[FEATURE] JG ( @iamjgforreal ) : THE REAL DEAL

​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.

[NEWS] @Raesremmurd & @Madsonik REMIX "BLACK BEATLES"...

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...

​The “Black Beatles” remix will be available for purchase this Friday February 24 on iTunes.

[FEATURE] NASHIEM MYRICK [ @TheProducerNash ]: LIFE AFTER DEATH [THE NOTORIOUS B.I.G. TRIBUTE]

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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?

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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. 

[NEWS] @iamjgforreal & @richthekid PREMIERE "BIRDS IN LA"...

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! 

[MAGAZINE] NEW ISSUE AVAILABLE, URBAN GRANDSTAND DIGITAL MAGAZINE

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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!

[THE STAGE] THE BAZ BROTHERS: STRENGTH OF LOVE

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Its always a good time when we catch up with The Baz Brothers. They’ve quickly become Atlanta’s go-to production company for some of the best stage plays and original stories. We’ve come full circle this time, as we reconnect for the second run of The Strength of Love. Many will remember we traveled out to Griffin, Georgia just over a year ago to cover this amazing stage play, which starred Chandra Currelley, Sean Baker, Paula Campbell, and Dwayne Cottle, among others. They all came together for an amazing show which centered around the undeniable strength in relationships, whether they be with spouses, significant others, or other family. It showcases the power of forgiveness, and so much more. Now, the crew has come back together to give it another go-round, this time adding a few new cast members. We talk with Maria Bazile of The Baz Brothers to get a full scope of what’s due to happen this time around. 

U.G. Digital Magazine: Once again, thank you so much for the opportunity. It’s so awesome to connect with your productions. There’s something amazing in the fact you’re redoing Strength of Love. Why relive this moment at this point?

Maria Bazile: Thank you so much for having us again. We just feel it has a positive and strong message to be heard. Some came to the play the first time who said it was a wonderful show. We want to bring it back to Griffin to be sure others see this strength and love. It’s told in a way it doesn’t just talk about spouses, it also talks about relationships, meaning children, parents, and best friends. Being that, we said we would bring it back for Valentine’s Day because there’s so much attention for love. Why not have a positive message during that time. 

U.G. Digital Magazine: How difficult was it to pull it together?

Maria Bazile: There’s always good and bad times in pre-production, but we love to do it. We have a blast in rehearsals, and the cast is working diligently to put on their best performance. Regardless of the trip-ups, it’s all worth it once it hits the stage. 

U.G. Digital Magazine: I’m impressed beyond measure with how it works out in the end. The professionalism is through the roof, even going back to me personally coming to Atlanta from Cleveland. Your productions are seamless. 

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Maria Bazile: We appreciate it. Sometimes as a business we make the extra effort to be sure the cast feels good, and we put on a show for the people making sure we have fun, but showing a business of excellence. Are you doing the right things, and putting your best foot forward. When we hear those encouraging words, especially from someone like yourself, it’s encouraging to us. We appreciate it. 

U.G. Digital Magazine: In terms of cast, there’s new faces. You made an amazing choice in Meelah Williams. Her professional is through the roof and a perfect match with you guys. How many other new faces will we see?

Maria Bazile: We have Meelah Williams, and also Terrance Parham as the dad, and we have Iyanna Johnson as Monique. She was also in Making Moves. We also brought back the originals as well. 

U.G. Digital Magazine: I felt like I never had the chance to tell you how good Making Moves was, and how it connected so much with my life in regard to Sean’s character. Honestly, it mirrored my journey in terms of following passion, and needing that support. It definitely resonated with me. The writing was great, and again, it was seamless. 

Maria Bazile: With any production, there’s always that one movie that launches production into the spotlight. Stomp the Yard did that for Will Packard, and this is ours. The actors put their all into it. We stripped it down, filmed, and put it back together. We did everything we could as an independent production and more to be sure it was everything you wanted to see in a Hollywood production, and we’re hoping people get behind it because we’re looking to bring it to selected theaters this year. 

U.G. Digital Magazine: In terms of Strength of Love, it’s good, again, to see it come back. Do you see other cities in the future?

Maria Bazile: We have several investors coming out, and it’s in the works to take it on tour this fall. This play Valentine’s weekend will hinge all of that. 

U.G. Digital Magazine: What’s the ultimate that you want to see?

Maria Bazile: Going on the road. We will film it for distribution. We want to give a positive message with quality work. We don’t want your typical stage play. It’s not downing anyone, but we set our bar a little higher. 

U.G. Digital Magazine: I imagine that there will be a number of people who come out and they’ve seen it before. What will those viewers get to refresh it all?

Maria Bazile: The change of some cast members, and a slight change in the presentation. It’s the same story, but it’s told a little different. You’ll enjoy it a new way this time. 

U.G. Digital Magazine: In terms of the readers who want to know more about all else you have in the works, where can they go?

Maria Bazile: www.bazbrothersproduction.com, and follow us on twitter at @bazbrothers, Facebook as @bazbrothers, and instagram as @bazbros

U.G. Digital Magazine: What are you most proud of?

Maria Bazile: The cast and the crew who are putting in the work. They are making it their own. You write a script and have a production, but the people who get behind you and believe in you, and put it on stage to make it what it is, that’s what I’m proud of. 

U.G. Digital Magazine: What would you like to leave off with?

Maria Bazile: Come out February 10-12 to the Griffin auditorium, we have 4 shows through the weekend. We have a lover’s night special on Saturday night after the 7pm show, so you can come out and get a three-course meal, dining, dancing, and a night out with your spouse. It’s marriage ministry. When you come out and see this play, it will breathe into you what love is. If you are having problems in your relationship, come out and remember what it is to forgive, get redemption, and love again.

[THE STAGE] CHANDRA CURRELLEY [ @3agape ]: STRENGTH OF LOVE

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We’ve had the honor of connecting in the past with Mrs. Chandra Currelley and It’s always been a good time. We’ve connected again, this time for the upcoming second run of the hit stage play, Strength of Love. Currelley will be starring alongside Sean Baker and Meelah Williams in the modern day love story that centers around the everyday struggles of relationships, and the processes of healing and forgiveness. The play kicks of Friday, February 10 in Griffin, Georgia, and extends throughout the weekend with 4 shows. 

Chandra talks with us about the play, what everyone can look for this time around, and the other projects she has in the works. 

U.G. Digital Mag: I’m so grateful for you and your time today. The last time we connected was for Making Moves, which was back in October. How have things been going?

Chandra Currelley: Things have been going great. It really opened the door for me with film. I have a new agent I’ve connected with, and I have a lot of auditions coming up. I needed a big machine (laughing). I have a few things coming up, and I’m excited. 

U.G. Digital Mag: Would you say getting to this point in your career was something you always wanted?

Chandra Currelley: Actually, It’s gone beyond my dreams. When I started, I just wanted to sing in front go millions. As I connected with people like Tyler Perry, my outlook became broader. 

U.G. Digital Mag: It’s amazing because so many people know the depth of your music, and your history. I still feel as though you being a part of these productions, especially with Tyler, it introduced you to a larger audience. 

Chandra Currelley: Yes. When I recorded with Roy Ayers, and then became the lead vocalist for the S.O.S. Band, it was a huge experience. As it went on, the DVDs did it. The tours were good, but by him recording the DVDs, it gave me such a huge exposure. I could get to people in a short amount of time. It re-introduced me to a whole new audience. People who knew me before knew me from S.O.S., and they saw me reinvent myself with a whole new generation. My demographic is pretty broad now. 

U.G. Digital Mag: I love that you realize how large your audience has grown. You’ve reach a lot of different age groups. I remember bringing a new camera guy for Making Moves, and he totally fanned out over you. He knows everything you’ve done. That showed me how wide your audience is and how many people you’ve touched. It’s pretty amazing. 

Chandra Currelley: That’s awesome. I had no idea it would be that way. As time goes by, it’s more and more. I’m still meeting young actors who have watched me. I’m thankful for that because I’ve always been a student of the arts. Hopefully when they saw me, they saw quality, and how things should go. I’m thankful for learning my craft and for the people around me. 

U.G. Digital Mag: We see the quality, and it takes me back to Strength of Love. It’s such an amazing story. You and I both know how good The Baz Brothers are. How did everyone come back together?

Chandra Currelley: I just think everyone was available and it worked out. Others were trying to secure me, but by the time they asked, I was already committed. I wanted to start the year off acting. When God puts you in a place where he extends a promotion in your talent and gift, then you recognize where you are and where you’re supposed to go. Sometimes you have to leave what you do best for your future. I wanted to start off that way. My experience was good. This time, I get to do things I never thought I would be able to try on stage. Now I have a better understanding. 

U.G. Digital Mag: I think of The Baz Brothers, and the professionalism that comes with everyone. Anytime I come out, I’m coming all the way from Cleveland, Ohio, and in a heartbeat, I drive out to their events because their professional. 

Chandra Currelley: It’s their integrity. Some people have professionalism, but no integrity. Everybody thinks they can write a play, but with Tyler, God had a mission for him. He gave him the ability to be able to look at something and suck it up like a sponge. I tell young people to learn their craft. When I read the script for this, I knew they understood what they were doing. You have to give people their respect for that. When I saw them, they reminded me of Tyler when I first met him. He was just trying to get people to read his script. When i read his stuff, I said I never had the chance to do those types of characters. And it was stuff people could implement in their lives. It gave the material a true purpose. The way they handle their business is a reflection. They’ve thought about it and sacrificed for it. 

