SWIZZY B: MULTI-GENRE ARTIST, RAPPER, PRODUCER AND SINGER

SWIZZY B IS AN ELECTRIFYING MULTI-GENRE ARTIST CELEBRATED FOR HIS DYNAMIC BLEND OF RAP AND SOULFUL MELODIES. HIS JOURNEY TO THE SPOTLIGHT WAS FORGED THROUGH THE GRASSROOTS—TOURING INDEPENDENTLY AND CAPTIVATING AUDIENCES WITH HIGH-OCTANE, IMMERSIVE LIVE PERFORMANCES.

IN OCTOBER 2022, SWIZZY B ACHIEVED A DEFINING MOMENT IN HIS CAREER WITH A GROUNDBREAKING APPEARANCE ON THE NATIONAL STAGE OF THE SISAUNDRA SHOW. HIS ASCENT TO WIDESPREAD RECOGNITION SOARED FOLLOWING A VIRAL SENSATION ON FACEBOOK, AMASSING AN IMPRESSIVE 13 MILLION VIEWS.

SWIZZY B'S ARTISTRY TRANSCENDS BOUNDARIES, SEAMLESSLY FUSING RAP, ROCK, POP AND SOUL, INVITING LISTENERS INTO A REALM WHERE GENRES INTERTWINE AND EMOTIONS RUN DEEP. HIS MAGNETIC STAGE PRESENCE AND UNPARALLELED ABILITY TO ENGAGE AND ENERGIZE CROWDS HAVE CEMENTED HIS REPUTATION AS A MUST-SEE PERFORMER, LEAVING AN INDELIBLE MARK WHEREVER HE GOES.

Latori Gentrez Williams was born and raised in Phenix City, Alabama. Phenix City is an All-American city with a rich history and has small dedication to a progressive future located one hour southwest of Atlanta. Growing up in Phenix City sports was my life. Playing sports kept me out the streets and kept me focus on finishing school. Sports also allowed me to hide my pain of my dad and both of my brothers that in which are doing Federal Prison time. In my early teens I lost an uncle that I looked to as a father, “Uncle Scoop”. Uncle Scoop led me to being the man and father that I am today to my four children. One of my best accomplishments was winning numerous awards and championships while attending high school. Other prestige’s award that I was won was “Rookie of Year, Best in Phenix City, Best Upcoming Artist, Best New Artist, Best Phenix City Contribution, Best Video of the Year, Best Single of the Year and Best Collaboration of the Year”.
Music has always been my escape for me. It allowed me write about my pain and issues that I deal with in life. Growing up I listened to a lot of artist. But the ones that inspired me the most was groups such as No-Limits, and Cash Money and artists such as Bun B, the late Pimp C and Tupac, Pastor Troy, Mr. ServeOn, Webbie and Boosie BadAzz. I have been asked numerous of times from fans and other artists about what makes me standout from other artist. I am quick to say that my craft, my style and grind is what set me apart from other artist.
Over the course of my career I have several different mix tapes that are surfing the web. Boosie’s first cousin HatchBoy and I have our first collaboration album together that we dropped early 2015 “The Wait is Almost Over” and we are finishing up our second album “Real Nigga Revival” that is scheduled for release late 2015. So far in my career I have released several hit singles with other artists such as Donkey BadAzz (TrackLifeEnt & BadAzzEnt), Pastor Troy, Mr. ServeOn (No Limits), Quick BadAzz (BadAzzEnt), Tmaine (TrackLifeEnt), Big Head, Kevin Gates, Foxx A Milliyone (Trill Ent) and along with a host of other artist.

Straight out of Baltimore Maryland, emerging hip-hop artist Double G is making waves with his genre-fusing sound and raw lyrical prowess.

Music has been G’s constant companion since childhood, where he found solace in the rhythms and rhymes of various genres. It was during times of struggle and uncertainty that he turned to music as a form of expression, channeling emotions into heartfelt lyrics and poetic verses.

As a hip-hop artist, Double G’s music transcends traditional boundaries, seamlessly blending elements of hip-hop with diverse genres to create a sound uniquely his own. From gritty rap anthems to soulful ballads, his versatility knows no bounds.

Drawing inspiration from icons like Eminem, Biggie, and Potluck, Double G has carved out his own path in the music industry. Collaborations with renowned artists such as Dizzy Wright, UnderRated of Potluck, and Futuristic have further cemented his position as a rising star.

With over 30 electrifying performances across major cities like Chicago, DC, and New York, Double G’s stage presence is undeniable. Despite setbacks such as the cancellation of shows due to the COVID pandemic and legal battles over his music video “Roll One,” he remains resilient, pumping adversity into fuel for his creative fire.

