In the midst of ringing slot machines, spinning roulette wheels, and sulking gamblers, teenyboppers from age 6 to 60 packed into the Mohegan Sun Arena for the “Harajuku Lovers Tour” starring Gwen Stefani and featuring Ciara as the opening act. With a minimal stage setup of only a DJ booth and a set of stairs leading up to narrow raised platform, Ciara relied on her star power, radio hits and infectious gyrations to carry her 35-minute show. The sexy, wavy-coiffed singer opened the show with her lead-off single, “Goodies”, getting the crowd to shake their own goodies in the aisles. Accompanied by DJ and hype-man extraordinaire, Fat Man Scoop, she belted through “Lookin’ At You” and “Hotline” with strong vocals and her sharp, jolting body movements. She also maintained a sultry, sensual vibe crooning her slow joints, “Oh Baby”, “And I”, “Thug Style” and even “Like You”, the hit duet with boyfriend Bow Wow. As her show continued, it became more evident that Ciara is truly the next incarnation of Aaliyah. Although they’ve been compared before; the long swinging hair, triangle bikini top/cargo pant combo, and staccato dance movements were eerily too similar. Additionally, you can easily see the King of Pop’s influence in her style and choreography, particularly during songs such as “Hotline”. However, Ciara held down the vocals considering her dance-heavy set. After a costume change into another sparkly midriff-baring bikini top ensemble, she set off a rock-infused version of “Oh” backed up by four lackluster lady dancers. Though her background dancers showed respectable stamina, they couldn’t match Ciara’s forceful movements and bouncy energy; and they often forgot the steps, sharpening the contrast. Ciara showed off her acrobatic prowess as she hoisted herself up the stairs while popping the booty in mid-air to the heavy bass. An energetic rendition of “One, Two Step” closed out her show which seemed to abruptly end. Though entertaining, the show relied too heavily on Ciara’s signature dance style and lacked substance. She has undeniable dance skills and a sweet, pretty voice, but could improve as a performer by working all sides of stage and incorporating more visuals and themes into her stage show. With time, growth and a little creativity, she has the potential to create extravaganzas like Janet Jackson’s “Velvet Rope” tour. After a long 45-minute intermission, four cute, sexy little Japanese “Harajuku” girls appeared as the Queen of the Ball, Gwen Stefani, literally emerged in a tiara and on a throne, opening her show with “Harajuku Girls”. The energy and precision of the dancing Harajuku girls gave the moderately up-tempo dance ditty the momentum of a Hip-Hop club banger. Mrs. Stefani then sauntered through “What You Waiting For?” in her 4-inch heels and slowed things down with “The Real Thing” and Isley Brothers’ sampled “Luxurious.” “Crash” brought the energy back up as Stefani and her Harajuku girls came out in motocross jumpsuits and Tupac-style bandanas, accompanied by four B-boys. Once back in sneakers, Stefani’s inner-rocker girl returned as she leapt on top of the speakers and jumped across the stage hyping up the audience. She even led a proper call and response session; with the small contingency of men shouting, “Back it up! Back it up!” and the ladies responding, “You got it! You got it!” After “Rich Girl”, sans Eve, and “Danger Zone”, Stefani introduced her song about interracial love and colorblindness, “Long Way To Go”, a duet with Outkast’s Andre 3000. Though he wasn’t there to join her; her solo rendition translated well with the help of the Harajuku girls and B-boys; and with sensual black and white photographs of interracial couples flashing on the screens above the stage. Stefani previewed a couple of new tracks, “Wind It Up” and “Orange County Girl”, which featured a slideshow of her childhood photos back in the O.C. The crowd lost some momentum, but she quickly regained the audience with “Cool”, shining vocally and aesthetically in a silver sequined tank dress. The Harajuku girls kicked off “Serious” dressed as sexy nurses tending to their patient, Stefani, laid out on a stretcher. One for crowd participation, Stefani enlisted the help of the audience to sing along “S-E-R-I-O-U-S” and introduced her band and dancers, particularly highlighting her Harajuku girls; Love, Angel, Music and Baby named after her album and clothing line. The power of the Harajuku girls’ chemistry, energy, style and sassiness gave life to the album’s tracks, often diverting attention from Stefani’s main event. They successfully made fans out of all of us. After a cutesy finale of another joint track with Andre 3000, “Bubble Pop Electric”, complete with floating bubbles, Stefani quickly re-emerged for her encore, “Hollaback Girl”. This mega hit perfectly ended the show, as she pulled 30 enthusiastic spectators, mostly girls under the age of 16, on stage to join her for the final chorus. As she’s done in the past with her No Doubt cohorts, Stefani commanded the crowd and delivered a solidly entertaining show.

The human soul is the essence of all music. Whether in joy or pain, a musician must be able to feel to express themselves in order to reach others. While most of today’s music genres are rapidly changing, when it comes to soul, you can’t beat that classic “old school” sound. Will Wheaton is a good example of an artist that, despite trials and tribulations, overcame all odds. After winning Dick Clark’s USA Music Challenge and working with a number of musical talents including Quincy Jones, Tevin Campbell and Earth, Wind and Fire, there was still a time when no one gave a damn. After having several albums shelved by record labels, many artists in Will’s position would have quit and pursued other interests. Despite the challenges, Will knew that he had the talent and the ability to touch the depths of his listeners. After going on tour with award winning singer Rod Stewart, Will decided take things into his own hands. He is continuing the traditional soul sound with the release of his new album, Old School Soul. AllHipHop.com Alternatives spoke with Will Wheaton about the hard knocks of the music industry and what really touches his soul. AllHipHop.com Alternatives: What’s the definition of ‘old school soul’ in you opinion? Will Wheaton: If you want the definition of old school soul, it’s Aretha Franklin, bottom line. She’s number 1. I’m also soul; I play Al Green to Parliament to Hip-Hop soul. Soul is really what ever gets people vibing. AHHA: Who are some of the old school soul musicians that you listen and take inspiration from? Will: Anything from the Parliament to John Legend. Isaac Hayes, Al Green and Luther Vandross are also always old school. Luther did it for real. All the cats that did it ‘for real’ before Prince. AHHA: Who are some of the artists of today that you think have that an “old school soul sound”? Will: Musiq is a strong contemporary soul singer. Joe is the quiet fire. He does what you call ‘real singing’. Alicia Keys is the bomb. Jill Scott, all of these people are pioneers in new school soul, but still have the strong old school sound. AHHA: You’ve worked with a lot of people. What was it like to work with Quincy Jones? What’s kinds of skills did you pick up from him? Will: With Quincy, you learn that it ain’t good enough ‘til its good enough. I was working on a track with Patti Austin. We were working great together and laid it down really quickly. Quincy came in and said, ‘That’s great. Now do it again.’ I learned that just being good enough won’t do. It must have essence. AHHA: You have also written songs for artists like Tevin Campbell and Earth, Wind and Fire. Do you choose the artist or do they come to you? Will: I didn’t really work with Tevin Campbell, although he sang my song. People I write for have complete and honest faith in my abilities. I write a type of song with a particular vibe, the artists are the ones that choose it. For example, I wrote the song ‘Not That Kind’ for Anastacia. When I wrote it, I was like, ‘We need to find a funky white girl to sing this one’. A friend of mine worked with her, she heard it and the rest is history. I don’t just write songs for Raphael Saadiq or Luther Vandross, but rather artists like them. AHHA: Do you meet the artists that you write for? Will: I may not meet them right when they record the song, but I eventually do. I gave Anastacia her song four years before I met her – the same with Earth, Wind and Fire. It all comes together in the end. AHHA: You won Dick Clark’s talent competition USA Music Challenge. Will: Yeah, in ‘92. It was on the heels of Star Search, pre-American Idol because the winner got a recording contract. I was shocked. Out of 3000 applicants, I won. From that experience, I learned the real politics of the music business – I wound up on the losing side. The album that I recorded from winning never saw the light of day. I then went to PolyGram, which I think has since merged with Universal. Again, the album wasn’t released. It was frustrating, but brought me to my current point. I recorded a collaboration album with David Foster and a few others. It was a group project, but wasn’t released because of changes at Atlantic. I then went on tour, singing back up for Rod Stewart and a Japanese artist, Namie Amuro. I came back and decided to do my own thing. AHHA: What kinds of personal experiences were inspirations for tracks on the new album? Will: The whole records. It’s that old school soul. The track ‘When Nobody Gave A Damn’ is about the frustration of my career. No one wanted to hear my first album. I was trying to get on with out money, and trying to get it known without radio play. There were even quite a few people that told me that I wasn’t good enough to make it. But then I began to think of all of the people who actually gave a damn. People party to old school soul. I grew up on it. I love it – it gives me life. People go to shows to hear a singer sing their songs, but I made it okay for people to come to a Will Wheaton show and hear a few Al Green or Isley Brothers tracks. AHHA: Through all of this, what kinds of things have you learned about the music business? Will: My first album Consenting Adultz helped me figure it all out. All the songs that hadn’t been released in ‘99 were on that album. I didn’t do the kinds of promotion that I’m doing now. People were still buying it, so it let me know […]

