November 8, 2013
"Back Row Volume One" is a Live HipHop Instrumental album. Recorded 2013 in New Orleans at Inner Recess Recording Studio.
Contact Back Row: @NationOnTheBass @C_Maj7 @CongoCircle - NewWorldRebel@gmail.com
released 29 October 2013
Back Row Volume One features Live trumpet played by Chris Cotton, Live electric bass and acoustic guitar played by Nation on the Bass & Live electric guitar and saxophone played by Devin Lawrence. Drums/percussion programmed by Burn&Loot courtesy of AWNP productions.
Mixed and Mastered by Burn&Loot
Also available on iTunes and Amazon
October 7, 2013
September 30, 2013
August 24, 2013
July 29, 2013
"No Justice No Peace" was written by Suave while on his European tour of 2012. After hearing of the alarming news of Trayvon Martin's death while in Amsterdam, he discussed the issue of racial profiling in a studio session with artists and producers from not only Holland, but Germany, Curacao, Suriname, and N. Africa. They all shared stories of racial profiling experiences they've been apart of around the world. The result of that conversation was Suave reflecting and writing this heartfelt call to action for not only the African-American community, but the human community all over the globe. Accompanied by frequent collaborator, label mate, and producer, Prospek (@prospek), they call on the lyrical skills of buzzing DC hip hop artist Kam Royal (@kam-royal) to bring together this live instrumentation hip hop soul joint that will have people from all walks of life questioning who our real "oppressors" are.
www.SuaveIsHere.com | www.gpnyc.com
Written and performed by: N. "Suave" Cameron
Additional Vocals by: @kam-royal
All instruments played, mixed,mastered,arranged, & produced by: @ProProspek
GPNYC/BFAM Music Group 2013
July 21, 2013
July 16, 2013
July 10, 2013
July 1, 2013
June 26, 2013
Get Watching Movies With The Sound Off on iTunes now: http://smarturl.it/watchingmovies
Mac Miller - Watching Movies (Official Video)
Produced By Sap & Larry Fisherman
Presented by Rostrum Records, Rex Arrow Films & TreeJTV
From the upcoming album "Watching Movies With The Sound Off"
Directed by Rex Arrow & Larry Fisherman
Produced by Matthew Crossett
Shot By Will Elder
Edited By Ian Wolfson
Production Design By Diane Zurne
Hair & Makeup by Elle Favorule
Casting By Kelli Huarte
Executive Producer: Benjy Grinberg
Press & Promo: Arthur Pitt
Digital & Online: Eric Henry
Rex Arrow Films 2013
Follow Mac online:
(c) Rostrum Records 2013
June 25, 2013
I was trying to wait until tomorrow (you know, New Work Wednesday) but I posted this on my mobile app and well... you know me... ;) I had so much fun shooting this video (as you can see on my Instagram ;). That was actually the first time I had ever touched a pair of turntables to try to DJ. If you pay attention to me closely in the back it looks like I got the hang of that shxt though huh? Nah... I don't. Anyway, comment below, share, and subscribe to my Youtube Page Check out that dope ass app commercial at the end too. Im proud of that. S/0 to DJ Dru and Acelo for coming through to the set with the turntables too...
Ex crack dealer/ taking the approach of Mac Miller
Rap killer/ Every verse I wrote in fact iller
Now Im on rap's radar/ in fact Rap Radar
Used to phuck with them (k)nicks like Smith/ You know JR?
Hey y'all/ I know you were expecting like a Draya
Or Buffie The Body/ With nggs nutting inside me
Running trains and trollies/ like rapping is just my hobby
Not knowing I phucking body these tracks/ Ask anybody...
FOR FULL LYRICS, visit http://www.3DNATEE.com
Kevin Gates' 4:30 AM Music video. 4:30 AM is the lead single from Kevin Gates' upcoming album "Stranger Than Fiction," dropping on July 16th!
