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• URBAN MAGAZINE
EDITORIAL
…Then B.I. said Hov remind yourself, no one’s
built like you. You design yourself…
Damn, it feels good to have people up on it. It being this issue your
holding. The first of many for those that missed out on the preview issue.
In any case, allow me to reintroduce myself. I am BE’N ORIGINAL. And
this …This is Urban Magazine. Not to be confused with Urban Network,
Urban City, Urban Latino, or even URB, we are simply Urban, your Vibe
Alternative.
How dare a former scribe take on a major? I dare because I can. My
father said I can do anything if I put my mind to it. He backs it up every
time he cuts a check so how can I stop. To show you, how serious I am,
I went and got one of hottest models in the game to rep on the cover.
Vida wanted you to know what really happened. She doesn’t even have
a Sidekick. I thought you knew!
If that wasn’t enough, Urban Legend Teri Woods came through and
broke down the publishing game, Em’s former bodyguard Byron “Big
Naz” Williams reveals Shady Bizzness, and Bad Boy’s VP of A&R Conrad
Dimanche breaks down what it takes to make their roster.
Forgive me if my confidence offends you. I know it sounds cocky, but,
what do you expect from a guy who buys XXL just to read the editorial.
Elliot is the best that ever done it. See what you started. Shout out to
King’s EIC Datwon who encouraged me to do my thing cause real dudes
don’t sweat the next man’s hustle.
This is how I rep where I am from. What am I giving back? A legacy for
my kids to follow, knowing that they can and will own something in this
world. Don’t hate me player cause I own a team …as you should. Get
your own!
Watch me make my momma proud
BE’N ORIGINAL
Owner|Publisher|Editor in Chief
PS. It’s not about the page count, it’s about
the content. This is dedicated to those who
can’t relate. Next issue: Gloria Velez and
publicists who hurt their client’s career.
• URBAN MAGAZINE
W
hile it may be easier for
some to say absolutely
nothing about the multitude
of displaced African American victims
of Hurricane Katrina, Kanye West
spoke sincerely what many who
embraced the urban culture thought as
we watched New Orleans fall. Anyone
who had a heart would be disappointed
in the federal government’s pace
to assist those in need. It is equally
disappointing that certain artists voiced
their displeasure with Ye’s words, yet
failed to address those whose shoulders
bear the responsibility to ensure the
safety of our fellow citizens. Not one
harsh word for the former officers
who quit serving and protecting or
the government officials who dragged
their heels. And though many gave
thousands for relief, Kanye West gave
far more, something the victims needed
most of all … A VOICE.
- BE’N ORIGINAL
All that is necessary for the triumph
of evil is that good men do nothing”
(Edmund Burke).
KANYE WEST: A LESSON IN LEADERSHIP
Words: Yvonne Harmon
“George Bush doesn’t care about Black people.” One simple sentence that
reverberated through the country and altered race relations in this country.
Only this time, it was not Jesse Jackson or Al Sharpton who spoke out. Nor was it
Julian Bond or Roy Innis demanding that something be done. This time, a hiphop star stood up and spoke out about the injustice and tragedy that he saw.
Kanye West has never been known to shy away from controversy when
speaking his mind. Thus, it is not surprising that he chose to voice his opinion
about the situation in New Orleans in the aftermath of Hurricane Katrina during
his live appearance on NBC’s relief telethon. It is also not surprising the amount
of criticism he has received for exercising his right to free speech. Many felt
that the timing was inappropriate. He should have kept the mood positive.
Nevertheless, how can one be positive when everyday on television you see
Black people starving and dehydrating surrounding by bodies.
FOX News commentators repeatedly made comments that the survivors at
the Superdome and Convention Center in New Orleans had only themselves to
blame for being stranded, they should have heeded the evacuation warning
and left. Day after day, the country watched and did nothing while little Black
children were left without food and water. All Kanye did was call it just like he
saw it. He forced white America to acknowledge what we all saw happening in
New Orleans. Poor, Black people were left to die.
For those who think Kanye was too harsh in his criticism of Bush, remember
this is the President who interrupted his vacation less than six months ago to sign
a law to save a brain-dead white woman in Florida. This is the President who
talked about the sanctity of life and how precious all life was in whatever form.