With her petite frame and womanly curves, Toronto native Melyssa Ford is fully-equipped to turn heads and make people melt to their knees. After appearing in videos by high-caliber artists such as Jay Z and 112, Ford did something most scantily-clad women in videos seem to fail at. She marketed herself and her name, making it synonymous with the R&B and Hip-Hop music industry. Through appearances in videos, television shows, movies, calendars, and magazines, Ford has used her business flair to cash in on her sex appeal. After successfully building a career in videos, she is now trading in her “video vixen” title for Hollywood. After all, if rappers can become actors then why not a video vixen? Double standards are common in this industry, especially for a lady who has “Pimpin” and “Shake Ya Ass” on her resume. But Ford is an extrovert of sorts, fully aware of how to use her mind, as well as her body, to get what she wants. AllHipHop.com Alternatives caught up with Melyssa recently at Christo Fifth Avenue while she was on hand to support the Alliance for Women’s Equality. She spoke with us about her career beyond videos, her criticism of Karrine “Superhead” Steffans, and the double standards that present themselves in the entertainment industry. AllHipHop.com Alternatives: How did you end up in New York from Toronto? Melyssa Ford: Okay, I’ll make the story short for you. I was doing the ‘Thong Song’ Remix video in which I was the lead. Sisqo thought I was cool and asked me to come on tour with him. I was in University at the time and I had a job at a Satellite TV company in the Human Resources department. I figured, well, if this was a mistake then I’m young enough to make it, so screw it. I called up my employers and said, ‘I’m not coming home’. They held the job for me, but when I came home I realized I could never go back. So I packed up my stuff, and two months later I jumped on a plane to New York. AHHA: Did you grow up in Toronto? Tell us about the T-Dot. Melyssa: People say the T-dot is a baby New York. I am here to dispute that fact. It is not. There’s a significant difference. It’s a different country. We have a different economical system. We’re a socialist economy in Canada while it’s more of a capitalistic kind of society out here. That means that Donald Trump exists here, Martha Stewart exists here. Those kinds of people don’t exist where I’m from. It’s more of a community based way of life. AHHA: People say there aren’t many opportunities for urban music artists in Canada. Is that true? Melyssa: There’s not. And that became evidently clear to me when I went back this year to the Much Music Awards. I come back, after making it in the U.S and everybody knows my name, and I hear crickets. When am I going to get some love? I think I’ll have to be as big as J.Lo before Toronto catches on. AHHA: Damn Melyssa, you get no love from your hometown? Melyssa: It’s like a dirty little secret I tell you. It really is. It’s not like how it is here. I could go to any city, any state in the U.S and get the royal treatment. I’m trying to put Toronto on the map. I sound like Terrell Owens right now when he got kicked off the team! AHHA: What’s your relationship with director Little X? Did he discover you? Melyssa: Little X is the one person who I have to say is responsible for me being where I am. What do I think of X? I love him. X is a voice of reason for me whenever I’m flipping out about something. He plays by the rules. There are a lot of people in his position that could have taken advantage of somebody in mine, and he didn’t. He didn’t expect anything in return. I don’t think either one of us anticipated where he would be and where I would be. He is a really great friend. AHHA: Everyone talks about the men in industry and casting couch. What’s your advice for women trying to come up right now? Melyssa: Oh god, spare yourself – go back to school! That’s my advice. I would never get involved in doing videos right now. It’s not the same. The dynamic has changed so drastically. You could hold the argument that women were always objectified, but now they are really objectified. Now it’s about body parts and how well you can shake them. It’s not about the female. It’s not about appreciating the female. AHHA: What would you say to people who claim you’ve sold out just as much as anyone else? Melyssa: I would ask them how, how have I sold out? I’ve been extremely responsible. When it came to me choosing my video projects, as I got older I started to make much wiser choices in terms of the lyrical content, in terms of my wardrobe, it terms of the scenes that I would shoot. I became very, very responsible to myself because I started to understand the power of perception. And then I really pursued the job at BET to be seen more seriously and to show that this was in fact just a stepping stone, I wasn’t just talking out of the side of face. This is my next level and you’ve got to respect that. I’m not going to sit here and justify what I do in terms of my website content and the sexy pictures that I sell and what not, because that’s a part of my image. I never claimed to be anything other than what I am. AHHA: You came out rather harshly criticizing Karrine Steffans book. But wouldn’t you agree that it’s one way of letting people know about how this industry can be? […]

The R&B Underrated Artist of the Millennium goes to… Donell Jones. If such an award were to exist, Donell Jones would be its most deserving recipient. A writer, producer and critically acclaimed solo artist, Jones got his start after penning hits for the likes of Usher and 702. His 1996 debut solo album My Heart set him off right with the remake of Stevie Wonder’s “Knocks Me Off My Feet”, but it was his 1999 Platinum sophomore effort, Where I Wanna Be, that continues to remain a classic R&B record in many people’s eyes. The album included the memorable smash singles “U Know What’s Up” which featured TLC’s Left Eye, “Shorty (Got Her Eyes On Me)” and the smooth title track “Where I Wanna Be”. After all the acclaim, it was expected 2002’s Life Goes On would essentially elevate Jones’ career to the next level of mainstream success. Sadly, it did not match up, and actually sold less than half of its predecessor. So the question begs to be asked: what’s going wrong here? Is it Jones? Is it the label? Or is it something we just don’t know about? AllHipHop.com Alternatives got Donell Jones on the phone from his hometown in Atlanta to answer some lingering questions about his musical career. His new album Journey of a Gemini is about to hit stores, and we were eager to find out if this is finally the follow-up we’ve been waiting for. AHHA: Didn’t you just get back from Australia? How was that? Donell Jones: I love Australia man! I went to Sydney, Brisbane, Melbourne and Perth. The crowd response was incredible. It reminded me a little bit of London. AHHA: What are you up to now? Donell: Well I’m about to start a promotional tour around the States. Hit up some of these radio stations and clubs, and make sure they know that I’ve got another album out and I’m on my way back. AHHA: What exactly do you mean when you say you’re on way back? Your albums seem to have a three year gaps anyway. Donell: Right, so technically it’s on schedule then! [Laughs] I think people just assume that I’ve been gone such a long time. AHHA: So why does it take such a long time? Are you busy writing for other people? Donell: No, it’s not that. Trust me I would love to put out an album every year but for me it makes more sense to wait. If I see that Jive has another artist coming out [I’ll wait]. I used to be on Arista. Arista had so many great artists, and I just never wanted to put myself in a situation where I didn’t get heard, or [where] people didn’t get a chance to listen to my music because the label were promoting someone else. So I really like to wait my turn, make sure that it’s a great album, and also that the powers that be can really focus on it. AHHA: Is that what happened with the new album? Donell: This particular album took a long time because of label differences, not with Jive, but just the whole Arista situation – shutting down as a company and then having to move to a different label. Not every artist knew what was going to happen to their career because everything was up in the air. One thing about Babyface and L.A Reid is when they signed me to a contract, they gave me total creative freedom. At that time, Babyface was the most incredible writer in the world. What I appreciate about them is that they didn’t say, ‘Yo let Babyface do your whole album’. They were confident in the fact that I could do my own project. And that is what I love the most. For a new artist, they let me do everything that I wanted to do, and certain labels don’t let you do that. So I definitely have to say big up to Babyface and L.A Reid. AHHA: You said that if someone looked up ‘underrated’ in the dictionary, your name would be there. Why do you think you haven’t gotten your props? Donell: To be honest with you, I don’t feel like I’ve been properly put out there for fans to really get a chance to find out who I am. I think when you hear the song on the radio or something like that, you immediately know the song, but you just don’t know who I am. That is something we need to fix this time around. There has never been a big media campaign, and that’s what we need to do. We need to connect the music with the person. This time people are going to say, ‘I’m proud of him’. This time I’m going to go everywhere. AHHA: Do you think internationally it’s a lot different? Do you feel they recognize your talent much more that the U.S? Donell: Yes! Honestly I think overseas they know who I am because…well, it’s really weird for me. It’s different overseas. They really, really appreciate the music. They get into the artist that they like, find out about them, they do research, you know? Over here its more of ‘out of sight, out of mind’. We really don’t care; we just let the next thing come along… AHHA: What do you think of R&B at the moment – and the rise of Hip-Hop, taking over the market and all? Donell: I don’t have a problem with Hip-Hop, I love Hip-Hop. I don’t think R&B is at a bad state, I just think that people need to put out quality music. There came a time where albums were pretty bad, you know? I don’t know what a person’s work ethic is these days. I know that when I go and make an album, I want to put everything I got into it. I want to make sure it’s something I can listen to from beginning to end. And that’s […]

There you are in a big old empty room, staring somebody down. The first thing that may come to mind is Prince’s “Do Me Baby”. But after the Purple One penned the song for his 1983 album, Controversy, a little known artist named Meli’sa Morgan recorded a version in 1986 that made the song an essential on any slow jam mixtape. Morgan spent three weeks on top of the Billboard charts riding the wave of “Do Me Baby” and became an R&B princess in the ‘80s with hit Kashif duet, “Love Changes”, and her own “Fool’s Paradise”, “If You Can Do It” and “Do You Still Love Me”. And then Morgan did what so many R&B stars of the ‘80s did – she disappeared. Did she hit rock bottom? Is she a Behind The Music tragedy? Emerging nearly 20 years after she first became a star, Morgan is back with a new album called I Remember and a classic vocal style that she hopes will give sexy R&B tarts a run for their money. Her new single “Back Together Again” features balladeer Freddie Jackson, and was one of the most added song to radio play lists this Fall. In the years between hit records, she has been doing plays, making dance music and helming the Meli’sa Morgan Foundation in remembrance of her father. She tells AllHipHop.com Alternatives why it was time for her to give the music industry one more chance. AllHipHop.com Alternatives: You’ve been very busy today, I hear. Meli’sa Morgan: This morning has been nonstop. But that’s a good thing, especially coming back into the game like this. AHHA: Are you surprised by how receptive people have been since you’ve come back out? Meli’sa: I am surprised that the industry is embracing me like this. The radio is opening up. Television, radio and satellite radio are coming out wanting to interview me. That is what I’m surprised about. It feels good. AHHA: Well, the number one thing people want to know is, where have you been? Meli’sa: I have been working, touring a lot. A lot of people don’t know this, but people call me to open up for Keith Sweat and Kem. We’re working on doing some things for Charlie Wilson. People have been calling me all through the years to tour and work and just trying to e a better person spiritually. I’ve been working on my new house in South Carolina, and just trying to be a better person. AHHA: How does it feel to be back in the studio and back to the daily grind of the music business? Meli’sa: It feels wonderful. I have been doing dance songs before this. When I got back together with Orpheus Music, they said, ‘You need to come back to your roots and do an R&B album’. I didn’t know if there was room with Beyonce and Alicia [Keys] and all of them. When I got back in that studio and recording with [producer and songwriter] Lesette Wilson again, it was just like coming back home again. I got to express myself in a way that I didn’t even know I wanted or needed to express musically. AHHA: You mentioned being concerned about there might not being room for you in this market. How do you fit back in with the current singers who are out now? Meli’sa: Well you know, my thing was I wanted to still be Meli’sa Morgan, but I knew the production and the music had to be updated. If I had that cushion around my voice, I knew that I would be okay. So that’s what we basically worked on, making sure we had the right track. We went into writing lyrics and melodies, but once the track was there everything was gravy. AHHA: When you first started out, how was the industry then compared to now? Meli’sa: Well, the music that I did back then was more the genre of what was happening. So I fit right in. I came from singing in a band and singing in clubs to recording and going right out on tour. Now, there’s a twist to the music. The music is more raw and edgy; the music is more street. Now I’ve got to tune in to what’s happening to the music without changing who or what I am. If I came back out trying to act like Beyonce or somebody that I’m not, my die-hard fans wouldn’t go for that and neither would the new fans. When I came back being me with some new flavor, I’m still Meli’sa. AHHA: Do you think the music being more edgy and street is good or bad for R&B music? Meli’sa: I don’t know if that’s good or bad – I think that’s a change. I don’t think it’s hurt R&B in any way, I just think we need to always remember where we came from and respect and honor that. And not just want the new stuff and honor the Gladys Knight’s and Patti LaBelle’s, you know, because they started it. When you go over to pop music, Mick Jagger and Rod Stewart can come out with a record and sell a million copies just because they are who they are, and people respect and love them. It’s harder with urban music, and we need to get that same sort of respect back on our side. AHHA: I’ve talked to a lot of artists who think that the industry doesn’t respect or recognize mature listeners. Do you think that? Meli’sa: The game is different on our side. There are radio jocks and deejays on the pop side, when a record comes out, the program director is telling them to add it, no matter what. They’ve got the millions of dollars to do that. With us, it’s different. We’re dealing with a lot of independent labels, we’re dealing with labels that want to d the quickest thing to make a dollar, you know. They’re not going to […]