Follow Kevin Gates:
Official Fan Page
Man Bites Dog Records is proud to present the new music video "Blenders" from legendary producer/emcee Bronze Nazareth. This video has been artfully crafted from Jeremy Williams and Brian Buggs. Song produced by Bronze Nazareth for his upcoming album "Thought for Food 3" which will be a split 2 disc album along with Willie The Kid's "Living Daylights" which is entirely produced by Bronze Nazareth. Both albums will be available from Man Bites Dog Records in Early Fall 2013. Go to manbitesdogrecords.com to pre order the album & buy the official "Blenders" T shirt.
June 17, 2013
JAY Z's new album "Magna Carta Holy Grail" comes to Samsung Galaxy fans first. Be among the first million to download the app on June 24th and get the album free July 4th, three days before the rest of the world. Learn more: http://magnacartaholygrail.com
Slang Parade Music & GPNYC proudly present Cold Skool - The Bush League, a mixtape/compilation album featuring a random bag of quality underground MC's from all across the US with production handled by Prospek & Bazooka Joe along with other musical contributions by Jacksom Power, Coco Dank and guitarist Marc Lawrence.
The project started in August 2012 during a weekend recording session at Inner Recess Studio in New Orleans setup by NOLA's super producer Prospek who arranged a full weekend of shows & recording sessions and invited a handful of his favorite artists to come to town. These artists included Bazooka Joe & Uppanotch from NY, Whygee out of Denver, Juskwam from Texas & L'Daialogue and his crew out of Memphis. New Orleans' talent was well represented with Lyrikill, Elespee, Slangston Hughes, Caliobzvr, Yuri Jones, D.O.N., Caligula Krycek & Impulss, who's earlier work with Bazooka Joe, "Bronx, New Orleans", helped make a lot of these connections possible. After the 5 day marathon session, Joe took the files back to NY and recruited some other artists who didn't make it to contribute including S.Habib & a guest verse from Queens' MC junclassic.
The Bush League is just a sample of the enormous amount of talent on the newly formed GPNYC label which is an incredible collective of artists, graphic designers, singers, musicians, producers, Dj's, MC's who all have respectable individual success but have come together for a greater good. The Bush League represents the loose talent out in the world that might play a little dirty if they have to but hungry nonetheless and will always play the game with edge and an unorthodox passion. This album represents all the gray area artists out there who might not want to fit within the current structure of the industry but will find a way to get heard even if takes a little elbow on the low...
May 31, 2013
All Work/No Play takes "A Look Back" at some of their best songs, most vivid videos, biggest accomplishments and some familiar faces they have collaborated with along the way.
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Check out more from AWNP on Bandcamp
May 30, 2013
May 29, 2013
May 28, 2013
May 21, 2013
May 15, 2013
May 10, 2013
May 8, 2013
May 6, 2013
May 4, 2013
During hip hop soul singer Suave's European Tour of 2012 he teamed up with Germany's award winning mix master, DJ Beatcut (@djbeatcut). This mix of all Suave original songs and features was recorded live by DJ Beatcut during a set at Stuttgart, Germany's popular Penthouse Club and begins with Suave's Dutch chart climbing collaborative single "Never Leave" with Amsterdam's hottest hip hop artist, Noni. (Blackstar Records/GPNYC)
Songs in order:
"Never Leave" - Noni (@blackstarproductions-1) ft. Suave (prod. by Master JoJo) (The Netherlands;Amsterdam)
"Game of Life" - Suave x Elespee (@elespee) x Scoota Habib (@s-habib) (prod. by Prospek)(@prospek) (New Orleans;New York)
"Can't Let Go" - Trot (@awnp_trot) ft. Suave (prod. by Trot)(Virginia Beach)
"Driver's Seat" - Colosal ft. Suave (prod. by Trot) (Los Angeles)
"Let's Ride" - Suave x Jon Mercure (@jon-mercure-1) (prod. by Jon Mercure)(New Orleans)
"Sunny Soulful Summer Day" Suave ft. Brando (prod. by Trot) (New Orleans)
"Fly With Me" - Suave (prod. by Prospek) (New Orleans)
Follow all the artists and producers on Soundcloud:
April 29, 2013
April 28, 2013
April 25, 2013
April 24, 2013
April 20, 2013
April 16, 2013
Directed by @2cent_Bmike
April 11, 2013
April 5, 2013
April 3, 2013
April 2, 2013
April 1, 2013
"The Big One" is the first visual from Brando's latest album "Workaholic". Produced by AWNP. Directed by Congo Circle.