U.G. Digital Mag: Some of the characters have change a bit. What has the change been like for you?

Chandra Currelley: For me, I like things that change. It’s something new and fresh. It has an effect on what you do. Meelah, I worked with her in A Mother’s Love by Kandi Burruss, I saw how talented and serious she was. It wasn’t about her being a reality star. She wanted to grow as an actress and artist. I saw that from the work she put in. I’m looking forward to working with her. She’s honest, and just try to be. It’s better this time because I think the magic is going to happen as intended. 

U.G. Digital Mag: I think you’re spot on. She’s got so much integrity in all she does. She works hard to learn her craft. I’ve heard nothing but great things about A Mother’s Love. I look forward to this play so much now. 

Chandra Currelley: That’s one of the few plays they were presenting on the urban theater circuit. Back in the day, they called it the chitlin circuit. It rose above that. I thank Mr. Perry, and another director who just did Almost Christmas. He was another one who took it past that, and they had to respect it. That play was going to bring something that had never been brought. It was a full-fledged musical. It was incredible, but it couldn’t do what it could do for whatever reason. That’s how I met Sean Baker. The second time we did it, they rewrote it. He was part of a singing group but they wrote that out. We stayed in touch, and it was because of his integrity. He really worked at his craft and was serious. When you get with your kind, the occasion is not the only time you’ll connect with them. You end up in similar situations where integrity is involved. We’re about the same thing. He new people, the fresh blood, it’s just awesome. 

U.G. Digital Mag: I think it’s a great thing to have that new blood. It freshens things up. 

Chandra Currelley: Yes, and the music is good. They were every particular about the songs in the show. Some plays, it’s song after song after song. The songs are to forward the story line. If you have too much, the message gets all muddied up. They were very particular about the number and the type. 

U.G. Digital Mag: Not giving too much of the story away, what are some of the things we can expect different since there’s new cast members?

Chandra Currelley: The material never changes. It’s like if you see A Raisin in the Sun. The lines never change, but it’s different when different people do it. If you have a good script, you don’t have to change it. The way the cast sees it makes it different. From the director’s point of view, what they got a chance to see before will be different in translation this time. I think this will be felt more. Earlier, it was in the head, but now, it’s in the heart. 

U.G. Digital Mag: I agree. It’s in their hearts because it’s been perfected, and they know the story. 

Chandra Currelley: That was the emphasis. Making sure the audience feels it. We want them to feel something, and cry. We want them to feel this and relate to it. I ran into a lady while getting my eyebrows arched, and we were talking about Valentine’s day. She and her husband had been having problems, and I was able to tell her about the show. The story is a match to their lives. That’s what we do. It’s therapeutic, but not clinical. This is just life, and we adapt our changes and things we experience to our relationships. 

U.G. Digital Mag: It’s amazing how much these stories touch people’s lives. I remember with Making Moves, and how Sean Baker’s character really related deeply to my life. It was like looking at my own life, or looking in a mirror. You connecting with the young lady is going to help her. 

Chandra Currelley: Right. That’s how we learn stuff, and know stuff. It doesn’t make sense to me to experience things and not pass them on. 

U.G. Digital Mag: It goes back to your own personality, and how you connect with people. It says a lot about you and how down to earth you are. 

Chandra Currelley: It’s how I’m built. I did think about it, but I felt like I needed to say something. 

U.G. Digital Mag: It’s natural to think twice because you never know how people receive stuff like that. 

Chandra Currelley: Right. But it’s the way God works. Nothing is by mistake. We have to take those opportunities. Those things come back to bless you. You do it just from the heart. 

U.G. Digital Mag: I would love for readers to know more of what you have going on, and other projects?

Chandra Currelley: I’ve been focusing on my acting. I have a lot of auditions coming. I’m working on more music. I’m in that mode of creating new material. That’s where I am. I still want to do that. I want to do a small tour, but it will be mores on the midwest and west coast. I had my hands full. I’m working on my films career, and then I still have to do my live thing. At the same time, I want to be stable. I don’t want to do so much that I’m running ragged. I’m finding a way to get everything to connect. 

U.G. Digital Mag: You’ve definitely done some powerful work, and everyone knows the phenomenal work you have done all over. We just need to get you on The Haves and the Have Nots…

Chandra Currelley: It’ll be great if he got me my own sitcom. You never know. I do have a desire to do something he writes for me as a motion picture. I think I’ll call and tell him (laughing). He’ll get a kick out of that. He’ll do something, and every time he does, it’s better than I can imagine. 

U.G. Digital Mag: In terms of final comments, what’s left to say?

Chandra Currelley: Never ever give up. Never, EVER, give up (laughing). Thats in any and everything. Sometimes, your head can rule over your heart. It’s about your belief system. Don’t believe someone telling you what you can’t do. They can say what they want, but it’s up to you.

[THE STAGE] SEAN BAKER: STRENGTH OF LOVE

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Hands down, Sean Baker is one of the hardest working brothers out here in the acting game. We first met for the initial run of The Baz Brothers’ Strength of Love back in 2015, and since then, he has done a host of additional roles and projects. One of his more recent roles was the lead in the hit film Making Moves, which was also written by The Baz Brothers. We’ve also been watching as he’s been preparing for the highly anticipated biopic “All Eyes on Me”, which centers around the life of slain rapper Tupac Shakur. Coming up very soon, Baker will be hitting the stage once again in the reboot of The Baz Brothers’ Strength of Love alongside actors Chandra Currelley, Dwayne Cottle, and Strength of Love newcomer Meelah Williams. He’s constantly on the move, but we got him to slow down just a bit to talk to us about the play, as well as all else he has cooking right now. 

U.G. Digital Mag: You are one of the hardest working brothers out here man…

Sean Baker: Just one of em [laughing]. 

U.G. Digital Mag: I see the many projects you work on man. What gives you the drive to work as hard in the paint as you do?

Sean Baker: First of all, thank you so much for mentioning that. I’m one of a lot of brothers out her making a name for ourselves. What drives me is this is my passion. It’s what I love to do. It’s not a hobby, and it’s something for me. Since I was young and performing, my mother would have me singing and dancing for her friends. I was doing something in entertainment, and it was always in me. What drives me is it’s my passion. I live, eat, and sleep this. 

U.G. Digital Mag: The first time we connected was during the first run of Strength of Love. You’ve done so much since then. How did you first connect with The Baz Brothers?

Sean Baker: It was with "Strength of Love". I heard of the audition, sent in my headshots and resume, and prayed for the best. I believe when I got there, they said I was the first one, super early, and they knew I was what they needed. Now don’t quote me on that [laughing]. We had a great time, great connection, and they have a real passion for what they do. We don’t always get to work with a lot of writers and directors who have a true understanding. It’s a different experience when you work with people who have a love for the arts. They really understand what it is to do this, and there’s a meaning and method behind what they do. Since then, we did "Making Moves". That was my first leading role. They gave me that chance, and it helped me transition. To see that and work with them seamlessly was great. Now I’m doing "Strength of Love" for the second time around. It’ll be another great experience. 

U.G. Digital Mag: I’m quoting you on what you said man [laughing]. I see what you’re doing and your work is impeccable. I’ve never seen anyone work as hard, and I realized that the last time I came out to Atlanta. You were all over the carpet man, and just working. In the interview we did for UGD Live, I recall talking about your character for Making Moves, and it completely resonated with me and my journey. You did an amazing job in the movie bringing that to life. 

Sean Baker: Thank you brother, I appreciate that. I enjoyed doing the film, and when I read the script, it resonated with me as well. In following our dreams, we have to make certain sacrifices. It’s one of those life imitating art and art imitating life moments. It made it that much easier to tell the story because I literally lived a portion of the story. I was able to bring my personal experience to the situation and make it believable. 

U.G. Digital Mag: That made it even better though in my opinion.

Sean Baker: Definitely. It levels up everything. As actors, we may get roles where we may not have experienced everything the character went though, but with this, I just had to dig back into my memory. It was like playing out my life. That made it that much easier and brought that much more authenticity to it. 

U.G. Digital Mag: You have people backing you like Chandra Currelley and Meelah Williams. How is it to be back in that mode of this production?

Sean Baker: It’s funny you ask, because we had a table read, and of course we have new faces. As of right now, with Chandra Currelley, and Dwayne Cottle, they are familiar faces. I’ve been working with Chandra for years. It’s wonderful to say I’ve been working with her for years. For someone of her caliber, it’s a blessing. Familiarity is always good. Meelah is doing an excellent job. It’s refreshing to work with different people when you can. If it has to happen that way, you pray there’s chemistry with everyone. We’ve had our rehearsals, and it’s been great. I love working the project period. It’s a great thing, and Meelah has been bringing a different energy to it, and it’s refreshing. I love her energy. We are bonding and connecting in a way that the audience will get what they need. They can see the story from a different perspective. We have different people bringing new energy. Change is not always bad. Sometimes it’s good. We’re all learning the different nuances to telling a story. At the table read, we expressed the fact that it’s like we’re learning new things again. It’s like it’s the first time. 

U.G. Digital Mag: What do you feel like you were able to do to refresh your character, seeing as how there will likely be people coming out who saw it the last time?

