingredients to the game. To sum it all up, it’s what you put in it. It’s really what you put in it. You send that bullsh*t, the sh*t gone come out sounding like bullsh*t. If you going hard, you gone hit. So keep going hard. So keep banging. If you sit on your ass, it ain’t coming to you. Never coming to you. You just gone be like, “Sh*t, I can do this sh*t.” In 5 years, you gone say “Man, I could’ve did this sh*t.” You got to have a plan A to Z. Go hard or go home.

There’s a whole bunch of producers and songwriters, I love they sh*t too. I’m a big fan of music too. I consider myself a soldier in music army. And you know how the army is, every soldier ain’t the same. You got humble soldiers. You got crazy soldiers. You got aggressive soldiers. I’m just a soldier in an army of ni**as making music. I’m trying to be the best and get to General status. Being in the army, that sh*t take hard work and discipline.

     Check out more of Midnight Black on Facebook/MidnightBlackBlack, Twitter@MidnightBlack12, LinkedIn/MidnightBlack, Myspace/MidnightBlack…new website coming 2012 www.midnightblackmusic.com.

Video interviews:

Click on the links below to see Parts 3 & 4:

Midnight Black talks new producers and 2012 work with 2 Chainz, Plies, and more…Part 3
Midnight Black talks Midnight Massacre mixtape, 5 year plan, and begin a hustler in this game…Part 4

On The Block: DoughBoy & Money Mon of Click Tight Records

L to R: Money Mon & DoughBoy

“You know if you want it bad enough, you’re willing to put everything you got into it.”-Money Mon.  

     Many outsiders migrate to Atlanta for the job opportunities and the nightlife. But as the new “Black Hollywood” emerges, only the true Atlantians know the history of the city and how it has become this grandioso town for Black Americans. Meet Doughboy Tha Weightman and Money Mon aka Montana, two young cats that have lived through the hype and represent MLK Jr Drive and the Westside of Atlanta wholeheartedly. Their devotion to the city and its “real” lifestyle can be heard in their music from the first track to the last. Currently, tearing the streets up with their latest mixtape “Ready 4 Tha World”, these cats got southern swag reminiscent of Eightball & MJG and the mental motivation like their Westside ATL rap peer, T.I.  As they stay focused on giving rap lovers the true grit and struggle through their rhymes, these Click Tight Records artists are ready for their break out moment and ready to conquer the whole ATL and then the world.

     STACKS Magazine recently caught up with Doughboy and Money Mon in Adamsville. Check out what these talented young rappers had to say about their style of music, how the hood has affected them, artists they’ve worked with and want to work with, advice on being independent, and more.

Where did you grow up? How did it affect your music?

MM:  I’m Money Mon aka Montana the Don. ..Westside up, Montana down. I’m a Westside nigga born and raised right here in Adamsville. Pretty much, this where I’m from and where I grew up.  You know, got money over here. Started the music business right here. We hanging out right now on Wisteria (Rd). 

DB:  Doughboy Tha Weightman.  Adamsville, this where I’m from. Basically the same thing he said. As far as the music and how it molded us, we’ve always been around music. My brother and cousin’em was rapping in the late 80s, early 90s. His [Money Mon] brother was doing it , R.I.P Chris Terry. He did a lot of stuff for a lot of groups out here as far as writing and features and stuff like that.  My daddy stayed next door to Killer Mike. So you know hip hop was always around us. We try to rap about what we do, what we see, and how we were raised. So basically how hip hop just moved us. It’s always been around. When we were younger, me and him,  about 8 or 9, got records and scratched up his daddy records when we were little…in the basement, and just get to scratching and rapping. We were like 8 or 9 years old when we used to do shit like that. So it’s always been in us. Hip hop and the music and the love for it. The people older than us and who were around they lived it. We seen them boys battle in it. So it’s always been in us , I can say, since day one.

