She is one of the greatest vocal exports out of New Zealand, with a voice and demeanour as regal as the soul queen she was born to be. Aaradhna is a force to be reckoned with as she continues her steady climb from up and coming singer to a bonafide soulstress, who is currently on an Australian tour for her newly minted album Brown Girl, released in May on Dawn Raid Entertainment. Aaradhna has remained a consistent and committed artist of her music, working with the likes of Savage, Che Fu, P Money and David Dallas over the years and travelling between New Zealand, USA and the UK to cultivate a sound that is unique and bold, complementing her musical messages of relationships, race, politics and female empowerment. Brown Girl possesses a powerful and edgier tone than 2012’s soulful, sensual Treble & Reverb. For an artist who first explored the earlier stirrings of performance at the age of 11, singing along to Bollywood movies she would watch with her father, the stage was already set for this powerhouse vocalist with her debut album I Love You landing on the RIANZ Top 20.
Aaradhna has always been a mysterious and almost mystical personality to me, having watched her star rise organically in an industry that can break you before they make you. A lot can be said of her character, steadfastly focused on creating honest and inspiring music that lives to stand the test of time. She is humble, grounded, secure and confident in her journey, a strength that can be felt in conversation with her and through her music.
Your career and your music has been such an inspiration to so many, back in your native New Zealand and of course on a global level, as your music and most importantly your voice resonates deep in the soul. When you sing pain or heartbreak, everyone can relate to it, when you sing praise and love, we come along on that lyrical ride with you. How do best describe who Aaradhna is and the music she creates, particularly this new album?
It’s the truth and its real, I don’t sugar coat anything, I sing because I have to, that’s my healing and thinking process, and I guess people can relate to that.
Your journey has been a work in evolution no doubt – looking back what would you say has been one of the greatest lessons for you as a woman and as an artist in this music industry!
Don’t give up! And that other people’s opinions of me is none of my business.
Your career has taken you all over the world, working and collaborating with people from all walks of life. What is it about the rhythm of life that appeals to you as a creative and how do you incorporate that into your music creation?
I go with the flow, I don’t chase anything. I let things happen in the order it’s supposed to happen. I don’t force anything, I try and just let it evolve naturally.
Can you share something with us that we may not know of you? Every person has a surprising lurking within them so what would you say is Aaradhna’s surprise?
I love horror movies and ghost stories, and love hearing about haunted historic places in strange parts of the world
Your thoughts on the soul music community today and the changes you feel it has undergone since you first started your journey?
I think it all swings back around, I’m and old soul and I’ve always loved the oldies, and also 90’s R&B, and that will always inspire me, I like the new stuff like Anderson .Paak and people like that, but give me D’Angelo & Sam Cooke any day.
The importance of women, for yourself, embracing their roles as sexual, independent and powerful beings as opposed to the over-sexualisation that social media has females portrayed with young women baring all for 15 mins of fame and 1000 social media likes rather than strong self-awareness and inner security?
Yeah, its really sad the social media effect on young girls, I want all ladies to love themselves and be strong for themselves, keep things a little more hidden and private and never reveal all of yourself for no reason, love yourself first.
What are you hoping to achieve personally and professionally with Brown Girl, and what’s next for you?
Well, I’m launching this album in London, and I’m going to do European tour for the first time, I’m looking forward to going back to US and touring there, but ultimately I just want people to hear the album and enjoy the music.
Your greatest musical inspirations and why?
Singing at the Apollo in Harlem, because that’s the gold standard for Soul Music worldwide. I did that last year, and still buzzing from that, but I still have many things to accomplish – one step at a time.
Your constant motivation in life and why?
My family, my fiancé, and my fans, I keep going for all of them… and of course myself.
Images: supplied
Originally posted on Ms Hennessey Speaks Blog
She is one of the most prolific singer-songwriters of funk, soul, jazz and roots, with a career that spans close to four decades. In a nutshell, Meshell Ndegeocello is the truth behind the origins of the neo-soul and spoken word movement. Born Michelle Lynn Johnson in Berlin, Germany and raised in Washington D.C, Ndegeocello adopted her surname, which means “free like a bird” in Swahili, at age 17. With freedom of expression as her greatest banner, the multi-talented musician (bass, keyboards, drums, guitar) has worked with John Mellencamp, Madonna, Chaka Khan and Herbie Hancock to name a few, sharing her talents as a rapper, bassist and singer across a range of musical projects.
Her first major release was a cover of Van Morrison’s Wild Night, a duet she performed with John Mellencamp in 1993, closely followed by her solo hit If That’s Your Boyfriend (He Wasn’t Last Night). Over the years her discography grew, as she amassed a legion of fans hungry for her powerful lyrics of love, self-expression, ownership and world issues. She has become the unofficial flag bearer of issues concerning AIDS awareness, women’s empowerment and LGBT rights, has collaborated with the likes of U2, and penned an essay anthology It Gets Better: Coming Out, Overcoming Bullying, and Creating a Life Worth Living. Additionally, her music has featured in movie soundtracks including How Stella Got Her Groove Back, Batman & Robin, Love Jones, Love & Basketball, Talk to Me, Tyler Perry’s Daddy’s Little Girls and The Best Man.
Meshell Ndegeocello lives without the glitz and glamour that belies many an artist in the music industry today. She has never been about the trappings of wealth, fame and fashion, rather opting for a less lofty lifestyle, paying attention to the real blessings in life – the love of her family and the joy of her infinite craft and artistry. I have been a fan of Ndgeocello’s work for many years now, losing myself in her intricate melodies and powerful prose, feeling empowered and inspired after listening to her music. This interview is a brief glimpse into the beautiful soul of this free bird of an artist and one that I am truly proud to share with my readers and her fans alike.
Your career and your music has been such an inspiration in my journey and countless others, as your songs resonate deep in the soul. When you sing pain or heartbreak, everyone can relate to it, when you sing praise and love, we come along on that lyrical ride with you. How you best describe who Meshell Ndegeocello is and the music she creates?
I don’t think I do. I feel very different to what gets reflected back to me. When I sing about pain and heartbreak, those things are really happening, they’re really hurting. It’s hard to always see those songs as inspirational or comforting because they are often really hard for me to hear or sing. I really just listen for the sounds to come, wait for the transmission, and when it does, I try to faithfully express it.
Your journey has been a work in evolution no doubt – looking back, what would you say has been one of the greatest lessons for you as a woman and as an artist in this music industry?
That it only wants you as long as it knows its use for you. The industry is about money. There are a lot of music lovers and people who wanted to be close to creativity but being an artist and being a star are different choices. That’s the thing, I guess. I tell people that you gotta be clear on which you’re choosing, ’cause they’re not the same.
Your career has taken you all over the world, working and collaborating with people from all walks of life. What is it about the rhythm of life that appeals to you as a creative and how do you incorporate that into your music creation?
I think all the travel actually makes a rhythm hard to feel. Jet-lag is a real thing, touring is exhausting. When I am home I am my most creative, that is where I have spaces to write and listen. But the travel and collaborating are exceptional, they have taught me so much and I am lucky to do it. I do it because it comes with the territory; at least now I do.
Can you share something with us that we may not know of you? Every person has a surprising lurking within them would you not agree? What’s Meshell Ndegeocello’s surprise?
That I am really shy? That I listen mostly to people talking – to philosophy podcasts and lectures about the earth. My secret is that I am not cool.
Your thoughts on the neo-soul music community today and the changes you feel it has undergone since you first started your journey?
I don’t think there really is a community there. Neo-soul, in my opinion, is not a thing. It’s a genre created where there was no previous genre. But I am not a believer in genres and I don’t subscribe to that one.
