Kanye West
Rich Fury

‘Jesus Is King’ Is Kanye West’s Attempt To Get Right With God

Less than two hours have passed since I received confirmation that I somehow scored tickets to Kanye West’s Jesus Is King NYC listening session. You know, the album that was supposed to drop last Friday? It’s now Sunday, and this session seems to be the only guaranteed way to hear the album.

I scroll through Twitter to see if copping the free tickets was just that easy. I’m especially curious, given the vocal pushback against Kanye over the past year and a half, by a slew of his now-former fans who took issue with his seemingly newfound, conservative opinions.

But I see a frenzy on my timeline, courtesy of the unofficial Ye documentarians behind @KanyePodcast, of other people still clamoring to get tickets. Many of the passes were snapped up by scalpers, who were selling them for as much as $150 each, if not more.

It’s a shame, but it’s the name of the game. Especially for any event involving Kanye West.

After throwing on the nearest clean outfit, I hop on the train to head to the venue, United Palace, in Washington Heights; it doesn’t take long to find other people who are, too. They’re wearing Yeezys. And they can’t stop chattering.

As the stops come, one after another, more Yeezys board the subway car. Most of them are pristine, but some—the cream white and butter 350s, in particular—are just impossible to keep clean. In a lot of ways, they reflect their creator: they’re ostentatious, but in the simplest way. And, try as you might, you can’t get them back to the way they used to be once the façade has been stained. You just have to accept their current state, and press on.

An hour-plus journey later, I get off the train and follow the sea of Yeezys for the three-minute walk to the venue. Once inside the theater—30 minutes after doors open, and an hour and a half after standing in line—my phone is placed inside a locked bag and given back to me. Thankfully, I have two McDonald’s napkins and a pen in my purse to take notes.

I rush through the ornate and stately United Palace, which doubles as a non-profit cultural/performing arts center and church, and pass by merch stands. I only have time to briefly examine the set-up, but my eyes bug out of my head when I get a glimpse of what Ye is selling: Jesus Is King hoodies for $140. You read that right. One hundred and forty buckaroos.

Several failed attempts to grab a seat later, I finally find one near the back of the space, on the lower floor. No more than a minute later, the crowd collectively jumps to its feet and begins chanting “Yeezy! Yeezy!”

“All rise,” I think to myself, “for the Honorable Kanye West.”

I take a look around to get a better idea about who still counts themselves among Kanye’s diehard fans. Social media would indicate that his recent events cater mostly to white audiences. “Kanye gentrified his own fan base,” Bronx comedian Desus Nice tweeted Saturday. But here, it’s a completely mixed experience. To my immediate left is an Asian couple; to my right, two white men (who don’t clap for anything, all night). Behind me is a Hispanic couple, and in front of me are two young black women, wearing matching black-on-black Jesus Is King sweatshirts.

The event begins with a brief hello from the 42-year-old Chicago rapper, but I can’t see him because so many people are standing on their seats, trying to get a better look at the man who provided them with a soundtrack to their lives. It’s equally treacly and touching.

After greeting us, Kanye introduces two films: the first is about five minutes long, about the making of Jesus Is King. When the clip rolls, tiny silhouettes grace the wings of the dark stage. Even from the back of the venue, I can make out Saint and North West, dancing and clapping along with their father’s take on worship music. As the night progresses, North edges closer and closer to center stage, wanting to be applauded and seen just as much as Ye.

In both the short film and in an approximately 15-minute preview of the Jesus Is King IMAX documentary, Kanye places an immense focus on his choir. In a stirring moment, the singers flip his moody 808s & Heartbreak cut, “Say You Will,” into one of their signature Christ-focused covers: “Savor His Grace; it’s in His will.”

There are powerful moments aplenty, including close-ups on beautiful black women shedding tears while praising God; women who remind me of my own sister, who sings in a choir back home in Texas. But the energy in this room is conflicting. People who likely have never set foot in a black church are leaping up and “testifying” in a way that looks hauntingly familiar, but contrived. Studied. It looks like a lot of pretending.

Thankfully, I don’t have to wallow for long in my shadiness. Kanye takes his position in front of the stage, MPC at the ready, and begins the show we’ve all been waiting for.

The first track he plays, “Up From the Ashes,” bounces like a track Chance would have put on Coloring Book. “I come to You empty, free of my pride,” Ye vocalizes over gentle, minimal production. Everyone stays tame and in their seats, enjoying the moment but waiting for the next song.

The second Kanye presses play on the next track, “Follow God,” a few stans pop out of their seats, almost like synchronized jack-in-the-boxes. At this moment, Kanye tells us he needs us all to stand up. Of course, most of the audience thought that meant to storm the aisles, climb over seats, and hop onstage with Ye. I can honestly 1000% understand why this was the song that moved him to move us: driven by a soul sample, which I can’t yet put my finger on, it brings to mind Kanye’s 2011 collaboration with Jay-Z, “Otis.”

Three tracks into the album (“On God”), two things become abundantly clear: 1) Kanye did not have permission to tell his fans to break venue protocol and rush to the stage; and 2) Jesus Is King has a peculiar pattern—there’s no distinct sound that travels from one song to the next.

