keysha-cole-1111-reset-interview-vibe
Getty

Reflecting, Remembering and Reemerging: Keyshia Cole Opens Up About Her '11:11 Reset' Album

Keyshia Cole’s '11:11 Reset' album is a journal of personal growth.

In 2005, a red-haired R&B singer named Keyshia Cole emerged on the music scene. She was slightly rough around the edges but her raw voice spoke to souls everywhere. The pain in her lyrics took listeners deep into places that often remind fans of lovelorn situations --- like falling head over heels for someone and those first heartbreaks. To this day, she's still an around-the-way girl with tremendous vocals in our opinion.

Keyshia's music will always tell about her real life struggles, passion and her message. Twelve years later, she has returned with her seventh album, 11:11 Reset, and the heartfelt songstress has a brand new story to tell.

READ: Keyshia Cole Debuts ’11:11 Reset’ Album Feat. Remy Ma, DJ Khaled, Kamiyah & More

Can you full breakdown what '11:11 Reset' means?
Keyshia Cole: It’s significant to the ‘Angel Number.’ 11:11 represents being aligned spiritually with your destiny. It’s pretty much like the saying, ‘everything happens for a reason,’ and you know, to just appreciate where you’re at in that moment. Sometimes when you see [11:11] you’re supposed to pay attention to what you’re thinking at that time and what your focus is. I found out that I was born at 11:11 after I named the album that.

Some people believe that when you see 11:11 it means that the universe will manifest your thoughts into reality, and it's usually why people make a wish when they see 11:11 on a clock. What is something you would wish for right now?
I would wish that my mom would get better. That she’d take care of herself more.

Over the summer you updated fans on your mother Frankie’s battle with drug abuse. How are you guys now? Have you guys spoken since then?
No, she hurt my feelings pretty bad.

Has anyone else in the family been keeping an eye on her?
Yeah, of course. She lives with my aunt, her sister.

To some, you’re known for your songs that identify with the “heartbroken.” Do you find yourself needing to create art that stays in that lane?
Ultimately, music is to reflect the artist and their artistry. I’ve been pretty true to that. I do appreciate my fans and I love them for being supportive from the beginning. When I’m recording, I always think about them. I always hear, ‘Girl, you helped me get through a bad breakup’ and ‘Girl, you helped me get through my marriage,’ things to that extent, so I’m always trying to look out for my fans but [at the same time] it’s ultimately reflective of my life.

I love that you say your music is a reflection of you. They say ’11:11’ is also a time to remember yourself. Was there ever a time in your professional life when you felt like you lost yourself?
Not in my professional life but possibly in my marriage. I was so fixated on being a wife and being there for someone else that I kind of neglected who I was as an artist.

Do you feel like that’s something many women in the entertainment industry have to deal with, focusing so much on being a wife that you neglect your professional life?
I think any professional and successful woman might go through that because in this day and age where women are just as successful as men are, it’s kind of hard to separate being a woman first, a wife first and then handling your professional career. I commend the women who are able to juggle because it’s hard to satisfy everyone without taking care of yourself as well. That can be difficult.

What was the inspiration behind the first single “Incapable”?
I wrote it with Elijah Blake and Goldie. They’ve both written a lot on this album with me and they were there throughout the process, if not the writing part of it, the background and things of that sort. This song channels my own experience as a woman, realizing that sometimes things are not completely about you. Sometimes it’s about someone else not being able to give you that. Someone not being capable of even loving you the way that you love.

I know Young Thug is featured on your new album. Recently, he tweeted that more women should ‘make a man do right.’ What are your thoughts on women making a man want to ‘do right’?
I can’t particularly give an opinion on [Thug’s] situation but I do feel that what we come from, sometimes poverty and things that we experience in our adolescence, can put a damper on us accepting, knowing and identifying what love is. It’s hard in the streets, you know what I’m saying? I can identify with that. I can understand where someone would be coming from when they say that because I’ve seen it before. I’ve experienced men say, ‘I’ve never been in love. I’ve never loved someone like that, so I don’t know what to do with that.’ Those are also things you have to watch out for because it can be hurtful loving someone who is not able to identify with it because they’ve never experienced [love] before. So, you’re going to go through thick and thin with that person and you’ve got to ride the waves of the ups and downs with that person if it’s worth it.