This same man, who felt so strongly then about saving lives, did nothing while he
was well aware of the problems and complications in New Orleans. Kanye was
not hard on Bush, nor was he unfair. He was simply calling a spade a spade.
Most African-Americans agreed with Kanye’s sentiment, if not his actual
words. An MSNBC poll showed that 70% of African-Americans believe the
response would have been faster if the victims in New Orleans had been white
as compared with 30% of white people. Kanye West is just a rapper, but his
willingness to say what he thought and what he felt has led to America pledging
to invest $200 billion into the New Orleans area. Even though Bush’s promise is
a political move designed to save face, it is still a positive for people who may
have the opportunity to own their first home ever.
Change always seems to come from the least likely people. All it takes is one
person willing to stand up and speak the truth that everyone sees, but no one
wants to admit. All it takes is one person with the courage to speak his mind at
a time when most are afraid speak at all.
URBAN MAGAZINE • URBAN MAGAZINE | NEWS
T.I. LENDS A HELPING HAND
G
rand Hustle/Atlantic recording artist
T.I. spent Labor Day getting personally
involved in relief efforts to aid victims
of Hurricane Katrina. The platinumcertified rap superstar reached out to
Atlanta’s V-103 FM listeners for more
than several hours, pleading with
them to lend their support to those whose lives have been
disrupted by the disaster in the Gulf Coast. TI’s personal
donation of $50,000 started the pledge drive as well as
helped to raise over $263,000, with proceeds going to
Mississippi-based producer/rapper David Banner’s Heal the
Hood Foundation.
In addition, T.I. has teamed up with a number of his fellow
hip-hop superstars, including David Banner and Young
Jeezy, for a massive food and clothing drive. The event was
held at Atlanta’s Club Vision Tuesday, September 6th and
Wednesday, September 7th, from 9AM to 9PM. Donators
for “The Drive” were asked to bring such items as clothing,
non-perishable food and drinks, children’s toys and games,
and battery-included radios and flashlights.
EMINEM TEAMS UP WITH SHOWTIME
R
obert Greenblatt, Showtime President of
Entertainment, announced an exclusive
Showtime special event featuring Eminem.
Eminem, one of the top-selling artists in
music, takes his raw and uncensored concert
exclusively to Showtime for a special December
airing. Em’s full-length performance has been
pre-recorded in August at the Madison Square Garden
during this summer’s ANGER MANAGEMENT tour.
Eminem’s performance will include songs from his latest
critically-acclaimed album,
“Encore” and other hits which led him to stardom, as well
as the Oscar®-winning single “Lose Yourself”. “Eminem is-one of music’s most outspoken and talented original artists
today. Since you rarely see him in concert, this will truly
be an event for our audience,” said Greenblatt. The show
is directed by Grammy®-nominated Hamish Hamilton
who has produced and directed specials for some of the
biggest names in the music industry including Madonna,
U2, Peter Gabriel, Norah Jones and also directed the
exclusive Showtime hit event: ONE NIGHT ONE STAR: USHER
LIVE in March 2005
COMING SOON! JANUARY 2006 | EMCEES ONLY NO RAPPERS ALLOWED | WWW.URBANMAGAZINE.NET
URBAN MAGAZINE • 11
URBAN MAGAZINE | NEWS
LIL’ KIM SAYS GOODBYE
K
imberly Jones (aka Lil’ Kim) issued the
following statement on, September 19, 2005
prior to reporting to prison:
“I have unfortunately been assigned to
a federal detention center instead of a
prison camp as discussed, in the City of
Philadelphia. I am not certain that this
constitutes fair & equal treatment”
“However, today begins a new saga in my life which I
expect to strengthen me and allow me time for reflection.
I am blessed to have so many great things in my life
- family, friends, and God. All will be in my thoughts daily. I
plan to write music while in prison, read and pray regularly
and will come out a stronger, more confident woman.”
“I will write many of my fans, and expect the “Lil Kim”
brand to be even bigger when I come out - I am just
getting started in my career. My fourth solo album, “The
Naked Truth,” comes out next week on September 27th,
and I have much more planned. Thanks to all for their
thoughts and prayers...and I will see you soon.”