From his latest hit single “All My Life” featuring Ekoh, which has amassed over 40,000 streams, to the viral success of “Ready Or Not” with over 20 million views on a gaming channel, Double G’s music continues to resonate with audiences worldwide.

Looking ahead, G is committed to honing his craft, collaborating with fellow artists, and pushing the boundaries of his sound. With upcoming performances at festivals like the one in Texas next month, Double G is ready to reclaim the stage after a two-year hiatus, fueled by a renewed passion for his artistry.

January 21st 2009 is not a date that Susan Boyle is ever likely to forget. ‘I will never forget it,’ she clarifies, in her unmistakeably Scottish brogue. It was the day that the shy, devout 48 year old stepped onto the stage of the Scottish Exhibition and Conference Centre in Glasgow for an audition on Britain’s Got Talent. Or to put it another way, the day her world turned 180 degrees on its head. In front of the three-strong panel of judges charged with divining which of this year’s British hopefuls really did have talent, the singing voice of Susan Boyle turned out to be a watershed moment neither she nor anyone involved in the show could possibly have foreseen. It is now both her and the show’s defining moment.

In her own haphazard fashion, during three and a half minutes of television airtime, later aired to slack-jawed intakes of breath in May of this year, Susan Boyle fashioned a new kind of fame. She elicited a moment of pure, molten zeitgeist. She broke every rule of the talent show book and tore up a considerable number of the pages of popular music marketing into the bargain. She symbolized an astonishing variety of the little-people’s revenge, quite by accident. Ms Boyle describes her own astonishing 2009 in refreshingly frank and simple terms. ‘All I did was to apply for a talent show. I was lucky enough to be chosen. That’s it in a nutshell.’ But something deeper was going on in the collective public consciousness. If the two watchwords of the 21st century have been ‘reality’ and ‘celebrity’, Susan Boyle had accidentally located a brand new point on the graph where they both intersected. One of Britain’s forgotten characters had rarely, if ever, been so memorable.

After her one audition for Britain’s Got Talent, in which she confounded the judges, the audience and then anyone with access to Youtube’s expectations by dazzling her way through a version of the song I Dreamed A Dream, from the musical Les Miserables, a tornado of opinionated column inches, speculation, rumination and conjecture around Susan Boyle grew feverishly. 300 Million You Tube hits and counting. She became the subject of op-ed newspaper columns, a front cover sensation in her own right. This unlikely candidate for the melting pot of the new star machine in 21st century Britain caused computer crashes, miles of newsprint and the sophisticated approval of Hollywood’s well-heeled and super-groomed A-list. Though the content differed wildly, everyone proffering their thoughts on the self-confessed ‘wee wifey’ seemed agreed on one point. That in 2009, to be free of an opinion on Susan Boyle was to be free of opinion itself.

For one brief moment, vanity itself collapsed. As that ancient old maxim – ‘Never judge a book by its cover’ – clanked around the globe with speedy viral intensity, it was as if the world was about to offer its first unspoken apology for prizing beauty above all else. Perhaps it would temporarily forget its grotesquely accentuated new heights of judgement. Or perhaps Susan Boyle was just a fleeting icon by which a microscope was shone on our more fickle presumptions. Whatever history gifts the Susan Boyle story in the long term, it is now her time to prove that there is more to this incredible woman than being the symbol for a moment of international reflection. She will do it in the exact same way she entered our consciousness in the first place. With the raw combination of strength and fragility, beauty and solitude that is her singing voice.

In some ways, Ms Boyle’s story is just the same as any woman with a voice in any choir up and down the UK. In her home town of Blackburn, she had been schooled in singing in churches and choral societies. She says now that, as a shy young woman with some learning difficulties, being hidden in the blanket of a collective singing arrangement offered her comfort. So in one other, crucial way, her story is entirely her own. The most unlikely chorister in the sea of voices stepped out of line and put her head above the parapet to be noticed. For Susan Boyle, though she would never deign to say so much herself, this was an act of personal heroism, the like of which she had never contemplated before.

The speed with which reaction to her performance picked up gravitas proved an incendiary media hotbed. But it was most surprising for the woman at the centre of it. ‘It started off with the [Scottish newspaper] Daily Record visiting my door. And it ended up with TV stations from all over the world camping out on my street waiting for interviews and stories. I’d peek behind the curtains in the house, saying ‘what in God’s name is going on here?’ Then the phone calls started. My number was still in the book at that particular time, so anybody could get it and the phone was ringing 24 hours a day. It was constant. People were ringing me who I couldn’t understand because of their accents. All sorts of nationalities. Lots of Americans. It was absolutely unbelievable if I’m being honest.’ She is self-deprecating about why she should have caused such a furore. ‘A woman who went on with mad hair, bushy eyebrows and the frock I was wearing had to be noticed. Come on!’