What vibes will we be getting from you on this album?
Real music, live instrumentation and also some great content. I really love the songs on the album. I’m super excited. I literally cried when I walked into my listening session in Los Angeles. It’s for real, it’s really happening, my seventh album. We have DJ Khaled on the album. We have Too Short, Kamiyah, French Montana, Young Thug and more. It’s just been awesome, it’s been amazing. The process has been three years long so I’m so excited it’s finally coming out. On top of that, I make it clear that I own all of my masters so that’s also super awesome as an artist.

Throughout the years you’ve made headlines for quite a few reasons, some good and some bad. There was your statements about Beyonce’s “Bow Down,” there was the alleged incident with a woman at Birdman’s house, what goes through your mind when you’re speaking your mind online, or you’re going through a personal matter and it becomes a national headline?
We all grow through the things we go through so we have to keep that in mind. As long as you are growing through the things that you’re going through, I don’t think there’s anything wrong with it because no one is perfect. I also feel that at this current time, freedom of speech is problem. Being an individual and having your own opinion is a problem if you don’t flow with the masses. There’s ways to say things and ways to do things that are more appropriate for sure, though.

Do you find you need to censor yourself to avoid social media backlash?
I don’t think reconstruction is the key but when you grow through things that you go through, as long as you’re honest about your mistakes, I don’t feel that should be a problem.

I love that you mention your growth. There’s been a lot of changes in your music and in your image. What brought about that change?
Prayer, a lot of prayer. I’ve prayed many nights and asked God to strengthen me, my heart and my mind. I asked God to give me wisdom, knowledge, and understanding. Me and my son, we pray a lot. You’ve got to pray for it, wait for it and be able to identify it when it comes becomes it comes in different forms.

You’ve done reality TV before, were you afraid of the stigma that comes with doing the
Love and Hip Hop show?

I’m not afraid of anything but I’m definitely partial to certain things like protecting myself, taking the necessary measures to make sure that the protection is in place. That was the ultimate goal for me. I thought it was a great platform to showcase the music and allow a different demographic to be in contact with my music. That was my main focus for joining this particular
reality show.

Daniel “Boobie” Gibson, your now ex-husband, is part of your Love and Hip Hop storyline. You guys filed for divorce in September after being separated since 2014. What took you guys so long to make the divorce official?
There were a lot of ups and downs along with me not wanting to take DJ away from his father. It was just necessary because we have to be the best parents we can be for our children. Sometimes if people don’t bring out the best in each other and they have children, I feel like it’s better to part ways if that’s a better parenting relationship. At this point, we’re at that point.

From the Web

More on Vibe

Nick Rice

The 40 Best R&B Songs Of 2019

If you're a true lover of R&B, you can appreciate a soulfully soothing, quiet storm-worthy, put-it-on-repeat-and-think-about-your-boo (or potential boo) type of song. If you're a true lover of the genre, you sometimes find yourself reminiscing about the days when R&B of the '90s and 2000s was sensually laced with emotional vocal runs and the music videos featured not only a scene in the rain but also a phone, 2-way pager or some kind of communication device. And if you're a true lover of R&B, you've followed (and hopefully accepted) how the genre has evolved and survived since then.

2018 was definitely the year where R&B declared its status as "alive and well," in a time where hip-hop made its dominating and profitable presence known. This year, R&B continued to hold its own and kept the smooth, soul-stirring vibes coming even if it didn't hold its traditional form.  As hip-hop and the genre continued to birth chart-climbing singles, R&B songs of the early aughts made a resurgence through sample-laden tracks from artists of the new school.

For VIBE's 2019 Best R&B Songs list, we decided to not only choose songs that deserve a spot on a baby-making playlist but also celebrate the artists who've kept the core of R&B intact in their own way. Some songs are well-known, some are deep cuts. Some of these artists have won a music award or two this year, but the others are just as worthy. Here we've compiled an alphabetical list of songs that have resonated with the R&B lover in us. Get into it.

 

Continue Reading
Nick Rice

25 Hip-Hop Singles By Bomb Womxn Of 2019

Nothing hits like a rapper talking their sh*t, especially if she happens to be a womxn. There's a confidence that oozes out from the speakers and into the spirits of a listener open to that addictive feminine energy. This year, we got to see this in a big way thanks to the crossover success of a batch of very different womxn in rap. There's the hot girl also known as Megan Thee Stallion who balances her college courses while grabbing up Billboard chart-topping hits; new mama Cardi B proves you can really have it all and make history at the same time (a la her solo rap Grammy win) and Lizzo, who constantly pushes what it means to be a "rapper" with her style of vibrant pop music.

