The 37th Chamber

Showcasing the dopest Hip-Hop around Miami

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Redman

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Only right

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The People’s Champ Bronsalino

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No more baby curls on the forehead

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Mr Wonderful

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Bronson

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Miami

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City vices

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Artist Keyani Watkins warps art into his own pieces

Miami, the cultural melting pot of a metropolis, has been going through an art renaissance within the past few years, in due part to the international success of Art Basel and the recent growth of of the community of Wynwood.

To further continue the growth of the arts and culture, Downtown Miami held their third annual Art Days Festival, featuring tons of local artists, exhibits, tours and workshops. One particular artist features hip-hop with a nostalgic 90’s cartoon twist. Meet Keyani Watkins, a visual artist studying at the Miami International University formerly known as Art Institute in Downtown Miami, who was recently a part of an exhibit showcase during Art Days at the Vizcayne in Downtown on Friday, Sept. 19. I was able to sit down with Mr. Watkins to dig deeper into the artist.

Q: Earlier you mentioned to me that you’re attending MIU; so first things first, how do you like art school?

A: It’s cool. They teach you to really sharpen your skills; whether it’s drawing, painting or whatever your art field is. It’s funny because, in my first studio class, my teacher called my art boring. I used to do a lot of regular portrait pieces. He said it was good, but not interesting. I needed to find my own style because basic portraiture would not make me stand out in the very competitive art world. It was frustrating, but I see how it pushed me to make my art better.

Q: Earlier as well you had touched on the fact that you live down south, by Richmond Heights. How’s that drive to Downtown throughout the week?

A: I don’t drive at the moment. I use public transportation. I take the bus to the Metrorail and get on the Metro mover to school. It’s a long ride, but I enjoy the alone time. It’s sort of peaceful to me.

Q: Wow, that’s a pretty long commute, I’m assuming you’re glued to your iPod. Would you say this has a strong influence on your work?

A: Yes, music always influences me. I usually draw musicians because of this.

Q: Ok cool, well I love your style man, It’s original. How did you come up with this?

A: Well, after being frustrated with not having my own style, I did some research on Instagram. I found a really humble artist, now a good friend of mine, and I reached out to him. I really liked his work and I told him I wanted to use it and flip it in my own style. He was cool with it so from that day on I’ve been doing this whole pop art thing, which I love.

Q: That’s crazy. Who would you say was your biggest inspiration in reference to your style?

A: My inspirations include Banksy and Warhol, of course, but also the artists I found on Instagram who have a similar style, like Maykol (@doubleletterm) and Keel (@namxkeel). Their work is awesome. Check them out!

Q: I’m definitely gonna have to look into that after this interview. So let me ask you, with the recent emergence of the cultural arts in Miami, what separates you from the other thousands of artists in South Florida?

A: Well I believe that I’m pretty much the same as any other hard working artist. My work ethic and self-discipline is what makes me stand out. Being that this is my only job right now, I create plenty of time for it. I’m constantly drawing new pieces; I draw at least one new piece every single day. I usually draw it at night or I won’t be able to sleep well. My ideas will have a “Project X” party in my head if they don’t come out! (Laughs) I HAVE to draw!

Q: Haha yeah man the last thing your creativity needs is a lack of sleep. Well congrats on your work and I’m excited to see what else is yet to come.  How can people see your work or get in contact with you?

A: For custom pieces, I can be contacted by e-mail at [email protected] and Instagram (@Youngblvckgxfted) as well.

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Local artist and WRGP DJ Juan Neira talks art and chaos

Juan Neira has given in to the chaos, but he’s not complaining.

The junior art and art history double major says he was compelled by a greek goddess who shared Neira’s interpretation in seeking to control the uncontrollable. His art — mostly sculptures, film photography and abstract paintings — is modern-day adaptation of what Eris, the goddess of discord and chaos, represents.

“What happens with this goddess is that she can control everything because she was able to control nothing,” Neira said. “Chaos is this brand that we don’t understand, so we don’t accept. But, by her being able to accept it, she was able to control chaos.”

On Oct 2, Neira showcased his refined depiction of life’s turmoils.

He celebrated the opening of his exhibition at the Alberto Linero gallery, located in the heart of Wynwood. The gallery was filled with family, friends and his peers from WRGP Radiate FM.

Neira, the traffic and training director of the University’s student radio station, is also host of a Wednesday folk, lo-fi radio show called “Meet Us in Montauk,” a reference to the cult classic film “Eternal Sunshine of the Spotless Mind.”

“Eris,” the title of his exhibition, was Neira’s first professional art installation.

