2007 Client Roster: Wone Vang Fashion

Wone Vang (Minneapolis)
Published at Twin Cities Night Clubs.com
By Kandis Knight

Wone Vang conquers barriers for a living. In 1981, Vang immigrated from her beloved homeland, Laos to the United States. Like many immigrants, the pursuit of the American dream was vital to her survival. However, life in America brought many new challenges. Vang had to deal with the constricting traditions that most young Hmong-American women face while seeking out a new life in America and the pursuit of their life’s calling. Vang rose to the occasion.

Vang, a first generation Hmong, had to quickly learn American cultural nuances, while preserving her proud cultural identity. She studied American trends closely while tightly clinging onto her cultural roots. She eventually developed her own individuality and a passion for American fashion. Breaking into the highly competitive world of fashion can be a tad bit intimidating for even the most talented designers. Small start up fashion houses often have trouble gaining the acceptance of their “sometimes” snobby more established peers and finding channels to expose their designs to the public.

Vang, who has faced obstacles her entire life, was up for the challenge. She genuinely sympathized with struggling artists, but she took it a step deeper. She developed a plan and took action. To conquer the barriers in her path, Vang formed Ethreemn.org in 2004 and never looked back. Ethreemn.org’s mission is to educate, enlighten, and expose local artists and talents. Thanks to Vang’s trials and tribulations early in life, she was prepared to take on any battle and committed to helping others along her way, like aspiring designer Tiffany Paulson. Paulson’s designs were showcased at Vang’s Narcissism Fashion Show held November 2nd 2005 at The Downtown Radisson Hotel, it was Paulson’s first fashion show. “Wone is innovative in her approach and dedicated to providing local designers and clothing labels platforms to display their creations. I am very excited about the upcoming show,” said Paulson.

Paulson is one of many local aspiring designer’s Vang has helped along her way. Vang has worked with a host of local designers including, Underground Music and Fashion (www.umandf.com), Blame It on Hip-Hop (www.biohh.com) and Vandalism Designs who were all able to make a big impression on the local fashion scene by participating in two of Vang’s highly successful events, Live Wire at Bar Fly and the First Annual Narcissism Fashion show at the Fineline Café. “Wone is a very professional person who treats designers, no matter how large or small, with the respect they deserve. She respects designer’s wishes and helps them turn their visions into fashion shows,” said Underground Music and Fashion’s (UmandF.com) CEO, Matt Meyers.

Vang is recognized locally as a genius when it comes to bridging local culture together. Her fashion shows are an outlet for aspiring fashion designers but she also has a format at all of her shows to showcase aspiring artists and musicians. Vang’s shows are a big hit with a diverse and sophisticated cross section of Twin Cities movers and shakers.

Please support Ethreemn.org in its mission to uplift our local artists August 9th, 2007 at Trocaderos Night Club. This year’s show is packed full of entertainment and fashion. Ethreemn.org also commits a percentage of all their proceeds to charity. “If we can create an organization without artistic limitations, we will be able to reach those artists who might never think of asking for help.” Wone Vang

2006 Client Roster: Switch (NYC)

Interview: Switch (Brooklyn)
By Kandis Knight

“Ladies Keep Ya’ Legs Closed” -Switch

On a whim, I decided to catch a flight out of ATL for a little rest and relaxation. I was going to visit one of my favorite females in the music industry.

A few hours later, relaxing in a rooftop Jacuzzi in Manhattan, I decided it was time to formally interview the lady I am betting will be very big in 2008.

As she sipped her pricey Bordeaux from pricey crystal she was elegant like a swan, all while she carefully tucked her legs neatly under her body so she could sit erect, like a stalking lioness.

“It’s hard to not get distracted by the money, negative energy from people and remain prayerful, I am epic in character and with my music, I am the rose that grew from a rock,” she calmly explains, as she swirls her wine in rapid circles while gazing up at the stars.

Welcome to Switch’s world. She is called the “BK Empress” for a good reason.

In 2000, Nicole “Switch” Harding was a young ambitious female emcee hustling her way into the music industry in Brooklyn, NY.

“I went to high school with Inga Marchand a.k.a. Foxy Brown. I was real popular in High School, people know me. My first foot in the game was in 2000, in front of thousands I opened up for Foxy Brown, Capone, Nore and the Lox at the Audubon Theater (the historic theatre where Malcolm X was murdered) in NYC,” explains the 5’9” (no typo) exotic Amazonian beauty who is holding down a Modeling contract with T-Pain’s company DreamStar Talent in Atlanta, GA.

“I know I was scared to death like before that I never did open mics or showcases,” she explains in her thick BK accent.

“I was fresh outta’ BK and my first show was with DJ Kay Slay on the wheels. I felt like I had on cement boots, I actually froze up I can’t lie,” she lets her bun down and her long straight hair plunges to her chest, she glides across the water and up the ladder.

Later that evening, during Sushi at some swanky Uptown joint, Switch dawning a stunning Gucci gown under a fur coat tells more.

Her stage fright did not last long and she emerged to do what she was born to do. “I believe I was destined to meet Kay Slay that night. We are such good friends to this day, call it fate.”

Switch had no other choice but to shock and awe the crowd. “I totally transformed into this beast I was hyping the crowd and I got a great response. Kay Slay later told me, “I thought you were an R & B singer when you first walked out because you’re a pretty girl”, he liked the shock value I guess,” she laughs.

“After performing I handed him my demo as I passed it to him he said all I needed to know, “If I feel it I’ll call you right away if I don’t you will not hear from me deal?”

Switch was positive she would get a call back so she waited. Exactly eight hours later. Switch looked at her watch and picked up the phone Kay Slay was on the other end. “Yo you’re hot!” The following week, Switch’s freestyle premiered on Kay Slay’s mix tape.

“I screamed like Michael Jackson. I was jumping around acting crazy I’m sure when he reads this he is going to be surprised because I totally played it cool,” she laughs.

Kay Slay kept his word to Switch. “The first Kay Slay joint I was on was hosted by 50 Cent, I thought, bingo, I have officially made my introduction to the game. At the time 50 Cent was tearing up New York. Before Eminem and Dr. Dre tapped him on the shoulder.”

As we headed for the nightclub later that night, Switch told me how close she and Kay Slay had become through the years. Switch refers to him as her mentor. “Kay is one of the realest djs I’ve ever met. He has always showed me love and included me on things to network and meet different people. I will never forget one time he was like it is no problem putting you in the right circle but it’s up to you to network and build relationships on ya’ own.”

Switch seemed to have taken Kay’s advice because her Blackberry reads like a “who is who” of the entertainment industry from film, television, fashion to music, her networking skills are to be admired. I have met

Switch has also been featured in a few Kay Slay videos. “I’m actually in the Kay Slay video with Three 6 Mafia “Who Give A Fuck Where You From” I’m all through out that joint.”

As we jumped out of our limo to make an entrance at the club, Switch began listing off the mix cds she has been featured on as I tried to take notes in my Blackberry. Switch is a regular on many Kay Slay mix cds some were hosted by many notable emcees such as, Nas and Busta Rhymes.

Switch even had the honor of being on Kay Slay’s “The Drama Hour” on NYC’s Hot 97.

“Girl, I remember the competitive spirit was heavy the night of “The Drama Hour” taping,” she recalled as we strutted to our booth.

“It was so every chick for themselves but over all it was fun I met a ton of people and got respect from everyone was like “Yo Switch is hot she gotta’ keep it going.” I got to hit the booth with Remy Ma, Lady Luck, Amil, Glaze Ny, and DJ Lazy K and Funkmaster Flex. Many music industry heavy hitters were in the building. People got to see me shine that day.”

Since that day her star has shined brightly in the New York underground scene however she has struggled to complete a debut album until this year.

“It is very hard for a female to make it in the music industry, especially if you refuse to fuck your way to the top.”

Or maybe since she is so Petey Greene-ish her time is only now ripe?

“I feel like from day one up until this very minute I’m always misunderstood. People say “Oh she’s pretty she might be easy, oh she’s from Brownsville she’s a thug, oh she’s a female rapper so she’s hard to work with. These are just a few examples of things I go through on a daily basis on top of that, my business was so not right I was clueless to how the industry works, I didn’t have proper representation like I do now.”

Regardless of the obstacles she has had to encounter, Switch is expanding her stock daily. She has hosted two New York television shows, NYC Underground and Video City. She is also a radio personality for the Chris and Chris Show (produced by Hot 97 Executive Producers), by the way, you can also get your Switch fix and peep Switchy’s modeling skills featured in the new Straight Stunting Magazine and check out Switch’s You Tube channel, where you can watch as the pilot for her reality based-entertainment talk show Switch on The Scene which is being developed for a major network.

