Vinyl Me Please
VIBE/ Stacy-Ann Ellis

In A Digital World, Vinyl Me, Please Is Reviving The Lost Art Of The Record Collection

VIBE spoke to the guys behind Vinyl, Me Please to discuss their grassroots success and why they are the "Best Damn Record Club Out There."

There are many traits we get from our parents. Their eye color, their wit, the charming dimple planted on the side of their cheek that instantly makes their smile feel warmer. But aside from genes, if there's one gift we'd all be obliged to put respeck (word to Birdman) on, it's certainly music — the harmonious vocal and instrumental combination that evokes the most beautiful form of self-expression.

For many, their musical taste is a direct reflection of their parents. And for those old enough to remember, it all started with vinyls, the grandfather of CDs, and a record player. However, that was then and this is now. The times of carefully grasping the sides of the record with steady fingertips, operating the tonearm and needle with the sharpest precision, and slipping into a state of musical bliss without the option of fast forward has faded into history books territory. Nevertheless, the lost art is having a undeniable resurgence. From the lifestyle section of your local Urban Outfitters to your favorite artists' merchandise store, the growing demand for vinyls is being delivered at a fascinating rate. Another exciting presence in the market being Vinyl, Me Please, an independent record club that delivers record junkies the nostalgic dose of polyvinyl chloride they've been waiting for.

"Growing up during the Napster generation, if you will, I’ve always longed for a tangible connection to something. So, Vinyl really fosters that experience better than anything," says Vinyl, Me Please founder Matt Fielder. But instead of choosing what you'd like to spin on your turntables, the musically-inclined staff chooses an exclusive vinyl each month to send its customers, giving each the thumbs up as an essential to any record collection.

VIBE spoke to the guys behind Vinyl, Me Please to discuss their grassroots success, the importance of bringing vinyl back to the forefront, and why exactly they are the "Best Damn Record Club Out There."

So, of all things, why vinyl?
Matt Fiedler: The reason we started Vinyl Me, Please was to create an experience around music. Our mission is to help people explore, experience, and enjoy music on a deeper level, using vinyl as the medium. There's a nostalgic tangible nature that has a forced intentionality around it that actually makes for the best listening experience. It’s a unique discovery experience, too, because you’re not being served up something by an outlet or being able to click around and all that stuff. You have to sit with it and be with it and get through it.

Do you remember your first experience with vinyl? 
Matt: My dad amassed this huge record collection, and ironically enough, he bought one of the first commercially available CD burners. It's the pre-industrial looking recording equipment where you mount it into the wall. He used to have me take records by one and burn them onto CDs and then put them onto the computer so he could listen to them on his iPod. He'd pay me a dollar a record or something like that. You couldn’t fast-forward, so I would have to sit and listen to all of these records to ensure that the sound was transferring properly. So that was my first interaction with vinyl, and weirdly it was at a pretty young age. So when I came back around, I was already pretty familiar with the components and how it all works.
Severan Johnson: I had an older buddy in the neighborhood who was three years older than me, and I stole his Too Live Crew, As Nasty As You Want To Be. I hid in my closet and put it on my first cassette player when I was 12. I never heard anything like it. My dad had a turntable and every Sunday he cooked waffles in his underwear with music blasting. Now that I think of it is was really weird [laughs]. But I got his turntable and I tried to scratch because I heard all these cool sounds. It was this nice turntable, too. I ended up getting an a** whooping man. It wasn’t scratching turntables either. So yeah, my introduction to vinyl, trying to scratch Too Live Crew and getting an a** whooping.

Lots of times, when people look back at their favorite albums, if they really think about when they first connected with it, it’s often not the album that they would’ve picked. —Cameron Schaefer

How did you guys formulate your idea of an updated vinyl experience into a thriving business?
Matt: It all started when Tyler, my co-founder and then roommate, really wanted to get into vinyl after my dad gifted me turntables for Christmas. There were tons of records that we loved and wanted to own, but me personally, I have severe purchasing anxiety. When I walk into a record store I want them all and can never pick one.  So we thought it would be cool to create a record club that was for the new generation. We decided to focus on one album each month: something that's sort of a diamond in the rough, something that flows from start to finish, and something that's really great and probably undiscovered, that everyone will get it, and then build from there. We didn’t take any funding or financing. It was literally something we put up on Facebook, saying, 'Hey we’re going to try this and if you’re interested, put in your email address and we’ll let you know when we’re ready to launch.' In January 2013, we launched with just twelve members in our first month. Our main focus was creating product that was cool and exciting enough for those people to tell their friends. By the end of that first year, we grew to about 300 members. However, the whole concept shifted soon after doing one-on-one consulting. What we realized is that we were calling people and saying, 'What do you want to listen to? What do you want on this playlist? What should we curate for you?' And they were like 'I trust your taste, so just give me something that you think I should be listening or what you’re listening to or something new cool.' That was a light bulb moment for us because we were realized we could be curators and tastemakers.

