Krayzie Bome recently dropped in on Ebro in the Morning to discuss his new joint album with Bizzy Bone. Joined also by manager Steve Lobel, he also reminisced about he and his fellow Bone Thugs members creating Notorious Thugs with The Notorious B.I.G., and talked about their infamous bus ride, first to California, then back to Cleveland, and finally back to California in their pursuit of hip-hop success.
Check the video clip out below for the full interview!
The ladies of #TLC are back with their new single, Way Back, featuring Snoop Dogg! It's a hot new west coast vibe for the ladies, and it's definitely next level for T-Boz & Chilli. "Way Back" stands as the lead single to their final album, which is due in stores this June. Take a listen to the track below, and be sure to comment with your thoughts!
Fans have been eagerly awaiting the release of the upcoming 2Pac Biopic, 'All Eyez on Me'. Finally, as June air date has been set, and BET has released an extended trailer for the film chronically the final years of the slain hip-hop luminary.
Take a few moments and watch the trailer below!
http://www.bet.com/content/bet/music/2017/04/07/tupac-all-eyez-on-me-trailer.html
I've been to many concerts, but tonight's show with Marsha Ambrosius & Eric Benet at the Hard Rocksino was absolutely amazing. Eric Benet opened the show, taking us on a journey through two decades of hits that had many standing in their feet dancing and singing throughout his performance. He made sure to provide a little humor through multiple stories he told between a line of hit songs.
Marsha Ambrosius closed out the night, taking us on a similar journey through her solo hits, as well a as her gems as a member of Floetry. Ambrosius' energy was through the roof, as she took moments to sing along to many of her favorite songs by fellow singers and musicians. The audience laughed hysterical at the story of how her baby was almost named first Kyrie, and then KyLie, where the L would be symbolic of Lebron. Unquestionably, Ambrosius puts on an amazing show, and the audience was ecstatic to see her again, as she was here just last year. Topping the evening off, both artists took time to meet and greet with fans, taking pictures in the midst of it all. Simply put, it was an amazing evening that will be long remembered. You definitely want to make it a point to see these two if they hit your city.
Rick Ross | MTV Woodies | Photo Credit: Getty Images, Courtesy of MTV
It was a night to remember for those who were in Austin, TX SXSW and The MTV Woodies. D.R.A.M. opened the night alongside by Lil' Yachty. They were the perfect intro for Rick Ross, who served as the event's host for the night. Ross shined in his role as master of ceremonies, as the night rolled on with several artists winning coveted Woodie awards, and many more offering arousing performances to keep the crowd on their feet.
Ross is dominating the spotlight this week, as he released his highly anticipated album, Rather You than Me, as the event ended last night. The album is now available in stores worldwide, and with all digital retailers.
For more on The MTV Woodie Awards, visit www.mtv.com/woodies
Scroll below to check out some of the nights hottest performances!!!
JIDENNA: HELICOPTERS
DESIIGNER: OUTLETS
D.R.A.M.: CHA CHA
New artist Khalid hit it big tonight at the MTV Woodies! Hailing straight out of El Paso, TX, the up and coming R&B artist is well on his way to superstardom, as his debut album, American Teen, landed in the top 10 this past week on the infamous Billboard 200.
Tonight, he received further vindication in the name of a coveted award, the MTV Woodie to Watch award. Watch below as he hits the stage to perform!
You can also catch the full show by logging into your cable providers at www.mtv.com/woodies
The night is done, and another amazing event has jumped off in the name of SXSW (South by Southwest) The MTV Woodies. Hosted annually in Austin, Texas, The MTV Woodies serves as the ultimate vehicle for urban music's brightest emerging talent.
The leading entertainment network pulled no stops in this year's show, as it featured guest host and performer Rick Ross, who coincidentally released his anticipated new album when it was all said and done, plus performances from the likes of Young M,A,, Bibi Bourelly, D.R.A.M., Jidenna, and a host of others.
Winners for the night included Khalid, PARTYNEXTDOOR, Ed Sheeran, & The Chainsmokers. You can head on over to www.mtv.com/woodies for the full rundown.
Take a look below at this exclusive recap performance from D.R.A.M., courtesy of MTV!
Lil' Yachty at rehearsals for MTV Woodies; 📸credit: Getty Images
Tonight will be an event to remember here in Austin, Texas! The annual SXSW Festivals are kicking off tonight, and the roster is something you've revered by any music lover. The artists have all been here and prepping since yesterday, and they're geared up to make the night pretty special. The event kicks off at 7pm sharp with performances by urban music luminaries Big Baby D.R.A.M., Lil Yachty, Young M.A., Bibi Bourelly, MUNA, and PVRIS. That's ink the beginning. The main event features host Ricky Rozay himself, along with more from D.R.A.M. And Lil Yachty, plus added performances from Jidenna, Khalid, Starley, and Desiigner.
A$AP Rocky, MTV's Gabby Wilson, & A$AP Ferg at MTV Woodies Pre-Party; 📸credit: Getty Images
We're just as excited as everyone about tonight's extravaganza. It's definitely something epic for music, and by all means it forwards the culture tremendously. We'll have a full viewable stream up tonight following the festivities, courtesy of MTV!
The “MTV Woodies” is a yearly event that spotlights an eclectic roster of emerging artists across musical genres. The 2016 line-up boasted Anderson.Paak & The Free Nationals, A$AP Ferg, BØRNS, The Chainsmokers, CHVRCHES, Jack Garratt, Jidenna, Kehlani and Lukas Graham. Past “MTV Woodies” performers include Wiz Khalifa, Twenty One Pilots, Sam Smith, Iggy Azalea, Steve Aoki, Foo Fighters, Odd Future, The 1975, Childish Gambino, Santigoldand Mac Miller.
In-demand Houston producer Trakksounds presents a hot new track entitled “11:15” featuringDevin The Dude, Kirko Bangs and Neko. Putting an amusing twist on the TLC classic “Creep,” the versatile producer reimagines the sexy late night rendezvous from a man’s perspective. The soulful jam is the second release from Trakksounds’ forthcoming albumThe Other Sidewhich includes artist features by Scarface, A$AP Ferg,Devin The Dude, Kevin Gates,Dizzy Wright,Starlito, Maxo Kream, Scotty ATL, Xavier Wolf, Kirko Bangz and many others. Full tracklist included below.
“I grew up listening to TLC and am a huge fan. I’ve been wanting to flip the Creep sample and put out a fresh male perspective on it,” explains Trakksounds. “So I linked up with my co-producers Roc N Mayne in LA and we just vibed out on it in the lab. I needed it to be the same soulful feel so I presented it to Devin who I knew would deliver the hook perfectly. And of course Neko’s wicked pen never disappoints and Kirko sealed it up with his swag.”
LISTEN TO "11:15" ON SOUNDCLOUD
“11:15” follows lead single “Once Upon A Time” which paired a long-awaited collaboration with Scarface and Starlito. Praising its dark piano laden production as “fantastic,” XXL was proud to exclusively premiere his first single last month. Meanwhile HotNewHipHop gave a nod to the “spooky production provided by Trakksounds” and encouraged readers to become familiar with the Houston producer who’s “working with some of the hottest artists in the game right now.”
LISTEN TO "ONCE UPON A TIME" ON SOUNDCLOUD
Fans can catch Trakksounds in the mix at SXSW this Wednesday March 15th. He will be at the Palm Door performing at the Welcome To Tha South Showcase alongside Peewee Longway, Maxo Kream, Starlito, Ralo, Sonny Digital and more.
To celebrate his new album, Trakksounds will host a hometown album release party on April 1st at Houston’s Warehouse Live with not-to-be-missed performances from Starlito, Don Trip, Scotty ATL and many other special guests.
See track listing below...
1. Intro
2. Once Upon A Time (Ft. Starlito, Scarface, Kam Franklin)
3. Priorities (Ft. GT Garza, Roosh Williams, Doeman)
4. Feel Alive (Ft. T2 The Ghetto Hippie, Dizzy Wright)
5. Fireflies (Ft. Fat Dollies)
6. Issues (Ft. Constantine)
7. Active (Ft. Maxo Kream, Xavier Wulf)
8. Can't Explain It (Ft. Scotty ATL, Rizzoo Rizzoo, OranJuiceJones II)
9. 11:15 (Ft. Devin The Dude, Kirko Bangz, Neko)
10. No Doubt About It (Ft. Railey Rose)
11. Never Tipsy (Ft. Killa Kyleon, ASAP Ferg, & Maxo Kream)
12. Known Fact (Ft. Scotty ATL)
13. B.M.W. (Ft. Ye Ali)
14. Ringing (TrakkSounds Remix) (Ft. Kevin Gates & Killa Kyleon)
15. Tomorrow Never Comes ft. Kam Franklin, Heartbeatz & Neko
It’s always wonderful to reconnect with artists and individuals who we cover with U.G. Digital Magazine. Many will remember that we first connected with A5kem nearly two years back for one of our many issues. Arguably, he’s one of the most artistic people you’ll find , titling his brand an legacy ‘Art You Can Hear”. Over the years, he’s created amazing artwork of some of urban music’s largest figures, and that work as been recognized all around the world by many of those artists.