Mesmerizing, Orgasmic, Naughty, Tantalizing, Arousing, Notorious and Addictive. Put it all together, and you’ve got one sexy acronym for Montana. There are thousands of pretty faces on the net, and if you do your research, you may just find some real talent. Aside from her beauty, voluptuous body and a freaky mind, Montana has extensive training in acting as well as very descriptive writing skills. To satisfy your curiosity, AllHipHop.com Alternatives took a few moments to do some rapid-fire Q&A with the internet’s favorite diva. AllHipHop.com Alternatives: How long has your website been around? Montana: I’ve had that site up since July of last year. AHHA: What is your favorite place in the world? Montana: I haven’t been there yet. AHHA: If we were invaded by aliens, what would be the first thing you do? Montana: Hmmm… Have sex? I don’t know. I don’t think about that stuff. I’d probably kill all my enemies. AHHA: Good movie, good book, good date or good [sex]? Montana: Good [sex]. Puts you right to sleep. AHHA: What was the worst date you’ve ever been on? Montana: All I remember was I ended up jumping out the car and walking home. AHHA: Tuck and roll. Montana: [laughs] AHHA: What made you decide that you were going to take [your career] to the fullest? Montana: The fame and fortune. I love attention and money. Gotta pay the bills. AHHA: Honest answer. I appreciate that. Romance minus finance equals nuisance. So I take it you’ve done the sex-in-the-bed-of-money thing? Montana: No, not yet. When I make my first million I will. AHHA: When you get that final zero at the end of the one, what’s the first thing you’re going to do? Montana: Spend it all on investment property, then buy a nice car, truck and a big house with the money that comes in from the investment. AHHA: If you could sleep with anyone in the world right now, who would it be and why? Montana: Bill Gates. I’m fertile as f*ck. Child support would be like two million a month. It’s true when they say children an are an investment! [laughs] AHHA: [laughs] Horses or elephants? Montana: Elephants. My momma says they’re good luck, and she had a bunch of them around the house. AHHA: What’s the best part about sex to you? Montana: The five minutes before the orgasm. AHHA: Have you ever looked in the mirror and gotten turned on? Montana: Yeah, all the time. I play with my breasts a lot and practice making my booty clap. AHHA: What’s your favorite part of your anatomy? Montana: My face or my eyes. AHHA: Favorite artist? Montana: Kemistry AHHA: Really? What about him? Montana: It’s the relaxed mood music. AHHA: You like it slow? Montana: I like it smooth. AHHA : What’s the fastest you’ve ever driven? Montana: 140, drunk with no helmet on my GSX-R. Oh yes, I’m a rider. AHHA: When you go leave what do you want them thinking? Montana: ‘Damn, I need to join her site to cure my Montana addiction.’ AHHA: Does it bother you when people treat you like just a sex object? Montana: Yep. AHHA: Why? If you care to elaborate… Obviously you’re smart. Montana: I have so much talent, but sex sells. AHHA: Why don’t you write a book on what women need to do to have that perfect sex life? Montana: I already started on the book, but it’s way more than just sex, it’s how to treat your man like a king in general. AHHA: So what are you doing besides teaching the art of sex? Montana: [laughs] Well I just recently co-hosted BET Uncut with Big Tigger. It aired September 17th, and another show aired the week of October 18th. I was trying to put a good word in for the spot that Free left. [winks] I would still love to do Who’s That Girl so people can hear me talk and get a feel for the real Montana. AHHA: That’s a really big deal, hosting BET! Where do you go from here? Montana: Let’s hope I get my own talk show for real! Then the world would be a happier place.

As convoluted as the world of up-and-coming artists can be, there are a few standouts every year who get our attention. T-Pain hit the airwaves with the soothing, bass-heavy track “I’m Sprung”, and swiftly became one of the most talked-about artists in 2005. Hailing from Tallahassee, Florida – thus the name, which is short for Tallahassee Pain – the young rapper/singer/songwriter built his buzz from the streets to the pop scene in a matter of months. While writing and performing with his rap group Nappy Headz, T-Pain was simultaneously recording his own special brand of songs. His mesh of Southern club sounds, classic soul, and heartfelt lyricism quickly drew people to his solo endeavors. Earlier this year, Tallahassee-based TJ’s DJ’s diligently worked the song “I’m Sprung” to their network of radio and club tastemakers, as T-Pain focused on pumping out new music. After recording a fun remake of Akon’s “Locked Up” entitled “I’m F**ked Up”, it wasn’t long before Akon himself reached out to T-Pain. Akon signed the budding artist to his Konvict Music label, and distribution of the project was secured through Jive Records. After several weeks of solid play for the “I’m Sprung” single and video, T-Pain is ready to release his debut album, appropriately titled Rappa Ternt Sanga. AllHipHop.com Alternatives took a few moments out of T-Pain’s day in New York to talk about the passionate hustle that has set the pace for his new deal, his new marriage, and his entrepreneurial spirit. AllHipHop.com Alternatives: You’ve been doing this for a while – you have a group thing and you have your solo thing. What was the process of building your buzz before the record deal? T-Pain: It was a lotta local work, basically trying to work it around Tallahassee and spread it across. Then the right people started hearing it, and it blew up from there. Once Akon heard what was going on and he knew about the group, he was basically trying to make the situation to where we could work all that out between me and the group. As I was getting the deal done I was still working locally. Nothing was popping at the time, but I could tell that when something got popping I had to keep working as if nothing was happening at all. Basically it blew up from there, and the grind didn’t stop when I did get signed. I’m still grinding right now. AHHA: How did your situation with Jive come about? T-Pain: It was basically a deal between Akon and Jive, I get distributed through Jive and I’m signed to Akon’s label. Jive does marketing, promotion, etcetera. AHHA: The song ‘I’m Sprung’ has been out for a while, and it was actually spread throughout the Southeast first. The DJ’s helped build a buzz on it, but there were a lot of people who admittedly slept on the song. How does it make you feel to have people come back and say, ‘Wow, I slept and I shouldn’t have’? T-Pain: It makes me feel good, because I like to prove a point. When people see me they’re probably like, ‘You’re a rapper, we know you’re not singing this song’. Then I perform in front of them and they’re like, ‘Oh, okay you can do a little something.’ So it makes me feel good to show people how everybody’s judged – and to come back with such a strong statement actually feels great. AHHA: How do you feel about people comparing you to Pretty Ricky? T-Pain: That feels great, them ni**as blowing up! [laughs] Them my dogs too and we’re all from Florida, so when they made that connection that made me feel good. That just let me know that everybody sees that Florida is doing something and you just gotta check that out. AHHA: Speaking of the Florida scene, while you have a certain degree of competition, it seems to be very insulated. The scene supports itself and you can actually sell records in Florida and have a name. Tell us a bit about the scene and your thoughts on it. T-Pain: It’s kinda hard to come from Florida and be accepted by outsiders, but everybody from all of the colleges are outsiders in Florida. So once that word gets around Florida then it’s easier to spread from Florida. If you’re in New York, the word is gonna stay in New York. But if you’re in Florida, that sh*t is gonna get everywhere. AHHA: How do you deal with the stress of traveling, performing, shooting your video, and staying in the studio with this being relatively new to you from just doing local stuff? T-Pain: It’s not really stressful. People that say it’s stressful want to sit back and make money. I’m not in it for the money, I’m in it because I want people to hear my music and I wanna get in the studio and make more music. That’s the best part of this whole thing for me. I’m a creative type of person, so I want people to hear my creativity and just get my type of music out there. At first I didn’t think anybody would like my type of music, that’s why I stuck with the rapping thing. When people started letting me know that this might be some new sh*t I just let that flow. AHHA: There are a lot of people that would say, ‘Wow you’re bringing back that Roger Troutman thing, you’re bringing back that ‘70s kind of electronic vibe to the music.’ T-Pain: They would say that because of the voice, but as far as style of the music it’s brand new sh*t. They say that because of the effect on the voice – but the song, ideas and things of that nature are completely different. AHHA: Who are your biggest influences in music? T-Pain: The people I liked were Cee-lo, Andre [from Outkast], Devin The Dude, people like them. Devin The Dude stays getting slept on, that’s my favorite […]

