hitboy-vibe-interview-1603990559
Ragan Henderson

Interview: Hit-Boy Talks Producing Benny the Butcher, Big Sean & Nas, Plus Nipsey Hussle and Juice WRLD Connections

The BET Hip-Hop Awards 2020 Producer of the Year is taking 2020 by storm.

When you're audacious and cocksure enough to assume the tag Hit-Boy, in a game and industry where you're only as good as your next big single or album release, chances are you have a glaring lack of self-awareness or you're operating at a level of excellence that's unique. That said, Chauncey Alexander Hollis has proven himself to be closer to the latter, as he's spent the past decade crafting some of the biggest anthems for the biggest artists in the game, including Beyoncé, Drake, JAY-Z, Kanye West, and Kendrick Lamar, just to name a few.

With credits on many of the biggest rap releases during that time, Hit-Boy is considered an elite boardman by most measures. However, somewhere along the line, he felt the need to stamp himself as more than a hit-maker for hire, but a producer with the ability to oversee, compose and help craft a body of work that touches the hearts of the people and can stand the test of time. And if 2020 were any indication, the Los Angeles-based producer is well on his way to putting his name alongside other greats who've built a reputation as sonic architects.

With his work on acclaimed releases by Nas (King's Disease), Big Sean (Detroit 2), and Benny the Butcher (Burden of Proof), all released within a two-month span, Hit-Boy has put the rap world on notice [even with his own duo Half-A-Mil with Dom Kennedy] that he's got the Midas touch and is the current frontrunner for the title of hottest producer in the game.

VIBE linked with Hit-Boy to talk about connecting with Benny the Butcher for Burden of Proof, working with Big Sean and Nas, getting music advice from JAY-Z, his relationships with Nipsey Hussle and Juice WRLD, and much more.

--

VIBE: Rap star Benny the Butcher's Burden of Proof, which you executive produced, was one of the more anticipated albums of the year. In addition to overseeing the album, you've also been promoting it heavily on social media and interacting with the fans. What has the feedback been like?

Hit-Boy: Man, the crazy thing is we put this thing out independent. We were supposed to go through a major, but whatever behind the scenes stuff transpired that didn't allow for it to happen so we still put it out indie. It feels like a major release, so that's the good thing about it. I've just been getting a lot of love, like a lot of people tapping in, telling me how much they respect this shit, it just sounds authentic, you know?

Being that Benny comes out of the Griselda camp, which works closely with their own production team, how did you and Benny first cross paths and what was the catalyst for you to go beyond producing individual records and working on the album in its entirety?

We stuck to them guys, for sure. Obviously, I'm my own type of producer and got my own flavor with this shit, but the first song we made, the very first song we made was "Legend." It's the outro on the album. That should tell you a lot right there. We set the bar up real high with that first song and from there, it just was like the energy was just crazy and we just kept it going. It was song by song, beat by beat, by the time we got to, like, four or five songs, he was like 'Man, you might as well do the whole joint.' His team started pulling up and it just became a real thing.

You earned the name Hit-Boy as a result of your ability to make records that dominate the charts and become anthems. Being that Benny’s production on previous projects was more boom-bap inspired, did you feel any desire or pressure to bridge that gap?

Only a select few people really study me and understand what's going on. Like if you listen to "One Train" on A$AP Rocky's first album, that had all type of heavy-hitting ass rapping niggas on it, so I do this, man.

I did shit on G-Unit projects, I did shit on Game projects. Real gutter, gangster-ass, dark sounding shit, so I'm just a music motherfucker. That's why for me to even be able to have this bag, half of this shit, niggas think that you only got "Niggas In Paris" shit, that's the battle I've been fighting. It's an even bigger thing because I'm like, 'Y'all niggas thinking that this is all I do.

The Burden of Proof intro, I started that in 2007. I added a couple of flavors up to date, but the gist of that beat was done in '07. Fucking "Timeless" was done in 2011, like, I do this, for real, bro. I been doing this shit, but for me to catch the joints I have and they be so simple, it was such a mindfuck for me, man, 'cause it's like I got all of these bags, but niggas don't get it.