After security does its best to restabilize United Palace, Kanye continues to play “On God.” A vast change from the tracks before it, “On God” veers more toward electronic than gospel or hip-hop.

“Sunday,” on the other hand, is guitar-driven and brooding. On top of that, it has a witty hook: “Closed on Sunday, you like Chick-fil-A… Follow Jesus, listen now—obey.” Ye is feeling this one so he runs it back again, so his fans can get the “Chick-fil-A” line down. And they do.

A more experimental track follows “Sunday”: “Water.” It immediately reminds me of both Frank Ocean and Imogen Heap; it’s evocative, warbling, and tender, and there are countless moving parts. All I can think is: I would much rather hear this, than hear Ye rap about bleached assholes.

You might recall this tainted subject from Ye’s opening bars on “Father Stretch My Hands Pt. 1” off of 2016’s The Life of Pablo. It was particularly jarring to hear after “Ultralight Beam” at the start of the project, which Kanye explained would be “a gospel album with a whole lot of cursing on it.”

It’s almost like Kanye is now bending over backwards to make up for his TLOP gospel album pump fake. On “Selah,” track six, the song is overpowered by organs and what sounds like irreverent yelling, but is likely just Ye’s way of worshipping. He doubles down IRL at the end, with what can only be described as a series of Howard Dean screams.

“New Body,” the only song that’s been heard by the public (via leaks), sounds downright terrible in this venue. The speakers at the front of the space and the soundstage in back, near me, just aren’t aligning. (The drums, my God, the drums.) I wait patiently for the next song, which I think Ye calls “Ugliest Nightmare”; that title is not on the latest version of the tracklist posted by Kim Kardashian West, but it seems to match up with “LA Monster”: “Everyone is saying they woke, but they sleep,” Ye raps. “Walking dead, eyes closed.”

Kanye plays one of the most moving tracks on Jesus Is King penultimately: “Hands On,” featuring revered gospel musician Fred Hammond. “Tell the devil that I’m going on strike,” Ye announces. “I been working for him my whole life.” He gets even more honest later in the song: “‘What are you hearing from the Christians?’ They’ll be the first ones to judge me. Make me feel like nobody love me.” This made it very clear, to me, that Kanye is aware of the conversations happening around him, whether he chooses to engage or not.

The final track of the night is “Use This Gospel,” featuring No Malice, Pusha-T, and Kenny G. Before Ye can play the track in full, the NYPD enters and shines its light of authority down the aisles, announcing the concert is over. We’re effectively being shut down, but Kanye pushes through and has the crowd sing and hum with him until the end. “Use this gospel for protection,” Ye advises in song. “It’s a hard road to heaven.”

To be frank, Jesus Is King doesn’t compare to hardly any of Kanye’s previous works. The one thing it does have in common, with The Life of Pablo and ye, is that Kanye is reportedly still making adjustments to the project, beyond the final countdown. The production itself could hypothetically be tinkered with endlessly, and a reported Nicki Minaj verse could pop up. But Ye’s bars feel locked into place: simple, unpretentious worship. It sounds like he’s learning how to rap all over again, complete with figurative training wheels. You know how on Showtime at the Apollo, if a kid sings “His Eye Is on the Sparrow” badly, the audience still can’t boo them because it’s a song about God? Same thing.

But, Kanye has retained a lot of the elements that we know and love/d him for: the explorative production, the augmented, autotuned vocals, and perhaps most of all, his enthusiasm. A lot of the things that we love about Kanye are still there. It just so happens that this time, he’s backed by a choir, singing straight to Jesus.

Kanye is trying to do something revolutionary—he’s pivoting in real time from a flippant, sex-obsessed rapper, to a focused man of God, both in purpose and on wax. This has happened before: the late Bushwick Bill, DMX, and the aforementioned No Malice are just a few MCs who turned their lives over to Christ and dedicated their careers to praising Him. But none of them have the platform, or staying power, that Kanye holds.

On the ride home after the listening session, the subway cars fill with Yeezys, yet again. About halfway to Brooklyn, a young white man startlingly yells out, “Hey! Somebody AirDrop that Kanye!” A few folks laugh, but the force field of Ye’s energy has waned by this point. The event lasted an exact hour, leading me to speculate that people were left wanting more; especially fans who are used to his bombastic, elaborate performances.

Still, Kanye’s fans on the subway genuinely describe the event as “fire” and “crazy.” At this level of fandom, they probably don’t care what the album is even about: they’re just buying into the brand of Kanye West. His stans are always going to show up. They will always buy his merch, by the bag—even if it’s connected to a religion they don’t believe in, yet.

In all fairness, Kanye is a legend. Despite his polarizing comments over the past year and a half, he has accomplished things in his roughly two-decade-long career that many would take several lifetimes to complete. He will likely never be “canceled.” His works are woven too tightly into the stitching of our musical tastes and more importantly, our memories.

I get off at my stop, happy to finally be free to think to myself about what exactly just happened, and what this might mean for Ye’s future success. As I walk out of the subway station, a lasting moment is imprinted in my brain: before sharing the album, Kanye asked the audience to praise Jesus with him. His request was met with a smattering of half-hearted applause.

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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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