Chris Rob’s resume reads like a compilation of the best in popular music. He has performed with powerhouse artists including Stevie Wonder, Prince, Roberta Flack, Aretha Franklin, John Legend, Lauryn Hill, and Jill Scott, to name a few. While his piano playing ability is an industry standard, Chris Rob says he is ready for people to recognize him for more. With a sound that encompasses a blend of rocker Lenny Kravitz and old soul James Brown, the Chicago native took that influence to the Chicago Musical College at Roosevelt University to earn a degree in Music Business. Yearning for the spotlight, Chris Rob decided to compile old, new, studio-recorded and live music. In 2003, he released The Official Bootleg of Chris Rob, Vol. 1, thinking only of attaining local acclaim. Eventually, international deejays began hitting him up, and now more than 70 countries are still spinning his debut. His behind-the-scenes work has varied from being a music director for Alyson Williams and Meli’sa Morgan, a keyboardist for Swizz Beatz, and singer opening for Black Eyed Peas and Kanye West. The buzz he’s receiving isn’t bad for a kid who used to be scared to take center stage. Sailing on his underground success, 27-year-old Chris Rob is touring the U.S. before embarking on a tour in South Africa. In this exclusive interview, he tells AllHipHop.com Alternatives about the feeling behind his music, the benefits of not being a college drop out and how Chicago inspired him to be more than a typical R&B cat. AllHipHop.com Alternatives: Most singers from Chicago have a smooth, R&B-type vibe. How did you develop the sound that you have? Chris Rob: I grew up just listening to everything, you know. I’ve always been more of a musician, mostly a keyboardist [because] that was my first instrument I focused on. That added to the so many different types of music. I was playing Jazz, playing Gospel, Funk and Hip-Hop, playing House music here in Chicago. My sister used to play Prince. My father used to play James Brown. The mix of that music kinda moved me vocally. Even though I love legends like Luther Vandross, Jodeci and groups that came out of that vein when I was a kid, I was still kind of drawn back to the stuff of back in the day. AHHA: Does being a non-traditional-type R&B artist make it harder for you to get out there? Chris Rob: I wouldn’t say that, because people who love music love all kinds of music. People that buy my music appreciate it for what it is. I feel like every artist should be a little different and not just stick to one category. If I was just one person who sounded like a lot of people, I think it would be more difficult to get out and do the kind of music that I want to do in this format. I do music where I can bring live instruments to the stage, I can incorporate Jazz, I can incorporate Gospel. People hear it and they talk about it because it’s something unique…it’s coming back but it’s still rare among musicians and singers today. AHHA: On your CD I noticed a whole different vibe with the live cuts versus the studio-recorded songs. What’s the difference between performing in a studio and on stage? Chris Rob: It’s like night and day. In the studio, you’re by yourself and on stage it’s straight live. It could be three people or 3,000 people, but they’re sharing the moment with you. So it definitely hypes you up. But I don’t think it’s that much different to me, personally. When I listen back to it, especially the songs I chose to do live, ‘Said You’d Never Leave Me’, the same spirit is coming out it’s just more hyped. In the original recording we had minimal rehearsal. If you listen to it, there are different mistakes that the bass player made, and the keyboardist. I didn’t even know the band that played that, but I thought it was hot. That’s the beauty of live performance – you never know what you’ll get. AHHA: When did you know you were a singer? Chris Rob: Wow, that’s something I kinda learn everyday, over and over again. Growing up, I sang everyday. I was mad shy because the piano was like my first forte. I used to really hide behind the piano, and I kept getting stuck there. I had to grow more and more confident over the years. AHHA: So did you start getting out there and getting over your shyness? Chris Rob: I started going to college when I was 16, and I started focusing on being an artist. I’m an emcee as well, so I just wanted to incorporate all of that…Hip-Hop, singing, playing instruments and a lot of elements. I always wanted to do that, and I really pushed myself to do it. As a soloist, I never started jumping up on stage until I was like 18. I used to get shot down, because I was so shy about my vocals, I would never really go for it like I should have. Over the years, I had to grow and I met people who really pushed me to another level. Especially when I got to New York, it was like a training ground. I got booed and got laughed off the stage. Then there were times when people gave me a lot of love. But I kept on doing it until I got to the point I am now. AHHA: I’m not sure too many artists now have degrees… Chris Rob: Me either. [laughs] AHHA: How does that help you as an artist? Chris Rob: It helps me with my game plan a lot more. I have a little more information and more knowledge on how to use that information. So, I guess on the business end I know how to handle more stuff. As an artist, if you don’t know […]

On his new album, Ginuwine is trying hard to be the man he was on his first album. But a bachelor, he isn’t. Since his 2003 platinum album The Senior, the former single singer married JT Money protégé Sole and had two children, so getting women isn’t exactly what he wants to do again. What he is hoping is that his new album, Back II Da Basics, can revive the dancing, throbbing, sexy performer that made Ginuwine a household name. His newest effort features appearances by Jadakiss and producers Jazze Pha, Track Masters, Troy Oliver, and Timbaland associate Danger Handz. The Washington D.C. native began as a member of a Hip-Hop group and was even a Michael Jackson impersonator at one time. After catching the eye of enigmatic producer DeVante Swing of Jodeci fame, he became a member of the Swing Mob crew with Missy Elliott and Timbaland. After the Swing Mob disbanded, Ginuwine stuck with Missy and Timbaland and the chemistry spawned a single-filled debut Ginuwine…The Bachelor in 1996. With hits like “Pony”, “Tell Me Do You Wanna”, “So Anxious”, “Differences” and “In Those Jeans”, and four platinum albums under his belt, Ginuwine fully expects to bring it, despite of the recent influx of bare-chested, poppin’ and lockin’ R&B pretty boys. Ginuwine tells AllHipHop.com Alternatives how he feels about the new fresh-faced singers on the scene, R&B thugs, and the separate but equal parts of being an entertainer and a family man. AllHipHop.com Alternatives: I saw your new video for the single ‘When We Make Love’. I thought it was real hot. Ginuwine: Honestly, I was iffy about that song. AHHA: What is it that you are iffy about? Ginuwine: I haven’t been out in two years so to come back with a song like that, I was real iffy. AHHA: A lot has happened in your life in the last two years, how has that affected your music? Ginuwine: As far as what has happened in my life, I don’t think it affected my music. I think me growing up and maturing more so affects it. I always have felt that this is a job, and you have to stay true to your job and that’s what you do. When you’re not going to be true to your job, you need to get out. So I try to separate the two, stay true to the game and stay true to what I love to do. AHHA: You’re no longer the bachelor… Ginuwine: [Laughs] I knew you had to go there. That’s the number one question, that’s funny. AHHA: So how do you balance being a husband and still being a sex symbol? Ginuwine: Well, honestly like I said, I’ve been off for a long time, and I’ve balanced it by being mature and do what I do and do what I have been doing. When I go home, I go home. It’s not too hard to separate it. People think it’s so hard, but it’s not. When I’m home, I’m who I am at home with my kids. And when I’m on the road, I’m who [the fans] know. It’s Ginuwine. It’s two different hats. AHHA: Your new album is called Back II Da Basics. What are the basics you felt you needed to get back to? Ginuwine: The basics that I felt I had to get back to was going back to the first album, going back to how people know me and that being an all around entertainer and back to the stage period. Not so much of me losing it, but with these past few CDs…it’s me bringing it back to the public eye the way that I did in the beginning. I’ve been having constant reminders to myself of what I wanted to do with this album to bring it back to the basics, so I had to name it something like that. So when I hear it spoken or see the CD is reminds me, ‘Don’t sleep man, get up and do what you gotta do.’ AHHA: Do you look at any of the new crop of R&B singers out and see any of the things you do in them? Ginuwine: [Laughs] Yeah, of course, you know that! I definitely see that. But it’s always a compliment. It’s not a situation where I’m mad because I’m not out the game. I’ve been successful so far. Every album I’ve put out has been platinum or platinum plus. I’ve been successful at it, and I’m just happy that I am able to put a mark on the industry and keep it moving. When I’m doing my CD, I don’t listen to the radio or anything because I don’t want to be like anyone else. But I do see a lot of artist and think what they’re doing is hot. I like Omarion, I love Usher, I love anybody who brings entertainment back. I love that. I like my boy Marques Houston. I love anybody who brings entertainment to the stage because that’s what it is about. It’s not about grabbing the mic and walking back and forth. We’re entertainers, we’re in the entertaining business. So you have to entertain in our field. Rappers, well that’s another situation. When you’re a singer and you take the mic and walk back and forth, I’m not feeling you. When people come to your show, they want to see just that. They want to see a show. They don’t want to see anybody walking back and forth. And that’s what I like about the guys that I just mentioned. I love the fact that they bring that to the stage, they own the show. They bring their A game. And that’s what it’s all about. AHHA: I was just talking to somebody the other day about R&B singers who think that they are rappers. Ginuwine: I know, that’s crazy. AHHA: Why is R&B changing? What are the fundamentals that people aren’t honing anymore? Ginuwine: I think some R&B artists […]

If you haven’t been living under a rock for the past few months, then you’ve seen the slew of music videos by Mike Jones and Paul Wall. You may have also noticed the “Dr. Teeth Productions” graphic in the beginning of every video. But who is Dr. Teeth? It sounds like a demonic dentist in a horror film, but in reality, Dr. Teeth is the mastermind behind some of the South’s top Rap music videos. Born in Cincinnati and raised in Texas, Dr. Teeth has not had overnight success. Incorporating hard work, dedication and the old do-it-yourself frame of mind has finally let him live out his life-long dream of making music videos. Back then no one wanted him, now the labels are all on him. AllHipHop.com Alternatives spoke with the NAACP Image Award winner, documentarian and all around classic film buff about his recent success. AHHA: How did you get the name Dr. Teeth? Dr.Teeth: I got it in high school. I used to play basketball and dunk on cats. I would run down the court with a big toothy smile. They had said ‘Dr. J’ but then they changed it to Dr. Teeth. When I started making videos, I was like, ‘I need a name’. Dr. Teeth came to mind, and it’s been that since. AHHA: How does it feel to have your video for ‘Still Tippin’ nominated by MTV for the MTV2 Viewer’s Choice Award? Dr. Teeth: It’s was a great and surprisingly shocking. I never expected for it to be nominate for a Viewer’s Choice Award. It means that people liked it and respect the work that I’m doing. Before I made ‘Still Tippin’ I was up for shooting Nelly’s ‘Tip Drill’. Unfortunately, he decided to go in another direction. When we were going to make ‘Still Tippin’, we wanted to go more street, like for BET Uncut – we wanted to go with that street Swishahouse style. We shot it in Houston, which was the way that I wanted to go. I wanted to show its culture. The girl dancing in front of the tables is like the Pied Piper. You also have candy-colored cars swaying in and out on the street. It’s hood, but also artistic at the same time. It all goes together. The amazing thing is that people got it. AHHA: How did Mike Jones and Paul Wall take to the idea? Dr. Teeth: When I presented the idea to Mike and Paul, they were all for it. It’s funny because it was a cold ass day in Houston when we shot the video, and we were in the ghetto setting everything up. Michael Watts was like, “Man I can’t believe you have me out here in the hood, with all of this equipment.” Regardless, they trusted me and I’ve developed a very strong relationship with Swishahouse. AHHA: What are you currently working on? Dr. Teeth: Actually, I’m an R&B guy at heart. I did the video ‘Aha’ for Devin the Dude. I’m working with R&B guy named Cruna for BET. It’s a different direction, but I like it. I’m also working with Crime Mob on their new video ‘I’ll Beat Your Ass’. I want to capture the true essence of their Crunk sound with mosh pits, etcetera. It will be out later on this month. Paul Wall is also on Access Granted and has been getting mad popular on camillionare.com. I’m also working with Mike Jones on a new video, maybe the new T.I. I’m in the process of taking to Jermaine Dupri and Young Capone, Back-Woods, Tango Redd and Lloyd. AHHA: Do you see out artists to work with or do they find you? Dr. Teeth: We’ve been blessed since the making of ‘Sittin’ Sideways’. Labels began to call. A lot of artists have been telling their labels to request me, but I also get calls from the artists themselves. It puts a big smile on my face. AHHA: How did your company, Filming Company, come about? Dr. Teeth: I left BET to work with Tracey Hicks. I wanted to develop a company and to do a few projects – that was April. ‘Til then, no one wanted to sign me. In June, Mike [Jones] came to me to do his video. After that all the companies that wouldn’t even look at my stuff started calling me on the phone. It’s funny because I had spent like two years sending stuff to them, only receiving either a negative feedback or no response. Now they all want me to do work for them. By the time they started calling, I was doing it all on my own. I developed Filming Company because I needed a place to work and develop ideas for videos and artists. Besides, it cuts out the middle man. No one works [harder] for you than you. I’ve been doing all of this for four years now. In the first year I did three videos, the second it was four and now, this year alone I’ve done 15. I have three more left to do for this year. It never stops. AHHA: Sounds like you’re a very busy man. Dr. Teeth: Yeah, We’ve been very busy. We just got done shooting a video for Slim Thug. It was supposed to be done in June, but because of the busy schedule, we did it in August. AHHA: Did you know Mike and Paul before you shot the video? Dr. Teeth: I didn’t know them, but I had worked with a friend of Paul’s named Qua. This was before Paul was on Swishahouse. We were at his boy’s house and they wanted me, so we worked it out and the rest is history. AHHA: What directors have inspired you? Dr. Teeth: I study Hype Williams’ work. Spike Jonez, Lionel Martin, Marcus Rayboy, Brett Ratner and a few others. I really like their work. When I study their work, I look at the pictures and try to envision their ways of […]

