Photos and video by Tyrone Clemons. 

Last Thursday all of New York came out for the Ajile Turner Foundation’s Farewell Summer Benefit, with Common, DJ Brainchild, and a slew of other celebrities. The Foundation was created in the memory of Common’s first cousin Ajile Turner, a well known Brooklyn resident and one of the original organizers of the Fort Greene Festival. It’s mission it to help youth perusing careers in the arts and entertainment industry.

During the event, our correspondent Nekeya O’Connor spoke with Common and Ajile’s mother Mattie Turner about the foundation and Common’s role in the event. For more information, and to donate visit www.ajileturner.com.

Click here to view the embedded video.

Ali Shaheed Muhammad 

DJ Brainchild and Mary

Rahzel

Photos by Sneakshot. Please support. 

Let’s face it, the ladies love Lenny.

As a brother I can’t blame them. Dude has swag for days. And honestly, he dosen’t really tour or perform live as much as we would expect him to. Why should he?

Thankfully, the peeps at AT&T decided to throw a huge free bash with Lenny invited at NYC’s Terminal 5 venue last week. The private, limited access event is touring the country with such artists as Cee Lo and Coldplay and serves as a marketing tool for their new line of phones. But enough of that, ladies have fun with these Lenny shots.

If it’s summer, then you know it’s the return of the always anticipated Rock The Bells show to Governor’s Island. The hip-hop festival featured Ms. Lauryn Hill, Nas, Cypress Hill, Mos Def & Talib Kweli are Black Star, Raekwon, Ghostface in addition to rising stars such as Freddie Gibbs and Big K.R.I.T. Check it.

The RZA

Roc Marciano, The RZA

Random Axe

Big K.R.I.T

Black Moon

Freddie Gibbs

Freddie Gibbs, Eternia

Black Star

Black Star, Mobb Deep

Cypress Hill

Erykah Badu

Nas

Ms. Lauryn Hill

Theophilus London is almost there.

He’s found his lane. He has the swagger and the stage presence. He has all the things capable of being a good artist in my book. But he’s not there yet.

His stage show to a packed Montreal crowd shows that there is work to be done. Yes, London was rocking a band but a debate raged in the press room the next day on if said band were actually playing their instruments. Yes, he wants to evoke Marvin, Michael and those that have come before him, but unfortunately London has yet to master the art of working a stage, sometimes leaving before a his song even finished.

But you know what? The kids don’t care.

As a 30 year old man I was probably the oldest person in Montreal’s Club Soda by about 10 years it seemed. And given that the drinking age is 18 here, a Theophilus London show to a room full of drunk kids is almost equivalent to Michael Jackson moonwalking at the  Motown 25th Anniversary Show in ’86 to the Generation Y set.

When London did bring it, he showed his greatness. His debut album—a mix of indie rock, 80s electro and a little bit of hip-hop–fits him to a tee. And you know what? The songs sound good live, especially the rather powerful single “Last Name London,” which got the crowd going thanks to its new found airplay on MTV.

On stage, London does a great job of mixing hip-hop bravado with the mysteriousness of The Cure’s Robert Smith. All throughout the day London (standoffish sometimes in interviews and intimidating with his 6 foot 4 inch frame) carried himself less like a rap dude and more like a rock star. There is a lot of Bowie Mick Jagger in his stance, with a dose of Kanye.

But what does the future hold for London? Obviously the dude is on to something and it’s quite clear that the kids like him. His “emo-hop” counterpart Kid Cudi is doing extremely well and things look promising that London will meet or surpass his success.

Having that said, I don’t think I can become a fan of London until he realizes his truest potential. Until he can rock a live show like the best of them his tunes will stay on my iPod and not on my live list.

Cross one off the bucket list.

I go to almost 100 shows a year, and even with that startling fact I have never seen Kanye live. I own all of his albums and as a fellow middle class black dude I felt a connection to him, but when given the chance I chose Radiohead over The Glow In The Dark Tour (#kanyeshrug). So when I got my VIP invitation to the Heineken Red Star Access event I jumped at the chance. I even rearranged my vacation so I can be in the building.

The vast confines of Skylight One Hanson (aka where they hold the Brooklyn Flea Market in the winter) was a fitting location for Yeezy. The high ceilings (which are an acoustic nightmare) create the almost sanctuary-like settling that accompany most of his live performances these days.