Neira says the University has aided his growth in art— both through its symbolism and actual craft. As an art history major, Neira was able to delve deep into Greek Mythology.

“I read a lot,” Neira said. “Mythology is a straight depiction of what is humanity. Humanity was transformed to tales so that people could refer to them and help each other to pretty much set up values and norms in their society. The thing about Eris is that [she] and my artwork are a straight reflection of society.”

“That’s how art works. Good art is a direct reflection of society.”

Neira says he doesn’t limit himself to just one specific medium for his art. He uses film photography, sculpture and abstract painting to utilize his creativity.

Becoming a full-time artist wasn’t always the plan. After graduating from Felix Varela High School, his first major at FIU was business. He admits he, like most individuals, thought that this was the only way to become successful after college.

Neira has thus taken a different approach on how to achieve success.

“What makes a successful artist is someone that really works hard, as simple as that seems,” he says. “I’m sure you’ve heard, ‘I wanted to be an artist when I was young, but when I grew up I realized I had to get a real job.’ These people didn’t realize that they needed a real job, what they realized is that being an artist is in fact a very tough job. You have to sacrifice yourself to your art.”

“So many people tell me, ‘Hey, I was trying, but things weren’t really happening with it, so I stopped.’ I haven’t stopped. I had to sacrifice a lot of my free time, my relationships, my friends, my money— everything goes to my art, and that’s what, I guess, makes someone successful, how they’re willing to sacrifice themselves for something more important.”

Neira’s work will be on display until Tuesday Oct 21.

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Rapper provides album that gives an ‘intergalactic-country journey’

As Andre 3000 of Outkast was met with an up roar of boos from a New York crowd at The Source Awards back in 1995, he boldly stated, “the South got something to say.” Outkast would go on to become one of the highest selling-most influential Hip Hop groups of all time, selling out 22 Million albums throughout the lifespan of their nine-year career

Their rebuttal is as relevant as ever, as Big K.R.I.T keeps their spirit alive with his second major label release, Cadillactica.

Big K.R.I.T. (which stands for King Remembered In Time) is a Mississippi lyricist who’s out to prove himself. After being signed to Def Jam Records in 2010 K.R.I.T. was featured as one of XXL’s Freshman of the Year list, as an MC to watch for.

His first major studio release, Live From The Underground, was one of the most anticipated albums of 2011 by Complex Media, yet was met with lackluster reviews, and was actually labeled as of the most disappointing releases that year by the hip-hop blog Rap Radar.

It also didn’t help that he was one of the 11 rappers singled out by Kendrick Lamar’s “Control” verse.

Safe to say K.R.I.T used all the negative energy and frustration to stay in the lab, because Cadillactica shows his growth as an artist.

The premise behind Cadillactica: K.R.I.T creates this fictional planet, and he takes his audience down a soulful, jazzy ride which depicts the creation of how, his evolutionary theory behind it, and even features a conversation between he and his old school car.

The intro track “Kreation” features a couple speaking on whether to create, then starts off with a smooth old school R&B feel to invite the listener in, the songs ends with the couple naming their creation Cadillactica, which is the name of this planet K.R.I.T has created, putting two and two together — this couple birthed a planet. “

One of the standout tracks is the Raphael Saadiq assisted “Soul Food”. The song’s subject matter is about family dinners, where the food would bring the family together, the second verse mentions how our current generation doesn’t understand the essence of love, we’re a more promiscuous based lifestyle, rather that a stay-together bond, just like his grandparents had.

Spirituality is a topic that K.R.I.T does not shy away from in any sense of the word. “Life” has K.R.I.T asking for answers, finding life on this planet he’s created, with lyrics like “I was so close to the sun/I burnt the top off my roof. I travelled a million miles to uncover what most would doubt/Although I believe in God, I need proof.”

On his sophomore major label release, K.R.I.T is finding his identity as an artist. One of the new talents he’s mastered is the soulful hook, which has K.R.I.T singing, which is a first in his career, but the gamble pays off. In fact, my personal favorite tracks are “Third Eye”, “Angels”, and “Soul Food”, all three with soulful croons, but the first two feature K.R.I.T singing. After having blues legend B.B. King feature on his first album’s track “Porchlight”, which features Kit rapping as a first person perspective as a runaway slave, its good to see that King rubbed off on his music even more.

Also a first on Cadillactica, is the fact that the multi-talented K.R.I.T takes a break from total control of his sound, leaving production in the hands of Dj Dahi and Jim. Usually K.R.I.T writes the verse, hook, produces the beat and masters it as well.