While waiting for a lift in the Manhattan offices of Jive Records, Chris Brown is openly singing to himself, taking little notice of those around him. The singing is sensational, and he is obviously confident, but the song isn’t his; it’s Usher’s “Nice & Slow”. Although it’s safe to say there will never be another Usher, the comparisons have haunted Chris Brown since the video for his new single “Run It” dropped a little less than a month ago. Will this 16-year-old R&B singer and dancer be able to step out from the shadow and carve his own niche? Former Def Jam A&R Tina Davis (Dru Hill, DMX) seems to think so. After Chris Brown, a Virginia native, auditioned for her and Def Jam Chairman LA Reid in New York, there was obviously something about him that made Tina believe. So much so, that when Chris asked her to become his manager, she agreed, and within months of moving from Def Jam to Jive, she found him a home at the label too. But as we all know getting signed hardly equals success. Not even close. Just take a look at all the R&B one-hit wonders that have come and gone throughout its musical history. And today the grind is even harder, with the extra pressure of selling units (Soundscan) and the increasing number of urban acts being pushed out by major labels like canned soup from a factory. So what will it take to differentiate Chris Brown from the other R&B artists? And will he be able to sustain a career in this fickle industry? Allhiphop.com Alternatives speaks directly to the teenage heartthrob as he prepares to drop his debut album. Allhiphop.com Alternatives: Tell us how you got started? Chris Brown: Well actually I started with a small production team out of Virginia and they took me to New York. Within a span of two years, I was working with them and another production team in New York. I was 14 at the time. AHHA: How did you get in touch with the first production company from Virginia? And how did the process of getting signed take place? Chris Brown: Actually they met my father at a gas station and they said they were looking for talent. From there they hooked me up with some writers and took me to New York. I was in New York for a year and half and one day they were like, ‘Yo Chris we got a meeting at Def Jam!’ I went and performed for Tina Davis and LA Reid, who wanted to sign me on the spot. But soon after Tina got sprung from Def Jam, so I asked her if she wanted to be my manager. She accepted and she took me to Warner Bros, Atlantic and Jive. All of them gave me deals but we picked Jive. AHHA: Was there ever a moment, between those deals, that you thought maybe it wasn’t going to happen; maybe you would have to go back to Virginia? Chris Brown: Not really. I doubted myself but I never fell back or took steps back. In my head it was always about taking steps forward, taking it higher and higher. AHHA: Did you experience a culture shock when you came from Virginia to New York? Chris Brown: When you come to New York for the first time, you really have to get accustomed to it because everyone is not the same. They’re rude up here! You have to get used to that and never think somebody is going to be nice to you all the time. So when I came up here for about a year, I got ‘real’ the New York way, and just stayed to myself and did what I had to do. I tried to grind out and do my music. I really wasn’t shocked at the way of New York; it is what it is. It was still enjoyable. AHHA: Let’s talk about some of your critics. Now that your first single is out, what would your response be to some of your critics who say Chris Brown is trying to be like Usher or that ‘Run It’ is an average single? Chris Brown: I would say my style isn’t like Usher. They make the comparisons because we both sing and we both dance. But if it was any other R&B singer/dancer that did the same thing that I did or that Usher did, they would be comparing them to us. And they would be comparing me to them, just as well. I’m doing my thing- Chris Brown- and Usher is doing his thing. AHHA: Tell us about the new single ‘Run It’. How did the collaboration with Juelz Santana come together? Chris Brown: Actually when we first recorded it I really wanted to base it around me. I didn’t want to have a rapper on it. I sat on it for a little while and my manager suggested that I should get a rapper on it. We were debating on who it should be and I was already a fan of Dipset. So within the next week we got Juelz on it and he just murdered it. He did his thing. AHHA: Tell us about the album. Chris Brown: The album comes out November 29th. We’ve got a lot of hot new producers on it as well as Scott Storch, Cool & Dre, R.Kelly, and Jermaine Dupri. Over five or six months we recorded almost 50 tracks. The album basically consists of [roughly] 15 of those songs with a mix of up-tempos, mid-tempos and ballads. Usually it takes a long time for you to get that hit but the beats were so hot, the hits just kept coming and coming. I’m really excited. AHHA: How do you describe your style? Chris Brown: My style is based around Hip-Hop but my singing comes from R&B. I’m influenced by both. I like Rakim and Run DMC. As far as new school […]

With a stage name like Cruna, Ke.Anthony Dillard better know how to sing. His single “Take Me Higher” is a calypso-tinged ditty about love and happiness. But times weren’t always so cheerful for one of the newest R&B crooners with a throwback style. Cruna was raised in a family full of Gospel singers. Despite the message in the music, he turned to selling drugs, ending up in prison on robbery charges for almost eight years. Immerging with fellow inmate and childhood friend Jasper “Jazz” Howard, founder of independent label Crosstrax Entertainment, Cruna became the flagship artist on the label. Though other labels like Def Jam, Arista, and Derrty Entertainment courted Cruna, Warner Bros. finally offered he and Howard the distribution deal they couldn’t refuse. His full-length album A Hustla’s Love Story, is slated for an early 2006 release, and is full of songs about the joys and pains of everyday relationships. Not to be confused with the typical R&B bad boy, 29-year-old Cruna has a respect for the old school and responsibility for the baby-making music he makes. Cruna’s song “It’s Okay”, written by Mike City, was chosen as the YWCA national anthem for their “Single Parent Initiative”. Things are looking good for Cruna as industry heads swoon over the possibilities of his music career, instead of his family worrying about his survival on the streets. Cruna explains to AllHipHop.com Alternatives the passion of Gospel, the hell of prison and why he never says ‘I love you’. AllHipHop.com Alternatives: What influenced you most about coming up singing in church? Cruna: The first thing I can say inspired me, I was 10 or 11 years old, and my parents had a gospel group called the Gospel True Notes. They let me sing one time, and there was this old lady in church, I was singing and she had her head down. When she rose up I saw tears in her eyes and she got up and started shouting. I felt so good, like I had something. There was more competition in my house than anywhere else, so that inspired me to keep in going. AHHA: What was it about church that made you want to turn to secular music? Cruna: I wouldn’t say church bored me. It just wasn’t enough. I felt like there was something else out there for me. I didn’t know exactly what it was. Because I was young, I kind of thought it was the streets. Selling drugs and robbin’ ni**as led me to the penitentiary. I did seven years and two months; I went in at 17 and got out at 24. The last two years of that prison term, my business partner Jasper “Jazz” Howard he’s the CEO of our label Crosstrax Entertainment, he said ‘look man everybody knows you can blow, don’t go out here and get in any more trouble’. He had his s### together, so I put my trust in him. It’s like we were in hell, people don’t have Godly things in hell. I look at what he said to me as Godly…look at where we are now, seven years later. AHHA: What was your family’s reaction to you turning to the streets and ending up in prison? Cruna: My mom was my mom. My dad was more like ‘you screwed up’. My dad is my hero. My dad went from a drug dealer to a stand-up citizen. He told me I was growing up, trying to find my own path as a man. He told me he didn’t think it was the right path for me. He said he sold drugs to make sure the family was cool, but I was doing it for all the wrong reasons. I think selling drugs period is dumb now. My pops is my hero. I got a group of people around me that our genuine. I got people around me that I need around me, not people that I want. I got people that I need around me, and that’s what inspires me the most. AHHA: Did you write a lot of music while you where in prison? Cruna: I did an independent project that was called A Hustla’s Love Story when I got out of prison. Half the album was written in prison. A couple of those songs are on the upcoming album. “Call Me” and “Summer Breeze” were independent songs that I put out that made it to the album. AHHA: How was everyday life in prison? Cruna: Being in prison is hell. I’m on a compound with 2,000 men that have no hope for the future. So it was tough. I’m a little ni**a. I’m 6’2, 191 pounds [laughing]. AHHA: Tell me about the album? What kind of feel were you going for? Cruna: What I’m trying to do on this record is trying to keep the legend of soul going, through the pioneers. The Bobby Womacks, the David Ruffins; because that is how I classify my voice. Its kind of light but it’s raspy, you know. I just want to keep that legend going in the writing and the word play. Smokey Robinson is my favorite writer, him and Lionel Richie. They wrote songs that the whole world sings. That’s what I’m trying to keep going. I don’t want to say on this album ‘I love you.’ I want to give you the reasons why. On this whole record, I never said ‘I love you’. I actually gave you the reasons. I sat down and I did my homework. I spoke to a lot of women. Before I write a song, I like women in the studio to get their point of view. So I am able to write a song males and females can sing and feel. I want people to be able to listen to the songs, listen to the album and see that it’s everyday life of a person in a relationship. AHHA: What sets you apart from artists like Lyfe Jennings or Akon who have […]

