Natelege Whaley interviews, Grammy award-winning hip-hop production super group, J.U.S.T.I.C.E. League.

WORDS BY NATELEGE WHALEY

Every superhero has a signature. Batman had the glowing bat-signal, Flash a red suit with yellow lightning bolts, and Superman the distinguished “S” on his chest. But for the Tampa Bay producing trio, J.U.S.T.I.C.E. League, their signature lies in the pounding bass, strings, and old school R&B and pop samples. After producing ten tracks together in a single night, Rook, Colione and Kenny B. decided to form a group in 2003. The three knew the name was hardly original—a spinoff of the comic strip by the same name— so they switched it up, and added an acronym to, fully represent who they are: “Just Undeniably Some of The Illest Composers Ever.”

Rook, one-third of the team assures that the comic has nothing to do with the powerhouse producing trio. Yet, the similarities are clear: that three of the self-proclaimed best producers from the Tampa Bay-area have come together to “bring real music back to hip-hop.” A mission fit for superheroes.

The group didn’t wait long to use their super producing powers to gain recognition. They received their first break five years ago on Young Jeezy’s “Don’t Get Caught,” a track on his debut Let’s Get It: Thug Motivation 101. The same year, they won a Grammy award for production on Mary J. Blige’s album The Breakthrough. Last year, they won an ASCAP Rhythm & Soul Award for rapper 2 Pistols’s “She Got It.” Even Rick Ross has heavily used J.U.S.T.I.C.E. League’s production on many projects including the track “Magnificent,” off his LP Deeper than Rap, “Luxury Tax” and “Maybach Music” off Trilla, and “Aston Marton Music” on Teflon Don.

The three producers sample cleverly from a selection of old school R&B, pop and Motown artists (Think The O’Jays, Angela Bolfill, and Friends of Distinction). Moreover, their beats often have samples with a busy string and brass section; then they add a heavy bass that complements, and never overpowers the instrumentation. Time will tell what other songs the producers will uncover from the past and rebirth. What is certain is that the J.U.S.T.I.C.E. League have not been distracted by their positive reception into the music industry. As they turn on their tunnel vision, they look to leave their imprint as ingenious contenders not only in hip hop, but across all genres.

25 Magazine: How did you guys form J.U.S.T.I.C.E. League?

Kenny: We were all producing in the Tampa Bay area in Florida and working independently with different artists. We ran into each other at the studio and heard each other’s work and we were impressed. We decided to get together. We made 10 beats that day. The chemistry was so natural that we decided to become a team.

25: The name J.U.S.T.I.C.E. League comes from a team of superheroes like Batman, Superman, Wonderwoman and others. How does this name and the acronym best fit you all?

Rook: Honestly the acronym has nothing to do with the comic superheroes. The acronyms stand for ‘Just Undeniably Some of The Illest Composers Ever.’

25: How did you develop into widely known producers?

Colione: It all happened because we had strong management who were there since the very beginning. We’re like a family. After we formed J.U.S.T.I.C.E. League and began building our catalogue, our management was pushing and making sure we got our name out there. We didn’t just do this by ourselves.

25: And what is your creative process when you’re producing?

Rook: Sometimes we each have our own ideas, or we come up with ideas at the same time. We might be in the studio and we collab with an artist like Young Jeezy, and he likes to say what he wants. It’s our job to give the artist what they want.

25: How do you give an artist exactly what they want?

Kenny: I think it’s important to first sit down and vibe with artists and see what kind of person they are and what sound they like. That’s important because you can’t just go into the studio and blindly play tracks.

25: Of all the artists you’ve worked with who did you have the greatest connection with musically?

Colione: Of course musically we have a great connection with Rick Ross. Our sounds link well together. He is some of the best beats that we make. He actually uses our sound that we originated.

Rook: We have a great working relationship with Young Jeezy. We go into the studio every time and we come out with beautiful, great, epic  music. You know our first song was “Don’t Get Caught” for him and it got us a good reputation in Atlanta.

25: In hip-hop a lot of producers sample, and you all sample in some of your work as well. How do you go about choosing which songs you are going to sample?

Colione: We usually buy a stack of records and listen to each one until we find a gem. The music has to be up to par. We usually go back to the Barry White’s and the old school. We like artists who have done whole orchestras and also music with a lot of instrumentation.

Check out “Pledge Allegiance to the Swag” – T.I. (prod. by J.U.S.T.I.C.E. League):

25: Some people think that a lot of sampling shows that a producer doesn’t have the creative ability to create their own beat. What do you think about that?

Rook: I think producers’ choice to sample songs depends on their own judgment and what feels good for them creatively. Earlier in our career we sampled heavy. But nowadays, we’ll sample, and we’ll take  the sample out and we’ll revamp the whole song, so it won’t be a sample.

25: As producers what do you feel the music industry needs and what will you all bring to the table?

Rook: We plan to bring music back to music and we also want the ability to change lanes. We want to produce for Ghostface and Rick Ross but at the same time do Britney Spears and Mary J. Blige. We were in New York working with Mary J. Blige, and then the next day we were working with a pop artist. We had to make the switch quickly from soul to pop, and from organic to electric.

25: Speaking more on the industry, what do you all think of the internet’s role as far as marketing and promoting?

Kenny: On the internet there are many ways to promote artists and to sell music. It can go both ways. A lot of people blamed the internet for declining record sales and it probably did have a part in it, but there’s so much opportunity on the internet.

Rook: A lot of it deals with bad music. If you make good albums you will actually sell.

25: Speaking of musical quality, Jay-Z made a statement with his song “D.O.A. (Death of Autotune).” Do you agree with his idea that rappers singing over autotune brings down the quality of hip-hop?

Kenny: You can make a song using the autotune effect and use it wisely and tastefully, but when you just start to abuse it, I agree with him [Jay-Z]. Think about it first. Does it sound good with autotune on it, or not?

25: What are some examples of songs that you think sound good or bad with autotune?

Kenny: I thought autotune was used well on 808s and Heartbreak by Kanye West. Kanye used a lot of autotune on there, but not to the effect that his rapping sounded like notes. He was actually singing and the songs were well written and well produced.

Colione: A bad example of autotune is a song in which you can’t tell who the artist is because the whole thing sounds like garbage.

25: Who do you think are some talented producers currently putting in work?

Kenny: I think Swizz Beats has always been consistent and he continues to evolve musically. Also I like Dr. Luke and his style as far as pop goes.

Colione: I have to say one of my favorite producers is Diddy, and he’s not exactly behind the keys, or working behind the drum machine, but he is a producer. I also like Rick Rubin. He’s really inspiring.

25: What are some artists you listened to growing up?

Kenny: My dad used to play a lot fusion and jazz like Al Viola, which is funny because when I met Rook, I found out his father was a percussionist for Al Viola and that was fascinating for me. Growing up I was listening to Radiohead, Miles Davis, Charlie Parker and anything in between.

Rook: My father played with Al Viola and when I was younger he would play the records for me and I didn’t like them. They didn’t make no sense to me. I was always into Dr. Dre, Wu Tang, and Gang Starr, you know hip-hop. Later on when I started doing music professionally I gained respect for what he’d done.

Colione: My mom was a rocker and I listened to a lot of her stuff. My cousin introduced me to hip-hop. He bought a drum machine and he was making beats and I started making beats with him. Then I kind of drifted off and got better than him and did beats on my own.

25: When did each of you decide that music was going to be your life?

Kenny: I always loved the creation side of music. I remember getting whoopings by my parents because I wasn’t doing well in school, and I was so fascinated with establishing myself as a musician. Not saying that’s the right route for everyone.

Rook: I think when I was younger, I didn’t want to do music. When I got a little older and into high school, it just kind of fell into my lap.

Colione: I wasn’t really good at anything else but music. I got in where I fit in and I was challenged by it. But a lot people need to focus on school and try to get in that way. You gotta be able to work well under pressure, otherwise you go crazy.

Rook: It’s hard to be in the all-star league. You can be drafted to the NBA, but to be an all-star you gotta be the shit.

Check out “Trillionaire” – Bun Ft. T-Pain (prod. by J.U.S.T.I.C.E. League):

25: With the passing of Michael Jackson, and reflecting on his legacy in music, has he had any impact on you guys? If so how?

Colione: It was a tragedy. He was a legend. When I was a kid, I remembered Thriller coming out. I was real young and all the older kids used to dance to it. I only used to listen to rock ‘n’ roll music but his music had a rock vibe to it.

Rook: I’m gonna tell you how real Michael was. Thriller came out in 1983 and by 1985 it was still the album to get. It was a phenomenon. He shut down primetime TV. They would have an hour special of the making of the video and have another 20 minutes of the actual video. “Thriller,” “Bad,” “Remember the Time”-Nobody does it like Michael.

25: Any last words or advice for upcoming producers?

Colione: My best advice for producers is to be consistent with every single piece you put together. Learn how to make music and learn what to do with the music that you make. If you’re really not getting your music out there, it’s because you need to make sure you have a great team behind you that can push your music forward. It takes a team, not just one player to get you to the next level. You need people that can talk for you, and have the best interest for you.

Home to the likes of Bob Marley, Sizzla and Beenie Man, whom we’ve all grown to love; Jamaica once again proves its musical weight with artist, Gyptian. Windel Beneto Edwards, better known as Gyptian, was nicknamed after his habit of tying a shirt around his head and twisting his chin hair like an Egyptian pharaoh. Staying true to his moniker, the gifted young musician is very serious about keep his sound unaltered, always sending a message and giving his fans authenticity.

He first burst onto the reggae scene in 2005 with his provocative hit “Serious Times” which was declared the“Most Important Song of 2005” by Jamaica Star, beating out Junior Gong Marley’s top ten Billboard hit “Welcome to Jamrock.” The 23-year-old singer has been dominating Jamaican charts since his debut, but his latest hit “Hold Yuh,”—whose remix features Nicki Minaj—has been slowly heating up airwaves in the U.S. Currently No. 31 on the Billboard R&B/Hip-Hop Chart. With vocals that hover somewhere between baritone and tenor and lyrics that compels one to fall in love one day and start a revolution the next, Gyptian is certainly here for the long-run. Filled to the brim with substance and all things dope, he is an artist you want to keep an eye on.

