Remebering Missy Elliott's "Hot Boyz" Single Remebering Missy Elliott's "Hot Boyz" Single
Courtesy of Atlantic Records

Missy Elliott's "Hot Boyz" Remix Remains A Heater 20 Years Later

Lil Mo speaks to VIBE about the creation and the legacy behind Missy Elliott's biggest hit.

“This is for my ghetto motherf***ers…”

When needing to avoid the dreaded “sophomore slump” while crafting 1999 album Da Real World, Missy Elliott called upon the talents of Nas, Eve, Q-Tip, and Lil Mo to create a remix of her single “Hot Boyz.” The track’s legacy is being one of hip-hop’s most beloved all-star posse cuts. When icons at the height of their talents and popularity execute in the manner that this quintet does on this track, magic transpires. Having spent 18 weeks at No. 1 on Billboard’s Hot Rap Singles from December 4, 1999 to March 25, 2000, its prestigious chart record was recently topped by Lil Nas X and Billy Ray Cyrus’ “Old Town Road.” On the Hot Rap Singles charts, the track hit No. 1 in January 2000 and spent nine months on the charts. The song’s longevity as a hit is undeniable.

Join vocalist Lil Mo as we revisit the cusp of the millennium to celebrate an unlikely track worthy of super-acclaim, finally receiving long overdue recognition of its excellence for its 20th anniversary.

AN ICONIC PRELUDE

In the era between 1995–1998 (1995 included as tracks produced in 1995 that were released in/impacted 1996), Missy Elliott likely accrued 65 official production credits, 70 singles, features, or guest appearances, and worked on her first two solo albums with a combined total of 34 tracks between them. In compiling this impressive volume of work, she also spent time in the studio as a producer, songwriter, arranger, collaborator, and engineer with somewhere in the neighborhood of 100 artists, highlighting the fact that when the “Hot Boyz” remix dropped on November 9, 1999, the idea that a song featuring an artist of her then already prodigious talent, combined with that of Nas, Q-Tip, Lil Mo, and mega-producer Timbaland was a guaranteed hit. It actually wasn’t.

By 1999, Missy Elliott was a breakout hip-hop star following up the success of her debut album Supa Dupa Fly’s singles “The Rain,” “Sock It 2 Me” and “Beep Me 911.” But as a collaborator, she was thriving and maintaining relevance. Missy’s protege Nicole Wray’s seductive rap ballad “Make It Hot,” Timbaland & Magoo’s artist album lead single “Up Jumps Da Boogie,” and Total's simmering hi-hat driven soul ballad “Trippin’” were all hits bearing Missy’s musical fingerprints.

Recorded over eight months between 1998-1999, Elliott’s sophomore release, Da Real World was originally titled She's a Bitch, as a positive way of expressing herself as an empowered woman. Previous to this, Elliott had crafted five top ten singles for other artists (702’s “Steelo,” Aaliyah’s “If Your Girl Only Knew” and “Are You That Somebody,” SWV’s “Can We,” and Total’s “Trippin”) so far in her career, quite possibly a case of giving away her A-level material for others while retaining significant, but not quite breakthrough pieces for herself.

“Missy had hits, but yeah, we knew we had that ‘one’ in us," Lil Mo remembers. "The team was incredible. We felt excited and unstoppable.

"We were working nonstop. We were also working with Jay-Z, Puffy, Beyonce, I even vocal produced Whitney Houston and Aaliyah, there was so much happening. We knew we had hits, we just didn’t expect a ‘Hot Boyz’-level hit.”

THE INGREDIENTS OF SUCCESS

Nas’ rap career reheated after his debut and follow up albums Illmatic and It Was Written. Namely, 1999’s “Hate Me Now” featuring Diddy was a global success. Q-Tip was still a member of A Tribe Called Quest but making solo waves—his single “Vivrant Thing” dropped a month prior to Missy’s remix. Eve came to the record by way of the Ruff Ryders clique, and likely because she was the most-anticipated female emcee of the moment. Lil Mo was Missy’s protege and worked with (but not signed to) her GoldMind label, having done considerable songwriting for the aforementioned Nicole Wray’s debut album. As for Timbaland, he had recently exploded into mega-stardom, having produced 18 top ten Billboard Hip-Hop and R&B Chart singles in three years' time. Timbo brilliantly found a way to blend the coarse edge of urban radio with the seductive vibe of the late-night quiet storm format into a potent, pop-friendly formula. His trademark sound was off-kilter: not so hard that it offended adult contemporary listeners, but also not so smooth that it alienated the streets.

