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Been Woke: Snow Tha Product On Surviving A Male-Dominated Industry

"Stick to your guns and just rap."

Claudia Alexandra Feliciano, better known by her stage name Snow Tha Product, is a proud Chicana MC from the California area who's steadily carving her own path in the rap game today. Much like women who came before her—Lauryn Hill, Missy Elliott, and even the late Queen of Tejano music, Selena—the bilingual rapper is breaking stereotypes that perpetuate women can't go toe to toe with their male counterparts in an industry that thrives on sexploitation, no less.

Being both Latina and female, Snow says she's well aware that her versatility and unadulterated talent can weigh her down in a business set up to compartmentalize women. "Stick to your guns and just rap as good as the boys," she says in a hoarse voice on the other end of the line.

Snow's new EP, Half Way There Part 1, boasts expertly crafted production and her signature ferocious storytelling, mixed with a tinge of R&B on varied verses and hooks. After establishing herself a "dope rapper" (or someone who can actually spit beyond the hackneyed big-booty vixen and drug chronicles with virtuosity ), she says: "Now is the time I can do whatever I want as far as just making good music."

Despite her love of and passion for the music, it's crystal clear her relationship with her fans is above it all. Her YouTube channel, Woke TV, has over 280k subscribers and has become her main platform for connecting with the masses. She likes to show off her wacky, yet charismatic personality via special Q&As and viral-worthy vlog episodes centered on her day to day routines. Not to mention, Snow's "ride or die" fans lend a careful ear to the music just as well as they tune into her life.

VIBE VIVA caught up with Snow to discuss her new EP, her loyal fanbase and what it means to be a Latina MC. —Melissa De Los Santos

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VIBE VIVA: What set’s the new music we’re hearing on Halfway There Part 1 apart from your previous work?
Snow:
I don't necessarily think anything sets it apart, I think it's a continuation of what I have been doing just, you know, obviously with time growing and just knowing more about music, and just being a little more free on doing what I want to do. I feel like for a while I've let me being the good rapper kind of control what music I make, I'm always trying to impress people, I'm trying to make sure my fans know I'm still rapping hard or whatever. I think on this one I just kind of let loose a little more and was just like alright, I think I've established myself enough as a good rapper, I think now I can do whatever I want as far as just making good music.

You bring a sense of versatility to the rap game. What was the writing process like this time around?
It was a lot easier. In the beginning it was a little hard because I was still thinking about it like, “I gotta rap good, yeah I gotta be a good MC,” but once I really got into it and I just got into my zone it's a lot of easier to write slow or down stuff. Obviously there's less words [Laughs] and yeah it was just dope. I mean honestly it was pretty seamless and I'm excited for the next part of the project to drop, because I think it's only gonna keep going from here.

Do you have an idea of when that might be?
I'm thinking probably towards the fall because I'm probably gonna start touring again in the fall and I know I wanna be performing a lot of the new material. I'm thinking around then, but to be honest with you, right now I don't know.

On “Nights” and “Alright” you tried something new. You added a sing song-y rhythm to your raps. Was that your way of showing the world you won’t be pigeonholed?

Yeah, I do feel like on a lot of hooks before, since I started, I have been doing singy stuff, like “Drunk Love” or “What You Like” or “Feeling Bad.” So I think it's just the same thing that I've been doing, but now I kind of did it a little more on the verses, before it was just on the hook. Now it's a little more on the verses.

You also have a Spanish-language song. Tell me a little bit about that and the inspiration behind it.
Well that song was actually produced by my boy Boomba, he’s my homie. He produced a lot of my beginning stuff, and we're both Mexican. We were just kind of sitting around, when I party or I just kick it with my friends we listen to a lot of more Caribbean stuff. Like we listen to a lot of El General, a lot of old Panamanian reggaeton or like Caribbean reggaeton. I was kind of like, "I don't know why I’ve never made one of those songs," but he randomly started playing some keys and made the beat and then I just went ahead and started recording.

Is the writing process for a song in Spanish different than the one in English?
Not too much, I think it’s pretty much the same thing, because I am bilingual. So I just pretty much turned my Spanish brain on.

I bet your family was happy.
Yeah my mom was ecstatic, she was like, “This is all you need to make, stop with the rap you need to make this!” I’m like, “Oh, my god mom.”