Describe your style of rap…

MM: We pretty different from the next group that’s out there.  We more on the way we grew up and the hood and street shit. We think we are little more lyrical because that’s what we got in us. That’s what we bring to the table that’s different from the average group that’s out. There’s a lot of music out there. But in my opinion, are kind of garbage right now. I guess that’s where our style come in and differ from everybody else. We offer that street, hood shit…

DB: struggle…

MM:  at the same time, we serious about our issue. We can jump out there with anybody that want to get in the booth with us. So I say, pretty much playa shit, club, you know we do it all for the most part. Like for instance, on our cd Ready 4 Tha World (that’s what we got out now), we’re both actually are solo artist. At the time, we got a group project out now called Ready 4 Tha World. On that we got tracks for the ladies,  we got tracks for the club like the one with Yung Joc. We got shit for the radio like the one with Killer Mike…This What WE Do, Yola [Tha Great] on it. So pretty much…

DB: something for the streets too with Slick Pulla (CTE), talking about them niggas that snitching. All them niggas out there snitching…Stop It!

MM: so that’s how we do it. It is what it is. CT Records , that’s how we get down man.

What are the hot tracks on the mixtape?

DB:  Trap Flooded. We got one, Stack Bread with Yung Joc. We’re about to hit the town real hard with that one. Basically, you can put the album in and let it ride from the beginning to the end.  Everybody who’s hearing it, they really liking it.

MM: If you want to check it out, we got the visual. We got the video on Youtube.  You can click on Doughboy Money Mon. We got Trap Flooded, Ready 4 Tha World, and Work…all 3 videos. We got behind the scenes footage as we shooting the videos.

DB:  Youtube/Doughboy and MoneyMon. Put it in there just like that for it to come up.  Like you said, Trap Flooded, Ready 4 Tha World, Work…Check it out.

MM: Check it out. Hard shit, real shit. We’re getting pretty good views. So click on that, help support it. Them views doing numbers. So click on it and help support that thang.

Did Midnight Black produce the entire album?

DB: We worked with Pittman. He did a track on there for us. Pittman did the Party Like A Rock Star. Ole dude, Big Russ did a track on there for us. But I can say, a good 98-99% of the album was produced by Midnight Black. Shout out to Black.

Any other artists you’d like to work with?

DB: The lane open. Any opportunity comes my way I’m going to try to take it. So, basically anybody.

MM: Like he said, the lanes open. We’re looking to work with everybody. Anybody who doing this thang. Personally, one of my artists I would want to work with  is hometown favorite, Outkast.  Andre, Big Boi…yall listeneing to this, holla at ya boy [laughs].

DB:  T.I. , Rick Ross…

MM:  Who you say, T.I. , Rick Ross…

DB:  I fucks with Rozay hard. Homes, killing them right now.

MM: That’s pretty much it. We pretty much do our own thang man to try to hold them 16 down. But we ain’t turning no features down and especially from the big dawgs like that.

What’s next?

MM:  Next, we’re actually still promoting Ready 4 Tha World right now. But the next project, we’re heading back to some up-n-coming artists we got.  But at the same time, we’ll probably move back into our solo projects cause like I said, we are solo artists, Doughboy Tha Weightman and Money Mon aka Montana. So we’re still actually working on them songs right now.  But we so busy trying to promote Ready 4 Tha World right now.  That’s really what we are focused on.  Ding more videos for that and getting posted on Youtube and Worldstar Hip Hop. But as far as getting in the studio again, it will probably be the solo projects for Doughboy and Money Mon and the compilation for CT Records.

Pro’s and Con’s of being an indie artists/label…

DB: We do what we want to do. Ain’t no label telling us we can’t put this out as far as that aspect of it. It is what it is. It’s independent. Would you say it’s a little harder? [looking at Money Mon]

MM: I guess one of the advantages is… like you said, we can put out what we want to, when we want to.  The disadvantage of it is, we independent, so it’s all coming out of our pocket.  At the same time, it’s an advantage, because any money that come in come right back to us. So it’s like a give and take type of thing. You know if you want it bad enough, you’re willing to put everything you got into it. So you reap the benefits when the money come in, it’s all ours. So we stuff it in our pockets. For people who getting into the game, I’ll say… for upcoming independent labels like us, we been in the game well over 10 years. For people getting into the game, definitely put your all into it. I say stay independent until you catch a break. So when it comes, you got both of your feet in there to where they can’t move you to where they want to move you. You got a right to stand up and say you know no we doing this. We got a little leverage here. You know …it’s all about money. People will try to step in and handle you if your business ain’t right. So I say keep doing your thing.