-Brittany Epps

Photo: Repja

The USA Today reports on the current status of New Orleans, five years after the storm. Read more for a brief update.

This time of the year is still very difficult for New Orleans residents.  Five years after the devastating Hurricane Katrina, metro New Orleans is still both physically and mentally recovering.  The economy, weak and undiversified before the storm, has struggled to rebuild years later.

While the rebuilding efforts and reformation has progressed—residents are returning, schools are being rebuilt and the city has a new mayor and police chief—post-Katrina New Orleans has been met with several hurdles and new challenges. The city is struggling to battle crime, unemployment and a growing homeless community and displaced residents looking to return and rebuild are more often than not, met with red tape.

New Orleans has lost a great deal after the disaster and experts estimate that it will take up to 15 years to rebuild the Big Easy. Despite it’s setbacks, the rich culture and New Orleans fervor remains unmatched. From the return of Mardi Gras and front line bands to the Saints Super Bowl win, five years after the storm this much is clear—New Orleans is here to stay.

–India Banks

“Nolia Clap” off the album The Beginning of the End (2004) by Juvenile, Wacko and Skip is the unequivocal anthem for New Orleans and notes over a dozen locales. Explore the Big Easy as the then, Rap-A-Lot signees shout out their favorite neighborhoods. Inspired by a map of Sir-Mix-A-Lot’s “Posse on Broadway,” we thought we’d plot our own to mark the anniversary of Hurricane Katrina. Read more for editor’s note.

EDITOR’S NOTE: As a result of Hurricane Katrina, many of the housing projects and neighborhoods featured in the song have been torn down, rebuilt or converted into mixed income developments. The Lower Ninth Ward, a historically black neighborhood with a sizeable low-income population, was and still remains the most devastated area of New Orleans after the storm.

Photo courtesy of www.myspace.com/bhineslovemusic

Kylee Coney spends seven minutes in heaven with Brandon Hines.

WORDS BY KYLEE CONEY

Brandon Hines is a young multi-talented artist with plenty of passion. His sultry, smooth voice and passionate lyrics on love’s trials and tribulations create the perfect combination for the amatory appetite. Hines developed an early love for music and embarked on his career at a young age—he was previously a member of a Detroit singing group, Vybe. But his music career as a solo artist began when he entered Howard University.

Brandon Hines may be following in the footsteps of famous alum like singers Donny Hathaway and Roberta Flack as well as music mogul Sean “Diddy” Combs, but he is paving a path of his own in R&B.

At Howard, Hines collaborated with other artists and producers to form Heavyweight Entertainment. His first single, “Overdose,” off his album Love Music: Fallin In…Fallin Out, was very popular in the D.C. area. The album was released in 2005 and sold over 7,000 copies.

Hines was also showcased on “MTV’s Total Request Live” as an “Unsigned Artist to Look Out for in 2008.” He later collaborated with R&B heavy-hitters such as Trey Songz, Troy Taylor and Johnta Austin. Currently, Hines is active in his efforts to conquer the music industry with his two new music projects, In Search of, which was released last February, and Higher Learning, which has yet to be released.

Read more as Kylee Coney spends seven minutes in heaven with Brandon Hines and chops it up on love, family and relationships.

25: How many siblings do you have? Is it true that your younger brother is an inspiration for a lot of your music material?

Brandon Hines: I have one younger brother, Chris Hines. He’s a musician as well. He’s very talented. We used to butt heads when we were younger but now that’s like my best friend. Yeah, he works really hard to perfect his craft. I try to encourage him to not make some of the same mistakes I’ve made [in the music industry]. It’s always magic when we get together to create. We feed off of each other.

25: What are some major goals that you set for yourself as an artist in 2010?

BH: It’s to be true to myself. To be real. I’m a human being just like the rest of us; I’m working on personal growth. I want to bring about persistent and great music.

25: The song “Overdose” is one of your most popular songs. What’s your definition of a girl who is your “perfect drug,” as described in the song?

BH: Well an irresistible woman who challenges me; who I can learn from; who’s very well cultured and well versed; a woman who is not afraid to let me take control but not afraid to speak her mind either. I usually like some type of conflict. I like a debate (laugh). Someone who wants to see me at my best.

25: A lot of your songs, such as “Fallin’ Out” and “Look Me in My Face,” deal with relationship issues. Are you a very romantic individual? Are you a strong believer in love, or do you more of a go-with-the-flow kind of guy?

BH: There are always two sides to the story. I’m definitely more of a romantic relationship type. I can go with the flow, but I’m in search of love. You may fall through different things, but you’re searching for your soul mate. I’m very passionate kind of guy.

25: Who would you say is your biggest supporter? Who’s that person you can always depend on to be in your corner?

BH: I would have to say my pops, my father. He’s very supportive. When I first came to my family like “I want to leave school,” my father could have wrote me off or discouraged me. But my father stuck by me and believed in me. My family provided me with the support to grow in my field and feel confident.

25: So do you have a special someone in your life now, or are you still searching?

BH: I’m definitely looking. I’m still in search ladies.

Photo courtesy of Wise Path Entertainment

Check out 25’s unsigned and undiscovered series, “The Breaks” featuring Kevin Ross.

WORDS BY KIAH MCBRIDE

Kevin Ross, a 22-year-old Washington, D.C. native, is new to the music scene but already has reason to boast. He’s already penned songs for Jamie Foxx and Usher. Ross also won Best Male R&B artist for the 2009 DMV Entertainment Music Awards and has caught the attention of Troy Taylor of Songbook Entertainment. Ross’s harmonic sound compliments his phenomenal piano skills. On “So Incredible,” released in 2007, Ross’s adoration for women surfaces through flavorful jazz melodies. But his 2008 track “Yes We Can” shows he’s not a one-subject artist. This inspirational ballad pays tribute to the Democratic Party’s nomination of Barack Obama.

Ross delved into music his junior year of high school. He grew up in a household filled with the sounds of musical legends such as Marvin Gay and Stevie Wonder. But it wasn’t until he bought a Yamaha 16-track digital mixer from a school buddy that he began to experiment with his own music. Faced with the dilemma of going to work or going to college after high school, Ross chose to attend Berklee College of Music in Boston. He received a bachelor’s degree in songwriting last spring. Ross recently moved to Atlanta to work on his upcoming album. Now ready to enjoy the fruits of his labor, Ross hopes to successfully transition from songwriter to the next record-breaking artist.

25 Magazine: It is said that you have a sound similar to that of Ne-Yo and Mario. How would you describe your own sound? What separates your sound from theirs?

Photo courtesy of Wise Path Entertainment

Kevin Ross: I think I have more tracks that have more to do with melodic possibility. I am very animated with my voice when it comes to live performances and also when recording. I am also more of an expressive singer.  I’m a writer, but I tend to write songs that target the emotions more so then having the most profound lyrics in the world. I try to tap into people’s hearts with my voice.

25: Since you are a trained musician do you help create your own instrumentals? And how do you come up with the ideas for your tracks?

KR: I do create my own tracks for the most part. I’ll play it on the piano and then I will have somebody who can produce it and tweak it, and I’ll co-produce it. A lot of times I’m co-producing on my material because a lot of that stuff comes from me.

25: You’ve performed at R&B Live D.C., and won an award as the 2009 Best Male R&B Artist at the DMV Music Entertainment Awards—how do you feel about the new attention DMV artists are getting?

KR: It’s a great thing; success is the result of hard work. It all has to do with the talent and caliber. If the city embraces somebody that’s truly talented and good at what they do, then they will flourish. A lot of people want to think that everybody in the U.S. is hating on D.C., but everybody’s been getting put on. It really has to do with the songs. Now we’re getting artists that understand what people want and that still bring the roots of D.C. into their music.  A lot of people should be thanking Wale right now; he isn’t accepted the way he should be for him to be out there the way he is. I went to one of his events a couple of months ago and they didn’t accept him the way I thought they were going to—from his own city.  I think we really have to show more support for our own artists and put out music as an artist that’s viable for the people. I think Wale has been doing a great job and I think we just had to wait our turn.

In songs like “Adore U” and “So Incredible” you pour out a lot of accolades to women. Are you writing for someone in particular? Do you have a “love interest?”

KR: I love women. My inspiration comes from women. Most are exaggerated experiences; they’re not something that has actually happened to me. I’ll take the root of my experiences or stuff my friends have told me and that I’ve observed and make a story out them.  I never try to leave myself that vulnerable where people can be like “well he said it in that record so it must be true”. You always have to leave something to the imagination like “did he really do that?” Every artist has their stories and they won’t tell it all because you have to leave something to the imagination.

Check out “That Girl (Winner)” from Kevin Ross

That Girl (Winner) – Kevin Ross

25: What project are you currently working on? Is it an album or an EP?

KR: It’s an album. I’m making songs now that could possible be an EP, but I really just want to do a whole body of work, put it to the side and start working on something else. I’ve been working on music for me and for other artists for about two or three years, and it’s really about time for me to release a whole body of work instead of just breaking off in tidbits and stuff like that I always want things to make sense so I think the next move is an album.

25: What is something unique about you that you think will catch the eye of the music industry and its fans?

KR: I’m honest; there are no strings along with me. What you hear on the record is what you hear live. So if you like me on my record then you will probably love me live. And I’m not saying that in an arrogant way, but it’s like when you see a record from somebody and you’re like “damn they sound good” and then it’s like “damn they actually sound just like their record” it’s an element of surprise. And that’s something I’ve always taken pride in. If I can’t do it on a record then I’m not doing it live.

25:What is something about you that fans might not know?

KR: I’m just a chill person and I use myself more like a vessel. None of this stuff truly comes from me; it’s inspired through God. I can only speak on my spiritual beliefs and I know and believe what I feel. I definitely believe in a higher being, and without that higher being I would be immobilized.

Check out “Withdrawal (Songbook)” by Kevin Ross
Withdrawal (Songbook) – Kevin Ross

Check out Kevin Ross performing “Adore U” at BB Kings L.A.

You can find more music from Kevin Ross at myspace.com/kevinrossmusic

Words by ReDonah  Anderson

Director and editor, Kevin Smith, can tip off his hat to his first non-written amazing action-comedy film, “Cop Out.” The movie balances a mid-80’s buddy-cop relationship with numerous gun-fights and scenes of heroism. There are no spouts of coonery; however, from the trailers and commercials advertised, viewers may think that it’s a waste of money and not very entertaining. Surprisingly, though, this film will have you gasping for air from a good deal of laughter.