Do you feel a sense of responsibility in putting on for Latinos?
I do, I feel a sense of responsibility to put on for Latinos correctly, and that's what a lot of people don’t understand. I think if I was just out here trying to get Latino dollars or Latino support just by waving a [flag] then that's different, you know that's what a lot of people are doing, but I wanna represent in a respectable way and in a way that doesn't stereotype us even more. Which is why I’m so reluctant to be pigeonholed, because I wanna make sure they don't ever put us back into “just Chicano rap" or “just Latin hip-hop” you know? I want it to be that we are a real voice in regular hip-hop conversation. Like if I’m speaking English in my song you don't have to give me a Latin Grammy, I mean I’ll welcome it but you don't have to give me it just because I'm Latina if I’m speaking English.

I personally loved your remix to Alessia Cara's “I’m Here.” In your verse in that song, you said, “I ain’t black and I ain’t white so I ain’t got a lane and I don’t got a Nicki budget, I don’t got a Wayne.”

Being both a Latina and a woman, how has “not having a lane” affected you?
That's the reason I’ve been rapping for this long and I’m barely getting any recognition. It's a natural thing for people to be like, “This is new, I don't get it.” I think it’s happened since forever, when things are different they don't get it but the beautiful thing about that is you don't get it until you do and when you do, it could definitely be a positive that I'm Latina and that I'm a female and I'm the the first of my kind doing this.

Until then it’s going to be a very frustrating process to try and stick to my guns and keep doing what I always set out to do and that's been the hardest thing, not burn bridges but still being like, "Look I’m not going to do that stereotypical sh*t." I’m gonna try to open this lane, but I’m feeling positive that its getting close to being accepted and being looked at as a good artist.

Does it motivate you knowing there’s a possibility that you will be the one to pave a way?Yeah of course, that's what I set out to do and I really want to do just for my fans that use to promote me back in the day when I had like a thousand followers. I want them to have the satisfaction of saying, “I told you so” to all their homies that were like “nah, that’s wack!” I want that so bad, like that’s pretty much all I really do it for. For that first supporter to just be able to say “I told you so.”

I notice you maintain a direct line between you and your fans. Whether it’s through twitter, Instagram or YouTube, people definitely seem to love you as an individual apart from your music. What does your relationship with your fan base mean to you?
Honestly, that’s above the music, that’s more than the music, which is why I vlog. There’s people who don’t f*ck with my music and just f*ck with me as a person, and then there's people that f*ck with my music, that don't check out the blog. I think overall I just wanna connect with people and I just wanna feel like we’ve got a real connection. That I don't have to rap, you could just see me and give me the love because of who I am as a person, and overall I think that means a lot more than being an artist that just puts on the show.

TODAY AT 5 PM I AM RANTING FOR 10 MINUTES AND THEN PLAYING GAMES LIVE ON http://woke.tv

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Your fans are also very supportive of your Stay Woke movement. Talk to me about Stay Woke, what’s the story behind that?
Woke has been a brand that we’ve been representing since 2010. I’ve had a website since 2007 called "Wake Your Game Up." When I use to sell CD’s out in the street I use to go up to people and in order to make them feel like they were missing out I’d be like “quit sleeping on me, you need to wake your game up!” It always kind of changed from all that and the fans just really liked it.

We made it a clothing line, everybody really represented it and people got it tattooed on them. This has been really the main thing, Woke TV has been a really big part of my career. Now recently it’s become more popular for everybody to say it. So we’ve been doing the "Been Woke" thing to kind of separate ourselves, and many people know man we’ve BEEN woke. Don't come at me with “you don't know what woke is” nu uh, you need to check google and see who was representing this sh*t way before everybody wanted to hop on the bandwagon! But at this point I’m welcoming everyone to be woke, because that's what it’s suppose to be, it’s suppose to be enlightenment, it’s suppose to be awareness.

What advice do you give to other women who “don’t have a lane” and are trying to make a name for themselves?
I would say don't let anybody make you feel like being a woman is gonna make you make bad decisions, based on emotions. I know I’ve always heard “women are emotional” but so are men! Men are very emotional! To me, I feel like the biggest benefits that's ever happened in my career, because I do handle a lot of it myself, has been—don't raise my voice, don't get too emotional, talk to these dudes like "look you're gonna respect my business ends and I’m gonna respect yours" and that's it. I think that will go a long way, more than even rapping well, just being able to have the business sense to be able to talk to dudes and still be able to keep that respect without them having to hit on you in the studio. Stick to your guns and just rap just as good as the boys and that's it.