The album's first single, "Timeless," features Big Sean and Lil Wayne. What's the origin of that collaboration and what hand did you play in its creation?

So "Timeless," we just started our part, me and Benny and next thing I know, he texted me early in the morning with the Wayne verse. I ain't know what it was, he just texted me the file, I listened, he had a Wayne verse. I'm like, 'Damn.' That shit had me so hype, I'm like, 'This shit sounds like Carter II Wayne all over again, it sounds like he went in a time chamber or some shit.' From there, I obviously got my relationship with [Big] Sean, I put him on the Nas album and I also put him on this album just by being the homie and pulling up. I really just work with motherfuckers who pull up on me and really wanna work, it really ain't too much more magic than that.

On social media, you revealed that only two artists have cried in the studio while making a record with you, Nipsey Hussle when he recorded the second verse on “Racks in the Middle” and Benny the Butcher on “Thank God I Made It.” Touch on what it was like to witness that emotion come out of Benny and what those moments mean to you as a producer.

I mean, it's just crazy that I done worked with so many, so many artists and just, like, the two most thorough, solid two A-1, gangsta type niggas was in this shit, like, really connecting with the music. That was really the point I was trying to get across, it's not like I'm just clout-chasing, trying to tell that them niggas was crying. That's some stupid shit. I'm trying to tell y'all this is not just a nigga fucking making a beat and doing a song, this shit is like peoples lives on the line everyday. I'm putting my life, my energy [on the line]. Benny was doing the same thing...Nipsey was doing the same thing. It's just deeper than rap, this is deeper than the surface.

Another revelation you made involved JAY-Z's post-production assistance on “One Way Flight” featuring Freddie Gibbs, which you say he helped arrange. How would you describe your creative connection to JAY-Z and what made you send that particular song to him?

Obviously, I've got joints with him, but also, me and Benny are managed by JAY-Z, so it's like I just took a chance. I was like, 'Check this shit out if you get a minute, what do you think of this arrangement?' He hit me back and he was like, 'This shit is amazing you should do this, you should try [that],' you know what I'm saying? 'Cause I had sent him the song, so he just helped me overall arrange the song, so it was parts of the beat and parts of the song, he was like, ‘Move that, do this.' And then I sent it back to him and he was like, 'Okay, this shit's crazy, but if you do this one more thing, it'll just take it over the top,' which was giving Gibbs that spacing and letting the verse kinda be a surprise and come in. I felt like that made all of the difference. Obviously that's JAY-Z, man, he done made some of the greatest songs he ever heard, so for him to give me his opinion and help me dive into that bag, that shit was unreal.

Aside from the songs that were already mentioned, what are your favorite songs on Burden of Proof and why?

I'ma say "Sly Green," that beat is just prime-time, what I grew up on. First album I ever bought with my own money, my own bread I made was The Blueprint, so I feel like it's just a fusion of that shit with elements of that with, like, some older Hov shit. A little bit of "Hola Hovito," shout-out to Timbaland, like I just put all my influences into this shit and tried to bring the sound up to date without going and doing some corny shit. Like, 'Oh, I'ma sample "Ain't No Love in The Heart of the City,"' that's some basic shit. I made some shit to where it sounds like, but they know it's original, it's fresh, like I ain't do no basic, surface-ass shit.

Two other albums you worked on that made a big splash this year was Nas' King's Disease album and Big Sean's Detroit 2, both of which got an overwhelming amount of praise. What would you say you learned from working on each album and how would you say their creative styles differ?

I mean, they're all their own artists, they all needed different things, so I pride myself on my versatility and just always trying to make sounds to where it's like, 'Damn, we don't know who did this for real.' I mean, I just learned personally, that I'm able to do this shit, that I'm able to see multiple projects through damn near at the same time. And just, I guess, learning to have patience with everything. Everybody in their own pocket, everybody does different things everyday when they wake up, so you gotta be patient with people. You gotta understand it's two worlds, it's your world, but it's also their world. So you gotta have that perfect meeting place in the middle and have that match-up and be perfect.