Sean Baker: It’s funny because the other side of it is if it ain’t broke, don’t fix it. When I look at it with a refreshed vision and new set of eyes, I’m not changing the dynamics of the character. For me, and looking at it again, it’s more in the details of the story. There’s different emotions I can tap into. I may find a scene where my character can show more emotion, or less emotion, or show a different range of hurt. Maybe it’s deeper in the back story. It’s something else that can be brought to the surface. It’s like Coke or Pepsi. Same great taste, but a different rapper. It’s different energy and a different way of telling the story. 

U.G. Digital Mag: I’m looking forward to this man. I know it’s going to be great. Tell everyone where they can check you out online? 

Sean Baker: My website is being reconstructed, it’s www.seanbakeronline.com and definitely at Instagram @seanbakeronline, Twitter @theseanbaker, and Facebook @Seanbaker. 

U.G. Digital Mag: We’re consistently checking you out and following. The Tupac feature you’re a part of, when is it dropping?

Sean Baker: We had a new production company jump on, Lions gate and Morgan Creek, and it’s looking like June for it to come out. 

U.G. Digital Mag: I appreciate you man. Any kind of final words, comments, or words of encouragement?

Sean Baker: It’s like a mantra of mine man. I always say do it with passion, or don’t do it at all. I don’t care what it is: dancing, singing, or being an architect. Do it with passion, or not at all. And secondly, I need y’all to come out. February 10, February 11, and February 12. Get your tickets, today! 

[THE STAGE] MEELAH WILLIAMS [ @itmseelah ]: STRENGTH OF LOVE

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It’s so wonderful to reconnect with Meelah Williams. As most know, Williams has been venturing into the world of acting over the past few years, and she’s now taking a lead in The Baz Brothers production, Strength of Love. It’s an amazing story of love, forgiveness, and all the craziness that can happen in between. Strength of Love will be showing Valentine’s weekend in Griffin, GA. 

We took some time to chat with Ms. Williams about her role in this stage play, and what the world can expect from her first leading role. 

U.G. Digital Mag: I’m most grateful to you for a few things; one for you sharing your time with me today. Also, you were a tremendous part of our first issue. I’m always forever thankful to you. 

Meelah Williams: Thank you for the opportunity. I’m grateful that you even gave me that platform. 

U.G. Digital Mag: So we’re together for Strength of Love, but before I even start, I have to get your thoughts on the New Edition movie, considering how instrumental Michael Bivens was in the careers of 702. 

Meelah Williams: It really is outstanding. I’ve only seen two parts so far, but the actors have done an amazing job. The actors were spot on. I was there for some of it, but to see it on television, it’s refreshing to see the other side of the industry. A lot of people who want to do this often forget about the other side. It’s not always the glitz and glamour. It’s refreshing that they opened themselves up and allowed them[the actors] to be there with them. I had no idea that they went through all the things they did. It was like 1996 for the Home Again tour. We were clueless to a lot of what happened behind the scenes, but there were times when we definitely felt the tension. 

U.G. Digital Mag: When you mention how spot on they were, the kids were really amazing. 

Meelah Williams: I know, right? 

U.G. Digital Mag: The one who play Mike looked just like him. 

Meelah Williams: Isn’t that crazy? I asked where did they find that kid. He had that same swag, cocky arrogance, and the whole Boston swag. Clearly Mike and everyone was instrumental in picking the characters that played them, but it’s amazing they found someone so close. Those kids did an amazing job. The casting for Brooke Payne as well, which was the guy from the wire, Wood Harris. I've got to catch up with part 3 now. 

U.G. Digital Mag: It’s funny because my son is 10, and he’s enamored with the movie. 

Meelah Williams: I’m disappointed I missed last night, but I will definitely catch it. 

U.G. Digital Mag: So Strength of Love, it’s such an amazing story. I saw the first run of it last year, so it’s good to see it back. How is it for you to come in this time around?

Meelah Williams: First, I’m just humbled and flattered for someone to reach out and ask of my interest. It’s always a blessing after all this time that people still call and seek my talent. Everyone has been so welcoming. I knew Chandra Currelley because I worked with her for Kandi Burruss’ A Mother’s Love. I was so excited to see Mrs. Chandra again. She’s always great, professional, and so cool. The woman knows what she is doing. I look at her like an auntie. She’s so magical, and anytime I’m in her presence, I’m in awe. She’s so multifaceted. I have to see one of her shows because I love jazz. She’s like someone you’ve known for years. When you go into an ensemble of new people, you never know how it will be. The directors and writers are so chill and laid back. By the second or third rehearsal, they were like family. They’re serious too, but they know how to have fun and make you feel comfortable. 

U.G. Digital Mag: There's something special about The Baz Brothers. Chandra is amazing too, and her background with S.O.S. Band is something else. 

Meelah Williams: Listen! That’s good music. 

U.G. Digital Mag: But it’s just knowing all she’s done and how humble she is, and how welcoming she is. She’s simply amazing. You have a family of people for sure. 

Meelah Williams: I’m so grateful. The opportunity is so cool. It’s my third stage play, but the first time I’ve been a leading character. It’s humbling, and exciting to pursue something like this. It’s a blessing to get the acting chops going and the blood flowing. It’s a different level of entertainment coming from the music world. 

U.G. Digital Mag: You character has so much depth. How was it to tap into that?

Meelah Williams: It’s interesting because I had this conversation with my mother. It can be very draining at times. That goes for acting in general because you have to morph into these characters and tune into that space. Every nuance and characteristic that your character embodies, you have to align with that. After tomorrow, we’re no longer called by our real names. I have to get into that zone. Her story is so deep, and it’s deep to have to go there. You have to tap into things that may be uncomfortable from your own life and path. You have to find something that’s parallel in some sense to help you convey the emotions. I didn’t know it would be this deep. If that’s what it takes, then let me do this. It’s all in being an actor. 

U.G. Digital Mag: Everyone is looking forward to it. What are your hopes for the three days?

Meelah Williams: I hope that those who come out, whether it’s to see me, someone else, or they're just interested, are satisfied. I hope they enjoy everything they see and are not disappointed in my acting, or on any level. I hope they see my passion, and know that I’m working to take this to another level. This is just the beginning. 

U.G. Digital Mag: Again, I think you’re so amazing with this. I’ve followed since 702. I’ve watched the R&B Divas, and could really appreciate how you stuck to your guns in terms of portrayal, and what people saw in you. You protected your image, and that was major. Thank you for that. 

Meelah Williams: I appreciate that. It’s hard. Unfortunately, the business has changed so much from the time 702 came out until now. The values are different, with social media, and reality shows. If you are someone who’s wholesome, or “a good girl”, you come off as boring, dull, and as having no personality. If I’m not flipping over a table, cursing someone out, or just being flat out ignorant, I have no personality. I have layers to me and I’m complex. I just want to be decent on television because it’s how I was raised. Does that mean I can’t defend myself in a situation? Of course not, but will I be confrontational? That’s not my way. I thank you for acknowledging that though. 

U.G. Digital Mag: There’s more who look for what you offer than there are who look for the craziness. It doesn’t seem so at times, but there are. 

Meelah Williams: It’s frustrating because I have ratchet tendencies (laughing). If you take me there, for instance about my son, or my family, you’ll see the turn up. I’ve been taught to be classy. I am human though, and don’t always know how to turn the other cheek, but I try to be pretty chill. I plan on doing reality TV again, maybe if I have creative control. 

U.G. Digital Mag: I would love to see it. The last time we spoke, we talked a lot about your foundation. I would love to see more about that. 

Meelah Williams: Thank you! Yes. That was the other thing with my story line on R&B Divas. We touched on it, and I guess that was the basis of it, but I wanted to focus more on that. Moving forward, there have been some ideas out there. I’ve been approached, being an autism mom. 

U.G. Digital Mag: There’s so many people who deal with it [autism], but you touch a lot of people with your story and they really benefit from it. 

Meelah Williams: It needs to be talked about more. I respect everyone’s wishes because I too wasn’t sure in the beginning if I wanted to put it out there. It’s definitely private and personal. They have that right, but those of us who do want to talk, I think we should. A lot of parents don’t know how to handle it. It’s not an easy thing or a walk in the park. There’s several levels, even mild levels. It’s challenging, but life has challenges. I think it would be cool in the African Amercian community to touch on it, even with mental illness. We don’t touch on it much. We just sweep it under the rug. Unfortunately, where there’s no communication, other issues arise. It’s like, this could be prevented if we just talk about it. 

U.G. Digital Mag: Can you talk about other things you’re working on or have coming up?

Meelah Williams: I actually just signed a record deal with Soulstar / E1 music. This will be my solo debut album. It feels like I’ve been doing solo music for a while and I’ve had singles here and there, but this will be my first body of work. 

U.G. Digital Mag: Knowing of Soulstar, and your music, you’re in the perfect place. They can really get it out there. 

Meelah Williams: Thank you so much. It’s a good feeling to be in this space with complete and creative control. I can zone out and figure out what I want to do sonically. A lot of people still don’t know who I am. It feels good to create a project that is all me. I just started recording a few weeks ago, so I’m in the very beginning stages. I’m not rushing it, but it may be around late summer or the end of 2017. I’m looking for a super successful album. It’s still so premature that I don’t even have a title yet. 