We’ve reconnected with him to get a much-needed update on his journey, and where his work has taken him since we last spoke.
U.G. Digital Mag: First of all, I have to really thank you for this opportunity. You were so instrumental in our early success as a publication. I've always wanted to give light and shine to individuals like yourself, and your willingness to participate in one of our early issues was so appreciated. Thank you for this time around as well. I have so much respect for you and what you're doing. I understand how big this is for you, and at the same time, it's just your everyday life. I love how your artwork really depicts the artists in the way we know then, but i sort of feel like it also defines them in a totally new way. Talk to me about what's in your mind when you create?
A5kem: I love to create images that resonate with the target audience. Like a song, I aim to allow each image to speak to the individual and invoke memories and emotions. Through this imagery that I entitle 'Art You Can Hear' I aim to have each image take you on a journey, to relive that first moment when you heard a particular song or artist. I think this is important as I create a relationship between the individual viewer and each image. Art is really about the experience and what it gives to you both visually and mentally, but without the pretentious 'art speak' that so much art has as an almost ball and chain around it. I think that if art is presented in that way it can very intimidating for the audience and potential buyers.
U.G. Digital Mag: What gives you the passion to create? Do you go through periods where you've kind of had it and you put it down for a while? If so, what brings you back to that mood of creativity?
A5kem: Well, I began my artistic career as a surrealist, painting dark images that came from deep within my soul. This form of art caused me to pack up tools and walk away for a year or so. I just felt as though the work had become almost like a form of therapy and each canvas was a record of my poor mental state. I returned to art with a completely different perspective and mission and that was to chronicle my lifelong love of Hip Hop. Hip Hop really is my inspiration, from the unique and powerful story telling and socially conscious lyrics of the golden era to today's interpretation. Hip Hop always enables me to find inspiration and opens the door for creativity.
U.G. Digital Mag: What's happening in your mind while you're creating? What thoughts are flowing in reference to that particular artist?
A5kem: Typically I try to find a hook that associates the artist with something that relates to their character, for an example I did a Kanye West piece where I had many hidden faces within the main portrait and references to Da Vinci's Vitruvian Man. I think this reflects the spectrum of Kanye's personality and creativity. My thoughts are to always challenge the audience with what I create, to create something that is truly iconic and unique from any other artist’s work, again 'Art You Can Hear'.
U.G. Digital Mag: You've gained so much more acclaim in the past year and I think it's amazing. Speaking from the mind of creativity, I absolutely love the entertainment industry, and it excites me when I interview someone and they love it. There so much bad media, and people who are vindictive when writing about pop and urban culture, so I love when people see my true intentions. How do you feel to see people like Chuck D on a plane posting about you, or any other artist for that matter who has given you praise?
A5kem: For me having artists such as Chuck D provide validation and interest in my work is what makes it all worthwhile, these are artists which inspire me and through they’re craft have allowed me to grow not only as an artist but as an individual. It is something that really gels well with my ethos and vision for the work as ultimately I am recording their craft so the relationship is essential to be a two way thing built on mutual respect and love for each other’s work.
U.G. Digital Mag: How has business been for you now that more people know of you?
A5kem: Art is always a challenge and there are so many preconceived ideas of what or how art should be presented and defined and with the presence of social media it is an even bigger challenge for artists, however I have been fortunate to cultivate a good following and have built many contacts within Hip-Hop itself that it has allowed me to have art as my day job.
U.G. Digital Mag: Where do you see things heading in the future in terms of artistry, and the subjects you want to depict moving forward?
A5kem: Currently I am working on a book with Chuck D and some fellow artists. This should appear at some point in the summer. I also plan to move stateside and bring ‘Art You Can Hear’ to America as it will allow greater opportunities to grow and diversify my work. I visualize creating an art foundation at some point where I can facilitate teaching art to young people and bringing art to urban America.
U.G. Digital Mag: Without me going into heavy detail, I know you've experiences some of life's most tragic moments throughout your time doing this. I can only imagine how it has affected your creativity and will to move in at times. How have you gotten inspired to move forward?
A5kem: Well, I would say that the beginning of this year has been without doubt the most difficult period in my life and I have really struggled to find the inspiration and motivation to move forward. Ultimately, I provide a service and there is an expectation for me to deliver consistently to an audience that has been loyal to me. So really, I draw inspiration from those who like my work. If I can keep them interested and enjoying my work that is the greatest reward and allows one to heal as well.
U.G. Digital Mag: What things can we look out for in the near future?
A5kem: As I mentioned a move to the USA where I will then be more accessible to my audience and Indeed providing access to the birthplace of Hip-Hop itself. I am looking at creating a full service art agency providing ‘Art You Can Hear’ to the industry and beyond.
U.G. Digital Mag: Any final thoughts at all?
A5kem: Thank you to a woman that gave me everything in life and always encouraged me to pursue and succeed with a career in art. A woman who is irreplaceable. My mother. The journey continues.
One of the things we’ve enjoyed doing here at U.G. Digital Magazine is providing coverage and showing love on all levels of entertainment and music. One of the many features we do within the magazine is “Meet the Producer”, which gives us an opportunity to spread the word about some of the industry’s best and brightest producers. These individuals are creating some of the biggest staples in music, and it’s beyond fitting for them to get some love out there. Naturally, there’s not a lot who really shine a light on the producers, so we’ve taken that lane with “Meet the Producer”.
We’re excited to transition the feature directly to the site with this new feature with JazzFeezy. It’s definitely fitting, and lends to the things I just spoke of because our connection actually came via us showing love for one of the big hits he handcrafted, that being Hardo’s “I Know You Ain’t Got Act Like”, which also featured rapper T.I.. We tend to post via social media about a lot of the songs we enjoy, and through that post, JazzFeezy hit back showing his gratitude, which ironically is something we don’t see a lot of, whether it’s with us, or anyone. It’s honestly was pretty refreshing, and we knew at that moment we needed to connect with JazzFeezy, who we truly view as one of the game’s super-producers.
JazzFeezy gives us an open view into his life, what got him to this point, and the things he’s got planned to elevate the production game to an all-new level.
Check out our exclusive below…
U.G. Digital Mag: This is really awesome that we’re connecting man. Obviously, it’s been a while since we posted to that track, and it was so dope, but I honestly had never looked into the overall production. Once I saw your post, and really looked it up, I felt a little crazy. You’ve worked with so many people I follow, from Travis Porter down to T.I. and MGK, who hails from here in Cleveland. It’s dope to see all you’ve done. Kudos for everything you’ve done, and thanks again for tagging the post.
JazzFeezy: I’ve been listening to a lot of different motivational speakers, and they’re basically like have you ever sat down and searched the hashtag of all of your hit records? That’s what prompted me, and I saw so many people showing love. Someone recommended I post, say thanks, and introduce myself. You never know what could from that, whether it be a follow, or a production relationship. That’s honestly what I did, and it’s how we ended up here.
U.G. Digital Mag: I think another thing that makes me appreciate you so much more is so many producers are out there, but they kinda disassociate themselves with “enjoying” the fame and wanting to know who really digs their music. They don’t really care who is following, and it makes them lose that human side. For you doing this, it shows that side, and my thought is that this is supposed to be fun. I think it’s really cool, and people see that you’re just like them.
JazzFeezy: Of course. Before I started production, I was a lover of music first, and it also goes back to manners. If someone shows you appreciation, you give it right back. The fact you took the time to show love and post it, it means a lot because without that support, the song is dead. We release these songs by the ten-fold, but it’s the fan appreciation that gives it the longevity. Saying thanks is nothing, but it shows that this is a human being. Comments will say that it’s dope, but you don’t really know if it’s a bot or something. To actually say thanks and a few words behind it, it gives that person the idea they’re talking to a human being.
U.G. Digital Mag: You’re from Canada, right?
JazzFeezy: Right. Where Toronto is, I’m about an hour north of there in Barrie, Ontario. If Toronto was like the hubcap, there’s like an hour of trees, farms, and uninhabited land; then you have a city called Barrie, and that’s where I’m from.
U.G. Digital Mag: It’s dope man. I connected with Peter Jackson, and I thought he was so dope too. I know you guys have worked together before. What got you into music, and how did it really start?