She went from recording “Overnight Celebrity” to becoming an overnight celebrity, but don’t call Miri Ben-Ari a one-hit wonder. This Israeli-born artist is out to prove that a violin-toting virtuoso can be more than a novelty in the world of Hip-Hop. Although she came with Bach-inspired fire on Twista’s “Overnight Celebrity”, the hit song was only the first opus for the one they call “The Hip-Hop Violinist”. Her album, aptly entitled The Hip Hop Violinist, is full of cameos from industry heavyweights like Kanye West, Scarface, and Anthony Hamilton. She also just shot a music video for her single, “We Gonna Win”, featuring Styles P. And just for good measure, she recently inked a deal with Reebok to represent the Rbk “I Am What I Am” advertising campaign. It might seem like Miri’s success did indeed happen overnight, but her story begins nearly five years ago. Back in 2001, Wyclef Jean was at one of Miri’s performances – and that night, something sparked. It took Wyclef’s mindful ear to notice that this talented violinist could offer a fresh perspective in a world in need of innovation. Wyclef couldn’t pass up the opportunity to pair Ben-Ari up with Hip-Hop’s elite. After a groundbreaking performance at the 2001 Summer Jam set with Jay-Z, Hov had no choice but to invite her to perform at his Showtime concert in 2003. Things haven’t been the same since. AllHipHop.com Alternatives found some time in Ben-Ari’s hectic schedule to chop it up about her humble musical beginnings and how quickly things can seemingly change…overnight. AllHipHop.com Alternatives: Congratulations on the new album, Miri. It sounds like you’ve been busier than ever. Miri Ben-Ari: Real busy. As you know, I just dropped the album. It’s my moment right now. I’m busy promoting the album and we’re getting ready to drop the video. Styles P is in the video and [Reebok] was involved with that. I’m working a lot with Rbk right now. They chose me as the new face for the “I Am What I Am” [ad] campaign. It’s a special relationship because this is the first time a company like that has shot a video for an artist. It’s really an honor, but it’s also a lot of responsibility. AHHA: So how did the deal with Rbk come about? Why did they approach you? Miri Ben-Ari: Like every other event in my life, I was just at the right place at the right time. They saw me at the [NBA] All-Star Game. After they saw me perform, they approached me about working with them. AHHA: I’m sure after hearing you perform, a lot of people probably look at the violin much differently now, especially as far as Hip-Hop is concerned. Do you come across Hip-Hop heads who express some interest in taking up the instrument? Miri Ben-Ari: Are you kidding? Every kid I come across now wants a violin. They say they want to be a Hip-Hop violinist. For kids today, it’s become cool again. I’m proud that I can play a part in that. AHHA: On the flip side of that, I’ve read some comments on the internet from people who say that you might not be taking full potential of your skill by doing Hip-Hop. They say that playing the violin in this very unorthodox manner goes against all the classical training you’ve had. What do you say to this? Miri Ben-Ari: This is something every artist goes through; determining which direction they take their music. This is my musical choice. I’ve taken this instrument from the background and have put it up front as a solo instrument. When you listen to the album, you will have no doubt that this is a mainstream Hip-Hop album and you will have no doubt that this is my album. When it comes to musical instruments, it’s one thing to have the concept, but it’s another thing to actually execute. As far as the traditional players, they can’t say sh*t about me. Once they see what I’m capable of, they’re like she can play. I just chose to do it differently. After playing Classical, I went with Jazz. The sickest name in Jazz, Wynton Marsalis, worked with me on my second album. He basically said, “Yo, that b*tch can play!” [laughter] I never need to prove myself to the Jazz world. I’m not doing Hip-Hop because I couldn’t make a career in Jazz. I had a career in Jazz. I had a great career in Jazz! But now, I’m doing what I want to do. AHHA: How long have you been a Hip-Hop head? Who were you listening to when you fell in love with the culture? Miri Ben-Ari: My Hip-Hop experience is not as long as my musical instrument experience. I’ve been playing music all my life. If I had listened to Hip Hop since I was like six-years-old or something, I’d have been a Hip-Hop head most of my life. But my parents didn’t introduce me to anything except Classical music. I really didn’t have the opportunity to check out the music that I love today, which is music of the soul. AHHA: What do you think about the Hip-Hop landscape at the moment? Who do you think is hot right now? Miri Ben-Ari: I’m very happy with what’s going on right now with the movement of Kanye West…and John Legend. John is a real musician. John can play the keys. It’s not a gimmick. There are other singers like Anthony Hamilton, who are really talented and can really sing. I like Bobby Valentino. He can sing. These guys are real. AHHA: So what are your thoughts regarding sampling versus live instrumentation? Miri Ben-Ari: I’m all for production. Don’t get me wrong. I play a live instrument. It’s what I do. To me, I think sampling can be great, especially after working with Kanye. Kanye doesn’t play instruments, but he is so musical! The way he samples…he has an ear. He has a natural ear. It’s […]

When you hear the name Blair Underwood, you may fondly reminisce on the 1985 classic film Krush Groove, in which he portrayed now-billionaire Hip-Hop mogul Russell Simmons. Or perhaps you envision the good-man banker who so desperately tried to save Jada Pinkett’s character Stoney in the dramatic film Set It Off. Whatever your first memory of Blair is, his presence in Hollywood has been undeniable. Since his initial appearances, Blair Underwood has established himself as a very influential actor. Over the last 20 years, he has appeared in more than 20 films, and has received several industry awards and critical praise. Although he widely known for his nice guy roles, his performances in the films Asunder and Just Cause earned him the notoriety as an all-around actor. Aside from his acting career, Blair also has credits behind the lens as director, producer and author. With his upcoming film G, Blair is once again proving that he has the talent to pull off an alter ego, and with his upcoming book, the father of three proves that he has a sixth sense in dealing with children. AllHipHop.com Alternatives got a chance to sit down with the man who was named in People Magazine’s 2004 ‘Sexiest Man Alive’ issue to discuss his new role, his new book, and his thoughts on being considered a sex symbol. AllHipHop.com Alternatives: After being a successful actor for the last 20 years, what was it initially that drew you to want do this as a career? Blair Underwood: I just loved the fact that it was an art form that brought so many different human emotions to the surface. That to me was the initial attraction, because ever since I was a child I always looked for way to express myself creatively and acting is the perfect way to do that. AHHA: You have played a very broad spectrum of characters. Looking back, which would you say is your favorite and why? Blair: One of my favorites was a mini-series based off of one of Alex Haley’s books called Mama Flora’s Family, because that was really an every man kind of person. I love it because it was a very touching story, and also because I played a range of characters. It portrayed a man who you got to see age from 15 to 50, and of course because I co-starred with Ms. Cicely Tyson, who really inspired me when she starred in The Autobiography of Miss Jane Pitman. The other one [of my favorites] would be the movie Just Cause, just because I got a chance to play a character so vastly different from myself. In that movie I played a serial killing pedophile, which was very intense. Any movie where I have to play a range or makes me tap beyond my creative ability is always going to be a favorite. AHHA: For a role like what you played in Just Cause, how do you tap into the psyche of that character? In essence, for the role you are that character? Blair: That one was a challenged because it was so dark, it wasn’t a role where I could tap into any part of myself, but you really have to immerse yourself into the darkness of your soul. I mean the character was a serial killing pedophile, so it was really off the deep end. But for me it starts from research to find out what type of people do those types of things, and just really get into the mind of a character. Once you get a clear view of who these people are, you have to bring yourself then to try and understand why they do what they do so it makes sense to you logically. Because, although we step outside of those individuals mindset, there is a disconnect between the mentality of us and them, and that is where it becomes challenging. AHHA: You have a book coming out called Before I Got Here. What is the book about, and what made you venture into that area of art? Blair: The book is inspired by my four-year-old son who said something so profound to me that just blew me away. When he said it, it made me realize that children are spiritually connected, and connected to a spiritual reality, and they remember every aspect about that spiritual place before they were born – unlike we do as adults. So really the book is written by children all over the world. It’s their stories and anecdotes and remeberances of these little people in their words. So I wrote the foreword and the introduction, as well as edited it with my partner Danyel Kennedy, who created all the pictures and the photographs in the book. What’s funny is, initially I thought it was going to be a children s book, but it is really a book for adults to encourage them to listen to the souls of children – not only your own but other children around you. I mean it’s easy for us as parents to teach them and guide them, because that’s our job. But every once in a while if you just listen to them, not to what they are regurgatating off of what we taught them, but really listen to what their souls are saying when they speak unedited. It’s profound. AHHA: Dealing with this project and the children, do you see yourself writing children’s books, or are you planning on just steeping into being an author of various types of books? Blair: It’s funny you should ask. I have a production company with my brother called Eclectic; it’s called Eclectic because we as people are all complex and we all are capable of thinking and doing things in many different ways. As an actor am I fascinated in playing a good guy, bad guy and everything in between. Even in this book, it’s a book for adults about children, but I have another book that’s an erotic mystery […]