Just like the Notorious B.I.G., Switch was raised in a half Jamaican, half Brooklyn household so her swagger is 100% organic Switch promises to fill a void in the industry she may very well become the face of the lucrative Carribean hip-hop generation.

“Growing up my family was like the black Brady Bunch minus three kids we were raised on Bob Marley and Buju Banton. My parents are from Jamaica, but I was born in Brooklyn. Hello Brooklyn!” she shouts and pumps her fist in the air. “My city is birth place, without my city there would be no hip hop!” she taunts as she orders all the stuff on the appetizer menu, the waitress knows her by first name. “Anything else hot mama?” she asks Switch.

Switch replies, “A fucking Oscar and a Grammy!” We all laugh.
Like any true BK born hustle-ress Switchy is always quick to talk business. “Currently I’m working on my first official album due out May 2008 it is called MISS UNDERSTOOD I also have more mixtapes due out February 2008 and an EP done waiting for an angel investor, holla at me! I’m feeling like I’m in the best position of my life I have amazing people around me who are working with me to build this empire. I am going to work harder and smarter and not let things or people distract me like before. I am coming, consider me competition,” she slides out of her fur.

Switch is an emcee who also has great vocals and she sings. You can check out her versatility on her new album which will consist of fourteen tracks, and intro and some skits. “It’s going to be the story of my life. I do know for my first effort this album will change my life and allow the many layers of Switch to shine through as always.”

Miss Understood will also feature some Reggae anthems for the new music generation.

In the future Switch wants to work with everyone from Dr. Dre to Scott Storch. Currently she is working with producer Hassan Shareef who produced Boss Bitch (has also produced for Benzino, Ghostface Killah and Karl Thomas). “Actually I am going to link up with Chris Styles. Chris produced Amusement Park for 50 Cent,” she laughs then she turns smug.

“I hate the politics of the music business. The hesitancy people have when it comes to working with a female artist. I have had an A & R tell me that people are reluctant to work with female rappers because we cost to much to market and we don’t want to spend that kind of money but they will invest in dudes who they kind of know wont generate any sort of interest or R.O.I.”

Switch also takes a great interest in the hip-hop industry as a whole. “Right now hip-hop is in a messy state. Vets don’t want to usher in new artists. An old vet will be out for ten to twelve years and refuse to let go of the mic or to mentor others who look for that mentor type. I can tell the fame and fortune is a drug that some just can’t get off.”

On top of everything she does in the entertainment industry Switch is the quintessential business woman, did I forget to mention she is the CEO of her own record label called M.OB.A.N. Entertainment? Switch is also a sales manager for a finance magazine, a licensed Real Estate Agent, a licensed Phlebotomist and EKG Technician. She represents everything today’s black woman should be.

“I love to travel, cook, shop and invest in stocks and real estate when the time permits,” she perks up and looks at her watch. “I’ll be right back mami”.

As a man brings a mic over to our table, Switch stands to her feet. She didn’t even tell me she was performing. That says something, Switch’s is always going to shock us. I also must also add this is one lady who sure knows how to party. She jumps on the stage, the crowd cheers.

As the sun was rising over New York, our adventure was coming to an end. But not before we got back to her place to cook a little soul food breakfast.

Over turkey sausage, grits, scrambled organic eggs and Mimosas, we get to the heart of the matter. Switch switches to an early morning reflective mood after we do a few yoga vinyasas together.

“I have survived a lot more than the average female rapper running around these streets both personally and professionally and I can’t wait to make it official with the release of this album. I’m always about making music for the masses for all the misunderstood souls who can relate all around the world.”

Yes she is always thinking big.

For more information visit www.myspace.com/switchbk


Switch’s Music Industry Survival Tips

1. It’s important to find that life changing outlet who will believe in you and your product and make that major move whether it be cracking your single to radio or helping you to secure a recording contract.

2. Never ever mix business with pleasure. No one in this industry is your friend.

3. No one gives a fuck about you the person they only care about your product.

4. Be driven by the non believers. Closed doors should make you work harder. Not curl up in a little ball.

5. It is not what you earn it is what you save that counts.

6. Watch you’re the people you surround yourself with. You got to keep people around you who want you to win everyday separate yourself from the ones who don’t. Simple.

7. And for my ladies keep ya’ legs closed!

2006 Client Roster: Musab (Rhymesayers Entertainment)

Musab
Published in The Pulse of The Twin Cities
by Kandis Knight

On a cold rainy evening I ventured to the cozy home of Musab, Rhymesayer's "Smoothest Brotha' Number One." Over the course of three hours we relaxed, watched a basketball game and had a little local rap talk. As I entered Musab’s pristine, decked out South Minneapolis condo, I couldn't help but notice the walls, a smooth maroon color befitting Musab's smooth laid back character.

I took a seat on a plush couch, with a big fluffy pillow and enjoyed my beverage and the game in the background. Musab eased up next to me and became an open book. At 14, Musab converted to Islam. “I don't like to involve my religion in my music,” claims Musab, 28. “They’re two different things. That’s my personal life. My music is entertainment. I don't take myself too serious as an artist. I'm only human, I'm not trying to change your life, I'm trying to entertain you. If you want to change your life read that Koran down there, that’s how I look at it."

Nowadays, Musab seems to live a peaceful and positive life. “I coach my son's basketball team, I’m training my kids in sports, I’m making Salaat (Muslim prayer) everyday. I'm fasting right now, it's Ramadan. I live better than some, worse than others,” he readily admits.

Musab’s life wasn’t always as serene as it is today, it was only after witnessing lots of crime and violence that Musab decided to pursue music. "I went through a lot of dramatic situations with my life," he claims. Glancing to the floor, Musab pauses and then continues, "I lost a cousin, he was killed. We were roommates he got killed in our apartment in St. Paul. I was 19 when I decided I wanted to go into music seriously. I always rapped since I was in fourth grade, I got into music to keep me out of trouble."

After graduating from The City Inc., a Minneapolis Alternative School, Musab attended Music Tech as something to do. "I went to Music Tech for about six months. I liked it enough, it was just that I felt like I didn't need it." Although he didn’t excel academically we all know from his lyrical track record that Musab is no doubt an intellectual. "I'm a genius. I took the test so I can say that. I didn't like school, I used to skip school and go read books at the Library. Some of my favorite books were ‘Pimp’ by Iceberg Slim and ‘The Autobiography of Malcolm X.’

These books gave me hope."Maybe it’s Musab’s superior intellect that helps him craft his insane rhymes, but he also has a formula for that. "My song writing routine is very organized, I'll show you.” He dashes off and comes back with stacks of notebooks. "There is a science to making songs up. I write in bars. See, this is the song I did called ‘I Got Problems’—you know, the song I did with D. Tekh. You were there when we recorded it."

I nod and smile, remembering the "female bashing" hook but deciding not to comment. Like a kid in a candy store, he flips through pages and pages of lyrics. "I wrote it, I titled it, it was written in bars, so therefore I know how long I want the verse to be and my hooks are in back (of the note book). Usually I write the hook first when I'm just sitting around. I like my hooks to be like how I talk kinda like I'm saying something and it’s catchy. I’m very organized.I got stacks of notebooks. That’s how you got to be when you’re making music. Writing a song is an art to me.

"When it comes to production, Musab only likes working with the best producers. "Of course my man Ant, D. Tekh of course, locally not that many cause most of the producers I mess with are like national cats. I mess with Ant, D. Tekh, I like Big Jess from the Unknown Prophets. My man Brother Ali whenever he cranks something out for me overall though I think the state lacks in production."

It’s no surprise Musab even has a routine he runs through before going on stage to perform. "’I'm the greatest,’ that’s what I say, that’s what I repeat before going on stage." Musab’s prolific musical output is nearly as immense as his stacks of notebooks. "I have hundreds of songs that are recorded but unreleased. Some of them I don't like, some are for my own personal listening. I won't release everything because I want to be known as a certain type of artist. That's just the business, you got to uphold your little image to sell records. People have to relate to you and grasp on to what you're saying. Therefore you won't hear Snoop Dogg do something that Dead Prez does. But he won't do that because it's not his job. He's selling hot dogs, they’re selling hamburgers. You know what I'm saying?"

He continues, as I recline in the lazy boy. "That’s how I feel about my thing. So I record a lot of songs about a lot of things, but that doesn't mean I want everybody to hear it all." So what’s on the horizon for this wildly creative Minneapolis emcee? We can all expect something from Musab coming summer 2004. "I'm recording an album right now called What's The Skinney? it’s going to be like ‘Playboy Mansion-ish.’ If that’s not enough to spark your curiosity I don't know what else can. There aren’t that many ‘Playboy Mansion-ish’ albums coming out of Minneapolis and I can't wait to see how it comes together.”