JazzFeezy: At 16 and 17, I began to see how easy the school system was, and I stopped caring as much. I started doing more with Sony Sound Pro, Fruity Loops 2, and Cool Edit Pro. I started tinkering with it, finished high school, went to school for a computer systems degree, and then realized that wasn’t what I wanted to do. My father let me go to a private school called Harris. It’s basically a studio, but they offer production engineering. Upon completion, they promise you a job, but there was nothing, and I was always on the Toronto scene. I went to the battle of the beatmakers, and I met Matthew Samuels who is Boi-1da, and T-Minus from Ajax, and I kept in contact with them and kept sending them beats. I had the drive and just kept following music man.
U.G. Digital Mag: I think you’re perfect for this column though. There’s a lot of people who know your work, but it’s been easy for them to overlook. You’re behind so many people. What comes next, and what more do you have planned?
JazzFeezy: In 2016, I put down the roots by working with a lot of labels. One of my managers, G. Roberson, has me locked in for a few different projects, so I’ve been working on those. We’ve been plugging away since October.
U.G. Digital Mag: In terms of your brand, what plan is there for continuing to get yourself out there? I compare you already to the biggest names like Dre. Where do you want things to go, and what outcome do you envision?
JazzFeezy: I always write my plans down. If you’re familiar with the Boi-1da kit series, I created the first one with him.
U.G. Digital Mag: Right. I know you have your own kit as well.
JazzFeezy: Right. I have one now, but in May, I’ll do volume II. I think it’ll bring more people to it. Every 3-4 months, depending on what people want, I’ll continue the kit series. Other than that, I want to get into the merchandising side of things. Maybe snap backs, T-shirts, and real merch. It’s a lot of ideas that once I get into a certain atmosphere of being known, there’s a lot that I’ll have in the works. Property out here is very cheap, so I want to buy like an acre of land and build my own house, but on the back end have my own studio with overnight accommodations.
U.G. Digital Mag: I love the mindset. It makes perfect sense, and it’s outside the box. Not many have thought that through, and it really makes sense and goes next level. I say why not?
JazzFeezy: Absolutely. It all comes down to having better funding. The more cuts you have and credibility, people are more likely to get it and invest in you that much more.
U.G. Digital Mag: In terms of Canada, do you look to take any of this back to that area? There seems to be so many artists there without the proper voice behind them. It’s really growing in that sense.
JazzFeezy: That’s why I want to build the studio to have the infrastructure. We have some great studios, such as Metalworks, and Phase One Studios. I find there’s a lot of big sessions that producers go to, and they don’t necessarily keep notes about the experience. I start sessions off with my notepad, and at the end, I write down what we covered. Down the road, I want to write a book, and give my experiences. I want to offer some type of mentorship that Canada lacks. Truthfully, all of our talent goes to New York, to L.A., to Atlanta, and to Nashville. People rarely stay here.
U.G. Digital Mag: I think it makes sense. A lot of places are that way where their talent will go to other areas, and in a sense, it’s like that here in Cleveland. The city is growing so much though, and people are now trying to build here so you don’t have to leave. Will that ever happen in Canada?
JazzFeezy: You know what? I don’t know. There’s this mystique about L.A., and I can’t explain it. Over time I’ll talk to an artist, and they get hooked. They say L.A. has exactly what we have, but it’s also the weather. If we have a few producers come together and the proper infrastructure is there where we can set it up, they may stay. America just gives more opportunity. The actual budget you can get is much more in the states, and you just feel more valued in the states.
U.G. Digital Mag: I get it. I love everything you have, and I’ve been going through your site. I like the set up, and can honestly say I haven’t seen it from very many producers. You make it a point to connect with your listeners, and again, I don’t see it a lot. It’s dope and game-changing. You’ll go a long way.
JazzFeezy: It also helps with publications like yours and people who take the time. If someone takes even an email just to say I’m from here, and please check out my music, I’ll give them feedback whether it’s good or bad. I’m never out there to crush dreams, but if someone clearly recorded something on their computer and you can hear the reverb and mom cooking dinner in the background, then I’ll let them know it was a good first attempt, but if they want to take it seriously, then here’s what they can do. It’s only as serious as you want it to be. A guy wrote me back and said nobody took him seriously and that he was 16 and really wanted to do this. I was 16 once, but if you really want to do it, then you’ll find a way to get to where you want to be.
U.G. Digital Mag: Exactly. What is the biggest take away from the time you’ve put in? What’s been the biggest lesson?
JazzFeezy: Oh man, I think it’s patience. When it comes to it, there have been situations where I know I got the cut, I know it’s on the album and everything is good to go, and then 6-months later, were still finishing paperwork and you’re still waiting to get paid. I think the mystique of people in the limelight who show you they have the money, cars, and whatever, that’s cool, but most of that is their advance. They never say 6-months from now, this will be happening. It’s too much smoke and mirrors.
U.G. Digital Mag: Right. Now where can everyone check you out online? Facebook, Instagram, etc?
JazzFeezy: Twitter, IG, Facebook, and the website. My handle is @Jazzfeezy. People speak of Snapchat and Linked In, but you don’t have to do them all at once. I need to get more credits, stay creative, keep working, and keep following up with different A&Rs, artists, and managers. Down the road, I may do the whole Snap Chat thing.
U.G. Digital Mag: I really appreciate this opportunity. This is something we love to do, showcasing producers man.
JazzFeezy: I appreciate that as well. The other thing is it’s become this “cool” thing [for producers] to not have things in publications like your, and people just see songs that you do. I think it’s just the big producers who are doing articles, and the other producers are less likely to reach out and do it. To me, that makes no sense. You should do every publication you can. You need them to help you, otherwise people won’t know your story.
U.G. Digital Mag: Right. Any kind of final thoughts at all?
JazzFeezy: It goes back to what I’ve learned the most. I think the biggest mistake I’ve seen is if you go to a networking party, and you get different email addresses for other producers, A&R people, or labels mates, I think the biggest mistake people make is they try to hit them up a week, month, or year after the fact. The best thing to do is hit them up right away so they at least know you’re serious. People always blame the A&R, but if the producer doesn’t even make the attempt to reach out, they don’t need the new guy. If you want to get into that infrastructure, you have to make that connection. So the best advice I can give is to follow up. You never know what kind of relationships can spark. The only one who suffers is that person.
After burning the internet up with 80,000 views of her last video, "Came to Party", Drew Love is back with a new single and video to heat up the party. "Feeling Myself" has a banging vibe, and takes us on a stroll down the sandy beaches of Jamaica. Check out the visual below:
This is probably one of the best interviews we’ve had the blessing of doing here at Urban Grandstand Digital. Milyn Jensen is a name the world knows very well. Unfortunately, it’s not necessarily for the things she wants to be known for, or the things we should know her for. Without naming specifics, anyone who has googled her name sees the amount of negativity that surfaces. It’s pretty sad that as media, given the responsibility that those in the media have taken upon themselves, they opt to reinforce the stereotypes and negativity that have all become so prevalent. Now that’s not to say that the celebrity or subject is not at fault for some public perception; yet, there’s still a responsibility from media to decipher what is to be covered, showcased, and/or broadcast, and what isn’t. Nevertheless, we have Milyn Jensen, and it’s definitely a treat for us, and hopefully for you. In this feature, we opt to focus solely on her dreams, aspirations, and direction she’s looking to go following her ending to Bad Girls’ Club. There’s quite a bit to know about Milyn. For starters, she was a nursing student, and has basically completed all but her externship. So she’s definitely far from what people may have thought about her. She’s got some other things jumping off that are taking her in the direction of following her passion, and at the end of the day, following our passion is all we want! With this feature, we want the world to see that she truly just been Misunderstood all this time.
Urban Grandstand Digital: I appreciate you taking the time this evening to chat. I know we through this together fairly quickly…
Milyn Jensen: Oh thank you
Urban Grandstand Digital: So talk to me about the things you have going on. Obviously, I think there’s so much out there that isn’t really what should be covered so to speak. People should be getting to know you right now, and the different facets. You’re obviously a nursing student.
Milyn Jensen: I mean, I’m really known from the reality show, so discussing it is not an issue or anything. As far as what I’m doing, I’m basically at a point where if it happens, it happens, and if it doesn’t, then it just doesn’t. I know people that when they get to do what I’ve done, they choose to stick with it, like reality shows. They want to keep going with it and doing more reality shows. I did not sign up for this, and I did not audition. TV was not anything I thought about doing. Now I just feel like if more opportunities keep falling into my lap, then I’ll keep doing it.