     As long as you making your name in these streets, they can’t take that from you. We got ground to stand on. That’s what we doing, that’s what we did, for the most part, that’s what we’re going to keep doing. That’s the advice I got for anybody trying to come up in this music thang. It ain’t gravy, it ain’t hard as long as the music good. You just got to beat these streets up with the music.

DB:  Work hard at. At anything you do, you got to work hard at it. You’re independent, so if you start something, you got to put your all into it. And go hard at it. Like he was saying… it’s a good thing. It’s a learning process. You grow. You find out what you should’ve did and what you should not have done.  A lot of people tell you you have to learn from your mistakes. But it all comes together as something good in my eyes.

Are you on Facebook, Youtube, etc?

DB:  Facebook…Dougboy and Money Mon . On Youtube, check out that Trap Flooded, Ready 4 Tha World, and Work. They can check us out on that right there. We in the streets heavy promoting…passing out cds.  You might see us on a corner near you passing out cds. We got a bunch of young niggas with us, with Click Tight Records shirts on, passing out cds. So they can reach us just like that.

MM:  Also you can check out Datpiff.com and put in Ready 4 Tha World. Facebook/DoughboiMoneyMon…you can go on our Facebook page and we got links already up to where you can click on that and go straight to the videos, mixtapes, everything we got on there.  Check us out. Be looking out for the new videos, mixtapes, and all that shit. We really just working hard…trying to beat these clubs and streets up.  Trying to make it do what it do. Once we break through you’ll see a lot more  of us.  But right now, we’re tearing the Westside up, all of Atlanta for the most part. But keep an eye out for us, we on the rise.

Full Video Interview:

Video for “Trap Flooded”:

Spotlight: Lloyd…The King of Hearts

Lloyd, aka Young Goldie, is back and got hearts pumping.  He even made my heart flutter after singing me my own personal song. It was on that phone conversation that I knew Lloyd was definitely smooth when it came to the ladies. With a new album out, the “King Of Hearts” singer is determined to make good music no matter how long the process took.

     His renewal of self is evident in his attitude and talent.  And as one of the industry’s youngest vets, the 25 yr old singer has been featured on numerous hits [such as YMCMB's "Bedrock"]. But, it’s been a second since we’ve experienced Lloyd by himself. So I was given the pleasant opportunity to chat it up with Lloyd and discuss his entry into the business, his musical inspirations, Lil Wayne and Young Money, maintaining financial freedom, and much more. Check out the interview:

What is the biggest difference between the Lloyd we met on the first album and the Lloyd on “King Of Hearts”?
Lloyd:  A lot more self assured and a lot more clever than I used to be. I think that with age comes not only knowledge but just access to information. It’s not that I’m different. I still feel like the same young G. It’s just that I’m way more efficient in the way that I record my music. It’s just much more efficient and effective.
How did you come up with the concept and title for the new album “King of Hearts” ?
Lloyd: It comes from the confidence that you feel after a really great night of sex with the girl who you with and you put it down like nobody else can put it down. You really put it on her and that feeling that comes after that. You feel like you’re the king. You feel like there ain’t nothing you can’t do. You just feel unstoppable. It comes from that confidence. It also just comes from, kinda like an ode to all the hearts all over the world that could use a little bit of love.

What are some other features on the album, what other producers are you working with?
Lloyd: I’m still working, still recording so I don’t know everything that will be on the album; I actually haven’t put the album all the way together. So far I have collaborated with Chris Brown, Trey Songz, Young Jeezy, R. Kelly, Patty LaBelle, B.O.B, Lil Weezy, just to name a few. Um, Keri Hilson. Man, we’ve had a lot of fun so far.

Who have been your musical inspirations, people you look up to?
Lloyd: Dallas Austin for his versatility. Gerald Brunsby, who used to be the head of Motown. Barry Gordy, he really had an infinite passion for anything that was just beautiful in the form of black artistic expression. He was one of the most knowledgeable people that I have met, when I first met him when I was a kid. I always had a lot of respect and admiration for him. Also, really, anyone who ever really influenced me growing up ‘cause I‘m the biggest fan of music – first and foremost.