In an ideal world, if you’re setting up the blueprint, what does YOUR lane look like?
Oh man, pause that’s the thing I wouldn't even know… Just what I am [really] but with actual promotion behind me, you feel me? I've never had a big feature, I’ve never had radio, I’ve never had real promotion behind me, I’ve never had anything. Sometimes people like to ask, “What are you gonna change to make you pop?” It’s like well sh*t, the only thing I haven't tried, which is all this other sh*t because as far as me, I know I’ve built this from just being me. I’ll keep doing the singy-rappy sh*t, I’ll keep doing the Spanish sh*t, I’ll just keep doing me, but maybe just do little more business.

Last question. If you were stuck on an island and could only bring with you one album, one food, and one person to journey with, who and what would that be?
Aw man, that’s hard. One person? Aw man. Food is gonna be cheese fries. Does that count as two? Cheese-fries.

We’ll count it as one, haha.
Okay so cheese fries is one! Album is probably going to be Drake Thank Me Later, or any Drake album I don’t give a f*ck. [Laughs]

One person, probably my brother because he’ll probably get us off of the island. My brother will build a fire, he’ll f*cking—I don’t know what the f*ck he’ll do. Build a bridge? My brother's really good at everything he does, so he’ll get us off the island!

Download Snow's new EP, Half Way There Part 1 here.

my favorite thing to do...

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Stacy-Ann Ellis

20 Minutes With Davido: The Afrobeats Giant Talks Confidence, Timing And Strong Foundations

Davido can’t sit still. Maybe it’s early afternoon energy or impatience or knowing that his press rounds for the day aren’t winding down for some hours. Or maybe it’s just the fact that he’s sitting on what he considers to be an audio goldmine. David Adeleke, the gifter of astronomical hits like “If” and “Fall”—two-year-old songs with gravity still strong enough to pull Snapchatting wallflowers and clumsy dancers to the center of the floor—knows there’s much more where that came from.

“It's an album for everybody, I'll say,” he says of his forthcoming album, A Good Time, with a smirk. “I feel like everybody will have at least three songs they love in different genres.”

Technically speaking, the Atlanta-born and Lagos, Nigeria-raised artist has made a moderate splash on the Billboard charts, the metrics most artists use to quantify their success and measure progression in the industry. (In 2019, “Fall” became the longest-charting Nigerian pop song in Billboard history thanks to admittedly delayed radio push.)

However, Davido’s worldwide footprint speaks louder than a few hard figures. This year alone, he’s sold out shows as intimate as nightclubs and massive as London’s O2 Arena, rocked sets at Essence Music Festival and Hot 97's Summer Jam, and was an international headliner abroad at Oh My! Fest in the Netherlands, Afro Nation Portugal, and eventually Afro Nation Ghana alongside afrobeats greats he can safely consider peers.

July summoned his album’s breezy lead single “Blow My Mind” featuring Chris Brown, and a burst of new guest spots this month are carrying that same fresh energy into October. Davido was featured alongside Jeremih in “Choosy,” a new release from Fabolous, as well as on Brown’s “Lower Body,” a newbie on the extended version of his Indigo album. To say he’s ready to fan the mainstream flame with fellow afrobeats and afro-fusion hitmakers is an understatement. “Let us in, open American doors,” he jokes, knowingly. “We will finish everybody.”

In between banter about the turnup we’re missing in West Africa—trust, December in Africa is a thing—Davido opens up about his A Good Time (a genre hodgepodge guaranteed to please), the source of his success (part luck, part work ethic), and afrobeats’ undeniable global appeal.

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VIBE: Tell me about how your 2019 has been so far? Davido: 2019 has been a journey. It’s been the longest time that I’ve spent away from Lagos probably since I came to school in America. Reason being, just wanted to focus and get new energy, new environment to record the album. There’s just so much going on back home, so we’ve been out here the whole year, basically. “Fall” blew up and then we just came out here and worked with it. That album is about to come out and it’s gonna be crazy.

Given the momentum and expectations that come with it, are you more excited or nervous about this next album? I’m not nervous because I’m confident about the music. I’m just anxious to see what the next stage is, the next step. I like to challenge myself. When you reach a stage, you want to challenge yourself to reach higher stages.

You said it’s been the longest time you’ve spent away from Lagos. Is that a good or bad thing? No, that’s good. To me, it's a new energy. The people miss me, of course, but sometimes it's good to be away. To just step back and see where you’re at in your surroundings and stuff like that. I think every artist needs that.

Sometimes when you're too present, people think they know what you're going to deliver. Exactly, and me being out here recording, all my producers I flew in from Nigeria. It's not like I left my team. The whole team is here, so people ain't really heard the music. Back home, in my studio, it's like everybody comes through, so I can imagine recording my album back home, four or five of the songs would have probably leaked already.

