WIRE ENT.

KEVIN GATES

It’s not often the music industry is graced with an artist like Kevin Gates: Southern-bred and raised by the streets with unmatched lyrical creativity, universal appeal, boyish good looks, college educated, a knack for learning, and an unexpected desire to love those around him. Press play on a Kevin Gates record and you’ll instantly know he’s the truth.

Born and raised in Baton Rouge, Louisiana, Kevin discovered his musical talents at an early age. His grandmother, grandfather and mother all played music, so it was no surprise when the young artist started writing his own raps while in 7th grade. With a passion for rhymes and academic intelligence beyond his years, Kevin was well on his way to becoming a budding star. But, his life took a drastic turn during 8th grade when his grandfather died. As the only solid father figure in his life, the loss hit young Kevin hard and he took to hustling on the streets to cope with his emotions. After brief stints in and out of juvenile detention, Kevin set up a studio inside of his grandmother’s house and started recording his raps at 17 years old. He eventually put out three well-received mixtapes titled “Pick of Da Litter,” “All or Nothin” and “All In.” Kevin recalls, “The All or Nothin mixtape is one of my favorite mixtapes I ever did. But if you go back and listen to all of them, it’s really my bio because everything I was going through at the time, I did it.” However, his progress abruptly came to a halt when he caught a 3-year prison sentence and later released in 2011.

Kevin immediately took to the studio to express what was going on in his life and walked out with his fourth street mixtape titled “Don’t Know What to Call It Vol. 1.” The project attracted regional attention and created a fast-spreading buzz hyping Kevin as a Southern force to reckon with. Never one to cause a problem and always respectful of others, Kevin gained respect while growing up in his neighborhood streets which subsequently turned into widespread support of his honest music. “I really used music as my diary. Everything I rap about I did. I go rap about what happened today then leave out the studio and go back to my little block that I run,” explains Kevin.

With his buzz spreading from the streets to the suburbs throughout Louisiana, Kevin caught the attention of rap superstar Lil Wayne who flew him out to Miami to record a few tracks. Soon after, Young Money Cash Money became Kevin’s official representation and his new manager “Fee” would help catapult Kevin’s career to the next level. In April 2012, the certified artist put out his hottest mixtape yet titled “Make Em Believe,” with his highly praised singles “Satellite” and “Love You” that garnered over 2 million hits on YouTube. The southern emcee went on to work with the likes of Master P, Akon, Birdman, Young Scooter, Lil Boosie, Jim Jones, Pusha T and Nut Da Kid and paired up with heavy hitter producers including Kane Beatz, ID Labs, Justice League, The Maven Boys and Jim Johnson.

Riding the wave of his recent mixtape success, Kevin dropped his debut full-length album titled “In the Meantime” on iTunes in late 2012. The compilation of street bangers established Kevin Gates as a new artist to watch, converting fans young and old, of different cultures and backgrounds. He will release new projects every 90 days starting with his upcoming mixtape “The Luca Brasi Story” slated to drop in February. “This is a commitment I made to my fans. I realized how big of an impact my music makes to them and I know what it was like for me when I needed music the most, so I’m going to keep putting it out for people who love it,” says Kevin.

While maintaining his growing star power, the Southern street king also makes executive decisions at the helm of his own record label “Breadwinners Association,” home to two budding artists Percy Keith and Terrence Hines. He also finds time to take part in an achievement academy in his hometown where he speaks to young middle and high school students about the importance of making right choices in life. “I think my greatest attribute is I love people. It’s not difficult for me to put myself in the shoes of another person. I love people and that’s my niche. I believe my music is very honest, brutally honest.” And that’s why we can’t get enough of Kevin Gates.

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BODEGA BAMZ

A “bodega” is Spanish slang word for a “corner store” open practically 24/hours a day. It carries all the goods you would ever think to need and comes in handy when most needed. “BAM” is the common acronym for “by any means”. Ladies and gentlemen. MeetBodega Bamz, born Nathanial De La Rosa.

In 2010 Spanish Harlem birthed the TANBOYS, a movement created by rapper Bodega Bamz and others close to him such as brother Ohla and rapper WILLIE HEX – who you can listen to on some of Bamz’ tracks such as “P.A.P.I.”   However, before we continue, I encourage you to think about what a “tanboy” is.

We were all very familiar with Terror Squad back in the late 90′s right? You know, the Bronx-based hip-hop collective originated by the late great Big Pun, Fat Joe, Cuban Link and Triple Seis? In case you aren’t familiar, have been living in a box or were born just a few years ago,  they were the epitome of Latin rap. They formed in 1998 and in 2007, Terror Squad signed to Koch Records. They represented the Hispanic culture for every Latino that indulged in the lyricism of rap, but like many movements the squad would eventually part ways and venture off into other directions. Consider this history lesson concluded.

Inspired by the demeaning words used when referencing the bunch, rapper Bodega Bamz and the rest of his squad cultivated a movement that’s been making quite the noise in NYC. Today Latins all around the nation wear a “tandana” (a tan bandana) to represent the Latin pride, while some have even tattooed the word “P.A.P.I.” on themselves in order to represent. Consider it a modern day Terror Squad if you will, though not to compare the two.

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SEAN ANONYMOUS

My name is Sean Anonymous.

I rap with Wide Eyes.

Yup.