In 2018, VIBE presented a year-end list dedicated to albums by womxn and this year continues that tradition of spotlighting some of our favorite womxn– who happen to rap. The term "female rapper" has become sour by the minute, with many artists in the game refusing to pair their gender to an artform seemingly jumpstarted by a black womxn. “I don’t want to even be a female rapper,” CHIKA told Teen Vogue recently. “I’m a rapper. So for someone to have a qualifier like that and throw it out there so publicly — it feels really backhanded. I don’t like [it].” She isn't the only one. As hip-hop continues to dominate pop culture, the womxn in the genre are demanding respect for the craft. Here's a list comprised of some of our favorite songs that hit the charts or slipped under the radar.

Enjoy.

Continue Reading
Steve Morris @stevemorrism

Afrochella Sets Sight On Connecting The African Diaspora, One Festival At A Time

African music and culture are going global.

There’s a concerted effort to create and connect on the continent and to the continent. In Ghana and Nigeria specifically, a number of events, festivals, concerts, and activations have grown to prominence over the past five years, attracting newcomers and serving locals. This year, December will harvest a crop of opportunities for those abroad and at home to tap into the music, art, food, and fashion of the new-wave vanguard.

“Ghana remains home to the global African family,” Ghana Tourism Authority CEO Akwasi Agyemang said in an interview earlier this year. "We are positioning Ghana as a gateway to the West African market," Agyemang added. As African cultural productions popularize abroad, Accra and Lagos have become the go-to grounds for people of the diaspora to initiate immersion into experiencing Africa. 

The Ghana Tourism Authority and the Ministry of Tourism, Arts and Culture have lined up a slate of activities in an effort to boost the country’s tourism industry. The government has taken initiative to further pushing for mobilization, galvanizing both descendants and diasporans to visit, invest, and live in the country.

Certain factors make Ghana appealing for visitors. Along with it being one of the more stable nations in West Africa, according to a 2011 Forbes report, Ghana was ranked the 11th -most friendly country in the world, ranked higher than any other African country. But as of last year, according to the World Atlas, Ghana didn’t rank amongst the top 10 African countries to visit for tourism in 2018. There is already a history of diasporans permanently relocating to Ghana. The government attempted to facilitate this process when it waived some visa requirements and passed amendments to a 2002 law that permits people of African origin to apply to stay indefinitely in Ghana. 

But this year has been a particularly important one for visitors. This December marks the ending commemoration of the Year of Return. Ghana 2019 is an initiative of the government formally launched by the President of the Republic of Ghana in September 2019 in Washington, D.C. as a program for Africans in the diaspora to unite with Africans on the continent. The mission transcends a marketing strategy. The year 2019 commemorates 400 years since the first enslaved Africans were brought to Jamestown, Virginia. The program serves to recognize the surging people and the following generations of achievements, sacrifices since then. 

The past year has seen a steady influx to West Africa. According to a report in Quartz Africa, Ghana’s tourism sector contributed 5.5 percent to GDP in 2018, ranking in fourth place after gold, cocoa, and oil in terms of foreign exchange generation for the country. And the government is hoping for more growth. Ghana is reportedly projected to rake in an annual $8.3 billion from the tourism sector by the year 2027 in tandem with an estimated 4.3 million international tourist arrivals.

But with the opportunities for connection and investment comes a slate of new concerns attached to old ones. Tourism, for example, can be lucrative for local business, but also can have a broader disruptive impact on the nation’s economy. Then, there are the issues that programmers face to bring locals and visitors the sought-after idealized experiences of Ghana— a taxing and a challenging feat to execute in an environment that’s still developing its infrastructure in multiple sectors. Along with improper documentation of visitors, the 15-year development plan put in place to help push the numbers, in ways, has not been implemented in full force.

But a rush to Ghana is still projected, and there’s a slew of events coinciding in the region at the same time this year aiming to accommodate this. One of the events slated for a return is Afrochella, the annual art, music, and food festival happening in Accra from December 20 to January 5. Separate from the official year of return events, each event also aims to fulfill a similar mission and market individual appeal amidst similar events. There’s AfroNation, the popular Europe music festival holding its first-ever edition on Ghana’s coastline at the same time as Afrochella, while Nativeland is planning a selection of panels and immersive activations with Melanin Unscripted focusing on music, art, and culture in Lagos right before it.

Afrochella was conceptualized by Abdul Karim Abdullah in 2015. Abdullah, along with co-founder Kenny Agyapong, and COO Edward Adjaye, launched the full-scope festival with the hopes of curating a connection to the continent this year, focused on increasing visibility to the rising talent on the continent. Their 2019 theme is “Diaspora Calling,” aiming to promote networking within the Ghanaian community and diaspora, ensure African youth value and celebrate their native cultures while connecting communities through education, fashion, art, music, and business in Africa. 