You had a great year and so has music from African artists. What has it been like to watch that happen, to see us latecomers catch on? I felt like it was always going to happen. Even when I was in school in Alabama, when I used to play Nigerian songs from artists that were the top artists then—they were the biggest artists, like D’banj, P-Square—when I used to play their music in my dorm room, my American friends would love it. I always knew it was a thing that once America heard it, they would love it. Afrobeats, you hear it once, twice, I promise you, it's going to ring. So I feel like it was just for the people to hear it. Give us a channel to be heard. Radio, now you have social media. Back then all those things weren't in place. Now you have things in place where even if it's not in your face, one way or the other, you can find it. I think if you had all those things back then, social media and the support, it would've been the same.

 

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Were you frustrated with how long it took? Not really, because we've got our stuff going back home, too. You know what I'm saying? Even me today, I make most of my money from back home. And even before afrobeats got mainstream in America, we’ve been coming to do shows. I did a show in New York in 2013 to 5,000 people, and this was when I didn't have most of my big records I have now. Sold it out. But now it's mainstream. You have Live Nation now partnering with us to do shows. Back then it was just like local promoters selling tickets at the clubs and we still had the numbers. Now, our fans can put on the radio and hear us.

It even gives them more confidence. Confidence to be like, you know what? Let's go out and support this culture. So that's why the Afro Nation festival in Portugal, it was bigger than Coachella to me. It just shows that you just needed that platform, and then the fans needed the confidence to come out and really support. The next step now is getting the fans to buy the music because we have the numbers, but you've got to come out and buy it. That's the only way we can really break. The music is spreading. It's on the radio. Everybody’s doing shows. Everybody's touring, but now the next step is getting these sales up.

In a way, that’s most artists’ problems now. Touring is the moneymaker. That and streaming. There's nothing really wrong with streaming. That is why they want us to appeal to the Western crowd because those people buy music. Those people buy merch, blah blah blah. But we have to do what we know how to do. So the Western [crowd], they're actually buying it, but we need our real fans to come and be like, yo, Davido album dropping. It's a campaign—80,000 copies the first week, let's go out and buy. Look at the Latin industry. They're doing numbers. So apart from the music getting big, I feel like, yes, the music is getting accepted, but where are the numbers? When you walk into a building, it's all about numbers. It's not about if your music is sweet or this, or that—it's all about the profit. That's what we'll be working on getting up.

What are your thoughts about seeing really large artists pay so much homage to the afrobeats sound? I mean some people find it offensive, but I actually don't. I mean, first of all, people in Africa do hip-hop, right? So you can't come and say these people are taking our sound when we have artists back home doing trap, doing all these things. I feel that everybody should feel free to do what they want to do, but maybe it won't hurt to evolve. Like, I feel like it was nice how Swae Lee had Tekno produce that record for him and Drake, stuff like that. And they have more of our producers more involved in the sound because those are the ones who really know how to get the sound. Yeah, I think the producer side needs more shine but apart from that, doing afrobeats is [for] everybody. Any artist is free to do any kind of music they want.

Who are some of the producers that we should know? Give us a starter list. I mean, first of all, Shizzi, that's my producer. He did most of my stuff. And we have Kiddominant, that's my other producer. And we have Speroach, this dude Rexxie, he's the one that's doing all the Zanku songs. So he's going crazy. But I feel like they should bring all these artists out here, get a camp, put 'em all in one room and trust me, they'll make magic.

Do you still consider yourself an afrobeats artist now? Some of your counterparts like Afro B and Burna Boy have classified themselves as afro-wave or afro-fusion. I'm just an artist, man. I'm just a musician. Every kind. Of course I do afrobeats, but I'm just a musician. Worldwide musician. World music.

You mentioned the Latinx music scene. Is there anyone you’re looking to collaborate with from that space? Bad Bunny, Maluma. I really want to work with them. I might get a studio session with them when I get back from Nigeria.

How would you say your sound has progressed over the years from your try at making music to now? Of course [when] you're growing, you learn. Sometimes I don't even listen to some of my earlier records, even though I always used to put a lot in my records so it's not like that shit was whack. It was cool but I can see the growth and the quality of the music. Back then we didn't really focus on our sound and mixing and mastering. We’d really just record, next day release. Right now, it's a whole package and music has to be perfect. Right now, they’re playing Nigerian music on the radio, African music, and after African music, they start playing American music. You don't want the level of the quality to drop. And planning. I'm at the label now. Before I could just wake up and just drop, but now they gotta submit the single two weeks before. You know how it is. So, of course, it's way different now from like four years ago.