Urban Grandstand Digital: So not seeking it, how does a nursing student end up doing the Bad Girls Club?
Milyn Jensen: I guess I’ve always just had a really big personality. I talk a lot. Honestly, I think I’m really shy. I never liked speaking in front of class, I get anxiety in large groups. People just have always thought I was someone big. The energy and vibe I give off is just who I am. I don’t watch reality tv, so when they asked me to do it, I was like “I don’t know”. My mom was saying to do it, and she thought I would be good for TV. Apparently it worked.
Urban Grandstand digital: Are there any regrets in the show?
Milyn Jensen: I wouldn’t say I regret doing the show. I just hate the name attachment. People hear Bad Girls’ Club, and they frown. I had friends who saw it, and they were like oh my god, it’s fighting. Going into the house, it was completely different. The girls were timid. I’m a free spirit and having fun. It was really my life, but just with cameras. I was comfortable. So I don’t regret filming. I do regret the production crew. That’s my only issue.
Urban Grandstand Digital: So given your goals, and the fact you say you don’t watch reality TV, would you do more?
Milyn Jensen: I feel like I would do it again. It was fun and normal for me. It was natural. People would think it was uncomfortable, but i forgot the camera was there.
Urban Grandstand Digital: So where do you go now? I realize you want to get into more serious acting, so how do you get there coming from Bad Girls Club?
Milyn Jensen: Well I had my first audition. I was really excited because my dream is to do a horror film. I’m obsessed with doing a scary movie. That’s what I really want to do. I didn’t get the part, but the experience of auditioning was great. I never had acting lessons, so to just go in and do an audition was great. They said for no training I actually did a good job.
Urban Grandstand Digital: So given your desire to really pursue acting, do you have any plan to take advantage of acting lessons or get a coach?
Milyn Jensen: I do, but, I know so many people in the industry. I went to lunch with a friend of mine who is on that acting side, but more with producing and directing. She told me about an acting seminar her friend had, and she was breaking it down for me. I told her about my audition, and she gave me some advice on what to do next time. She explained in the seminar, they basically say people waste money in those classes when it’s really about being in touch with your inner feelings. That’s what will sell. They want it to be real and you become the actual character. So I don’t know if I really want to waste my money on it.
Urban Grandstand Digital: So will you be doing auditions regularly? What are your plans in terms of progressing?
Milyn Jensen: I hope so. I mean, I’m searching for more roles that catch me and get me interested. Where I know I can become that person in the audition. It’s not like I have twenty auditions. If I can get one per week, that’s where I’m at.
Urban Grandstand Digital: What is your ultimate role?
Milyn Jensen: The scary movie things. I thought the audition I did was perfect. The girl was raped, and her parents were super malicious. It was the opposite of me. I said it was perfect, and I get killed. I want to live til’ the last second of the movie and then get brutally murdered [laughing]
Urban Grandstand Digital: I think it’s good that you are spreading yourself round and doing different things. I’ve never been a fan of complacency, so I think it’s good that you’re doing different things and not being complacent. It definitely gives you something to fall back on. You don’t want to just get stuck on one thing
Milyn Jensen: Right
Urban Grandstand Digital: So are you pretty much done with nursing?
Milyn Jensen: I did feel like I wanted to go back. All I had to do was my externship. I’m all over the place, so it’s a little difficult. I’m only twenty-six, so I can aways go back. When I turn thirty, if I’m still absolutely dry, then I can always go back.
Urban Grandstand Digital: It’s a good outlook though. You do always have that option. So you’re also doing some event hosting. Talk to me about that.
Milyn Jensen: I’ve just hosted parties, and with that, they always want me to get on the mic. I’m just a face. You’re just supposed to look at me [laughing].
Urban Grandstand Digital: I’ve really enjoyed talking to you this evening. You seem like a really cool person.
Milyn Jensen: I am [laughing]..
Urban Grandstand Digital: But you know what I mean though. In researching and whatnot, there’s so much negativity out there. You almost don’t really know what to think. Talking to you, listening to your dreams, and things you’re working on, it’s clear that you’re really a cool person. Is there anything else that you really want us to get out there?
Milyn Jensen: I think everything is pretty much out there [laughing]. There’s no secrets with me. Not even secrets, but like you said, you research, and of course there’s things that are totally false. No one’s ever going to know what’s really me, and at the end of the day, I don’t really care what people think because it doesn’t affect my happiness. So it’s like, sorry about my language, and if you want to believe it, you do, and if not, you don’t.
Urban Grandstand Digital: Well what sets us apart here is what we cover and how we cover it. Most media cover the negativity and the crazy stuff. We really want to change the face of media. There’s such a bad name because of the paparazzi, and what gets covered, and contrary to popular belief, the average person doesn’t care about all of that. People just care about the talent, and the person and thats what we want to push.
We’re back with another exclusive, this time with famed Actor, Producer, and singer Mr. Andre Pitre. We take pride in the fact that we like to spotlight individuals who are making moves and doing positive things not only for themselves, but for others in their respective communities, and across the world. No one fits that bill more than Mr. Pitre. Obviously, he’s been doing his thing in the entertainment world. He’s starred in several films, including BET film “Heaven Ain’t Hard to Find”, Tyler Perry’s “I Don’t Want to Do Wrong”, and “Love in the Nick of Time”. He’s also blowing the music world apart with his music, more recently his single “Come On Baby”, which has been doing phenomenally on iTunes. Aside from that, he’s doing outstanding work with his production company, Triwen Productions, which has allowed him to do all types of mentoring within his community in Houston. With so much going on, it’s amazing he can keep everything in line, but that’s what makes him the genius he is in entertainment. In our feature, we talk about all of this and more!
Urban Grandstand Digital: Thanks so much for your time today. It's great to be able to talk about the many things you have going on. When I look at the things you've done thus far, it's like these are things that some of the biggest personalities want to do. Let's see, there's Tyler Perry’s “I Don’t Want to Do Wrong”, "Heaven Ain’t Hard to Find", and "Love in the Nick of Time". Tell me about how you stepped into acting.
Andre Pitre: I’ve been singing and acting all my life. Singing is my passion. I would always incorporate being dramatic when I sing, because if you’re not believing what you’re saying, then it’s not going to come out the way that it should. I don’t know anyone who sings that doesn’t do that. Naturally, the theatrics are going to come out. You have Patti LaBelle, Marvin Gaye, Michael Jackson, it was in them. You see the natural acting ability. I’ve always wanted to do both because they go hand in hand. But singing, I’ve been doing that since I was 4 years old. I would hear a song one time, and pretty much have the melody. My dad would always play music. I came out with it in me. I have family members who sing on both sides of the family. No one is doing it professionally, but they can really sing. It’s just something that God blessed me with.
Urban Grandstand Digital: It’s a beautiful thing that you’re not complacent. Singing, acting, and having your production company are really awesome accomplishments. And I actually want to tap into your production company as well. It’s pretty cool that you’re working with Charnele Brown (of A Different World). How did you two come together?
Andre Pitre: We met in 1999. I was out here in Houston, and she had just brought her acting academy to the area. I went into the audition, and I see Kim from A Different world, and thought to myself that this was the real deal. So her business partner at the time held the audition, and I got the real world. One thing about me, if I see things I can jump out with [and help with], I gravitate to it, regardless of my status. If I got the lead role or whatever, I still want to make sure everything is fine. I want to know what’s going on behind the scenes. We were out on the road, and certain things were not going the way they should. It worked out that we would become business partners. We clicked very well. She’s like a sister I never had. We’re an extension of each other, and think so much alike. Where I’m weak, she’s strong. She’s helped me a lot to understand not to believe the hype, and to be prepared for things.
Urban Grandstand Digital: It goes to show, too, that we as a people can really work together.
Andre Pitre: We can…
Urban Grandstand Digital: People feel like we can’t, but we definitely can!
Andre Pitre: It’s up to us. It’s amazing how much power we have. It’s amazing what we can do. If you look at anything in entertainment, you see someone in color doing it. Producing, football, basketball, owning your own franchise, we can do whatever we put our minds to. We come into this world naturally hustling. We have to do ten times more than the average person born into wealth. The one thing as blacks we must do is save money, so our kids' kids' kids come into something. They don’t have to fight as much because we’ve left something aside for them to build and continue instead of starting from scratch. That’s another reason we started this production company. We wanted to show that you don’t have to go to LA and New York. Houston is just as big, and there’s an opportunity. It’s people like us coming together and showing you can do the same thing.
Urban Grandstand Digital: I can appreciate you saying that people don’t have to leave the city to achieve these things. That was our principle with our company. Cleveland is big enough that you don’t have to leave here.