U.G. Digital Mag: People like myself, and your entire fanbase, knowing you have something coming, it’s more than enough for us. You gave us “Give It to You” a few years ago, and then it was like OK, we’re waiting. 

Meelah Williams: I know. I was kinda teasing y’all a bit (laughing), with Stupid in love, a great single written by TC, but I just do a little bit to hold y’all over (laughing). 

U.G. Digital Mag: Well we’re waiting patiently [laughing]. How can everyone keep up with you online?

Meelah Williams: All my social media handles are @ItsMeelah for Twitter, Instagram, and Facebook. It’s the same for my website [www.itsmeelah.com], but I’m revamping everything. I’m under new management, with a new label, new "er’thang (laughing). I don’t have a snapchat, and don’t y’all come for me (laughing). I think I’m the only one in the world who don’t have one. 

U.G. Digital Mag: I’ll keep it real with you. I can’t get with it [Snapchat]. I don’t know what the hell I’m doing [laughing]. 

Meelah Williams: We’re neck and neck. I’m already giving y’all all of me in three other places, what more do you want? [laughing]

U.G. Digital Mag: It’s crazy. I can’t figure it out, but my ten year old has it down to a science. 

Meelah Williams: At least Instagram tried to help us out. It’s all inclusive there. Y’all wanna see what’s up with me, follow me on Instagram. I also recently added a camera crew to my team, so I’ll be in the studio today, and you’ll see some things on my YouTube channel, eventually maybe even a webisode. 

U.G. Digital Mag: People look forward to it. Thank you again, so much for today, for our first issue, and everything. 

Meelah Williams: I’m so happy I was able to help.

"I AM NOT YOUR NEGRO" DIRECTOR, RAOUL PECK, REACTS TO OSCAR NOMINATION FOR "BEST DOCUMENTARY FEATURE"...

The Academy of Motion Picture Arts and Sciences announced the official nominations for the 89th Academy Awards®. I AM NOT YOUR NEGRO, a bold new documentary inspired by legendary writer, James Baldwin, created by master filmmaker, Raoul Peck and narrated by Hollywood A-lister, Samuel L. Jackson, moves one step closer to winning an Oscar for "Best Documentary Feature!"

Following the announcement, the film's director, Raoul Peck, shared his thoughts on winning a nomination:

"I'm grateful and joyful to be nominated for I AM NOT YOUR NEGRO. All of our partners and the entire team are joining me to thank the Academy members who participated in the vote of this incredibly humbling nomination. We would like to thank especially the James Baldwin Estate and Gloria Karefa-Smart, James Baldwin's sister. Baldwin had developed a clear narrative about America's historical denial and irrational relationship with race and articulated it freely in the media during his lifetime. I'm not sure this kind of raw and profound expression would be tolerated today -even though it is more than ever necessary. I want to congratulate the other nominees who have made amazing films, most of whom are dear friends. Thank you."

"I Am Not Your Negro" hits theaters nationwide February 3, 2017. For a complete listing of nominees, visit the official Oscars website at www.oscar.com

Click below to view the official documentary trailer! 

[NEWS] JANELLE MONÁE, AMBASSADOR ANDREW YOUNG, AND MORE PARTICIPATE IN ATLANTA SCREENING OF "I AM NOT YOUR NEGRO" AT MOREHOUSE COLLEGE...

ATLANTA (January 24, 2017) Last night, musical superstar and social critic/activist, Janelle Monáe, civil rights icon, Ambassador Andrew Young, and more engaged with students, press and influencers at a private screening of the new James Baldwin documentary, I Am Not Your Negro, presented by Liquid Soul for Magnolia Pictures.

The documentary which releases to theaters, February 3rd, has been nominated for an Oscar Award and a NAACP Image Award for best documentary in the Documentary (Feature) categories.

Famed visual artist and scholar, Fahamu Pecou, wearing a University Of Baldwin long sleeve tee, kicked off the evening introducing artist/activist Janelle Monáe who recited a moving excerpt from Baldwin’s "Notes Of A Native Son," setting an empowering tone for the screening.

Just before her presentation, she shared a special connection that she and her labelmates at Wondaland Records, have with James Baldwin. "@Wondaland Arts Society and I had the honor of hosting a gut wrenching and TIMELY documentary about our hero James Baldwin. It was an honor to screen a documentary about one of the greatest American writers, JAMES BALDWIN!" At the end of the screening, the audience rose to their feet and the film received a standing ovation.

The final highlight of the evening is an intriguing talkback panel discussion moderated by Morehouse Cinema, Television and Emerging Media Studies (CTEMS) Director, Dr. Stephane Dunn which featured Ambassador Andrew Young; Clark Atlanta University African American Studies Professor, Dr. Daniel Black; Morehouse College Asst. Professor of English, Dr. Francine Allen, Georgia Equality Field Organizer, Rob Woods and artist/activist, Fahamu Pecou. The discussion explored race relations - past and present, the impact of James Baldwin during the civil rights movement and now, the relevance of the documentary to the social issues of today, concluding with thoughts on where we should go from “here.” Civil Rights icon, Ambassador Andrew Jackson Young, Jr. gave the students a first-hand perspective sharing on the civil rights movements and marches then compared to now.

Other notable guests attending were: Egypt Sherrod (HGTV’s “Flipping Virgins”); DJ FaDelf (Celebrity DJ, Author and Motivational Speaker); Jack A. Daniels (Psychotherapist, 5x Bestselling Author and Host of FYI’s “Black Love”); Marshawn Evans (Author, NBC’s “The Apprentice”); Christopher Hicks (Director, Mayor’s Office of Film and Entertainment); (Founder, Hat-titude Big Hat Brunch) and many more!

I Am Not Your Negro opens nationwide on Friday, February 3!

ABOUT I AM NOT YOUR NEGRO

In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House. The book was to be a revolutionary, personal account of the lives and successive assassinations of three of his close friends—Medgar Evers, Malcolm X and Martin Luther King, Jr. At the time of Baldwin’s death in 1987, he left behind only thirty completed pages of this manuscript.

Now, in his incendiary new documentary, master filmmaker Raoul Peck envisions the book James Baldwin never finished. The result is a radical, up-to-the-minute examination of race in America, using Baldwin’s original words and flood of rich archival material. I Am Not Your Negro is a journey into black history that connects the past of the Civil Rights movement to the present of #BlackLivesMatter. It is a film that questions black representation in Hollywood and beyond. And, ultimately, by confronting the deeper connections between the lives and assassination of these three leaders, Baldwin and Peck have produced a work that challenges the very definition of what America stands for.

[ARTIST] Tank

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While making his seventh full-length album, SLP2 [R&B Money/Atlantic Records], Tank posed a crucial question.
“What does cutting edge R&B sound like in 2016?” he asks. 
 

He answered that question by crafting the long-awaited sequel to his influential 2007 opus, Sex, Love & Pain. That album not only provided a blueprint for the likes of Chris Brown, Trey Songz, and more, but it also debuted at #2 on the Billboard Top 200 and earned a Grammy Award nomination for “Best R&B Album,” while its #1 single “Please Don’t Go” became nominated for “Best R&B Male Vocal Performance.” Following 2014’s Stronger, Tank once again captured a creative spirit that resembled the process behind his seminal third body of work.
 

“Sex, Love & Pain was the first time I had ever made an album just because I wanted to make some good music,” he recalls. “There was no pressure to meet a deadline or put out a single because money was low. We were writing and producing for pretty much everybody and just decided to create a Tank album one day. That was the inception of the project. We chose to write some great music and let the chips fall where they may. That process mirrors this process. I made Stronger, and it was natural for me at the time. People have been screaming for SLP2 though, and I wanted to give them what they wanted. To do that, we had to merge classic and modern sounds and make this super crazy hybrid. When people are asking for something, you’ve got to deliver it right.”
It all started with his first single “You Don’t Know” [feat. Wale]. Co-written by Eric Bellinger [Justin Bieber, Kid Ink], the track fuses a subtle trap beat with airy, open production. Meanwhile, Tank carries a smooth and soulful refrain between incendiary bars courtesy of Wale.
 

“My music parallels my life eventually,” he remarks. “This song was happening at the same time I’d be telling my lady at home, ‘Listen, you don’t understand. I really love you. We’re in a different space. You’re on my back about all of this other stuff right here, and you’re making issues out of nothing. This is not where we’re supposed to be. You don’t know. I’m trying to show you, but in my own way.’ As soon as I got the record from Eric, I knew that was it. If you’re getting someone to complement raw emotion, Wale’s my favorite right now. It came together perfectly.”
 

As far as sequels go, Tank knew he had to go even bigger to make SLP2 the blockbuster audiences desired. In addition to cameos from Shawn Stockman of Boyz II Men and Yo Gotti, he assembled a new West Coast anthem in the form of the Tank produced “Birthday” with a little help from Chris Brown, Problem, and Siya. He also teamed up with TGT collaborator and producer Brandon “BAM” Hodge to “help set the musical tone,” of this new project.
 

Then, there’s “She With The S***” featuring Rich Homie Quan. As a self-professed “huge fan” of the original Sex, Love & Pain, the Atlanta rapper jumped at the chance to fire off a verse on the follow-up. “It’s so next level,” smiles Tank. “Quan’s one of the hottest rappers out period right now. I was literally in the booth cheering him on while he was rapping and singing. He’s just fearless with it, and it was one of the coolest studio interactions I’ve ever had sitting in the booth.”
 