What's the process of picking the record of the month like?
Cameron Schaefer: I lead that process. Ultimately, every single record is a team decision that we all listen to multiple times and debate vigorously until we decide.
Severan: Sometimes blood is shed [laughs].
Cameron: Yeah, but we first approach it by dividing up the calendar year and just saying we know we want four to five major reissues; three, maybe four new releases from smaller artists to have that element of discovery. Then, we fill the rest with what I like to call undiscovered gems – albums that maybe came out a few years ago and were great, but for whatever reason, we feel like didn’t get the attention they deserved. After I identify a few potential albums that could be our featured record, then I’ll bring it the team. We’ll all listen normally three or four times, each album. We kind of have development over time, our internal score card, the different elements that we kind of judge to think that this would be a great release for our members: a coherent narrative and something that was intentionally put together to tell a story and isn’t just some singles that’s sporadically thrown in with some filler. And above all else it has to be a great album from start to finish. So, everyone gives the records intentional listens and scores them. We’ll put it all together and see where things line up. Generally, we get down to two albums and then the debate begins, which is a lot of fun.

Would Metro Boomin’ trust would your scorecards?
Severan: I hope. I would love to do something with Metro Boomin’ [laughs]. But like Matt said earlier, we're all about the music at the end of the day. So I think there’s a level of respect in the industry when people see that and in return they trust us.

The idea of a vinyl club is nothing novel, so what separates Vinyl Me, Please from others in the market place? 
Matt: What separates us is our core values as a company, which are humanity, humility, and authenticity. We’re real people and real music fans, and we’re incredibly passionate about what we do. It starts with the music and ends with music. It’s not about being the cool startup or any of that other bullsh*t, which is very obvious in our product. The curation element is key because most of the industry has tried to move into a space where they look at your tastes and try to give you recommendations based on data, whether that’s what you’ve been listening to on Spotify or what you like on Facebook. We're different. It's not that we ignore those things; we’re totally aware of them. But we recognize that there’s lots of great music discovery that happens through serendipity and a bit of randomness.
Cameron: Lots of times, when people look back at their favorite albums, if they really think about when they first connected with it, it’s often not the album that they would’ve picked.

via member @laneydfisher #vinylme #torres #vinyl #newmusic

A photo posted by Vinyl Me, Please (@vinylmeplease) on

There's also the really cool element of artist involvement in your membership, too. 
Matt: Yeah, it’s always better for us if the artist can be involved in the creative process around creating the package. It just feels way more personal and way better because it feels like it’s coming from the artist rather than just us and the label putting our heads together. We like for them to be involved in many ways whether we want to look at maybe changing up the album artwork. Or do we want to do a new lyric booklet and have them write a foreword or a personal note to members.
Cameron: Before I started working with Vinyl, Me Please, I was actually a pilot in the Air Force. On the side I had a music blog that I was writing with a friend they got wind of. Originally it was called Vinyl and Cocktails; we would just listen to albums, make a drink, and then write about it for fun. Matt and Tyler came to me saying they'd love to have a cocktail pairing component to the monthly package that compliments and the listening experience. So, that's also another major feature we offer our customers.

You guys are based out of Colorado. What's the appeal of the city since it's not really a music hub per se?
Matt: The day before my wife and I were to get married, I got a job offer in Colorado. At that point, Vinyl Me, Please was pretty small at that point, so we took this job and sort of just moved the fulfillment to our apartment in Colorado. We weren’t like that’s where we build this business. It just all came together for us in the same way we talk about the serendipitous music discovery, it was a serendipitous experience for us.
Severan: There was actually a discussion of whether we should be in Los Angeles or New York. We actually found a lot of benefit by staying in Colorado because we were separated from the scenes. We're outside of the vortex, so much to the point that we don't get caught up in the hype.
Matt: Right. It's like having a pretty unbiased opinion because we’re not being forced in a certain direction by anybody. So you know, I think it’s something that’s special and we’ve always been very cognizant of preserving so even when we hire people, it’s like this is what we’re hear for and this is what we’re about, do you fit into that kind of culture and that mantra.

