COURT DIGGA

 

The story of Courtney “Court Digga” Powell’s career reads like a good action novel – full of suspense, surprise and unbelievable endings.

Born in the southern heat of Charleston, South Carolina, Courtney Powell was uprooted to the hitmaking mecca of Brooklyn, New York. Always having a deep appreciation for music as well as an ear for powerful songs, Courtney had no idea that he was destined to become one of the most dynamic executives in the modern recording industry. With his, “Pull your self up from the bootstraps” approach, he has successfully propelled himself into a rewarding career that spans more than a decade.

It all began for Digga in 1991 when he moved to Atlanta, GA. He began studying Music Industry Management and Business Administration at Georgia State University. The academic rigor exposed him to the business side of music. But his side-hustle of party promotion opened his eyes to the magnitude of the Hip-Hop arena. Feeling something in the Atlanta music scene that provoked an undeniable hunger, he began to lay the foundation, which fused his business savvy with the energy of music.

After forming the Management and Artist Development entity known as Amongst Frenz Entertainment [AFE], Digga’s experience as an independent promoter led him into the position of A&R assistant for the late, Lisa Left Eye Lopes in 1996. This opportunity allowed Digga to excel and execute in the areas of selecting music producers, audio engineers and artist developers.

In 2001, after years of fine-tuning his expertise of street promotions, Digga landed a position as consultant at Def Jam Records in Atlanta GA., where he ran a promotional street team of twelve soldiers and executed the promotion strategy for Jay-Z’s 1999, Hard Knock Life tour. His promotions success consistently disturbed the peace, and his path of opportunities continued to expand.

With the quickening pace of his developing career, momentum carried him back to NYC: In January of 2000, Court Digga accepted the Director of Marketing & Promotion position at Elektra Entertainment under then chairman, Sylvia Rhone. At Elektra, he wore many hats, forged relationships with DJs across the country, distributed product to the top 25 crossover radio stations, organized tour routing, assisted in running the marketing department and made sure the streets were not forgotten. Digga was also a contributing force for the musical projects of such artists as Missy Elliot, Tamia, Lil Mo and Fabulous. The never-resting, always striving powerhouse of Courtney “Court Digga” Powell survived the massive shake up of the music industry, and in 2002 he began his tenure as the National Director of Urban Street Marketing within the tour marketing department of Atlantic Records.

Where is he now? In 2008, Digga is holding rank as National Mix Show Coordinator for Bad Boy, working as a liason for such groups as Danity Kane, Day 26, Donnie Klang, Elephant Man, Yung Joc, Gorilla Zoe, Janelle Monae and he’s still just getting started. Court Digga continues to polish his expertise, finesse relationships and surpass the expectations of industry insiders. The lesson to be learned from this industry mogul, is that where there is determination and drive, success is inevitable.

THROWBACK CITY INSTRUMENTALS

The Throwback City Instrumental album was released [digitally on itunes and cd baby] this past December, and will release on vinyl March 11th in retail stores and in stores throughout Canada, Japan, Paris and the UK.   Super Producer [and former Beatminerz producer] Baby Paul wanted the classic album to be a collector’s item.  “Only a handful of producers and DJs put out instrumental albums, and I realized that Hip Hop is the only genre that does that. It truly is a grassroots project and I’m proud of it,” BP says of the project.

BP established Divine Order Entertainment [D.O.E.] in 2006.  The label reflects his creative vision and opinion of how music should be produced.  But there’s more to this label name than meets the eye:   “Everything that happens to me, happens in God’s time and with God’s understanding.”  The spiritual root of the name came about as a result of experiences that BP says challenged his relationship with himself – and which have defined his reality.   BP refers to the unseen forces that have impacted his life as, “Divine Order.”

About the inspiration behind the TBC album:  “I looked at some of my producer peers like J Dilla, Alcamyst, Large Professor and Pete Rock, who have successfully launched instrumental albums.  Over the years, I’ve collected and created music and have what is called, ‘a lost catalogue’ or ‘lost tapes,’ which is music that never found the right artist to translate it creatively.  A few key grassroots producers contributed instrumental releases such as JD (formerly of Slum Village), who put out Donuts and who was incredibly abstract and brilliant.  His album had a lot of breaks, beats and intricate chops.” 