In between crafting his albums, Tank continues to make an impact as a songwriter, leaving his mark on pop culture at large. His writing credits include songs for everybody from Jamie Foxx, Pitbull, Aaliyah, and Beyoncé to Trevor Jackson and Adrian Marcel. At the same time, he’s evolved yet again outside of music with his fitness program Stronger U and starring role on the 2015 TV One hit Born Again Virgin. It builds upon his legacy, which encompasses everything from his first two gold-certified albums—Force of Nature and One Man—and 2013’s chart-topping TGT collaboration with Tyrese and Ginuwine, Three Kings.

“The moon, the stars, and the sun don’t align very often like they have recently,” he smiles. “I finally feel like I’m in a space creatively where I’m doing my best music and best acting. I’ve reached this amazing place.”
 

In the end, Tank taps into something timeless with SLP2, while delivering the perfect sequel.
 

“The meaning of Sex, Love & Pain never changes,” he leaves off. “That’s the order I put it in. I’m a guy, so most of the time, sex comes first. Then, we fall in love. Somewhere later, the pain creeps in—whether it’s us doing the pain or feeling it. You build off that. The process starts all over. We fall back in love again. It’s still the same. Nothing has changed. That’s my life, and I write my life. I use that to inspire melodies, song titles, and lyrics. I want to create a moment that can help change someone else’s life.”

[ARTIST] Philly Weeden

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Philipé Winston Weeden is a Designer, Model, Semi-Professional Football Player, Public Speaker, Author, Playwright and now Screen Writer. He has two published books titled REALationship Breakdown Philly Style: Based on Real Life Experiences and The Black Man's Guide: If You Knew Better You'd Do Better, under his belt and is currently working on his third book. 

At a young age Philipé loved to write fictional stories. As he aged and matured his writings were about his own life situations. Throughout Philipe's life he has experienced good times and bad times. From being married, divorced, and father at a young age. But it doesn’t end there, he was also a member of a famous dance/rap group, the creator of his own clothing line, an off & on football career, a life threatening car accident and even being homeless. Throughout this, Philipé always remained humbled. How he survived? He lifted himself above all his hardships through his walk with God. Philipé is an avid believer that with God all things are possible! He took a leap of faith and pursued writing. With the encouragement of his Facebook friends, Philipé set out to release all he had pinned up inside of him. He realized that by helping others through words he was in turn helping himself to heal. His first book REALationship Breakdown Philly Style: Based on Real Life Experiences released October 30, 2011 and pre-sold over 1,500 copies. The focus of this book was to breakdown relationships and help people to retain or gain one. The success of this book, along with the rave reviews from readers, gave Philipé the motivation to release his second book The Black Man's Guide: If You Knew Better You'd Do Better on January 1, 2012. This book focused on breaking down the male partner of the relationship.

After releasing his second book, Philipé decided to take his writing to another level, birthing the hit stage play If You Knew Better You'd Do Better. The first showing on April 22, 2012 at Cleveland State University was a sold out show. Many of Philipe's supporters and fans demanded a second show that he delivered on June 3, 2012 which was filmed by TV 20 and aired June 2012. His cast, which he hand-picked himself, consisted of all local Clevelanders with no acting experience.

With all the suspense from the first play many people were left to wonder what happened to the characters and their situations. Since Philipé loves challenges, he embarked on the sequel immediately after the plays sold out show. The sequel titled "If I Knew Then, What I Know" played September 22, 2012 with another sold out performance. Part 3 "If Only You Knew... The TRUTH!" played May 4, 2013 and was the biggest production he has done thus far adding 4 sold out performances. Philipé went back in the lab to bring forth another 3 Part series from a Romantic- Dramedy perspective. First up was "BRUTHA's... We All We Got!" being performed in front of a sold out audience. He wrote and produced his next stage play "God's Gift to Women!" April 26, 2014. Not soon after Philipé started filming his first movie "If You Knew Better; You'd Do Better!" which premiered November 8, 2014 at Solon Cinemas selling out 4 theaters and over 1,000 people in attendance. Showing a second time at Cedar- Lee Theatres selling out with over 175 people in attendance. Then showing it at Capitol Theatre which included over 100 people selling out the auditorium. “Standing in the Need” was Philipe’s production and Playhouse Square debut where he not only came into a new mark but being the youngest African American to sell out the Ohio Theatre. 

Awards & Accomplishments
2008 Young Black Business Association Growing Business Award winning clothing company (OHIO) 
Nominated Entrepreneur of the Year 2012 OMA's (Ohio Mixtape Awards) Hip Play Producer/ Playwright
2012 Young Black Business Association Entrepreneur of the Year (OHIO) 
2013 "Key to the City" Recipient - "for your dedication to improving the lives of others through your books and stageplays" 
2014 Who's Who in Black Cleveland Honoree of Game Changer Award
2014 Man on Fire Award
2015 Feed the Heart Ministries Service Award
2015 Dawson Foundation Cycle Breaker Honoree

[ARTIST] Kelly Rowland

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For a Grammy-award winner who has been part of one of the most successful groups of all time, a solo star in her own right, with roles in motion pictures and television, Kelly Rowland isn’t kidding when she says, “This is a fresh start for me. I’m in a fantastic place right now.”

With brand-new management, a new record label and a world-wide hit, “When Love Takes Over,” with acclaimed French dance producer David Guetta, call this new phase, “When Kelly Takes Over,” as the multi-talented singer/songwriter/TV host and actress exerts full control on a career that has already produced millions of album sales, smash records and accolades.

After spending a summer in Europe, Rowland found herself turned on to different sounds and musical genres, especially dance and electro, which has encouraged her latest stylistic direction.

“I went out and had great experiences learning about the culture of dance music, how people interact with the DJ,” she says. “It really inspired my sound moving forward.”

Kelly launched her post-Destiny’s Child solo career by teaming up with rapper Nelly in 2002, recording the vocals for the track “Dilemma” for his album Nellyville. The song ended up with a Grammy nomination for Record of the Year and earned Rowland an award in the Best Rap/Sung Collaboration category.

After two successful solo albums—2002’s RIAA-gold certified Simply Deep, which reached #12 on the Billboard chart, and 2007’s Ms. Kelly, featuring top producers like Billy Mann, Scott Storch, Sean Garrett, Tank, Rockwilder and Polow da Don, and guest stars Snoop Dogg and Eve, going on to sell 1.2 million worldwide—Rowland found herself ready for a change of pace. One of the singles from Ms. Kelly, “Work,” offered a hint of her new direction, when a dance remix hit the Top 10 in France, Italy and the U.K.

“When the Freemasons did their thing, it became this massive international hit,” explains Kelly. “To be quite honest, I was a little nervous about doing it, but when I met David, I realized how much I was enjoying dance music.”

Playing the same club in the south of France, Rowland and Guetta hit it off straight away. He played her one of his tracks, which Kelly took back with her to London, and finished writing what became “When Loves Takes Over” with Mim and Liv of the production/ songwriting team Nervo, whom she had just met for the first time. She sent it back to David, and the rest can be heard on club floors all over the world.

“Half the time, I don’t even have to sing the words,” marvels Kelly at the reaction of dancers to the hit. “It’s just a fun record. It feels good. For so long, I’ve been saying I wanted to do a record that I could be me on.”

While “When Loves Takes Over,” which has already topped the charts throughout Europe, appears on Guetta’s new album, One Love, Kelly and the DJ/producer/songwriter will reprise their collaboration on her own third solo effort, which she has begun to record in L.A., New York and Miami, where she makes her home.

“Yes, he will definitely be a part of it,” nods Kelly. “We have started thinking about what we want to do and I know in my gut, it’s going to be fantastic. Our chemistry in the studio and on-stage is so good. It just works.”

Aside from Guetta, Rowland has already begun working with a variety of European producers, including up-and-comers like Calvo and Fredro Odesjo, as well as U.S. hitmakers like producer/songwriter Brian Kennedy (“Disturbia”).

“These guys are really creative, excited about dance music and understand it,” says Kelly. “I want to incorporate those sounds without going too far away from what people know me for, which is R&B. I’ve traveled the world as a solo artist and have been influenced by all these different sounds—Europop, electro, dance, etc.—that I want to share with my fans. I’d like my audience to get to know me better on this album, discover my personality—which is sass and class, the fun part. That’s what I’m trying to showcase.”

As for her illustrious past, Kelly just wants room to grow as an individual, to explore her own artistic path.

“It’s about respecting me in my space as an individual, as I respect the other members of Destiny’s Child in theirs,” she insists. “That is certainly a large part of my career, how big it was. We continue to love and support each other, but we’re all adults moving forward.”

Rowland is also intent on continuing to appear on TV and in the movies. She had a recurring role in the UPN sitcom The Hughleys, before appearing in other network shows such as Eve and Girlfriends. She also appeared as Martha Reeves in American Dreams, singing “Nowhere to Run.” In 2003, Rowland made her big screen debut in the film Freddy vs. Jason, then the following year starred in the romantic comedy, The Seat Filler, executive-produced by Will Smith and Jada Pinkett Smith, playing a pop star who falls for an awards-show seat filler she mistakes for a high-profile record executive. She just finished co-hosting Bravo’s reality series The Fashion Show with designer Isaac Mizrahi.