For King's Disease, how important was it to pair Nas with younger artists like Lil Durk, Fivio Foreign, and ASAP Ferg and bridge that gap between both generations?

Honestly, I wasn't even thinking like, 'I gotta get him with some young dudes.' It was more so these are certain artists I rock with that I'm already working with, I might as well do it. I texted to Durk, he hit back immediately, like I don't really gas this shit. It was simple, the whole process was real organic, so I like how it all shaped up knowing that people kinda put it in it's frame to where it's like, 'This is a really fresh Nas.' That's a beautiful thing.

2020 has been a landmark year for you and has seen you become more of a maestro and conductor that delivers bodies of work than a quote-unquote hit-maker. Has that evolution been a calculated one or was it organic?

It's kinda both, but it definitely was calculated. Like I just kinda got to a point where I'm like, 'Man, doing one or two songs on peoples' project ain't really getting me to where I wanna be.' Like I'm looking at stuff online, I do big joints and people will still be hitting me, like, 'Where's Hit-Boy at, what's he doing?' I got "Sicko Mode" out, I got "Racks in the Middle" out, I got all these huge songs and niggas are still questioning the level that I'm on and what I'm doing. So I just said, 'Man, let me really dial in, tap in and just take a whole different route with this shit.' I'm not trying to do anything. I'm just doing this shit. I'm just rocking with the artists who rock with me and just trying to make the most quality music, everyday.

With Burden of Proof, King's Disease, and Detroit 2 all under your belt, you've put together one of the strongest year's for a producer we've seen in quite some time. Would you say that you've proved yourself to be the MVP of 2020 so far, in terms of producers?

Nah, man, you can't call it, somebody may be looking at it, like, a whole different way. I do see a lot of people, I haven't said that shit one time, I'll let the people decide. That's the type of person I am. A lot of people I respect doing fly shit and I'm just doing mine, so however it lands it's gonna land, period.

2019 was a bittersweet year for you, in the sense that you won your second Grammy Award for your work on Nipsey Hussle's "Racks in the Middle," but also had to mourn his death. [The same with] rap star Juice WRLD, whom you worked with closely on his album, Death Race For Love. What was your professional and personal relationship with those two like?

Man, crazy. Like I was working on Juice and Nip at the same time, at two different studios. I would have Nip at my studio working, he'd be writing a verse, he'd take his time. Juice, on the other hand, young kid, twenty years old or however old he was, we were working on an album, he's doing songs in 20-25 minutes, tops. Crazy melodies, never run out of words. And they both needed two different things, but just going from each session. And losing both of them, that shit was mind-blowing 'cause I specifically just remember those moments where I would see Juice for an hour-and-a-half, do three or four songs and then come back and Nip still be here vibing or he done laid the verse or whatever the case is.

But me and Nip, we started working way back, we did a song called "Thuggin'" with him and Boosie, it was on, I think, Bullets Ain't Got No Name Vol. 2 or something like that. And then we did stuff on Mailbox Money, different projects of his. But "Racks in the Middle," that was just a moment where we connected. He was pulling up nonstop, just rocking with me. And then Juice, he was so energetic anytime we linked up, he would damn near wanna record to every single beat I played. They both respected me creatively and I respected them, so we got a lot of work done.

 

View this post on Instagram

 

Both students of the game my brother nipsey and I weren’t afraid to be our most humble selves when we were in each other’s presence. I remember him as a man who was Always eager to share information to help me think of things in different ways and ultimately grow to be a better musician and overall person. Before I even got confirmation of his passing I felt for nip . I felt for the person who was always positive and always had the energy to light up a room without being extra or even saying too much. I felt for the man who was doing things that were bigger than him in his community. Things that brought people together and ultimately advanced the “naybahood” (NIP voice) I told you that you were a legend while you were here and I will continue to push that on and say your name with pride and love anytime I speak of you brother. Tears running down my face as I type this i sincerely miss and love you bro. Even up there I know you got a smile on your face 💔

A post shared by HIT-BOY AKA Tony Fontana (@hitboy) on

Did those losses make your professional wins this year even sweeter?