The importance of women embracing their roles as sexual, independent and powerful beings as opposed to the over-sexualisation that social media has females portrayed with young women baring all for 15 minutes of fame and 1000 likes rather than strong self-awareness and security?
I think you said it all right there.
What are you currently working on music-wise?
I am working on scoring and a presentation of music based around James Baldwin’s work. I am thinking about new music and considering recording some covers.
Your constant motivation in life and why?
I am still just trying to understand how we all got here.
Originally posted on Ms Hennessey Speaks Blog
All images: supplied
Since he first burst onto the hip-hop scene back in 1998, Ryan Daniel Montgomery aka Royce Da 5’9 of Detroit, Michigan has become one of the most underrated, respected and revered artists in hip-hop history. With a lyrical style and flow that is unsurpassed and at times uncomfortably raw and true, Royce has indeed solidified himself as one of the hardest working and authentic lyricists around. With the recent release of his sixth studio album, Layers, Royce has once again upped the ante with his most honest body of work to date.
Since signing his first record deal in 1998 with Tommy Boy records, eventually leading to Columbia Records and his first album Rock City (Version 2.0), Royce has achieved major underground recognition, notably including the first of a long running collaborative relationship with DJ Premier on the Primo-produced single Boom. Today, Royce feels that now is the time for him to share the personal side of a man, who as an artist, battled with vices and demons almost to the point of self-destruction. This September will see him celebrate his fourth year of sobriety, and that time has induced a sense of awakening and clarity for the rapper. He states that his current album Layers is his most personal and has come about at the perfect time for the more mature lyricist to finally shine some light on the man behind the rapper, his views, his past his childhood, as fans have no doubt realised through its first single and opening track Tabernacle. Royce has left no stone unturned on this therapeutic album.
From his strong bond and friendship with fellow rapper and Detroit native Eminem, whom he only refers to as Marshall, to his union with underground hip-hop sensation Slaughterhouse, as well as PHryme, a collab with Premier, Royce is an artist who has never stopped respecting the foundations of a culture that helped carve him into the incredible talent he is today. He is also an artist encouraging the forward movement and evolution of the genre, steering it towards something kept relevant and poignant by the younger generations. He has stopped the angst and war of words of his earlier years and is embracing the grown, wise and secure family man he has become, kicking out his heavy drinking and partying, replacing it with music that is both personal and necessary to his artistry and to hip-hop.
The following is a conversation that flowed effortlessly, speaking about what was, what is and what will be in an exchange that was honest, insightful, funny and real. Royce Da 5’9 is sans the celebrity and hype that shrouds our hip-hop artists all too often, instead opting to be present in the moment of his own evolution from extraordinary rapper to one of the most powerful lyricists of our time, without ego but with a certainty that his music and message will remain a necessary part of hip-hop – no matter how many Layers he continues shed in the process.
Hey Royce, so awesome to speak with you – how has life been treating you?
Man I can’t complain, life is good and I am doing great. If I nitpick I can say that I would like a little bit more time with my babies, but at the end of the day this is what I signed up for right so I am blessed to keep doing what I do. I stay busy which is a good thing as it keeps me outta trouble I guess *laughs*.
You are hands down a pioneer in hip-hop, you have put in the hard yards for years and have always kept it 100 per cent real, regardless of feelings being hurt, when it comes to what and how you spit. I would love to hear who Royce Da 5’9 as an artist is to Royce Da 5’9 the man and is there any separation between the two?
Thank for you that. You know what, there’s less of Royce the 5’9 artist in me today than when I first started, I can honestly say. I am working on bringing more of Royce the Man into the artistry side of me in recent times, especially on this new album Layers. There is a real sense of retrospection that is being ushered into my music now, what I write and say is more personal and reflective of my life, especially my childhood. This new album is by far my most personal body of work, being a full blown scope of who I am as a man, what some of my views are and so you are getting the full dose of Ryan Daniel Montgomery – the man who’s calling himself Royce Da 5’9. There is still a divide though between the two: when I step in that booth I am the rapper, but when I head home to my family I am just a family man and I don’t get treated like a rapper, so its helps me to just carry myself between the two in the same vein. We are all regular people you know, aint no celebrity here, just a regular human being who loves to rap you know what I’m saying *laughs*.
You have given us an incredible new album, Layers, major congrats on that. How are you feeling about the music you are making right now and these albums, in particular Layers? Why this personal body of work now at this stage in your hip-hop career?
I appreciate that thank you. I would have to say getting sober had a lot to do with it. I will be sober four years in September, so anybody who knows Royce will know that I was very forthcoming with how much I drank. I mean I celebrated Patron like I had a sponsorship with them, and it truly highlighted everything in my life at that time, particularly in my music. Becoming sober just brought all these memories back for me to that time when I was running around crazy, drinking and not really knowing who I was to where I am now, and I just look at things so differently through my sobriety. The world we live in, people are gripped by terror and violence constantly, economic strains, Trump running for President, and just trying to be a black man in hip-hop doing what he loves and trying to take care of his family, man I look at things so differently now and that will be reflected in my music. I also had all these memories of my childhood start to hit me that I hadn’t thought about in the ten years I was drinking, so I have been dealing with that component of my life which I felt was important to be added on this album, which is how the Tabernacle song came about. So yeah, it is what it is, don’t get it twisted though: I will always love to rap just for sake of rapping and it is a layer of myself that I will never lose. But I also felt it was important for myself as an artist to show my personal side and get it off my chest. If there is someone out there who is going through some things that my album might help, then I have done my job as best I could through Layers.
You have worked with many great names in your lifetime, namely Eminem, Slaughterhouse and DJ Premier. Energy is an important thing when an artist decides to collaborate with another, as the outcome of that project is clearly indicative of the initial vibe between one another. Can I ask what it is about these particular collaos that have been concurrent and helped create some incredible musical projects? Particularly DJ Premier – you both work so damn well together – PRhyme was brilliant by the way!
I think it’s just being likeminded you know, we don’t just randomly collaborate. It’s about us having the same goals and respect for hip-hop that has solidified the unified bonds we share as well. Primo and myself are two guys who are friends and share a common interest and respect for hip-hop that has made our bond and collab work. One of us is from an era before mine that I respect so much and we share a similar vision and work ethic for the projects we work on, so it’s a great experience when we create something different and push each other a little differently, which keeps us open. With Slaughterhouse, that was taking four emcees from different states in the US and bringing us together to give hip-hop an underground feel that was so needed at the time and it worked. We didn’t really know each other personally or kick it before the group came to be so that was group brought together purely by energy, lyricist ability and respect for the rawness of hip-hop.
Marshall and I, that’s easy, we were just two best friends running around hip-hop and having fun as the young men we were at the time. Two guys outta Detroit and the only two at the time to get record deals, tour the world and do what no-one thought we would. We had some of our best times musically and personally back then and we worked well and had so much fun working together, we always have been. And that’s where I am right now in my life, I just wanna have fun with what I am doing. I spent so many years being stressed and on guard, always feeling I had to fight all the time to be heard and after a while you get tired of fighting and you just wanna be you feel me, so that’s a big thing for me now, positive energy and outlook on music and life.
You’re a straight shooter who doesn’t pussyfoot around issues in hip-hop or life that need to be addressed, and it is this honesty that is your greatest appeal to lovers of real hip-hop. Standout tracks of yours that have truly resonated with me would be My Own Planet, Hip Hop, You Should Know and You Can’t Touch Me. Thank you by the way, for those tracks – they have gotten me through my own tough times. When you put pen to paper what fuels you to write the tracks you do and how important is the marriage of beat and lyric at that point of creation?