Though the album contrasts between his laid back country tunes to more intense songs where’s has K.R.I.T straight flexing through his delivery, K.R.I.T loses no quality and instead shows off his versatility.

Cadillactica is crafted for long drives, or something along the lines where one can listen in its entirety, to get the full gist of the country crafted planet. Substantial lyrics, soulful melodies, and trunk rattling bass, K.R.I.T delivers on his intergalactic effort.

Rating 4/5 Stars.

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Rolling Loud: a force providing hip-hop concerts in Miami

It’s springtime in Miami and as the days get warmer and the sands of South Beach fill up, the Ultra promoters show up in full force: girls in eccentric outfits, flying banners and EDM tunes blaring from the speakers, reminding beach-goers that festival season has returned.

But why is it the only major music festival happening in Miami?

That’s what Tariq Cheriff, co-founder and CEO of Dope Entertainment asked himself a year ago.

If you’re didn’t know, Dope Ent. has been the force providing hip-hop concerts throughout Florida for the past five years, with acts as big as Wale and Waka Flocka, to more underground artists like Dom Kennedy and The Underachievers.

On Feb. 28, Cheriff and the rest of the Dope boys will bring in hip-hop acts for Dope Entertainment’s first annual mega-concert –Rolling Loud.

Rolling Loud has 30 acts featured, with more to be announced as well. Schoolboy Q is headlining with other notable MC’s: Action Bronson, Juicy J, A$AP Ferg, Curren$y, Domo Genesis, Travi$ Scott, and Casey Veggies. Expect also to see Miami’s local scene represented by Denzel Curry, Pouya, Robb Bank$, and Yung Simmie.

Cheriff, who comes from a Western Sahara background, found himself moving around the United States every couple of years, living in Washington, D.C, Massachusetts, Hollywood, and Albaquerque until he finished in Fort Lauderdale during his last years of high school before eventually enrolling at FSU.

Before throwing Dope concerts throughout Florida, Cheriff was throwing parties back in high school.

“My grandma has a pretty cool house in Fort Lauderdale. She would let us throw parties there. So it started like that. Remember Hurricane Katrina? Yeah, so we threw a massive rager. We charged everybody $5, had like four kegs, and if you were a freshman, we charged you $20. We raised $3,500 and donated it to Red Cross. We promoted it as a Hurricane Katrina relief party and we did it through our school. I remember coming in to school with all that money in fives and ones. They asked us how we got the money and we told them we went door–to-door.”

Which eventually led Cheriff to where he’s at now, booking rappers for shows throughout the Sunshine State.

“Sophomore year I moved into a house with my two really good friends, and it had a three car garage and we built the dopest party area ever. We had this nice oak bar, this kegerator that fit two kegs, and a 120-inch projector screen to watch football games on. We got a written arrest for charging entry, charging for alcohol but we’re past that now. I was doing that because I liked throwing parties and girls coming in. Then I saw kids were doing these EDM parties in Tallahassee and booking DJs. Frat kids and sorority girls were selling tickets hand-to-hand. They’re just booking a DJ for their party, which isn’t that different from what I’m doing. I was really into hip-hop. Then I was like, ‘Yo where are all the rappers I like? Why don’t they come into town?’”

But success was not that easy, as Cheriff’s first after-party flopped.

“We lost a lot of money and at the same time I was finding out I was having my son. I locked myself up in my room for the next 24 hours. I was like: ‘I need to go back to my original plan and get Curren$y.’”

A year later, Cheriff tried again.

“I paid the deposit knowing I didn’t have the rest of the money, yet but I was willing to take the risk. I signed the contracts and we set up three shows in Florida in February, 2011. Orlando did 500, Tampa did 800 people and the Miami show sold out with 1000 people. From there we kept going. After we found a little bit of success, then we were like ‘Alright, we’re not gonna be doing the after parties. We’re gonna book rappers for shows and that’s it.”

Rolling Loud SATURDAY FEBRUARY 28, 2015 GATES OPEN AT 1PM | ALL AGES WELCOME SOHO STUDIOS | 2136 NW 1ST AVE. MIAMI, FL

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Big K.R.I.T.’s “Pay Attention Tour” hits LMNT

Mississippi artist, Big K.R.I.T. has recently felt the need to prove his worth since his latest release “Cadillactica” dropped November of 2014.

Besides being labeled as one of the victims of Kendrick Lamar’s scathing “Control” verse, K.R.I.T even stated on “Mt. Olympus,” that the odds aren’t in his favor in regards to being considered the best lyricist in hip-hop because of his southern background.