What else have you learned about yourself personally and the way you work? I'm really, really, really free with my work. I don't really bother myself with strategic planning and stuff like that. What's most important to me is the music. Once the music is good, I feel that's really all you need. And, of course, a good team around you and they're doing what you want. Connect with your fans. Very important, connect with your fans. Don't lose touch of home because that's your foundation, really. Without that foundation, you can't really be big in America when you don't have that foundation in Nigeria. An example is, I've known a lot of American artists for a while who are bigger in America, but when they came to Nigeria they saw the love I get at home. Then coming back is like, the respect is different. They'd come and they were like, Yo, you're the president. You know what I'm saying?

When was the first moment that you realized where you stood with your hometown? That they would be such a solid support system? That was probably for my first song, really. From the first record, man, it's just been love. Davido this, Davido that, negative, positive, negative and whatever.

Negative? What's the biggest critique you've seen of yourself? I don't know. Probably my voice. That's the worst I can think of. I can't think of nothing else.

What's the most memorable place you've ever performed? I've got a couple places. O2 Arena [in London]. I just did [Madison Square Garden] with 50 Cent [for the Power premiere]. That was cool.

Walk me through that. He [50 Cent] brought me out. It was just crazy cause I ain't really met him before. I met him at the pool party or something like that, when I was performing at the pool party, and the reception when I performed was crazy so I think it got his attention. The next day he called me up to perform at MSG.

And then in July, you headlined your first international festival. Oh yeah, yeah. Amsterdam. Yeah. Oh My! Festival, and then Afro Nation, too. This summer was lit, but next summer is about to be dumb lit. This fall's about to be lit. Album's coming October.

One thing I notice about you and the progression of your career is that it’s fueled by a strong sense of faith and confidence. Where do you get that? It just depends, man. Honestly, it's not even confidence. I wouldn't say that Nigeria spoiled me, but like bruh, they just showed me so much love. Like, I didn't really go through like a lot of things. I just dropped and it just took me... I didn't really have to overkill myself. They just kept me there. I don't know why they liked me so much, (Laughs) but they just kept me there, kept me comfortable, kept me confident. Always came out to all the shows, supported all the music. It's just love, everywhere is love. Even the love for Davido spreads to everybody around me. My family members.

Have newer artists in Nigeria or on the continent asked you for advice? If so, what do you tell them? You have to be very hardworking and ready to play the part. That's what they're always asking. But everybody has their different ways of getting to where they need to get to. My way might be different from somebody else's way, but most importantly is just be ready to work hard and the music has to be good. Once the music is good, get your team right, and just work hard. I feel like the other steps, you kind of figure it out yourself.

Who do you think is next up in terms of afrobeats artists?  I mean, there's a lot of other artists. It's like 500 of us. Let us in, open American doors, we will finish everybody. There is a lot of us. I feel like before you stand up and leave Africa, like, yo, I'm going to chase the dream in America, I'm going to chase the dream in Europe, you have to make sure your foundation, your home is super strong.

Is it still a goal to capture or change up the American market? No, not [to] change it, we just want to join it. Add us. We should have our own chart, I think. You know what I'm saying? Like if reggae could have their own chart, I think we can have ours, too. Or let us in the main chart, something. But I feel like it's gonna happen, man. It's been happening, man. Most importantly, I'm happy that American artists themselves open their arms for us as well. I got a lot of records dropping that are not even myself, they're their songs featuring me. Stuff like that helps us as well.

What can we expect from the new album? Just a lot of good songs. It's an album for everybody, I'll say. I feel like everybody will have at least three songs they love in different genres. It’s going to be 13 songs. Well, I’ll probably have "Fall" and "If" on there, so it's really like 11 new songs. But yeah, it's going to be an album for everybody. Trust me. Every type of song is going to be on there. Predominantly afrobeats-infused, of course. Mainly my producers and a lot of your [American] producers, too. With features, me and Chris got a second record.

And lastly, since you speak highly of your foundation, what is the best thing about Nigeria? The people. The attitude, rich or poor. It's just a jolly place. You would laugh, comedians everywhere. There's some bad, bad spirits sometimes, (laughs) but for the most part, it's a very beautiful place.