Have there been any significant lessons that stand out during your time in the industry?
Lloyd: I’ve learned that there is a very thin line between genius and crazy and you can’t be afraid to have people call you crazy, if you are trying to do something that’s a bit ingenious. I think crazy is what normal people call genius anyway. So, a lot of it is really about just believing in stuff you can’t see. Believing in things that you can feel, but that other people can’t see. You know, it exist but you have to prove it to people. What is it that you’re talking about, why is your music so great? Why is this song so special? Why are you so special? And time and time again it’s about having to reiterate that to people over and over again no matter how successful you are or how many records you’ve sold. You constantly reinvent yourself, you constantly push yourself, and you constantly try to prove yourself.

     With most of our exclusive interviews, we make it a point to reach out to our Facebook and Twitter followers for questions. Here are a few we received from our readers:
How did you get into the business?
Lloyd: I attended a performing arts school in Atlanta and during my 4th grade year Joyce Irby of the All Female Agency and Climax did a talent search where she looks for kids between the ages of 10 and 13 to be part of a black kids band, which was something that was really rare at the time. There weren’t a lot of kid acts really at all. She came to my school and signed me. Actually, she called the school first and one of the music directors told her that they had this kid who was incredible and the he thought that this kid was the perfect kid for the job. So she came and watched me practice for a show one day and approached me after and offered me dinner at Red Lobster. I went to Red Lobster and then that’s when she unveiled her plan of putting together the first all black kids group in a long time. There hadn’t been an all black kids band since ABC, I believe. A lot of the first gigs we had were through like Disney and Nickelodeon. I remember, I wanted to be on BET Uncut when I was 12, you know. (laughs) I wanted to hang out with the grownups. But, you know , when you’re so young you can only talk about so much. That was my beginning…

How would you describe your style of dress?
Lloyd: It’s like the type of cars I like to drive…it’s what you call luxury sport. I still like to wear my Jordans. Hell, I might not even wear a shirt, ‘cause you know I like to show off my tattoos and stuff. My tattoos are like my t-shirt. I like to incorporate the aggressive rebel that you get from rock music, that kinda just rebelliousness where you might just wear something that’ll make somebody say “what the hell?!” But you’re doing it because you just feel like bucking the system. There is a little bit of that in there. You now, 25, 30 is in a couple years, so I’m trying to embrace maturity. You know, that’s supposed to come with being 25. You know, being not as smart as 30, but now as dumb as 21. But, I still feel like 21 was yesterday, which it kinda was. So, I just try to find a happy medium between maturity and spirit, you know, my youth.

What was the decision to go to a different label when there were talks of signing with Young Money?
Lloyd: I’m very cool with that camp [YMCMB]. I think there’s a lot of thoughts about that just because of how good we worked together. It kinda felt like a no brainer. Being so exclusive, or being in a partnership with Universal/Motown and that being the same place that I was just coming from, I wanted some new energy …some new space. I wanted to work with some new people. I wasn’t able to bring Young Money over to Interscope.

What advice would you give up and coming artists?
Lloyd: The coolest ideas happen in the basement. The most innovative and influential movements start in the backyard, in the basement, in the garage, you know, in very humble places. As you get older and start to acquire success, I think it is very good to hold on to those places, those garages, those basements, those humble beginnings so that you can always go back to them and come up with something else that’s influential. It’s all about how creative you can be. It’s really not as hard as people think. It’s just about being able to express yourself. Sometimes it’s those places like the basement, the garage back home, you know, those quiet rooms or those dark corners; that is the only place that we can go at the time to express ourselves. That’s why is so genuine and I think innocent. I think when you get older the business starts to attack you. It starts to attack your inspiration. As an artist it is so important to stay in an inspiring place, amongst other people who are creative. And be in a place where you can grow. You have to be able to grow as an artist. That’s why I say just always keep those humble beginnings close because they come in handy even after the records are sold and the award’s been won.

How are you able to maintain yourself financially, help out family when you need to and still keep yourself afloat…what advice would you give someone in a similar situation?
Lloyd: The smartest thing is to not invest in something that’s going to lose its value. A lot of cars lose their value, a lot of jewelry, a lot women (laughs). Define something that appreciates with time [like a classic car], so that you can have your fun. But, you are still are being smart about it. I think that’s the hardest thing…is to be smart. And to still wisefully evolve. A lot of things that seem important right now aren’t. It’s important to invest your time and the money into things that will help you grow 5 years from now. Keep a 5 year plan and not live check to check.