With flashbacks from the hit suspense movies “Lethal Weapon” and “Beverly Hills Cop,” Bruce Willis, actor from “Surrogates” and “Die Hard,” and comedian Tracy Morgan, the former “Saturday Night Live” cast member and current “30 Rock” co-star, are paired in a veteran, nine year partnership as NYPD detectives. In this ‘partner-against-crime’ relationship, known as “A Couple of Dicks,” Willis and Morgan trail against a notorious Mexican drug-dealing gang leader, named Pohboy, played by Guillermo Díaz, while being preoccupied with personal issues.

Willis plays Jimmy Monroe, who plans to cash in his prized 1952 Andy Pafko baseball card to pay for a $48,000 wedding for his daughter, played by Michelle Trachtenberg. In contrast, Morgan’s character, Paul Hodges, obsesses with the suspicion that his wife is having an affair with their next-door-neighbor, and proceeds to hide a camera in a teddy bear in their bedroom. Known for his natural comical actions, Morgan disguises himself in a cell phone custom and comically spurts out logical definitions from Wikipedia. Ironically, both get their badges revoked by their captain and are forced to be on suspension for a month, but that doesn’t stop New York’s finest detectives from cracking the cases for a gang leader.

Sean William Scott  further brings comedy to the film by popping in and out of various scenes. He plays a small role as an amateur thief who steals Monroe’s baseball card while robbing a local store, and sells it to the Mexican gang leader. Scott makes outrageously vulgar insults about Morgan’s wife, played by Quincy Jones’s daughter, Rashida Jones, and then mimics everything Morgan says. Scott and Morgan later develop a unique, yet weird bond that ultimately irritates the tough, cranky Willis.

The audience will definitely chuck up many laughs when Willis and Morgan crack jokes on one another, and will be hooked on the films’ twists and turns of their spontaneous investigation.

WORDS BY KIAH MCBRIDE

At first glance, Shawn Chrystopher is the epitome of a California native. Skinny jeans and t-shirts from an expansive color palette adorn his small frame coupled with a “too-cool-for-school” vibe.  There is something about him that sends you cyber-surfing his name.  It could be that his infatuation with cartoons and jaunty demeanor or his staunch college boy bravado. Whatever the case, you find that Chrystopher brings a ferent perspective to west coast music. While his sound does allude to strong Lupe Fiasco and Kanye West influences, Chrystopher offers his own story and musical creations—he often produces his own tracks—that give him mainstream appeal.

It’s clear that Shawn Chrystopher isn’t your typical Cali artist. He grew up in Inglewood, CA listening to punk rock artists like Green Day, and graduated from high school at the age of 16. He scored a four-and-a-half year scholarship to the University of Southern California and by 2009, landed an ad campaign with LRG clothing line for their 10^th Anniversary.  Not bad for a kid in glasses.

His first mixtape titled Keep Your Classroom Vol 1. received over 10,000 downloads and was an introduction to what is now considered the “new age” sound of educated artists. In August 2009, he released A City With No Seasons—an album that he hoped would separate his sound from artists that he’s often grouped with like Wale.

Now Chrystopher is back with his upcoming EP, The Audition, scheduled for a March 23 release date. Unlike previous projects, Chrystopher comes with more light-hearted rhymes that will surprise fans accustomed to his intellectual lyrics. His first single, “Like A Kid Again,” boasts a fun, relatable sound, and tips a hat off to the art imitates life adage. Always ahead of the curve, Shawn Chrystopher is poised to take on the ever-evolving music industry and change the image of west coast hip-hop.

Check out his single “Can’t Take That From Me” off of his EP, The Audition:
Can’t Take That From Me – Shawn Chrystopher by  25Mag

25 Magazine: What separates your sound from other hip-hop artists old and new?

Shawn Chrystopher: I think of music as fingerprints. I don’t think that anybody can make the same music. I think that if you have a piano, a guitar, and a drum set in a room and you put 15,000 bands in that room one after another, neither one of them will make that same exact song. Even though you have the same instruments you all have different songs. I think with me, my music is different because it’s mine. I have a story that nobody else can tell because I’m talking about my life. When it comes to sound, I grew up in Inglewood, CA so I’m five minutes from some of the richest people in California and I’m five minutes from some of the poorest people, so I would listen to everything. I used to be really into Green Day and then I would listen to Bone Thugs-N- Harmony. I was really into 2Pac and I listened to John Mayer.  So you have all of that in me; I just mixed it all together so I think it’s unique because it’s mine.

25: In one interview you said that you studied rap like you would study your schoolwork. Who and what specifically did you study?

SC: I would study what songs were popular and why they were popular and which songs weren’t.  I remember one year when Juvenile’s “Slow Motion” was the number one song in the country. I was like, this isn’t a club song and it’s not up-tempo; it’s so hood but it’s the number one song on the Billboard. I would just sit and try to figure out why certain songs were big and others weren’t. Why certain artists make it and why other artists’ second album destroyed them.

Like A Kid Again – Shawn Chrystopher by  Jabari

25: Your latest single “Like A Kid” off your EP The Audition is a fun tribute to going back to your childhood days. What was your life like as a child?

SC: I have a seven-year-old sister but I was practically out of the house by the time she was born, so I grew up an only child.  I was a Latchkey kid so I would come home and my mom would still be at work so I had to entertain myself. TV really stimulated my mind because I would watch everything and I would learn how to talk, how to walk, how to act, and how to dress. Other than TV I had some of the best neighbors. I still talk to my neighbors that I grew up with as a kid; we’re really good friends.  I grew up in a house so I had a backyard, was able to go out and play, and have block parties. That made my childhood fun because I could ride a bike. That’s why I started the song off “I used to ride bikes” because I was the kid on the bike in my neighborhood. I rode the bike from sun up to sun down; I had nowhere to go most of the time I just liked bikes. Basketball and riding bikes was my childhood, and cartoons.  Actually, that still is my life. I need to grow up!

25: What should we expect to hear on your upcoming EP The Audition compared to your other EPs like No One Knows You?

SC: Really dope shit. I tried my best to create a different sound that I’ve never done before. My past music was really intellectual and I tried my best to not be like anybody in my area, and sometimes I went over people’s heads.  I tried to over think my music too much in order to stand out when really I could just be myself and stand out. So this project is more me than I’ve ever done. I have fun with it, tell jokes on songs—I personally don’t take life too seriously because I like to have fun. I think that it’s something that people can relate to; people can have fun with it and play it in their cars. I think people really are going to fuck with it.

25: Are you going to pursue production more than being an artist in the future?

SC: Not more so than being an artist but production can carry me a long way because I can produce until I’m dead. I can’t rap when I’m 50. I will never turn my back on either one of them—I love them equally because I love to perform, I love to be in front of the crowd, but I also like to create music. As a producer, the same way a painter paints a blank canvas, we make songs out of silence. We sit in the studio with nothing and we create something that people either love or hate, but at the end of the day we started from silence. That’s something that I thank God every day that I have the ability to do—that I can create art from silence. I would never stop producing or rapping; I would do both until people get tired of hearing me rap and then I can produce the rest of my life. 

Photo courtesy of Elitaste Management

25: What impact would you like to make in hip-hop music?

SC: The whole purpose of doing what I do is that I want people to see the west coast in different light. I think that with movies like Menace II Society and Boyz in the Hood people automatically think that’s all we are, especially in Los Angeles.  What the gangster rappers did for L.A., like 2Pac put us on the map, I want to do for L.A., just on the other side of the spectrum.

25: Where do you see your self musically in the next five years?

SC: I think I will already have at least one Grammy or Grammy nomination, I will be on the cover of a few magazines, and have foot in the door for pursuing fashion. I really love fashion. I don’t just want a clothing line; I want to design for high end line that’s already out. In five years I think I’ll be able to travel, meet people, and go to fashion shows. Then I’ll be able to do both music and fashion.

25: What is something that fans might not know about you?

SC: I watch TV on mute. It started out when I was little. I used to be up late watching TV on mute because I didn’t want my mom to know.  When I would watch TV on mute I would make up my own stories with dialogue and everything. It was all in my head and had nothing to do with the show, but it made me feel like I wrote it. Now people come over my crib and point out that the TV has been on mute for two hours, but I don’t even notice anymore. I love watching TV on mute because I can still do other things and at the same time create my own episode.

Check out Shawn Chrytopher’s commercial for upcoming EP, The Audition:

The Audition – Shawn Chrystopher | Download Here

Gold of The Five One and Killah Priest

One fourth of band The Five One, Gold blogs from the SXSW festival in Austin, TX! Download The Five One’s Road to SXSW at thefiveone.bandcamp.com.

What’s up everybody.. I’m blogging from Austin’s SXSW Festival, the night before our show at Opal Divine’s Freehouse. I injured my foot somehow and rolled it awkwardly a couple of days ago. I’ve taken breaks in walking by taking these bike taxis, which is a huge relief considering how much distance we cover in one day. It’s a beautiful concept that I hear they have all over Europe, so it’s great to see it at this Festival. Your ride is all about what you work out with the bike rider, sometimes they’ll treat the whole charge as a tip, while others they’ll set a price for you to meet. My buddy Billy Carranza from Reston, came to kick with us from a suburb of San Antonio. Here’s a picture of Billy with GREEN rockin’ the Colorpillar Tee:

First stop was Nice Kicks, a street shop that sells modern/pop-culture/hipster/hip-hop influenced tees, shoes, watches, etc. GREEN wanted to stop by and pick up these GREEN Supras, but they had an orange color incorporated that made him less interested. I thought they looked like Miami Hurricane shoes, but the owner of the store insisted that they were St. Pattys-themed. While we were there, I managed to snag this sweet watch:

Basically, this event is a huge conference. Every venue has a line-up of bands with some sort of theme. One of the events we attended consisted solely of “Duos,” one of which were El Ten Eleven, who wrote the original song for “Stuntin’ Like Mufasa” (Don’t ask me the name of the real song, only GREEN knows as far as the colors are concerned). Each day, we’ve been hopping from place to place and networking with folks representing anything and everything aligned with the art/music industry. We’ve met hired musicians that are between the ages of 18-20, to a Columbian punk rock bands, to musicians part of a touring act signed to Sony Japan. It’s been all over the place, and it’s clear as day that any artist/musician or whatever you call yourself that is interested should definitely be EVERYWHERE. I saw a dude rockin’ a Wizards tee, so I approached and met a writer for the Washington Post. Today, outside of the Muse show (which I did not see), this camera man for Myspace approaches me and asks what I think of the show. Obviously, I said I loved it and said that they should come out to DC, other colors chimed in, and we signed release forms to be in this Myspace video.