Musab's image has always been adored locally. When describing his public persona, Musab stares off into space and leans far back into the couch, the image of a silk robe clearly forming in his mind’s eye. "I'm the black Hugh Hef," he says smiling. "Yeah, I'm a different type of Hip-Hop then Slug but as far as how we do our music, we got the same format. We’re two different people. You know what I'm saying? So of course we’re going to have a different sound."

As far as national comparisons go, Musab is quick to respond, "I'm more edgy than 50 Cent I believe. I'm more like an underground Snoop and I don't do my music to sell eight million records. I do it because I love the art. I'll do other things to get rich that triangle into my music. If I can be critically acclaimed musically, I'm happy."

Musab is clearheaded when it comes to laying out his aspirations. "I'm going after Snoop's fan base. Snoop has put himself into a good position because he is doing what he was doing when he first came out but now everybody buys him. He is a household name. Even white kid's grandparents know who Snoop Dogg is, when I get there I will be cool."

Despite having many friends around town, Musab still feels he’s misunderstood by the majority of the local Hip-Hop scene. "People think I'm a chauvinist, insensitive and heartless because of my lyrics,” claims Musab. “I'm not the first person to talk like I do. I talk about pimping and people seem surprised sometimes. But when these same people see 50 Cent doing it and they see it on television they’re singing along."

I have to agree with him on that note because despite my own feminist belief system, 50 Cent can be appealing in his own pimped out way. Musab is indeed no different, he wields a unique charm and is extremely polite and respectful. "I'm a male feminist,” says Musab. “I love women. I respect people. I think society is very contradictory, though. Some women want you to treat them like they’re a nun, but they act like a whore. I'm going to call you what you are. Some women call themselves bitches. Lil' Kim ain't offended."

I don't know if he heard my thoughts, but he interrupted them nonetheless. "I like bitches,” continues Musab. “They’re just feisty women to me and I don't say bitch out of hate I say it out of love. That’s the kind of woman I like. I like Lil' Kim, I like Pamela Anderson, I like Carmen Electra. I don't want nothing to do with a square women. There’s nothing she can do for me."

Musab is entitled to his views, so I decide to let the sexual politics battle rest and change the subject. I give him a look he won't forget and we switch gears. "My favorite television show is Howard Stern,” admits Musab. “I look up to Howard. I’m very Howard Stern-ish." I tilt my head and try to imagine the similarities. "I love porn. I’m a porno connoisseur. I write all of my music to porn. It’s a known fact that sex sparks creativity. It’s primal. Everything a man does is for a woman. Every job, every attempt to look good, every haircut, everything is to get a woman and take care of her and have good sex.

It’s simple like that."By this point in our conversation Musab’s way with words almost has me convinced he’s in the right, but I still can't believe all the strange twists our talk has taken. Musab is clearly a strong-willed individual, and I’m still a fan regardless of any different personal convictions, his music makes my hips swirl.

As Musab said in the beginning, he’s an entertainer, so I decide to allow his comments to entertain rather than annoy. "My advice to new talent—first of all—never fuck with me. Second, make the best music you can and be honest with yourself. Be your best critic. Artists tend to get caught up in their own little world thinking they’re better than they are a lot of times and it’s easy to do.

Don't be scared to hate your own song. That’s the problem with Hip-Hop now a days, people take it too seriously. It's music man, it’s entertainment. I want to be Sammy Davis Junior, I want to be Frank Sinatra."

Musab performs at the Cabooze on Wed., Nov. 19, with Kool Keith, DAPO, Doom Tree, EPL and Snakebird. 8:30 p.m. $15. 18+. 917 Cedar Ave. S., Mpls. 612-338-6425.

2006 Client Roster: Nukki Andrews

Artist Biography: Nukki Andrews

By Kandis Knight

There is no denying, Nukki Andrews, is the rapping black Marilyn Monroe, with more attitude but all the class. Her style is described by many as “classy hood” however unlike other femcees, Nukki is a classically trained singer and often sings the vocals on her own tracks.

Nukki started singing and performing in the Church when she was four-years-old winning talent shows and showcases across the country. As her art began to blossom, her mother enrolled her in the Emerson Visual Performing Arts School in Gary, Indiana.

From an industry perspective, Nukki offers fans the best of both worlds. “She is what you would have if Mary J. Blige and Trina became the same artist,” explains Atlanta super producer Darin “Super Power” Baker. Super Power produced four tracks for Nukki and continues to work closely with her project.

This Scorpio admits she struggled with fitting in while growing up, “I knew I was ahead of my time, music has always been my refuge, through music I feel connected,” says the headstrong diva.

Nukki’s distinct taste in music stems from the musical palatte of her youth which included lots of Prince, Chaka Khan, Michael Jackson, and gospel. You can hear it in the masterful way she delivers every phrase.

Although the road has been very rough, Nukki has been performing for over ten years and is focused more than ever as she finalizes her album and prepares to bring her music to the people. “I am just me. I say exactly how I feel, and I try to make sure the song has meaning. I talk about everyday life experiences, dealing with guys, being a woman, paying bills, partying, giving thanks and being grateful, and even being ungrateful.”

Nukki is an extremely driven artist who is proven, strong and determined. Her gritty natured style is honest to her experience. Nukki endured a very difficult life from running away from being a pregnant, teenaged runaway to having her mother and a close friend murdered. Nukki is filled with experiences and has never been afraid to write about it.

Confident on the stage and in business, Nukki is the definition of bossy. Among current female artists who Nukki would share the stage with is Shawnna. “Shawnna, she from the hood, she from the Midwest, she from the crib, its a few ladies I like, we all doing our thang.”
“I have a message. I am so blessed to be here but God has spared my life many times but I wouldn’t regret anything I have been through or who I am.”

Nukki will be releasing her mix CD, Volume 1 Nukki Andrews in February 2007. Volume 1 Nukki Andrews will feature six original songs with her first complete studio album to follow in winter 2007 on Upgrade Music, Inc.

Three years ago/ I told my daughter I’d never quit/bitch so you betta spit/everythang they come up wit/run up in/hit you from ya neck to ya tippy toes/pretty hoes/don’t get their hands dirty but I’m different tho’.
-Nu Nukki, by Nukki Andrews

For more information please visit: http://www.myspace.com/nukkiannfansofficialpage

2006 Client Roster: Dap Rugget Fashion

Dap Rugget
Published in Grip Magazine
By Kandis Knight

If you find yourself rocking the simple white tee, jeans and sneakers five days out of the week, it’s time to upgrade playa!

Prep swag is synonymous with some of the best dressers in the music industry like Andre 3000, Farnsworth Bentley, Bobby Valentino and Jazze Pha all clients of Atlanta based fashion house, Dap Rugget. “Prep swag is not a passing fad, it is a lifestyle with deep traditions,” according to the fabulously preppy CEO of Dap Rugget, Cedric King.

Prep style stems from European aristocrats in the 1930’s. However, King has expanded the meaning of “prep” for the contemporary fashion connoisseur.

Prep Swag Musts:

Be Prep-ared. King has revolutionized the concept of “prep”. Prep came from the term “prepatory school” and was used to describe the garb affluent kids would rock. But to Dap Rugget, the term “prep” is all about being prepared. Preps are people who stay prepared the good life, for wealth and power by being image conscious to the point that even your argyle socks must make a statement.

Cashmere is a must. Your cashmere sweater or vest should be Ralph Lauren, Brooks Brothers or Dap Rugget of course. To preps, a “handed down” cashmere sweater has more prestige than a three hundred dollar throw back jersey. If you can’t afford cashmere, try worsted wool. Nevertheless cashmere is the staple of a true preps wardrobe no doubt.

Color is very important. To preps, being able to assemble your color palette in layers that “pop” is an art form. For example: start with a pink polo, then layer it with a plaid shirt that has pink accents, to make your colors pop. The plaid shirt may compliment other aspects of the pink. A true prep really understands how to put together color combinations that work.

Also, keep the seasons in mind. When it is turning fall, bright yellow colors and earth tones are hot. Add heavy trousers with a light blue camel hair blazer and some type of oxford shirt and your bold statement is made.

Quality is more important than quantity. Quality is more important to preps than quantity. Most preps get their polos and cashmeres handed down from their preppy fathers and grandfathers, with careful care the items maintain their esteem. When talking about quality cottons to preps, it is all about thread count. Pima cotton, comb cottons and mercerized cotton are prep favorites. It’s all about how the cotton is loomed and knitted.

Swagger. Your prep swagger will take you along way. It is important to understand how to put a bow tie with crazy patterns together with a gigham check, a polka dot bow tie and a pair of poplan trousers or jeans. Add the tetron sneakers and maybe a web belt or a braided belt and you are in the game!