     I credit my business manager. I’ve worked with a business manager and accountant since I was 15. So,, I’ve always had my taxes in order. I’ve always had access to information like about investing, mutual funds, retirement funds, or just whatever. Like my parents, it’s not that we don’t want to, we [blacks] just don’t know a lot. A lot of the tricks that other people use and have been using for years and years. The most important has been my access to information through my business manager.

     It’s also about breaking a lot of bad habits. If you want to grow, you have to get away from bad habits as soon as possible. My biggest bad habit of impulse buying. You know being somewhere and seeing something and really want it. And saying , “I got to have that.” Or those are the best I’ve ever seen.” When really it’s just another pair. I would credit financial discipline and compare it to the same discipline you experience in a marriage.

     Thanks Lloyd for the interview! For more information on Lloyd and/or to purchase his new album “King of Hearts”, go to www.lloydmusic.com.  Follow him on Twitter @Lloyd_YG.

Studio Xclusive: Flam-Bz – Definition Of A Hustler

It takes a certain type of person to be a hustler. A true hustler takes risks. Sacrifices sleep. Knows how to flip a dollar when they are down to their last one. And these characteristics are just the tip of the iceberg. There are many more attributes that, if compiled, makes up a hustler. Meet Flam-Bz. After listening to his story, you will conclude that he’s no doubt a hustler. Not quite the average kind. Instead, he’s the type of hustler that’s very strategic in his thinking. Through his company, Black Label Records, Inc, he understands the benefit of diversifying projects and services. He’s part of this new breed of hustlers. Via various social media outlets, gorilla marketing, and word-of-mouth, Flam-Bz is steadily building his brand (for instance, by pulling in over 25,000 views on Youtube and putting several thousand copies of his mixtape, “Soundtrack to the Streets” out on the streets). Flam-Bz and BLR, Inc. got a plan. Like his Floridian counterpart Rick Ross, Flam-Bz himself lives by the words “everyday I’m hustling…hustling…hustling”.
But as BLR, Inc gets off to a good start in the music mecca of the South…Atlanta, the bossman and artist understands that there will be some rough times and that with success comes the bull—-. Flam-Bz won’t flinch or hesitate on this journey. He vows to not even let rap “beef” slow him down. This is definitely a sign of a true hustler.
STACKS Magazine recently sat down with Flam-Bz to learn about Black Label Records, Inc, his reason to move to Atlanta to pursue music, why rap beef has its pros and cons, ways to maintain financial stability while promoting your product, and much more.

What does Flam-Bz stand for?
FB: Flam-Bz stands for hot, fire, flame, on fire, flamboyant, Flam-Bz, F.L.A… you know what I’m saying. I been carrying that name for a minute. They used to call me Chop Flam-Bz. Some people still call me Chop. Flam-Bz is more of a stage name…an alter ego.

In your bio, you stated that you migrated from Florida to Atlanta. What was your main reason for your move to Atlanta? And how does it differ from Florida when it comes to the music industry?
FB: Well, when I was in Florida I was doing music, but I was more at home doing other things too. But, I’ve been coming up to Atlanta since like ’98. I’ve been coming up here doing music and getting involved with things like that. So when I came here, my purpose was strictly to keep doing what I was doing with music and surround myself with a better industry atmosphere. Also, it was to leave a couple things behind and move on to the next fresh start.
What have been your experiences thus far in the industry? Could you give us some things that have been the bad and good about it?
FB: Well, I’ll say the good things are that I’ve had the opportunity to work with a lot of people, meet a lot of people, do a lot of things that I feel I probably would not have had the opportunity to do still being back home [Florida]. Naturally, with anything it’s got its ups and downs. So I’ve took loses trying to invest in this, invest in that. And everything don’t normally pan out the way you want it to. But the thing is, you get the learning experience, you get the track record. So even you can turn a negative into something positive because it will always come back well “yeh yall did” or “we did.” But we didn’t do it successfully at the time, but we did it. That’s pretty much my look on it.