Andre Pitre: You can make your city the next Hollywood. You just have to be willing to stay there and make it happen. The reason these other cities like LA are the way they are is because you have people born and bred, and they made it possible. They pushed it and made it drive. It’s like we get there to the edge and then say let me go over here to where everybody else is. I believe that once it comes through, I’m opening the doors for people, like what Tyler Perry is doing. He opened the doors for others like myself, and others who have dreams of doing it themselves. It’s possible. With God, anything is possible. That’s something we’ve been doing. The music is about to take off. I’m working on a major project right now, and I’m excited about that. I’m building an incredible team. This is something that’s like a life-long dream coming to fruition. I’ve been through ups and downs in this music game, but it has prepared me for what’s coming. I’ve always said “much is given, much is required”. I asked for big things at a young age, but now I understand that you ask for it but you ain’t just going to get it. You have to go through some things to truly appreciate owning your own company.
Urban Grandstand: I’ve seen people in this industry go through so much before they finally made it.
Andre Pitre: Right…
Urban Grandstand Digital: Now we're especially talking today because of your music. “Come On Baby” has been doing pretty well so far. I know it hit iTunes earlier this year. Tell everyone about this single, the process of putting it together, and the direction you’re heading now?
Andre Pitre: Well, two summers ago I was in Miami. A friend of mine and I were working on this project. My projects are never-ending. Once I do the major release, people see each songs come together to make a masterpiece. A friend of mine was helping me, and some people he knew introduced me to a guy who produced “Come On Baby”. His name is Terrence Rogue. When you hear this guy, he’s incredible. He’s a 26-year old protégé. He sings and plays every instrument. He produced and co-wrote it. It was just one of those moments where you’re doing something and it clicks.
Urban Grandstand Digital: Had you two ever worked together at all?
Andre Pitre: No. The day I met him, we recorded two of the best songs I’ve ever done. That’s “I Need You” and “Come On Baby”. We did those from scratch. Like you and I are talking, we did it. As I’m talking, he’s playing.
Urban Grandstand Digital: It’s evident; though, that it was a good connection seeing as how you came together and immediately knocked those tracks out.
Andre Pitre: Just like that. When I say it’s one of those things, it’s almost like Janet Jackson with Jimmy Jam & Terry Lewis, or Snoop & Dr. Dre. Whenever they don’t work together, you know the difference. It’s that magic. They were made for each other. That’s what I feel like I have with him [Terrence]. We clicked.
Urban Grandstand Digital: Now is he working on the remainder of your project?
Andre Pitre: Yes, and as a matter of fact, in a couple weeks I’ll do some more with him. I have another guy I’m working with in Los Angeles, but with him it’s magic. It’s like that missing piece.
Urban Grandstand Digital: You’ll work with a multitude of different people, but you have to have that one person who really knows you and gives you the best stuff. It’s the same too with people like Missy Elliott. Regardless of whom she is working with, everyone knows Timbaland gives her the absolute best.
Andre Pitre: Right…
Urban Grandstand Digital: So when are you expecting the project to be out there?
Andre Pitre: Our goal is the first of the year. I’m putting together a Christmas project we’ll drop in the holiday season. It’s just a little EP with a few Christmas songs, one original and one cover. The album and single, we’re pushing for “Come On Baby” will be the first single. The feedback has been great. I’m working to secure a major situation so the masses can hear it. I grew up listening to that feel good, real old school flavor. When you listen to music it tells a story. That’s what I want my music to do is take you to a place, and make you feel good, cry, make you happy, you know. That’s what I want to project. That’s what I want my album to do. When you put it in and push play, it goes all the way through non-stop. I want my music to be like a movie. You don’t skip ahead.
Urban Grandstand Digital: Sort of like D’Angelo’s first album. Play it straight through.
Andre Pitre: That album was incredible.
Urban Grandstand Digital: That actually answers my next question too, which basically was what you felt you offered that was missing in music these days…..
Andre Pitre: We’ve gotten away from talking about love. I have respect for all genres of music, but when you listen to the radio, there’s not enough love anymore, and that’s why we’re having a lot of issues with relationships because music is what we go to for our answers. If you want to get in the mood, and get closer to God, you listen o that certain Gospel song, but when you want to hear that love song, it’s not too many of us newcomers, or even the R&B generation now, you have them but they don’t get the airplay they need. Somebody I really admire, and I think he’s incredible, is Tank.
Urban Grandstand Digital: Man. It’s crazy you mention that. I was saying the same thing, and I’ve been following him since the Aaliyah days. He’s done so much in his career. You would think at this point people would recognize. Then I covered the BET awards this summer, and he was there wit TGT. The show was absolutely awesome. He puts so much work into it that I don’t see why some people just aren’t getting it.
Andre Pitre: Man, he has one of those albums with “Sex Love & Pain”. It’s one of those albums where you press play and the album is like wow. I met him a few times, and we’re always playing basketball and softball with whom I call the fraternity members of the industry. He’s just an all around good guy. That’s the kind of music that’s missing. The Anthony Hamiltons and Tyreses. This is the essence of R&B. This generation and what they think is R&B is different. To me, R&B is when you feel good listening, It’s not just the production, but it’s the story behind it. What are you telling this woman? It’s straight to let me hit that. It’s none of this let me take you out. When you listen to them old school songs, Lenny Williams is a good friend of mine and like a mentor. We did a production together. It’s just amazing that the song he did, people still sing it like it just came out. “Because I Love You”. That’s a legendary song. I just admire him. He still has that energy. This man is almost 70 years old and he has a tone that stands the test of time. Watching Frankie Beverly & Maze. I opened for him a few times, and it’s just amazing to see those guys. They haven’t put out a song since I’ve been living, and they still sell out. I really had a chance to appreciate them more this summer. I did a show with them new years eve, but this summer I did a show with my band. Just to watch these guys, and they gave us some great feedback. To have them give us that kind of feedback meant a lot. Every night, they give that same energy. That’s what I look forward to. 50 years from now, I want people still singing Come On Baby.
Urban Grandstand: What would you say the biggest thing was you’ve learned from the likes of Frankie Beverly& Maze, and Lenny Williams?
Andre Pitre: Humility. If I can sum it up in one word, Humility. Professionalism. These guys are legends for a reason, and they didn’t become legends overnight. They stood the test of time. Not too many artists can stand the test of time. They come out a month or two and you never hear from them again. They depend on the machine to keep it going. If you have it, it’s no denying it. It can’t be taken away. R. Kelly is another one. This dude is a genius. You can’t deny it. Beyoncé. People that are still here, it’s a reason why every time they drop an album, it’s no miss. They keep raising the bar.
Urban Grandstand Digital: Before we end, I also want you to touch on some of the community work you've done in terms of camps, programs for kids, and so on
Andre Pitre: I started doing that on my journey to pursue my dreams. I always enjoyed working with kids. I’ve coached basketball, baseball, football, and I’ve mentored. I work with the kids, and Charnele works with adults. My dad used to coach baseball, so I got it from him. At four, I sang and played baseball (laughing). I watched my dad go to different places. These kids he helped couldn’t do nothing. They would probably be locked up. But I saw how he made an impact. It rolled over to me. One thing about kids is they are honest. They’ll let you know how it is. As adults, what happened to just being straight up. If you don’t like somebody or something, just say it. For some reason, we feel like we’ve got to like and sugarcoat. What happened to the innocence? It’s days when I’m frustrated by my own career, not booking a certain commercial or a movie, trying to get something right music wise, and these kids are happy just to have someone spend time with them.
Urban Grandstand Digital: It says a lot that you take the time to do this. We’ve all been there, but you get some people who don’t go back and help.
Andre Pitre: I never wanted to wait until a certain stage of my career and say it was time to give back. You should do it because you want to do it. Not because of PR. It’s a lot of stuff I do that I won’t put on social media. You’ll see what I do by how productive these kids become. They may not even be into art, but it helps them by me talking to them and showing them with discipline. I tell them what goes on, and keep it straight up. I tell them they’ll go through ups and downs. They have to put in the work.
Urban Grandstand Digital: What you see on TV is not always reality.
Andre Pitre: Right, but the joy I get working with these kids, i look forward to it. It gives me just as much joy as singing and acting. It’s so innocent. They don’t realize they’re learning until later on. Those interested in acting, it helps them with memorization too.
Urban Grandstand Digital: And even if they are not interested in entertainment, it helps them figure out their path.
Andre Pitre: Right, and it helps them get out of their shell. A lot of them have been bullied, and are dealing with family issues. They’re the adults and they have to feed their brothers and sisters because mom and dad may not be home. It’s just stuff like that. I can’t save everybody but if I can save one, I’ve done my job. These young men need it more than anything. They are killing us and locking us up like animals. These boys have so much anger because their daddies aren’t around. The daddies don’t take the time. I don’t shy away from that. I’d rather have a challenge than go to a kid that has everything. These kids that don’t have it, you shouldn’t run away from it. They are crying out for help and want attention.