Such is the quick nature of today’s star system, in September, just four months after her TV debut, Susan Boyle made her live TV comeback. She performed a rarefied take on The Rolling Stones Wild Horses, re-orchestrated to gently clasp the exact timbre of her natural talent, on the show’s US cousin, America’s Got Talent. An unprompted standing ovation followed. Outside of the unruly cyclone of her fame, there is something within the voice of Susan Boyle that is absolutely perfect for our times. At a moment when Dame Vera Lynn and Barbra Streisand are topping the album charts, there is something peculiarly modern about her improbably status as holding the international record for most pre-ordered album of all time. As the dust settles on the sheer wattage of conversation that she has prompted, it is time – as they say – to face the music.

Ms Boyle’s debut album was put together during the summer of this year. She first entered a recording studio in July, to test how her vocals would respond to tape. The results shocked both her and veteran producer Steve Mac. Decamping to London, she fashioned the record over two months, picking songs that resonated with her, that pricked something within that she felt ready to unleash through music. ‘It was important that I could feel everything I was singing,’ she says, cutting straight to the core of why music can be such a useful release, an escape valve from the everyday.

A disarming mix of the sacred (‘My faith is my backbone,’ she says) and the secular, there is not a moment on it that is not moving. It is pitched exactly within the framework of the year she has enjoyed and, at well-documented times, endured. It is a collection of covers and original material that cuts a swathe into the interior life of the woman who is arguably the most intriguing, not to mention instantly recognisable character yet to be produced by the reality talent medium, the decade’s defining TV genre.

When she hurts, it hurts. Her rousing rendition of Madonna’s You’ll See is a riposte to the children that picked on her in the playground. The new composition Who I Was Born To Be is an astonishing testament to self-belief against some startling odds. Yet when she dreams, we dream too. Because of her uncanny knack of picking a song so perfect for her tale at that very first audition, Ms Boyle has become synonymous with the word ‘dream’. Her flawless album rendition of I Dreamed A Dream may come as no surprise, but it still manages to pick every individual hair from the back of your neck and yank them to attention. A country ballad version of Daydream Believer delicately seals the deal of her being synonymous with the concept of dreaming.

For this is Susan Boyle’s tale. The fearlessness to dream about something other than the lot life has handed you. The chance to escape. The pivotal role of music as a conduit to go to another place, sometimes lodged at the outer recesses of your imagination, and to allow that new place to blossom. Yes, this is Susan Boyle’s tale. It is why it connected with so many unsuspecting people across the world. In another nutshell? If she can dare to dream, so can you.

Drummer for a St. Louis based pop punk band: the last of a dying breed.  We have been semi-active since 2002.  Mostly in Scott Buzzkill's basement.

Started in 2002 
Broke up in 2007
Restarted in 2010
Re-Broke up in 2012
Restarted in 2014
Will break up again soon. 

Albums: 
VHS (2004)
Blood for Dracula(2007)
...Come out of the Closet (2010)

EPs: 
Stumbled (2004)
Can I Borrow Some AIDS? (2005)
Crooked Head (2007)
Robotron...It's Time to Party (2010)
The Quick and the Cheap (2015)

Fallen Comrades: 
Adam Buzzkill
Paul Buzzkill
Fred Buzzkill
Andy Buzzkill 

Thermal And A Quarter (TAAQ) is a path-breaking band from Bangalore, India. TAAQ describes its music as ‘Bangalore Rock’; a sound as unique and layered as the fast-growing city of its birth. Imagine a Phish-meets- Steely Dan-via-Mahavishnu-Orchestra vibe: the TAAQ sound is all that and more. Through the last 15 years, TAAQ has played all over India, completed tours in the United Kingdom, West Asia and South-East Asia, released four studio albums, supported acts like Deep Purple and Jethro Tull, and won awards for individual musicianship as well as overall contribution to ‘Indian Rock’. 

Live, TAAQ delivers an unforgettable, immersive musical experience. From packed clubs to arena-size venues, TAAQ’s stellar musicianship, hard-hitting lyrics, and fluid improvised style make every gig unique. 

Quick Highlights...