Are there any future plans for expansion?
Matt: For us it all comes down to iterating the membership, iterating the features of the membership, and making it better to be a member. We just introduced a new feature called Swaps, which for three, six, or 12-month members you have the ability to swap a featured record for something else. So if there’s a title that you’re really not interested in or you already have a copy, or issue it gives flexibility to the member and encourages that we're not being a**holes just telling you, you need to take this record. Our member store is growing tremendously, too, so we’re continuing to focus on that by adding more titles. We’ve somewhat recently started doing limited edition of 750 to 1,000 copy runs of other records. So there's unique, limited edition records like Young Thug's Barter 6 and Future's DS2 that we put in the store that are exclusive to members only.

Lastly, what are you guys' top three albums of the year so far?
Severan: Radiohead's A Moon Shaped Pool and Car Seat Headrest's Teens Of Denial. Young Thug's Slime Season 3 was f***ing brilliant, too.
Cameron: I would say the new Car Seat Headrest as well. I really like the new Marissa Nadler album, Strangers. And then I would probably say Parquet Courts' Human Experiences.
Matt: I love the new Sturgill Simpson record. Anderson .Paak’s Malibu is amazing. We saw him at South By South West and was mind blown. Kendrick Lamar's, untitled, unmastered, I really dig that too.

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Courtesy of DubShot Records

Boomshots: The Unstoppable Rise Of Dre Island

"We rise to the top," Dre Island sings on "We Pray," his massive collab with Popcaan, "cause we know what it takes."

Building on that theme of musical and spiritual elevation, the multi-talented musician—singer, deejay, songwriter, producer, and pianist—has just released his debut album Now I Rise. The project features the aforementioned "We Pray" as well as crucial collaborations with the likes of Jesse Royal and Chronixx. "Ah mi family dem deh," says Dre Island, who has toured Europe backed by Chronixx's band Zincfence Redemption. A graduate of Kingston’s Calabar high school—alma mater of both Jr. Gong and Vybz Kartel—Andre Johnson aka Dre Island is a living link between the vaunted “roots revival” movement and the sound of the Jamaican streets.

“The revival is really within the people," he says. "Reggae music never stop. Reggae artists always been touring. So it’s just the people’s awareness.” During a time when reggae and dancehall stand at a crossroads, Dre Island has emerged as one of the few artists capable of bringing together dancehall vibes and the ancient roots traditions—not to mention outernational connections like "People" his collaboration with UK talents Cadenza and Jorja Smith. “An island is a small land mass surrounded by water,” the artist told Boomshots correspondent Reshma B in their first interview. “But if you read further it’s also a place where you go to find yourself.”

Released through a joint-venture partnership with New York-based DubShot Records and the artist's own Kingston Hills Entertainment imprint, Now I Rise is a 13-track set that includes the hit single “We Pray” featuring Popcaan, “My City,” as well as the recently released “Be Okay” feat Jesse Royal. Never-before-heard tracks include “Days of Stone” featuring Chronixx and “Run to Me” featuring Alandon as well as tracks produced by the likes of Jam2, Anju Blaxx, Teetimus, Winta James, Dretegs Music and Barkley Productions. The artist is now managed by Sharon Burke, founder of the Solid Agency in Kingston, Jamaica. Earlier this month, Dre Island premiered the official music video (directed by Fernando Hevetia) for the last song on the album, “Still Remain.”

“This album speaks of arising, growth, new beginnings and emerging from the ashes," Dre Island states. "At this time, these are all the things we need based on what is happening right now. The truth is, since 2015 I have been advertising that the album is coming. It has been five years and the time is right. As an artist and person Dre Island move different. I embrace Rasta and this way of life, but I am not part of any group like Boboshanti or Twelve Tribes. Everything I do is inspired by the father. I am moved to drop this album at this time because I am divinely inspired to do so. When you look at a song like “We Pray” I can take no credit for a song like that. Yes I wrote the lyrics and built the rhythm and I voice the track, but it's a prayer, not just a song so how a man fi tek credit for something that come from above.”