A couple of days ago, we were at the Austin Convention Center, where we picked up our artist wrist bands, which gives us freedom to get into most of the events for free, and we attended a conference that show-cased all kinds of different companies and organizations. I met someone who is in charge of Miami Music Festival and exchanged information. Turns out that the gentleman occasionally visits The Five One’s hometown of Reston for business. It was great to meet him and he said that he would love to have The Five One support the event. Miami has a great music scene and we have yet to play in that area, so this was one of the first booths I had to approach. We also approached Blackberry, who were more than happy to play our single, Mandatory for all the attendees approaching. The Starkey Hearing Foundation had a booth that gave hearing tests to anybody interested. We got these sweet ear plugs with cases, I’ve been taking them out all over the place since the music is BLARING everywhere. At some point, we were chatting with an acoustic group (can’t remember the name for the life of me) that gets a lot of attention on the blogosphere, when Erik Estrada rolls in. I met him and we got footage. It’s hilarious, it came completely out of nowhere:

Mini-Me was also there, which was awesome. We also met Morgan Currie, who is the violinist for the Canadian group The Tom Fun Orchestra. Morgan is a computer wiz who created Marcato, a software that bands can use to get organized. It is completely free and he explained to us how to use it. One of the highlights would have to be chatting it up with some folks that run a record label based out of Scotland. Love the accent and culture/music, so it’s always a pleasure for me to link with them. I explained our band and the concept and they loved the idea. It’s really important to me that The Five One is heard around the world, and not just the states. Scotland is a place I have to see and experience one day, why not have them already know who we are when we come through to perform!

In going through the West-side of the Downtown area, we checked out the venue that we are performing at tomorrow. In doing so, we met this dude Miles, who is in the band,Outernational. It was crazy to run into this guy because just the other night, RED and I saw this guy perform a song with Tom Morello’s latest project. Apparently, Outernational’s album was produced by Tom Morello, which is crazy! The song that they performed with Tom Morello’s band SSSC had a heavy gypsy influence. It’s always interesting for me to hear that Eastern European-esque sound, coming from Romania, home to one of the highest gypsy populations. I took this shot from the rooftop venue that they performed, it gave me a Miami vibe:

On the way to checking out Union Park, the venue that Outernational rocked, I spotted myself a GOLD beauty on the way:

Did I mention that I miss New Orleans? I didn’t want to leave that place, I liked it so much.

By the way, we definitely set up our instruments and performed on the street today. This cop pulled up, we thought he was going to have us cut everything out. He told us to play a song for him, which was pretty sweet. He then took off and we continued to rock. The highlight was jamming on this DC Gogo tune. Gives me a great deal of pride to play some hometown music in Austin. Folks stopped to hear Gogo, as I’m sure most, if not all, aren’t familiar with that DC sound. It was beautiful!

Tomorrow, we’re going to try to use power from one of the venues or stores and perform on that main 6th street strip, where EVERYBODY walks through. Wish us luck! I’m exhausted, time to get a few hours of sleep in time for more craziness.

PACE SI PRIETENIE (PEACE AND FRIENDSHIP)

GOLD

[All photos courtesy of The Five One]

25 Magazine catches up with D.C. band, The Five One between sets at the “Our People, Our Haiti” benefit concert at the Warehouse Loft to talk upcoming EP, Deuce Day World. The video features their oldie but goodie, “Sak Passe.” Listen to The Five One’s last few LPs here!

Photo courtesy of Cubannie Links

WORDS BY BRITTANY EPPS

Annie Basulto’s Cubannie Links gives fashion lovers something that they can feel. Her jewelry line is sharp enough to cut and glistens brightly with an envy inducing edginess. Glitzy neon-colored leather, bold statement rings and high-gloss gold chains with funky charms are among the standouts of the Links collection. For those with a taste for foreign cultures, these Cuban inspired designs will make your mouth water. Whether dainty or bulky, metal or nylon, you can have it your way. Who doesn’t appreciate fashion that caters to the senses and the needs of the consumer?

Hailing from Miami, Florida, Annie is a Cuban-American jewelry designer who has been blessed with the Midas touch. The name of the line is combination of her nationality and first name—Cuban Annie, and has been picking up steam ever since the 2007 launch. Basulto first started jewelry making as a hobby and now the line has gained popularity amongst culture femmes Rihanna, M.I.A., Alicia Keys and Tyra Banks.

Bullet earrings, glock-laced rosaries and four-finger rings make the line both unconventional and alluring. Cubannie Links is known for its whimsical items and Basulto’s streetwear consumers have grown quite the appetite. The Fall/Winter 2009-2010 “Inner Goddess” collection is still blazing, but Basulto anticipates a larger response in her future lines. It seems as though Basulto knows exactly what the urban fashionista seeks, and proves she can deliver.

25 Magazine: Tell me what Cubannie Links means to you.

Annie Basulto: CL means happiness, financial opportunity and a legacy (hopefully)!

25: Where does your love for jewelry stem from? How did it all begin?

Annie: I’ve always loved jewelry and always owned tons of accessories, but to say I thought I was going to be a jewelry designer or own a company, I would have laughed at you for not knowing me well enough. Apparently I didn’t even know me well enough. But the truth is, as it will always be my honest answer, it all began out of desperation to not work at job I don’t love for people who don’t appreciate me. New York has a special air about it. You can really do anything. New York has that survival air you can breathe in and it changes everything. Desperation. Motivation. That’s how it started.

Photo courtesy of Cubannie Links

25: What is the inspiration behind your daring and edgy pieces?

Annie: I am obviously inspired by the same things many designers are inspired by, but I have to admit I don’t follow the molds for conventional thinking. I just make jewelry that I would wear and I do wear.

25: You’ve been receiving amazing notoriety to say your line is only a little under 3 years old, why do you think people are so receptive to your collections?

Annie: CL will be 3 in July 2010. It speaks to everyone. Although there are pieces that more mature woman wouldn’t wear, there are definitely pieces for every type of girl: conservative, edgy, and glamorous.

25: How does it feel when you have stars like Alicia Keys, Rihanna, and Tyra Banks wearing your jewelry or your items are featured in top magazine publications?

Annie: It’s an amazing feeling. It’s a feeling you can describe as your child winning an Oscar or your sister becoming the President. It’s an achievement that happens through my work-its own entity.

Photo courtesy of Cubannie Links

25: What impact do you think Cubannie Links is making on the fashion and jewelry industry?

Annie: Gosh I wish an industry big shot would tell me what impact I am making in the fashion industry. As far as I can see, there are many supportive people who love the collection and those are the testaments that mean most to me.

25: Where do you see Cubannie Links going in the future?

Annie: CL has continued to expand internationally and that has really been a great fete. Mostly getting in department stores like Bloomingdale’s or Macy’s is something I hope to soon achieve.

25: Any advice for those with creativity brewing under their skin, but are too afraid to reach for their dreams?

Annie: Experiment, network, take risks, take classes, explore, travel, do research…anything you can do to expand you creative juices will be a great way to find your style and specific interest.

For more information on Cubannie Links, visit cubannielinks.com.

Photo courtesy of eightyocho.com | Eric Vogel

WORDS BY LAUREN MCEWEN

Cosigned by long-time friend, Kanye West and equipped with a nice flow, a gift for production and a hyphen in his name that he takes very seriously, 88-Keys is gunning for a spot among hip-hop’s elite. His first album, The Death of Adam, was a feature-heavy tribute to a fictional friend named “Adam,” who allowed his love and lust for women to lead him to his demise. Executively produced by West, 88-Keys’ debut was a virtual roll call of musical talent. Artists including Kid Cudi, Phonte of Little Brother, J*DaVeY, Bilal, Redman, Shitake Monkey and of course, Kanye West all paid their respects to Adam, the fallen “everyman.”

After the video for his first single, “Stay Up! (Viagra),” featuring Kanye West, began popping up on video playlists, 88-Keys gained a considerable amount of buzz in the music world. The Death of Adam made it’s way onto a variety of top albums lists, including MySpace’s “Top 50 Albums” and AllMusic’s “Top Hip Hop Albums.”

88-Keys’ latest song “Baggage Claim,” produced by multi-platinum talent Needlz, is themed after ABC’s hit show Lost, shows that Keys has more hits to offer hip-hop. He is currently working on a follow-up album to Adam and it should not disappoint.

Check out his new single, “Baggage Claim”:

Baggage Claim by 88-keys

25 Magazine: When did you decide to pursue a career in music?

88-keys: I guess it was ’97 or ’98 when I first got paid for my music, after doing it for a couple of years. I got about 700 or 900 bucks for selling my very first music that I ever made on a machine that I still use to this day. So I was like, “Ok, so, this is how this is going down. I see.” So I decided to make music my life.

25: Who are your major inspirations?

88-keys: Overall, my inspirations are my brother, Dr. Anthony K. Njapa, Q-Tip, Ralph Lauren and Pete Rock.

25: What’s behind your Polo obsession? Just loving the brand?

88-keys: It’s like you can’t go wrong with Ralph. I started buying the Polo brand back in ’91, but back then I was still buying other brands, but I always noticed that I was spending a long time rummaging through other people’s brands, and always coming up short because I didn’t really like the stuff, but by the time I went to the Ralph Lauren Polo section, of the department stores I used to shop in I couldn’t even decide which ones to pick because they were all fresh.

Finally I just said, “Why am I wasting my time trying to shop with other brands when I don’t love their clothing,” but I always love Polo stuff, so that was it, since ’92 until now. And then since ’06 is when I decided to wear Polo from head to toe. I don’t own any Nikes or whatever cats are wearing now days, Supras. I don’t own any New Era, or New York fitted hats, or anything like that. It’s just all Ralph Lauren Polo.