SEAN PAUL MAKES REGGAE HISTORY
S
ean Paul’s newest album, The Trinity (VP/Atlantic),
tops the Reggae charts today, selling over
107,000 in its first week, the highest ever reggae
debut in SoundScan history. It’s been a good
month for music from Jamaica: just a week ago,
Damian Marley sold 86,000 in his first week, then
the biggest debut for a reggae release since
Nielsen SoundScan starting collating data in 1991. However,
his reign as champ of Jamaican music was short-lived, with
Sean Paul - the man who put Jamaica’s dancehall on the
map - back on the scene in a big way with this week’s #7
on the Billboard 200, #4 on R&B chart, and, of course, #1
on the Reggae chart. This marks Sean Paul’s highest chart
position to date.
THE TRINITY is the follow-up to the King of Dancehall’s
breakthrough debut album, 2002’s DUTTY ROCK, which sold
65,000 in its first week and went on to become an international
phenomenon, selling over 6 million worldwide. That album
spawned four mega hit singles as well as collaborations with
artists such as Beyonce, Jay-Z, Busta Rhymes, and even
Sting at the 2004 GRAMMYs. On THE TRINITY, Sean returns to
his signature blend of reggae, dancehall, and hip-hop,
COMING SOON! JANUARY 2006 | EMCEES ONLY NO RAPPERS ALLOWED | WWW.URBANMAGAZINE.NET
12 • URBAN MAGAZINE
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THE OTHER SIDE OF THE STORY
Byron Williams, Author of Shady Bizzness
All he wanted was to be paid for services he rendered as Eminem’s
bodyguard. Eminem told his side of story to the police, Byron
Williams talked to us.
“All the people were standing around and coming out on their porches. They are witnesses
now. He’s [Eminem] standing there threatening that he’s going shoot me. He’s got his
hand on lil’ nine millimeter tuck down in her shirt so now I’m like okay if this guy pulls
this gun out, I’m going to blast him. I am going to have to kill him because I got a wife
and two kids to go back to.
I had a leather coat on. I put my hand inside my pocket. I had this 40. Cal right there. I
am slowly easing the 40. Cal out. I already got one in the chamber. I am praying the whole
time, please don’t let this dude raise this gun up because if he does, I am going to have to
kill him.
The thing is that a lot of people don’t understand I am licensed. I am certified and
licensed nationwide to carry concealed weapons, and trained and licensed to kill. This
is the thing, even though I am trained and licensed, we are talking about Eminem. That
would have been the same situation as John Lennon. I would have been doing the record
label a favor… the public a favor. He would have became a legend or an icon. He would
have been up there with James Dean, Elvis… the whole nine.
Believe it or not man, with in that ten or fifteen seconds, all of this was going through
my head, I thought if I kill this guy, I am going to jail whether I am licensed or not because
of the money and power he has and the neighborhood I am in. What I represent is this big
black mandingo. With all this legal paperwork, [ if I kill Eminem] they are going to put
me away. I can’t be away from my wife and kids. At the same time, I can’t let him kill me
either. “-AS TOLD TO BE’N ORIGINAL
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14 • URBAN MAGAZINE
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A&R REPORT|CONRAD DIMANCHE
Vice President of A&R, Bad Boy Records
Describe the most difficult part of your job?
The most difficult part of my job would be
keeping my stamina up and keep delivering. An A&R job has a high turnover.
As soon you can’t deliver a hot record,
you’re gone. The record company
doesn’t need you. That’s the hardest
part, giving Diddy what he wants … a hot
record.
When signing an artist, what attributes do you
consider?
Uniqueness. There are a lot of rappers
that sound alike so it’s hard to find something that sounds fresh. A unique look
and distinctive sound are what I look for.
You started off throwing parties to promote
your barbershop and now you are industry
executive, what kind of transition did you go
through?
It’s business. I saw an opportunity with
a deejay. He was spinning for Ja Rule
and a lot of the Murder Inc acts. I kept
throwing parties and attracting a lot of
attention. I used the same DJ so why not
manage him. I knew I could make money
in other places. He became successful
and local acts were like ‘damn do that for
me’. It just grew from there. My love for
the music and natural business instincts
took over from there.