Dre Island and Boomshots have been linking up from early in his musical journey. During a recent trip to New York City, he sat down with Reshma B to speak about the new project and his unstoppable rise. Check the reasoning:

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Carlos Perez

Anuel AA Breaks Free

In 2015, an entourage of close to 30 men drew guns among one another during a traditional Christmas parranda in Puerto Rico. The scene turned into something straight out of a movie when a pair of gangsters clandestinely attempted to kidnap local rapper Anuel AA. After a brief scuffle and flagrant shouting match, however, the man born Emmanuel Gazmey Santiago went on to finish the evening’s holiday spree in the boisterous company of his loyal posse.

Months later, after ushering in the new year on a promising note by featuring on one of Latin trap’s first global hits – De La Ghetto’s sex anthem “La Ocasion” with Arcangel and Ozuna – someone delivered Anuel AA a divine premonition of sorts: “If you keep talking about this stuff in your songs, something really ugly is going to happen to you.”

A Puerto Rican music legend, Hector “El Father” of reggaeton-turned-son of God, paid Anuel a visit to share his foreboding message. “He and I did not know each other,” explained Anuel, who prides himself on waxing poetics about the real-life experiences Hector was concerned with, “but God spoke to him and Hector felt he needed to reach out to me. When he warned me, he said it with so much conviction that he even cried.”

Having forged a legacy of his own as one of the key trailblazing reggaeton entertainers of the ‘90s who later signed a deal with JAY-Z’s Roc-A-Fella Records, Hector – now a devoted Christian – understood life imitated art when it came to Anuel’s lyrics.

“My lyrics talked a lot about God and the devil, so when he told me that,” Anuel continued, “I knew I needed to make some changes. Those themes, good versus evil, they were my mark and what separated me from the rest.”

On April 3, 2016, just two weeks after meeting with Hector, Anuel was arrested and held in Guaynabo’s correctional institution on charges of illegal gun possession. Following his biggest musical break yet, just as he was touching the cusp of international stardom, a court judge sentenced Anuel to 30 months in federal prison without bail.

Raised east of San Juan, in the Puerto Rican city of Carolina, Anuel AA has a lot in common with many of my favorite MCs: he’s charming, resolute, and lyrically gifted, yet marred by a criminal past, complicit misogyny and the constant struggle between right and wrong. “I had no choice but to carry those weapons with me, because of the issues I had on the street,” the rapper said to VIBE Viva over the phone, while quarantined in Miami. “I thought to myself I’d rather be locked up than found dead.”

Indeed, Anuel had evaded his probable demise when he was nearly abducted and landed right behind bars months later, fulfilling a prophecy that cost him both his freedom and a flourishing start at the tipping point of trap music en Español. “I was being forced to reckon with all the bad things I had done for money in the past,” Anuel expressed, regretfully. “I started reading the Bible for the first time and realized that my talent and blessings came from God, not anywhere else.”

Anuel had begun to take music seriously around the same time his father, José Gazmey, was laid off from his coveted A&R position at Sony Music. With his back against the wall, a scrappy Anuel left home at 15 and began to engage in felonious activity to help provide for his family and finance his music endeavors.

Like many rappers on the island, Anuel was influenced by popular culture and trends on the mainland, most discernibly by contemporary trap. Anuel understood the genre’s synonymy with street life and the drug enterprise and immediately took to Messiah El Artista, a Dominican-American rapper VIBE profiled for championing Spanish-language trap music all over New York.

“I figured if Latin trap was doing well in New York, it was for sure going to pop in Puerto Rico,” said Anuel, who had signed with the Latino division of Rick Ross’ Maybach Music Group the year prior to his arrest. “I spent about a month in New York before I returned to Puerto Rico. Then I started to release all the songs I had, one by one, and they began to gain popularity.”

While artists like J. Balvin helped breathe new life into the reggaeton genre in Colombia, Anuel wanted to spearhead a movement in Puerto Rico with a sound all their own. “I recorded the ‘Esclava’ remix with Bryant Myers and it might not have taken off worldwide, but it became a huge trap song in Puerto Rico.”

Akin to the heydays of reggaeton, an Afro-Caribbean genre-fusing hip-hop and reggae that originated in Puerto Rico, trap music was considered lowbrow and was heavily criticized for its vulgarity, violence, and explicit lyrics. Puerto Rican critics and artists alike had very little faith in the music’s potential and therefore denounced it. “DJ Luian, who is like a brother to me, couldn’t understand why I wanted to put all my energy into music that none of our artists wanted to sing.”