Lyrically, this song plays as a haughty come on from a social-climbing female looking to land a date with a hard-hustling playboy pushing the hottest whip on the streets. Pulsing, MPC-boosted violin samples over a skittering hi-hat provide the underpinning. There’s the slightest bleed of one note that reverberates in a way that makes it a perfectly imperfect earworm. The excellence of the track is that it's a bed for Missy to showcase her soul vocal chops. The emcees fill in the edges with familiar, pop chart-aimed voices. Lil Mo's vocals filter through the entire mix, so loud and still somewhat unrefined, but for the purposes of a track so minimal in its construction, absolutely perfect. If ever needing proof that the greatest hits oftentimes break the “rules” of conventional production logic, look no further.

“When Missy was writing ‘Hot Boyz,’ we got there that night, and we immediately ate dinner. We had unlimited budgets back then, so why not! (laughs) Then, we—as we always would—would start cracking jokes while in the lounge,” Lil Mo recalls. “I heard the beat, she started putting down the words, and then she’s like, ‘Go record some ad-libs [to the beat], and take it to church!’ When I first heard the track, there wasn’t much to what Timbaland had put together, but it still had that magic. Missy heard it once, told me to not be worried about what it sounded like now, because she knew what it would become. We finished the version with her and I on it alone, but she had already told me who she was reaching out to for the remix. The song—with Nas, Eve, and Q-Tip’s parts added with mine—and the video were done in a week. Missy’s powerful. And when she has a plan, she’s going to do what she says she’s going to do.”

“We recorded and mixed the original version of the record in the same night,” Mo continues. “Timbaland’s production, mixing, and engineering team at that time was incredible. Jimmy Douglass was his engineer, and once he got the record, he went into seclusion and came back with a hit.” Douglass is likely the most decorated of the modern era session engineers, having worked with the likes of Aretha Franklin, Roberta Flack, the Rolling Stones, Hall and Oates, and every significant Timbaland production in the past two decades of his career.

THE SONG “RADIO DIDN’T WANT TO PLAY”

Regarding the single which she noted that “radio didn’t want to play,” Missy told Billboard, “I remember one of the stations in L.A. was the first to pull it. And something happened, I can’t tell you what happened, but whatever happened, it ended up back at the stations...and it ended up in the Guinness Book of World Records.”

“I want guys to feel like they could ride around and listen to this because the beat was so hard. This beat feel like all the male rappers would want to get on this joint right here,” she said. “Eve snapped EFFORTLESSLY and came through on this song,” Missy also noted via Instagram. Lil Mo continues regarding Eve, “Missy gave her 16 bars on the record and she wasn’t even lit yet! That’s the equivalent of giving someone one million dollars!”

The first voice heard the remix is that of Nas. The flow is reminiscent of Firm-era Esco, equipped with swagger raps and cop-bait. Then, as Nas correctly says, “Missy’s about to tear it up....”

Missy’s opening verse takes her from quirky, awkward 'round the way high school homie to college senior home before graduation looking to make a move on making babies, then quite possibly getting married. She’s the embodiment of a thug’s dream wifey: able to cook, clean, and provide ultimate sexual satisfaction in the same breath. When she says “I’m a fly girl, and I like those…” she’s effectively refreshed much of her entire brand imaging and also opened herself up to female fans of say, Nas, who kicked off the record. It’s a stroke of genius.

The second verse is a stunning evolution. Missy’s now best renowned as a feminist sociocultural bellwether. However, here, she’s cooing about being a hot guy’s date because he drives a Jaguar XK8. Moreover, she wants all of her friends, if his friends drive cars similar in luxury to the XK8, to meet. Yes, feminism is not a monolith. This moment is empowering in a sense that actually fits the notion of feral female sexual desire showcased here like a glove. It’s truly fantastic songwriting.