BP wanted to utilize a combination of sampling as well as live instruments to portray his musical diversity.  He sequenced the music on the album three times to create its final sound.  Though the album lacks lyrics, the music manages to convey moods and statements based on the instrumental arrangement; it is a combination of the past, present - and BP’s look to the future standard of urban music. 

BP chose the name, “Throwback City” because creatively, his learning foundation started with Hip Hop:  With the progressive market and strong presence that Hip Hop has today, he wanted to make sure that the foundation of the era he came from was not lost.   The theme may be based in the past, but it’s not stuck there.  Add to the “throwback” element of the album, “city” because there’s 30 songs on it illustrating its many conglomerates, like a city.   “You’re coming into my town when you listen to it,” he says.

BP collaborated with Mike Risko on this album, who played instruments and did some additional programming, as he has done with BP on past projects involving Nas and AZ.

BP executive produced Amil’s album, which is a joint venture deal between D.O.E. and Baby Grande and has a tentative release date spring, 2008.  The album also features production from Eazy Mo B and Kwame.  BP says of Amil’s album that its, “A statement:  She stepped it up a notch in terms of her writing style and content.  She’s a movement all by herself.  Some artists require a lot of help with artist features, but she handles it well on her own. There are pending feature appearances for her upcoming album by Keisha Cole, The Game, Killa Mike from the Outkast family and Trick Daddy.”

Upcoming projects for BP include the “Throwback City DJ Tour” with the Executioners.  They will travel to select cities throughout the US and overseas.  The theme of the tour is to celebrate and promote the TBC album through spinning classic hip hop, breaks, beats, jazz, soul, r & b and turntablizm.

Currently underway for BP is his debut appearance and co-starring role in independent film, “Soulful” produced by the Tough Struggle Entertainment film company.  It will be available on DVD through Koch Distribution this coming February online and in Blockbusters.  BP’s next starring role with the film company was as A&R, soundtrack consultant, and scorer of their new film, “Expendable,” which is in post-production phase now.  Recently departed LaLa Brown did some songs that will be used for the score and soundtrack, as BP has promised Ms. Brown’s family that she would be memorialized in this film’s production.

Last but not least, BP is working on AZ’s album, “Undeniable” due March, 2008 on Koch records.

For more information on Baby Paul’s music visit his website www.bpzy.net and www.myspace.com/babypaulbpzy

FLOWER

Detroit native and self-taught visual and literary artist, Martha Glinski, is internationally known as a figurative and realist painter, and has also been acclaimed for her impressionistic and contemporary/abstract paintings.

Martha – now a New Yorker by way of Paris and Boston has exhibited in Paris, Boston and New York, as well as various cities throughout Africa and Asia with works in the collections of numerous celebrity clients.

Martha sold her first painting to a Ford Motor Company Executive at the age of 13, although her first big break came at 22 when she was commissioned for 6 portraits by a Bill Cosby production at Felt Forum, Madison Square Gardens. Following that, she produced 17 paintings for the Joanne Woodward/Paul Newman Production, “See How She Runs,” presented on the General Electric Theatre for CBS TV.

Her oil paintings are created on the finest Belgium Linen.

For more information on the artist visit-

http://www.jazzhouse.org/pipermail/members-announce/2005-August/000176.html

http://www.henrygregggallery.com/pastexhibitions-details.asp?id=5

http://www.dumbo-newyork.com/files/August-September_2005.pdf

GODSPEED

LinQue has worn many hats over the past year with the production of her new album “GODSPEED” slated for digital release September 30th on CD Baby and lin-que.com. As captain of her own ship this time, her attention to copywriting and merchandising has been her focal point given today’s music marketplace.

The album’s title, “‘GODSPEED’ is a reference to God’s timing in the completion of this project,” she says. LinQue’s lyrical style and objective is similar to her role as “Isis” during her stint with the ’90s rap group X Clan; she references heritage and spirituality – something that is lacking with today’s mainstream music.

In addition to LinQue, producers .0 (Point Zero) and Azteknique have had a hand in the construction of the album.

“Hip-Hop is about rhyming on any kind of beat, but there’s a big difference between spitting lyricism and making Hip-Hop tracks: People might be better at blazing your brain than making an actual song.”