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PROF

No artist has emerged from Minnesota this decade and walked his own private catwalk quite like Prof. After spending the early part of the 2010’s having amassed a strong loyal following, distributing nearly 200,000 records through his own imprint, Stophouse, his 2013 signing to Rhymesayers Entertainment helped propel him to the next stage of his career before releasing his landmark 2015 Rhymesayers debut, Liability. Additionally, his annual self-headlined Prof Outdoors festival has repeatedly sold out a 4,000+ capacity for years. While there’s been a perception that the eccentric Minneapolis MC is out-of-control, Prof’s undeterred, unwavering commitment to his mission has revealed the detailed craftsmanship behind the perceived chaos. Today, as his latest album title states, the newly sophisticated Prof is more accurately referred to as Pookie Baby.

While Prof may be best known for his show-stopping live performances, with this album he pulls back the curtain, inviting the listener to join him for the most private of moments, all with a sleek touch of sophistication. As much of a showman as he is a shaman, Pookie Baby was poured out of the perspective of a man known for wild live shows, whose rigorous touring and performance schedule led to debilitating injuries. Grounded for months and undergoing multiple surgeries, Prof returned with a new perspective, and a new pair of gators. This new Pookie Baby persona is all cleaned up, teeming with unbridled sexuality, and suited with a multitude of styles that run the gamut from triple-time Chicago drill to emotive, bluesy crooning. Pookie Baby helps clarify where this passion and the essence of Prof come from, and he’s never been better dressed for it.

As Prof continues to become more refined in crafting songs, Pookie Baby showcases a spectrum of moods, ranging from infectious absurdity to earnestly introspective. “Focus” highlights Prof’s well-buttoned dedication to perfectionism behind the anarchy. “No” unflinchingly gives aggressive self-preservation the anthem it’s always deserved. “Be Around” touches on the most satisfying comforts of dependability in relationships. “Send Nudes” finds reward in the vulnerable intimacy present in exposing oneself via text message, when done consensually. Pookie Baby culminates in the one-two punch of “Minneapolis” and “Eulogy,” with the former asserting his love for his hometown, while the latter affirms his keen awareness of the ever-present fragility of life and the specter of mortality.

From cynically skewering the authenticity of artistic statements, as on “I’ve Cooked Crack Before”, through the heartfelt reminiscence of “Designated Hitter” recounting the place marijuana holds in his happier memories, to ultimately knowing how he wants to be remembered once he’s left the world’s stage, Pookie Baby is just as much the crowd-pleasing party animal’s moment of prideful self-reflection, as it is the blueprint for making the most out of life while navigating the hardships. Please remember to enjoy Pookie Baby responsibly.

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EPMD

Once described as “the rap equivalent of a rock & roll garage band,” EPMD (stands for “Erick and Parrish Making Dollars”) got into the hip-hop business not to spout its political agenda, but to have fun and get paid.

Erick Sermon and Parrish Smith grew up together on Long Island, home to rappers Eric B. and Rakim, De La Soul, and Public Enemy’s Flavor Flav. In 1987, while on a college break, Smith (who played tight end for Southern Connecticut State University’s football team) recorded with Sermon the duo’s raps, which they had first performed together the previous year. EPMD immediately released the songs as a 12-inch single (“It’s My Thing” b/w “You’re a Customer”) on Sleeping Bag (a subsidiary of independent Fresh Records), which sold 500,000 copies. Within six weeks of its release, Strictly Business had topped the R&B LPs chart (#1, 1988) and gone gold. Hits included “You Gots to Chill” (#22 R&B, 1988) and “Strictly Business” (#25 R&B, 1988).

EPMD’s initial sound blended suburban angst with the hardcore edge of their inner-city rap brethren. The group’s self-produced raw, bass-heavy rhythm tracks were fortified liberally by sampled loops (Steve Miller’s “Fly Like an Eagle,” Bob Marley’s “I Shot the Sheriff”). Critics pegged Sermon’s slurred vocal delivery as everything from “cotton-mouthed” to sounding like he was “rapping through a mouthful of marbles.”

As its title suggests, Unfinished Business offered more of the same. By the early ’90s, with the vast popularity of gangsta rap, EPMD acknowledged the style by injecting Business as Usual with a harder edge, and it paid off. The album went to #36 on the pop chart and scored hits with “Gold Digger” (#14 R&B, 1991) and “Rampage” (#30 R&B, 1992), the latter a collaboration with L.L. Cool J. In 1992 the duo released Business Never Personal (#14 pop, #5 R&B), which contained the hit “Crossover” (#42 pop, #14 R&B, 1992). Sermon and Smith formed a production team, working with K-Solo, Das EFX, and Redman, and put together the Hit Squad package tour.

In early 1993 EPMD called it quits, according to Billboard, reportedly over financial disagreements so severe that one member of the duo allegedly hired people to break into the other’s home to resolve the matter. Both Sermon and Smith then launched independent careers that included Sermon’s Def Squad posse of acts (Redman, K-Solo, and Keith Murray) and the management of Das EFX and other acts via Smith’s Shuma Entertainment. Sermon’s No Pressure (#16 pop, #2 R&B, 1993) charted with the single “Stay Real” (#92 pop, #52 R&B). Smith (now just PMD after his moniker, Parrish Mad Deep) continued to stay in the business with Shadé Business (#12 R&B, 1994). Sermon also joined Redman and Murray for a Def Squad album, 1998’s El Nine O.

The MC duo reunited as EPMD to record 1997’s Back in Business (#4 R&B), which featured a more stripped-down sound and earned mixed reviews. It was followed two years later by Out of Business (#13 pop). By 1999, both had also become devout Christians. And that same year, Sermon launched his own Def Squad label (in a deal with Dreamworks/Universal), debuting with Dave Hollister’s Ghetto Hymns. He also worked as a producer on new discs by Redman and Murray.

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