“I’m definitely going up for more roles because it’s something I truly enjoy,” she says. “I really want to continue to study the craft to where I can be respected as an actor. I want to completely understand the role and get engrossed in it to the point where I am that character. For me, it’s about passion, not taking a role just to say I did it.”

With a clean slate and a promising start on this latest phase of her impressive career, Kelly is ready to embark on this latest phase of her career.

“I’m very confident in everyone that’s around me now,” she says. “I believe in them as much, if not more, than they believe in me. I let them know what’s going on, what I want, what I expect from them. I’m in control, and that’s a great thing.”

Now that she’s set in the present, Kelly has no problem casting an eye toward the future.

“I want to put together a great #1 album and tour, just play live, be with the crowd and create more of those magic moments,” she concludes, before adding she’s working on creating her own TV show, one which she wouldn’t mind being behind the camera for a change.

Now that “Love” has taken over, Kelly Rowland won’t be far behind.

[ARTIST] Aaliyah

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When considering Aaliyah's track record, it's befitting that her name means "The highest, most exalted one, the best." Her parents, Diane and Michael, decided on the name based on the high hopes and expectations they would have if they had a daughter. Her success as both a recording artist and actress actually makes the name of a self-fulfilling prophecy. Aaliyah made her dreams come true. At 22, she not only had a very successful recording career but also established herself as a motion picture actress and an accomplished business woman.

From an early age, Aaliyah found satisfaction in her music. When she didn't win the youth vocal competition on "Star Search" as a preteen, she didn't let it deter her from continuing to sing. In fact, at age 11, she landed a five-night stint performing with Gladys Knight in Las Vegas. Born in Brooklyn, New York, she was raised in Detroit while also going home to New York frequently and eventually became a client with Abrams Artists. She graduated from the Detroit Performing Arts High School in 1997 with a 4.0 GPA. She credits her educational success to the support from her family, her mother (who was a teacher that home schooled her), Dr. Sylvia Twyman, Dr. Denise Cotton, the Education Guidance Center, Dr. David Snead (Superintendent of Detroit Schools who approved Aaliyah's program with Dr. Cotton and her parents) and Jennifer Vandenbrooks who also assisted in her education. College was definitely in the plans.

"When I told my parents that I wanted to embark along this path," says Aaliyah, "they were with me all the way. They were the ones who shuttled me back and forth to my vocal lessons, dance lessons, private guitar, play rehearsals at Gesu Elementary School and they even saw to it that the sets for the plays were transported to Mary Grove College in Michigan. What could be more important?"

In 1994, at the age of 14, Aaliyah released her first album, "Age Ain't Nothing But A Number." It was an instant success. The first single, "Back And Forth," was a Top 5 hit on the Billboard Hot 100 and a No.1 R&B song. The follow up single, a remake of the Isley Brother's "At Your Best (You Are Love)" reached Top 10 on the Billboard Hot 100 and was No. 2 at R&B radio. "I still remember how nervous I was right before "Back And Forth" came out," she says. "I kept wondering if people would accept it. When it went gold, I had my answer, and it was just such an incredibly satisfying feeling." The acceptance of her music inspired other female teen singers to follow in her footsteps. Her taste in fashion still influences her fans and other artists. Teen Vogue once wrote Aaliyah set the prototype for the young female artist of the 90's.

Her trademark baggy pants and oversized shirts simply reflect the sense of style she developed as a child. She always loved wearing her father and brother's clothes. She said she was never going to wear a dress or carry a purse. As we know, that eventually changed. Just remember The MTV Awards, when she won her award and took center stage in her Roberto Cavalli dress with her beloved brother. They both were wondrous.

In 1996 Aaliyah released her second record, "One In A Million." The first single, "If Your Girl Only Knew," went double platinum and contains Timbaland's signature syncopated beats and Missy "Misdemeanor" Elliot's poignant lyrics. "4 Page Letter," and "Hot Like Fire" were also well received. "I love working with Timbaland," Aaliyah says. "He understands what I can do and always wants to try new things. We have a great chemistry, we are musical soul mates." Rashad wrote the video treatment for 4 Page Letter in two hours while studying at Hofstra University.

Jermaine Dupri, Rodney Jerkins, J. Dibbs, Daryl Simmons, Kay-Gee, Vincent "V.H." Herbert and Craig King were also involved with producing "One In A Million." The album was multi-platinum and an international hit. Aaliyah performed throughout Europe, Japan and South Africa. In Tokyo, concert goers sang the words to all of her songs. In Paris, eager fans chanted her name before she took the stage.

In 1998, Aaliyah had a huge hit with "Are You That Somebody" from the Dr. Doolittle soundtrack. Produced by Timbaland, the song was infectious, known for it's sampling of a baby crying. Fans particularly enjoyed the classy Flamenco dance moves in the video that was choreographed by Fatima. They actually learned the dance by studying movies and going to a flamenco specialist. Also that year, Aaliyah performed "Journey To The Past" for the motion picture Anastasia. "Journey To The Past" was nominated for an Academy Award for Best Song. Aaliyah performed it on The Academy Awards Show that year, the year of Titanic.

Aaliyah's motion picture debut in "Romeo Must Die", produced by Joel Silver for Warner Brothers, is spectacular by any standards. Co-staring Jet LI, the film was a box office success and has led to Aaliyah's huge hit record, "Try Again." The "Romeo" soundtrack sold millions of copies and spent weeks atop the Billboard soundtrack charts. What makes this even more extraordinary is that she was executive producer for the soundtrack. Aaliyah also had two other cuts on the record including one with DMX.

Aaliyah was working on her third studio album and selecting her next film roles from the many offers she was receiving. She planned to continue her collaboration with Timbaland and was also hoping to work with some more outstanding producers and artists.

"I studied for one month in preparation for the fight scene in Romeo. My brother, Rashad and I took some martial arts classes when we were younger so I had some knowledge of the process. Jet Li is really amazing. He's such a natural. He just came in and did his part. It only took three days to shoot. At the MTV Movie Awards this year, a lot of media asked me if there were any categories that I would like to see added to the awards. Actually, I would: Best hug and dance scene. In the movie, Jet Li and I never have a kissing scene, but we do have a hot dance sequence. I will never forget the RMD (Romeo Must Die) team and their kindness towards me, my brother (who was able to be on set during his break from school) and to my mom and dad."

Following up on her box office success in Romeo Must Die, Aaliyah starred alongside Stuart Townsend, Vincent Perez and Lena Olin in the 2001 film The Queen of the Dammed, directed by Michael Rymer. Aaliyah played the title role of Akasha, in the supernatural adventure based on the third novel in the Anne Rice's Vampire Chronicles. Aaliyah read all the chronicles and was intrigued by vampiric information. She even had the opportunity to talk to Anne Rice who was pleased that she received the role. Aaliyah worked very hard for this role with her speech instructor and mime specialist for movement both were referred to her by her beloved acting coach Harold Guskin who was on the set for RMD. Joann and WB Baron worked with her on the set for "Queen Of The Dammed".

Aaliyah's last studio album reflected her growth as a person and as an entertainer. The self-titled album Aaliyah, released in July 2001, debuted at number 2 on the US charts and sold over 2.4 million albums worldwide. Aaliyah featured the smash singles "We Need a Resolution," "More Than A Woman" and "Rock The Boat".

From a film career standpoint Aaliyah had obtained roles in "Matrix Reloaded and Revolutions", "Honey", "Sparkle" (she met with Whitney Houston whose company was producing "Sparkle") and a true story that was based on an interracial love. She actually pitched it with one of her agents from CAA to Fox Searchlight. It was accepted with Aaliyah in the lead role!!! Unadulterated Business savvy at 22!

On Saturday, August 25th, 2001 we lost our baby girl Aaliyah Dana Haughton, Anthony Dodd, Eric Foreman, Scott Gallin, Keeth Wallace, Gina Smith, Douglas Kratz, Christopher Maldonado, and Luis Morales. May their memories never be forgotten.

Aaliyah continues to have an impact on the world after her passing that fateful day in 2001. She was a person of virtue, honor, hard work and love. She was a unique individual who gave all of herself in whatever she did. Whether it was charity work, singing, acting, time with friends, signing autographs, Aaliyah lived her life with a smile on her face and love in her heart. To her family, friends, loved ones, and fans worldwide, Aaliyah will be missed but will always be remembered. A true angel in every sense of the word, she lives now in our minds, our hearts and in the way we all live our lives; in her name we strive to be the BEST and make our world a better place.

With Aaliyah In Our Hearts!!! Always...

[ARTIST] Rah Digga

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One of music’s most respected and premier “rapper’s rapper” – regardless of gender, former First lady of Busta Rhymes’ Flipmode Squad Rah Digga has returned with another classic album and accomplished something that is unheard of in Hip-Hop. "No female rapper has ever released a sophomore album 10 years later and I hoped to capture all audiences once more and remind everyone why they fell in love with Dirty Harriet in the first place!" states Digga.

In an industry ruled by flash in the pan MC's and a what is "hot" at the moment mentality, Rah Digga is not worried about her absence from the game or her place in it, "I'm not a gimmick; I wasn't created by a label. I am a natural born talent that broke into the industry based on my ability to rhyme and that's what people will always expect from me." With a recent album produced by Nottz, one of the most famed beatsmiths in Hip-Hop, Digga had no problems meeting the expectations of any hardcore Hip-Hop fan. Accolades from music icons such as Amy Winehouse have been ringing aloud thoughout Rah’s entire career. With her creative and progressive outlook, she has returned to prominence as a trendsetter in music. "Classic" was released September, 14th 2010. 
 