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Nickelodeon

How 'My Brother And Me' Resonated With A Generation Of Young Black Men

In terms of cultural impact and influence, the '90s ranks as one of the defining decades for black entertainment of the past century. This proves particularly true in the realm of television, with a number of landmark programs debuting that reflected the life and times of blacks in the urban community and beyond. While the '80s produced groundbreaking sitcoms like The Cosby Show, A Different World, Family Matters, 227, Amen, and Frank's Place, all of which featured predominantly black casts, these shows were few and far in between.

However, the arrival of a new decade coincided with an influx of programs starring black leads, with shows like Martin, The Fresh Prince of Bel-Air, Living Single, Hangin with Mr. Cooper, Roc, Thea and South Central all making their debut. While these shows were hits across various age groups, they all starred and revolved around actors of age, in some form or fashion. One of the first programs to divert from this formula and place the focus squarely on adolescents was My Brother and Me, a sitcom that often gets overlooked when listing the pivotal shows of its era.

Making its debut on October 15, 1994, My Brother and Me was among the first live-action series to air on Nickelodeon and the first to feature a predominantly black cast. Created by Ilunga Adell and Calvin Brown Jr., and directed by Arlando Smith and Adam Weissman, the show centers around brothers Alfred "Alfie" Parker and Derek "Dee-Dee" Parker, the two youngest children of parents Jennifer (Karen E. Fraction) and Roger Parker (Jim R. Coleman) who experience the typical growing pains of pre-pubescent young men that are coming of age.

Additional core cast members include Alfie and Dee-Dee's older sister Melanie Parker (Aisling Sistrunk),, Alfie's best friend Milton "Goo" Berry (Jimmy Lee Newman, Jr.) who has an infatuation with Melanie, Melanie's best friend and Donnell's older sister Dionne Wilburn (Amanda Seales), Dee-Dee's best friend and Dionne’s younger brother Donnell Wilburn (Stefan J. Wernli),, Dee-Dee’s other best friend Harry White (Keith "Bubba" Naylor), and local comic book store owner Mrs. Pinckney (Kym Whitley).

Set in the suburbs of the west side of Charlotte, North Carolina, My Brother and Me was the Nickelodeon's answer to Sister, Sister, a sitcom on ABC starring identical twins Tia and Tamera Mowry that had debuted earlier that year. With a beat writer for the local newspaper for a father and a school teacher for a mother, Alfie and Dee-Dee enjoyed a stable living environment in which they could thrive academically and socially while simply being kids. A middle-class family with access to all of the basic amenities, the Parkers' economic situation was in stark contrast to the usual scratching-and-surviving, rags-to-riches themes often associated with sitcoms geared towards people of color.

While removed from the harsh realities that often accompany life in the inner-city, the Parker boys were drawn in by the allure of street culture, with Alfie and Dee-Dee both being avid fans of hip hop music, fashion, and style. This love affair would be the driving force behind various episodes, most notably "Dee-Dee's Haircut," during which Dee-Dee allows Goo to butcher his hair after marveling at fellow student Kenny's "Cool Dr. Money"-inspired haircut. Going as far as handpicking designs out of a rap magazine Donell borrows from his sister Dionne, Dee-Dee goes to the extreme in an attempt to mirror Kenny and Cool Dr. Money, a testament to the influence hip hop holds over him. His affinity for the culture is also reflected in the "Donnell's Birthday Party" episode, during which the impressionable youngster mimicking dance moves from a rap video in hopes of tightening up his dance skills.

Alfie and Dee-Dee may have been the intended stars of the show, but to many viewers, the most memorable character from My Brother and Me was Goo, who stole scenes with his humorous wisecracks and mischievous hijinks, often at the expense of Dee-Dee and his friends. From showering Mrs. Parker with disarming compliments to masterminding various plots and schemes in an attempt to get himself and Alfie out of trouble, Goo proved to be the most entertaining member of the show, exuding swagger and confidence that are palpable to the viewer and as hip hop as it gets. On the other hand, Alfie, who is not as overtly demonstrative in his rap fandom as his younger brother or Goo, reps his allegiance to the culture more subtly, with his haircut, backward caps and boisterous mannerisms.

While race was never a prevalent topic on the show, if one was to look closer between the lines, My Brother and Me was unapologetically black and pridefully so. Take, for instance, the various nods to HBCU culture throughout the show, including Roger Parker's various North Carolina Central University sweatshirts and hats, Alfie's Morehouse fit, and insignias from various black fraternities. One other common thread of the show was its incorporation of sports, starting with the Parker household's fandom of Charlotte's local professional franchises on full display, as Charlotte Hornets and Carolina Panthers memorabilia are all visible throughout the household. Cameos also included appearances from NBA stars Kendall Gill and Dennis Scott, the latter of whom teaches Alfie, the superior athlete of the Parker brothers, a lesson in selflessness and teamwork by cutting him from the school basketball team in "The Basketball Tryouts" episode.