Thank you for listening to those tracks man, I really appreciate it. I always just aspire to keep positive thoughts and feelings around me before I head into the studio and lay down a track, and if I don’t feel positive I try to keep myself, or bring people that are positive and inspiring around me as that fuels me to create better. Like Mr Porter helped me out with that a lot and he would bring an energy into the studio that would light a fire beneath me. I would just be so ready to work and create after that. It’s basically just finding the inspiration, the mechanics of writing a rhyme and making it happen. Sometimes I overwrite my tracks to the point where I have to find the best 16 bars I want to lay down in a track and keep the other words for other projects later on. I just love writing and creating so it happens often *laughs* I put no limit to it and just do the best I can.
Can I ask you what your thoughts are on the current state of hip-hop and what you think are the pros and cons of the industry today as opposed to when you started?
I think we are in a pretty good place, there’s a lot of good music being made, there’s also a lot of bad music being made and a lot of new styles being created; not the textbook standard sound you would expect from hip-hop, so that’s a good thing I think. As long as hip-hop is evolving and keeps changing forms and trying new variations from time to time, it’s not going anywhere and that’s a great thing. Hip-hop will never go away, it will always remain. But we have to keep it fresh and relevant and forward moving, we can’t be having everyone trying to rhyme like a lyrical spirit and tear up the next emcee. That’s no good, we need balance.
When I think about the cons I would have to say there is not enough balance on the radio, the climate itself is a sedative to how the labels function, and the labels are not functioning in a way that is conducive. They are not using their own instincts anymore, but it’s all come down to numbers and how many followers the artist has. That is nothing like what I had experienced when I first came into the game. If I had label meetings, I had to go in there and impress them with everything I had to make them hear my music and believe in taking a chance on me. I was auditioning for a record deal, now, they won’t even give you a shot unless you have social media buzz.
As far who I am listening to right now in hip-hop I’m liking Anderson .Paak’s album, Pusha T a lot, Kendrick a lot, Schoolboy Q is great, I pretty much try to hear everything new that comes out and of course I love my classic stuff as well, Kiss From a Rose by Seal is a favourite of mine too so yeah lots of different stuff. I’m getting older now too so my brain can’t be on ratchet mode all the time I gotta slow things down from time to time *laughs*.
If you could take four albums with you into the afterlife what would they be?
The Chronic, Thriller, Life After Death and any Stevie Wonder album – it’s that simple for me.
Your thoughts and feelings on all the musical artists we have been losing this year in 2016 – how does that affect you as an artist if at all?
You know what, it’s just really sad, and truly it just makes me feel really old to be honest. You know how it is when all your heroes start dying you’re like, “Am I really this age man”?? I don’t remember going through any of this when I was a kid and now all of a sudden they are upon us you know, Phife Dawg, Prince, Michael Jackson and Whitney Houston – gone. That’s half of my childhood right there, half the 80’s just gone. It just makes me feel old and sad for real.
What would you say your role is in this hip-hop community and how do you wish for your music and message to be remembered?
I think my role now is to be an OG and to set good a good example and role model for the younger generation on the come up. I just want to continue to be true to the sport and my legacy to be remembered as one of the true lyricists in the game, I don’t need any trophies or trinkets, but for the general consensus to be that I was one of the great lyricists of my time and to make age appropriate music and show my peers that’s is okay to age lyrically, its okay to do that.
We are living in a time now where you know hip-hop is like rock and roll in a way, we have to own that and not always feel like we gotta chase these youngin’s around all the time. Hip-hop is not just for the kids, hip-hop is for the world. I would like for the kids to look at me and say I wanna be like Royce!
Also published on Ms Hennessey Speaks Blog
Images: supplied
As a female hip-hop DJ representing Sydney for the past 15 years, this article is equally driven by passion and spirit, and is no easy feat. Written in light of familiarity, acceptance, understanding and utmost respect, the following women are blazing the way for females to take to the wheels of steel and stand beside their male peers in the urban music DJ arena.
Let’s be honest, hip-hop is often considered a man’s world, with images of sex, money and power in overdrive across all marketing and media platforms. The truth is that there would be no hip-hop without the presence of a powerful female, balancing out the testosterone and injecting the right balance of sex appeal, attitude and honesty in music. In the DJ world, the presence of females has become more common place in recent times, with women taking a stand alongside their male brethren when it comes to the art of spin, holding club and event residencies and packing out the dancefloor with carefully crafted playlists, seamless mixing and effects to create the ultimate club experience. While we still have a long journey ahead to place men and women on an equal playing field, the glass ceiling has been well and truly smashed!
In Australia alone the number of hip-hop/urban female DJs has increased monumentally compared to even five years ago. As a collective we have risen up from only playing gap-filler gigs, to commanding headlining acts and touring with some of the industry’s biggest stars. The spin sisters featured below are some of the most talented, hardworking, passionate and driven DJs who continue to break the convention of what it means to a female DJ under the urban / hip-hop umbrella and give their honest views on what their journeys have been like in this game thus far.
We spoke to some of the top female DJs in the country to document their experiences, in their own words.
“There is no business like show business” – an old quote, but it’s so true. Like any art form the most important aspect is understanding the basic fundamentals and history. My core belief is that music comes from within. Doesn’t matter what style of genre you play, it’s all about being able to read the crowd and most importantly your flow.
It is amazing to see the evolution from where Djing was to where it is going. Looking back, female DJs weren’t nearly as popular as today. My experience as a DJ was elevated to the next level when I fell in love with old school vinyls. The ability to physically baby scratch or drop your next track into the mix feels like magic, and it’s inspiring to see other female DJs expressing themselves freely and pushing the boundaries. This opens up a whole new world for upcoming female DJs in the future, which can only add to what already is a beautiful culture.
My philosophy about Djing is that mixing and technicalities are important. However, the secret ingredient is knowing “why” we do what we do. When mixing live, it’s all about self-expression, flow, personality and being able to connect with your audience. When you understand the pure essence of how to build and control your crowd, the experience as an entertainer elevates to the next level. Another golden rule I swear by is that I always play for the ladies. My motto has always been, “Lead the women and the men will follow” because women know what women want… Sorry boys. 😉
My biggest challenge as a DJ is to discover the art of flow on a deeper level, and to gain as much experience playing different genres as I can. Life is about pushing the boundaries, but never losing my own quirky flow and flavour. “If you don’t try there is no opportunity to succeed.”
Music is a very powerful tool and should be treated with respect. As a DJ and entertainer I am empowered and grateful to be a part of such a powerful industry – music can literally change the world because it can change people. I always stay true to myself and play from the heart not my ego. Ego is your soul’s worst enemy. It blocks the flow of life.
I learnt a valuable life lesson a long time ago about the entertainment industry: unfortunately, that it’s mostly driven by ego. I’ve been working in the entertainment business for over ten years, seen all walks of life, been promised the world. People seem to believe the illusion that the entertainment industry gives you the licence to be arrogant. Personally I’ve never seen the fulfilling side to this concept, nor have I entertained the idea myself. I’ve never felt the need to, because what I do doesn’t define the person I am, it’s what I do. Happiness and fulfilment are the highest forms of success.
Life becomes easier when you stop having to pretend you are someone you are not. There is nothing wrong with being seen: be proud, but do it for the right reasons. Understand that every time you put yourself out there you’re creating history. So put your best self forward. You never know who you are inspiring.
DJ Jewel
City: Perth
I do what I do simply for the love of the music. I love the vibe that hip-hop music brings to a venue. Do what you love and you will never work a day in your life – this quote has truly resonated with me throughout my career.