Eve’s up next, having notched two top 40 features (The Roots’ “You Got Me” and Blackstreet/Janet Jackson collaboration “Girlfriend/Boyfriend”) and two debut album singles (“What You Want” and “Gotta Man”) at this point in her career. In the 45-second feature, the “illest pitbull in a skirt” wastes no lyrical motion. No cute ad-libs, nothing approaching platitudes about her sexual prowess. Spitting gangsta vitriol is her method, and what’s to boot, in the video version of the remix (sans Q-Tip), Missy returns to maintain her lyrical aesthetic, going in about how she’s going to “dig in your pockets, dig in your wallets, is that money I’m foundin’, now you got my heart poundin’...” Missy’s a true lyrical chameleon, showcasing her ability to meet any rhymer halfway. In the non-video version, Q-Tip, uncharacteristic to his Native Tongue ways but likely more method acting in time with the aesthetic set by his fellow performers on the remix, is pure cocksure sex fiend here. It fits.

A LEGACY THAT CAN NEVER BE REPLICATED

“What? 18 weeks at number one? Yeah, people thought we were paying for that. MTV, BET, everything,” says Lil Mo, answering the questions surrounding if payola or illicit wrangling was involved with “Hot Boyz’s” epic run. “To this day, people go crazy when you play it. It was a genuine hit record. We had no Twitter, Instagram, Facebook, Myspace to boost it...that single hit because of nothing but Billboard and radio.” Continuing, she remembers, “when I used to get my hair braided, it would take the girl six hours. I swear, in that six hours, I might hear ‘Hot Boyz’ 12 times.”

When asked if it would be possible to recreate that “Hot Boyz” moment, Lil Mo pauses, and then bittersweetly opines, “artists today don’t have the same type of confidence or creativity that we had back then. We had both, plus genius creatives pushing us to not fit into expected standards, but to be ourselves. That’s a gift and blessing. It inspires you to, when they give you the mic, to just kill it.” Lil Mo also credits the tune for kicking off her career “in a major way. It opened the door to me working with Ja Rule, Jay-Z, it helped me blow up out of control! My career struck gold.”

Upon hearing that artists like Kash Doll were inspired to become rappers because of songs like “Hot Boyz,” in her recent live performances, Lil Mo has updated the song’s hook to reflect modern times. Switching the hook from “Where your Lexus jeeps, and the Benz jeeps, and the Lincoln jeeps, and the Bentleys and the Jaguars, and the fly cars...Where you at” to “Some drive Bentley jeeps, some drive Lambos, even if they drive an Uber now, as long as he’s driving, baby,” has allowed the song’s relevance to resonate with just as much excitement for the current generation.

For her final note, Lil Mo reflects on her decades-long friendship with Missy. “This is 20 years of friendship. I just saw Missy last Saturday and though I don’t see her like I did all of the time two decades ago, it’s like we pick up exactly where we left off. The camaraderie that comes from making records that big is real. Our friendships, a song like this, they sustain and surpass the test of time.”

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Justin Newhouse

Filmmaker Coffey's 'About The People' Depicts Honest Conversation On Being Black In America

About The People, a short film created by New York City-based filmmaker Coffey is an ode to the power honest conversations about social justice, equity and race have within black and brown communities. The movie hosts a group of black men that hold court at a conference table to discuss how they can improve society for their kinfolk.

Their discourse concerns the social-economic inequalities that often grips black men at the hands of police brutality and lack of opportunity. In the end, a young black woman joins the conversation as well. Each character is named after their respective accomplishments in life.

There’s The Militant (Coffey), The Athlete (Akintola Jiboyewa), The Professor (Nashawn Kearse), The College Boy (Diggy Simmons), The Celebrity (Sterling Brim), The Executive, (Tyler Lepsey), The Preacher (Dorian Missick), The Author (Hisham Tawfiq), The Senator (Michael Kenneth Williams) and The Janitor (Ebony Obsidian).

Throughout the story, The Militant challenges The Preacher on his religious beliefs and optimistic viewpoint in believing that, through a higher power, all things are possible. Coffey, who grew up in a religious home in a small town in South Carolina, says his character’s defying ways were intentional. Through The Militant’s anger, he was able to release his own rage.

“As the co-writer, I could have been any one of those characters but I chose The Militant because I knew he was the one that was shaking up that room,” Coffey explains over the phone. “When you get that many brains in one room there’s absolutely no way everyone is going to say, ‘Okay everything is going to be joyful and we’re on the same page,’ it never happens that way.”

“There’s always a throw off in that room and it had to be The Militant, who ruffled some feathers,” he continues. “So, because I was pissed off in real life, I choose that character.”