25: What made you choose dedicate entire debut album to your friend?

88-keys: It’s a story that everybody knows, and everybody is familiar with, but I felt like that story hadn’t been told through music in such detail. Sure, there are love songs, of course. There are songs about meeting that special someone. There are even songs about catching STDs out there, I’m sure, but I don’t think anyone has pulled it off quite the way I have: making the story very concise and fluid, almost.

25: Your bio on your website said that some of his other friends were upset that you dedicated your entire album to him. Why do you think that they feel that way?

88-keys: My bio is actually just a play on my album. Anything regarding myself on my bio is all true, but Adam is actually a fictional person, but he’s everybody. I do have friends who went through the same stuff that Adam went through, and I feel that every man has gone through some, if not all, of what Adam went through on my album—like what he actually went through physically and thought processes and his emotions.

And I feel that every woman of age knows an “Adam” in their lives. Whether they dealt with that person or their homegirls went out with that person and they were trying to steer them clear of that person. Adam could be mine and your father. So, Adam is every man in one way or the other.

Photo courtesy of eightyocho.com | Eric Vogel

25: How does it feel to be a family man breaking out into the music industry? Hip-hop isn’t always the most family-friendly of genres?

88-keys: I’m a father of two and a husband of one. That’s one of the reasons that I made the album because I’m trying to restore the traditional family unit. It definitely has its downsides. I don’t work on my music as much as I used to because I have other obligations to my wife and my daughters, but I wouldn’t trade it for anything in the world. I love them, and we plan on making more to add to the clan.

We’re actually working on a schedule. The schedule has allowed me to have three free days to work, and then my wife helps out as often as she can, like holding the kids down while I try to bring home the bacon. But she brings in bacon, too. She actually might wind up bringing home more bacon than I am, because she’s awesome and she has her creative business going on that she started.

25: Doing what?

88-keys: I’ll just say that it deals with photography. My wife is a self-taught photographer. She’s pretty dope. She has a website up. She met another woman who shares her interest and is a self-taught photographer. They clicked and formed a business plan, and it’s crazy. I think she might wind up making an “M” before I do, to be honest. But we’re married so, what’s mine is hers and what’s hers is mine.

25: What’s your favorite song on your entire album?

88-keys: My favorite song would be numbers 1 through 14. Had you asked me the same question before Kanye came in as executive producer, I would have said a song that no longer appears on the album, and everything else was secondary. But now, that the song was taken off I just love every song as much as the previous one. Yeah…my album’s pretty dope.

25: Who are three people that you would love to collaborate with in the future?

88-keys: Michael McDonald, Lupe Fiasco and, had he not passed so suddenly, I’d like to say the late, great, J-Dilla.

25: Do you have any plans for a tour in the future?

88-keys: Yeah, my management is working to get a meeting with a very well-known, reputable agency, but it’s been pretty hectic. The agency actually put me on tour with Kid Cudi, Asher Roth and B.O.B., and through them I also did a show with Lupe Fiasco a little while ago at Governors Island. As far as getting more touring gigs, that’s kind of up in the air right now. I’m pretty sure it’s gonna happen, but we just have to get the meeting. I’m actually happy that I’m not on the road right now because now I’m working on my next album, my next mixtape, and a bunch of projects, like some feature verses that I owe people, and my next beat CD—so I am a busy man!

25: Do any of your other projects have themes to them?

88-keys: They will. My next album most likely will, but I haven’t really decided yet. But I will say this—it’ll be dope! You heard it here first, folks.

25: Do you have any advice for other people who want to break into the music industry?

88-keys: Yes, don’t do it! Stay your ass in school! No, seriously. Be honest with yourself. That’s first and foremost. If you’re a rapper, and you know you’re not rapping as well as a Consequence, or a Lupe, or Kanye, or whoever. If you’re nowhere near their level of freshness, work on it behind closed doors, but don’t start putting songs up on MySpace, like “Yo! I’m the next Kid Cudi!” Be honest with yourself.

I have a feeling that people actually know that they’re not that fresh, but they’re just, like, throwing pasta at the wall. If you’re not that fresh then you’re just wasting people’s time. For producers, it’s the same thing. If your beats aren’t that crazy, keep working on it and actually surface when you have something buzzworthy. I mean, music is all a matter of opinion, but there are some people who should just know that they’re wack. I’m not saying hang it up completely—well, there does come a time when one should hang it up completely—but don’t like puff your chest out when there’s no air in your lungs.

For more on 88-Keys, check out www.eightyocho.com.

Peep 88-Keys’ video for “Stay Up (Viagra)” feat. Kanye West:

The results are in, the gowns are pressed and the nerves are jumping as the 52^nd Annual Grammy Awards ceremony is approaching. Here at 25 Magazine, we pride ourselves on being able to spot good music.

Check out our predictions of who will take home Grammy Awards this year.

Record of the Year Nominees

“Halo” – Beyoncé

“I Gotta Feeling” – Black Eyed Peas

“Use Somebody” – Kings of Leon

“You Belong with Me” – Taylor Swift

Predicted Winners

“Halo” – Beyoncé

2^nd choice – “Poker Face” – Lady Gaga

Album of the Year Nominees

I Am…Sasha Fierce – Beyoncé

The E.N.D. – Black Eyed Peas

The Fame – Lady Gaga

Big Whiskey and the Groogrux King – Dave Matthews Band

Fearless – Taylor Swift

Predicted Winners

I Am…Sasha Fierce – Beyoncé

2^nd choice – The Fame-Lady Gaga

Song of the Year Nominees

“Pretty Wings” – Maxwell

“Single Ladies (Put a Ring On It)” – Beyoncé

“Use Somebody” – Kings of Leon

“You Belong With Me” – Taylor Swift

Predicted Winners

“Pretty Wings” – Maxwell

2^nd Choice –  ”Single Ladies (Put a Ring On It)” – Beyoncé

Best New Artist Nominees

Zac Brown Band

Keri Hilson

MGMT

Silversun Pickups

The Ting Tings

Predicted Winners

Keri Hilson

2^nd Choice – The Ting Tings

Best Female R&B Performance

“Single Ladies (Put a Ring On It)” – Beyoncé

“It Kills Me” – Melanie Fiona

“That Was Then” – Lalah Hathaway

“Goin’ Thru Changes” – Ledisi

“Lions, Tigers & Bears” – Jazmine Sullivan

Predicted Winners

“Single Ladies (Put a Ring On It)” – Beyoncé

2^nd Choice -” It Kills Me” – Melanie Fiona or “Lions, Tigers & Bears” – Jazmine Sullivan

Best Male R&B Performance Nominees

“The Point of It All” – Anthony Hamilton

“Pretty Wings” – Maxwell

“Sobeautiful” – Musiq Soulchild

“Under” – Pleasure P

“There Goes My Baby” – Charlie Wilson

Predicted Winners

“Pretty Wings” – Maxwell

2^nd Choice – “Sobeautiful” – Musiq Soulchild

Best R&B Performance by a Duo or a Group with Vocals Nominees

“Blame It” – Jamie Foxx & T-Pain

“Chocolate High” – India Arie & Musiq Soulchild

“ifuleave” – Musiq Soulchild & Mary J. Blige

“Higher Ground” – Robert Randolph & The Clark Sisters

“Love Has Finally Come At Last” – Calvin Richardson & Ann Nesby

Predicted Winners

“Blame It” – Jamie Foxx & T-Pain

2^nd Choice – “Chocolate High” – India Arie & Musiq Soulchild

Best R&B Song Nominees

“Blame It” – Jamie Foxx & T-Pain

“Lions, Tigers & Bears” – Jazmine Sullivan

“Pretty Wings” – Maxwell

“Single Ladies (Put a Ring On It)” – Beyoncé

“Under” – Pleasure P

Predicted Winners

“Pretty Wings” – Maxwell

2^nd Choice – “Single Ladies (Put a Ring on It)” – Beyoncé

Best R&B Album Nominees

The Point of It All – Anthony Hamilton

Testimony: Vol. 2, Love & Politics – India Arie

Turn Me Loose – Ledisi

BLACKsummersnight – Maxwell

Uncle Charlie – Charlie Wilson

Predicted Winners

BLACKsummersnight – Maxwell

2^nd Choice – The Point of It All – Anthony Hamilton

Best Contemporary R&B Album Nominees

I Am…Sasha Fierce - Beyoncé

Intuition – Jamie Foxx

The Introduction of Marcus Cooper – Pleasure P

Ready – Trey Songz

Thr33 Ringz – T-Pain

Predicted Winners

Ready – Trey Songz

2^nd Choice- I Am…Sasha Fierce - Beyonce or Intuition – Jamie Foxx

Best Rap Solo Performances Nominees

“Best I Ever Had” – Drake

“Beautiful” – Eminem

“D.O.A. (Death of Auto-Tune)” – Jay-Z

“Day ‘N’ Nite” – Kid Cudi

“Casa Bey” – Mos Def

Predicted Winners

“Best I Ever Had” – Drake

2^nd Choice – “Day ‘N’ Nite” – Kid Cudi

Best Rap Performance by a Duo or Group Nominees

“Too Many Rappers” – The Beastie Boys & Nas

“Crack a Bottle” – Eminem, Dr. Dre & 50 Cent

“Money Goes, Honeys Stay” – Fabolous & Jay-Z

“Make Her Say” – Kid Cudi, Kanye West & Common

“Amazing” – Kanye West & Young Jeezy

Predicted Winners

“Make Her Say” – Kid Cudi, Kanye West & Common

2^nd Choice – “Amazing” – Kanye West & Young Jeezy

Best Rap Song/Sung Collaboration Nominees

“Ego” – Beyoncé & Kanye West

“Knock You Down” – Keri Hilson, Kanye West & Ne-Yo

“Run This Town” – Jay-Z, Rihanna, Kanye West

“I’m On A Boat” – The Lonely Island & T-Pain

“Dead and Gone” – T.I. & Justin Timberlake

Predicted Winners

“Run This Town” – Jay-Z, Rihanna, Kanye West

2^nd Choice – “Knock You Down” – Keri Hilson, Kanye West & Ne-Yo

Best Rap Song Nominees

“Best I Ever Had” – Drake

“Day ‘N’ Nite” – Kid Cudi

“Dead and Gone” – T.I. & Justin Timberlake

“D.O.A. (Death of Auto-Tune)” – Jay-Z

“Run This Town” – Jay-Z, Rihanna & Kanye West

Predicted Winners

“Best I Ever Had” – Drake

2^nd Choice – “Day ‘N’ Nite” – Kid Cudi or “D.O.A. (Death of Auto-Tune)” – Jay-Z

Best Rap Album Nominees

Universal Mind Control – Common

Relapse – Eminem

R.O.O.T.S. - Flo Rida

The Ecstatic – Mos Def

The Renaissance – Q-Tip

Predicted Winners

Universal Mind Control – Common

2^nd Choice-The Renaissance – Q-Tip

Good luck to all and congratulations for being nominated!