Historically, the hip-hop DJ industry in Australia has lacked a strong female presence. The scene can be daunting for women, generally because of a fear of being gender stereotyped and the setbacks that can arise from this.
The hip-hop industry as a whole has, in the past, perpetuated these stereotypes by portraying women based on their physical appearance. Having female DJs in the scene is hugely important, as we are breaking down these stereotypes and continuing to prove that we have so much more to offer, both creatively and musically.
Danielle Rizk: DJ MzRizk
City: Melbourne
I had been DJing for a few years before I became immersed in hip-hop culture. As a woman in the scene it is difficult like it would be for any woman in a scene where males dominate. I decided to throw my own parties with the core values of hip-hop culture as the seed. Unity was the main value that I really pushed for; too many cliques, not enough feel-good quality.
I continue educating/teaching young people DJ skills and also about hip-hop. I also throw my own block parties and events around Melbourne, which people keep coming back to – that’s my favourite bit. We are a small but welcoming community and that’s what I love; the togetherness, the positivity, a melting pot of cultures connecting through music and dance. I have been fortunate enough to travel the world and play at festivals such as Glastonbury in the UK, Soundwave in Croatia and Woo Hah Festival in Tilburg, and hope that I can continue to influence people to listen to different music via my radio show and DJ sets.
There are many artists that don’t get the limelight they deserve here and abroad, so with the platforms I work in, I hope I can get the music to the people. I think DJing has become accessible due to technology making it easier to pick up as a hobby or profession. As much as I appreciate technology, I feel many people want to pick it up and not really invest time in learning the art or the history of the DJ – foundation is very important. Record digging and learning about music is very crucial in the art of being a DJ.
I’m waiting for the day we have women on every party line up and line ups with all or mostly women, and the novelty is not that we are women but because we are some of the best tastemakers, selectors and players on the 1s and 2s.
DJ Mumma Trees
City: Perth
I am a DJ primarily for the same reason ALL DJs do what they do – it’s all about the love and passion for the music! When I started DJing dancehall, there were very few dancehall DJs in Australia and NO other females doing it! I had just come back from Jamaica and was filled with passion and excitement for the music that was coming out. I wanted to hear it played in a dance, and there wasn’t anyone else doing it.
Female DJs are often treated as a novelty, which is a double edged sword – it can open up opportunities, but then there are certain expectations that come with that too. The expectation that the music you play is going to be softer, less hardcore, that your knowledge is going to be more superficial, that you are only up there because you’re a chick. Females have to work harder to gain respect from their male peers. Even when we do a great set, the praise is sometimes qualified – to quote Tanya Stephens, “She killed it good for a girl, but I am confused, does that make it less dead?” Women bring a different perspective to the music we love and our sets are going to reflect that.
Having said that though – it is often the men in the audience who give you more respect for your set because passion, knowledge and respect for the music you play can’t be faked, it has to be real! Real know Real!
DJ Mishtee
City: Perth
We are living in an amazing time of social revolution. From the past masculine dominated age of conformity, uniformity, impenetrable glass ceilings and rules, we are now in a new feminine age of incredible change, creativity, universalism and diversity.
2016 is therefore, an exciting time to be a female hip-hop DJ. There has been a monumental amount of work from pioneering women who re-appropriated the once male dominated culture and industry, to empower women and make it a place of equal opportunity. From their hard work has come the accepting environment for female hip-hop DJs today.
Being a female definitely presents a lot of opportunities for work, but with that comes a higher pressure to deliver and prove ourselves that much more. In this field I believe as a DJ if you have a love of hip-hop that resonates from your soul, gender is irrelevant, and that love, is what people feel.
DJ Veeness
City: Perth
The simple action of taking my sister’s hip-hop cassette tapes in the early 90’s and secretly listening to them, laid the foundation for my love of hip-hop music. Looking back now, an 8 year old girl listening to 2 Live Crew, NWA, 69 Boyz, LL Cool J and Public Enemy would definitely not be the ideal lyrical content for a young girl to listen to, but I didn’t care. It was the flow and the beats, not so much the lyrics that captivated me. It grabbed my attention and the seed was sewn.
My passion led me to New York to attend The Scratch DJ Academy. I wanted to learn the proper art form of DJing hip-hop on turntables with vinyl. This was before the days of Serato and learning from a true legend like Mr Sinista from the X-Ecutioners, was an unbelievable experience I will never forget. It surprised me how many other females had the same interest as I did, and they were really good at it too.
When I became a mother I was out of the scene for many years, and I did find it quite challenging to return to Australia and establish myself as an unknown female DJ. There were many obstacles in a male dominated DJ scene and they really didn’t want to get to know me. I had to prove myself, which I did by entering a DJ competition. I came up against fierce competition and negativity from the male contestants, as I was the only female in whole competition. My knowledge and skills were tested and I proved myself. I won first prize and gained the respect I deserved.
I am a true old school hip-hop DJ. As a 90s teenager, Wu-Tang, Tupac, Nas, Snoop and Bone Thugs among many other greats were emerging at the time. They laid the foundation for my love of gangsta rap. My fascination drove me to visit places like Compton and Brooklyn on different occasions throughout the years by myself with no fear.
The significance of a female DJ is important as it shows that women who DJs are artists just like male DJs. People have now warmed to the idea of having a female behind the decks, an awesome step forward to becoming an equal playing ground. I have had the comment, “I love the music you play, but I was expecting to see a big black guy when I saw who the DJ was and not you!” Many people don’t expect such explicit music coming from a woman. I think if you really know your music and you are feeling it, other people will too and it doesn’t matter what sex you are.
If you are a female trying to break into the game, my advice is to build your skills and knowledge of hip-hop music and the culture which goes with it. Another important rule is to be humble and not sexual – you don’t want to end your career before it has even begun by getting a bad reputation. Also, the crowd does notice your enthusiasm for the music. Showcase these skills at any opportunity you can and if you have what it takes, you will be noticed.
Hip-hop music is my past, present and future, the turntables tell my story!
DJ Krystel Diola
City: Sydney
The world around us is constantly changing. No matter what we do in life, disparities will constantly exist. I do believe that whenever people are given the opportunity to use a platform – mine being radio, PR and live performances, that reaches a wider audience, it’s important to provide pathways for other females just by doing it. My main thing is to just do. It’s important for other females to see other females in the music industry as a whole. No matter whether you are the only female in an office dominated by 30 men, or a sound engineer, just do things that empower your skillset. Dip in and go! The more you physically do things, the more you will be able to feel your strengths and innately know what can be improved instead of allowing others who don’t know you to dictate that for you.
I DJ because I love it! Plus it’s a way to share music I love to a wider audience. It’s a way to educate people without physically saying a damn thing. I have to constantly be on the look out for new music with the radio show, so there’s a lot of content to get across therefore music in itself excites me.
I fell into DJing whilst in events and publicity. It just happened. And then I was plucked within a matter of months to travel interstate as tour DJ for one of Australia’s iconic hip-hop artist, Hau. All because I said ‘yes, I can’. I learnt about disaster in matter of seconds and how to handle equipment.
DJ Flygirl Tee
City: Sydney
Why I do what I do: Because I bloody love it!!!
My heart and soul is happy to sing and dance, let alone have people sing and dance with me and who better to make girls dance than another girl! I love the joy which music brings, the memories it reminds you of, the memories music creates And I get to be a part of that every single time I DJ with the music I play.
On a selfish note, I love playing songs I love – music makes me high! Love is love, whether it’s love for a person or love for a song, and people can feel it. I do it for the love. I share my love of a song with the crowd, and I feel their energy, love and good vibes! It’s an amazing feeling!