LinQue believes that the album buyers of today (the younger generation) are concerned with the beat and hook, whereas LinQue is a product of an era that celebrated the lyrics. She says, “I was privileged to witness true Hip-Hop: My generation was able to take a negative, and channel it into positive – whether someone was an emcee, dj or dancer – they took advantage of the opportunity to express Hip-Hop’s art form. It was a healthy competition; if you were caught biting, you weren’t respected. Unoriginality was wack. Nowadays, competition is below the belt and you have to do more to fit in.”

LinQue aims to break the monotony in today’s music: “Hip-Hop hasn’t been prevalent in the past ten years. The glitz and glam have represented the music and sends false messages of success to the public; people have come to recognize ’success’ to mean gold fronts and $ signs. But there’s more to life than falling prey to the $ sign.” She believes that true success is being able to live with yourself.

LinQue respects the originality and passion of such artists as Nas, Kesha Cole, Joe Budden, Fantasia, Talib Kweli and OutKast and states that however talented, they don’t all fit the cookie-cutter mold of the industry standard and says, “You have to be willing to expose the crap you go through in order to be real. Sade’s expertise and artistry is so real, you have to honor it. Mary J Blige took her audience through the stages of her growth.”

The manifestation of this opinion is ever-present on the tracks of her new album: Hip-Hop Holy War illuminates the difference between emcees and rappers; Let ‘Em Know is a lyrical timeline of LinQue’s progression from her days as “Isis” to where she is now; Keep it Real Tight is reflective of her struggle as an artist, and Last Call discusses her 4 – year sobriety from alcohol and marijuana, which through the insidious promotion of it, has become the norm in music and for the masses who believe the music.

With regard to women in music, LinQue believes that they have yet to get what they are entitled to and says of the industry, “…They don’t know how to market women without using sex.” LinQue on the other hand, has developed her angle as a female lyricist, campaigning the issues in life that affect us all and is unbending to the norm.

LinQue’s advice to artists striking out on their own whether they are on the come-up or flying solo is to, “Believe in yourself; it’s a cookie-cutter market and people will tell you all kinds of stuff to deter you. Never give up and never give in.”

To hear more from this classic, lyrical bombshell or for more information on her tour dates and album release events visit- myspace.com/linquemusic and www.lin-que.com

THE ALBUM

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Smif-N-Wessun is at it again more than twenty years after their first hit with their new album entitiled, “The Album,” set for release at duckdown.com and itunes.com, October 23.

Producers Ken Ring, Tommy Tee and Collen & Webb of Norway accomplished threading together the classic Boot Camp gritty style, with a splash of instrumental diversity expected of a Smif-N-Wessun album, and tailor-made for a BCC audience. Feature appearances include Joell Ortiz, Loudmouf Choir, Rock, Chuckii Star and Million Styles.

This album is a head-nodder, guaranteed to keep your ears warm this winter with a diverse platform of synthesized strings and harmonies. Instrumentally, the pace is mid-tempo and the majority of the tracks are original with a hint of Biggie Smalls, Bootsy Collins, Native American and Classical influences sprinkled in, lending credibility to the album’s diversity.

There comes a time in the mid-life psyche of a person, in which they reflect on their experiences. Ironically this is the stage Smif-N-Wessun are at: Their memories of growing up and their timeline of societal changes are documented and prevalent on this album, as they challenge themselves in addressing the political issues of our day. Their lyrical delivery is original and aggressively, intelligent. Their main concern voiced is, “Who Will Save Us” from the mistakes of our government?

The album’s first few tracks are reflective of their childhood, then segue into their careers – and finally balances out with their look to the future. The end of the album is less reflective and more contemporary sounding with high, lyrical IQ.

Of course, this wouldn’t be a product of the BCC without their classic slang terminolgy, “…Slap earth, wind and fire outta you,” said at least once on “The Album.”

Expect to be enthralled by Smif-N-Wessun’s honesty and sentimentality about the past, and impressed with their simplicity, yet instrumental diversity. It’s classic Boot Camp Click, reincarnated – 2007 style.

 

JUNIOR “ONE BLOOD” REID

Pioneering, Roots-Reggae artist Junior Reid of Kingston, Jamaica is enjoying the success that his recent collaborations with MIMS, Game, Fabulous, Fat Joe and Alicia Keys have contributed to his music catalog. He says that like his song “One Blood” with Game, he shares a brotherhood with these artists: “Love conquers all things and it’s about getting the work done. To each one, teach one.”