Speaking of the music, I noticed that you have a mixtape out “Soundtrack to the Streets”. Do you have something else besides STTS?
FB: Well, I have some singles. I’ve done some work with other people too. I do a lot of hook writing for people. I may not necessarily be on the album or getting the credit. But, that’s been a way for me to build my relationships with people…working with them until I can get to the point to where my name might be on the publishing or something like that.
I got a single Oh I Think I Luv You and I got another one called I’m Hot. We didn’t do a real video for it. But we put a little video together and we put it on Youtube. And in less than 30 days it’s already pushing like 5000 views. And the mixtape itself we are on our 5000th copy of putting that out in the streets. It’s already 4000 of them out.
How would you describe your rap style? What type of subjects do you talk about in your raps?
FB: It’s hip-hop. But it got a little gangster…kind of got some gutter to it. But, I try to talk about everything . What I talk about basically are things that I’ve known and that I’ve seen and that I’ve witnessed, whether it was first hand or second hand. Basically expressing that and putting that out there for those people that can relate to it. But I still have a commercial style where I can pretty much cross that line where its gutter enough to be in the streets but its commercial enough to be on the radio.
So which artists have you worked with before? What producers have you worked with thus far?
FB: Artists I worked with..hhmm people like Goodie Mob, a lot of the local artists like Bobby Valentino, Young Bloodz. I’ve worked with Kurupt from Dogg Pound. I’ve worked with Shop Boyz… a lot of people. Producers I’ve worked with Scrappy. I’ve worked with producers like Jae Millz, Bolo, Maestro, Diamond Kut…different people because I don’t produce myself. So a lot of beats…they normally coming from somebody else.
Are there any artists you haven’t worked with that you would like to?
FB: Yeah. I’m pretty much willing to work with anybody. I like music. I don’t object to nothing somebody is doing. If we can do a track together make some music and do it successfully, that’s pretty much what I’m all about. So all of the big names I  haven’t worked with…I’m looking forward to working with all of them. I would like to work with Ross, Wayne, T.I….names like that.

Any female artists?
FB: (laughs) Yeah, it’s a lot of R&B …umm Nicki Minaj.

Often times we do hear about artists beefing with their labels, their managers, other artists…What is your take on “beef” period? Do you think beef is necessary? Does it add any value to the industry?
FB: Beef is something that’s going to come to the table eventually…no matter what. It’s a matter of how you face it when it’s presented to you. Now whether it’s necessary or mandatory or not, that’s like asking is it good publicity or bad publicity and if it’s good or bad for you. Bad publicity can be good for you because, for one, it’s exposure. Your name is still being talked about. It can also be good for you, because it might, for the wrong reason, add to some credibility to whatever it is you talking about if it’s handled the right way.  You can’t avoid it! If you on a mission to go to the top, you’re going to deal with controversy and beef and have to take that on as it comes. But I think going about it in a…you can still be gangster but still be cool or positive and don’t really have to push that issue unless it’s brought to you. At that time, you weigh your options. Should I handle it in a beef state of mind or should I be smart and play chess with a poker face.
Have you had any unfortunate situations during your rap career thus far? How do you maintain your financial stability? How do you keep your hustle up? How do you divvy out the money so that you can continue to progress your business?
FB: I don’t sleep. (laughs) I stay on my hustle. I make sure I’m able to do everything I need to be doing to carry this brand and promote it the way that we’re trying to promote it. That’s going to be my best answer right there. I stay busy. I don’t sleep and I make sure that it’s done.
What is some advice that you would give to other up and coming artists about ways to manage their money?
FB: To do certain things you want to do, you don’t necessarily have to be out here blowing a lot of money…what some people might think. “Oh I need to get out here. I need to go in the club. I need to buy 10 bottles. I need to blow through a whole lot of cash to make something look like something.” So you might be recognized the next time you go in the club and think that’s going carry something on. I think you can take that same money that you might blow and blow it into something that’s going to give back to you…whether it’s now or down the road. Instead of running the clubs and blowing a lot of money, I’d rather take whatever that money was I was going to blow and take it and add to what I’m doing. Print out another 1000 cds. Buy 1000 posters or whatever the case may be. If you train yourself to do that, before you know it, everything will bubble and you’d save a lot of money in the process. But, that brand is going to carry itself. The more you put it out, the larger it gets. And then you look back like damn we didn’t have to go in the club and blow a lot of money to do it. That’s a good way to manage your money. And when you spend on certain things, you decide to not spend on other things.