Of all of the aspects of My Brother and Me that made the show a game-changer, the fact that it was one of the first times young black males saw themselves in characters on the TV is the most enduring. While plenty of shows and networks fixated on coming-of-age storylines centered around the privileged youth of white America, My Brother and Me provided the alternative, promoting the bond of brotherhood and family values with each episode aired. Preceding shows like Kenan & Kel and Cousin Skeeter, both of which implemented overt comedic or fictional elements, My Brother and Me was a realistic glimpse at the life of the average black boy in America without the overarching narratives of impoverishment, temptation, and despair. For many young black men born in the '80s, the show left an indelible impact on them and holds a place near to their heart a quarter-century later.

In spite of its critical acclaim and popularity, My Brother and Me only aired for one season, as it was canceled after airing its final episode on January 15, 1995. The network would air reruns into the early 2000s before returning briefly during The '90s Are All That block on TeenNick in December 2013, the last time the show would appear on television. In June 2014, Nickelodeon released My Brother & Me: The Complete Series as a two-disc DVD, giving a new generation of viewers and longtime fans of the show an opportunity to relive the magic that the show captured during its short, yet unforgettable run.

In the years following My Brother and Me's cancellation, many of the actors and actresses from the show would fail to find their footing in the entertainment industry, resulting in their acting careers fading into obscurity. Arthur Reggie III scored a few additional credits, appearing in the TV shows Sliders and C-Bear and Jamal, as well as the 1998 film Bulworth, but later transitioned into a rap career, performing under the name Show Bizness. My Brother and Me would mark Ralph Woolfolk's last appearance as an actor, as he decided to leave the industry behind and focus on his education, pursuing a degree in English at Morehouse College in Atlanta, while also attending law school. He is also a member of the Alpha Phi Alpha fraternity and currently serves as a police officer for the city of Atlanta. Jimmy Lee Newman, Jr. scored bit roles in the TV shows Sweet Justice and Sister, Sister in the subsequent years after the show, while Aisling Sistrunk, Stefan J. Wernli and Keith "Bubba" Naylor would never act professionally again.

However, a few members of the cast were able to sustain viable acting careers well beyond My Brother and Me's cancellation, most notably Amanda Seales, Karen E. Fraction and Jim Coleman. Seales would rebrand herself as Amanda Diva and become a successful media personality before transitioning back into acting, last appearing as Tiffany DuBois on HBO's "Insecure." In 2019, Seales debuted an HBO Comedy Special I Be Knowin', and was chosen as the emcee for NBC's comedy competition, Bring the Funny. Jim Coleman has kept himself busy with various roles over the past two decades, last appearing in "The Council," and continues to receive steady work. Karen Fraction would add a few additional credits to her resume after "My Brother and Me," but passed away on October 30, 2007, after a five year battle with breast cancer. She is survived by her two children, Lauren Elizabeth Jean and Lawrence Wm. Morris, and her husband Lawrence Hamilton. And last, but not least, Kym Whitley would enjoy a fruitful career on television and on the big screen, appearing in dozens of shows and films throughout her lengthy career, with her latest role being Mrs. Malinky in the Netflix animated comedy Pinky Malinky.

In the time since the debut of My Brother and Me, a lot has changed in terms of the presence and representation of black youth on television and beyond. A number of black actors and actresses have had the opportunity to shine in a big way, including Tyler James Williams (Everybody Hates Chris) Zendaya (Shake It Up), Kyle Massey (Corey in the House), Keke Palmer (True Jackson, VP), Miles Brown (Black-Ish) and Alex R. Hibbert (The Chi) all among the more prominent child stars making major waves on TV over the past two decades. That said, 25 years later, the fact remains that My Brother and Me was ahead of the curve as one of the first instances of seeing ourselves in a positive and uplifting light on the small screen.