Reid attributes his musical inspiration to his tough upbringing in West Kingston’s notorious Waterhouse district, entertaining and performing for people in his community. After his first international gig in England, the invitations started pouring in from all over the world he says.

Reid – born “Delroy Reid,” was given the nickname “Junior” by his parents and says he’s been doing music since he was a baby. Reid, also referred to as “One Blood” by cronies and fans, concedes that it has always been his intention (for as long as he can remember) to produce music people would remember, and considers himself a living legend of Reggae Music, championing the styles and culture of Jamaica: “It’s not just the youth who appreciate my music, families and people of all ages come out to see me perform.”

The events that afflict the common, human experience fuels his artistry: He says, “Everything starts and ends with the ghetto. The whole world is a ghetto. Rich men make money off the ghetto, and the art and struggle of the ghetto is what makes it a hotbed of expression and opportunity.”

Currently, Reid has projects in the works with Rick Ross, T-Pain and many more – the details of which – shall remain a surprise for now.

Junior – One Blood – Reid says, “Don’t forget me because I’m part of the creation: My focus is on expressing the most-high that exists in each of us. Fashion and styles come and go, but good songs live on forever.”

CORMEGA SAYS OWNERSHIP IS THE ONLY WAY

“I’m from the streets…” A term coined by legendary greats of the Hip Hop game, and those who command instant credibility.  It is also a statement echoed by a familiar voice as he recalls his past.

Cormega started out knee-deep in the vernacular, dramas and ways of the streets before evolving into the man he is today.  Mega says his cousin was a big influence for him:  “Karenga brought me out to battle everybody, who he thought was hot.  He believed in me before I really knew I could Rap.”

Mega further sites Hip Hop legend M.C. Shan as a big influence:  “I remember seeing him perform at park jams.”  It was during this era that the crack epidemic took over the streets of QB and he quickly did what many of his peers did which was to write, sell drugs and live carelessly. Predictably, Cormega fell prey to the streets and landed in jail faster than on stage.

Nas created a buzz about his jailed crony when he said,  “What’s up with Cormega,” on the One Love track off the Illmatic album. 

Upon Mega’s return home from his brief stint in jail, he joined forces with The Firm and things started looking up for him, but he couldn’t escape the streets.  Still dabbling in two separate operations, he managed yet to gain his notoriety as a hot rapper:  “Things were looking good, but I was always a businessman first and when I didn’t sign a production deal with Nas, things got a little shaky.”

However, things quickly turned around for Mega when he signed to Def Jam, which he later recalled was a big mistake: “They signed me thinking that my affiliation with The Firm would generate better sales and make their job easier in terms of marketing me.  But I live by my decisions. Every deal is not necessarily a good one – and the more money there is at stake, the more you have to pay attention.  If I knew then what I know now, I probably wouldn’t have signed with them because they didn’t know what to do with me.  Every artist that blew up, piggybacked off another label like DMX, who was signed before me, but it took Bad Boy’s, ‘24 hours to live’ song and others before they dropped him.”

While Nas and The Firm would earn their acclaim, Mega was the odd man out, signed to a label that he believed wasn’t marketing him properly and if that wasn’t enough, the scandal was all over the streets. Frustrated with the situation after years of being shelved, Cormega remembered growing, “…Impatient and I decided to give Def Jam and Kevin Liles an offer they couldn’t refuse:  I clearly stated that if they weren’t going to put my album out, they needed to release me.”  When Liles said he wanted to discuss it, Mega said there was nothing to discuss.  He wasn’t playing and the streets knew that.  Mega needed the opportunity to get his music and his life together.  He did what his lawyers didn’t, which was to overturn a Def Jam policy.  To this day people still ask him how he was able to get himself released – it’s unheard of.

Now a free agent, Mega pondered how to move forward with his music.  He felt he should have probably went to Loud Records or Penalty Records, who also wanted to sign him, but focused on re-launching his music in mixtape form, and enjoyed the sales that came of it.  Mega recalls, “…Learning about distribution and the business. My mixtapes began to pop and I started doing shows.  After that, I met with the Land Speed Record label (this was when Koch was a graveyard), and signed with them.  I was promised my album would be out in three months and without much publicity or promotion, the album sold 100,000 copies, which was unheard of at the time for an indie artist.  I was the first New York artist to test the indie market and succeed.”