2006 Client Roster: Atlanta Black Chamber of Commerce

FOR IMMEDIATE RELEASE

Contact:         Kandis Knight
                       Director of Public Relations
                       770-882-****

Atlanta Metropolitan Area Black Chamber of Commerce Presents:
“Building Wealth by Building Awareness”
Second Tuesdays Business Luncheon Series

at The Buckhead Sheraton

Atlanta, GA ­– Starting November 14th, 2006 business owners will have the opportunity to network and learn from some of the best and brightest business owners and entrepreneurs in Atlanta.

The Atlanta Metro Area Black Chamber of Commerce is pleased to present the Building Wealth By Building Awareness Luncheon Series at the Buckhead Sheraton located at 3405 Lenox Road NE Atlanta, Georgia 30326.  This event takes place at 11:45 p.m.   The cost lunch is $10.00 per person. This event will feature information, business support and networking opportunities that your business can not afford to miss.

The Building Wealth By Building Awareness business luncheon series features two speakers each month addressing a specific theme. November’s theme is Business Solutions.  Edward Gardner, a long time real estate agent and investment guru, will speak about building wealth by investing in real estate.  Gardner’s company, HLB Solutions provides full service real estate investing services for Atlanta area investors.

Speaking about the top ten principles of guerilla marketing is Kandis Knight.  Knight’s company, LuCreative Group, headquartered in Minneapolis, MN is responsible for establishing a multitude of Midwest companies through her marketing tactics and for blazing a trail for young entrepreneurs in the fields of music and entertainment.

The mission of the Atlanta Metropolitan Black Chamber of Commerce (AMBCC) is to serve as an advocate for the creation and growth of profitable and competitive black-owned entities. The AMABCC is committed to providing quality educational and training programs that emphasize economic development, ownership, and wealth building practices.


For more information:


Edward Gardner, Fulton County Lead 678-663-****

Kandis Knight, Director of Public Relations, 770-882-****
Sheraton Buckhead, 404-261-****

2006 Client Roster: Mental Case

FOR IMMEDIATE RELEASE

Contact: Kandis Knight
LuCreative Group PR

770-***-****

Smacks Records Fledgling Artist Mental Case:

New Jersey's Got A New Voice


Newark, NJ ­–Your new favorite rapper, Smacks Records' bold new artist Mental Case, recently got heads buzzing following his appearance on the The All Out Show hosted by Lord Sear and Rude Jude on Shade 45 (Eminem’s Sirius Satellite station). During the segment Hate it or Love It, Mental Case debuted his new single "Flashback" (video available on Youtube.com) from his new album titled I Go Hard (to be released June 2007).

“The response was overwhelming, nine out of ten callers loved the song. In today’s fickle hip-hop climate, that speaks volumes, the song has a dope segment that sounds like some dope Teena Marie stuff,” explains Smacks Records CEO and veteran hip-hop artist, Dj and producer, Mr. Len (Company Flow).

Industry insiders agree Mental Case has been diligently building a buzz for a couple years now. Most notably, in 2006, Mental Case became an undefeated contestant on Fight Klub (the most fierce emcee competition in the United States) and he has been busy in the studio working along side Mr.Len, Akai Pros, and Sam Scarfo.

"Mental Case is bringing a street freestyle and real powerful lyrics, not like alot of emcees who be rhyming using hypothetical words. He is real, new, clear and his voice is very distinctive," said Lord Sear (www.myspace.com/thedrunkmix).

Like a box of fluorescent color crayons, Mr. Len has collected a vibrant cadre of musical personalities to form the Smacks label. “I want to make sure that people from New Jersey were being represented in the right way. From gangsta music to backpack, we represent all that is here, hopefully with this Mental Case project, fans will realize sky is the limit for Smacks Records.”

While Smacks Records calls New Jersey home, their cyber home base, Dummysmacks.com, is where it all goes down. “Our fan base is more music enthusiasts, versus underground heads. They are way more open minded and savvy when it comes to buying their music. They want the total package they respect the fact that nothing about the music we put out is contrived. We are not trying to appeal to any audience because we are only into making music that we like. Honest music.”

For sale now on dummysmacks.com cop the following projects to make your cd collection complete:

Kice of Course “New Experience” debut album ,
The Dix "The Art of Picking Up Women", Prince Paul Project
Bullymouth Debut EP "Back To School"
Mr. Len Presents Smacks Records New Songs from Murs, Jean Grae, Mental Case, Kice of Course, Bullymouth

2006 Client Roster: Nikki Millions

Artist Biography: Nikki Millions (Massachusetts)
By Kandis Knight

Nikki Millions a.k.a. Richie V. was born and raised in Dorchester Massachusetts. Million’s music career started when he was 14 years-old. “I grew up listening to Scarface and Tupac,” explains the driven 25 year-old emcee. “I also grew up listening to the oldies station with my pops. The Temptations, The Ojays, Otis Redding.”

In 1998, Millions made a name for himself when he landed a coveted spot on the Hook Masters Mix Tape hosted by Tony Lopes. Million’s style has been described by one music industry insider as having a “street gritty feel that is mixed in with the right amount of thought provoking urban philosophy.”

In 2006, Millions was signed to Pentagon/Panama Strip Records. “I heard his music and I thought, I could combine north and south hip-hop together with this artist,” said Shawn Simon, Million’s visionary manager.

Millions is currently working hard on his debut album called Diary of Destruction, featuring collaborations with Gietnam Vetz, Icy Squad, and two features with Vicious of UGK Records. With heavy hitting talent like that, one must employ a carefully skilled production team so Tony Lopes (Boston), hooked up with Pistal P (Louisiana), Spitty Mic (Boston) and Lingo (Rhode Island) to put a golden seal on the Diary of Destruction project.

In the future, Millions desires to work with producers such as Dr. Dre, 9th Wonder and Swizz Beatz.

To many people Millions is more than just rapper. “People know me in my community. I used to work for Cityyear. My mission was to teach kids about HIV and AIDS Prevention.”

In addition to going all around the city talking to kids HIV/AIDS, Millions used to be the guy who jumped off 7 block wide water gun fights with his sons in their Boston neighborhood.

On New Year’s Day 2007, look for Millions’s new mix cd to drop (untitled). “I got all of this animosity out on the mix cd because the album is really civilized. I didn’t want the streets to think I got soft. Other emcees are not talking about anything,” describes Millions. “They are rappers, I am a poet.”

For more information and tour schedule: http://www.nikkimillions.com/

2006 Client Roster: Kice

Interview: KICE (New Jersey)
By Kandis Knight

“My producer, Mr. Len (Company Flow), never took my vision away. If I say I thought about this. . .this and this, he never made me change my mind.”

In light of the bad economy, it is not a surprise that many music fans and artists such as New Jersey Hip-Hop phenom, Kice, are tired of “bling-bling” and “shoot em’ up” rap songs. “Rapping about “bling-bling” is like taking the easy road. It is easy to rap about fancy cars and jewelry and get people’s eyes to open wide,” says Kice, who grew up listening to Phil Collins every morning before Church.

So Kice went into the studio with legendary producer, Mr. Len and formulated his latest album, New Experience. “New Experience is about life experiences, different things I have been through. I consider it stepping outside of the norm.”

Kice felt hip-hop’s contemporary messages were missing something. “I made this album because I felt like there was something missing, just real music.”

Although Kice’s musical mentor, Mr. Len is best known in old school indie circles, Kice is definitely a step in the commercial direction. However, Kice’s music, may very well change our perception of what commercial music is and it is about time. “You rarely hear about someone having a bad day in a rap song, but we all have them. I would love to have the finer things, the ideal life but there is the other side of it. Everything isn’t perfect.”

Growing up in Elizabeth, New Jersey can be bad for your health. “I saw The Wire, every night. Drugs, abuse, family members in and out of jail, poverty, only thing is it was just real life.”

For these reasons, “bling-bling” is not Kice’s style. “I don’t knock the “bling-bling rappers” but when you’ve seen what I’ve seen mixed with what I’ve been involved with. It’s different when it’s your family. I had an aunt pass and when I saw her face it affected my music. A cousin pass, shot two times, and that affected my music. That’s the outcome.”

Kice’s lyrics are based on many life experiences he has encountered however sometimes, he just lets it all flow as every true artist has to do at some point.

“My lyrics come from everywhere. It depends on what I went through that week. If I had a bad week nothing will come. My mind would go blank. I used to think I lost it for a minute. I get lost in music a lot.”

Although writing generally comes easily for Kice, he is not immune to writer’s block. “When I have writer’s block. I can ride til’ the tank is damn near empty. My mind gets cluttered and it becomes routine step outside the box and do something different. It makes you get back to where you were.”