What other endeavors do you have in the works? Besides the mixtapes and growing the label…
FB: Right now I’m checking out a couple of younger artists. I want to get a couple artists…something I can appeal to the youth and put a lot of time in that. But mainly, my label is most important to me now. I push myself as an artist, bt I’m concerned more about the label first. So CEO’ing and building the right team around what we’re doing so we can expand the way we plan to expand in the next 30, 60, 90 days. That’s my main focus. I really don’t try to dedicate my time to anything else. If you spread yourself to thin, naturally, you can’t cater to everything.

What are your plans for the next 3 to 5 years?
FB: We’ll probably be in the position to where we will be receiving endorsements, contracts, putting out artists, doing other things…hosting events. Basically create a whole media center. One thing we’re trying to do here is set up a structure to where  if you come to us we can provide anything you need to brand you. Let alone brand ourselves. If you need photo shoots, videos, business cards, flyers, cds print up, recording production, video production, internet marketing…whatever the case may be. We’ll be in a position to where we can take clients in larger than just we want to rap and be able to service everybody. If you need rock bands, rehearsal rooms whatever the case may be. That’s the process we’re in now.

How can your fans purchase or download your music?
FB: Right now, the mixtape is on datpiff.com. It’s on livemixtapes.com. It’s on allnewhiphop,.com. It’s on the website www.blacklabelrecordsinc.com. You can always download it on there. You can check us out on Myspace.com/FlamBz. Everything is FlamBz for Facebook, Twitter, Reverbnation we on there. You can download it off of there. And you can check us out on Youtube at TeamFlamBz.

For bookings, features, etc, please contact Flam-Bz at blacklabelrecordsinc@gmail.com. Or via phone at 404-346-7814.

Video: “I’m Hot” by Flam-Bz

Spotlight: Young Chris

Philadelphia’s young gunner, Young Chris, is back. As one half of the former Roc-A-Fell Records signee’s, Young Gunz, Christopher Ries is on a campaign to bring east coast rap back to the forefront. Recently signed on as a solo artist on Rico Love’s Division1 Records, this young man is reintroducing himself to the masses. With the release of his highly anticipated mixtape, The Re-Introduction, fans who’ve supported him in the past and those who’ve just hopped on the wagon can be surprised that the young gunner hasn’t lost his step.

Check out STACKS Magazine’s interview with Young Chris as he expressed his views on the lack of east coast representation, The Re-Introduction, re-joining Neef in future projects, maintaining financial stability, and how he gives back to the community.

In the last few years, a lot of the major East Coast labels like Roc-A-Fella, Bad Boy, Murder Inc, haven’t been represented in the right way on a major scale. What do you think is the cause of the lack of representation of East Coast rap?
YC: It started in NY. That’s one of our biggest problems back home in Philly. I tell everybody in the city. What’s the first thing we do when we looking for a deal? We hit the turnpike right. We go down South. We got to bring it home and just keep it tight and look out for one another instead of going at each other. Sort of like the South.Tthat’s why they held it so long. They shared it oppose to taking advantage of it and letting the next man starve. You just got to share. You just can’t do it by yourselves. Stuff is in the numbers. Once people learn that, we’ll all be around.

How old are you? 26?
YC: Yes.

With that in mind and with the turmoil that Roc-A-Fella and State Property went through,you’ve experienced a lot at a young age. Tell us about your experience in the industry. Did you have a moment where you said bump it “I’m tired” of music or “I’ll just quit”?
YC: No,it was never a moment like that. It was just frustration. Coming from that… the highest expectations, I always refer to the 96 Chicago Bulls Roc-A-Fella when we were there. Everybody had range. We were a huge team. And when you chop the head from the body…we had to choose to either go with Dame or Jay. When you stuck in that position, I made the decision to go with Jay ‘cause I was in the group. Dame was trying to give me a solo album at that time. I said, No. We had the Young Gunz album out. And we were looking for another one. And I was due for that one. That’s why I made the decision that I made.