With that being said, K.R.I.T.’s  “Pay Attention Tour” (named after his second single) hit LMNT in Wynwood this past Saturday (March 13, 2014) and much like its title, proved he’s not the one to sleep on, but rather to “Pay Attention” to.

The concert hit a bit of a rough start as Texas group Crit Life, who besides having a similar name as the headliner, actually had the crowd on the opposite side of the spectrum.

During their opening performance, the group was met with locals heckling throughout the crowd, which then led to an affiliate of the band throwing water at the hecklers.

Usually performers throw water into the crowd as their energy picks up but in this case, it was more of a taunt, which led to the individual playing concert vigilante–going into the crowd himself looking for the perpetrator, inciting a brawl at the front of the stage.

Security handled the scuffle swiftly, but the vibe of the crowd was pretty distraught. To little surprise, DJ Dibiase took to the stage to setup, instantly shifting the overall tone of the venue.

Krizzle ran up on the stage, exuding pure adrenaline and performed his high tempo mixtape cut “King Without A Crown”.  After the song, K.R.I.T. revealed to the crowd that he has not performed in Dade County since 2012. With that being said, he promised to give his fans a memorable performance and he would not let them down.

With much disdain, I felt as if K.R.I.T. was going to only perform songs off his latest release, “Cadillactica,” but to my surprise, he performed tracks off both studio albums as well as several of his mixtapes. This led me to the realization that 28-year-old K.R.I.T. has a stronger, more extensive discography than most of his peers.

While performing “Only One” off the mixtape “King Remembered In Time,” K.R.I.T. surprised the crowd by bringing out frequent collaborator Smoke DZA. Soon after while performing the title track of the tour, K.R.I.T. brought out Rico Love to serenade the crowd during “Pay Attention.”

Late in his set, K.R.I.T. ran off stage and out to an alley outside the venue briefly. He returned to the stage to announce to the crowd that LMNT management had received noise complaints and that his set was to be cut short. In order to soothe the crowd, K.R.I.T. performed an ode to his deceased grandmother with “The Vent,” a soulful cut off the “Return of 4Eva” mixtape, before ultimately finishing the show with the powerful track “Mt. Olympus,” where he solidifies his place as a top-tier artist in hip-hop.

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The Void: Your Muse’s Favorite Party

Dubbed as “your muse’s favorite party,” The Void brings together artists of all mediums from around the city. Painters, graffiti writers, photographers and more filled the LMNT venue this past Friday.

Rather than just curating different visual artists, The Void combines live musical performances, alongside the art displayed, creating a premiere party in the heart of the Wynwood area.

The vibe at the Void can only be described as “cool.” The crowd was dressed in the latest street fashions, and a good portion of the crowd would be able to blend into any A$AP Rocky music video.

Music-wise, The Void hosted talent from a diverse array of genres. The crowd was treated to reggae stylings from Nelson Serieux while the band called SunGhosts brought their rock element to the show.

Visual artist Ibaki showcased his pop art, which featured portraits of hip-hop figures like Tupac, Notorious B.I.G, Jay Z, with a twist. The lines within the portraits were not just for show, but actually created a solvable maze, in each piece. Urban pop artist Surge displayed his series “Sucka Mcs,” whose vibrant vector art commanded an audience of its own.

The title of the show stemmed from the trippy psychedelic movie “Enter the Void” after Event Coordinator and DJ, Sean Bang, hung out with local rapper Denzel Curry at his home in Carol City a few months back. Bang was still in the development phases of the party, when Curry suggested “The Void” as the name of the event.

With the current state of hip-hop going through its own psychedelic phase through the music of Flatbush Zombies, Chance the Rapper and Joey Bada$$, Bang felt “The Void” would be the perfect fit for the show.

After a solid turnout on Friday, The Void has proven itself as the art show locals around the city do not want to miss out on.

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DJ EFN’s nostalgic release “Another Time” brings back classic rap to Miami

Throughout American culture, different eras of time have had a specific genre that defined that era’s history.

“I would particularly get drawn to the way music defined generations and decades, the way you can remember that something happened in history, and it had a soundtrack to it,” says local Miami Hip Hop Executive DJ EFN.

Though born in Los Angeles, EFN has always been proud to represent Miami, specifically the Kendall area. The Miami Sunset Senior High alumni has made his origins clear, from his career’s early mixtapes series, to his recent compilation album “Another Time.”

Like the album’s title insists, DJ EFN chose to craft an album that had the same vibe as the 90s rugged and raw hip-hop scene. Artists like N.W.A. and Public Enemy had aggressive-political content in their music and were still developing the genre’s popularity despite radio play.