Keeping an eye on the future and her continual work in directing, editing, business, acting, motherhood, motivational speaking and activism, Rah Digga’s work is never done. A true renaissance women is an understatement. "With all the time that has passed what I've learned from all the outpouring of support is that people just want their good ole "Dirty Harriet" back. 

[ARTIST] Jazmine Sullivan

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The most powerful stories are real. They’re the sagas that we grasp on to, learn from, and live with. Jazmine Sullivan tells her story in all its unfiltered, unabridged, and unrestrained glory on her third full-length album, Reality Show [RCA Records].

In 2013, the eight-time Grammy Award nominee experienced a personal revelation that would spark the recording process. It also broke her creative silence after she had initiated a hiatus from music on Twitter only two years prior.

“I took a break, and I had some time to reflect on my life,” she admits. “I was trying to figure out what things were wrong and how to fix them. Instead of keeping that journey to myself, I decided to take the opportunity to make songs about it. I’m definitely being as honest as I can be. I’m growing up. When I was young, I was emotional, I was little crazy, and I used to bust windows out! I didn’t know how to handle things. Now, I do. I hope this process can help someone else.”

The Philly native retreated to a hometown studio and, for the first time in her career, assumed the role of executive producer. She also tapped the talents of iconic producer Salaam Remi, Key Wane, and more. Not only did Jazmine oversee the entire production, but she served as the primary writer on each of the album’s twelve tracks. As a result, Reality Show encompasses everything from R&B and soul to hip-hop, funk, and even a little disco.

“I love so many different styles and genres,” she says. “It wasn’t about following one muse, but rather embracing what spoke to me in the moment. Everything was scaled down to the basics. I feel like you can hear that in the album. There’s no glitz and glamour. It’s really raw and straight-to-the-point.”

That’s why the title Reality Show fits so perfectly. While making the album, Jazmine spent a lot of time watching Bravo’s Real Housewives of Atlanta and VH1’s Mob Wives, Love & Hip-Hop Atlanta, and T.I. and Tiny: The Family Hustle. The exposed emotions of those programs definitely seeped in.

“I found that some of the songs and storylines had a bit of drama,” she smiles. “The language was affected by a lot of reality television. It’s grimy, but I wanted to write how people actually speak and feel. My story found its way into each of the songs.”

The first single “Forever Don’t Last” sees her inimitable vocals rise over bluesy acoustic guitar and production from Chuck Harmony [Mary J. Blige, Ne-Yo]. “You can get to a point where a relationship isn’t good for you,” she says of the song. “That’s where it comes from. I’m really pouring out my heart on that one.”

Trumpets and piano augment a jazzy intro on the DJ Dahi-produced “Brand New” just before her spirited cadence takes the spotlight. She goes on, “I was looking at a lot of famous rappers and thinking to myself, ‘It doesn’t seem like any of them are with the girls they started out with.’ Those are the women who helped and supported them when they didn’t have anything. I wanted to tell that story. People identify with feeling unappreciated. Once their significant other gets a bit of success, it’s like they’re forgotten. I don’t want to speak for the superstar ideal. I represent the normal woman.”

On the other end of the spectrum, the upbeat and undeniable “Stanley” slides forward on disco-infused production courtesy of Da Internz [Nas, Rihanna], calling out another “guy who doesn’t appreciate his woman.” At the same time, “If You Dare” dives into intoxicating haze tempered by confessional lyrics. Meanwhile, Reality Show’s conclusion “Masterpiece (Mona Lisa)” begins with a chord progression Jazmine wrote on her keyboard, and then showcases her passionate, potent powerhouse voice.

“I really want everyone to hear this one,” she exclaims. “In a way, it’s a reminder for me to love myself the way I am. I’m just a regular woman in an industry that expects perfection. This was how I assured myself that no matter what situation I’m in, I know I’m beautiful.”

Jazmine’s evolution shines throughout the album loud and clear. She has come a long way since her gold-certified 2008 full-length debut, Fearless. The record boasted the chart-topping singles “Need You Bad” and “Bust Your Windows” and achieved seven Grammy Award nominations. Her sophomore effort 2010’s Love Me Back garnered critical acclaim as well as her eighth Grammy nomination for “Holding You Down (Goin’ In Circles).” Along the way, Jazmine also received Billboard’s “Rising Star Award” and played to sold out crowds worldwide.

Ultimately, Reality Show sees Jazmine deliver a timeless true story — hers. “I don’t want to be put in a box,” she leaves off. “I wanted to make the album as eclectic as I could, include different styles, and open people’s minds. I needed to get real with the lyrics and not hold anything back. This is me.”

[ARTIST] Alexandra Burke

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“I'm not super human, I'm just Alexandra from North London,” says Alexandra Burke. Yes, she is indeed 'just' Alexandra Burke from North London, but she's also the 2008 winner of The X Factor, a three-time chart-topper on the singles chart (her debut, a stirring cover of Hallelujah, sold 105,000 copies on its first day of release) and the creator of a UK number 1 album, Overcome, that features collaborations with the likes of Flo Rida (on the amazing Bad Boys) Ne-Yo and RedOne. She can belt out a ballad with the best of them (as shown by her beautiful duet with Beyonce during The X Factor final) and she brings energy in abundance once the tempo shifts up a gear, as on her dancefloor-slaying 2012 collaboration with Erick Morillo, Elephant. She may not be super human, but in pop terms she's not exactly of this world either.

That's not to say that Alexandra doesn't work hard for her success. In fact, it's this determination to succeed that's come to define a career that started with rejection during the 2005 series of The X Factor, but which only made her eventual victory all the sweeter. A favourite to win from the start thanks to an obvious versatility and a voice saturated in emotion, her position as the nation's favourite was cemented by her determination to take the opportunity the show gave her and kickstart a proper career, not just become a flash in the pan. With 1.5 million copies of Overcome sold worldwide and a sold-out national tour under her belt, it was the sort of success story that many of the show's critics didn't believe could happen.

Once again though, Alexandra wasn't complacent: “Literally straight after I performed The Silence on The X Factor [in December 2010] I started recording for the second album.” Keen to keep progressing as an artist, Alexandra knew she'd not only have to take more risks but also take more control over the follow-up album. So, as well taking part in writing camps that would go on to produce a number of the songs on what would become Heartbreak On Hold, she also executive produced the whole thing. “It basically meant that nothing got passed me and my say was the last and final say,” she says of her new role. “The amount of control I've had is unreal.” One of the first decisions she made on a personal and professional level was to be more honest and open with her emotions. While Overcome could only have been an Alexandra Burke album, the lyrics, while inspired by Alexandra and drawn directly from her diaries, were written by others. “With this album I just wanted to be totally honest. For me to be able to be the executive producer I had to make sure that I was more honest than I've ever been”.

While most other pop stars looking to follow up a successful debut are made to rush their second albums, Alexandra took a year and half to take stock of what she'd achieved and set about putting her journey into music. There was also the small matter of a label change from Syco to RCA in the middle of recording to contend with. “I'd been with Syco since 2008 and then to have to leave and go somewhere else because it just had to work out that way, that was hard,” Alexandra explains. “Syco, for me, are my family. Anyone I work with, I see as a family member. I get that deep. They were all there with me from the beginning. To have to leave them was a bit of a heartbreaker as well. That's why I named it Heartbreak On Hold – in that year and a half of recording I went through a lot in my personal life.”

Like all great pop music Heartbreak On Hold effortlessly wraps lyrical sadness in songs that make you want to dance. It's not by accident. “I'm that person who always wants to turn a negative into a positive because it's just the way I think,” explains Alexandra. From the frustrated stomp of first single Elephant – a song written about a relationship that was slowly stalling and an immediate favourite of Alexandra's because it “it just felt right” - to the exuberant throw-your-cares-away dance rush of second single Let It Go, Heartbreak On Hold is an album that acknowledges the hard times but offers a window of opportunity for people to forget about it all. “Yes it's upbeat and uptempo and I want to get you dancing but I want people to understand the deeper meaning behind the album.”

While Elephant and Let It Go both slot nicely into the current pop trend for dancefloor stompers, Heartbreak On Hold also displays Alexandra's love for 90s dance, specifically the emotional house music of Robin S or the soul-inflected dance of Soul II Soul, as heard most obviously on the heart-burstingly bittersweet title track. Featuring a vocal that almost erupts with emotion (“I tried everything to get over you, trying to make it through but nothing ever seems to work”) it's the kind of song that makes you want to dance while tears stream down your cheeks. Elsewhere the “very sexy” Between The Sheets and Daylight Robbery bear a stronger R&B influence, whilst the fluttering synths and four to the floor beat of This Love Will Survive marries Alexandra's survival extinct (“Sometimes if you really want something you've got to fight. It's telling the other person 'we will survive'”) to a beat that Alexandra rightfully says you'd have to be dead not to dance to. Then there's the ballad. Of course there's a ballad. A big, emotionally-charged blubathon that closes the album and features a lone piano and Alexandra's raw emotion speaking directly to the listener, What Money Can't Buy is possibly the best thing she's ever done.