Photos by Tim McGurr/13thWitness

Although doors opened at 9, the concert took place at 12 AM on the dot, as openers Mano and Q-Tip did their best to console an ever weary crowd. When Kanye took the stage, starting off with Power, it was clear that he was in command of the entire evening. Sure, this could’ve been just another a ‘Ye show, but it was more of a G.O.O.D. music showcase similar to the setup of the show 2 years ago at SXSW. It’s a shrewd move. Many a boutique label manager have let their artist whither on the vine, yet Ye is at lease using his er Power to give his signees some shine.

Pusha T, CyHi Da Prynce, Big Sean, Kid Cudi and even (surprisingly) Mr. Hudson were in the building for the night. Pusha (obviously the most veteran of the MCs) followed Kanye, mixing in tracks from his My God mixtape with the more obvious Clipse bangers. Sean and CyHi try to follow up but simply can’t match Pusha’s authority. Having that said, the obvious other star of the night was Kid Cudi. His extended set garnered the most excitement from the audience other than Yeezy himself and hands down the most comfortable on stage.

After the showcase, Yeezy returned to the stage, even taking request from the audience (dropping verses from “Through The Wire” and “All Falls Down,” before ending with his now trademark MPC track “Runaway.”

I know I’m supposed to be one of those jaded industry dudes right now, but honestly, I entered the venue as a fan and left…a fan. Ye is a consummate performer, and the only pop star in this world other than Lady Gaga. (Trust me). But the question remains, can his G.O.O.D. music counterparts achieve similar success? Only time will tell.

Last Tuesday, May 3, local tastemaker DJ Munch and his team put together a remarkable event at the U Street Music Hall where nine of DC’s (and the East Coast’s) finest DJs competed at the last stop before US nationals on Red Bull’s Thre3Style tour, an international DJ battle judged by professional DJs.

Below, I’ve compiled three categories to sum up the contestants: First Class, Business Class and Economy. That way, if you weren’t there to get your Red Bull wings, you can still fly with the cool kids on The Couch Sessions.

1. First Class (Dope DJs and masters of the craft)

The teenage years, when Queens, NY native DJ GETLIVE–the winner of the East Coast showdown of Red Bull’s national Thre3Style DJ battle, May 3 at the U Street Music Hall–had to sneak into clubs and negotiate his place on the decks are long gone. Today, the self-proclaimed Party Rocker and Crowd Motivator has fine-tuned his hype barometer, allowing him to navigate what’s good for club goers (and for the battle win) like Mom feeding you your favorite meal. Sometimes, it’s easy to give ‘em what they want, and last Tuesday, DJ GETLIVE mastered the crowd pleasers, playing early 90s jams like “Whoomp! (There It Is)” and “Hip Hop Hooray,” the timeless it’s-almost-summertime anthem that still lights up a room. That is, unless you were one of the teenagers (18+ night) obnoxiously booing when they missed the cultural cues. Waiting for Odd Future or Waka Flocka Flame? #DontPlayYourself #GrownFolksBiz

With only 15 minutes to rock three genres (“thre3 style”) and show the judges creativity, mixing, track selection, stage presence and get the audience to participate, DJ GETLIVE earned his stripes (and $1,000 cash prize) with an ill power set heavy on scratching. The only oversight he made was playing the iconic rock jam, “Smells Like Teen Spirit,” for the third time all night. I have to give him a #CmonSun on that one for not paying attention to his peers. Still, GETLIVE deserves props for his masterful turntablism, which was beautifully reflected in the shiny, two-tier setup Red Bull brought in for the event, another reminder that the company’s production stays on point. In the words of André 3000,

“Who want some? / Don’t come unprepared / I’ll be there, but when I leave there/ Better be a household name (…)”.

Whereas DJ GETLIVE definitely left his mark on the Diamond District, making Red Bull a household name in DC might have been a little difficult considering there were no complimentary energy drinks flowing. As with other cool stuff like national health care, the green light to visit Cuba, and the least crime in North America, Canadians have all the fun. Apparently, the Thre3Style concept started in a small club there three years ago “with a steady supply of Red Bull.”

Where were DC’s wings, Red Bull?

On the subject of fly, congratulations are in order for DC’s own Jahsonic, who took second place and a $750 cash prize (drinks on Jamil!). Both Jahsonic and DJ GETLIVE will advance to compete in the US national finals in Las Vegas. Although Jahsonic had me at the once ubiquitous go-go classic, “One Leg Up (Put Yo Booty on the Floor),” a smile broke across DJ Adrian Loving’s face at the transition into Jill Scott’s equally funk and percussive, “It’s Love.” Waving his hands in the air, he exclaimed, “Never underestimate the power of a slow jam!”