“Reggaeton went dormant for years,” he continued. “It was necessary to make trap music, because it felt like reggaeton was stuck in another era.” A self-described student of the late and oft-controversial Tupac Shakur, Anuel thought reggaeton had reached its pinnacle and believed Latin trap would be its successor.

Songs like “Nunca Sapo,” where Anuel channels Rick Ross’ Teflon Don ethos and spits a grimy slow-tempo flow over a sinister 808-laden instrumental, helped put a face to Anuel’s little-known name in the US. On cuts like Farruko’s “Liberace,” Anuel speeds up his delivery for fun and plays on the “Versace” rhythm popularized by Migos, who all hail from Atlanta—the widely credited birthplace of trap music.

For Anuel, whose life mantra “real hasta la muerte” is now a famous hashtag, music aspirations had little to do with radio play. Anuel, 27, was largely concerned with dominating the digital space, especially while incarcerated. Despite his arrest, he continued to release music from behind prison walls while his team fed his massive following up-to-date content.

Hear This Music CEO, DJ Luian heeded what Anuel was trying to accomplish and began to work with Bad Bunny, the Latin Grammy-winning artist and star voice of the current Latin trap movement. “When I was locked up, Luian helped develop Bad Bunny and he basically became in charge of keeping trap alive while I was away,” said Anuel, who ironically came under fire recently and was accused of throwing shade at Bad Bunny for the video treatment of “Yo Perreo Sola,” in which the rapper-singer dresses in drag as a stance against toxic masculinity.

“I couldn’t believe something like this was going viral,” Anuel interrupted anxiously before I could expound on a question concerning their relationship. “It looked like it was something that was edited or put together to make my Instagram posts read that way. I immediately texted Bad Bunny about it and he was like, ‘Don’t worry, people are always going to be talking sh*t.’”

Anuel considers Bad Bunny a genius at what he does and maintains that despite not knowing each other very well, he and his fellow compatriot are friendly collaborators with a working rapport: “When he and I do a new song together, what will people say then?”

Today, the collective jury will reach a verdict upon listening to Anuel’s newly-released sophomore studio album Emmanuel, where fans will find a track titled “Hasta Que Dios Diga,” a sultry, mid-tempo reggaeton number. Fans can expect to hear a star-studded project riddled with guest features, including Tego Calderón, Daddy Yankee, Enrique Iglesias, J. Balvin, Ozuna, and Karol G, to name a few.

Discussing life during a global pandemic, Anuel spoke fondly of his partner-in-rhyme, Colombian singer-songwriter Karol G. “She’s the love of my life. She’s been there with me through the good and bad. People who really love you are the ones who stand firm by you when things are bleak. In my toughest moments, Karol was there. She’s shown me how to be a better man,” he gushed.

“Karol comes off as super feminine—which she is, but Karol also has a really tough masculine side,” Anuel laughed heartily on the other end of the line. “She rides motorcycles and likes taking them up these crazy hills. She rides jet skis too! She’s like a dude, haha. We work well together and we give each other advice all the time.”

The pair are making the most of quarantine life in South Florida, releasing a self-directed and self-shot music video for their joint single “Follow,” a reference to flirting over social media in the era of social-distancing, the idea that shooting one’s proverbial shot can lead to a budding romance.

On July 17, 2018, Anuel dropped his debut studio album, Real Hasta La Muerte, hours before he was released from jail. By September, the RIAA certified his introduction to the game platinum, garnering the attention of Roc Nation artist Meek Mill. When the Philly wordsmith released his fourth studio LP in November of the same year, followers were geeked to learn Anuel had earned himself a place on Meek’s highly anticipated Championships album with “Uptown Vibes.”

I always wanted you and anuel aa to make a track together bc i feel like he’s the meek mill of spanish trap , how was it working with him ?

— Nagga (@naggareports) December 17, 2018

“Recording with Meek Mill for me was like when Allen Iverson played with Michael Jordan for the first time,” Anuel said, singing praises about their first-ever partnership. “I’m a huge fan of Meek; when his music took off I was still in the streets, so I related and identified with a lot of the things he was saying.”