Describe a day in your life from wake up to
lights out?
As soon as wake up, I check my Blackberry and my phone messages. When
I try to get some sleep, I keep my
Blackberry on silent. When I am in the
bathroom brushing my teeth or on the
toilet, I am on the phone or Blackberry.
Even when I am in the shower I keep
my phone close so I see who’s calling. I
start preparing the night before, making sure that my sessions are straight.
Throughout the day, I talk to artists, attorneys, producers and writers to make
sure that whatever deals we are working
on are getting closed.
Sounds like there’s little time to sleep.
Minimal. It’s far from the top of my list of
things to do.
What is the highlight of a project?
My highlight is when I find that next hot
artists or make the next hot record. I love
closing deals and when I can get a hot
track at a low price. I love it all. Making
a hot record and hearing it on the radio
...it’s a rush for me.
Working at Bad Boy, do you feel that you have
an advantage over other A&R’s?
I think I do because of what I know. A lot
of A&R’s were trained differently. I was
taught a formula of how to make a hit record. A lot of people don’t have it. There
is a certain way that we put together albums. They can have a hot artist but you
can’t listen to the album straight through.
At a lot of labels, it’s not that important to
them. I sit for hours working on how one
song fades into another.
How does it feel to have Diddy as a boss as
well as a mentor?
Having him and Harve [Pierre] is a blessing. To be able to watch them and the
way they conduct business is incredible.
You learn the importance of being able to
maneuver and manage your time.
[A&R REPORT|BLACKSMITH BEATS]
NO
you’re not seeing things so put
all of your presumptions aside.
Though the members of the
production team may look more
likely to produce pop, know that
The Blacksmiths not only produce hip-hop, they do it better
than most. This is not just an opinion. It’s a fact.
Formed a year ago, members J.P., Mike G, Strang,
Joe Bradley, Nyhlie, and J Mack have strong musical
backgrounds and each bring something unique to every
project. Whether they use using live instrumentation or state
of the art digital production tools, their efforts result in a tracks
that rivals the works of today’s hottest producers.
The six men team who currently supplies heat for several
of New York’s most notorious underground artists, don’t rely
on sampling popular or memorable singles to get by. “Each
track is authentically original. If one even sounds close to
something we’ve done before, we pull it apart and start
from scratch” reveals J Mack, “We keep every track unique
in it’s own way.”
While putting the finishing touches on their highly
anticipated compilation, Blacksmith Beats is currently
searching the tri-state area for unsigned artists for their roster.
However, not just any artist will do. J.P. explains. ”We have
been working with artists from all over the place. We are not
trying something that has already been done. We want to
do something fresh and new. The artists we are looking for
must have the same approach to bring some new life into
hip hop.”
URBAN MAGAZINE • 17
[A&R REPORT| ROCCO DON RECORDS]
M
ovement.. It is defined as action towards a
goal. In Poughkeepsie, a little over an hour
away from the Bronx, a collective of artists
have gathered under Rocco Don Records.
The goal … to ensure the Power Kingdom
finally gets the respect it has long deserved.
“This is major. My company provides the opportunity for
kids to not only make the hottest music, but focus their
energies in a positive way” says CEO Rocco Don who
provides free studio time to local youth in a city that seems
to have abandoned them.
Born Rawl Shawn Deslandes in Kingston Jamaica, at the
age of thirteen, Rocco migrated to the U.S.A. where he
became adapted to the ways of American culture. While
he always had a love for music, like a lot of today’s youth,
he became involved in criminal activity while growing up
in Brooklyn. Four years later, he would reach a turning point
after being shot four times.
Turning tragedy to triumph, his experience became the
18 • URBAN MAGAZINE
driving force that led to his decision to open a recording
studio to give the local kids a place to go. But what started
out as a pastime in a safe haven, evolved into a business as
he discovered tremendous talent. In fact, a vast majority of
their singles surpass most of today’s music. “What separates
our artists from other is that they put their hearts and souls
into every song because this may be their only way out”
With the forthcoming release of two LP’s and several
performances along the east coast, Rocco Don artists,
Dog, Black Jack, Who Next, F.T.W., S. Dollaz , Emily White,
and Ramayana are also members of one of the largest
street teams in upstate New York.