2. Business Class (Suns that don’t know yet they’re stars)

Stussy was rooting for Jerome Baker III (shout out to the Southwest!), who cleverly busted out the gate with, “Everyone Nose” a.k.a. “All the girls standing in the line for the bathroom!” and quickly transitioned into “All of the Lights.” But, as the set went on, it started to feel long and the crowd–this writer included–got sleepy. #Morecowbellplease

Also worth his weight in vinyl, I want to give big props to the homie DJ 2-Tone Jones for a strong, confident and consistent opening set. It ain’t easy being first, but 2-Tone’s top notch stage presence, fluid transitions between his three genres–Go-go, Hip-Hop and Reggae–got the crowd syced and disturbed the peace properly. Another reason I tsssked DJ GETLIVE is this: not only did 2-Tone play “Teen Spirit” first, but he transitioned from ODB’s “Shimmy Shimmy Ya” into the harsh guitar intro of the intensely powerful track. #Winning

DJ Braun Draper was quick, competent and fresh, subtly throwing in the night’s first Dilla track and playing for the judges more than the crowd. That is to say, Draper was dope, but not all the youngins were feelin’ it enough for him to get away with the “Oochie Wally” opener. DJ Cuzzin B definitely did his thing, too, boldly hitting the decks with Prince’s “Let’s Go Crazy,” and mixing the reggae banger “Tempted to Touch” into James Brown’s “Funky Good Time.” Solid.

3. Economy (Bammas who need practice)

This category is reserved for two DJs who failed in the eyes of the Council On All Things Worth Reporting To Couch Sessions Readers. That DJ Petey C won Pittsburgh’s competition is utterly disconcerting if there is to be any hope for more black and yellow pride. With wack (weak) transitions and zero fluidity, even Red Bull reps giving out freebie towels for the teens to wave around the dance floor couldn’t save the dope Outkast track that got lost in the chaos of Petey’s mix. No bueno.

I hate to add insult to injury because a technical problem with the decks left DJ Price with less than half of his allotted time (7 or so minutes out of 15) and no do-over, but dude’s tasteless remarks about the death of Osama bin Laden and gloatingly enthusiastic “USA! USA!” chants were all wrong for the event. The techno start to his set distinguished him from the rest, but I’m not sure that even with an extra 8 minutes it would have been enough to save face, making him Public Bamma No. 1.

To read more and to follow the competition, visit Red Bull’s website or Twitter feed (#RB3style). Don’t forget to congratulate our local champ, Jahsonic, and cheer him on to a national Sin City victory!

Meridian, Mississippi is probably the last place that you think would give birth to the MC that many are calling the next “one.” But that’s exactly where Big K.R.I.T. is repping for…yup, Meridian, Mississippi. A while back, my man Jas hit me up telling me about this real dope MC named Big K.R.I.T.; I was like “King Britt out Philly?” He replied, “naw, Big K.R.I.T. outta Mississippi” and I’m like “Mississippi? Naw, I’m good.” I can’t front, from time to time I can still be narrow minded and even though the hip hop game is FAR from the days of you gotta be from NYC to hold weight, I sometimes regress back that way. But I did download the mixtape the Jas put me onto called “K.R.I.T. Was Here” and when I finally did give it a run…I saw what Jas and the rest of the world were talking about. This dude K.RI.T. was nasty. “Just Touched Down” and “Hometown Hero” might as well have been the anthem to me going to work, coming back home, picking up my daughter, cleaning the whip, etc. I guess it’s like Rakim said, “it ain’t where you’re from, it’s where you’re at.” Not too long after my Meridian, Mississippi epiphany, I got the opportunity to sit down and chop it up with Big K.R.I.T about how he started rhyming, how he balances rhyming and making beats and why he thinks the two mc’s being hailed the next ones are both from the south.

How did you get started in the game?

I really started taking it serious around the time when I was 13 or 14. I was really just rapping off of other folk’s instrumentals and stuff, karaoke machine kinda thing and went from that to really trying to produce for myself. Around 13 or 14 I started on MTV music generator. That was the first program I started making beats on and from that point it kinda just came from there. Around 2005, that was the first time I really left my comfort zone and moved to Atlanta and really started doing music and from that point that’s when it really got serious.

You were one of the 11 cats chosen to be on the cover of XXL’s freshmen class issue, how was that experience?