Christie Lee, DJ Amity
City : Sydney
I do what I do simply because I love to do it. I don’t just want to be called a female hip-hop DJ, I want to do what the men do with it and be recognised for my track selection and beat mixing ability, not as just a pretty face twisting knobs.
Being predominately a male dominated industry, and with the popularity of reality TV and one-hit YouTube wonders, it’s becoming less clear who young women today should be modelling themselves after. The female DJ in the hip-hop industry is important, they are positive role models for young women and in today’s world are out there – and they’re coming in ever-diversifying styles through a variety of new digital mediums.
It inspiring for me looking at the impressive careers from female DJs such as DJ Jazzy Joyce, Spinderella from Salt N Pepa, Leecy T etc, not just because they accomplished big things in a male-dominated genre but also because it’s that type of motivation that inspires the next generation. They’re teaching us that there are no boundaries and that the reach of the female hip-hop DJ is truly limitless.
DJ D
City: Sydney
After over two decades as a female DJ/Turntablist in the music industry (and almost three since my first gig!) The reason for doing what I do has changed over that time.
Initially it was to fill a void in the urban scene that was purely male dominated at the time, which provided the challenge of being accepted as a female behind the decks by crowds, promoters and peers in the industry. At the same time, it handing me a number of accolades such as first female DJ/Turntablist to perform in various spaces around the globe.
Today, with more and more females behind the decks, my purpose is two-fold: to help the next-generation of DJs build skills and understand the more traditional ways & approaches to this art; secondly, to ensure turntablism remains a thriving art form, and that our newer generations are exposed to and experience it in it’s true form.
DJ Melo
City: Melbourne
My main aim when I spin is to get into that groove, to create the connect between my selections and the feel good in the place. That’s what I dig the most. My own inspirations are people I know and respect. People who put work in to hone their craft regardless of barriers; women who believe in the importance of not just being ‘good for a girl,’ but being a good DJ… Being a dope DJ (or MC, or dancer etc.).
It’s important to have equal representation for women in the industry, from local gigs to high profile shows. Diversity in DJ’s will only strengthen the culture and any understanding of it. In Melbourne it’s really great to see so many women behind the decks. It creates a different energy. Where there’s been a lack of opportunity, they are creating it themselves, and that’s a great thing.
Katie Diakos, DJ Katie D
City: Sydney
For women who are interested in working in a male dominated industry representation is important. The more women we see killing it in the industry, the more other women will feel free to explore their interests. I love music and I like sharing it to create an experience by lifting peoples energy; self-expression is what I hope to encourage through different art forms especially
An honourable mention goes to the original Sydney Soul Spinstress DJ Georgina Reed, for kicking open the door for the new legion of female DJ to follow, and a nod of acknowledgement to these fierce ladies: DJ AK (Melbourne), DJ Josie Styles (Sydney ), DJ Liche (Sydney), DJ Tuini (Brisbane), DJ Taline (Sydney) DJ Boadu (Sydney), DJ Yemisul (Sydney) and DJ Felxmama (Sydney).
To any female around the nation earning their PhD as a Spin Doctor, stay true and focused to your craft, the sisterhood supports your hustle.
Artwork by Dan Elijah G. All images supplied
The second annual Sounds of Afrobeats Festival is coming up on Saturday April 16 at the Greenwood Hotel in North Sydney. For anyone craving an afternoon of African rhythms, with stellar DJs from Sydney, Lagos, London and NYC, look no further.
Speaking to one of the founders of this inspiring, cultural and musical celebration of the beats of African and beyond, Nick Mbogua, he shares his insight on why the festival was created and how it has grown into something that is fast becoming a mainstay on the Sydney entertainment banner!
Afrobeats – what’s the importance of this sound in a growing African culture in Sydney?
Sounds of Afrobeats was established to highlight the unique Afro-polyrhythms which have tremendous representation globally, but not in the Australian music scene. Afrobeats as a genre is important to the growing Afro-Australian community, as it has a unique ability to deliver an intense energy and positive vibrations. Our festival, with a diverse range of Afro sounds, has been structured to breakdown all the cultural silos and promote multiculturalism.
https://www.youtube.com/watch?v=uilD7fBhktw
What is the message behind Sounds of Afrobeats Festival and the people you wish to reach with this festival?
Our message is to promote Afro culture under the Australian skies. We aim to integrate all communities with our rich flavour of music and rhythm. We believe that music is the key to the soul and has such a strong ability to breakdown cultural barriers.
When and how did the Afrobeats Festival come about and who would you list as major influencers in the Afrobeat music scene?
The Sounds of the Afrobeats family was formed in late 2014 with an aim to curate a new style of events that showcase the energy, culture, positive vibes and diversity that we know the music delivers. Our influence was predominantly based on the identification that the Australian music festival scene lacked any Afro influence. With this being said, our major influence was the Afro-Australian community, however we encourage alternative communities to embrace our rich culture of music.
https://www.youtube.com/watch?v=aCcuzqRRTHQ
What are your thoughts on Australia’s lockout laws and its impact on the music scene in general?
Whilst we understand the ideology behind the lockout laws, the methodology to combat the issues needs to be reviewed with respect to its effectiveness. There should be an increased control on alcohol, which is the fuel for violence and not the entrance to an establishment. However, with this being said it allowed us an opportunity to enter into the day party scene, similar to what our friends at Soul of Sydney have accomplished.
What are your hopes for the future of the Afrobeats Festival and what kind of mark do you hope to make on the current music industry?
We hope to be able to eventually deliver our festival to all states of Australia. Our vision is to be able to develop a nationwide family who welcomes all cultures & backgrounds to dance on one dancefloor. We wish to develop a footprint in the industry which will set the benchmark for Afro music festivals in Australia for future generations.
The second annual Afrobeats Festival will be taking place on:
Date: Saturday 16th April
Location: The Greenwood Hotel, 36 Blue Street North Sydney
Head to the official Facebook page for tickets and more info.
https://www.youtube.com/watch?v=pY-q7Bed6DU
As the driving force behind one of the most unique and necessary youth festivals in our community, Vyvienne Alba, Founder of Vyva Entertainment and the 4 Elements Youth Festival is a force to be reckoned with.
Presenting the 2nd annual 4 Elements Hip Hop Youth Festival at The Bankstown Arts Centre in South Western Sydney on Sat March 19th has been an ultimate labour of love for this promotion and marketing entrepreneur, whose vision for the creation of an event that encompasses the four elements of hip-hop (djing, emceeing, art and dance) and allows the local youth to come together in a series of eight weekly workshops with some of the industries most respected experts. Perfecting their crafts and learning some invaluable lessons from the mentors on hand is what gives this project and festival its powerful spin for the youth involved in the various workshops and enables them to not only learn more but also showcase their talents on the day in a variety of live musical performances, art displays and dance.
Leading up to the festival Vyvienne has taken some time out to explain the drive behind an event like 4 Elements and what her ultimate purpose is in creating safe and authentic spaces for Sydney’s youth to create under the hip-hop umbrella.
Can you describe what 4 Elements is and how the concept of a hip-hop festival came about?
The 4Elements Music Project (4EMP) is a concept that’s been inside my head since the age of 15 and I’ve worked within the music, entertainment and events industry for almost 15 years now. I’ve always said that my retirement plan is to open up a musically inspired youth centre and this project is a step towards making that dream come to life. I want to create a space utilising hip-hop and music culture that:
- Engages young people in a project which overcome barriers to participation in the community
- Connects youth directly with professional mentors and the industry as a whole
- Provides young people with the knowledge and skills to link them with further training and employment opportunities, or improve their educational outcomes
- Promotes cultural diversity, self-expression and respect for others and self
- Enriches the community by providing quality events for young people and the wider community.