You know that chilled-out music that DJ’s play in the wee hours of the night at lounges? Often times, we’re too preoccupied or too stubborn to ask what it is. Steve Spacek’s solo debut Space Shift is that kind of album that you wish you had ask about. The Electronic-Soul fusion finds the front-man of the group, Spacek, touching on love, seduction, and even the economy. Born in South London, living in Australia and working in Los Angeles offers Steve many inspirations. Sharing his art with ‘70s R&B legend Leon Ware and Hip-Hop super-producer Jay Dee, Steve Spacek wants Americans to hear what others already have. In a discussion with AllHipHop.com Alternatives, we address the audience, the craft, and some of the influences behind such a musical anomaly. AllHipHop.com Alternatives: ‘Sound In Color’ is such a great name for a company. We see the color in your logo too. What does that term/phrase mean to you? Steve Spacek: My family is from Jamaica, that’s the colors. I was born in South London though. It’s more the Rasta colors. I always wanted to represent that in something. AHHA: That said, what is the most colorful record ever made in your opinion? Steve Spacek: That’s a difficult one for me. There’s quite a few, really. One would be Grace Jones’ Nightclubbing, the one that Sly & Robbie produced. That’s a wicked album, it’s got some Reggae, some Dub, but also a French accordion on there. It reminds me of movies, like James Bond, and all that stuff. It’s kinda epic. AHHA: Electronic music is really driving the trends in other genres. Groups like Postal Service and Radiohead are making records that people wait for in the Pop/Rock community. Do you think the Soul genre can ever follow? Steve Spacek: It’s funny that you say that, ‘cause I think it is already. I think it has been for many years. Maybe when people describe Electronic music, they’ve got to go in deeper. The time when I was really conscious of Soul music was obviously growing up in the 80’s. There was Jazz-Funk and Electro going on, and from that moment on, it was really Electronic. In the 70’s, it was live instruments with horn sections, orchestral. Today, there’s [not, with] people like myself, and Platinum Pied Pipers, Sa-Ra, we reside in part of it. AHHA: Jay Dee will attract a lot of Hip-Hop heads to this record. “Dollar” might be my favorite thing he’s ever produced. That track just sounds like classic Curtis Mayfield made understandable for today’s folks. Tell me about what that record means to you… Steve Spacek: You’re not the first person to [make the Curtis comment]. “Dollar” means a lot. Jay Dee’s groove just made sense to me when he played it for me. When I was sitting and writing, I wanted it to mean something. I’m not here to preach to anyone. That’s the one thing I never want to do with my music – tell people how they should be, ya know? Hearing the lyrics on the [sample] saying, “Let the dollar circulate,” I wanted to portray that in a positive way. There’s such a limited amount of people who have money, so it’s touchy. It’s about spreading, making sure everybody gets some. AHHA: Going back to Curtis, his music thrived in depressing economic and social times. One could argue we’ve returned to that… Steve Spacek: I think a lot of the world is in a lot of fear. People are trying to sweep it under the carpet. Recently, I’ve been living in Australia with my girl, ‘cause we just had a child whose eight-weeks-old now. When she was pregnant, I was like, “S**t, I have to take care of someone now, and think about bringing somebody in this world.” AHHA: Did having your first child on the way inspire you differently with Space Shift? Steve Spacek: I been on this tip for the last few years, even with my band [Spacek] too. I’m trying to put music across in a way that’s being honest to myself. At the same, I’m not leaving people out. A lot of music does that now. It screws a lot of people ‘cause it’s too cool and it’s too underground. Underground’s cool and all, but I’m making music so many people can listen to it. This whole period, and hopefully the stuff that comes in the future, there will be a commercial element to it. This is not just for the heads, this is for the heads and everyone else. Me having this child, has really made me like that a lot more. ‘Cause now, the fact of the matter is: we gotta got over, we gotta get paid. You gotta practice your art, but you’ve got to think on the mainstream tip as well. AHHA: In talking about underground versus mainstream, do you think, in the States, the radio will respond to this record? Steve Spacek: They’re gonna do whatever comes natural to them. You’ve got to get a certain number of sales, and appear in a certain number of magazines, and get a certain demographic, then it’ll kick in. It’s an interesting time, so it could go either way. AHHA: What’s been your reaction in America with the Spacek group work? Steve Spacek: It’s cool, but we really haven’t been out here that much. Only the second album [Vintage Hi-Tech] came out here, and that was really more geared for Europe. The first [Curvatia] didn’t, and the States would’ve liked that. To me, as a band, that’s the best thing we’ve done. It’s forward-thinking, but also really traditionally soulful. That’s what held us back most in this country. It’s about being visible and available. AHHA: My friends and I were talking about R&B these days – and the stories in the music. R. Kelly’s “Trapped In The Closet” is really a story… it’s all talking, like a Chi-Lites record. I like the way you use shorter phrases, not simple […]

Singer/songwriter Ne-Yo is entering the entertainment industry strongly – slowly perfecting each angle of the game. Although he is only 22, Ne-Yo is not a newcomer to the scene. Growing up in a musical household in Las Vegas, his talents were engrained in him from birth, and he began honing his crafts in his teens. He co-wrote Mario’s#### single “Let Me Love You” in 2004 alongside producer Scott Storch and songwriter Kam Houf, and his heartfelt words have been on countless songs for the likes of Mary J. Blige, Musiq, and B2K. After a few years of creating for others, the time has come for Ne-Yo to focus on his own project, In My Own Words. His first single and video for “Stay” featuring fellow Def Jam artist Peedi Peedi, aka Peedi Crakk, is creating a huge buzz. AllHipHop.com Alternatives had a chance to speak with Ne-Yo before he sets out on a month-long tour with John Legend. In an exclusive interview, Ne-Yo discusses his transition from a song writer into an artist, and his new home at Island Def Jam Records. AllHipHop.com Alternatives: Being that you’re from Las Vegas, what challenges have you faced as an R&B artist coming from there? Ne-Yo: I live in California now, but I grew up in Las Vegas. I’ve been trying to do music like forever. You’ll find that there’s a lot of talent in Vegas, Vegas is actually an untapped source—there’s a whole bunch of talented people out there, but there’s really no outlet to get into the business in any way. The furthest you can go as far as R&B is singing in some lounge in some casino somewhere. It was just a matter of me getting out of Vegas as soon as I could, to move to California to really get stuff popping. AHHA: Being that Vegas is an entertainment-oriented city, and although it is limited music-wise, did you use your surroundings while you were there to help you start your career? What show did you star in? Ne-Yo: Yea, when I was in the 11th grade I was an extra in one of the big Vegas shows over at the MGM. That helped me get comfortable with the stage and performing in front of a bunch of people, because if one of the main actors in a specific part was out then I had to fill in. And there was a point in time when I was up on stage like every night for a month. It was EFX at the MGM Grand Hotel. I’m not sure if it’s still running there, but at the time David Cassidy was headlining the show. AHHA: Did the local Las Vegas stations help your career? Did you get ample radio play? Ne-Yo: I am now. [laughs] Well, once they found out that I was from there then, yeah, it was all love. The opened the front gates for me. AHHA: When did you begin to seriously pursue your musical career? Was it when you were still in school or afterward? Ne-Yo: Yeah, it was when I was still in school. I was in a group with three cats that I went to high school with. We were in a singing group called ENVY. We did local talent shows all around Vegas and everything, but then again there weren’t any outlets to do the music thing. So when I moved out to California, we all moved out there together hoping to try and lock down some kind of record deal. AHHA: What happened with ENVY? Ne-Yo: To make a long story short, after we moved we went through creative differences and wind up splitting up. We’re still close, two of the guys from the group are writers signed to my production company. We basically just grew apart; I mean they were trying to go in a direction that I wasn’t try to go in. So I had to move on and met with a production company, Real Time Entertainment, where I got my first record deal with Columbia Records. AHHA: Did your album ever drop on Columbia? Ne-Yo: Nah, when we went over there we shopped a finished album, but this was during that period in time when they couldn’t keep their urban division together. They just sat on my project and weren’t doing anything with me. So the production company that I was with asked them to release me, and of course they didn’t want to do that. So it was a long drawn out thing with lawyers and stuff, and then they finally decided that they would let me go but they kept the album. AHHA: How was it transitioning from a songwriter into an artist? Ne-Yo: I mean I’m still transitioning. Well it’s definitely something that takes some time getting used to. Especially coming from being in the background, as a songwriter; it’s like to be a songwriter you don’t have to worry about the things you have to worry about as an artist. As a songwriter you don’t have to worry about how you look everyday or saying the right things in interviews. It’s just get up, get something to eat and go in the studio and stay there until you make a hit. But this whole artist thing, it’s like I gotta make sure that my body is right, I gotta make sure that I look like a million dollars every time I walk out of the house just because I’m an artist. And there’s a reputation and an image to uphold with that, and that’s taking some getting used to ‘cause I’m very much just a t-shirt and jeans and go… and I can’t do that now. So that’s definitely taking some time to get used to, but I’m getting that hang of it. AHHA: What would you say makes you any different from other songwriters? Ne-Yo: I don’t really know. And I’ve been asked that question a bunch of times, but I never have an answer […]

Sean Paul is known to sing during his interviews. In fact, he never stops singing or writing, his music being the obvious outlet for everything he has to say. But what do we really know about this Dancehall maestro, who has had a hand in bringing Jamaican music back to its glory days reminiscent of the Bob Marley era? Born in Kingston, Jamaica, Sean Paul’s complex ancestry includes Chinese, Portuguese-Jewish, and African-Caribbean. His father was sent to prison when Sean Paul was a teenager, and he turned his focus on swimming. He became a champion in the sport, traveling to places such as Mexico to represent Jamaica. Many locals doubted that a swimming champion could do Jamaican music, let alone represent the country on an international scale. In fact many of Sean Paul’s critics continue to doubt, despite multi-platinum plaques, high profile collaborations and even a Grammy Award. Some Jamaicans have even written him off questioning his Jamaican heritage, despite his being born and raised there. After 10 years of dub-plates and making noise through the underground scene in Jamaica and New York, Sean Paul is shaking it off. His first album was an independent effort that was largely overlooked, however his breakthrough second album Dutty Rock went on to sell a whooping 6 million copies and introduced his style to the world. He finally responds to his critics on his latest effort, The Trinity, letting his true political self seep through the cracks of his well-known club anthems such as ‘We Be Burnin’. Sadly, for many Jamaican artists it is hard to escape the truth facing their homeland, and Sean Paul is no exception. The violence continues to escalate, notably evident in the recent drive-by death of Gerald “Bogle” Levy, a Jamaican icon whose dance steps continue to be seen in Sean Paul’s videos. It is Sean Paul’s desire to do serious material that is always prevalent. AllHipHop.com Alternatives goes one-on-one with the Gammy Award winner about the new album The Trinity, the real meaning behind the smash single ‘We Be Burnin’ and what he thinks about Hip-Hop artists trying to do Dancehall. AllHipHop.com Alternatives: Tell us about the first single ‘We Be Burnin’. How did [the title] go from ‘Legalize It’ to ‘We Be Burnin’? Sean Paul: On my second album called Dutty Rock, the one that did so great for me thanks to the Father and the fans, had a song on it called ‘Ganja Breed’. That was talking about Ganja, about weed, so I didn’t expect it to be a single. But this time around I was making a song again about the more positive things about weed and why I think people should legalize it. However the [label] came to me and said, “Listen that’s kind of harsh”- they didn’t like the words ‘Legalize It’. I was like, “Well, if I change ‘Legalize It’ it will make every other word in the song obsolete, because it’s leading up to say Legalize It.” So I changed it to show them I’m the lyrical king, and all that girl them bouncin’, so I’m still saying we be burnin’ – but we be burnin’ the candles at two ends. It’s release music, expression music, because we don’t know how long terrorism and all these tragedies are going to last. You need to release. AHHA: Was ‘Legalize It’ some sort of political statement before it was changed? Sean Paul: My whole point is that when I’m socially drinking, I’m not thinking of people or my future; I’m just enjoying that moment. On the flip side, when I smoke weed I feel more euphoric and I feel good about my future. When I’m drinking my motor skills are gone, but when I’m smoking it’s different. Everybody got their own poison. So why are you going to legalize just one crazy thing? It’s like a bias. And weed is used for medication, that’s one of the things I say in the song- ‘The best thing for my meditation’. When a farmer grows it, he knows the economical benefit that will help those who are struggling around him. Most things in Jamaica don’t make sense right now. We import food. We import apples from Vancouver, and by the time it gets there, it costs more than a mango growing in the backyard. The farmers grow weed to make money for them and people around them. So my whole thing is legalize it, free it up, let them people make money off it. I know people who smoke weed and they can’t focus but I’m not one of those. It’s not necessary for my everyday life but it’s something that has helped me to maintain a constant effort. AHHA: Why did you call the album The Trinity? Sean Paul: I was looking at my life and seeing all the threes that exist. And not just the ones I was smoking. This is the third year since Dutty Rock has dropped. This is also my third album. Earlier this year I had the opportunity to work with all these great people. I did something with Ashanti, with the Neptunes, with Scott Storch, and then I said to myself, “What do I want from these things?” It sounded like I was getting another Dutty Rock. What I wanted was to be inspired, and what was inspiring me was the kids in Jamaica – in a so called Third World. These are kids who are doing music and surviving everyday instead of out there fighting a war with people. It reminded me of myself 10 years ago. AHHA: At one time Jamaican artists were trying to be more Hip-Hop. Now it seems like the tables have turned. How do you feel about this? Sean Paul: There are kids in Jamaica that aren’t benefiting from this. This music has broken all over the world so is why nobody going to these producers in Jamaica? When people want Crunk music, they go to Lil Jon. When they want […]