Practically self-contained, Rocco Don Records staff
overseas virtually all aspects of every project including
marketing, graphic design, manufacturing and distribution
to accomplish their mission to provide hip-hop, reggae, and
R&B artists, who can not afford expensive studio time, the
opportunity to produce their music to fulfill their dreams.
SPOTLIGHT
TARSHA GIBBS|ACTOR
G
ood actors are few and far
between. However, to catch
one of Tarsha Gibbs’ improv
performances is to witness
acting at its best.
Accepting a challenge to capture
the emotional turmoil of a grieving
mother, Gibbs’ routine is so heart
wrenching, it is easy to forget it she is
just performing.
“Acting is second nature for me.
I enjoy the challenge of playing
complicated characters with lives that
are far from my own and making it
believable.”
The Harlem resident who draws on
real life experiences to enhance her
on screen presence will be appearing
in small roles on 50 Cent’s Get Rich
or Die Trying and a forthcoming flick
starring Denzel Washington.
While perfecting her craft, Gibbs
has earned two master degrees at the
same time raising three kids. When not
acting, she can be found teaching in a
New York City classroom.
CHANGING THE GAME
ONE BOOK AT A TIME
Teri Woods, author and self-publishing powerhouse, gives up the goods on her
journey from barely making’ it to millions.
Urban: I want to start out with the basics. How you got started in the
publishing and writing business …how did you finally decide to give
up your full-time job to go onto the unknown and create your vision?
Teri: I wrote True To The Game in 1992 and was unsuccessful in getting a publisher. So around 1998, I had hand-made
books that I made in a stationary shop. And I started selling
them, and everybody really liked them. I was able to meet
some people who told be about how to go about getting my
barcode, and told me about printing companies. I started
coming to New York in December of ’99, selling the books
hand-to-hand on 125th Street, and from there, I was able to
get distributors. Once I got the distributors, they really started
ordering in bulk. That was how I started. From there, I’ve gone
on to published other books.
At what point in the beginning stages of your process did you decide
to leave your 9 to 5 and focus on your book 100 percent?
Well, I had worked in a law firm, and at some point, I had lost
my job. So, I just collected my little unemployment and did my
little book thing hand-to-hand.
As far as the writing goes, had you always had dreams of becoming a
novelist or did you just recognize a void in black literature that you felt
needed to be filled?
I don’t really think it was either. I always really liked poetry, and
I did a lot of poetry. But it was more or less just me having this
story about a lifestyle that really hadn’t been exposed on the
Philadelphia level. There were all these movies in the late eighties and early nineties that sort of represented the ‘hood, but
didn’t really represent this lifestyle that I knew about, nor did it
represent Philadelphia.
When you finally did get True To The Game into the streets? What was
the initial reaction?
For me, it was just a step by step process. The Coldest Winter Ever [Sista Souljah] had been out, and everybody was really
feeling that book and I sort of knew that they were looking for
something along those lines. I felt that True To The Game took
it just a little step further. It was just a little more urban, a little
more gritty, was just a little bit more street-wise..
Do you feel that you helped catapult urban literature to where it is
today?
I think what I helped do was lay the blueprint for independent
publishing. For individuals to go out here and write their own
books, publish their own books, and make a way for them-
selves ... which would be to continue to self-publish or make
a way to get themselves to a major publishing house and get
a big check., I think at the end of the day, there is a blueprint
that has been left behind. A lot of people wanna give me credit
for the street genre of material that’s out there, and I humbly
accept that, but at the same time, I really think that the more
important issue is that we’ve found another way to create our
own wealth, change our existence, and add quality of living for
ourselves.
Why do you, personally, think that it’s important for blacks to control
their own work, and to personally see their visions carried out and do
things independently?