4EMP utilises hip-hop and music culture to assist young people in breaking down barriers, connect with their local community and encourage positive self-image, skills development, unity and respect for self and others. After a highly successful year of festivals and programs throughout 2015, 4EMP is returning for a bigger and better 2016.
The project includes a workshop program for young people (Tuesday 9th February – Wednesday 23rd March 2016) and a free all-age community (alcohol & drug free) festival to coincide with Harmony Day (Saturday 19th March 2016) to be held at the Bankstown Arts Centre. The festival will consist of performances, rap & dance ‘battles’, live arts wall, art gallery viewing, hip-hop history resource room, industry panels and one on one discussions with professionals from the music industry and academics.
We are continually being approached by young people in the area and emerging artists, for guidance, development and exposure to the music scene. There is a strong need for a positive and relevant hip-hop project, no program of this nature exists within New South Wales.
Music is one of the most powerful tools in the world and is a medium that speaks the loudest to young people and provides a powerful voice to minority groups. Numerous studies suggest that music plays a vital role in shaping Australian culture and our identity. hip-hop is a proven vehicle for teaching:
- Awareness
- Knowledge
- Equality
- Peace, unity and love
- Respect
- Responsibility
- Recreation
- Overcoming challenges
- Life, truth, facts and faith
Recent statistics suggest that 9/10 Australians enjoy listening to music each week. 57% of the population attend live music events each year, making music the biggest art form in Australia.
The message of Harmony Day is ‘Everyone Belongs’ which fits perfectly with the concept of hip-hop. Hip-Hop is about unity, acceptance, socio-political awareness and creating something from nothing. Harmony Day is a day of cultural respect for everyone who calls Australia home, a time to reflect on where Australia has come from, while also recognising the traditional owners of this land.
Our cultural diversity is one of our greatest strengths and is at the heart of who we are. It is the spirit that connects the past to the present and lays a path towards the future. Australia is home to our Indigenous people and people from over 200 countries around the world, with more than 300 languages spoken in Australian homes. hip-hop provides a sense of belonging for all willing to embrace it and generally attracts young people and minority groups as it offers an environment where self-expression is encouraged, stimulating conversation and provides an opportunity to just be without being discriminated against.
What do you think draws the Youth of our community to events like this and how do we continue to create safe spaces for the talent in our communities.
There are a number of reasons, our youth like to have fun, they enjoy going out with their friends, being creative and events like 4Elements gives them somewhere to go within their own backyard. The energetic and vibrant atmosphere of an event like this is attractive in itself, it’s a cool chilled out place to hang out and more than likely they’ll find one of their friends on the line up. We are creating an industry experience, a high quality event and putting artists who are active in the scene at close reach.
Sometimes the only reason they attend is because a friend is going so they tag along, or they have nothing else better to. It’s a free event so they come. The 4Elements line up and activities on the day are very diverse that no matter your reasoning you’ll end up leaving with an experience that will change you forever.
The only way to maintain safe spaces for our emerging scene is by working together and creating new opportunities. If you find a gap, fill it. Our youth are our future and without them their will be no growth in our scene so it is important for those currently active to give back to their community, mentor our youth and be present on a local level. With all the recent funding cuts, lock out laws and other industry challenges we need to learn how to be more innovative with what we have, utilise resources better and most importantly open up the lines of communication and build strong partnerships between our industry, local level organisations and educational institutes.
This is your second 4 Elements Hip Hop Festival – how much harder or easier has it been organising this year?
It’s a mix of both to be honest. It’s harder in a sense that the expectations of everyone are higher as last years event was incredible so trying to find ways to improve the experience and ensure that it grows with you creates a lot of pressure, especially as it has been talked about all year. You want to make sure that those new to the event or new to hip-hop culture in general have a great time and leave with something, while those who attended last year have a grander experience. We’ve taken into consideration all the feedback we received from 2015 and have made improvements and added a few extra surprises. After such an incredible line up of over 100 artists in 2015, trying to work out this year’s line-up was also a challenge – but thankfully Australia is full of incredible local talent, we have a whole new line up of fresh faces with some of your past favourites!
As an event that promotes such diversity and range of local talent it is important for us to find ways to stay relevant and on top of who is who and who is doing what where and provide opportunities to our emerging artists. This year we partnered up with music website ReverbNation and offered an opportunity for an artist to perform at the festival. By doing this we as the organisers were exposed to a collection of artists we had never heard of, with over 800 entries from independent artists it was a bind blowing experience. We are pleased to announce that the winner of our Reverb competition is an artist who goes by the name of Tu P, a hip-hop artist born in Brisbane, to a Vietnamese Refugee family. He graduated UQ in 2009 and is a practicing medical doctor. He released his debut album “Made of Jade” in 2013 and is now working on his second album “Agenda”. Tu P will be flying down to Sydney to perform inter-state for the first time.
The level of support has increased now that the event has been done before and people can visualise the outcomes, they can see it, they can feel it. That alone has helped us to gain further funding and outside support. Hearing the stories and outcomes from last years event and the ongoing changes it has made for our community far out way all challenges, negativity or roadblock that’s tried to surface. We had a number of local young people who from the event gained further performance, mentoring and collaborative opportunities. The event attracted people from outside the area who had never come to Bankstown and to have them leaving with a changed perception was huge. Interpretations were challenged not only on local level, but also internationally. 4Elements attracted attention across waters and exposed others to a side of Australia they had never seen before. The event, along with many of the local artists in 2015 were featured in U.S magazine ‘Whatsgood’ which was distributed across 241 news stands in America, England, Canada and hand delivered to all the major labels.
Over the years I’ve learnt that with each obstacle or problem there is always a solution, there is always a lesson to be learned and regardless of what it is, it will add value to your event and humbly allow you to enjoy its successes. As without being challenged, without being push outside of your comfort zone, we would never grow and reach our full potential.
You have been holding a series of workshops for the youth for the past month in the lead up to the big day. Can you explain how the workshops are run and who the facilitators are, their backgrounds in music and entertainment?
We are currently running 3 series of workshops, which include music, dance and street art. The workshops all run independently at the Bankstown Arts Centre, however, on Wednesdays we occasion merge together for specific joint sessions. The program has specifically been structured so that at least 1 of the 2 days all 3 programs are in the same space at the same time. This is so that they can be exposed to the work others do and to allow us to bring everyone together.
The idea behind the joint sessions is to get the young people familiar with each other, to assist with team building, both professionally and personally as well as an opportunity to meet and talk with weekly and special guest mentors on topics like HipHop and music history, industry knowledge and engage them with others in the community. The workshops independently focus on the foundations of their chosen craft, creative skills whether it is drawing, writing, performance, music, dance or design.
We have an astonishing team of mentors this year, as we did last year! For music we have L-Fresh The Lion, Zig Parker and Jamie Muscat. Dance is run by Dancekool facilitators Karen Siu, Joker and Lisa Teng and the street art by Mistery. Some of our special guest mentors include Mirrah Reflects and DJ MK-1. All of our mentors are passionate, humbling and inspiring humans. They know how to push our youth outside their comfort zone while showing support and creating a safe and non-judgement environment for them to explore and find methods of self expression, to build confidence and learn more about who they are as an artist as well as an individual.