About The People is inspired by a conversation Coffey had with his eldest son on police brutality. After not giving his son a curfew during the summer, he questioned why he would come home while the sun was still out. His son replied, “Me and my boys are making sure we get home before dark so we won’t get killed by the cops.”

That same fear plagues millions of black and brown men in America, where your skin color determines how much your life is worth. It’s a harsh reality, but it’s something Coffey didn’t want to shy away from. His first encounter with police brutality was watching the news of the L.A. riots after Rodney King was beaten by the LAPD in 1991. At the time, the world was a simpler place; social media didn’t exist, the Internet was in gestation and ubiquitous movements like Black Lives Matter hadn’t made CNN headlines yet. However, injustice was something that inevitably would enter Coffey’s life. It became clearer when he became a father in New York City.

“At that time I didn’t have kids,” he recalls when the L.A. riots were happening. “But the moment I did birth a child, which was here in New York that’s when it became like, ‘Okay my color is a problem because I’m a person of color, it’s already one strike against me which is crazy, but it’s reality.'”

In addition to discussing the conundrums that accompany being a black man in America and attempting to arrive at a consensus on how they can all make this situation better, there’s also a bigger topic at hand which deals with the inclusion of black women in this conversation. Near the film's end, The Janitor, a young black woman with an afro overhears their conversation. She’s intrigued by their discourse and takes it upon herself to jump in—unexpectedly, but with urgency.

Though she is met with opposition from some people in the group, they quickly realize she has the answers they’ve been looking for. She’s the missing piece to the puzzle they’ve been trying to complete. Historically, black women have played a major role in activism and have held the weight of the plight that swallows black men into a system that wasn’t made to protect them. But somehow don’t always get the credit they deserve.

Gillian B. White of The Atlantic breaks down this dichotomy in a 2016 article, titled Why Black Women Matter. “The necessity of black female activism, to me, is one of the most complex and important parts of this conversation,” White notes. “Black women haven’t been the backbone of agitation just because they wanted to be, but because oftentimes, they are the only ones who are able to.”

“Black men are America’s favorite victims. The country’s racial brutality and bias all too often truncate the lives of black men—either through death or incarceration,” she continues. “Even before the modern versions of mass incarceration, the war on drugs, and recent police violence, black men had targets on their backs. From lynchings to indentured servitude in coal mines during Jim Crow, the country’s legacy of taking black men’s lives and liberty has left black women to bear the burden of caring for families and advocating for justice for their fathers, husbands, sons, and brothers whose voices are often silenced.”

The Janitor was created in honor of Coffey’s grandmother and Angela Davis. Reminiscent of his childhood he decided to put the character in the end since his grandmother always had the last word. “The structure of the film is personal to me,” he explains. “My grandfather would have his friends over and they would drink and watch sports, and if there were problems it would be him and friends that would talk about these problems. But when my grandmother would find out they didn’t have the answer to these issues, she would provide the solution.”

In About The People Coffey creates an honest dialogue about what it means to be black in America and feel constantly oppressed by authority figures that are the direct product of white supremacy. The admission is universal considering how much of this world has been colonized by greedy European settlers, but its message is deeper than that. Money is another toxic element in the lethal poison where oppression and inequality are formed. Yet he made this film as a catalyst of hope—not to go against the powers that be.

“The honest to God truth is this isn’t written to go against any white people at all,” he says. “This is written for people of color, my kids and everybody else’s kids to try to follow these guidelines so it will be a better world for them.”

Special thanks to director Sterling Milan, Sincere Giles and Samuel K. Rhind.

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Courtesy of Endeavor Audio

Peter Rosenberg And Cipha Sounds Talk Juan EP's Return And All Things Jay-Z

Hip-hop podcasts are everywhere. Yes, everyone wants to be heard, but not everyone who wants to be heard is focused on moving the culture forward. Enter hip-hop nerds, Peter Rosenberg and Cipha Sounds. After a year hiatus, the duo is returning to these podcast streets with the Juan EP, where they bring their valid expertise on all things hip-hop.

Cipha and Rosenberg joined forces with Mass Appeal and Endeavor Audio to deliver comprehensive conversations about the culture, some of our favorite moments in hip-hop, favorite albums, best rhymes, among other things. During the podcast's first season, the DJs touch on who is arguably the greatest MC of all time, Jay-Z.

"I wanted to make sure we always kept the conversation about Hov’s rhymes," Cipha Sounds tells us in our phone conversation. "Don’t forget about how nice he is on that mic."