It was definitely a blessing and an amazing experience. One, to be recognized by XXL and knowing that they do that just that accolade alone is definitely amazing. And to be around other artist that definitely do their thing and their fan base is dope. It definitely put me in a position to be in other people’s households who wouldn’t know about my music, cause with XXL think of how many people read that. And then it put a name to the face cause a lot of people didn’t know what I look like and who was actually making the music and it gave them an opportunity to see who I was and read up on me and Lord willin’ go download “K.R.I.T. Was Here.”

It’s crazy because for years, Hip-Hop has been such an up North, New York thing, yet the two MC’s that cats are saying are the next ones, are you and Jay Electronica and both of ya’ll are from the South. What are they feeding the MC’s down South nowadays?

To me rap isn’t really coastal anymore, you know different artist from all over, you know it’s really just about hip hop in general. I think we’ve always had continent subject manner, it’s just very difficult to put music out, especially being where I’m from considering you really don’t have a hip hop network or most people stereotype Mississippi and turn deaf ears as far as what we’ve got to say and what we rapping about. But for the most part, you’ve got artist from all over that just for the sake of hip hop wanna make good music man. It really ain’t a coastal thing anymore.

Sha Money XL signed you to Def Jam, and he was a big part of 50 and G Unit’s success. What have you learned from Sha so far on the business side of things?

I really been cranking it with the music. Cinematic Music Group really definitely handle more of that aspect of that and I really just deliver the music and kinda stay grounded on the level of being right in front of the people and make music that they can relate to. The game plan itself, we really going for is the organic rap and really just let the people decide if they like the music or not and put other people on to it. It’s really not a force fed thing. So being where I’m from, it has to be organic. So, I’m excited about everything going on right now and people should definitely be on the lookout for how this movement grows and how we really plan on pushing music.

Not too many cats are successful at being a dope MC AND a dope producer but you seem to be juggling both pretty good. How do you do it?

It’s difficult. For the most part because you also wanna shop beats to other artist and then normally when I’m working on a project, I’m rapping off of every beat that I make so kinda trying to balance the two and when you’re in the studio and knowing that normally I’m gonna make this beat and write this hook and I’m gonna come up with the record…it’s a lot of hard work. Especially when you get known for production just as much as you do rapping you know, sometimes artists from all over are hitting you up cause they want you to make beats for them but I’m on tour right now so it’s real difficult to get in that vibe and that zone where I can really create. But taking it from artist like Andre 3000 and other artist that rap and make beats, as far as pacing myself and not trying to burn myself out and really just picking my battles as far as just being an artist for a month or to be a producer for a month, you just gotta find a way to balance the two.

Is there one you prefer doing more than the other?

Rapping, it’s really more something I prefer more only because a beat can only be so jamming. Words on the other hand can touch people in a different manner, even if it’s acapella or spoken word or poetry. You know words are definitely more impactful but I do plan on at some point in my career just really not rapping so much and really just doing production and composing and scoring movies and stuff like that.

Click here to view the embedded video.

On “Hometown Hero” you sample Adele’s “Hometown Glory” which is one of my favorite songs. Do you listen to a lot of music outside of hip hop?

Yeah, I definitely do. Not just rap, but definitely soul like Willie Hutch, Curtis Mayfield, Bobby Womack, The Dramatics, the Controllers, you know groups like that. And also definitely Cold Play, One Republic different artist like that as far as the music and as a producer I just listen to a lot of different genres of music.

It’s funny you name Willie Hutch and Curtis Mayfield because both of them produced and wrote two of my two favorite Blaxplotiation soundtracks, “Foxy Brown” and “Superfly” and your music reminds me of that soulfulness of the 70’s. Where does that sound come from in your music?

It definitely started being around my grandmother and gospel, I listen to the gospel stations. Thinking about my parents and them listening to the Temptations or Luther Vandross and artists like that and taking it upon myself to kinda dig deeper and find artist that really fit my personality. But, definitely music that I enjoy. One of the first artist I kinda took, to and was amazed that a lot of people weren’t really up on was Willie Hutch considering that he did “The Last Dragon” soundtrack , “The Mack” soundtrack and the music is so amazing and really indulging in his catalogue as far as the music that he put out. Bobby Womack is a great influence as far as my music. And just trying to create that same kinda soulfulness, that honesty in music that they were doing back then.

I’d rather give 1,000 cd’s away for free then to sell 100.

Mixtapes have always been a key promotional tool for new artist to get their music heard but now in 2011, mixtapes are actual albums with all original music that artist have to give away for free. Why do you think mixtapes changed from rhyming over other people’s beats to now being actual albums and why do you think mixtapes still help to get your name out there?