"Workaholic" is available on iTunes itunes.apple.com/us/artist/brando/id443996143
also for Free download go to http://allworknoplayllc.bandcamp.com/album/workaholic
Follow on Twitter
March 27, 2013
New album from VIAS/Takeover757 representative Quamin. This joint is called "Identity". Quamin been murdering shows and studios in Norfolk VA for years, now ready to take center stage with his debut project. Produced entirely by B.Eure, this should be in your rotation for a while. DRUGZ!!!!!!!!!!!!!!!
Posted by Trot at 2:48 PM
March 26, 2013
March 25, 2013
March 23, 2013
March 18, 2013
March 14, 2013
March 12, 2013
March 4, 2013
March 2, 2013
This ain't your typical Rap album. Legendary New Orleans Hip Hop producer Prospek (@ProProspek) reached out to his comrades and The Polyphonic Congress is what developed. GPNYC presents The Polyphonic Congress ; an amalgamation of musicians, lyricists, and vocalists. The album features 100% live instrumentation and artists from all around the country from New Jersey to New Orleans to Denver. Available on iTunes.
February 28, 2013
February 27, 2013
February 22, 2013
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February 15, 2013
February 14, 2013
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February 11, 2013
Warner Brothers’ decision to sign on New Orleans rapper, Curren$y, 2 years ago was a no brainer. He’s talented – his work speaks for itself — but he’s also already proven himself as a sure-fire underground success, both in terms output and credibility. Over the last ten years, Curren$y has amassed a large, fiercely loyal fan base that remains hungry for virtually every new material he puts out.
Although Curren$y, often called Spitta, is similar to most rappers (his rhymes speak mainly to his love of weed, clothing, cars and women), the authenticity of his music and his means of releasing it (keeping the public in mind, first) makes him a different breed of artist. Curren$y lets fans into his world, which in turn — has nurtured their unwavering loyalty. He was one of the first hip-hop artists to grab hold of everything the Internet had to offer musicians and distribute free music and visuals to the masses.
Long before it was commonplace, he released documentary-type lifestyle pieces on YouTube, depicting his day-to-day life, complimenting the subjects he rapped about. This model, relying heavily on candid content, was a major part of Spitta’s early success. A consistent saturation of web content, both visual and musical, built out his fan base allowing him to now consistently sells out shows, nation-wide and finally land him his major deal with Warner Bros Records in early 2011.
Trueness To His Brand
Although this guy is a tireless creator, you would never know it about him upon first meeting him. He’s just a cool guy; the type of person the whole crew wants to be around. He embodies an effortless youthful, non-chalance — something working-adults hope to hang on to and high school kids aspire to attain. His New Orleans accent permeates his every rhyme, embellishing the narrative of each song. His clever takes on stories and attention to detail, on even the most mundane parts of life, make his lyrical content one of a kind. This, coupled with his delivery makes for a distinguished style and feel all his own.
From day one Curren$y’s documentary-esque lifestyle pieces has established him as an artist that the public could easily access – and relate to. People could see what brand of sneakers he was buying, who he hung out with, watch him craft songs from scratch in the studio and collaborate with dozens of artists. These videos were made by nothing more than one of the guys in the crew following him around for the day and editing together the most memorable moments. With these pieces his fan base grew as did the trust between him and his fans.
Nowadays he often tweets and instagrams about his Hot Wheels. One might think that an adult taking pictures of mini race cars would be odd but it’s real – and people know it’s not contrived. But that youthful authenticity just affirms his style and, by being open and letting people into his world, everything he does continues to strengthen it.
Quantity of Quality Content
Whether it is visual or musical there is never a dull moment with Spitta as he keeps his body of work flowing on the web. His recently released video “Chandelier,” which I directed, embodies everything Spitta is about. Set in New Orleans, it brings to life a quintessential Curren$y romance story. This song is off of his debut studio album, The Stoned Immaculate, which he is still releasing video content for.
