Tona speaks on his upcoming “Silverspring Crescent” project amidst a host of co-signs from artists, radio personalities and producers in the global hip-hop industry.
Part 2 of Jesse Jones’“Conversations” series has him chopping it up with one of the first dudes from my generation to really take hip-hop choreography to the next level – Do-dat founder and SYTYCDC judge – Luther Brown, whose worked with the likes of Diddy, Brandy, Janet Jackson and Alicia Keys.
K’naan and Sol Guy talk the famine crisis in Somalia as they attempt to make a difference at a grassroots and government level with the likes of U2’s Bono and Senator John McCain’s wife, Cindy McCain.
hyperadmin | Interviews | Monday, September 5th, 2011
Lovin’ the shine Mega’s getting right about now. Been ridin’ with dude since day one so it’s great to see some international exposure! I don’t doubt that there will be much more to come. If you’re behind, here’s some MegaMan required listening:
Well, I have a very close relationship with DJ Folk, Young Jeezy’s DJ, and he has a close relationship with Josh and a couple of guys from Cash Money. I was hearing the Wayne album was finished, closed, so I gave up on that. He actually had a record from me already that was supposed to be on the album that was suppose to feature Amy Winehouse, but it didn’t go through. I don’t know details. But then I heard the credits reopened. Someone told me he was looking for a hard track. I created something new, off the top. I just thought of Wayne and went from there. The beat came out the way it came out. I made sure it had that Wayne feeling, that Wayne vibe. I sent it to Folk, and he sent it to Josh and the rest is history.
And the first track you made, the one that was suppose to have Amy Winehouse on it… How did that almost end up on Wayne’s album?
I got a phone call from Boi-1da, he said, “I might have a placement featuring Amy Winehouse.” He would know more info more than me, but that would’ve been epic. It was a track I had, I had a reference on it from Liz Rodriguez. She’s a songwriter signed to Universal. She did a reference for me and Wayne heard it, he liked it and wanted to put Amy on it. But, it didn’t go through and I don’t know details as to why. That beat wasn’t even meant for Wayne, though. It was meant for Jay-Z, Kanye or Lupe. I just learned that you don’t… I stop making beats for artists based on what they’ve done and started doing stuff I wanna do and go with that. Artists don’t want to come out with whatever they came out with already. They want something new and they trust you to know what that is.
hyperadmin | Interviews | Thursday, August 4th, 2011
Lol @ “Straight Out Of Brampton”.
JStaffz is a young Hip-Hop producer from Brampton, Ontario. That’s in Canada, near Toronto, if you’re not familiar with the Great Lakes region of the Western hemisphere, North America to be specific.
JStaffz has produced for the likes of Wiz Khalifa and Tony Yayo, as well as a plethora of other up-n-coming artists across the globe. J is on his grind, period. He has 80,000 or more followers on Twitter, makes new beats every day, and even aspires to be a spokesperson for either Ray-Ban or BlackBerry. Hell, BlackBerry could use some JStaffz hustle the way those darn RIM stocks are looking…
Just the other day, Yo! Raps sat down with JStaffz, beside a very shiny and expensive-looking German piano at Number 9 Recording Studios in downtown Toronto. We spoke about a great number of things, enough to write a book about, and every few minutes he would effortlessly caress the keys of the big German machine. Hell, it’s probably the same piano Atom Egoyan and his composer used to score that spell-bounding film, The Sweet Hereafter, the one with Sarah Polley in it. I’ve read Atom frequents Number 9 Studios when he’s working on a new project. Nevertheless, I’m more drawn to JStaffz’ kind of movie, the symphonic punch of Brampton-esque swag. Hell, if J’s beats get any more epic he might just topple Drake for next year’s Juno Award.