So you decided to go solo…
YC: Well on the second Young Gunz album, Brothers From Another, Jay came to me like, “Yo, your solo project up next.” So just hearing it from him, I just started practicing 3 verses and a hook immediately. I started releasing freestyles by myself and just started building a brand.

Where’s the other half of the Young Gunz?
YC: That’s my brother. We have a show at SOB’s tonight. I plan on bringing him out just to show the people. We came in together. That’s the difference between me and Neef. We started in middle school around the way. We didn’t meet in the industry.

Any plans to work on music together again?
YC: Oh yes of course. That brand was too big not to. We just got to get it back right. Get the people back ready for it.

The new mixtape, The Reintroduction. That’s hosted by Don Cannon right?
YC: Yes, Don Cannon and DJ Drama which is huge because they haven’t done a tape together in 3 years. So that’s big for me, hip hop, and them. I ran into Drama first. Did this interview at 107.9 when I was in Atlanta. I ask Rico Love and we ask Drama what yours relationship with Cannon we want yall to do this tape together. He was like yeah just ask Cannon.

Any features on the mixtape? What were your intentions with the songs on this mixtape? What did you want to give the people?
YC: The growth is already there. I’m sure they already saw that. Especially the ones that are following me on the internet right now and that help me build the brand to where it is today. And the versatility to those who didn’t know I had it. Me and Rico’s chemistry. That was just us in 3 weeks, a month tops. We bonded real well. We just got cocky with it and said, “Yo, lets just put this out. Dnt call it a pre album…we aint call it no mixtape. Let’s just put this out.” He got the name from the first record off the mixtape. It was titled 40 bars at first. Then he heard me in the beginning “…pardon me for this sweet interruption now it the reenactment, it’s the reintroduction”. And that stuck with him. Yes that’s it, The Reintroduction that what we gone do.

The solo album is projected to come out next year…
YC: Yes we looking forward to May. I’m excited about it. I don’t have a title yet.

Any features on this album?
YC: So far it’s Rico Love and just in house people. I got a record with Wiz Khalifa…it’s crazy. Look forward to that. That’s it right now. I never want to make it like a compilation because I’m just coming back out.
Recently Beans (Beanie Seigel) said Dame owes him $11 million. Unfortunately, this is a trend that we see amongst artist …. Have you had any unfortunate financial situation during your career? If so, what did you do to maintain your financial stability?
YC: No, not nothing like that. Maybe my own problems… back home and stuff like that. Not with no body. {laughs} I never got into nothing like that. I’m blessed that I slid passed that. ‘Cause a lot of people got caught up. It’s easy to get caught up. But like I said, I’m one of the blessed ones. I was blessed to have a publishing deal at a young age. So that held me over when I didn’t tour as much. I invest it real well. It kept me alive. Kept me real well. It’s great. Kept it up to maintain the lifestyle.

What is some advice that you would give upcoming artists coming into this business? If they are projecting a certain lifestyle and how to maintain that lifestyle.
YC: Put up 50% of what you make every time. Seriously! ‘Cause it get tough. Once you making that money, just put up half. You won’t miss it.
Do you own any businesses?
YC: Me and my guy from Baltimore working on something like a Myspace.com…Ratemyteachers, Rate myprofessors, doing things stuff like that. He’s helping me get into the business and invest my money real well. Julian who is doing my marketing …he’s on my team. These guys are helping me invest my money real well this time around. I’m blessed to have that circle with this shot. I feel like this is it.
Have you done any community outreach this holiday season?
YC: These past couple weeks… I’ve been doing stuff down here. Me and Freeway did stop the violence for the high school, we performed. We went and talk to the high schoolers with state representatives. This past weekend they had an event for the kids that I took my daughter to. BET came down and covered the whole thing. Anything with community and giving back I’m all for that. I was talking to a representative the other day. He’s going to help me build my recreation centers. Start where I’m from, nike town. I’m all for that. That’s my life. No fake, no gimmick, not for the industry… that’s just me. It’s all about the future.

How can the fans reach you?
YC: Youngchris.com….become a member. Download the mixtape as well. Twitter @youngchris. Division1.com we got that to.