Definitely giving the whole music away for free. That definitely puts you in a position to let people hear your music. I’d rather give 1,000 cd’s away for free then to sell 100. And then you think about social networks and things and different avenues for artist to take in order to promote their music without having to pay a substantial amount of money. And then also in my case, I really can’t call the albums mixtapes because they’re albums period. The only difference is you’re giving it away for free. You know mixtapes are normally only blends of other songs or instrumentals and you recreate your own rendition of the song but it’s definitely an album if it’s all original music, it’s all content, its interludes, it’s mixing involved and it takes time, its hard work, things of that nature. The only difference is it’s not shrink wrapped or sold in a store. I think artist nowadays understand that the consumer isn’t fooled by your single just being jamming, they wanna hear the whole song and that’s why itunes plays a minute and 20 seconds of your record and things of that nature because it’s important that you deliver an impactful album not only just a single now.

On your “American Rapstar” you say that an A&R once told you that you can determine the worth of a song within the first 15 seconds of a song but with your music it takes the complete 3 minutes and 40 seconds to comprehend what you’re saying. With that being said, you’re not the average artist that the industry seems to be signing these days, so why do you think the industry took to you the way they did?

I think people as far as music is concerned really got me in a position to be here by asking questions and wondering why I wasn’t in a position to be putting music out on a bigger platform and I also think that labels understand that if it’s real then people take to it and get behind it. There’s no glamour and glitz behind my music, it’s definitely me rapping about my real life. And at the same time I also wanna express that as an artist you go through ups and downs, you definitely dream big and there’s gonna be a lot of people who don’t believe in what you got going on but you gotta keep pushing forward. The intro to that song…cause I heard that a lot as an artist and I’m the type of person who really enjoys doing interludes and letting the music ride in the beginning and stuff like that so if you only listen to the first 15 seconds and I haven’t even started rapping yet. It’s just about making real music and real content. As an artist, you normally got 3 minutes and 50 seconds to really express yourself in a song but who says it has to be hook, verse, hook, verse, hook verse? It can really be however you want it to be and that’s really what I was trying to say with that.

Do you feel any pressure now that you’re signed and cats have high expectations for you and your album?

I’m my worst critic at the end of the day. I really wanna make sure the music is all the way right before we put it out, if it ain’t then I’m not gonna put I out. And at the same time, I’m really self contained so when I’m in the studio, normally it’s me by myself working. It just makes it easier cause it’s just my ideas and I can really kinda just vibe out and spend as long as I want really working on the music. So either it’s a day or too or a week before I get finished with the song, it’s gonna be right before I put it out there for the masses. And I think Def Jam respects that and understands that too, just give me some time and I’ll deliver the album and everybody’s kinda cool with that.

What’s your production set up?

I always use Reason, a midi keyboard and Pro Tools. I make my beats in Reasons, I sequence them in Pro Tools and that’s kinda what just works. It’s been working for me since 2002 and if it ain’t broke, don’t fix it.

If you had to drive from Mississippi to New York and you could only take 3 cd’s with you, what would they be?

Outkast’s Aquemini. The vibe itself, the music and growing up listening to it and being so moved by what they were talking about and just listening to the music in general. Not 100% understanding the content but now that I’m older I do. So, when you go back and listen to music like that it’s like wow, cause I’m going through that right now, so I definitely understand. Probably, Tupac “All Eyez On Me” and UGK’s “Supertight.”

Big K.R.I.T. will be in DC at U Street Music Hall this Sunday, and at Southpaw in Brooklyn on Tuesday and cities nationwide.

Photos of OFWGKTA at The FADER Fort by FIAT by @Gravity508. Please support.

Outside of…let’s say Kanye, the ragtag California collective Odd Future was hands down the most talked about group in Austin. Why? It’s been a minute that we’ve seen such raw and unedited hip-hop. It seems that on the mainstream level, the genre is all about bottle service and working with David Guetta, while the underground is stuck in head-nodding 1995.

The thing about Odd Future is that their musical output is worthy of the hype. Their albums–from Tyler, The Creator’s Bastard to The Jet Age of Tomorrow’s Journey To The 5th Echelon are hands down some of the best releases that hip-hop has seen in the past 3 years. And the fact that they’re all under the age of 22 means that they have years ahead of them. And a fractured music industry is trying to cash in.

However, their live show can be improved. This may be a personal bias of mine. I always fret the “posse” hip-hop show, when there are several members screaming into the mic (a soundman’s worse nightmare), even when Wu-Tang was involved. And it’s obvious after several back to back shows that these kids are still trying to find their footing. . It’s one thing to jump around onstage to a small devoted fanbase, yet another to try to take your music to the next level.