Oh, for sure, but it's crazy 'cause they both did work at my studio and I feel like they both left a piece of [themselves.] They were really giving their all when they was in here, so when I come in, I feed off of that. I feed off of the energy and I can still feel their presence so that just makes me go harder everyday.

You've worked with a number of legendary artists over the years, which ones would you say that you've learned from the most?

Man, I learn everyday, bro. I learn from every artist so I can't even say, but you know what, when I was having my run with Kanye. Just learning that this shit moves fast and it's at a high level if you wanna really succeed, like, you gotta really focus and you gotta be on your shit times ten so that era, I learned a lot. And still being managed by JAY-Z, anytime I get to interact with him or talk to him in any capacity, I just try to soak up whatever game I can. So I would say those top two, but anybody I'm around I try to learn, whether it's a producer, writer, artist, whatever it is, I'm trying to just soak up gems.

What's next for Hit-Boy for the rest of 2020 and in the new year?

Freddie Gibbs' first single dropping, [4 Thangs] produced by me featuring Big Sean. That shit's coming real real soon, sooner than y'all probably think [laughs]. Man, I got a bunch of shit, I can't get too deep into it, but I got some high level stuff coming.

 

View this post on Instagram

 

4 Thangs featuring @bigsean & @hitboy. Friday. Drop a 🏆 if you’re ready.

A post shared by Skinny Suge (@freddiegibbs) on

From the Web

More on Vibe

P Diddy promotes his new Diddy Dirty Money single 'Coming Home' and his headphones DiddyBeats at HMV, Oxford Street on January 20, 2011 in London, England.
Photo by Matt Kent/WireImage

'The Last Train To Paris' Turns 10: Revisit Diddy's Aug./Sept. 2010 VIBE Cover Story

YOU EVER WATCH a control freak mellow out? It’s fascinating. When said micromanager is Sean “Puffy” Combs, it’s an enlightening ordeal altogether. Sitting at trendy Asian eatery Philippe Chow in New York City, two days before LeBron James announces that he’s taking his show to South Beach, Combs has talking points: impact and legacy. “This ain’t a regular run,” says Combs of his two-decade laundry list of accomplishments. “I’m saying that in the most humble way possible. I’m me and I’m seeing it. Most times the impact of what you do you don’t even live to see it.”

He’s the only patron seated for the evening, lounging at a table that comfortably seats eight. This is clearly a Sean John zone. His voice remains even, but the arrogance skyrockets. “It trickles over into sports. It goes into the way the free agent negotiations are going. [Athletes] have that belief. But that level of confidence as Black businessmen wasn’t really there. Unforgivable swagger. That shit wasn’t there.”

Translation: Sean believes that his ambition has been infectious. In his “humble” opinion, his drive has taught the have-nots that not only can they have, but they can be gluttonous and acquire wealth rather than riches. Will it ruin his day if people don’t agree? Not really. But he’d still like the legacy to be accurately documented. His reactionary reflexes have given way to him thinking long term, which could be why he’s unfazed by trivial shots like 50 Cent’s claims of having nude pictures of his artist Cassie. He’s more interested in guiding careers—Rick Ross, Red Cafe and Dirty Money, among them. And really, he’d like to do square biz and have your kids’ kids respect him like his contemporaries admire Warren Buffet. That would truly be money in the bank. In the meantime, he wants to mellow with a plate of chicken satay and talk Diddy legacy.

VIBE: You have said that rap’s heavyweight class consisted of Jay-Z, Kanye West, Lil Wayne and Drake. Do you still believe that?

Diddy: Definitely. I feel like Drake is somebody that entered professionally in the heavyweight division. He didn’t come in as a middleweight, he didn’t come in as a light heavyweight, he came in as a heavyweight. He’s gonna be a force to be reckoned with for a while. He is the definition of a new age musical rapper . . . going forward a lot of rap artists are going to have [singing and rapping] in their repertoire.

What’s the ranking in that heavyweight division?

Jay, Kanye, Wayne, and Drake.