The debut comes amidst a wave of other music releases – including several mixtapes, most notably Cigarettes Boats; Priest Andretti; and Jet World Order 2, and a collaborative project with Wiz Khalifa (presently held up due to copyright issues). Depending on his mood he’ll also will even drop the occasional single, like his most recent, “Ex-Girls,” which he stirred up on his tour bus. And if that wasn’t enough – he’s also constantly collaborating with other artists, circulating their through online music forums all the while. And because, the blogs love him, everything he touches is instantaneously diffused within the rapidly growing set of hip-hop web communities.
On Super Bowl Sunday he released his latest project, New Jet City, another testament to the consistent quality of his music. Furthermore, it is loaded with big features including Rick Ross, Juicy J and Wiz Khalifa, which makes it very clear the level of respect even the largest figures in the industry have for Spitta.
Curren$y may never see the widespread commercial and radio success of some of hip-hop’s biggest names, but he stands as a role model for a new kind of self-made artist. He has stayed true to his self – and shared his journey, giving fans everything they could hope for and more. And as he begins to endorse some of his own artists, he’ll continue to take his fans along for the ride, in whatever new direction he heads.
February 6, 2013
February 5, 2013
WORKAHOLIC is the sophomore solo effort from Brando of All Work/No Play. The album includes 11 tracks with features from Lyrikill, Suave, Heata Best, Yuri Jones and more. Available for purchase on iTunes, Amazon and other online distributors. Available for FREE DOWNLOAD on Bandcamp.
February 2, 2013
Brand Nubian Lord Jamar shares his thoughts on Kanye wearing skirts, saying that his style has no place in hip-hop, adding that he's doing it out of arrogance. Lord Jamar also breaks down fashion in hip-hop history, claiming that Run DMC were the saviors of hip-hop with the way they dressed - VladTV
January 29, 2013
Off of Mizunderstood LP ---- Check it Out at https://soundcloud.com/awnp_trot/sets/jern-mizunderstood-lp-produced
January 25, 2013
G-Eazy is a unique individual. His blend of doo-wop and hip-hop made him an early stand-out in the rap game. Who else do you know who could flip a Beach Boys song and a Crystals song on the same tape?
His newest album, however, is completely bereft of samples. The Oakland-native challenged himself to create everything from scratch and the end result was a more mature, fleshed-out sound. He may look like an extra from the Pleasantville movie, but he’s making his stamp on the music industry and he’s doing it all independently.
His 34-city Must Be Nice tour kicks off January 30, and now G-Eazy talks to us about tour life, musical influences and maturation.
You’re being called the James Dean of hip-hop. James Dean was always a very put-together, cool dude, so do you feel the need to be awesome 24/7 now?
I think that comes with music in general. You kind of have to become the character that you embody with the music 24/7. If you see somebody in the streets or if you see somebody at a party and they expect you to be that character, it just kind of comes hand in hand with the music.
Your albums flow very well from track to track. Does it bother you at all that a lot of people probably don’t listen to it in sequence anymore and just check out select tracks? Does that take away from the experience?
Yeah, [but] that’s just something you’re gonna deal with. To be honest, I’m an album kid. I grew up listening to Illmatic front to back and if you’re gonna put it on you’re gonna listen to it all the way through. 2001, just classic albums you can listen to top to back like that. That’s the way I like to listen to music and that’s the way I like to create projects. Whether or not people are always gonna listen to it like that, obviously you have no control over that, but that’s the way I like to design them.
On “Reefer Madness” you talk about Illmatic inspiring you. What were the albums that you heard growing up that really made you want to become a rapper?
That’s tough. It could have been 2001 by Dr. Dre, to be honest. That album had the biggest influence on me. Just growing up in California, on the Westcoast, that album was definitely massive and that was a classic. That made me want to get into making beats and then just rapping from there.
Can you tell our readers the story of having to leave the Drake tour early for school?
I got this opportunity, which was amazing for me at the time, to go out and open up on Drake’s tour. I was still i school at the time so I had to negotiate with my teachers on how to miss about two weeks of classes and to be able to just send in my homework and try to stay on top of everything while I was on the road.