I think that the important part is the fact that a lot of our stories
and a lot of our life isn’t documented at all. If Sally Jane’s dog
gets hit by a car, Sally Jane can get a whole movie based on
her dog getting hit by a car. There’s not a whole lot of documentation about black life. There hasn’t been a lot of documentation on black life. I think that’s why our younger generation, the kids that are coming up now, have no connection to
the past. They have no connection to the lynchings, and the
slavery, and being burned out of your homes. They have no
understanding of why there’s a systematic structure that works
against them. They don’t understand it, they don’t grasp it,
and therefore, they can’t combat it. They fail. The system failed
them, and then they end up in the system.
I want to know what else can we expect from Teri Woods Productions?
It’s funny, I was talking to some other authors, I always tell them
when I talk to them, “Don’t sell your film rights!” “Don’t do anything with your film rights. I don’t give a fuck who calls you. You
call me and tell me what’s going on.” Because at the end of the
day, I’ll probably take, not only my book, but help everybody
else out there with a book, get it turned into a film. I hope that in
the next five years my film company, Tahluu, is off the ground,
and that I get everything that I want out of my film company and
out of making my books into films.
Any words of wisdom for those trying to make moves like you?
You have to be very, very focused. You have to be very militant.
You gotta be Dutch and you have to know your history. You
have to stand for something out here. You have to believe in
something.
INTERVIEW BY CRYSTAL BRABOY
URBAN MAGAZINE • 21
LEELA JAMES
When she says you can’t buy or fake soul, it’s either in you or it isn’t, she means
it. Don’t be confused. She’s new, but not a neo soul artist. We will let her tell it.
How are things going on the vh1 tour?
Good.
What led to your decision to pursue a singing career?
I think it kind of started when I was in high school. I entered a
few talent showcases and was bit by the bug. People were
telling me that I had something a little more than average and I
should pursue it.
How would you describe THE music ON YOUR DEBUT
ALBUM?
I like to call my music Black Folks Soul. It’s a style of
singing with down home ingredients. It’s true soul. It’s not
manufactured. It’s soul like Black folks.
let’s talk about the producers you have worked with
on a change gonna come.
I had the chance to work with Wyclef, Raphael Saadiq, James
Poyser and Chucky Thompson. I worked with some up and
coming producers as well.
YOU HAVE BEEN COMPARED TO SEVERAL SOUL AND R&B
LEGENDS. NAME SOME OF THE ARTISTS WHO HAVE INSPIRED
YOU OVER THE YEARS.
I would say Gladys Knight, Aretha Franklin, Al Green, and
James Brown.
Your debut album has been classified as neo soul. How
do you feel about that?
I am not neo-soul. I understand people have to find places to
put things., but that’s not a place to put me or my music. My
singing is black folk soul. I don’t subscribe to it. In fact, what
is neo-soul? There is nothing new about it. It’s always been
around. Soul is either in you or it ain’t. My music is definitely not
neo-soul. I am soulful and I am a soul singer. I sing from my
soul.
WHAT ARE YOUR FEELINGS ON THE PRESENCE OF SOUL
MUSIC TODAY?
I just feel like it needs a change. You don’t hear a lot of
good soul music anymore. It is unfortunate that if it isn’t
commercialized pop or hip-hop, it don’t always get played. The
music industry is a business and it can introduce a change and
bring back soul music.
HOW DO YOU FEEL ABOUT THE COMPARISONS TO MACY
GRAY...
I don’t understand the comparisons because we are like night
and day, Once again, when you’re not like something, people
have to put you in some kind of category. I sing soul music.
Our styles are nothing alike. Our voices are nothing alike.
WHAT SEPARATES FROM OTHER ARTIST OUT THERE?
My voice.
DO YOU HAVE ANY ADVICE FOR UNSIGNED ARTISTS?
Stay true to who you are and you’ll be fine. In this industry,
there’s is a lot pressure to follow the trends and do what
everyone else doing. Don’t be afraid to be you. No matter what
stay true to who you are and you will succeed.
-BE’N ORIGINAL
URBAN MAGAZINE • 23
SHARISSA
After capturing the hearts and minds of hip hop and R&B fans with her debut
album No Half Steppin’, Sharissa is back to give more of herself.
How does this album differ from your debut album No
Half Steppin’?
It is more mature. I am in a better place in my life. I know exactly
who I am. I wrote the album this time with exception of two
tracks. It is definitely honest. It is a diary of my life. I wasn’t afraid
to share what I’ve been through and that was something I was
fearful of with No Half Steppin’. I never liked to write because I
did not want people to know what was going on with me.