Jay still No. 1?

Hands down as far as worldwide impact and due to this last album [The Blueprint 3]. He’s moved up in the rankings.

People don’t realize that you two are friends and not just industry acquaintances.

Over the years as we’ve grown, Jay and I have needed each other. We’ve needed to be able to pick up the phone and call somebody that can understand what each other was going through. We needed each other to motivate each other; we needed each other to push each other. We needed each other to support each other and also to challenge each other. He’s definitely been a great friend to me. There’s never been anything that I’ve asked him to do or he’s asked me to do that we really haven’t done for each other.

Give an example of when you had to pick up the phone and call Jay for assistance.

I wanted to do something game-changing with Sean John. And I just picked his brain. I did [a fashion line] before him but I think that business-wise he did a lot of things better than me. He picked the right time to get out and get his check, to sell his company. We sat on the phone and talked about itŃput our egos in our pockets. I didn’t see Sean John versus Roc-A-Wear. I just saw that my man over here is doing it [and I had] a couple of offers for Sean John. It was a beautiful conversation, ‘cause we’re sitting down at this restaurant and we’re talking about apparel. We’re not talking about music. It was a beautiful moment. Two quarter-of-a-billion dollar companies—just getting advice from your competitor. It was something that you heard rich White boys do.

Dr. Dre said that the last beat that floored him was “All About the Benjamins.” How does that make you feel?

It’s humbling. I was in the studio with Dre the other day. He started working on a record for me. Watching him as a producer is watching greatness. We had a lot of similar traits. It was like looking in the mirror. He would ask questions like, “How you feel about this?” People don’t really understand true producers want to know how you feel about things. We are some of the most observant people on the planet.

You’re a lot more into the music now than the last time we spoke.

I was waiting to get a lot of inspiration from the outside and it just wasn’t coming. And I’m not knocking anyone’s hustle that’s out there. I just come from musical history that musically people gave more of themselves . . . I was able to go back and listen to all the great records that I made. I ain’t do it on purpose. Like sometimes I’d be in a club and the DJ was just throwing tributes and would go deep in the crates. I would be like, “Damn, I forgot that I made that one.” It just gave me a deep connection and another level of confidence for me to do me.

Are you feeling more comfortable writing on your own?

Yeah. I learned a lot more. I feel a lot more confident and free. On this album, I wrote like maybe two or three records by myself. But I still like writing with somebody. It helps me. Not using it as a crutch, but I get better results from co-writing; having my own feelings and thoughts, and, you know, getting some help with it. I love the feeling of collaboration, community in the studio. I don’t like being the mad scientist and being in the room by myself.

Continue Reading

Desus & Mero Bless A Bronx Bodega With A Year's Worth of Rent

You know them as the hosts of the hit Showtime series Desus & Mero, aka "the greatest show in late-night history, featuring only illustrious guests." These days you might catch them chatting with President Obama, but  Bronx natives Desus Nice and The Kid Mero have never lost touch with their roots as the Bodega Boys.

"On our first podcast me and Mero used to have to ride the train back afterward," recalls Desus. "And basically our conversation on the train sounded exactly like the podcast. And somebody was like, 'Yo, they sound like two guys you hear in the bodega.' Which was true, because when you hear guys in the bodega, they talk very passionately about things. They may not have all the facts, but they're talking with their hearts."

"Their confidence is strong!" adds Mero with a laugh.

"That's just us," says Desus. "We're raised in bodegas. Probably 90 percent of the food we grew up eating was either our mother's cooking or chopped cheese sandwiches."

"Facts," Mero confirms.

Ever since the pandemic hit, New York City's community bodegas have served as a lifeline by providing New Yorkers with daily necessities, especially in neighborhoods where door-to-door gourmet food delivery is not an option. But staying open hasn't been easy—the daily risks of doing business under threat from a deadly virus—not to mention a spike in robberies and violence—has made running a bodega very challenging, to say the least. But day in day out, in good times and bad, they find a way to keep their doors open.

"If your block is the solar system, the bodega is the sun," says Mero. "The hood orbits the bodega."