“At that time hip-hop artists didn’t even want to be on the radio. The main scene at that time was forget the radio, the radio is for Vanilla Ice and MC Hammer, the radio was not what hip- hop is.”

Growing up through this era, EFN has decided to take the same approach and include current underground rappers, who have created their own following, without the mainstream/pop approach.Another Time features songs with veteran artists like Scarface and Redman, current artists Killer Mike and Your Old Droog as well as local talent Denzel Curry and Gunplay.

Being an early pioneer of Miami hip-hop mixtapes, EFN recalls a time when he

did whatever it took to get emerging artists like Outkast and Kanye West featured on his tapes.

“If they were performing in Miami, for a concert or whatever, I would roll up on them with my crew, hand them the microphone and be like, ‘What’s up I’m DJ EFN, I need you to drop a freestyle for my mixtape,’ on the spot. I knew nothing was going to be given to me and I felt like these guys needed to be heard in Miami.”

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Bronsalino

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Mr. Wonderful: Action Bronson Channels 80s Rock on Debut LP

Rives Reviews

Action Bronson is one of the biggest acts in 2015. Standing at 5’8”, 295 lbs, one can argue that Bronson is hip-hop’s John Belushi. Whether it’s his ridiculous hyperboles or his raucous on-stage antics, Action Bronson is becoming a household name in pop culture.

Bronson’s story is like something out of a Marvel superhero movie. Before rap, Bronson was a gourmet chef, but after a kitchen slip broke his leg in 2011, Bronson used his downtime to focus more on his rap hobby. Four years later, Bronson is releasing his major label debut album “Mr. Wonderful” under Atlantic Records-Vice Media.

The Albanian MC out of Queens, New York has a distinct sound style about him. He might be the closest thing to modern day Wu Tang, besides vocally sounding like Ghostface Killah, Bronson is best known for his over-the-top metaphors, which include him performing ridiculous stunts like triple backflips, or dropkicks. Very similar to Wu Tang Clan’s hyperboles which led to their 90’s reign of rap.

Similar to his past mixtapes like “Rare Chandeliers” and the “Blue Chips” series, Bronson channels his inner 80’s rock star. Yet, on those albums, he only sampled classic rock to rap on, but now on songs like “City Boy Blues” and “Only In America,” it removes itself from the typical rap feel, and instead finds Bronson singing and crooning throughout the song. The gamble pays off, but not entirely, as the intro track “Brand New Car” isn’t as smooth as a transition as the aforementioned songs. Apparently Bronson and producer Mark Ronson had penned a handwritten letter to Billy Joel asking for the clearing of his song “Zanzibar” as a sample, but it leaves one wondering if it was really worth all the trouble.

Fans of Bronson’s classic New York raps will be satisfied as he doesn’t transition entirely to 80’s rock. His singles “Easy Rider,” “Actin’ Crazy,” as well as “The Rising” and “Falconry” find Bronson on his gully-street raps, filled with what he’s known best for–ridiculous hyperbole and gourmet food references. Some examples can be found on “Easy Rider,” “tell the pilot land the plane on Roosevelt and Main, Put a jacuzzi on the seven train”, or on “Actin Crazy,” “all I do is eat oysters and speak six languages in three voices.”

The thing with “Mr Wonderful” is when it hits, it connects thoroughly, but when its off, it’s way off. On “THUG LOVE STORY 2017 THE MUSICAL (Interlude)”, listeners will be less than delighted to hear what sounds like a homeless dude from the Lower East Side of Manhattan sing throughout the 3 minute track.

“The Passage” is another example of Bronson reaching for that 80’s rockstar feel, the track is a recording from a performance in Prague, but instead of Bronson rapping, its a 4 minute psychedelic instrumentation, sans rapping, that leads into Easy Rider.

Overall “Mr Wonderful” feels like another Action Bronson mixtape, but with major label budgeting. The majority of production features frequent collaborators: The Alchemist, Party Supplies, Statik Selektah, with additional work from Mark Ronson and OVO Noah “40” Shebib from Drake’s camp.

The music videos for “Easy Rider”, “Acting Crazy”, and “Baby Blue” are the most creative and downright funniest videos since the days of Ludacris walking around with a midget on his necklace. Bronson gambled on his major label debut with the 80’s rock vibe, but it works out for the most part. With his “Munchies” internet show, and a cookbook underway, “Mr.Wonderful” seems to be Bronson’s transition from underground sensation to mainstream superstar.

Notable tracks: Easy Rider, City Boy Blues, Only in America

Rating: 4/5

http://fiusm.com/2015/04/02/mr-wonderful-action-bronson-channels-80s-rock-on-debut-lp/