25 Magazine interviews neo-funk California native, Nino Moschella.

WORDS BY MAYA RHODAN

It’s 9 a.m. on a windy Tuesday and while other emerging California artists are turning over in their beds after a long night of gigging, soul singer Nino Moschella is on his way out the door of his O’Neals, CA home taking his wife and daughter to work and school. Not the standard morning routine of an artist days away from his second album release. But Moschella lives his life like any other Bay Area family man; the self-proclaimed house dad is the father of three-year-old daughter, Stella, and husband to indie artist Mia Birdsong. Despite his Danny Tanner tendencies, Moschella is a hardworking artist, dedicated to representing all things funky and soulful in his music.

In 2006, Moschella released his first studio album, The Fix, on the San Francisco based Ubiquity Recordings, renowned for their devotion to cult music lovers of funk, soul and jazz. On his debut, Moschella’s underground roots were revealed through his non-conventional use of beat-boxing and hand-claps instead of the standard drum kit sound. Critics and listeners alike were wowed by the west coast singer’s soulful sound and deemed his album a hit, despite low numbers and mainstream recognition.

Since the start of his music career, Moschella has taken on the challenge of trying to reacquaint the world with the power of pure funk. Heavily inspired by the greats such as Sly and the Family Stone and James Brown, Moschella uses his music as an opportunity to demand respect for the genre that is only subtly represented in mainstream music. His sophmore LP Boomshadow, is a testimony to the style, the sound, and the artists that defined funky but also an original, soulful and personal work of art.

Nino Moschella - Are You For Real

25 Magazine: It has been about four years since your first album, The Fix was released with Ubiquity, how have you progressed as an artist in that time?

Nino Moschella: Good question. I would have to say that there hasn’t been a specific way that I have progressed but my feeling about the music has taken me to the next level. This album is definitely a step up. My feeling about the music has helping me to develop a knowing of when to push through and make a song work and when not to. I recorded about 40 songs in the making of this album, but I let the songs tell me when to push through. I’ve become more in tune with the music.

25: We hear the title of your last album Boomshadow came from a fictional character you and some friends made up, how does this character represent the album?

NM: [laughs] The character doesn’t even really represent the music. About 10 or 15 years ago me and my friends would joke around, while drinking and talk about this character Boomshadow. I hadn’t even thought about it until after the record was done and for some reason the name came back to me. The title does represent the sound of the album, but it was definitely an afterthought-it doesn’t relate to the creation of the record but the name relates to the sound that is the music.

25: On your first album you were making beats with a broomstick and handclaps, can you break down Boomshadow?

NM: Yeah, none of the beats were actually made with a broomstick, that’s just something the label says, but a lot of the sound was created without the traditional drum kit–there was a lot of beat boxing. I still like beat boxing and a lot of the music on this album comes from the same place rhythmically, but there is a lot more drum kit and structured sound. The drum was my first instrument and I naturally gravitate toward it, so there’s a decent drum representation on the album. I guess you can call the beats homemade, but there were no broomsticks involved.

25: What in your life has the biggest impact on your music?

NM: I think just the day to day experiences with those that are closest to me has the most influence on me and what I do. I mean there are definitely the musical influences in terms of what I listen to and who resonates with me musically (Jimi Hendrix, Oscar Brown Jr, John Lennon, Etta James, David Bowie, Stevie Wonder, Miles Davis, prince etc), but I would say the thing that has the biggest influence on what I write about and where my desire to express myself comes from, would be all the challenges and blessings that I go through with the folks that I’m closest to. I feel that is where I’ve learned the most about myself, being around and sharing experiences with the people I love.

Nino Moschella (prod. Shawn Lee) - Kiss The Sky

25: Speaking of day to day experiences, what is a typical day like for Nino Moschella?

NM: Everyday I get up, get my wife and daughter ready for work and school. Work on music, rehearse…I’m a house dad.

25: How does being a Dad impact your music?

NM: Definitely hard to pin exactly how. But generally, [my daughter] has opened my life to new experiences. She has introduced to me a new capacity for a different kind of love. I have written songs for her; the affect that she has had on my life and my wife’s life is so great. We are constantly trying to view the world how she views the world, which is so different than how we do, and so unique. Stella has given me a different awareness. The thing about children is you have an instinct to take care of them, it’s so natural. Being a dad definitely impacts my music, but not in one specific way.

25: When did you first realize that you wanted to do this for a living?

NM: I didn’t realize that I wanted to until about high school. I always knew that I wanted to make music, but I had to realize that I needed to make money while I was doing it. I played the drums in high school, my dad was a musician, and my mom was a music lover; there was never a separation from me and music. But my becoming an artist wasn’t a conscious decision; it was the most natural progression for me. It wasn’t like I said ‘Either I’ll be a doctor or a musician,’ I knew it was going to happen, but I had to decide I wanted to make it happen for myself.

25: How have other artists influenced you?

NM: I love music, I have always loved music. Anything that perks my ears, I am attracted to. I do my thing and I appreciate other people doing their thing. Any music that I do is a reflection of what I like to listen to. My mom and dad met in Greenwich Village in New York at a time when artists were being openly creative and exploring their craft. I grew up listening to artists like Muddy Waters, Mahalia Jackson, and Etta James who were very soulful and Stevie Wonder, Prince and lots of California funk. I developed my style from what I love and I use my music as an opportunity to express myself the most openly-you create the best when you’re just being yourself.

25: How do you classify yourself as an artist?

NM: I try not to [chuckles]. My style has been derived from Funk, Soul, Rock, Folk…everything I grew up on, I draw inspiration from. I try to challenge myself not to create predictable music. When you listen to artists like Stevie Wonder and Ray Charles and bear witness to how they were able to cross categories on so many occasions-even the Beatles did it. Music isn’t supposed to fit into a category, its experimental. I guess if I wanted to be classified it would be as funk or soul, but I its best not to get wrapped up in style and just do it.

25: How do you feel about marketing music over the internet?

NM: I think it’s great in that it gives so many people access to music and it’s great for independent artists. Marketing is too general- I don’t feel you can be completely represented by a paragraph written by a label. The words they publish shouldn’t be what lead people to understand me- that’s why I write the music. The marketing goals of record labels have purpose, that’s why the internet works so well for independent artists. Independent artists have to hustle, but you have to put in the work and make things happen. The internet helps people to push themselves and it gives them complete control-it’s empowering. And there is so much music out there! Back in the day there was a filter so only so much music could get out and only so many people could actually get in the studio to make it. Now everyone can make it, anyone can market it and there is a constant influx of new music and a lot of it is good! The only downside is that there is a lot of not-so-good music out there too.

25: So, do you have a twitter?

NM: I don’t have a twitter; I don’t think I will either. My friends have them, but I don’t think I need to tell everybody, everything I’m doing. I can’t remember my phone half of the time. It would be cool for when I’m in the road to be able to tell my family stuff like “It’s snowing in Denver,” but no twitter for me.

25: What has been the most challenging song you’ve recorded or written?

NM: Definitely Stella, it’s featured on this album. I wanted the words to be articulated perfectly because its about my daughter. I needed it to be a certain way both lyrically and visually, so that she could hear what I wanted her to know but at the same time paint a picture in her mind. The words were the last part I even wrote, the song was done for six months before I did the words. I had them in my mind, but it took me forever to commit them to a piece of paper. I just needed it all to mean something. After it was done my wife cried, so I guess it worked out cool [laughs].

25: Where do you see yourself in the future?

NM: Still here, making music. If people like my music, I’ll still be doing it for the next 30 or 40 years, and even if they don’t, maybe even 60 years. I think I can live to be 93…but I really hope people enjoy it!

@25Mag’s Kiah McBride reviews the “Our People, Our Haiti” benefit show at the Warehouse Loft in Washington, D.C. The show raised $1000 and featured performances from Tabi Bonney, Chris Barz, The Five One, G5 Clive, Amber Mimz and others. Review and photos after the jump!

One of the many hidden treasures that D.C. has to offer lies within a four-story brick building called The Warehouse Loft. It was here that eager musicians and fans alike gathered for the “Our World, Our People” Haiti relief concert featuring a variety of local DMV artists. The show started hours late, surprise surprise; however, once the music started, the atmosphere quickly transformed from a laid-back social scene to an all-out concert.

Opening the concert was an eclectic girl group, The Goldin Girl Tribe, who quickly grabbed the crowds’ attention with suggestive body rolls and an upbeat island sound. The diverse girl group knew just how to keep the excitement alive in the room and interacted with audience members throughout their performance.

Not far behind The Golden Girl Tribe was The Five One band who took the word “hype” to a new level.  They came on stage with such high energy that had the crowd started bobbing their heads and foot-working to every song. Their live band set featured 50′s inspired jams and a stunning guitar solo.

Following The Five One band was well-known DMV artist and poet, Chris Barz. Barz hyped the crowd up with his welcome song “Mr. Barz, Mr. Barz” from his latest project Class [Sickz] Out The Dark released this past December. Surprisingly, this lyrically gifted emcee is under 21, yet he possesses the talent and skill of a veteran as demonstrated in his tribute to Haiti, which he composed just minutes before his performance.

Finally to grace the stage was headliner Tabi Bonney, who immediately received a lot of love from the overzealous audience.  Bonney began with a shout out to Haiti and a reminder to the crowd to help those affected by the disaster. Fans rushed to the front of the stage to dance and chant along with the lyrics to his popular hit “The Pocket” off of his 2006 debut album A Fly Guy’s Theme. Bonney got into his element with quick-footed shuffles to “Jet Setter,” an upbeat track with a futuristic sound.