L-FRESH the LION is renowned for his powerful presence, inspiring live shows and thought-provoking lyricism. In a short space of time, the Western Sydney artist has gone from underground community events and ciphers to national tours and major festivals. It speaks of an MC with a sense of purpose and self-belief. Inspired by the soulful movement in US hip hop of the late 1990s / early 2000s, and the love and respect for his own cultural and ancestral roots of the Sikhs from Punjab, India, L-FRESH is an artist like no other. Aligning himself with many social justice issues, L-FRESH The LION has dedicated himself to working tirelessly in the community. At present, he is an ambassador for All Together Now, Australia’s only national charity that exists solely to address racism.
Zig has worked for record labels, both major/independent in the U.S., & after relocating to Sydney he co-founded a full service multimedia production agency in 2008. Specialised in audio and video production, advertising, music videos and short films. His work earned him International awards both in film and advertising. As a rapper, music producer, songwriter and basically someone who has worked in just about every aspect of the industry including sound engineer, video director and tour manager, Zig has developed his art and is now more interested in developing other artists.
Jamie Muscat has been a producer in the industry for the past 6 years. He has played guitar for 15 years giving him a deep understand of music and the way we communicate our ideas about music. Has worked on multiple projects with Australian internationally recognised producer Philipe Marc Anquetil with such artists as ‘what about tonight’, Paulini, Quinn, Ramos, Poem and many more.
Karen Siu’s love for hip-hop dance began in Sydney, as she moved around living in Japan and NYC she was able to study HipHop culture and all styles of street dance with some of the pioneers of these styles such as Brian Green, Bam Bam, Ejoe Wilson, Jazzy J, Archie Burnette, Shabba-doo and Tyrone. Now back in Sydney, Karen is heavily active in the dance community managing Dancekool.
B-boy Joker, Floorchestra Crew has been b-boying since 2006 and teaching for over 7 years. He has a colourful track record which includes:
- Winner of 2v2 Parramatta PCYC 2007 Top 8 in Oz b-boy crew championship 2009Winner of 1v1 Macquarie freestyle battle 2009
- 2nd Place at 2v2 $2 freestyle battle 2009
- Winner of 1v1 New Gen Jam 5 2009
- Winner of 3v3 Rooftop vol 1.5 2010
- Have been B-boying since 2006
- Teacher 2009-2011 at Dance Generation Studio(Eastwood)
Lisa Teng has been dancing since she was young and mainly focuses on JFH, hip-hop and urban choreography. By dancing with different studios in Sydney, she’s had the opportunity to train with many of Sydney’s best as well as international teachers who come to share their wealth of knowledge. Training outside the studio with different crews, she’s competed and co-choreographed for many shows and competitions such as: 3rd place at ADCC Sydney 2014 with dGen (Dancer) and 1st in Sydney Battlegrounds 2014 with Fetch (Co-Choreographer/Dancer). Training in Singapore last March 2015 at the Summer Jam Dance Camp has pushed her further as a dancer and teacher and she has many more things to share in her classes.
Mistery is one of Australia’s most legendary and influential writers. For over 20 years, he’s been representing the HipHop culture through breaking, graffiti, and as an emcee. Having started out as a B-boy in the early 1980s, his signature style and iconic B-boy characters are recognised all over the world–a true reflection of his roots in hip-hop . Today, Mistery continues to share his love for hip-hop culture with others, touring cities and countries abroad as a B-boy, martial artist, Christian minister, emcee, and writer.
What can the public expect from the 4Elements Festival and how can they attend and show support for the great work you and your team are doing?
A great fun day filled with something for everybody. Even if you aren’t into hip-hop or if the word hip-hop generally turns you away from going then I challenge you to challenge your perception of what hip-hop culture is, and to open yourself up to a new experience. I guarantee you will be pleasantly surprised. We are here to take you on a journey, to challenge your perceptions, to introduce you to a new world and to create a safe and fun environment where we celebrate our cultural diversity.
There will be an array of amazing talent, interactive spaces, good vibes, and incredible people. With a cast of over 100 people from over 35 different heritages 4Elements is a safe and welcoming space for those of all backgrounds, all ages and all walks of life.
The best way to show your support is by coming down to the event, bring your friends, and bring your family. We welcome you to join us on Saturday 19th March at the Bankstown Arts Centre. 4Elements is free to attend and will be running from 11am – 6pm followed by an informal jam session till 8pm.
Your ultimate motivation in doing what you do and what are you hoping to be the overall achievement for 4 Elements?
Why? – The million-dollar question into everything that we do. Growing up I dealt with many different situations or problems from racism, bullying, relationship challenges and all the great things we come across as a growing adult and female in Australia – the list could go on for days. I grew up always wanting to be anywhere but here. I rebelled throughout my teenage years by going out all the time. I’d be in the clubs 5-7 days a week, till 6-7am every morning. As a youth growing up in Australia I felt as though I didn’t belong, I had no one to really talk to and didn’t know where else to turn. From the age of 17 the clubs became my home way from home and naturally, I started working within the industry as part of a street team and worked my way up to eventually running my own nights, radio hosting, working on festivals, music awards and other major events.
Although I am still young, these eyes have seen too much. I was blessed… somehow! With the common sense to keep on the straight and narrow in an industry so easy to get lost in, especially at a young impressionable age. In a crazy way the industry acted as my second parents, as mentioned before the clubs became my home away from home and my career became my life. I think that is the reason that no matter how hard I have fallen, and trust me I’ve hit rock bottom, from being on top of cloud 9 one day and waking up the next to being buried 6 feet under with nothing to my name – I keep coming back for more. Like family, we don’t always agree with what they say, we may not understand at the time why our parents are so protective, have the views they do or get what ‘their’ problem is. But the reality of it is, they are their to guide us, teach us and welcome us back with opening arms regardless of how floored or damaged we may be. The industry, like my parents allowed me to grow, it allowed me to make mistakes, it allowed me to get distracted and fall off my path but it also taught me a lot about myself and gave me the strength and fight to keep going on what I believe in regardless of what others may think or say. If you are passionate about something don’t let anything get in your way.
Despite the troubles I have faced, I have this burning desire inside of me that always takes over and never lets me give up. I believe that I am here for a greater purpose, that I have experienced and seen everything for a reason. People always say I have the gift of understanding and I know that comes from my past experiences. Knowing that my challenges have helped me to help others through their dark times has made it all worth it. Knowing that I motivate and inspire others has a 360 affect, as they are my inspiration.
I want to give back to others what music gave me, but within a fun, safe and productive environment. I believe that music is the most powerful tool in the world and can be used to create a positive change in every individual’s life – regardless of who you are.
I may be facing all odds, and living in a fantasyland as most people always seem to “remind” me, with my crazy ideas and high hopes but that will never stop me. I want to create a culturally diverse environment where individuals, in particularly youth, feel free to be themselves and where self-discovery and expression is encouraged, to educate youth and the Australian community on the benefits of music and hip-hop culture. To enrich our industry by providing quality, educational, fun and safe projects for lovers of music within Australia and link youth and emerging talent with music industry professionals and the industry as a whole; giving them access to a pool of knowledge, experiences and resources.
All in all my vision is to educate and inspire individuals through the use of music and its culture.
For more information on the 4 Elements Free Hip Hop Youth Festival visit:
The 4 Elements Hip Hop Festival at The Bankstown Art Centre on Sat 19th March 2016 from 11am till late.
Images: Vyva Entertainment
It’s a wonderful feeling to know you are speaking to a living legend. An individual who cultivated one of the most influential music labels of the century, Motown. Speaking to the iconic label’s first A & R (artist & repertoire) man, Mr Mickey Stevenson, it is a guaranteed step back into the corridors of history, back to one of America’s greatest music success stories and one that birthed the music and sound of a genre, a culture and above all else a movement.