Kice is used to working out side of the box, he has no choice, he works along side Mr. Len, a bona fide creative genius who is known for pushing the envelope. “When Mr. Len says he doesn’t want things to be the norm, he is more so saying that on a production side. We are an artist and a producer not wanting to follow. I think that is what makes you an artist. When I do shows he will pull me aside and say “Don’t do what everyone else does.” Mr. Len doesn’t want me to be like everyone else.”

Kice will be the first to tell you about Mr. Len’s dualistic Gemini personality. “Working with Len is hard. Len don’t care about how you think it might be. He is methodical. I thought he was icing everything that I did. I was struggling to get words out I thought I did good and he will say rewrite the whole song. Len taught me a lot, I know now that I don’t have to get my whole point across in one line.”

Sometimes stepping outside of the box even includes diving deeply into foreign territory for Kice. “I zone out and listen to no Hip-Hop for weeks. Sting, Phil Collins, Sade, Cold Play, Maddona and I will go and watch performances.”

If you are looking for that piece of thought provoking riding music, Kice’s As The World Turns is just what you are looking for. Another one of my favorites is the R.I.P. song, inspired by a funeral Kice attended that affected him deeply, he actually shares that pain in this song.

“I don’t care if radio doesn’t accept me. I am happy that I did what I felt. It sure feels good for people to say I was hoping for a miracle and all I thought about was your song. And then they come back later and say, I got my miracle but still all I do is listen to your song.”


WHO IS Mr. Len?
Company Flow

Full Lengths:
Funcrusher , 1995
Funcrusher Plus , Rawkus Records - 1997
Little Johnny from the Hospital , Rawkus Records – 1998

EP/Singles:
"Patriotism", Soundbombing, Rawkus Records – 1999
"DPA (as seen on TV)", Def Jux Presents Company Flow, Definitive Jux Records - 2001

Video:
"End to End Burner", Rawkus Records - 1999

Roosevelt Franklin
Full Length:
Something's Got to Give , Third Earth Music- 2003
Bare Food -2006

Mr. Len
Full Lengths:
Pity the Fool: Experiments in therapy behind the mask of music while handing out dummy smacks , Matador Records - 2001
Class X, A Tribute to Company Flow , Smacks Records – 2004
Mix CDs:
Mr. Len, Rhettmatic, DJ Drez, Hidden Jewels, Polygram – 1999
Mr. Len & Bobbito, Kick A Dope Verse/Scratches For Your Anal Crevice, 1999
Mr. Len, Vibe With The Crowd Live from Club Harlem (Japan), 2000
Mr. Len, Oven Roasted Beats, Room Service/7 Heads - 2003
Production/Album Appearances:
Armand Van Helden, "Rock Da Spot", 2 Future 4 U, Armed Records - 1999
Roger Sanchez, "Buffalo Gals Stampede [S-Man's Spicy Buffalo Wings Dub]" Maximum House & Garage, EMI Int'l - 1999
Bill Laswell/Material, "This Morning" feat. Juggaknots, Intonarumori, Palm Pictures Audio -

1999
The Masterminds, " The Fast Way", Live From Area 51: The Extraterrestrial Project , Exodus Entertainment - 1999
Twigy, Seven Dimensions Remix LP (Japanese Release), 2000
MC Paul Barman, "School Anthem", It's Very Stimulating, Wordsound - 2000
DJ Krush "Vison Of Art" feat. Company Flow/Scratches by Mr. Len, Zen, Red Int / Red Ink -

2001
Princess Superstar, "Trouble", Is, Rapster - 2002
Jean Grae, "What Would I Do" and "Knock", Attack of the Attacking Things, Third Earth Music - 2002
Prince Paul, "Ralph Nader" skit, Politics of the Business, Razor & Tie - 2003
Indelible MCs (El-P, J-Treds, Juggaknots), "Weight", Lyricist Lounge Vol. 1, Priority Records - 1999, Re-released 2004
Jedi Mind Tricks, "Words from Mr. Len 1 & 2", Violent By Design, Landspeed - 2000, Re-released 2004
Mass Influence, "Analyze" (Single), Boulevard/Nonstop - 2000
Various Artists, "Hip Hop for Respect" (Single), Rawkus Records - 2000
Murs, "Take Yo Ass to the Store" (Single), Smacks Records - 2003
Mr. Dead feat. Sayyid (Anti-Pop), "Dynamic Tension" (Single) 2005

2005 Client Roster: DJ Dynamite

Interview: DJ Dynamite

Interview: DJ Dynamite
By Kandis Knight

It was the night of Lil’ Scrappy’s Bred to Die Born to Live album release party in Atlanta. I arrived at the venue early enough to scope out the crowd and enjoy the soul food buffet.

Before long, I spot Petey Pablo’s Philly born, South “Cack” (Carolina) raised dj, Dj Dynamite, “Did you try a Crunk Juice Bomb?” he asks me.

Several bombs later, I get the full scoop on Dynamite, who started djing in the late 80s due to his affinity for the late Jam Master J. “I liked the simple fact of the matter that he was so cool with the art of djing,” Dynamite adds before taking one more “Crunk Bomb” to the dome.

Dynamite fondly recalls the day he first saw the video Walk This Way and fell in love with Jam Master J’s scratches. “That was like the coolest thing I ever seen. I was fascinated then I saw Doug E. Fresh and Slick Rick The Show and I loved the hip-hop game from that point it became my following.”

When Dynamite was twelve years-old the young hip-hop fanatic received a mixer for Christmas. “Then my cousin suggested I get two turntables. I got one turntable, a component set. It had two tape decks, the receiver and one mix table at the top. I had to go inside the component system to plug it into my mixer.”

As Lil’ Scrappy enters the room we are briefly interrupted by all the commotion. We stop to say hello and take pictures and congratulate Scrappy on his album.

Back in the day Dynamite was in a dj crew called the Boulevard Rockers, Dj E Ski was instrumental in shaping Dynamite’s career. “He showed me the ropes and how to be a dj and go from record to record, when to scratch and when not to scratch.”

Dynamite quickly began his search for vinyl. “I would take my little money and I would go buy records. The first records I had was the Beastie Boys, Paul Revere and New Edition Cool It Now, then LL Cool J Radio and from that point on there was no turning back.”

But life was not always happy hip-hoppy for Dynamite, who lost his mother when he was an infant. “My dad raised me with a sense of purpose and being. My dad taught me right from wrong it was not easy.”

Dynamite realized young that he had his biggest supporter in his dad. “I always knew that when my time for school was up, I was going to be a dj. Early on my dad used to always tell me to get my education but I had a different belief.”

In the summer of 1996, Dynamite’s career was in high swing. “I gigged for Teddy Riley and Black Street in Miami. It was their White Linen and Platinum Mansion Party on South Beach right across the street from Tony Montana’s house, Gloria Estefan was on her yacht checking the party out,” he laughs. “I got a $1000.00 bonus that night.”

He also picked up Teddy Riley as a main client. “After that I did most of Teddy Riley’s parties, I met Pharrell and The Neptunes, Timbaland and many more over the years. The more parties the more people knew me, like a chain reaction.”

In 1999, Dynamite started rocking with the hottest entertainment company in Charleston, South Carolina, Raw Dogg Entertainment. We were a dj crew. One of our members, Ricky Lee actually landed a job at Hot 98.9 in Charleston and he brought us all on board and we were there doing big things. We had the number one show on the radio in the market, along with a kid named Charlemagne Tha God, who works alongside Wendy Williams.

“By 2001 Hot 98.9 brought in a new Program Director, but I was already busy in the club circuit doing parties across the east coast.” Around that time, Dynamite’s career hit overdrive, he received a tap on the shoulder and a nod.

“I got a phone call from Dj B-Lord who was Petey Pablo’s Tour dj he had some misfortune and asked me to go with Petey Pablo on tour.”

At the time Petey Pablo was on top of the game, and standing right behind him was Dynamite. “I was nervous the Sugar Hill Gang was opening for us. They were up performing and they did Rapper’s Delight and I am in the back thinking I was dreaming.” I finally have to retire from the Crunk Bombs, Dynamite and I both look over at all the action on the dance floor, the entire room is bouncing. Dynamite nods his head across the room, DJ Drama and Lil’ Scrappy are looking back. I had to snap this picture.

“Now a days a dj is not just a dj anymore he is an artist. Djs now a days get more money than the actual artist themselves. You got to be an entertainer. It is a digital era, someone like me goes to Germany and overseas.” -Dj Dynamite

So back to the story, two months later B-Lord called Dynamite again and asked if he could go back on the road again. Dynamite was Pablo’s dj on the Same Eyes on Me album tour. “There were some classic joints on that album.”

Before long, Dynamite was on television. “I have been on Rap City thirteen times, I’ve been on 106th & Park, I’ve been on the Apollo.”