Cormega stayed loyal to the label that put his music out and put Landspeed on the map.  He was the first indie rapper to receive a Source Award.  He states:  ”I respect those who helped, and I’m glad to have seen a lot of success and money with Land Speed.  I introduced a lot of people to them, such as Sha Money XL, the Mobb and Foxy Brown; I became the blueprint of indie success. But like many things that start off good, they have to eventually end; I should have been credited for a lot of things that happened, but the only real way to be successful is to be the businessman with a legal hustle, so I changed my life to reflect my business side:  I named my label, “Legal Hustle Music Group” and have the distribution that all the other independent labels have. Who would ever think that despite every thing that happened, I’m now in a position to be a better provider for my daughter and better businessman overall?  My career has made a full circle and I’m as focused and determined as ever to put my product out directly through my company.”

The lesson of his experience, is that as long as you stay focused and work hard, you can beat the odds.  He believes that ownership is the only way.

Copyrite Nov. 12, 2007
BY EG
Print Mag, December

STREETSWEEPER DJ SCOPE

DJ Scope – member of the notorious New York Streetsweepers DJ team, produces four mixtapes weekly of Hip Hop, R & B, Reggae and “Top Picks of The Week.”

This Springfield, MA native only lives there, because by all accounts he gets around: Before he was inducted into the Kay Slay DJ family in 2005, he was a Superfriend DJ [ATL DJ affiliation] founded by DJ Mars, who appointed Scope to hold down the east coast and southern regions.

Scope keeps his mixtapes fresh with feature-artist appearances by industry newcomers, and top entertainers throughout the United States and abroad, who both contribute exclusive music to his mixtapes as well as host them.

He says of today’s music marketplace that it’s “Over-saturated with Internet, mp3-downloaders, who have confused blending songs onto a CD, with being a DJ.” The difference between he and other [self proclaimed] DJs is that he applies the traditional standard of cutting and scratching into his contemporary product – a technique that’s being gradually phased out by new mixtape producers.

As a club DJ, Scope takes it back to the days of Kid Capri, “When DJs talked on the mic and got the crowd hype,” he says.

Scope believes that getting exclusive music from the artists he showcases on his mixtapes is key in putting out four mixtapes weekly and in doing so, his work ethic centers around maintaining good relationships with artists and giving everyone [those on the come-up and in the majors] a slot on his mixtape. Scope says, “It’s about keeping it fresh with up-to-date releases and back-to-back exclusives.”

The industry thrives off mixtape DJs like Scope, who help keep their artist buzz alive. Scope’s music arrangement, artist exclusives and cutting edge scratching skills is a mixtape you can bump all the way through.

DJ Scope’s music is downloadable at mixtapetorrent.com, imixtape.com, datpif.com, mixtapehype.com and themixgame.com. You can also visit him at myspace.com/infrareddjscope

STREETS MOS MAGAZINE 4.5 CONFERENCE

Streets Mos Magazine holds it’s annual Street Conference on Saturday, Jan 12, 2008 from 12pm – until…

Lead sponsor Will Roberson, the “Quincy Jones of Hip Hop” and CEO of Diggin 4 Brown says, “I believe in the vision of what SM is doing and it’s only natural that I support a movement that supports the streets.”

Special thanks also goes to sponsor, B. Mack of Foundation Magazine (Mixtape Culture) for helping to make this event possible.

The Conference, founded by the creators of the new, internationally distributed magazine, Streets Mos, is dedicated to opening the doors of opportunity for independent artists and will have a combination of industry insiders and the hottest, unsigned talent in attendance.

The theme of 2008’s Conference is “24 Hours of Hip Hop” and celebrates Hip Hop culture by uniting unsigned, worthy artists with industry bosses to make possible, their next record deal and to provide career-enhancing opportunities.

The Twist: Streets Mos has received the distribution to release a compilation album through Koch Entertainment, courtesy of Corey McKay (Legal Hustle Music Group/Koch Ent.) otherwise known as “Cormega,” formerly of The Firm. McKay, who fully endorses the Magazine, recognizes it as a platform to promote and expand awareness of unsigned talent.