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Darren Xu

Brent Faiyaz Channels International Life Into New Musical Gems

Finishing up his summer in Europe, Brent Faiyaz (born Christopher Brent Wood) indulges in spiked mimosas and enticing conversations with his team after handling business for the day. Jet-setting overseas to add more memories to his life’s reel, the singer-songwriter and producer just celebrated his 24th birthday days before. “I think anytime you go places internationally you get a different perspective," he says. "I felt like creatively, it would bring out some more shit.” Many doors have opened for the DMV crooner since he first appeared in front of the public’s eye with his single “Natural Release” in 2014. Pulling pages out what seems to be his journal entries, Faiyaz shares his autobiography through the dynamics of string ballads, haloed hymns, and tinder timbre.

The Columbia, Maryland R&B talent has shared his soothing vocals with fans ever since. Studiously making beats from the age of 12 or 13, it wasn’t until after graduating high school and moving to Charlotte with his parents that he began to invest in music full time. His rhythmic resonance and gut-punching lyrics turned into his first five-track EP speaking to women, relationships, and sex in A.M. Paradox in 2016 with his hit single “Poison.” He formed a group called Sonder with fellow musicians Dpat and Atu, and released a group EP with them called Into before dropping another solo project, Sonder Son. The 12-track project delved into his childhood: he brought his fans right into his living room in “Home,” gave them a seat at the table in his classrooms in “Gang Over Luv,” and walked his newfound Los Angeles streets with them in “L.A.” He then unleashed his tightly knit six-track EP Lost with standouts “Trust,” and “Around Me.”

“I come from a very real place. I think that I can give a lot of people around me a lot of real perspectives. I’ve been seeing a lot of people in certain avenues gravitate towards a nigga,” the LA-based artist said.

The indie artist truly received a standing ovation after organically co-creating the 2018 Grammy-nominated single “Crew” with GoldLink and Shy Glizzy. “I’m going to be real; I didn’t go into music with the intention of being an independent artist, especially not this long. But then [I] hopped onto “Crew” and we fucked around a got a hit record without even being signed to a label. After that I started getting paid so I was like ‘Fuck it, we really don’t need that,’” he said.

His first 2019 summer single “Fuck the World (Summer in London)” opened a perspective of contronyms that approached both the literal and lustful world. What he calls “the woes and the woes.” “Meaning the shit that I hate. [What] is terrible about life right now that’s fucked up, fuck the world on the negative end, middle finger fuck the world,” he says. “And then it’s ‘Fuck the World’ where it’s like the girls and the money and the clothes and the bullshit.”

He later dropped his latest track a month later. “Rehab (Winter In Paris)” mirrors a story when the singer was balancing his personal time while being addicted to a person who is addicted to a substance. With “Rehab” already penned, Faiyaz went to producing the track alongside No ID, known for his work with rap greats like Jay-Z, Common and Kanye West. “He’s an OG. I soaked up a lot of game from him. I locked in with him for a whole week and cut a bunch of ideas.” Observing the producer's process, Faiyaz implemented some of No ID’s ways into his own. “I would take certain shit he said and put that in my own shit. Real talk, he is one of those niggas that will put you on game.”

With a uniqueness to his voice that is charming yet elusive, the singer has raised eyebrows by not resembling the stereotypical genetic makeup of a rhythm and blues artist. “I don’t really know how a sound is supposed to look. If somebody tells me how a sound is supposed to look, I will understand,” Faiyaz chuckled. “I don’t really connect the two. I can’t change how I look; I can’t change how I sound. I’m going to keep doing me.”

During what one could consider a hiatus, the vocalist used that time to focus on his craft, give back to his mom, jump on A$AP Ferg’s album Floor Seats, and walk in Pyer Moss’s New York Fashion Week Show. As he has geared up for a musical return that will unveil a different side, Faiyaz is under renovation. “I [don’t] want to give people the same sh*t that I’ve been giving them this whole time. I’m not about to put out a new project and it sounds the exact same as the last project. I want to keep reinventing myself as this sh*t goes on.”

“Right now, I am probably the most creative that I’ve ever been.”

Brent has successfully left his fans longing for more all while remaining authentic, not purposefully trying to create any kind of enigma around himself. “It’s not a goal of mine to be on the tip of everybody’s tongue all the time.”

With the year wrapping up, the 24-year-old is “pushing boundaries” as he prepares to release more original melodies. While he experiments with the production elements of his music and strengthening his vocals, the artist is effortlessly surprising himself in the studio. “I’m kind of saying whatever the fuck I want to say on the track and somehow it’s coming out pretty good. I know how to put it in a way where it comes off ill.”

Plotting his next moves, the creative has become enthralled with art all across the board in his performances as it translates to visual art. “I’m really learning how a bunch of different avenues go aside from just music. I’m on my young renaissance man shit.”

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