The road to a singer following their dreams of becoming a household name is often long-traveled. For Na’sha it has been a struggle all the same, and the path to an already bright career. Growing up in Columbus, Ohio, she fell in love with music as a child, listening to everyone from Aretha Franklin and Tina Turner to Whitney Houston. When she was only 17, she drove 22 hours to Miami in search of her heart’s desire. In the recording of her first project, Na’Sha has already worked with reputable producers like Scott Storch, Cool & Dre and James Poyser. She wrote all but one song on her debut album My Story, and she is ready to prove her talents to the world at large. Bringing her inspirations and ambitions to the table, Na’sha recently took a moment to talk with AllHipHop.com Alternatives about the past, present, and future of her rising star. AllHipHop.com Alternatives: When was the moment you knew you wanted to be a singer? Na’Sha: I think I knew when I was 10, I did a Black history play in Columbus and I was Mahalia Jackson singing “Amazing Grace”, and the response I got was ridiculous. I said I know I have to do this. AHHA: What were some of your struggles as of this point getting on in the music industry and becoming a household name? Na’Sha: When I first started looking for a deal I was 17, and basically it was all about image. They look past the talent and they were trying to make me be overly sexy and I wasn’t ready for that at 17. The politics of the business was what held me back, but I also think everything happens in due time. In your time you’ll get it. Right now my smaller struggle is radio, radio looks for you to have spins on TV, and TV looks for you to have spins on radio. So you kinda gotta balance it out – it’s hard but it’s working. AHHA: How have your experiences been as a songwriter – not only for yourself but in aspiring to write for others? Na’Sha: It’s been excellent, because that’s the one thing that really comes naturally for me. I started off writing poetry and then turned them into songs. I can write for someone else as long as I know their situation. I really try to get to know other people who I work for, because I find that real situations are what inspire me to write, not necessarily made up ones. I really specialize in writing realistic songs. AHHA: Tell us about your album and some of the producers and guest appearances. Na’Sha: Scott Storch did a couple of tracks, then I had Cool & Dre, R&G Productions from Ohio, Zukambe who’s an up and rising producer, and the Beat Boyz from Florida. The features I have are Shaggy and B.G. on “No Good”. AHHA: What advice do you have for anyone trying to become a singer? Na’Sha: I have this thing that I live by and that’s listen to your ‘yes’ and nobody else’s no’s. You might hear a lot of them, but you have to know that when one door closes maybe 10 other ones will open. The same is the case vice versa – if 10 doors close one might open if you just walk towards it. AHHA: What do you want people to know about you as both an artist and as a person? Na’Sha: As an artist I want people to know that I’m creative and I’m dedicated to this. I really believe this is what I’m supposed to do. After I’m an artist I really want to be an executive in the music game. I never plan to get out, seriously I want to retire from this. As a person I’m a realist, I believe in being true to yourself and not compromising the essence of you. I seriously think that in the future I’ll be a great businesswoman. AHHA: What can we expect from you in the near future? Na’Sha: Promotions, promotions, promotions. I just plan to promote to get exposure, continue to write, and build my character as an artist. The [first] single is called “Fire” I’m getting spins certain places like L.A., Florida, and Hawaii. It’s number one in Holland but that’s overseas. We’re trying to bring it to the U.S. We’re planning to shoot the video after the UK promo I’m doing with Shaggy. Depending on how successful this record is I really do want to eventually get my own company started and make decisions on the executive side. AHHA: Do you have any final comments? Na’Sha: Everybody who’s trying to make it in the game keep going, but don’t compromise yourself. Be real with yourself, know what to really make a decision on. If someone tells you to do something business wise that you really like, you have to know in your heart what you can and can’t be lenient on.

If you mixed Sade’s sweet voice with a little of Portishead’s edginess and a Latino swing, you still wouldn’t have enough genres to describe Si*Se’s sound. Formed by DJ Carol C. and U.F.L.O.W. (Cliff Cristofaro), the six-piece group has evoked just about every type of music and instrumentation into their sophomore effort, More Shine, which was recently released on Fuerte Records. With a Middle Eastern and Dominican Republic ancestry, Carol C. came up in New York City as a classically trained vocalist and songwriter, and later added deejaying to her resume. Cliff, an Italian-American, studied Hip Hop and European instrumentation in Flatbush, Brooklyn. The two met in 2000, and after combining their distinct backgrounds, came up with a five-song demo in just three months. They were billed as “World music” and signed to Luaka Bop Records, which is owned by Talking Head’s vocalist David Byrne. Their self-titled debut sold over 10,000 copies and spawned several tours, with the group opening for Norah Jones, Kraftwerk, James Brown and David Byrne. Their music was also featured on HBO’s Six Feet Under. Si*Se is ready to tickle the eardrums of those who love the surprise of Carol’s soothing alto over Cliff’s eclectic production. AllHipHop.com Alternatives had a word with the duo to find out the method behind the New York chill. AllHipHop.com Alternatives: What does the name of your group mean? Cliff: It kind of has a couple different meanings. Originally when the group was started, Carol was trying to figure out a name for the group that encompassed her. And in that process it kind of included myself as well just by the way she incorporated the initials of her name. Being that we were trying to form a bilingual collaboration, we wanted to try to use that in the name of the project we were working on. Being that at first it was only her and myself, she used her initials as the pretense of the name. My initials are [also] “C” and “C”. It’s interesting because I’m considered the “Si” the way it’s pronounced in English, and she’s the “Se” the way it’s pronounced in Spanish. The name is also a term in Spanish, meaning ‘yes, I know’. So we kind of use that as well to say, yes we know stuff that other people don’t. AHHA: What kind of stuff do you know that other people don’t? Cliff: I don’t know. In a way, we’re always trying to incorporate different ways of doing things. Leaving out the norm, trying to take our own different influences and fuse them with something that we both feel comfortable with. AHHA: With the members of your group having such diverse backgrounds, how do you bring all those cultures together in your music? Carol: It happens very organically in our jam sessions. We bounce ideas off of each other, and everyone has a different taste in music. We all have one thing in common; that we all grew up in New York. So, I may be doing something kind of jazzy, and our viola player might want a little funk bass line, and the percussionist might want to put a little Brazilian rhythm here. It just all comes together. Cliff: We just try to incorporate things that may not have been so blatant to each one of us. Sometimes it doesn’t work and we keep evaluating, and sometimes it works right off the bat. AHHA: Do you feel your sound is representative of New York in some kind of way? Carol: Well, I will say that New York is the most multicultural city in the world, and I think you do hear a lot of music from different cultures. Some people say they hear Middle Eastern, some people say they hear Reggae. I think it’s because you can walk down the street and one car will be bumpin’ Hip-Hop… Cliff: And then you’ll hear some traditional Indian music coming out of a restaurant… Carol: You walk through a building and your neighbor is bumpin’ South African music. Everyone’s here and every culture comes together in the city, and I think because we grew up listening to all of these different styles of music and music from all over the world, we’re not aware of how unsympathetic we are to people who didn’t grow up with that. It’s natural. AHHA: With so many different classifications of music now, how do you classify your music? Cliff: Organic sex…organic electro-sex. Carol: [laughing] I call it something different every week. Electronic soul is one of my favorite ones. What would you say, Cliff? Cliff: It is hard to classify. When we first started, the record label we were affiliated with was known for this open and kind of eclectic type of World music. But when you think of the term World music I kind of think of something very traditional sounding from Turkey or Africa. But in reality, some of it was kind of catchy as well. So we were kind of pigeonholed into this World market. We feel our music is worldly, but not considered traditional World music category that you find in record stores. The fact that we do bilingual music, the group was called Alternative Latin Rock music, and that wasn’t us either. So through our career as musicians, it’s kind of been a fusion. I don’t know if there’s a direct area in record stores or a category that is fusion of all types of music and makes its own sound. AHHA: Does that make it harder or easier for people to grab on to what you’re doing? Cliff: If I’m going to go out and buy a Hip-Hop album, I know in my mind that I’m going to get 15 or 20 tracks that are going to be in that same genre. Only recently have you found artists that do different types of stuff. I tend to think our music is like…there’s something for everybody. Even if some of the tracks you don’t […]