The whole crew out there really liked us and they offered us a chance to finish up the tour and do the last few dates. It was only an extra couple of days, but I emailed my teachers to make sure I could do it and all but one of them was okay with me missing the days. Then one of them told me if I missed another class that I would fail. So, we had to play the show then drive straight back to New Orleans to get back to that stupid class.
That feels like it would be a crossroads moment. I think a lot of artists would choose to stay on the tour. How hard was it for you to not do that and not drop out altogether?
It was definitely tough. But, to be honest, one thing that always hit me was nothing in music is certain. Ever since I was old enough to work, I had a part-time job all through high school. I had friends that didn’t go to college and just worked part-time jobs and lived paycheck to paycheck. So, I knew what that could be like.
Sure, music was showing a lot of promise but there was no guarantee that music was ever gonna work out and my mom had always preached since day one, “If you want a chance to do something, you’re gonna have to get your degree and it’s safer to have it.” And I think that was like my junior year or something like that, so I had already invested so much into college that it felt foolish to just walk away from that and not just finish it out.
In the first verse of “Must Be Nice” you talk about wanting to get your chance and seeing rappers you know you’re better than getting on before you. Coming from The Bay, where there’s been groups who were never taken seriously but got media attention, how frustrating was that to watch?
It’s always frustrating. I think a lot of artists go through that kind of experience. You see the gimmick rappers come up and get one and if you’re somebody who takes their craft seriously it can get to you. You’re like, “Man, I should have had that opportunity.” But that’s just the way of the game. That’s just the nature of everything. The old cliche is true: the good things come to those who wait and work hard and stay consistent.
You went to school in New Orleans and that seems to have had an effect on your music, especially with the artists you’ve worked with or sampled. From Johanna Fay to the Generationals, how much has that city influenced you?
It’s definitely influenced my music a ton. I think wherever I lived I would have soaked up whatever was around me, but New Orleans is definitely an interesting place with a rich culture and a rich history with music so it’s a cool place to be.
How challenging was it for you to do all the producing and mixing yourself on Must Be Nice? With no samples.
To be completely honest, when I make beats using a sample, it’s kind of like using a crutch. It’s like, I don’t really deserve all the credit because I’m using something to build off of. Having to sit down in the studio and just come up with something from scratch is really different. But, I’m always trying to challenge myself and evolve and mature as a person and as an artist. It was just the next step for me creatively, learning how to get out of my comfort zone and learning how to make tracks from scratch.
You made a really interesting point in the past about how the ceiling is higher without a sample, too, because you don’t have to divvy up the money.
Yeah, at the end of the day it’s more gratifying to look at a song and say, “I made that from scratch.” And, also, the paycheck is better.
You’ve gone from doo-wop to a more hard-hitting 808s style, especially on your new track, “Jack Skellington.” Do you feel like you’ve truly found your voice and style yet?
I think that’s a process. If you look at anybody’s career, even somebody like Kanye, who’s probably my favorite artists who I look up to the most, album to album he’s always evolving. He didn’t stay making sped-up soul samples his whole career. He kept pushing things forward. That’s the motto that i want to take after: never getting too comfortable in one spot. You want to keep pushing things forward and wanting to keep trying new things and keep getting better.
“Acting Up” talks about feeling the need to grow up now that you’re in your 20s but still feeling like a kid at heart. How hard is it to come to the realization that you’re out of school, nearing your mid-20s, and fully in that adult world now?
It’s crazy. I think most people’s careers, they get out of college and they maybe work a part-time job for a while and then they get an opportunity doing something that they really want to do. Then their career builds then they gotta work their way up and maybe by the time they’re in their early-to-mid-30s they’re getting into a groove and they’re doing what they want to do.
Whereas, me, I literally hit the ground running as soon as I was out of school and all of a sudden, I’m thrown into this world where I’m becoming a professional in my field. So, it was crazy. It all happened so fast, but it’s important to mature with it and learn how to pace yourself and take care of everything.
Say music hadn’t worked out, what do you think you’d be doing?
Man, that’s a tough call. That’s something that haunts me everyday. Because, in my mind, it’s still not like it’s worked out. It’s not like I’ve made it. I haven’t arrived yet or whatever. So I just try to keep that thought in the back of my mind. I don’t ever want to go and work in the mall and work at some Apple store or something like that. I want to be able to wake up, drink coffee, and make music all day.