Drawing help from some of Shawn Carter's closest friends, Cipha and Rosenberg dig into Jay-Z's career to discuss his best collaborations, beefs and pinpoint moments of Hov's greatness. VIBE caught up with the fellas and chatted about the Juan EP, Jay-Z and much more.

VIBE: First, this has been bothering me for years. Who is Juan Epstein? Rosenberg: Juan Epstein came from the fact that Cipha and I got paired together. He's Puerto Rican and I’m Jewish. Juan Epstein was a Puerto Rican/Jewish character on the show, Welcome Back, Cotter. I never watched the show, I think Cipha may have been the one to tell me about the name. That was perfect.

The podcast has been on hiatus for a while now. How was the process of bringing the podcast back? Rosenberg: We’ve been wanting to bring it back for a minute. We’ve been looking for the right opportunities and the right partners. And we thought Mass Appeal was a really good home. And when the opportunity came up, it just seemed like a really good fit. We’re trying to do something right for hip-hop, and curated well, and do right by the culture. When Mass Appeal came up with an option it seemed like a perfect fit. It was a great excuse and forced us the get organized and bring it back.

Cipha Sounds: The reason I love this podcast is because it really is two hip-hop fans who were lucky enough to get paid from hip-hop, and we get to talk to some great people from the hip-hop community about hip-hop. There aren't any outsiders speaking about our culture. And we learn new things that we never knew before.

With you guys coming from radio, do you prefer podcasts over radio programming? Rosenberg: It’s a different thing. [Podcasting], it’s more in line with what I’m really passionate about. And it’s really fun. It’s two different versions of a similar thing. They’re both broadcasting, but this gets to be about hip-hop, and not the bullsh*t side, the gossip. This really is about the music.

Cipher: I don’t consider one over the other. I definitely like having long conversations with hip-hop artists.

Season One of the Juan EP is about Jay-Z. Why him? Cipha: Everybody always has all these conversations about the top five [MCs] and who’s the G.O.A.T. I wanted the same street corner, lunchroom conversation with some actual research, and facts from people who were there. People who handle the question with some real information. And also, it is fun to get people’s opinions on it. Of all the sh*t that Jay-Z does that influences the culture, whether it be becoming the first billionaire or marrying Beyoncé, I wanted to make sure we always kept the conversation about Hov’s rhymes. Don’t forget about how nice he is on that mic. Since we're talking Jay-Z, there was a time, well, at least in my hometown of Mississippi, where people were aggravated with Hov for frequently using B.I.G's rhymes.  Cipha: Let me answer this one. Let me tell you and all of your friends in the barbershop in Mississippi, every time Jay says a B.I.G. line, Biggie's kids eat. The reason he does it is because it pays for Biggie’s family to live the way that they should’ve lived if Biggie was still alive, so he pays for school, and homes all off of saying a line.

Wow. I didn't know that. Rosenberg: Yes, anytime Jay-Z samples a B.I.G. line, thanks to B.I.G.'s publishing, his family eats.

What are some of your favorite episodes so far? Cipha: My favorite is the Clark [DJ Clark Kent] episode. I loved how he broke down the details of how Jay-Z and Biggie met. For me, that’s something I’ve always wanted to know and I’d be like, "How will I ever, ever know that?" There’s no way. Like, I don’t know where it was. I don’t know who was in the room and basically to find out not only was Clark Kent in the room but basically orchestrated it.

At times, Jay-Z takes a lot of heat. For instance, this NFL partnership business. Some people have even said he's partly responsible for the gentrification happening in the Fort Greene section of Brooklyn. Rosenberg: We talked a lot about Jay-Z's ventures and how he’s taken flack for some things. And Jay-Z the businessman is a different thing than Jay-Z the artist. We go into a lot of detail about the business and how he’s viewed, And we defiantly get into the question, on the episode, actually next week [on the Nov. 19th episode titled, "I'm A Business Man"].

Here's some fun Jay-Z stuff. To me, the best intro song in the history of hip-hop is Jay's "The Dynasty Intro." Let's debate this. I'm ready.  Rosenberg: I agree that it’s up there. I probably haven’t done the extensive research like you have. But The Dynasty is definitely one of my favorite Jay-Z albums, which is funny because first, it wasn’t a Jay-Z album, then it was a Jay-Z album. So I wonder did he have that intro on there already when it was just a Roc-A-Fella album or did he add it once it became a Jay-Z album? Who would I even ask?