What experiences were different?
I am not a baby. I feel in love with myself. I have been through
so many different things throughout my childhood that made
me doubt my importance. I know now who I am. I know exactly
why i am here. I am here to live my best life and to sing. God
gave me a gift and that’s what I am going to do.
With this album, you seem more focused on introduc
ing yourself to the listeners, what hindered you with
your debut?
I think that the first album was rushed. I didn’t do much writing
so the fans don’t know who I am if I am not writing. They have
no idea. This time I took my time and they can get to know who
I am.
Describe your favorite songs on the album.
Wow, that’s tough. I do have a couple of favorites. My favorite
is “In Love With A Thug” and it features R. Kelly. I am so excited
with about that record. That’s R. Kelly on a record with me and
I’m an R&B artist. He hasn’t done one of those since Sparkle.
I am just very excited about that one. Tank and I wrote that record and Tank produced it. Robert [R. Kelly} came in and wrote
his verse. It’s a hot … hot record.
When did you decide that you wanted to pursuit a
career in music?
I have always loved singing. I never said to myself that I was
going to be a singer. I have always been Sharissa the singer
from school to where I grew up in the Bronx. It has always been
Sharissa sing for me. I went to school and took some courses
in criminal justice, and some courses in nursing. They were
things I wanted to do as a career. Singing just worked out for
me.
There seems to be a new female artist coming out
every day. What would you say separates you from the
rest?
You know what I don’t know. I really don’t waste my time thinking about what everyone else is doing. I am definitely in my
zone. I am not trying to be anyone else. I’m not trying to appeal to the masses by being anything other than who I am. I am
definitely going to be Sharissa always. I learned that from my
first time. My first LP, I think I was put out to be the new voice of
hip-hop and R&B, the new Mary J., or the new What’s the 411
album. That’s not who I am. I am not trying to be like anyone
else.
Give your thoughts on the current music scene?
I think that they are really starting to comeback towards R&B.
I noticed a lot of rappers are all using R&B singers on their
hooks. I think that hip hop has gotten so harsh. People want
to party and enjoy themselves. We want to relax and fall in love,
they want that rhythm and blues. I think R&B is definitely on the
come up again. There are some really great albums out there.
What was it like to work with R. Kelly?
It was a dream come true. I loved R. Kelly from the first record I
recorded in my life. It was a record written for me by a producer named Sean Hooks called “Why”. R. Kelly had a record
at the time called “Vibe” with Public Announcement. I sort of
mimicked him. From then, I just loved him. For all of these
years, I purchased every album he’s made. I know them from
front to back. Being able to work with him was a dream come
true. I know I am alive now. Shooting the video was the greatest experience with him being there. We both came from the
same struggle. He said I was the female version of him. I would
never expect him to say that to me. He solidifies me. That’s a
blessing.
URBAN MAGAZINE • 25
VIVA
LA VIDA
GUERRA
When a member of the
Urban Forums posted a
statement reportedly
from Flash Records
stating that Vida Guerra
purposely leak the now
famous explicit photos
on the net to hype her
recording debut, we had
to get to the bottom of
the matter…and what a
lovely bottom it is! Anyway
your favorite editor
reached out to Vida’s
publicist and here it is in
her own words. Not that
we expect you to actual
read the article with all
the distractions.
What led to you starting a career in modeling?
A friend sent some picture to a magazine
[FHM] . Six months later, they called me
for a photo shoot. I did the photo shoot
and didn’t think anything of it. When it
came out, it was really good and they
ask me to do another shoot. That’s how
my modeling career started.
How do you differ from other models in the
industry?
I don’t know. I asked myself that same
question. I guess the readers know
cause I am still trying to figure it out.
Have you always wanted to be a model?
No, the main thing I wanted to be was a
entertainer. Singing and acting were my
two favorite things. I know that modeling
comes with that because whenever you
are promoting an album, you are taking
modeling picture for various magazines
so everything kind of goes together. If I
had a choice, I would have done the music first. When the modeling opportunity
came, what better way for me to let the
world to know who I am and from here I
can do what I want to do.