The Must Be Nice tour is coming up in a couple of weeks. How’s it shaping up?
Man, I’m really excited about the Must Be Nice tour. Headlining my own tour has been a dream of mine for a long time. Ever since I first went out on my first tour ever, I realized instantly how bad I wanted to be out on my own run. But it’s necessary to pay your dues and go out and open up for other people and get that exposure and put your time in. But the whole time, I was thinking in my head, ultimately, one day I want this to be my show. And this is the first real tour where I’m headlining, tour’s built around me, so it’s really exciting.
I think it’s just gonna be a lot of fun [to] go out there and just travel the country and play a lot of good shows.
You said the tour is finally built around you. How much pressure goes along with that to put on a good show?
There’s definitely pressure that comes with that, to sell tickets and put on a good show. But that’s kind of what I want. Say James Harden wanted to go to the Houston Rockets and lead a franchise. At the end of the day, if they don’t win, the blame is on his shoulders. Whereas, if you’re playing with other superstars the blame is spread evenly.
At the end of the day, I want to go out and I want to work hard to sell out these shows. It’s just like my philosophy with music, it just feels so much more gratifying when you did it your way. You’re headlining your tour off of music you made yourself and it’s working.
Is signing to a major on the horizon for you or do you want to keep it independent?
I want to keep it independent as long as possible. We all share that philosophy. We like how we run the business and me and my team want to keep it that way as long as possible But, at a point, you begin to outgrow the small business platform.
My studio’s at home. I have all my merch here that we ship out from home and drop off at USPS everyday. But, even that is outgrowing my house. We just had to move the merch to whole new room and get a bunch more shelves because we couldn’t hold all the inventory. So you get to a point where the business starts to outgrow itself, but until that point we want to keep it independent.
January 24, 2013
January 23, 2013
January 21, 2013
January 19, 2013
Yuri Jones - Strange Times (Official Video)
Filmed on location in New Orleans, La. 2013
Produced by: Ruff Yard Projects & Velvet In July
Director: Coco Dank
Asst. Director: Yuri Jones
Music Production: The Polyphonic Congress (Prospek, Devin Lawrence)
Copyrights: Ruff Yard Projects, Velvet In July, The Polyphonic Congress
All Rights Reserved, 2013.
January 17, 2013
Follow LG as he travels to New York to perform at the legendary S.O.B'S for the BET music Matters showcase. From a missed flight, to Phil's crazy quotes, to a studio and rehearsal session with Square Off (sons of Doug E. Fresh), enjoy a look at what went down in New York in preparation for the big show! Stay tuned for next week's episode "Fumbling"
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Q&A: Raekwon Recovers Some Lost Jewelry
Raekwon is the mayor of fly shit. Snow Beach pullovers to Cuban links, his oft-imitated style and slang have been referenced for the past 20 years -- as Cappadonna once put it, "Half the East Coast sound just like Rae"). In the past, he's accused Frank White of biting his visual style. Today, if he gave a damn, he could accuse Frank Ocean, who was spotted a little while back sporting the quintessential Polo Ralph Lauren piece, the Snow Beach pullover, of the same. Rae's reach is obvious.
Over the course of his career he's kept what he calls a "jewelry box" of unreleased musical gems he's amassed. He's decided to drop that collection out of the sky as Lost Jewelry. As he put it, " it's an appetizer" for the start of the new year and as a prelude to an album he says he's releasing sooner than later in this year of The Gods, 2013. Let's just enjoy the appetizer the Chef has just presented and chat him up about the ingredients, what it took to make the dish, and of course, jewelry.
Why'd you name the EP, Lost Jewelry?
These are pieces, large golden bracelets and all types of gems that I had in the stash. Out of all my rhymes, I always put a few aside until I had what I call my little jewelry box. It's a lot of things people have never heard and I wanted to give for free as an appreciation to my fans.
So it's like a Nas Lost Tapes type of situation?