VIBE: Guru.

Rosenberg: Was he around then?

VIBE: Bean’s first album came out before The Dynasty album...

Rosenberg: And Guru did Bean's album...

Cipha: Yes, but even if he wasn’t around... this guy is so strategic. I know that the Pharrell [Williams] record made him make it a Jay Z-album instead of a Roc [A-Fella] album, but that intro, it’s not long and the beat is not complicated. It's a simple hip-hop beat. Damn, we now have to do an episode about this.

Rosenberg: And that's what this show is about. For people who are interested in stuff like that. And this is the perfect time to dig into the podcast because all of the episodes are available. You don't have to wait for the next episode.

Hip-hop fans can tune into every episode of Juan EP below or on Stitcher, and Endeavor Audio.

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Sean Zanni

Swizz Beatz On Art Endeavors, 'Godfather of Harlem,' Son Painting His Nails

Swizz Beatz has already established himself a rap legend, with 20-plus years of production credits with hip-hop and R&B greats. But now, the passionate collector and curator is making just as much of a name for himself in the art world. He and his wife Alicia Keys have founded The Dean Collection, which loans pieces to museums and galleries around the world while advocating to get creators paid and introducing art to new audiences. Those endeavors continued this week, as their entity partnered with the Marriott Bonvoy and American Express for the platform, "Women In Art."

At an intimate dinner in New York City, the organizations honored Joeonna Bellorado-Samuels, director of the renowned Jack Shainman Gallery in New York City. Bellorado-Samuels worked with two artists, February James and LaKela Brown, who created two pieces that will be on display at the Dream Party event during Art Basel in Miami, Fla. Similar to his work in music, Swizz is always pulling the strings, both publicly and behind the scenes, to present valuable artists at their best.

But don't let his art endeavors make you think he's not still active in music. His 2018 album Poison was one of the year's best with collaborations with the likes of Nas, Lil Wayne, and Young Thug. This year, he's dropped weekly heat for the soundtrack of Godfather of Harlem, a new show on Epix starring Forest Whitaker as 1960s crime boss Bumpy Johnson. The songs have featured Rick Ross, DMX, A$AP Ferg, Dave East, Jidenna, Pusha T, and many more – and Swizz is overseeing them all as the executive music producer. VIBE spoke to Swizz about honoring women in art, creating a soundtrack without having finished the show, and his response to online controversy surrounding his son.

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VIBE: So what’s the occasion for tonight?

Swizz Beatz: Tonight is the announcement of the continuation of my partnership with Marriott Bonvoy and American Express with the Dean Collection. Tonight, we’re celebrating an amazing female force behind the creatives in the art world, her name is Joeonna Bellorado-Samuels. Then we have two accompanying artists that we’re celebrating that we added to the celebration, one’s name is February and the other’s name is LeKela. It’s an honor to celebrate these amazing women in art and have great partners like American Express, Marriott Bonvoy, and push the conversation forward.

The partnership first started with an interest in the Dean Collection and all the different things we’ve been doing around the world with the arts and giving back. American Express and Marriott Bonvoy felt it was a perfect opportunity to fuse the two together and make the message louder. Very organic.

Tonight, the event is honoring Joeonna Bellorado-Samuels. What made her the right choice for this?

She works with Jack Shainman, which is a very popular gallery.  Seventy percent of my collection in the past five years has been through that gallery, and she’s the person that’s behind the scenes dealing with the artists, all the phone calls and all the emails, but then also always showing up to everybody else’s events. So I thought, why don’t we celebrate the person who always celebrates? Just thought it was a great way to spotlight, give her an award, let her smell her flowers, let her know that she’s appreciated for all the work she’s done to give everybody else life in the art world.

We’re having a party called the Dream Party at the W South Beach, where the pajamas designed by February James and LaKela Brown will be premiered.

Are women recognized as they should be in the art world, or is this against the grain in that respect?

Man, there’s so much work still to be done. I think women in the art world make up three percent of the sales, so it’s our job to increase that number by any means necessary. It starts with things like what we’re doing now. Putting the spotlight and having a male, and also my wife, who’s a part of the Dean Collection, saying “let’s do something where women can feel special as well and boost the awareness so we can try to even out the numbers a little bit," just like everything else in the world.