Urban Grandstand Digital: Right, and the more people that ignore them, the more violent they become.
Andre Pitre: Right. They build and build and build until they explode. They do it in front of the wrong people and the cops get involved. They’re just expressing how they feel. A lot of things going on, people aren’t thinking rationally. They have built up rage and then take the law into their own hands. Everybody has a story and it’s a reason why some people are the way they are. It starts from home.
Are there any other projects you’re working on, or anything you want to get out there?
Andre Pitre: The main focus is the album. I did an independent film with Slim Thug called “Red All Over”. It’s a local producer here in Houston that shot it. As well as the projects that Charnele and I have coming. I’d rather show you. I don’t like to put the cart before the horse. Nowadays, with social media, everybody shows you everything. It’s like baking a cake. By the time it’s ready, you have them everything and it’s nothing to see. You have to be discreet. I like the element of surprise. I’m very excited about my music project. I want people to see the music side totally. When I shoot my videos, you’ll see the acting side. My songs tell a story. It’s a message. I want my music to be heard by everybody. It’s more than just sound and words. When I hear a song, it takes me back to what I was doing at that time. That’s what I want my music to do. I’ve had guys say they play my song because they couldn’t figure out the words to say and that the song spoke for them.
Urban Grandstand Digital: It’s really a blessing when your music can hit home for listeners. Are there any kind of final comments at all? Anything I missed?
Andre Pitre: Just want to thank everyone for the support. Thank you for even having me. I’m looking forward to doing great things. I’m really excited about what God is doing in my life and career. It’s so many people out there like me, putting in the work. They just want to give up. You get out of life what you put in. Put in the work and you’ve been obedient, you season will come. It’s never too late to follow your dreams. Just because you started a family and had ups an downs, you’re still God’s child. That’s the motto of our production company. Triwen Productions. It means try until you win. You only live once.
Ami Miller is one of the hottest names to hit the game, and judging by her latest ammunition, the fiery "Not Trippin", she going to be here a long time. Check it out below...
For more info on Ami, visit her official website at www.ouchgirlami.com, and via Instagram & Twitter @amimilleromg
Artists like JG are truly redefining what it is to be a rap artist in today's hip-hop world. We've seen a complete metamorphosis in terms of what artists represent, and not only how they're portrayed, but how they present themselves. For those who have been around long enough to witness hip-hop from the eighties, through the nineties, and right into the new millennium, many will argue that we've watch the slow death of what we once knew. We've seen it start from artists coming with real "message" music to those who weren't saying anything at all. It had become more s stage show than anything, and not many truly respected the essence of the craft. In essence, it was no different than someone working a job simply for a paycheck, which goes against the whole code because the idea is that people are doing what they love. We're now arriving at a place where artists are becoming more attuned with themselves, and using the stories of their lives not only to elevate themselves, but connect their to the rest of the world. More importantly, we're seeing more artists with a genuine love for the art form, and it's reflecting in the product.
We recently ran the debut of JG's "Birds in LA", which feature Rich the Kid. With one watch if the clip, its clear to see he's bringing back the essence of hip-hop that has been missing for a long time. While he's not drilling you with any particular message, it's clear he's having fun, and his heart is in it. It gives you a sense not only of what can be expected from his album, but also the direction hip-hop is heading, and how things are truly
coming back around.
JG sat down to talk with us about the new single, the idea he had behind the track, and how this, as well as the upcoming barrage of singles will strategically lead us into his EP, which we'll likely get later this year.
U.G. Digital Mag: I appreciate you sitting down with us bro. Kudos for all that’s happening your way.
JG: Thank you man. I appreciate that.
U.G. Digital Mag: Start off first by talking about Birds in LA. There’s a lot that I can really appreciate, not just about the song, but also your delivery, overall flow, and I think the style you’re bringing is needed right now. There’s a lot in hip-hop that I struggle with in terms of direction, but you’re taking it in the right direction. With that in mind, talk about the single and your goals for that?
JG: Well I mean, with that record, just getting rich on it was a big thing because I wanted it to get the recognition it deserved. I felt like the verses were hot, and I was just trying to establish myself. Before this, I hadn’t had anything out there, so I was trying to establish myself, get on a record with somebody who may be in a different lane than myself, but also showcase what I’m trying to bring to the table. I feel like the record doesn’t have any real meaning per se, and its definitely not a political message. It’s just a dope record. I was showcasing my lyrical ability.
U.G. Digital Mag: I think people who look at it can see that there's not necessarily a cockiness, but more a level of confidence. Overall, it’s like I’m here, this is me, and this is what you get.
JG: Basically that's it. It’s really something that you speak about the confidence, because for me, it something that comes out more in my music. It’s like I’m two people. On the mic, things I want to say, that side of me comes out more.
U.G. Digital Mag: I think that’s good. How do you feel like taking it back to your own life, this will allow you to show more of that confidence outside of music?
JG: It’s not that I’m not confident. Im just not flamboyant or boastful. I don’t seek that, and my goal isn’t to flex on people. My goal is to make good music and hopefully, people will relate to my music. I don’t think this will really reflect superficially, but I am confident in my abilities. I’m just more reserved.
U.G. Digital Mag: I think a lot of people can appreciate that, and relate. I see where your influence comes from, and obviously you listen to the J. Coles, and those artists who people label as “artists with something to say”. I think people see it, but at the same time, you’re your own artist. Talk about how this single leads into the album?
JG: It’s definitely the lead-off to the album. I really was trying to set things up in terms of what you could expect. It’s a little different to me. The vibes on the album, and this song in particular, it’s more melodic. "My Side" is more upbeat, more wavy and club vib-ish. I try to give something for everybody, but at the same time, deliver a message throughout the project. That’s what I want people to take away from this. I have songs to turn up to, but then I also have songs where you have to sit back, listen, and think. Like you said, J. Cole and other artists are my inspiration, but I also realize there’s a fine line that you have to straddle. People don’t want to just be put to sleep, and unfortunately, we live in a time where the attention span Is not what it once was. It’s changed a little, so I try to cater to that, but also do what I love to do.
U.G. Digital Mag: I think in terms of attention, a lot of people just want more artists who will bend the lines and be different. I think what helps a lot is being independent. There’s so much happening on the independent front, and you have the ability to do so much more of what you want. People see that creativity within you, and can see you’re not being guided in terms of what someone else thinks is hot.
JG: That’s pretty much what it is. I don’t like being labeled, and being put in a box. If I want to make a super melodic record and then come back to make an east coast rap record, I like to exercise my freedom to do just that. That’s more of the artistry I want people to see. With these first 4-5 records, it’s a bit of every aspect of that. I’m hoping people get out of it what I’m trying to put into it.
U.G. Digital Mag: I think they will. Even going back to "Birds in LA", I immediately felt it, and that’s a compliment in the highest form because being honest, I don’t easily get into a lot of music today. It’s not even in a disrespectful way either.
JG: Right. No disrespect, it’s just not your lane.
U.G. Digital Mag: Right. But I played it, and felt it right away. Then my son, who is ten years old by the way, listened and could vibe to it. You can reach people of all age ranges, which is cool. I think people, again, can appreciate that. What happens between now and later this year when it drops?
JG: Right now, we have about 4-5 records lined up. We’re just building the fanbase. It’s been a while since I've released any music. A lot of people have not heard of me, and for those who have, it’s been a while since I put anything out. So it’s connecting with the new fans, and recapturing old ones. There isn't a date set in stone yet.
U.G. Digital Mag: The reality too is that people don’t even need the date because as long as you keep coming the way you are, people will take to it, and regardless of when it drops, people will support because it’s something tangible.
JG: Yea. I have a lot of music ready. My problem is I’m always eager to drop it. I think things are going in the right direction though. I think it’ll be a good year.
U.G. Digital Mag: For people who want to check you out, we have the social media, Instagram, Twitter, Soundcloud, and YouTube accounts. Where else can people check you out?
JG: I have my Facebook page, which gets the most interaction. I know Facebook is not really so big, but I get a lot of interaction there.
U.G. Digital Mag: It actually depends on the artist. Some actually do better with Instagram and Twitter, but those who have more engagement, they do better on Facebook. It just depends.
JG: Yea like me, I’ve neglected Twitter. I barely tweet, and I’m trying to get better, but it just isn’t my thing.
U.G. Digital Mag: Everyone has their thing. I neglect Snapchat. Some people are religious to Snapchat.