Community involvement representative Emmanual Ansa states they want the event to become “the impetus and mecca for the celebration of African music, culture, and art.” But amidst the many options on the ground this year to fulfill these missions, where does Afrochella stand, and how does it stand out?

VIBE sat down with the Afrochella co-founder Abdullah to talk about the structural challenges of executing this initiative while appeasing the demands of a growing consumer base, the cultural significance of the event, and envisioning Ghana as a premier frontier for a global black connection.

Can you talk about the origin of Afrochella? What inspired it?

I went to school in Ghana for about seven years, and then I came back to the US and I went to high school in the Bronx—  High School For Teaching And The Professions. I went to Syracuse University in 2006 and got my bachelor's in psychology and biology. And then I got my master's in 2016 at CUNY Hunter college in public health. I've been working in medical research for eight and a half years. But this has been a passion of mine that I've always done on the side, which is throwing African-inspired events.

That’s when my team came together. It started out with me wanting to do a festival here in New York called Native Tongue festival, and that was geared towards food. I just wanted to explain the culture and engage people within the diaspora. But then, on our yearly trip to Ghana, I found that we would gather and we would have a great time, but we couldn't really have that much of an effect once we left. I felt like we could have an effect; we could encourage more people to reach back home and do certain things by creating a space where we can engage each other. I thought there was so much talent coming in from all over the world that were from Ghanian descent or African descent and if we could create a place where we can galvanize all of that and the people that are doing amazing things within those industries, we would be able to create something pretty good. [In] 2017, we decided to do something like that.

How has it changed since 2017? Has it been easier to translate what you're trying to do in terms of this new interest in Africa — Ghana and Nigeria in particular? 

My team is battle-tested. We understand what we have to do in order to make the event successful. But, I wouldn't say it's been easier; each year presented different challenges for us. In year one, it was financial. Until this year, it was navigating bureaucracies. Last year, it was navigating governmental agencies. This year is navigating competition, navigating finding more funding.  One of the things that we noticed about events in Ghana specifically is that once it [nears] completion, people tend to not attend it anymore. What we want to make sure we do is every year we want to increase the amount of people that attend— and each year we have at least by 30 percent. Each year, we've been able to define our message more clearly. 

Talk a little bit about the government in Ghana. How has it been dealing with things on the bureaucracy level?

I would say our event is doing a big service to Ghana. Afrochella has definitely given people an opportunity to visit Ghana. The government should support us in a way that makes gaining access to certain government facilities easier. But that has not been the case. We've had to be very proactive about that with regards to certain policies that may exist that are not written on an online forum. Like in America, if I wanted to do a special event in the park, I'd be able to go to an online source. I'd be able to see all the things that need to do in order to get a specific permit for a specific venue. In Ghana, these things don't exist.

For instance, this year we received an email from some agency. Out of all of the years, we've never communicated with them and in the third year, they're reaching out to us about musician copyrights and, apparently, we have to pay a tax. Those are the kinds of things that we've faced. You can end up paying people that are not actually supposed to get paid. And there's no way of you knowing whether or not it exists or doesn't exist. 

Last year, we had a very weird incident four days before the festival. We were told by the Ministry of Aviation that our stadium is right by the takeoff of the planes leaving Accra. I would think that the venue that we're renting out for this festival would be able to let us know, “hey, you need to do this with the Ministry of Aviation,”— they did not. The day before Christmas, we got a notification that we have to change venues because they feel our lights will interfere with flights taking off. It's, of course, an accident. So, we reached out to the Ministry of Aviation, sat down with the director and devised a plan in order to allow our event to continue. Those are the kinds of things we faced as an event that we are still trying to navigate. Hopefully, as we grow, it will get easier.

Do you think it'll get easier when some type of infrastructure is built to help those types of events move more smoothly?

I think that Ghana is going to have to look itself in the mirror. We all don't know what to expect in December. Because there are a lot of people going to Ghana in December, the anticipation is very high. All the major hotels in Accra are sold out. How Accra responds to the influx of people I think should inform the government on how they should prepare for events and things like this for the future. I do hope that there is an effort created to streamline policies. 

I would like for the government to encourage events. I think events is one of the major drivers of tourism. And if they're paying attention, they will notice that a lot of people are coming to Accra for Afrochella and the events that exist during that last week of Christmas. The double mission is to take a deeper look at this creative industry and figure out a way to encourage that positively in a way that it affects both the people on the ground and the people within the diaspora. 