With all his experience, Dynamite is still just a normal guy. “New djs coming along stick with it, practice makes purpose you got to perfect you craft and believe in yourself. I believe all djs should have real wax roots before they jump into anything digital. If you go to a venue that doesn’t have a digital set up you have to be able to jump on the ones and twos.”

Some people think turntablism is becoming extinct, but to Dynamite it is fundamental. “You can be a dj and fly around the world, however any kid can grab a lap top, some turntables then undercut you on the money. At the end of the day they can have all the music they want but if you don’t have the art and craft side of it you are missing the essence of djing.”

Zing!

2005 Client Roster: Sota Fats

Sota Fats (Minneapolis)

Published at Hip-Hop Club

By Kandis Knight

Sota Fats is the contemporary, ultra smooth, college-educated, community activist, hip-hop business impresario from the same gutter and grime whence rappers like The Notorious B.I.G. emerged. With similar swag, Fats delivers music that picks up where the late, great B.I.G. left off. (R.I.P. Biggie).

This is music that is guaranteed to make you hit your back button.

Yes, you heard me, Minneapolis, the North Star state, with deep musical roots, is offering the music industry the long awaited epitome of the Rap/Rock Star. “I have a one album retail deal with Koch Records, I will be in Best Buy, FYE, you know? I got my own bins. I retained all my publishing,” explains the hyper-savvy emcee.

Sota Fats, born Jason Brown grew up in Minneapolis. His single Rock Star Sh*t featuring Dipset’s Jim Jones has a solid budget behind it, a music video produced by Dan Kimmura of Adfx LLC (Minneapolis) and is already getting rotation on both coasts.

“I am the best looking big nigga this side of the Mississippi River !” proclaims Fats from his upcoming album The Perfect Candidate Bricks & Politiks distributed on Copycat/Koch Records, which is packed full of hits for every taste.

However, the road to success included loosing his best friend and the second half of his duo. Famis Franklin was murdered in early 2007 on a blustery cold night. “At first I was driven by the entrepreneurial side of the rap industry. Since Famis got killed the goal is to make our life long goal a reality, we are all Famis now,” whispers the passionate 27-year-old, with a determined glare. “It is no coincidence his name was Famis.”

Fats is definitely both thought provoking and grimy but at the end of the day, he is the man everyone wants to party with. His music reflects his complicated nature and daily struggles as a black man in America. One side of his persona many people will appreciate is his business savvy.

His mother was an astute business woman who insisted her son learn everything there is to know about hustling. Fats naturally grew into a contemporary business man, who often raps about his former life as a notorious street dealer however a lot has changed.

Famis was murdered as he lay on his sister’s couch in crime ridden North Minneapolis , the murder is still unsolved, leaving the wound gaping for Fats and his entire crew. “His murder was a call to action for me. It caused me to step up my game and use this talent for something that will change the way things are.”

With his best friend Famis at his side, Fats and the Weon Records Crew has been busy in their studio since 2002, making over four albums (Nation Business, Radio Mix Vol. 1-1, The Baller Street Journal, Citiology, State Rehab and MN Fats) and being featured on fifty albums. Combined, the crew has sold an estimated ten thousand albums in the upper Midwest.

For more information www.myspace.com/mnfats

--By Kandis Knight

2005 Client Roster: Sota Fats, Biography

By Kandis Knight

Minnesota Fats is a modern day music mogul, ultra smooth, college-educated, urban savvy.  He is a business man yet a true hip-hop impresario and he has been steadily building a Midwest fan base for over ten years.  In 2007 he inked a lucrative national distribution deal through Koch Records.

Since the days of selling cds out of his trunk across the Midwest to opening for major artists on tour, Minnesota Fats’ music has always been dense, heavy hitting, lyrically ahead of its time and true to the streets.  His stage performance is captivating, he magically transforms in front of a crowd.  It is no wonder, Fats is well known and respected by people from all walks of life.

Minnesota Fats, born Jason Brown grew up in North Minneapolis.  He struggled as many young African-American men struggle.  “I didn’t go to high school, I went to jail,” Fats explains.  To turn the tides, Fats has kept his profile up as a respected community activist by taking part in Community Action Against Police Brutality, Madd Dads and he also founded the WEON Street Foundation six years ago, which gives away toys on Christmas and buys school supplies.

Today, Fats controls his life.  “I have a one album retail deal with Koch Records, I will be in Best Buy, FYE, you know?  I got my own bins.  I retained all my publishing, once they recoup I make 4.35 cents per album,” he laughs.

Fats new single, Rock Star Sh*t featuring Dipset’s Jim Jones is already getting spins and mark’s his official entrance into the hip-hop game.  “Everybody claims to be a rock star now days, but they don’t even hang out with any rock stars.  I am from Minneapolis.  I am surrounded by them and we make music together, I will show everyone how to be a real rock star.” 

Fat’s solo debut album, The Perfect Candidate” Bricks & Politiks, will distributed on Copycat/Koch Records on October 9^th, 2007 and does feature some rock songs, some inspirational songs, some love songs and a lot of heavy hitting rap.  “He was not afraid to push the envelop and fuse music genres together and attempt things that have not been done before,” explains producer Shawn J.   

Although Fats has so much to look forward to, this is one artist who has so much to be thankful for already.  Fat’s stage partner, Famis Franklin was murdered in early 2007 on a blustery cold night.  “At first I was driven by the entrepreneurial side of the rap industry. Since Famis got killed the goal is to make our life long goal a reality, we are all Famis now,” whispers the passionate twenty-seven year, with a determined glare. “It is no coincidence his name was Famis.”

With his best friend Famis at his side, Fats and the Weon Records Crew has been busy in their studio since 2002, making over four albums (Nation Business, Radio Mix Vol. 1-1, The Baller Street Journal, Citiology, State Rehab and MN Fats) and being featured on fifty albums and sold an estimated ten thousand albums in the upper Midwest.   

“People might listen to my music and not understand it, but I am constantly sending messages, sometimes I am just making party tracks, or shit for the hood, but I especially like to make songs that make people think.” 

Over the years, the crew has struggled yet managed to keep the vision alive.  “Cats was jealous of Famis, he was a dapper young man.  We are on the verge of big things still,” he sighs, then moans.  “His murder was a call to action for me.  It caused me to step up my game and use this talent for something that will change the way things are.”

Since Famis’ murder, MN Fats has gotten a lot more reflective and has a lot more to say. Tragedy has propelled him to a higher level. 

“I have evolved as an artist, I can’t fabricate shit.  If I can’t get fans when I am coming from the heart, then I mid as well be a lawyer and extort drug dealers because this is real music from yours truly. I can’t do anything else but keep it real at this point.”

2005 Client Roster: Rahki

Interview: Rahki
Published in Indie Street Magazine
By Kandis Knight

When Minnesota Timberwolves point guard, Troy Hudson opened the doors to his posh Minneapolis studio, he hired a 24-year-old producer to his in house staff, a decision that made many question.

“Rahki is one of the most all around talented and creative producers out there, that’s why it’s great to have him on the Nutty Boyz team,” explains T-Hud.

Rahki has released several of his own albums, Rocky Vol. 1 & 2, Rocky vs. FiC, Beat Bang and Who Made the Beat Bang vol. 1. "A beat should take an artist on a journey. I want people to feel my music before an artist puts lyrics to it," says Rahki, a music prodigy who grew up making music and was teaching music to his classmates by the time he reached junior high school.

The young producer has come a long way since teaching peers how to play instruments. His long list of credits include work with many artists such as, Memphis Bleek, Freeway, 36 Mafia, David Banner, UGK, Trick Daddy and countless other Midwestern artists. Rahki is known to many in the Midwest as the young Kanye West.

When Def Jam artist, Freeway heard Rock City’s Beat Bang he immediately hit the studio to do a remix. “This kid is focused!” says Freeway.

“His sound is different so national recording artists take a big interest in him. Rahki’s beats go hard to the core of your soul,” explains Mark Webster, Rahki’s manager and Midwestern Def Jam representative.

Rahki helped to secure big name features for T-Hud and produced the majority of the tracks on T-Hud’s newest album, Drafted, which was released on July 17th, 2007 distributed by EMI/Capitol Records.

Rahki also landed his first album placement this year with Def Jam/DTP Recording artist Small World, whose album is slated to drop September 18th 2007. “Rahki is gonna be on every album I drop,” says Small World.

Artists from all across the country are getting in line to get their Rahki beat before the young producer reaches critical acclaim, for more information visit: http://www.myspace.com/rockcityproductions.