JG: Right. Also I have a few records on Spotify, and Pandora. I have one on Apple music, and we're working on getting the rest up there. The music coming now will hit all of those outlets. Other than that, that’s about it. Worldstar obviously also. I think that’s about it.
U.G. Digital Mag: What about your personal site?
JG: It's www.iamjgforreal.com
U.G. Digital Mag: Any final comments at all?
JG: Not really. I feel like we touched on some good stuff. Really, I’m not even going down that route [laughing].
U.G. Digital Mag: I just want to say I really appreciate you. Your artistry makes me want to do what I do. I relate to your comments about being in a box, and that goes for any industry. In terms of journalism or black media, if I write for others, which I have, and do here and there, it’s easy to get put in a box in terms of what you can and cannot cover, and the way you go about it. Having my own allows me to talk about what the artists really want to talk about. I appreciate being able to connect, and I thoroughly appreciate your music.
JG: It’s a blessing to have this conversation. Everything happens so fast, and it’s been a long time. We just launched the campaign, and it’s happening so fast. The main thing is I don’t want to be in a box. If somebody is not feeling this record, just wait a minute, and you’ll feel the next one. I touch on certain areas just to show I can do this, and I also can do that. It’s not to say I don’t have a style; I just do what the fuck I want to do musically.
February 22, 2017 – Today, EarDrummer Records and Interscope Records recording duo Rae Sremmurd partners with Electronic Arts for an exclusive preview to their official remix of the #1 single “Black Beatles.” Produced by Madsonik and executive produced by Mike WiLL Made-It, the hard-hitting remix turns up for EA’s biggest first person shooter game Battlefield 1. With new lyrics set to the dawn of all-out warfare, the fresh new version gives a nod to heroic military soldiers. The exclusive trailer previews the epic multiplayer arms race with high-octane dogfights, obliterating battleships, twisting through the trenches of in your face warfare. Watch the preview below...
For as much as we felt we already knew about The Notorious B.I.G. and the classic double LP, Life After Death, the process of completing the various features we have has been quite eye opening. It’s been an opportunity to look deeper into the lyrics that he truly lived, and the words that have lived posthumously for 20 years now.
In this particular feature, we connect with Nashiem Myrick, who was an intricate part of Bad Boy’s Hitmen, the in-house production team that ultimately crafted a majority of the songs we all knew an loved, not just from Biggie, but from many other artists on the booming roster. Myrick has been lauded for his work through the year, especially the personal touch he added to Life After Death. Having developed a relationship with B.I.G. that began during the “Ready to Die” days, it wasn’t difficult for him to know exactly what the King wanted. Myrick definitely delivered with four of the album’s most revered tracks: “Somebody’s Gotta Die”, “Niggas Bleed”, “My Downfall”, and “What’s Beef”. We talk to Myrick not only about these powerful tracks, but also the legacy that has lived now for two decades, and continues to grow with each passing day. He also gives us a glimpse into what he has going on right now, and what we can be on the lookout for.
U.G. Digital Mag: I’m immensely grateful to you for your time man. As someone who religiously read album credits, I've wanted to connect with you definitely this entire 20 years. This is really awesome to talk so someone I feel was majorly vital for the overall creativity in this project. Clearly we're honoring the legacy of Biggie in Life After Death, but you're responsible for a bulk of the album in terms of production. What was that like at the time, knowing you would contribute, and then what's it like now, looking at how inspirational it's been to so many people?
Nashiem Myrick: Well, you know, it was the hitmen, and we got a chance to do a bulk of the album. Me and B.I.G. were in tune, and we had a connection when it came to music. He liked the stuff that I liked. With Somebody’s Gotta Die, I got that to him well before the album started. We were still working Ready to Die, and I have him the track. It pretty much started the direction of the new album. Not to say that it was the maiden fact for the album, which it is on the album, it’s the first track, but he got into that new vibe at that time when he started to wrote to that song. If you listen to Life After Death, and then you go back to the first album, you can tell his rhyme style changed a little.
U.G. Digital Magazine: Oh it changed a whole lot.
Nashiem Myrick: Right. It got way more intricate and sophisticated. I got a head start before everyone else. I had an opportunity to do way more tracks for him.
U.G. Digital Mag: I felt like there was something in I’m that, while not trying to be like anyone else or prove anything, it’s like he was saying “look, I can roll with the best of ‘em, no matter who It is”. Coming from Cleveland, People here really looked out for Notorious Thugs featuring Bone Thugs, and he clearly switched his entire flow. He did stuff many were scared to do.
Nashiem Myrick: Right, and it’s like, if you wasn’t from the midwest, you wasn’t doing that Bone Thugs n Harmony record. At that time, he surprised everybody, but we knew he had it in him. Him and Jay were just on another level at that time. I can’t explain it, and no one can, but they was just on another level when it came to the rhymes, it was like out of this world.
U.G. Digital Mag: My own interpretation with Life After Death was that you had the most introspective tracks on the album. Not really any of the uptempos, but the more gritty cuts. Was that a conscious move? How would it be determined what you worked on versus what everyone else in the hitmen worked on?
Nashiem Myrick: We all had different styles, and that was the beauty of it. It was never a case of us having to preplan anything. I had linked up with a guy names Carlos Broady a little before the album started. He and I collaborated on those songs, and we had the same ear, and the same style. When it came to the rest of the hitmen, D-Dot, Stevie, Ron Lawrence, you know, we were just different. Even though Ron Lawrence and D-Dot were a team, basically everybody had their own style. When it came to making the album, B.I.G. and Puff pretty much knew what each element; the elements being Me, Carlos, and Stevie, they knew what each one of us individually would bring. That would make a more broader album as far as music was concerned. You gotta understand; we was new at the time. I had a track record from Who Shot Ya, and a couple other joints floating out there like Queen Bitch.
U.G. Digital Mag: It’s crazy because a lot of people really don’t know, and I look at how big some names have gotten in production. There’s so many songs you’ve done out there, from Queen Bitch, and Who Shot Ya, and you’ve worked with Mary, Jay-Z, Scarface, and a lot of people don’t recognize. You brought something to the table with B.I.G. that so many people fell in love with. Even looking at the samples you used, You figure the Isley brothers, Al Green, Richard Evans, The Dramatics, Run DMC, you introduced a lot of people to music before that time. Today, many artists don’t know about the predecessors, let alone even having respect for the predecessors. I talked to DMC last week about “My Downfall”, and we talked about the fact that musicians today don’t know those before them.
Nashiem Myrick: I know, and that behooves me because I grew up on music since I was so little, and I was always interested in the credits, even before I was really making music, I always understood it was a process to make these songs. I was reading the sleeves at such an early age that I knew this guys also played in Funkadelic, and Bootsy Collins, or they derived from James Brown’s era. I always put it all together. My father was a big music fan, and he was also a DJ, and had a record collection that would blow your mind. That’s all I did was gain knowledge, and he was into every type of music. If it had soul, he introduced it to me. I don’t understand these kids. You’re not going to last if you don’t know your past. Period! Everything on earth relied on the elements that came before.
U.G. Digital Mag: I appreciate hearing that from you because I was somebody that read the liner notes to see who was involved, where the sample came from, and everything. You speak of Carlos, and that was my introduction to him; reading the liner notes for the album. I remember listening to “Anotha”, and learning ti came from Barbara Mason. Before reading that, I had no clue. It’s good to hear this from you. Also, the people you sample, my son picks it up, even at 10. He knows “Stay With Me” by El Debarge was sampled for One More Chance; He knows Al Green, and so on.
Nashiem Myrick: I had an advantage that these young kids don’t have today. I was born in 1970, so I was born when hip-hop was created. I lived through it, so I don’t really have to go back in time. I didn’t have to do too much history because it was right there for me, and since we as a culture, our music comes from what we have around us. We’re not band players. We actually developed through technology, so we relied on old records that were already done. You have to know your history. I was a guy who always knew the break beats. I collected break beats. Since I grew up around music, I always knew the samples as people were coming out with them. I always knew it, and if I didn’t, I went back into my record collection, or I would read the notes. I used to know, down to the drum loop, what songs were used. Even if they used a snare and a kick, I could name the snare kick when I was young, and it was crazy. I was a buff, and people would be amazed. That’s one thing Puff loved about me when we met. I met Puff when we was at Howard. He was DJ’ing and hosting parties. When he got his job at Uptown, he would call me over for studio setups. I would sit with him and go through break beats all night.
U.G. Digital Mag: It had to be a good feeling in your heart to be involved from the very beginning of Uptown with him.