What is the current label situation?
I can’t disclose the label, but there is one
that is extremely interested. I am getting
a lot of offers. There may be a bidding
war. I am in a good place.
As for as the situation with Flash Records and
allegations that you leaked the photos, we
want to make sure you have the chance to
clarify the situation.
I was never signed to Flash. I have my
attorney sending letters saying remove
from the web site, which he [the owner of
the label] never did. I was never signed
to that company. They were getting a
distribution deal base on having me on
the roster. I would never sign with them.
He had no one else. If I am going sign
with someone, it is going to be a big major label. I am not going sign with a small
indie label, especially one that is using
me as a guinea pig.
According to reports the owner alledgelly
threatened to end your career because you
refuse to sign with him.
He said that I am going to do everything
in my power to ruin your career because
he was upset that I wouldn’t sign with
him. I think he is doing it for publicity.
Nobody knows who Flash is. When I was
considering signing, I asked around and
nobody knew him. How am I going to go
into business and nobody respects him.
There are allegations that you were dropped
from Flash Records because you leaked the
photos to promote your forthcoming recording debut.
I never leaked any photos. The day those
pictures came out, I thought my world
came tumbling down. I was really upset.
I would never leak out pictures for free.
I have been approached by Playboy.
I turned down a lot of money so why
would I leak nude pictures of myself. A
lot those pictures aren’t even of me. It’s
a defamation of my character because
some are mine and some aren’t.
Do you have any idea who leaked the photos?
First of all, it wasn’t a T-Mobile Sidekick,
it was a Sprint phone. The picture that
are actually of me were deleted from
my phone. Sprint has an online album. These pictures, I didn’t know until
now, are stored on their servers. Either
somebody hacked into the servers or
somebody working for Sprint publicized
the photos. IThe pictures were deleted
from my phone a long time ago. Sprint
told me that I had an online album and
sure enough when I looked it up, I had
over 173 pictures for the year I had the
phone.
How have the pictures affected your career.
They haven’t had an effect at all.
URBAN MAGAZINE • 27
SHOPPING LIST
STREET RELEASES
IF IT’S HERE IT’S HOT, IF IT AIN’T IT’S NOT!!!!
DIVORCING NEO 2 MARRY
SOUL
by Jaguar Wright
TRINITY
by Sean Paul
THE DAY AFTER
by Twista
I GOTTA MAKE IT
by Trey Songz
THE SUB-WAY MIXTAPE
by Sub-Way Stiles
This is not just a mixtape. This is
a street album. Featuring Ill Bill,
Necro, Raekwon, Bless and Scram
Jones, if you really want to hear
authentic hip-hop, you need this in
your life. Koch needs to give these
guys an indie deal A.S.A.P.
THIS AIN’T A MOVIE DOGG!
by DJ Khaled
Some DJ’s spend their whole lives
hoping that they drop a mixtape
worthy of getting press. Khaled got
it right his first time out. Boasting
tracks from Busta Rhymes, Remy
Martin and Wyclef. he’s off to a
good start.
BIG BOY GAME VI
by Big Mike
Don’t let the CD cover fool you,
How hot is it? Well if another
Lauryn Hill and Nas collabo is not
enough to make you run in cop
it, Juelz’s Crack featuring Young
Jeezy will.
THE NAKED TRUTH
by Lil’ Kim
UNPLUGGED
by Alicia Keys
MAIL MATERIAL FOR REVIEW TO:
URBAN MAGAZINE
270 MAIN STREET, # 65
POUGHKEEPSIE, NEW YORK 12601
28 • URBAN MAGAZINE
BLEND CITY 15
by Ty Boogie
Arguably the best release in the
series, Blend City 15 has it all. JayZ’s Dear Summer over Outstanding is an example of knowing what
works. Other standouts include All
Because of You/ New York and Bad
Girl over Drop It Like It’s Hot.
URBAN MAGAZINE SEPT / OCT
FOR HIM
SHAUNA
FAITH
Location: NJ, NY Age: 20 Height: 5’6
Measurements: 34C-26-36
IT’S JUST
SO NICE
WE HAD TO
SHOW YOU
TWICE!!!!