2005 Client Roster: Rahki

Artist Biography:
Rocky City (Minneapolis)
By Kandis Knight

Rocky a.k.a Rock City, grew up on the south side of Minneapolis, MN. His sound is uniquely different from that of his fellow Midwestern peers. Many people know him for his drive and hustle. "A beat should take an artist on a journey. I want people to feel my music before an artist puts lyrics to it," says the young producer.

As a child, Rock City’s musical ear and talent for using sounds was noticed by many and it developed into his lifelong passion for making music. At the age of 10, Rock City began teaching himself how to play the keyboard, key by key, until he perfected his skill. Rock City was eventually involved in jazz band, he learned drums and percussion while in Church.

In the 8th grade, other students watched Rock City's musical talent flourish. He became a popular member on the drum line and eventually started teaching his fellow classmates how to play various instruments. Rock City also made a hobby out of writing music, this only added to his multifaceted background.

As a teen, Rock City learned how to create his own beats, from rap songs and television shows and was extremely passionate about orchestras. As a High School student, Rock City began marketing and street promotions with a Minneapolis based entertainment company called The Pharohs Entertainment.

By grinding hard and proving himself loyal, the company invested in studio equipment so Rock City could pursue his musical passion. Today, Rock City has produced numerous albums and songs. Including Rocky Vol.1 a producers mixtape with acapellas featuring Jay-Z, Nelly, Lil' Flip, MOP.

The success of Rock City Vol. 1 caused Minneapolis to quickly warm up to the young producer. Instantly his telephone phone started ringing. Everyone wanted a Rock City beat. In less than 12 months every track from Rocky Vol. 1 was sold and Rock City’s talent caught the attention of an A&R from Interscope, who seeks out tracks from Rock City to this day.

Recently, Rock City signed a deal as inhouse producer with Minnesota Timberwolves Troy Hudson "T-Hud" who recently started an independent record label, Nutty Boyz Entertainment. Rock City has since helped to secure features for T-Hud including 36 Mafia, Freeway, David Banner, UGK, and Trick Daddy.

T-Hud’s album Drafted is set to drop July 17th, 2007 distributedby EMI/Capitol Records.

The Minneapolis City Pages recently wrote up Rock City’s latest production, Rocky vs. FiC, which received great reviews. FIC (Rapper/MC) who Rocky battled on this project with his tracks, caught the attention of a Rocafella Recording Artist Freeway. Freeway heard a track entitled Beat Bang and immediately wanted to hit the studio and do a remix.

After the Freeway’s remix released the entire Twin Cities was cheering for Rock City as the hometown’s most adored producer. The Beat Bang project led to Rock City’s second project entitled Who Made the Beat Bang featuring a musical mixture of industry accapellas from Lupe Fiasco, Cam'ron, Young Buck, Bubba Sparxx and also highlighted local Twin Cities talent such as, Street Kingz (Featured in Cocaine City and Ozone Magazine), T-Hud (Troy Hudson of the MN Timberwolves, Nutty Boyz Ent), and FiC with a track from Memphis Bleek.

Rock City landed his 1st album placement his year with Def Jam/DTP Recording artist Small World, whose album is slated to drop September 18th 2007.

Musical Influences: Neptunes, Justblaze, Timbaland, scott storch, Dre, and Hi-tek i guess who ever is popping at the time.

Equipment used: Protools, Acid 4.0, MPC 1000, sample cd's, TritonKeyboard Fantom, Stanton turntable, and live instruments.

Discography:
-Rocky Vol. 1 (all tracks produced by Rock City)
-Rocky vs. FiC (all tracks produced by Rock City)
-Who Made the Beat Bang vol. 1 (all tracks produced by Rock City)

Produced by Rockcity:
-FiC ft. Freeway,
Beat Bang (remix)
-FiC ft. Memphis Bleek,
Timing-Chuck Wooley ft. Freeway,
Out-T-Hud ft. UGK,
Good Weather Music-T-Hud ft. 36 Mafia,

Accolates:
Gangsta Awards Producer of the Year,
Twin Cities Hip-Hop Awards 2006 Producer of the Year,
KMOJ 2006 Song of the Year, "I Rep MN" produced by Rockcity, Twin Hip-Hop Awards

2005 Client Roster: A & R

Interview: A & R (St. Paul)

By Kandis Knight

In 2003, a Minnesota artist started traveling to the south to promote his music. Unbeknownst to many 24 months later he succeeded in getting regular radio rotation on V 103 in Florida, thanks to Sony representative Brandon Kemp who took an interest in a St. Paul native, going by the name of Street and his single, So Fresh.

Coming from a small town in the Midwest, Street was floored when his single started taking off and pressure started to build. “I remember when it happened, I was chilling at the crib and I just came from my radio interview in Tallahassee and my boy calls me on the phone screaming in the background and then I heard my song playing.”

However with the national spotlight shining brightly, Street quickly ran into legal issues. The name Street was already trademarked by an Atlanta artist. He had to change in order to get to the next level of his career. “A & R is the initials of my government name Antonio Richardson. I knew A & R would make people curious, people always think I am referring to a representative from a label, but I am just me,” says the humble musician.

For A & R music comes naturally. “Sometimes I will think of the whole song in my head. Sometimes I will get into the feeling and really I don’t think about it when I am making it, I just let it come out. I don’t force my music. That is how you get the worst kind of music. I just let the beat come to me and I let the rest come out. I don’t write on paper anymore.”

So Fresh was a song that Jawn Blaze produced using a Jill Scott sample. Blaze and A & R finished the beat and laid the vocals in 45 minutes.

Although music comes rather easy for A & R, life has been difficult. A & R had to overcome debilitating poverty. “The closet in the living room was where we kept all of our pallets to sleep on,” he interjects before quickly changing the subject. “Obviously we didn’t have a lot of company growing up.”

A & R was born and raised in St. Paul, MN (Selby Side). “There was no other place like it in the world. It was like The Wire. I lived on Marshall and Milton. Back then my best friend got shot on two separate occasions in one day. I wrote a song called 6 In The Morning, about the shooting and the next day, when my house got raided.”

Despite the families economic plight, life in his home was generally upbeat. “My mother listened to the GAP Band, Switch, Bar-Kays, Earth Wind and Fire, that kind of music influenced me.”

With a shoe string budget, putting out full length albums has been challenging, so A & R consistently releases mix cds to keep his name hot in the streets. The end of April 2007 A & R will be releasing 3500 copies of his fourth mix cd, Do It Like We Do It For T.V. Do It Like We Do It For T.V. is the follow up to Greenhaven part 1 and 2 and All Eyes on Me 2007 and will feature 20 tracks produced by 2yn (St. Paul), Tek (St. Paul), Rock City (Minneapolis).

“One of my favorite songs on Do It Like We Do It For T.V. is Niggaville, in response to the Kramer fiasco. I explain the reason behind the word Nigga and how it is like a state of mind that a lot of people are in and the pros and cons of the word.”

In June A & R’s fifth mix cd, a compilation called The Best of A & R will drop. In 2008, A & R’s debut full length album will drop.

In parting, A & R has this advice for aspiring artists. “Stay consistent. A lot of people will put out an album that is really hot and then you won’t hear form them for three years and they expect to have that same buzz when they decide to come back. It don’t work like that. I also when an artist puts out a new project it should always “out do” your last project. If it is not close to it in quality then you should not even put it out. You should show progress project after project.”

2005 Client Roster: A & R

Artist Bio: A & R (Minneapolis)

By Kandis Knight

With a name like A & R, Minneapolis rapper Antonio Richards (where A & R is derived from) wants everyone to know he is 100% artist and nothing more.

“I am very complicated, very original, very focused,” says the gleaming twenty-five year old, who is poised to take Midwest music to a new plateau.

“The name A & R best sums me up. Music, is what I do, it’s what I live, it’s what I breathe.”

One listen and you will know this is an artist who is not afraid to take chances and has a keen sense of style and what sounds good.

For A & R, music began when he penned his first song. “I was 9 years-old it wasn’t really cool to rap back then,” he explains. “I remember hiding my notebooks from my boys so they wouldn’t make fun of my raps.”

With no label backing, A & R has received national radio air play (Atlanta 100.3, St. Louis 100.3, Tallahassee 90.2 etc.) “I have been making a name for myself with no label backing, no promo team just straight hard work and the strength of my music.”

“A & R has some serious support, a top notch production squad and the business organization in place that will propel his career far past the competition,” says Mark Webster, Jr., A & R’s manager and CEO of Rock City Productions (Mpls).

“I don’t look at myself as a rapper. I look at myself as a quality brand, that will give people a certain type of product consistently for years to come.”