Nashiem Myrick: Yea, when he got the job interning, I can remember he was still going to Howard. I knew like, I know this guy so somehow we’ll connect. Plus, I was in the group with one of his friends, one of my beats friends, Harve Pierre, and our friend Davie, we had the connection, and he was trying to get into the music business. We already had the record deal. He was promoting parties, and we was always in cahoots with each other.
U.G. Digital Mag: How did you end up being production them?
Nashiem Myrick: Well, the record deal that me, Harve, and Dave had, Sticks and Stones was the name of our group, they dropped us. We was on Pay Day Records, and was managed by Empire management. That’s Group Home and Gangstarr, they was down with them also. They dropped us on my birthday and I’ll never forget. I got the call on my birthday, so from there, Puff had gotten fired from Uptown, and started shopping Bad Boy. He had already asked me to work for him when he was at Uptown, but it was more clerical stuff. I knew that could open doors for me, but I didn’t know nothing about clerical work. When he got his deal at Bad Boy, Mark Pitts was working for him. He invited Harve up there, and Harve was working for him. He didn’t really have a staff at the time. He had a studio in the crib, and needed an intern. I was interning under Poke of the Trackmasters. They were taking care of the studio and I worked under them, but two weeks later, I guess they had a break-up over something, and Puff wanted me to take a bigger part in this. He wanted me to step up, and I said let’s do it. He already knew I wanted to be a producer, and I knew the street essence of the hip-hop game as far as music was concerned. I was already heavy into the samples, and he already knew that from me being a DJ. Gradually it formed.
U.G. Digital Mag: Of all the songs you worked with, you had “Somebody’s Gotta Die”, “What’s Beef”, “Niggas Bleed”, and “My Downfall”. What did those songs specifically do for the album to lend it the credibility it has maintained for 20 years now?
Nashiem Myrick: I think they were the glue for certain moments in the album. You could tell a couple of them were storytelling joints, which B.I.G. was incredible out.
U.G. Digital Mag: Exactly.
Nashiem Myrick: He had to display that. They were the glue. It’s like, you make a dish and you need something to keep the certain ingredients together. Those tracks gave it that grit. That’s where I came in at. It was to hold the album together. having an album with just video joints, there’s no depth involved. You need something to take with you. You need legs to an album to where it keeps with you for a while. If you have all radio joints, it gets exploited on the radio and in the club, and then you’re through with the album. This is so you can have something to take you into the future. They keep the album together and make it do beautiful.
U.G. Digital Mag: It’s funny, though, how you speak of the radio tracks. You have “Hypnotize”, ‘Going Back to Cali”, “Mo Money, Mo Problems”, and by far, they took the album to the next level, but when you look at even “My Downfall” specifically, it has carried the album for this time. You had the more introspective joints where you could listen to what he was saying and relate it to your own life. Theycarried the album.
Nashiem Myrick: Yea, and that’s the basis of a classic album. You gotta have a joint that’s not going to be exploited on the radio. it’s just for the album. You have to buy the album to get certain cuts. A lot of times, it can be worthy of a single, but let’s keep it on the album. That’s a trick I guess they learned long ago.
U.G. Digital Mag: It’s definitely dope though. When you look at hip-hop today, how has this album aided the evolution of hip-hop?
Nashiem Myrick: Wow, first of all the production on that album is fucking ridiculous. People wasn’t taking the time and effort to put into the production what we were doing, you know, we were taking sample based records but making them so orchestra-like, and bigger than they could be. You go back to like Dre would do it. He would get people to come in and play the parts of the sample and take it into a live form. What we were doing was the same, keeping the sample there, and creating on top of that. We added new material, new tracks, and new instrumentation on top of that sample, making it extraordinary. That’s where it took a shift, as far as I’m concerned as a producer. Hip-Hop took a shift, and if they didn’t learn from Dre that you had to do more with the music, and make it more extraordinary, they saw it with the Hitmen and how we did it on that album, and the Mary album prior to that.
U.G. Digital Mag: I agree. I know for a fact that people were sampled who only cleared the samples because of who you were and what they knew your track record to be.
Nashiem Myrick: Right.
U.G. Digital Mag: I look at “Rise” from Herb Alpert, and I know so many artists were trying to clear that, and nobody could, but he immediately cleared it for the Hitmen and for B.I.G., which was amazing.
Nashiem Myrick: We thought we wasn’t gonna clear it too.
U.G. Digital Mag: Angela Winbush, the joint with her was absolutely amazing.
Nashiem Myrick: And we had her come in and sing.
U.G. Digital Mag: I know. That’s just what I mean. It’s a sample, but she sang on top of it, and killed it. Til’ this day, it’s one of the dopest.
Nashiem Myrick: Took her song, and wrote a version just for that sample.
U.G. Digital Mag: You won’t get that with anyone else man.
Nashiem Myrick: No! Especially not anyone with her credibility.
U.G. Digital Mag: So yea, there’s a lot of people who appreciate that. Where does the legacy go in the years to come? People are still buying?
Nashiem Myrick: It’s going to be there forever because of the untimely death of my man. That’s just going to grow the legacy more because it’s the last offering he had. He didn’t even get to hear the album. He didn’t get to hear “Somebody’s Gotta Die” in it’s latest form. 60% of that song was produced after he had passed.
U.G. Digital Mag: Wow.
Nashiem Myrick: It’s a lot of songs on there like that.
U.G. Digital Mag: I would have thought he had finished it all before, seeing as how it released two weeks after he passed. It speaks volumes in terms of the connection everyone had. Now, going back a little, everybody knows you were behind “Who Shot Ya”. The song made people think so much. Was there ever any though just of any drama that could come from what people thought?
Nashiem Myrick: Not at all. We never thought that. I mean, emcees were going at each other unknown, subliminally, but he wasn’t. I was there during the session as it came out. It was never that. it was all fantasy-based. You never thought about drama. His lyrical skills were so amazing that it would make you believe that. But that never entered our minds. We just thought we had a dope record.
U.G. Digital Mag: I really want people to know the many things you’ve done production-wise. Mary J, Scarface, Nas, Lil’ Kim, Jay-Z, Push T, Mariah Carey, and the list goes on.
Nashiem Myrick: I worked with Mobb Deep. It’s a blessing. it was one point where people didn’t know my name. Then one record, and everybody wanted to work with me. That was cool. I wanted to produce for as many of these great artists as I could. I went from being an in-house producer to being one of the hottest producers in the industry.
U.G. Digital Mag: What is there for everyone to see and follow right now?
Nashiem Myrick: I’m trying to put together a Hitmen album. I have a few artists I’m recording now who I will be putting out. it may take a couple years to get it out there, but I’m still working with artists. You just have to look out for it. I will be promoting it. I’ll be out there.
Tampa based artist JG premieres his brand new music video “Birds In LA” featuring Atlanta rapper Rich The Kid. Produced by No Gen, JG doesn’t just rap about getting at girls on the percolating “Birds in LA,” but the newcomer also throws down his gauntlet to declare his residence in the hip-hop community. Directed by Miles Cable the music video set in the reflective overlook of the ominous Los Angeles skyline. The single is a first look into JG’s upcoming debut EP, 3 Feet From Gold, due out later this year on independent Field of Dreams Entertainment.
JG explains, “I want to get across that I’m in this bitch now. I’m here to stay. For this song, I’m constantly inspired by everything. Grimey bitches. Instagram hoes. Fake ass rappers. Fuck boys. Haters. My Past. My future. My son. My family. All that is motivation to me. I just want people to feel something when they hear the record. Whether they hear it and get pissed off or hear it and get hyped up, it doesn’t matter to me… as long as it elicits some type of emotion for them.”
“Rich was really cool,” JG says about collaborating with the rapper known for his popular mixtapes. JG connected with Rich the Kid and Caskey through his engineer. “He came to the studio, laid the shit down and killed it for the visual as well.”
Check out the visual below!
We're excited to announce the release of our latest issue, boasting our cover artist OJ da Juiceman. He's built an amazing career on the independent circuit, and continues to flourish with each new release. He details his story in this new issue. We're also excited to feature a partial tribute to The Notorious B.I.G. commemorating the 20th anniversary of the release, Life After Death. We top that tribute off with a rousing featuring with DMC of the legendary, iconic group Run DMC, who discusses the making of 'My Downfall". The fun doesn't stop there, as we have exclusives with Meelah Williams, Sean Baker, The Baz Brothers, Gospel sensation Latice Crawford, The Baylor Project, Mark Whitfield, Cleveland Playwright Philly Weeden, and an amazing story of how a desire to follow passion led a Clevelander to launching what has become the city's biggest internet radio sensation. This issue is definitely packing the heat. Visit the magazine section in our navigation to get your digital copy or subscription now!