It's apt that the album ends with Alexandra at her most emotional. Written when she was just 18 years old, it's a song that captures both her vulnerability and her strength, not only in what it expresses as a song but also in the fact that she fought to have the song on the album in the first place. Heartbreak On Hold isn't just a collection of songs it's a representation of Alexandra Burke, the artist. “This album is a lot more sexier and grown up. It's deeper. I think and feel it has an element in there where it's just more uplifting than ever. I'm just trying to give a bit more of my personality and how I see life, which needs to be positive,” she explains. That positivity is seriously infectious.

[ARTIST] Erykah Badu

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Erykah Badu was born on February 26, 1971 to William and Kollen Wright in Dallas, Texas. They named her Erica Abi Wright and she was the first of their three children. She inherited a taste for music from her mother who introduced her to multiple genres of music (Joni Mitchell, Parliament-Funkadelic, Pink Floyd, Phoebe Snow, Chaka Khan). At the tender age of four, Badu began singing and dancing in productions at the local Dallas Theatre Centre. It wasn’t until her acting debut in the Martin Luther King Jr. Recreational Center’s musical production of “Really Rosie,” directed by her godmother Gwen Hargrove, that Badu realized she was a natural performer. “I played Alligator,” Badu says, “and at 6 years old, I got my first standing ovation. I knew I wanted to bring people to their feet from that point on.”

Badu stayed true to her artistic leanings and enrolled at Booker T. Washington High School for the Performing Arts in the late ’80s. Tomboyish and a bit of a class clown, Badu devoted most of her time to perfecting her dance form, studying the techniques of Martha Graham and Katherine Dunham, as well as practicing ballet, tap, and modern dance. Badu also sharpened her Hip-Hop skills, freestyling on the Dallas radio station 90.9 FM KNON under the name Apples the Alchemist until she eventually changed the spelling of her name from “Erica Wright” to “Erykah Badu,” “kah” being Kemetic (Egyptian) for a human’s vital energy or “inner-self” and “ba-du” after her favorite jazz scat-sound. But later, Badu would discover that her chosen name holds a far deeper meaning.In 1989, her senior year of high school, she decided to dedicate her life to a path of holistic wellness and became a vegetarian. 

Badu enrolled at Grambling State University, where she majored in theater and minored in Quantum Physics. She left in 1993 to pursue music full-time. During the day, she taught drama and dance at the South Dallas Cultural Center and worked as a coffeehouse waitress. At night, she recorded and performed songs like “Appletree,” produced by her cousin Robert “Free” Bradford. In 1994, her 19-song demo caught the attention of aspiring record executive Kedar Massenburg by way of the SXSW music festival. Massenburg signed her to his upstart label Kedar Entertainment. The company eventually merged with Motown/Universal and Badu started opening for D’Angelo, prepping the world for the massive Neo soul movement to come.

The New York Times described Badu’s groundbreaking debut, 1997’s Baduizm, as “traditional soul vocals, staccato hip-hop rhythms and laid-back jazzy grooves.” Yet, hindsight reveals that Badu’s debut was more than just an album, it was the introduction of a new lifestyle. The music evoked speakeasies, incense, head wraps, and boho coffee shop culture all in one easy breath. Propelled by the lead single “On & On,” the album went multi-platinum, winning her two Grammys for Best Female R&B Vocal Performance and Best R&B Album. Badu topped Rolling Stone’s Reader’s poll for Best R&B Artist, and Entertainment Weekly named her Best New Female Singer of 1997.
In 2003, she founded her non-profit group, B.L.I.N.D. (Beautiful Love Incorporated Non-Profit Development), which is geared toward creating social change through economic, artistic, and cultural development. Among B.L.I.N.D.’s many accomplishments, the organization has provided arts, crafts, and dance classes to children displaced by Hurricane Katrina. Also in 2004, Badu’s charitable efforts helped raise hundreds of thousands of dollars to support the scholarship fund at St. Phillips School and Community Center in Dallas, Texas.

Badu continues to use her platform as an alter. By incorporating instruments such as tuning forks, crystal singing bowls, and gem stones and more into her music, she has created a wave of healing energy throughout the planet. But her true instrument is the 'intent' with which she sings. She has become a spiritual midwife, aiding in the rebirth of moral and spiritual consciousness for her generation. Badu’s artistic and spiritual contributions to humanity earned her an honorary Doctorate degree in Humanities from Paul Quinn College in 2000.

Erykah Badu’s three children, son Seven Sirius (b. 1997) and daughters Puma (b. 2004) and Mars Merkaba (b. 2009), were all born at home with a practicing midwife. She is an advocate of natural childbirth, healthy birth outcomes and breastfeeding for robust infant development. Recently, she was the keynote speaker at the International Center for Traditional Childbearing (ICTC) 7th International Black Midwives and Healers Conference in October 2010.

Erykah currently studies and apprentices to masters Queen Afua, holistic health guru and spiritual teacher. Dr. Jewel Pookrum , neurosurgeon, physicist and midwife and Dr. Laila Africa, scientist, health practitioner and theorist. In 2006 Erykah was certified as a Holistic Health practitioner thru Dr. Laila Africa and she is also a 3rd Degree Reiki Master-Teacher. Badu hasn’t stopped yet; she continues to study sound and vibration healing and presently assists and apprentices as a direct entry midwife. Erykah has served as doula for five natural births and only has 31 left to becoming a full fledge midwife.  

Erykah currently makes her home in Dallas, Texas. Self described as a “mother first”, Badu is a touring artist, DJ, teacher, community activist, 25 yrs vegetarian, recycler, and conscious spirit. 

[ARTIST] King Chip

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Charles Jawanzaa Worth (born October 20, 1986), better known by his stage name King Chip (formerly known as Chip tha Ripper), is an American hip hop recording artist from Cleveland, Ohio. He is best known for his collaborations fellow rappers Kid Cudi, The Game, Michael Bolton, Bun B, Big Sean, Juicy J, Kanye West, Hitek, Jadakiss, Nipsey Hussle, Scarface, 8 Ball & MJG, Devin Tha Dude, Trey Songz, Smoke DZA, GLC, Asher Roth, Fonzworth Bentley, Jeramiah, ASAP Rocky, Ray Cash, Twista, Layzie Bone, Krazie Bone, Curren$y, Audio Push, Hit Boy, Travi$ Scott, Chuck English, Kidz in the Hall, Mike Posner, Mikey Rocks, Freddie Gibbs, Logic, Boldy James, Dom Kennedy, Chiddy Bang, Key Wayne, ASAP Twelvy, Roscoe Dash, and Eric Bellinger. Chip is currently with his own record label Rebel Castle

2006-2011:

Since 2006, Worth obtained a significant following through hip-hop blogs and frequent appearances on mixtapes. Much of Worth's recent work has been done alongside fellow Ohio native and rapper Kid Cudi. Worth incorporates the slow, "chopped 'n' screwed" style of southern hip hop in his music. Worth amassed a cult-like following on the underground scene and Internet blogs throughout 2007 and 2008 for his hard, but often humorous lyrics. A large part of his internet success was due to his rap "SLAB Freestyle." The lyrics "Interior Crocodile Alligator / I Drive a Chevrolet Movie Theater" gained notoriety in blogs and image boards and eventually grew into an internet meme. Multiple videos featuring the lyrics from "SLAB Freestyle" were posted on sites such as YouTube with humorous images accompanying the looped lyrics or featuring altered lyrics based on Chip's track. In 2007, the track "Club Rockin" off his Money mixtape featured hip-hop artist Akon singing the chorus. Worth has decided to remain independent over the years and keep his options open as far as labels go. In 2008 Worth started making trips to Chicago which lead to working with Kidz in the Hall on their album The In Crowd doing a song titled "Mr. Alldatshit" as well as forming many other relationships that Worth still holds till this day. On September 5, 2010 Chip Tha Ripper announced plans to form a group called "The Almighty GloryUS" with fellow Cleveland rapper Kid Cudi. Chip Tha Ripper states The Almighty GloryUS stems from a mutual appreciation between the two artists. Worth was featured on producer Hi-Tek's album, Hi-Teknology 3 in 2007; and on Kid Cudi's first mixtape, A Kid Named Cudi in 2008. He hooked up with The Kids In The Hall and Donnis for what seems to be a favorable connection, by featuring on their 2008 The In Crowd and their 2010 Land of Make Believe album. Then in 2009 he was featured on Kid Cudi's first album "Man on the Moon: The End of Day" which peaked at No. 3 on the Billboard Hot 100. Chip was a featured artist on the track "The End" from Kid Cudi's sophomore album, Man on the Moon II: The Legend of Mr. Rager (2010).

2012-Present:

On August 9, 2012, the rapper announced a name change, from Chip tha Ripper to King Chip. He also revealed he signed a deal with talent agency Creative Artists Agency (CAA). Defending his decision to change his moniker, Chip tweeted: "I am King Chip. Actually born in the ghetto slums of East Cleveland, Ohio. Rest in peace my mentor & former king, Hawk. His death made me....". Continuing on later, he said: "My birth name is Charles Jawanzaa Worth. Jawanzaa is Swahili and it means 'great leader and great warrior.' Look it up. I am King Chip." His first credit under the new pseudonym was his role as a featured artist on longtime friend and collaborator Kid Cudi's single "Just What I Am", taken from Cudi's third studio album Indicud (2013). On September 4, 2013, King Chip released the mixtape 44108.