•	US Tour, playing dates in New York, Dallas, Seattle and more!
•	Feature spot at the 2012 Mosaic Festival, Singapore.
•	Hong Kong Tour; supported Bobby Taylor (mentor, The Jackson 5)
•	Headlined Burn Festival in Male, Maldives
•	Supported Deep Purple, JethroTull, Megadeth, Machine Head and Greg Howe on Tour
•	4th Album This Is It mixed by Grammy-winner Jeff Peters at A.R. Rahman’s studios. 
•	3rd Album Plan B showcased on National Public Radio’s (www.npr.org) All Things Considered broadcast across the USA and the world
•	Performances at Java Jazz Festival with special guests Prasanna and Vinnie Valentino
•	Ranked #48 in Blender magazine’s ‘100 Ultimate Rock Bands’ among top international acts
•	WorldSpace Radio Award for ‘Outstanding Contribution to Indian Rock’
•	United Kingdom Tour– London and Glasgow
•	Middle East Tour – Dubai and Bahrain
•	Repeatedly featured in Rolling Stone magazine 
•	Front man Bruce Lee Mani wins ‘Guitarist of the Year’ at Rolling Stone/Jack Daniels Awards 2009; also wins Leon Ireland ‘Vocalist Of The Year’ Award in 2011

Munky Fike 

With Influences from Jazz, Funk, Soul, Disco and House 
Munky Fike has been igniting dance floors for over three decades. 
His disco - house inspired productions reflect his roots as a professional dancer, infusing every set with an infectious, dancable energy. Driven by his passion for carefully curated vinyl and organic sounds, Munky Fike delivers depth, groove, and a vibe like no other. 

Munky Fike was able to release on well known labels such as Tropical Disco Records, TheBasement Discos, GLBDom and Sundries and many more.  His music was supported by DJ's and household names like Chloe Caillet, Mousse T, Hotmood, Souldynamic, Never Dull ,  JKriv, Moodena, Miguel Migs and Jeremy Sylvester to name just a few.

Bookings: 
munkyfike@gmail.com

“New York City is everything. We wouldn’t have made this project if we didn’t live here. There are so many people, personalities, stories, sounds, etcetera everywhere you turn,” explains Weekend Money lyricist Ne$$ of the theme behind their new EP Naked City, due out early fall. “The city is the muse for this project.

Weekend Money, compromised of aforementioned NYC/Philly MC Ne$$ (member of Dead Prez affiliated group A-Alikes) and Brooklyn by way of Iraq producer/vocalist Baghdaddy, aren’t the first to cite the city of New York as a major influence on their work. New York has it’s fair share of acts in a flourishing hip hop scene, but the duo are a perfect example of New York’s multicultural melting pot and their music is no different. Weekend Money’s debut EP, Naked City, is a contagious blend of underground hip hop, ‘hood street swagger and spaced out beats that play like a diary of a NYC hustler touching on his experiences and thoughts and revealing both the glamour and grime of the city.

“Naked City speaks to what we were going through while recording the EP. It’s about New York and our perceptions of it. If you line the tracks up by date of creation, they tell the story of our past year and the trials we went through - the hope, the pain, everything,” says Baghdaddy.

The duo first came together when a mutual friend introduced them at a party. At the time, NE$$ was working on a solo effort and was seeking producers for the project. Knowing that Baghdaddy had never produced for a rapper before, NE$$ was interested in hearing what he could bring to the table. The two began experimenting with different sounds and ideas eliminating samples from all production and using everything from Fisher Price xylophones to the sound of drumming on trees for beats. The recording process saw the duo learning from one another with NE$$ educating Baghdaddy on the history and elements of hip hop and Baghdaddy introducing the rapper to chord progressions, new production techniques and music theory.

The result is an album that’s much more than a mix of rap and electronic music, but rather a unique fusion of layered and complex sounds built on NE$$’ quick witted, street style in conjunction with genre-bending production aimed at taking the listener into a world that is as brazenly ambitious as it is stripped down. One has to look no further than the syrupy, reggae dancehall-tinged groove of “Coke ‘N’ Coffee,” with its head nod inducing chorus; the Timbaland-esque sirens and handclaps of the psychedelic “Yellow” or the sharp rhyme flow and trunk rattling violence of “Impala”.

Naked City’s first single—the two-fisted, synth-driven soundclash “Insomniac”—serves as the initial collaborative spark for the EP’s creation. “I remember asking Baghdaddy to play some beats he was already working on and one of them being this beat he named ‘Savage’ which really stood out,” NE$$ recalls. “I laid down a mumble track to it and took it home where I wrote the first verse and chorus to ‘Insomniac’. When I came back the next session and spit what I wrote, we both knew we needed to make a whole album together and the rest is history.”   

What may have at first seemed like an unlikely pairing, Weekend Money is an example of two passionate musicians coming together to grow and expand their artistic palette, mining their own sonic differences and tastes. Naked City serves as a glimpse into the life of a hustler but also sets the stage for a new burgeoning music scene - one that blurs genres and allows artists to move beyond any previous set boundaries.

“We just create and work toward making something special. I don’t think we’ve ever tried to sound like someone else and that’s reflected on the album,” explains Baghdaddy. “New York City took me in and I belong here. The whole music scene is wide open and we can make whatever we like.”

Debra Earnest is following