Reputable promoters have also signed on to partake of this auspicious event, and contributed a $10K promotional package giveaway to the artist who wins the, “STREET ARTIST of THE YEAR” title. The winner will also be featured on the lead single off the Streets Mos Wanted Album, and will receive a year’s worth of advertising with all affiliated outlets.

The winners of categories, Best Solo Artist, Best Group, Best Female artist, and Best Latino artist will also be announced.

Interested artists should register as soon as possible, as spots are limited.

Among confirmed attendees of this annual Street Conference are Multi Platinum Record Producer Dame Grease, DJ Enyce, DJ Thoro, Get Money Nation, Action Pac, Ty Boogie and Goldie, Terrel Blair (Hood Life DVD), Tammy Feliciano (CEO of Streets Mos Representado), The First Lady Godiva (Streets Mos Radio), Kengee Henry (4 Front Magazine), Ray Daniels (Drahma Magazine), Swagg News Big Apple, Break Magazine, Kraze (All Access DVD), Cynthia Horner (Celebrity Publicist), J. Hatch (Faces in The Crowd), Jesse Jess (Underground Music Awards), Adante Ace (Streets Have a Voice), Monster and Jay (Slick Talk Ent.), “Heart of The City” Industry Showcase, Tom Black (Street to Street DVD), Bob Celestin (celebrity lawyer), Cormega (Legal Hustle Music Group) and many more.

STREETS MOS MAGAZINE

Streets Mos Magazine held it’s 4.5, annual Street Conference January 12th at 125th Street’s National Black Theatre of Harlem, where Lexx9eleven was awarded the “Street Artist of The Year” title and received a substantial promotional package, one year’s worth of free advertising and the lead single off a compilation album being distributed and released through Legal Hustle Music Group/Koch Distribution later this year.

Among attendees to grace the theatre that day were Doug E. Fresh, Cappadonna of Wu Tang, Lady Elz of Don Diva Magazine, Lin Que of X Clan, Ness of the A-Alikes, NYOIL, Dame Grease, Will Roberson of Diggin for Brown and many more.

Celebrity lawyer, Bob Celestin, kicked off the conference with a brief lecture on the legal principles of establishing a career in the music industry. This was followed by the Female Rapper competition, in which a judge panel of 7 media professionals [including Lady Elz and Linque] named Young Nik the official winner.

A various cast of industry leaders and media personalities selected the winners of the following categories to be Tim Vocal for Rising Stars, Will Porter for Streets Representado and Gang America (Stevie B. Allstars) for Best Hip Hop Group.

Lexx9eleven, the official winner of the Jan 12th Street Conference says, “I’ve been a winner my whole life… but it feels good to win, I appreciate those who appreciate what I’m doing. There was a lot of hot artists in the building that day, so it’s definitely an honor.”

Lexx, who has been rapping professionally for 6 years has worked with such artists as The Game, The Outlawz, Naughty By Nature, ONYX and Kesha Cole to name a few. He has a mixtape on the streets right now called “Playing Dirty to Get Filthy Rich: King of Queens” [volume 2]. And he’s looking forward to tackling a lot of projects this year. He says, “Every time I drop something, you’re gonna feel it. Shoutout to ‘Queens the Movement!’”

The January ’08 Street Conference lived up to it’s theme, “24 hours of Hip Hop,” with action-packed artist performances throughout the day and night and panel discussions addressing “How to Get Your Buzz Up,” and “The Power of Media.”

The next Street Conference is scheduled for June ‘08. All worthy artists get ready to take advantage of Streets Mos Magazine’s next deal-making event when it unfolds again this summer with new judges and new giveaways. Be sure to bring your new music! Register early at smstreetconference@gmail.com.

Special thanks goes to Adante Ace and Hana Glinski of Hana & Associates PR for co-organizing the event, as well as Terrell Blair of Hood Life DVD, B Mack of The Foundation Magazine, Kurt Flurt of Datzwhatzup.com, Ema of E2K Magazine, J Hatch, The First Lady Godiva, Tammy Feliciano, Big Phil, Tez of Get Money Nation, Play Girl of Rap Fanatic Magazine, Dame Grease and Sev Black of Mixtapes.online.com .