Click here to view the embedded video.

To the casual observer, it would seem that an Odd Future show is just a bunch of misfit kids who might beat you up if they saw you on the subway and put it on WorldStar hip-hop. Yet, seeing them off-stage one notices that they are serious about their craft and honestly, a little shy. Between shows, they’re studying the game, and figuring out ways on how to punk the system. Tyler, The Creator is hands down the most charismatic Black man I’ve seen in the past 5 years. His “I Don’t Give A F*ck” attitude and antithesis to the media (he’s kicked a few photographers last week in Austin and the crew gave no interviews) is almost akin to a Negro Johnny Rotten.

But what does the future hold for Odd Future? The media hype machine is a vicious bitch. They’ll love you one minute and destroy you the next. How will these youngsters cope with the pressure? Will they sell out or cash in? Will their anti-social behavior seem like a joke now that the collective are working with Beyonce and Justin Beiber?

If you were thinking that those questions would be answered at South By Southwest, you were wrong. The next few months will be crucial for the group, as they establish their indentity and hopefully cash more checks. Just like my position at their shows, I’ll be waiting on the sidelines watching the musical mosh pit from afar. Swag.

I’ve done several awards show red carpets in my time. Not as many as most journalists, but probably more than the average American. There is an orderly disorder that goes down at these events, and its less glamorous than you think. However, the MTVu Woodie Awards red carpet had to be the most laid back and dare I say fun experiences I’ve had. Ever.

The annual awards show moved to Austin Texas this year during the SXSW Music Festival, yet thankfully MTV was able to combine the glitz and glamour of an awards show with the independent spirit of the festival. The Woodies have always been more about the underdog, and many of the artists featured–say Yelawolf–were still roaming 6th street at SXSW last year rather than the red carpet. And like most carpets, artists took their time to speak to almost everyone, from bands who are trying to break, to radio stars like Wiz Khalifah and the Foo Fighters.

On the carpet, I was able to pull some quotes from some of my favorites in the music game right now.

[Ed Note: I'm working to get official photos at this moment. I know these ads are annoying.]

Wiz Khalifa on the Taylor Gang Phenomenon….

See more images here..

“I wanted to give people something to be involved in. Being an artist, I wanted to have my fans be able to connect with me, and that’s the purpose of Taylor Gang. We’re all on the same level. I think for artists to do well now [in this music environment] they are going to have to be more in touch with everything. To break the barrier between indie and major label takes a work ethic. Artists are going to have to work hard and present [their vision] to the label in such a way that they’re excited and they want to put it out. But at the end of the day if you get your fans excited then you can’t lose.”

Lil B on being nominated for a Left Field Woodie Award…

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“I’m very humble and happy to spread this energy and spreading this love. I’m unsigned and independent, and it feels good to be appreciated [by MTV]. It’s the year of the Rebel baby!”

Yelawolf on raising the profile of his home state of Alabama in the rap game…

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“Alabama has always had a foot in the rap game. [The state] as a whole has always been super hungry man. We create great artists, but a lot of artists who are from Alabama don’t claim Alabama once they leave. I might be the first artist on this level to actually wear it like I do, but I can’t discredit the artist who have come out of Alabama, all the way back to Mr. Big, Dirty Boyz, Rich Boy, Slow Motion Sounds, Birmingham J, Jackie Chain. They’ve been putting out music for years now. I have an opportunity to open up a door, and I’m taking full advantage of it.”

Theophilous London on the evolution of his career…

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“To walk ouf of my house and go around my corner and I’m on a billboard? I haven’t gotten over it yet. I haven’t even told my mom about it yet. My song debuted at number 20 on the pop charts, and I have to deal with these crazy label robots. I’m working on this [new album] in my kitchen man. I’m working with producers and artists that I like and not someone that’s gonna give me a stupid ass cheesy hit.”

The Cataracts on their 808 sound…

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“I gotta credit the Bay and Lil B. He was a member of the Pack and that Vans song inspired us. You know that bass sound originated in the Bay, and we’re from the Bay. So when we moved to LA we just brought that bass sound down south.”

On actually owning a G6…

“I was raised by hippie environmentalists. I would never have a G6 and the only way I’m riding in a G6 if I’m invited cause I’m too enviornmental for that. We’re gonna have the first Hybrid G6. It’s gonna run on McDonald’s french fries.”