The Warehouse Loft was an ideal place to hold the benefit concert. The lively atmosphere and wide selection of performers made the Haiti relief event worth the five dollars it cost to get in. Among the main performers were other talented DMV artists including G5 Clive, Daron Forbes, M1 Platoon, and Mz. Mimz.  Despite the initial wait, the performers left the fans with quality music and a positive vibe.

Wale Speaks On Haiti x Charles Hamilton x 2010 from 25 Magazine on Vimeo.

We caught up with Wale after his performance for the Hands for Haiti benefit concert at Howard University for a follow up to this interview. Check it out!

It’s on youtube too!

We caught up with Wale after his set in the DMV Helps Haiti Benefit Concert at Club 930 for a quick interview, check it out!

Happy Holidays from the @25mag fam! Check out our Holiday downloads!

We hope you all are enjoying your holiday! As a special treat, 25 Magazine has posted downloads to some exclusive Holiday releases from The Cool Kids, U-N-I and J*Davey!

CHECK IT OUT!

The Cool Kids x Don Cannon – Merry Christmas (EP)
Thurzday of U-N-I x Dibia$e – “Not Quite A Christmas Story” (mp3)
J*Davey – Boudoir Synema: The Great Mistapes (mixtape)

P.S. Check out the redesign in our new beta site!

Best,

25 Magazine

According to Dan at Elitaste blog, “The Meeting,” recorded two years ago, was Wale’s manifesto of his goals in his music career. The track produced by Osinachi was once played in his first label meetings. Hear for yourself whether Wale measured up to his goals.

Listen here:

Source: Elitaste

Download: “The Meeting” by Wale

25 Magazine’s Kiah McBride reviews Robin Thicke’s fourth studio album Sex Therapy: The Experience.

Words by Kiah McBride

Robin Thicke has strayed from the classic soul style of his previous albums towards a more contemporary R&B sound mixed with Electronic and Pop. On December 15 he released his fourth studio album Sex Therapy: The Experience, and as implied by the title, the album oozes sexual allusions and stimulating beats. As if that isn’t enough to keep the audience begging for more, he also took the idea of role-playing to another level and took on the persona of a sex therapist through various tracks. He solidifies the album with a wide variety of guest artists including Nicki Minaj, Jay-Z, Snoop Dogg, and Estelle. In Spring 2009, Thicke co-headlined a six-week national tour with Jennifer Hudson and he performed at the 2009 Soul Train Awards. With the release of his new album, we don’t expect him to lose his stroke as he returns to educate us on the art of “sex therapy.”

Sex Therapy: The Experience takes on an erotic tone from the beginning, with the opening track “911” establishing a sexy patient-therapist relationship that thrives throughout the album. On “I Got U,” a woman says in a lustful tone “doctor I have a pain all over my body, can you help me?” in which Thick responds “we have some chocolate-covered strawberries, if you like.” Robin Thicke gives us a taste of his sexual clock in tracks such as “It’s In the Mornin’” featuring Snoop Dogg where he says “You know I like it first thing/ Cuz you let it marinate, let it marinate.”

Based on the beginning tracks it can be assumed that Sex Therapy: The Experience is solely built around—well—sex. However as the album progresses, Thicke gives us more than just that. On “Rollacoasta,” he combines a fun beat with the quick, pulsating sound of a tuba. On this fast-paced track he shows that he would do anything to save his relationship as he says “slap me in the face/punch me in the eye/ do me how you want baby/but just don’t say goodbye.” On the track “Elevatas” featuring Kid Cudi, he alludes to fame being a dark hole that many get sucked into, singing “I’m fallin, fallin/ I’m moving so fast I might never go back.” Robin’s change in song content does well to keep the tracks from becoming redundant.

 Musical variety and the narrative journey will keep the album in heavy rotation. You will easily find yourself craving for more of his sensual vocals as he takes you to a world where the stress of fame and maintaining relationships collide. His collaborations with fellow artists add to the credibility and flavor of the tracks. Fans may be surprised that some of the tracks do start to stray away from the risqué theme and become more about crooning for love. This however, doesn’t detract from the overall appeal of the album. Thicke’s gentlemen-like persona is all we knew before, but after entering his bedroom we now see that he has no place for softness.

Check out 25’s unsigned and undiscovered series, “The Breaks” featuring Poe Picasso.

Words by Tray Laws |Photo Courtesy: Poe Picasso

In 2006, Poe Picasso picked up his pen and began writing rhymes that he eventually recorded a year later. Once his project was finished, the Brooklyn rapper only shared his music with friends. He had no intentions of releasing it for the world to hear. But his friends felt the heart Picasso sculpted into his music, so they pushed him to release it publicly. Those tracks became Exhibit A: The Real Hip Hop Project, released in January 2009. With Exhibit A, Picasso wants to prove that New York still has more to say. His flow is equipped with appeal, consistency, and intelligence. On the track “She Cries,” Picasso raps maturely about the many issues of Mother Earth, and how the people are contributing to her pain. On “Waste of Lead,” Picasso aggressively gives his view on the state of hip-hop and that it needs to be saved. This mixtape, a compilation of respect demanding, lyrical, feel good hip-hop, is a good start for Picasso as he makes his contribution to the ‘Hip Hop Museum.’

Although it took him two years to put out his first “Exhibit,” Picasso weighed his artistic scale, and realized he was heavy enough to put out Exhibit B: Manifest Destiny in November 2009. Picasso is aware of the load he carries in his aim to be the best out of New York. The city is home to some of the most well known rappers: Biggie Smalls, Jay-Z, and Nas. Yet, while proving he is worthy of being in the same realm as his predecessors, Picasso has figured out how to do it his way. The rhymes Picasso conceptualizes, paint the picture of his city in a different hue.

25: The name Poe Picasso definitely grabs attention, how did you develop the stage name?

Poe Picasso: It was simple. The Poe part I came up with, and the Picasso part my friend came up with. Me and my friends always use famous names or names of influential people; he suggested adding Picasso on the end of it and it just made sense. The Poe Part is from Edgar Allan Poe and the Picasso part came from Pablo Picasso.

25: A lot of your fellow New York Rappers talk about The Big Apple in their rhymes, how did the city that never sleeps influence your sound and your Mixtape Exhibit A: The Real Hip Hop Project?

Picasso: New York was the main influence. New York was basically known for its lyrics that had some kind of toughness behind it. So, Exhibit A would just be a re acquaintance with New York; letting the people know that there are people in New York who are still lyrically in this who can make it. Plus, growing up in New York you have to, well not everyone, carry a certain prestige. I cant say I’m from New York and people hear my music and think ‘nah you don’t fit in that realm.’ I think that’s what motivated me more to push it to the next level.

25: In your song “Bask in My Glory” you say “the Internet makes a loser feel important,” and “Since when was it cool to be a lame, cornball, or a nerd, but I guess that’s what works.” What did you mean by those lines?

Picasso: Basically, when you’re online its different from being in person. When you’re online you can do and say whatever because you’re behind a monitor and no one can see you. So they can post stuff with no real credentials or post stuff in whatever look that works for the moment. Being yourself just doesn’t work anymore-now you have to have a story. Before, what made you stand out was your specific flow. Now it’s about what you’re wearing and what kind of watch you have. The music has become the secondary element.

25: On your Myspace page bio you describe yourself as a Messianic (mes•si•an•ic) Adj. 1. Relating to the belief that someone or something will bring about a complete transformation of the existing social order. How will you achieve this message through your music?

Picasso: I do so by keeping it as honest as possible. You can tell when a person is just rapping to rap by how many ‘cool lines’ they try to write. I write in honesty so I don’t feel like I’m just writing. So, If I’m keeping it as honest as possible and people feel that then the change has began and the message spreads. The way I use my words when I write, it’s poetry and that’s where the art form takes shape. I always have a message I’m trying to convey because as artists we have people that listen to our music and internalize the message we’re trying to convey. We’re the voice of our generation so it’s important for our listeners to get the message.

25: What’s your plans in the near future and where do you see the Poe Picasso brand in 5 years?

Picasso: My plans for the future are to be the number one artist. The best. If I’m not the best then I’m doing something wrong. As far as the Poe Picasso brand I see it being on the forefront carrying on the art form. I want my name to be the staple of New York, The flagship artist like when you think New York you think Poe Picasso. I know that sounds a little far fetched but that’s what I’m working for.

25: Anything else you would like to add?

Picasso: My next project, Exhibit B is one of the best bodies of work about to break. I’m very competitive and I’m not OK with being just OK and a lot of artists are OK with that. I think the healthy competition is lacking, not a beef type of thing, but by being the best it would push other artists to be the best.

You can find Poe Picasso’s Exhibit A: The Real Hip Hop Project and Exhibit B: Manifest Destiny at myspace.com/poepicasso

Check out 25’s unsigned and undiscovered series, “The Breaks” featuring Coco and Breezy.

Words by India Banks |Photo courtesy of Hi-Def Photography

“Constantly on the grind” is clearly an understatement for identical twin designers Corianna and Brianna Dotson, better known as Coco and Breezy. The two natural born hustlers have worked their way from Minneapolis, Minnesota to the fashion capital of New York City at the age of 19, where they’ve resided since August. Recognized back home in Minneapolis for their eye-popping, neon colored patterns and bold style, they’ve both managed to piece together time as dancers and freelance models for Ignite Modeling Agency and Vision Model Management. And now with each other as their inspiration, Coco and Breezy have created an eccentric line of eyewear called “Gemela Amor.” Their clock seems to never stop ticking.

The idea for the trendy specs came about by mistake. One night, Coco and Breezy were experimenting with metal studs, one of their favorite accessory and they accidentally spilled them on a pair of shades. At this moment, the idea to create their own custom eyewear was born. Since April, the twins have been brainstorming and promoting their innovative creation and gaining exposure. Earlier this month the two were excited to see Ashanti donning a pair of their shades at the VH1 Hip Honors Award Show. These mysterious, dark, studded shades have become a signature part of the twins’ image which they use to mask their self-proclaimed coyness. Frequently designing new frames for their numerous orders, Coco and Breezy rarely get a chance to live like average teenagers. As newcomers in the big city, the two upcoming designers feel they have the drive to get over any hill no matter the height.

25: Tell me about where you guys grew up?