Mickey Stevenson is the consummate gentleman, old school and classic to his very core. As he shares some of his most exciting years as the man in charge of signing and developing artists like Stevie Wonder, Smokey Robinson, Marvin Gaye and Martha & The Vandellas to name a few, Stevenson also opens up about his early years performing with his brothers The Stevenson Trio, winning music competitions on stage at The Apollo in Harlem, and meeting up with the Motown man himself, Mr Berry Gordy. Stevenson and Gordy became a force to be reckoned with in Motown’s glory days, seeking, creating, shaping and defining the sound of artists that would become trailblazers of R&B and soul.
Speaking to Stevenson about his time at Motown and working with the artists he was able to cultivate, it is easy to see that this was more than a job to him; rather, a commitment to excellence and perfecting a craft. His descriptions about the vibe and energy coursing through the vintage Motown recording studios is almost palpable, where you could almost imagine sitting and watching a young Stevie Wonder or Marvin Gaye create their magic before your eyes. Having worn the hat of mentor, creator, artist, and above all else, lover of music in its purest form.
https://www.youtube.com/watch?v=sK3uzpy2TKQ
It is such an honour to speak to a man so embedded in music history – known and respected as the first A&R man of Motown’s glory days, a career that started back in 1959 and has helped created and bring to light some of the biggest legends in the music galaxy such as Smokey Robinson, Stevie Wonder and Marvin Gaye to name a few! How would you best describe who Mickey Stevenson is and the life he has lived thus far?
*laughs* that’s a good question. I call myself a hunter. The best writers, producers, singers, engineers, I was always hunting for the best in these fields. It was a 24 hour job but to me it never felt like work, that’s the difference; when you can enjoy what you are doing, it becomes bigger than just a job and you can do it 24 hours a day. I was in that intense mode and I loved every minute of it. Finding people that would come to me, say, in an audition, saying they wanted to be a singer, but when they sang the song, I would ask, “ Who wrote that song?” They would say “me,” And I would say “ I tell you what, I’ll bring you in as a writer because you are not a singer.” It would be things like that back then, some people would come with the whole nine yards but most often it would be one or the other. My job was to search for the gift that god bestowed on these artists. These artists brought more talents to the table, and in turn we were able to develop the label so much more effectively and efficiently.
Let’s talk about those early days when you were signing all these incredible artists to Motown, all of them relatively babies in age and not knowing the amazing impact they were going to have on the music world – what was the energy like in the recording studios back then and just the artists various attitudes towards their artistry and place in the music community of the time?
In my book The A&R Man, I break it down very carefully on a few talented people, so you could see all sides. Now, when a few very talented artists would come in to the studio to audition, sometimes 30-40 people constantly, and that one person walks in, it was worth that wait. It blows you away. That energy was alive and when I hear the lyrics in their songs, the amount of talent and vision is truly indescribable. My job was to put the best songs on the best people. It didn’t matter who wrote the song and wanted to sing it, for me, it was finding the correct piece to the vocal puzzle – and it was that formula that made Motown as great as it was, and made us all family.
More than an A&R man, you are also a celebrated songwriter and have penned some truly significant hits in the R&B world such as Dancing in the Street, which you co-wrote with Hunter and Marvin Gaye; It Takes Two (Gaye and Weston), Ask the Lonely for the Four Tops and Jimmy Ruffin’s What Becomes of the Brokenhearted to name a few. What do believe it was that made these songs the timeless successes they are and what are the ingredients to writing the perfect song?
In all honesty, when I write – and I am sure this is for a lot of writers – I write from the heart. So I am not too concerned if the song is going to be a smash or anything like that, I am just in the moment and it will come out in whatever it is I am writing. When I write, it comes from the feeling in my heart, and before I hand it over to a singer I have to then decide who can deliver this feeling. I got to pick that person and work with that person, so if I know that artist and their style it makes my writing job that much easier. The rest I leave for god, like I tell most writers, do all you can to your piece and then leave it alone, he will take care of the rest.
Looking back at your life in the entertainment industry, through so many different eras and trends in music, what would you say in your experience has been the most significant change that the R&B music industry has gone through since the Motown days and why?
I think the most significant change, which is odd, has been the marriage of the visual that is now drawn to the public. The visual gives the public more now than the lyrics did then. It doesn’t have to be a great song to make you love an artist, it can be the way that they appeal to you, so I think the combination between visual imagery and of course the power of the internet. Now I am neither for or against it, but like I have always said, talents are given to you and it lies within your power as to how you use those talents and how you devote your time to mastering that talent. It is all different now, which is great, but it has definitely changed how artists become stars.
What is Mickey Stevenson doing today and what are your thoughts of the music industry as it stands today?
Well at the moment I am doing musicals; plays and theatre, which is a great love of mine. I have some wonderful shows like Singing From The Heart, which is the history of Billie Holliday, Josephine Baker, Lena Horne, all the great ladies of that era. You will love it. Smokey Robinson and I did some of the music together and it is just amazing. I love writing shows where history and music combine and thrive together, so I write a few of those types of plays. And of course my book is doing great, and I have received interest in turning it into a movie, so I am thinking about it and I am happy about it all.
Can I ask you what your working relationship with Berry Gordy was like and how you both got along in those developmental years of Motown?
I never came up in the R&B world, my influence was more of a pop background. So I brought an element of light and sound and an almost live theatre type feeling to Motown, and I was blessed that Berry Gordy gave me the freedom to use my gift freely. Our relationship was very special and I remember when we first met, I had come in as a singer looking to be signed to the label. Berry was looking for an A&R man, but I had no idea what that was *laughs*. During our first meeting I played him some of my songs and I thought he was digging them. so at the end I say to him “so which song shall we put on my first record?” And he looked at me like I was crazy *laughs* and says to me “Record? Look, I like your music man but your voice is shit!” Oh my gosh, I nearly fell to the floor when I heard him say that *laughs*, but that was what we did you know, sought out the best talents in our artists and pushed their god given gifts to the forefront.
What advice would you give to artists today who are wanting to become entertainers and respectable music artists instead of one hit wonders?
My advice is you must make up your mind to absolutely devote the time to becoming great. You try it great, you will fall among the stars. Now to make that work you must know what you are doing with your time, be devoted and know that it will cost you but it will pay off in the end!
For more information on Mickey Stevenson and his work visit his official website.
Originally published on Ms Hennessey Speaks Blog.
Image: Wikiwand
Having secured himself as one of Australia’s most enigmatic upcoming hip-hop artists in 2015, B Wise is fast becoming a force to be reckoned with in the local scene. The young rapper has already performed alongside acts such as Tuka (Thundamentals,) Vince Staples and Yelawolf among others, and next week will be supporting the legendary Freddie Gibbs, among others, gaining a loyal legion of his own fans along the way.
The recipient of a nomination for ‘Next Big Thing’ in the 2015 SMAC Awards, B Wise has released his brand new single 40 Days, produced by the incredible Nic Martin (Urthboy, Seth Sentry, 360 and Illy). Listen here:
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The single is the latest music from B Wise’s upcoming EP, due out in May. Additionally, he’s scored his first major feature, appearing on Running Into The Flames, a standout track on Urthboy’s brand new album The Past Beats Inside Me Like A Second Heartbeat. What’s more, B Wise will shortly be announcing his first ever headline tour – so keep an eye and an ear out for more details soon!
40 Days is to be released via iTunes, Spotify and so on tomorrow, Friday, March 4. We’re hoping for big big things from this rising young talent.