The government has not been welcoming this with open arms or does it not have any type of structured initiative to help this run smoothly?

I'm not saying that. I just feel like in general, we do not know what changes in infrastructure or policy being made to accommodate the amount of people that are coming in. For instance, with Afrochella we understand that because there's going to be so many people—there was an excessive amount of traffic coming into the stadium last year—that we need to figure out a way to get people to the festival in shuttles. If we can get people that are shuttles, then we could reduce the amount of cars. We reached out to the Ministry of Roads to help us so we can avoid traffic in front of the stadium and that we can make sure that there's a safe way for people to enter. This is some of the planning that we have done. Until now, I personally have not seen any information come out, access [to] policies that exist. 

One of the major complaints that people from the diaspora face when they go to Africa during Christmas time is we feel that we should be having the same sort of customer service that we enjoy abroad. With the influx of people, I think that it's going to get worse.

We just wanna make sure that infrastructure exists to make sure that people that are coming do not disrupt the way of life in Accra.

There are a lot of other events happening around the same time as Afrochella. What is the concerted effort to kind of stand out from the rest?

Our goal is to highlight the thriving millennial talent from within the continent. So we take pride in making sure that we're highlighting people within various industries of food, fashion, music. With our Afrochella Talk series, we’ve been able to highlight people that have been doing amazing things within the creative industry. In December, we'll be doing one on music. And this is an opportunity to be able to educate people on opportunities that may exist within their field or create a platform for people to be able to discuss questions they may have. 

We're also involved heavily in charity. Last year, we supported Water Aid to help provide clean water to families in need. The year before that, we gave out school supplies to kids within Madina Zongo. This year, we're doing charity twofold. We're rebuilding an orphanage school, in Jamestown, Accra and also providing them with school supplies. We call this initiative Afrochella Reads]. We’re also doing Afrochella Feeds on December 26th. 

Our goal when we bring people to Ghana is not just to come and turn up, not just to have a good time, but also to give them a feel of the vibration of the country, what the culture is.For us, it's a holistic approach.

What does the full festival entail?

The festival itself is art, music, food, fashion and all of that culminates in our eyes what culture is. We believe that each part of these is equally as important. Not one part is more important than the other and that we should celebrate them together. In addition to people getting to go to our festival, we also give them the opportunity to be able to engage with the country through our tours, through our charity. The tours and the charity that we do is to make people understand that yes, Africa is a good time— you can go to all the clubs— but we want to make sure you leave and provide an impact at the same time. 

Talk a little bit about the Audiomack rising star challenge and that effort to kind of curate the connection with music and culture.

With the rise of afropop music in America, I feel these artists deserve a chance. Right now, the popular, mainstream artists are the ones that are getting the looks they deserve. But I think that there are a lot of talents that exist from the continent that deserve to showcase their talent.

The other aspect of it is, I feel that people in the continent are using all of these apps and all of these different services and they hardly get to connect with representatives from those services. One of our goals is to make sure that we partner with these companies and give them the opportunity to invest in the talent directly. With Audiomack, we're doing exactly that in that we're giving seven individuals an opportunity to perform at Afrochella. And the one with the most streams, we’re giving them $1,000 towards their career and we’re giving them an opportunity to for a studio session at our partners BBnZ Live. This is one model of the type of partnerships we want to, we look to create with companies in the future. 

Why is this year in particular so important for the reconnection of the diaspora in the context of the 400-year anniversary?

A lot of the conversation between the diaspora and the people from the continent is what makes us different, why we don't get along. What we want to do as a festival is take that conversation and change it into what can we learn from each other and how can we help each other. I think that it's very important that as you see the Chinese and the Japanese and the Americans and everyone reaching for Africa, that we engage the people in the diaspora to make them understand that there are opportunities that exist and there is amazing talent in Africa and they are interested in starting a business and you're interested in developing a space and you can engage with your counterparts on the continent and help build the continent yourself.

I think the more black people we get to invest in the continent, as a whole black will be helping each other. This year is absolutely important and I think that shoutout should go to Nana Akufo-Addo of Ghana for declaring this year The Year of Return. Ghana is definitely a good site that people can visit, but we hope that as people enjoy themselves and have that experience that they use that as a platform to visit other African countries and see what opportunities are there for them to be able to leave a lasting impact on the continent.

This interview was lightly edited for clarity.

Continue Reading

Top Stories