“Meek doesn’t understand a lick of Spanish,” he mused in jest, “but he’s always with a bunch of Latinos. When I speak to him he says, ‘I don’t know what you’re saying, but my Spanish [speaking] ni**as tell me you be talking that sh*t!’”

Anuel leveraged his knack for storytelling and released “3 de Abril” earlier this year, an emotional freestyle about the day he was arrested and a graphic snapshot of his trials and tribulations.

“I did things without caring about the consequences. I thought I was a man because I was street smart. Now I know what it’s like to lose everything, so I wanted to talk more about my life and the experiences of me and my family,” Anuel described the inspiration behind the song.

Following the release of “3 de Abril,” Anuel again turned hip-hop heads when he and Lil Pump shared a fiery audiovisual for their collaborative effort “Illuminati,” stamping Pump's first new song since summer 2019. This year, Anuel also has songs with Colombian pop empress Shakira (“Me Gusta”) and with the late Juice WRLD (“No Me Ames”).

Albeit Anuel and Juice WRLD never got to meet in person, Anuel learned about the Chicago rapper from listening to his singles on the radio in jail. “The same year I won Billboard Latin’s Artist of The Year award, Juice WRLD won New Artist at the American Billboard Awards. We ended up recording the song after that but held off on releasing it for a bit because he and I had respective singles coming out at the same time,” Anuel explained.

“By the time we were finally ready to premiere it, Juice WRLD had passed away. We were never able to record together in person, but at least we got to feature him on the video. I know the tribute gave his fans and family some needed strength.”

Less than 30 minutes have gone by and already I am forced to wrap my conversation with Boricua’s burgeoning superstar:

Anuel, explain “real hasta la muerte” for me. Why exactly is this mantra of yours so important? 

“I can’t betray anyone. I don’t know what it’s like to really betray someone. I’m very loyal to my circle, my family, and those I hold close to me. Being real is what keeps me humble. It doesn’t matter how much money I make or how much I accomplish. What’s critical is staying real to myself and keeping my feet on the ground. That’s what helps keep me going.”

This interview was translated from Spanish to English and has been edited and condensed for clarity.

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Exclusive: BBD's Mike Bivins And Ricky Bell Speak On Funk Fest 'Garage Concert Series' And George Floyd's Murder

The early '90s wouldn't be the same without Bell Biv DeVoe's style of hip-hop, smoothed out on the R&B tip with a pop feel appeal to it. Even as a stark departure sound and style-wise from their New Edition group days, BBD  literally ushered in a new tint to the already hot sounds of Teddy Riley's "New Jack Swing" of the mid to late '80s. Their universal party anthem single, "Poison," cures any wack wallflower growing jam and will forever be the barbeque favorite of your aunt and uncle to sprain an ankle to while dancing.

So today, May 28th at 9 pm EST on FunkFestTV.com, it's only right that the crew known as BBD brings that same energy to the comfort of our homes, with "The Garage Concert Series" during these quarantine times via a streaming deal with the 19-year-old urban music festival, Funk Fest. The series is billed as a jam session that comes to you with the flavor of a bare-bones home garage performance that gets to the organic feel of the music. Joining BBD in this landmark event will be recent Verzuz social media battle stars, Jagged Edge.

Tonight's festivities will be in honor of aiding those in need through the newly created charity by the trio named BBD Cares. This community initiative focuses on the seniors of Laurel Ridge Rehabilitation Care Center in Jamaica Plain, Massachusetts. Proceeds from the moderately priced pay-per-view performance will go to those impacted by the grip of Covid-19. "We’re proud to launch the Garage Concert Series and our BBD Cares effort to raise money and awareness during a time when our communities, our culture, and our society need healing," said Ricky Bell.

Both Mike Bivins and Bell spoke to R&B Spotlight founder, Cory Taylor for VIBE on ZOOM to detail the idea and plans for the Funk Fest and Garage Concert series, as well as expound on the turbulent times we are currently experiencing in society. While explaining how hard things are to bare, music being an outlet helps in healing and this digital event looks to continue to flourish in expanding that notion. “The Garage Concert Series, which we conceptualized and named after other culture-shifting brands like Amazon and Microsoft that started in their garage, is our contribution to the global community,” states Bivens.

Be sure to watch their interview with us and log on to FunkfFestTV.com at 9 pm EST for a blast to the past of good music for a great cause. Ronnie DeVoe sums it up best, “our goal is to continue to spread the love while raising money for those who are most in need.”

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