Breezy: We are Coco and Breezy, and we are from Minneapolis, Minnesota. We are now living in New York, and we’re 19. We are identical twins and we are very close like we haven’t been separated for more than 24 hours. Coco and Breezy are identical, but Corianna and Brianna are paternal. When we were 15 we did more dancing, then from 15 to 17, we focused more on modeling. Now we are focusing on just designing. It’s hard because we don’t get any sleep, but it works out because it’s two of us.

Coco: People know us for our style. We express our feelings through our style like people are intimidated by us, but we’re mad cool. We just have our own image.

25: Who/what are your main inspirations?

Breezy: When we first started designing, we would feed off each other and inspire each other. But now I would have to say Michael Jackson because of he was into all the studded jackets and metal.

Coco: He just had that look and Grace Jones too.

25:  Did you ever think coming from Minnesota was a hindrance in your ability to succeed in the industry?

Breezy: No not really, because it’s great to start in a small state. We were locally famous. We were in all the local newspapers, and everyone knew us. You have to make it in your state before you go to bigger states. Being in Minnesota helped us proceed in the big states.

Photo Courtesy of CocoandBreezy.com

25: With the industry being so competitive now, how do you see your designs for your eyewear different from those of other upcoming lines?

Breezy: Sunglasses are definitely getting big in this industry. I feel like ours is more different and artsy. It just comes natural, like we don’t have to think.

Coco: We just do what comes to mind. We believe that fashion is art.

25: What advice would you give to students who are pursuing the same goals as you?

Breezy: They have to go through hard work. We always have to be two steps ahead. Some people get to the top and become too comfy. Don’t wait or depend on somebody. You have to go hard and get what u want.

Coco: We don’t have a real management team because we did it all ourselves. Work hard now, play later. Everyday we grind!

The line “Gemela Amor” by Coco and Breezy can be viewed at cocoandbreezy.com

Click HERE to get on the list.

50 Cent is in transition. He’s perched on the cement roof of Camp Curtis in Manhattan with sidekick and G-Unit kinsman Tony Yayo at his back while a reality television show cartel anxiously anticipate his next move. The entrepreneur dons a navy pinstripe three-piece, royal blue tie and air of austere discontent. It is the pilot episode of his MTV reality television show “The Money and the Power” and Mr. Jackson is deliberating eliminations in an effort to teach his novice cast an important lesson in business.  He approaches the feisty contestant Precious, jaw clenched, perhaps too close for comfort, and stares intently into her eyes. To everyone’s surprise, Fifty decides to send home her faulty team leader, saving Precious from an early elimination—Instinct. Since the 2003 release of his freshman LP, Get Rich or Die Tryin’, 50 has been fervently dishing out business advice to anyone who’d listen, and after topping Forbes’ 2008 “Hip Hop Rich List” (he tied with Akon at No. 4 in 2009), the world is all ears.

Fifty’s first lesson in business—invest smart and early. In 2004, he purchased equity in Glacéau and launched his own brand of VitaminWater, Formula 50. In 2007, Coca Cola acquired Glacéau in a $4.1 billion deal, leaving Curtis Jackson with an estimated profit of up to $400 million and continued partnership as the “Air Jordan of VitaminWater.”

His second lesson—no concessions. Despite extensive promotions, 50 Cent rescheduled the release of his third album Curtis in order to maximize on both U.S. and international sales in 2007 and reaped 5 million copies sold worldwide in the face of the dwindling music industry.  The shaky economy set up 2008 winter releases for financial failure and prompted Fifty to push his fourth solo project Before I Self Destruct to February 2009 and later September 29, 2009, promoting the LP with extensive radio play, single releases and download specials.

As for Fifty’s third lesson, you’ll have to buy the book—The 50^th Law; A Robert Greene collaborative project and 48 Laws of Power spin-off in stores today and lofty addition to Fif’s bevy of endorsements and products. In the past two years, Jackson earned over $170 million (Jay-Z  earned 30% less at $117 million) and has proved himself a savvy businessman despite what corporate considers a misleading thug-posturing music persona. He’s garnered money and power with his triumph of the entertainment industry and now that he’s risen to the top—is after our respect.

25 Magazine: Rumors are spreading like crazy on the value of the 50 brand but they’re all conflicting, how much are you really worth?

50: Like my net worth? I don’t even know. After taxes and everything we’ll figure it out. I mean as far as the companies I haven’t sold already you know what I mean? When you build, the object is to build the companies up to the point that you can actually sell em. [I] don’t want to underestimate or overestimate you know. If I overestimate then people gon say I was frontin’ and if I underestimate they say I’m just giving you a bullshit answer.

25: Hmmm, well it is without a doubt you’re doing well. Do you have plans to expand your brand further?

50: Oh absolutely. I mean I think that’s the big portion of what we do that artists miss. We’re in the music business. I think they just get stuck with music.  And they never know the business when they trying [to] make the type of interest to have the type of popularity and celebrity that’s involved. The marketing that was done and being spent on an actual artist…I just think that applies to my personal interests. I’ll make a commitment to VitaminWater as opposed to an alcoholic beverage because it’s more, a more visible representation of my lifestyle. I’m really health conscious.

25: Word on the street or the internet rather, is that you made the right choice investing in Glaceau. Do you ever feel the pressure succeed this hit or miss industry?

50: Well yea. On every level I feel pressure to succeed you know but not just from the label, from myself.  You know when you got the entire art form down 30% of course I like to be the turning point for a positive. You know what I mean, where you actually start selling records again based on a new album. But if not there ain’t much to look forward to so I mean while you got people out there that’d like to see me do bad, they can [revel in] the bad, they can also forget about their chances of making a successful career for themselves and this art form.

25: Rap sales have been down yet the interest still seems to be growing. Who do you truly feel dictates the trends in Hip Hop, the artists or the corporations?

50: I think the artists do but corporations, I mean ultimately the corporations do but artists they gotta turn their music in you know what I’m saying? The problem with Hip Hop right now is that no real artist control; there’s no creative control. They used to have, the A&R department used to be a lot stronger where they would help create a creative direction with the artist and now it’s like an artist will come in and if they got one good record they might get signed for that record…And do the single, I mean if the single works, ringtone will pay for your album. Now you give an artist in there a really good record…and it was a really good record you say okay well we got a single, all you gotta do is go in the studio mix and master the single, put the single out. If the single connects, the ringtone can earn enough to support them giving you a budget to create your album.

25: No more albums?! Seems as though artists are getting the short end of the deal. What would you consider your biggest grievance with the music industry?

50: You know what it is. You got a lot of people that don’t actually from an artist perspective…because you see an artist, you create all type of envy and negative energy for other artists because I come from an artist standpoint but these artists don’t actually wanna learn the business.

What I dislike the most about the music business is rappers see everyone else who actually raps as their peer. Even if you work yourself into a different space in business and financially they still see you as their peer so they begin to envy your space instead of just build on their own energy because Hip Hop is so competitive that the artists utilize whoever is in a good scene as a target or their competition. You understand what I’m saying? You know and I deal with that constantly and I feel like this like about this particular art form and I don’t think R&B artists don’t well…they don’t respond the same way like they don’t say. Like I don’t see um Pink saying “fuck Ne-Yo” you know what I’m saying because his record is good you know and that’s what happens in  Hip Hop space, so it’s different like that’s the only portion about the hip hop genre of music that you know ours is a little different.

25: Speaking of understanding the business, do you own your publishing? How important do you feel it is for an artist to own their publishing rights and side business ventures?

50: Yes I do. Well it depends on where that artist is at financially or what kind of deal they actually do it in. If you wanna do it in an Administrative deal it’s somewhat you know like a lot they held on to all the publishing and didn’t have anybody involved with collecting all their publishing then they probably wouldn’t pay the money they were supposed to pay anyway.

25: Well you have been doing pretty well for yourself, did you ever anticipate this much success?

50: I always had big ambitions. Big dreams you know what I’m saying. Well I always envision things. What I mean by that is before I used to think of something and just sit there and just be thinking of it. That’s dreaming. When you come up with something and you start figuring out how to execute it. That’s envisioning you know you’re actually attempting to execute it you know I take my idea and I roll with them.

25:  You came from humble beginnings, as a Black entrepreneur do you feel a responsibility to give back to the community?

50: Well I think everybody should, that’s in a position where they could actually do it. You know I come from the bottom so to be able to provide something that wasn’t provided to me to help someone else life experience or a small piece of it. I ain’t doing so much where I’m altering their life totally you know what I mean. To me the biggest donation is making a small dent in what needs to be done. You know so I guess… as far as all of the charitable things I’ve been involved in I didn’t want to create a non for profit organization I feel like that would be me running a whole ‘nother business. Because that is a business you know what I’m saying like there’s a lot involved in having a non for profit so what I did is I set up the G-Unity Foundation where I could actually take proceeds and my donation and donate to other existing charities.

25: Do you think other artists are contributing enough?

50: I think the ones that can are.  You know I think a lot of them…I think the perception of Hip Hop artists is a lot greater than they actually are and it’s because of what they see on television like rappers be superheroes within themselves you know they rap about the coolest stuff. It’s the lifestyle that they aspire to have. You know sometimes you gotta fake it until you make it. You know and that’s what they doing so there will be a lot more money around than there actually is and because they aspire to live life on the highest level they splurge early. So you see them with the nice cars when you see them in passing and big jewelry and everything else on and you think wow this guy is rich when he really doesn’t have a lot. He did what would be visible to make people get that impression but they don’t actually have it.

25: Where do you see yourself in 5-10 years, music or business?

50: In ten for sure more in business. I’d be 44 years old. You know, not rapping. By 44, I will behind-the-scenes more.

25: Do you think you’ll ever settle down?

50: Well I can’t predict the future but I’d say right now to answer that question I’d say I see myself in business at 42. I know people who have families and they conduct, at a different pace but they still have businesses so and right now I’m off and running. I’m going to do what I got to do to sell a record and do different things but… after then everything starts to mellow down a little bit.

25 Magazine is the proud recipient of the 2009 Black Weblog Award in the Best Post Series category! A total of 8000 ballots were cast in this year’s awards and we got the popular vote for our Starving Artists series! Thanks for your support! There’s no trophy but we do get this cool banner thing. Check it out after the jump!