2005 Client Roster: Cheap Cologne

Cheap Cologne (Minneapolis)

Published in The Pulse of The Twin Cities

by Kandis Knight

Minneapolis Hip-Hop producer extraordinaire Cheap Cologne’s roots are deep. At 32, he’s watched Hip-Hop evolve from its very beginnings, soaking in Chaka Khan and Grandmaster Flash when they first hit the scene. These days he appreciates all the different styles of modern Hip-Hop, from the underground (Pigeon John) to the mainstream (Missy “Misdemeanor” Elliott) his diverse tastes are abundantly evident in his production. Cheap Cologne surveys the scene.

Cheap Cologne (aka John K. in the work-a-day-world), a former break-dancer and DJ, is now comfortably situated on the music production side of Hip-Hop, attending classes at the Institute of Production and Recording in Minneapolis to continue polishing up his skills. All his hard work is paying off—Cheap Cologne recently inked a recording deal with San Francisco based Bomb Hip-Hop.

I recently sat down with Minneapolis native Cheap Cologne (http://www.broke-ass.com/) to get the scoop on his new recording deal and album, Just A Little Sample (released this week). “I’m happy that the label took it upon themselves to put [the record] out,” said Cheap Cologne.When talking about his aspirations for Just A Little Sample, Cheap Cologne remains humble.

“If 2,000 of them are created and 500 of them are given away for promos and the other 1,500 of them go into the 99-cent bin, people are still going to have the music—I’m not too concerned about the money,” said Cheap Cologne. Toph One, a writer for XLR8R Magazine (http://www.xlr8r.com/) called Cheap Cologne’s music “part indie rock/hip-hop with turntablism and jazz licks and MCs.”

The description is fitting yet doesn’t quite properly convey the unique aesthetic value of the album. Minneapolis musicians have always broken new ground, especially when it comes to fusing diverse genres of music, and Just A Little Sample is no exception. Just A Little Sample is a groundbreaking collage of vocal social commentary over an expert jumble of up-tempo Hip-Hop beats with snappy high hats, kicks and poppy snares.

Kind of jazzy and a bit movie soundtrack-ish at points, Just A Little Sample’s blend of ambient styles has something for everyone. “Girls and boys, this is listening time” says the ’60s-style schoolteacher on “Operation,” the opening cut of Cologne’s 16-track album. The introductory song does a great job of preparing the listener for the sonically adventurous ride ahead (which features cameos by popular underground Hip-Hop artists including, Pigeon John, Paul Z, Slug, Circus and Awol One). “Believe Me” is a sinister track featuring the vocal clips of Charles Manson complaining about his treatment behind bars and letting listeners into a few of his diabolical thoughts. Just when the gloom and doom of “Believe Me” is about to become overwhelming for listeners, the hopeful and upbeat “Seventy One” comes to the rescue, with a helping of Bob Marley style happiness.

An instrumental track, “Seventy One” could very well be a song about the highs and lows of life or love. “Floating Away,” featuring Elias, has a hook that is reminiscent of a jovial seventies television show theme song coupled with matter-of-fact inspirational lyrics (“I’m floating away, up on a cloud one shiny day.”) “Faustus’ Diary” featuring Gentle Jones is a downer, providing another jarring dose of sad reality a la “Believe Me.”

The song sets forth a grim tale (Dr. John Faustas mutiliates a prostitute and then ends his own life) guaranteed to make the listener reflect on the darker side of life. Just when the exploration of the insane psyche is beginning to become wearing, you’re brought back to reality, well “Dreality” (with special guest DJ T-Rock)—a title derived from the words “dream” and “reality.” The suitably surreal music captures that Saturday morning hangover feeling exceptionally well.

“City vs. Soil” featuring Gentle Jones and Unsung is a hodgepodge of environmentally conscious punch lines and phrases certain to raise the anxiety levels of anyone concerned with the earth’s well being. Or at the very least inspire Jane and John Doe to start thinking about the issue. Set to a near trance-like musical accompaniment “City vs. Soil” requires close following in order to fully comprehend the gurgle of different sounds and thoughts that make up the track.President Bush (senior) also makes a cameo describing the Gulf war in “Sound Familiar?”

The similarities between the sampled speech and his son’s recent speeches surrounding the Iraqi war are downright eerie, oozing with all of the same egotism and political venom. Paired with a haunted, sci-fi beat, the track expertly captures the feel of the escalation of warfare and probably should have been titled “De Ja Vu’.”All of the tracks on this diversely styled album are vivid constructions, fitting of the colorful cover design provided for them by graffiti artist Charlie Kraft. Cheap Cologne isn’t afraid to venture into challenging territory (musically, politically or psychologically) and seems intent on daring his listeners to follow him throughout the winding trip that is Just A Little Sample.


Cheap Cologne V. The FEDS

Published in The Pulse of The Twin Cities
by Kandis Knight

The last time I hung out with Cheap Cologne I didn't notice all of the tats. Also there appears to be a certain "rock star" quality about him now that I hadn't noticed before. Being in Cheap Cologne’s presence is akin to listening to his music—meaning it’s a laid-back, cool and intellectually elevating way to spend some time. Maybe these changes have something to do with all the shit Cologne’s been through this past year, I think we can all agree that being chased down by the feds is no joke.

Cologne has made it through seemingly unphased, weathering the storm only seems to have made this local Hip-Hop super star's chi stronger. Cheap Cologne mulls over the fed’s next step. I was cruising Dunation when I first caught wind of the “feds vs. cologne” ruckus. The feds were cracking down on people who distribute pirated music from the internet and Cheap Cologne had became one of their targets. “One man versus the federal government—there’s a losing argument,” I thought to myself.

Cheap Cologne had made an album called The Double Black Album in which he put Jay-Z's lyrics to Metallica's music and created a new album. "I bought the Metallica Black Album on vinyl so I could scratch it and add it to part of the project," said Cheap Cologne. "I started with a couple songs using just loops, the Metallica whole parts as loops. Then I decided to break it down even more and sample just the individual kicks and snares from the drum kit and make my own beats behind it and still add their guitar melodies behind it. So every sound on there is from the Metallica record, even the scratches."

Almost immediately after Cologne decided to go public with his creation things began heating up between him and the authorities. "No later than one week after I got the CDs back I received an e-mail from the anti-piracy division at the RIAA threatening me with a $250,000 copyright infringement suit per copyright," said Cologne. "Basically I thought, ‘oh shit the whole project is shut down, at least I got some copies out there so people could listen to it before I got into trouble.’ I took it off my website."

A true musical genius loves to share his discoveries with the world, though. Before long I started seeing Cheap Cologne's name in Rolling Stone, then in Entertainment Weekly. Finally, I thought. A local producer has generated a national stir. I was delighted despite the fact that Entertainment Weekly didn't give Minneapolis any shine!

Nevertheless this is good for the Twin Cities Hip-Hop community. Cheap Cologne is constantly getting better at his craft and expanding his knowledge about the music industry, he is an artist who can make us all proud.

Something else Mr. Cologne is interested in—besides dodging federal prosecutors—is the local Hip-Hop scene. He's worked with all of the best. Anyway, shortly after the publicity surrounding The Double Black Album hit the national press, Mr. Cologne's website began to receive hits. "I had 150 thousand people on http://www.broke-ass.com/ in March,” recalls Cologne.

“My server was calling me saying ‘you're going over your limit this is going to cost you a fortune’. So I had to pay more for my hosting service so I could handle the hits and the transfer rates."

Cologne’s press schedule has been busy (The New York Times were his most recent interviewers before yours truly). It will be interesting to see how Cologne's career goes from here. For now, it looks as though the fear of prosecution has passed. Just recently, Cologne got a phone call from someone at The RIAA saying the warning e-mail they sent out was a mistake.

The feds made a mistake? Cologne explains, the agent said ‘I'm not telling you anything, I’m just letting you know that from our standpoint it was a mistake.’" “I said, ‘Well what does that mean?’ The agent said, ‘Sir I’m just letting you know that it was a mistake.’ After that he wouldn't tell me anything more. And I was like, ‘What are you telling me?’ And he said, ‘Well I’m not your attorney I’m just telling you it was a mistake.’

And I thought ‘Oh well, I'll lay low for a little while,’ but I didn't get any calls or anymore letters for a couple days and then I was like, ‘Screw it—I’m going to get it out there!’”

For more information about Cheap Cologne please visit http://www.broke-ass.com/. To listen to The Double Black Album you can go to http://www.bannedmusic.org/ (who estimated four to five weeks ago that 100-150 thousand people had downloaded The Double Black Album). Cheap Cologne has a new CD out called Sexy Grandma Remixes.

Like the true pioneer he is, he’s got an interesting CD cover (you’ll know what I’m talking about when you see it).Also, Cologne also has an instrumental CD coming out that he says emcees can do whatever they want with. Primarily though, he wants people to realize he makes good music and there’s more to him than the scandal surrounding The Double Black Album. “I want people to recognize me as a producer, not just a guy who did one of those remix albums.”