Yeah, you could say that, but I also fixed a couple things. I added verses to add continuity and put it in context so it wouldn't sound age. It's timeless now. This is like the appetizer for the beginning of the year to show where my creativity is at. Some one is always rhyming over somebody else's shit and that's cool. But I want to give original work just for fun, but most importantly for the fans to enjoy, so it's for free too. It's something to hold people over until F.I.L.A.
What the fuck is F.I.L.A.?
Fly International Luxurious Art. It's the name of my new upcoming album. The whole F.I.L.A. situation was inspired by Fila clothes back in the day. Not just the sneakers but the gear and Fila suits for certain. Fila was supported heavy back in the day. I was all about that casual fly shit. We talking to [Fila] about it so maybe they'll see this Village Voice joint and they might be more excited and [do the deal].
Have you ever lost some jewelry?
I lost so many pieces, fam. For real. Who ever found my shits it was a great day for them because they were all authentic. I wasn't into no fake shit. I lost a couple joints just moving around. I've had shit that got stole from me by my friends and that shit fucked up friendships. I've lost a handful of rings.
What does the jewelry you wear signify?
A lot time I look at it like jewels are just signs of your hard work.
Do you remember your first chain?
Yeah I had a few pieces before I got in the game. But my first official link? It was a Figaro. Back then jewels was a big, big deal. It meant a lot. I remember when we got the long Cubans, we called them The Cobras, or rather the West Indians around my way called them The Cobras. You had to be stand up material because niggas would've been on yo' ass trying to yap them. Like I said jewels were a sign, a reward for a man of respect who earned it. He got it and he protected it. It meant a lot. Now everybody got a chain. But that's part of the rapper suit now [laughs]. It's all good, and done out of fun for everybody. Everybody on they Cubans and shit... it feels good to be mayor of that. But you know now I'm into skinny fly shit that light up from across the street.
What was your favorite piece of jewelry? Mine was that iced out tarantula you had. Shit was stupid!
Haha, word. Hard to pick a favorite but I was into a lot of the watches I've had. I would build my own shits. Like the Wu watch with the W... I copped a Rolex then customized it. We would go to 47th Street, the Diamond District to go get some authentic shit. This guy named Manny, Jacob the Jeweler and all a that. We used to fuck with them heavy but we'd snap on their shit because their designs were wack to us. The shit we were coming up with was better than their shit. So when we came around they started showing us shit and eventually it started to look like our shit, like our designs. We opened up a market for them but, you know, jewelers are hustlers so that's cool.
So here's something I've always wanted to ask you. Do you remember copping that Snow Beach and putting it on the morning of the video shoot?
Yeah I remember that. It was either Downtown Brooklyn or 34th in Macy's in the 'Lo section. I remember I saw it on the rack so I run over and start looking up close. I'm looking through the rack but all I kept seeing is size large. I kept looking and the last one was that XXL that I needed. I damn near boosted it like "Shhhhh...," just so my niggas couldn't get it. I put it on at the register so my niggas wouldn't get no funny ideas [laughs]. I was a like a little kid with that joint. That's what made shopping with ya niggas fun.
So comes time for the photo shoot. I decided to keep it basic. Just some new Airs and Levis on but I knew had the ill 'Lo joint, so I threw that on with the good baseball hat. I didn't know what I was gonna wear until that day. That shit inspired a lot of shit for some reason.
By J. Pablo
January 11, 2013
A glimpse inside the studio with one of the worlds most talented hip hop producers. Along with candid interviews of some artists he has worked with for his new live album "The Polyphonic Congress", due to be released early 2013.
Filmed & Edited by All Work/No Play productions
All Work/No Play's second video off their latest project "The Labor Union", which is available at iTunes. This video features original BANKSY graffiti. OFF MY ROCKER is produced by AWNP. Filmed & cut by AWNP
@AWNP_Brando @AWNP_Trot @CongoCircle
January 10, 2013
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January 2, 2013
Creative Control TV 2012 Recap - www.creativecontrol.tv
Joey Bada$$, BENJI, The ProEra, Capital Steez, Ecko Studio, Ecko Studios Sessions, Hypebeast, Coodie and Chike, Greykid Genesis, Cousin Bang
Fashion, Music, Film, and more classics.
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