 

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🖤🤓 I am super thankful to have been recognized for my work in the Art community by @AmericanExpress, @MarriottBonvoy, @TheDeanCollection, and my dear friend @TheRealSwizzz as part of their platform to support “Women in Art”. This recognition means the world to me and I am excited to continue being an advocate in the art community in order to help spotlight other women creatives like the insanely talented @LakelaBrown and @FebruaryJames. I’ll be unveiling more soon at Miami Art Week with #mbonvoyamex #AmexAmbassador #ad (but I mean it)

A post shared by JØɆØ₦₦₳ bellorado-samuels (@joeonna) on Nov 15, 2019 at 3:01pm PST

You also have a talk coming up at Art Basel with Kehinde Wiley. How did that come together?

Kehinde Wiley started an honors residency called Black Rock in Senegal. We went there for the opening to support him. This talk is raising money for Black Rock. Kehinde was the first artist to officially participate in No Commissions as an established artist, even when everybody was scared to do it. Just the fact that it was going towards Kehinde, I had to support him. He’s a real brother.

A few minutes ago, I said that I’m not in the art world, and you said that I can be. For someone who’s not a collector yet and who doesn’t have the means that you have, how would you suggest they get involved?

There’s a lot of information online, there’s a lot of gallery shows. And there’s art available for people of all levels financially. That’s one of the stigmas, that art is only for rich people. That’s not the case. Art is available for whoever wants it, it’s just the scale that you want to play on at that time. Get your entry point, and it goes up from the entry point. Just like No Commissions, you can get an amazing print from an amazing artist like Swoon. That money goes toward Heliotrope, which is a foundation of helping people, for $30. There’s no excuses. But in the near future, I have my technology coming out called Smart Collection, which is going to give people an entry point on how to really get it cracking.

You ever think back to when you first started collecting and think “man, I’m at the point where I’m getting artists paid, I’m speaking to one of the greatest artists in the world at Art Basel.” How often do you think about how far you’ve come in that respect?

I reflect on where I’m at now, but I still know that I’m only just beginning. There’s still a lot of work to be done. I’m happy that I was a part of bringing African American collecting--whatever we helped do, we’re forever thankful. But it’s about all forms of art. And all colors, by the way. Art has many colors, but I see none of them. I feel like a dope creative is a dope creative. We invested heavy into African American art because we weren’t owning enough of our own culture. We have artists from all around the world in our collection. So it’s pretty balanced out. It’s been fun collecting living artists and having a relationship with them and being able to do things like we’re doing here tonight with our partners at American Express.

You’ve done a great job with the Godfather in Harlem soundtrack songs every week. How have you been putting that together?

It’s been fun. I’ve turned every night in the studio into an event, and it allowed me to step out of the box. Every week you hear a different sonic, and it sounds like it’s for the show, but the show is based all the way back then but it feels now. I just got in my zone. I’m happy with where the show is going, it’s breaking records. I’m happy to be the executive music producer.

Are you watching each episode and breaking down plots for the artists to create songs to?

I’m just playing clips, and I’m letting them write to those clips. That’s why the songs feel like they were meant for the show. No particular order. I didn’t watch the whole series yet, I watch every Sunday as a fan. I didn’t want to ruin it for myself.

In recent weeks, your wife Alicia Keys posted about your son wanting to paint his nails but being afraid of being teased in school. How is he holding up, and how do you and Alicia foster a household that can embrace creativity and feminine energy?

We let our kids have their freedom. That incident she was talking about was a one-time incident. That wasn’t something he asks to do every day. He’s four years old. He’s in the nail shop with his mom, and he’s like, “That looks cool.” That’s art to him. Us as men, now, we all put our mother’s shoes on when we were younger. We were exploring. Name one person who didn’t put their mother’s shoes on growing up. We don’t cut off the exploration and give a four-year-old a label. My son is harder than most guys I know; he’s a real serious kid, to be honest. If you look at his Instagram, he’s one of my more serious kids. But he’s also open to express how he wants to express. Although as a father I’m going to teach him things to know to protect himself, I’m also going to let him explore himself. I am who I am because I was able to explore. We just live in a world sometimes where people want to put a label on something, but you can’t put a label on a four-year-old. My wife had a great message. It probably was misinterpreted, but she meant what she said, and I stand behind what she said. I don’t have any labels on my kids.

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