So when the makers of Pepsi cola decided to give back on the bodega owners who provide life-giving sustenance and ice-cold soda to NYC's five boroughs, they reached out to the Bodega Boys as their official goodwill ambassadors. Today Desus & Mero appear in a short film called The Bodega Giveback, which highlights the way one Bronx bodega overcame extreme hardship—and the way Pepsi is helping them keep going after 2020 comes to an end.

For Juan Valerio and his son Jefferson, the proprietors of JJN Corp Deli & Grocery in the Bronx, 2020 has been a horrible year. Juan still remembers when he came to America with his father in 1990. "To buy a bodega at that time was well over $100,000," Juan recalls in the short film, which you can watch above. "It was a dream that seemed unreachable. I never thought I would achieve it. And now this is what I do. My whole life is here."

Then in April 2020, tragedy struck when Juan's father lost his life to COVID 19. For the first time in three decades, the bodega had to close its doors down briefly. "It’s something very powerful to lose what you love the most in a split second," Juan recalls with emotion as his son comforts him with a hug. "Life goes on. And I decided to come back because he always taught me to work. To stay closed was disrespectful to him."

"He had to shut down for a little bit," says Desus. "But then he reopened cause the community needed him. Cause the lockdown a lot of stores closed down. And in the Bronx, you can't really get stuff delivered. And he's the hub. We heard stories of what he did, so we were like, how can we give back to him? Shout out to Pepsi with the Bodega Giveback. And just giving him a year's rent—that's the most amazing thing you can give a bodega owner. Shout out to Juan and his son. The look on their face when they really get it—you see the appreciation."

"It really hit home," said Mero. "Cause it's like, we're children of immigrants. So that could have been us—if we didn't get seen by the right people and put in the right positions, we coulda been workin' alongside our dad at a bodega. And then watchin' your grandfather pass away and then comin' back because you know how important you are to the community. Like, that's really selfless. It's just a dope story. And those stories occur all over the place, it's just people don't see them. Cause they don't get exposed on a national level. But a brand like Pepsi can put that on a national stage and be like,  "Yo, look—this is a mom and pop establishment for real. And these are the small businesses that you supposed to be supporting."

The release of The Bodega Giveback kicks off a larger holiday giveback from Pepsi this season that includes cash gifts to bodega owners and consumers across NYC's five boroughs.  “Pepsi has so many longstanding bodega partners in New York City,” said Umi Patel, CMO of North Division, PepsiCo Beverages North America. “They are not only pillars of the community, but they have gone above and beyond to take care of their loyal customers during the hardships of the COVID-19 pandemic. They have worked around the clock to stay open, filling shelves to ensure their customers, friends, and family have the essentials they need to stay home and stay safe. They have even shifted their businesses to meet the needs of the community, offering new delivery options, adding crucial items like masks and gloves, and more, all while dealing with their own personal challenges of the pandemic. We are proud to do our part in giving back to these unsung heroes.”

From now until December 20, Pepsi will also be surprising customers at local bodegas across the five boroughs by gifting pre-paid credit cards of up to $100.00 per customer.

As Juan says in the film, "one hand washes the other, and with both, we wash our face."

Check out our full convo with Desus & Mero above and the short film, The Bodega Giveback.

Continue Reading
Courtesy of Level.com

Level Announces Their 'Best Man 2020 Awards' Featuring Entertainment Elite to Everyday Kings

It is a hard feat for media brands to survive the content landscape these days. To pull off the incredible undertaking of informing an audience as a new publication in the digital space is damn near impossible, yet the team at Medium's Level has done just that. To celebrate making their mark as a one-stop information shop for black men with their one-year anniversary this week, the team of bright and witty editors has launched their first annual Best Man Awards 2020.

The plan to honor the brand that started in December of 2019, focused on the interests of African-American males, has expanded into encompassing the efforts of a few good men during this mess of a year that is 2020. In doing so, those that broke through barriers of personal pain, new business frontiers, and support of others are highlighted and given the rightful pedestals to gain well-deserved props.

Of the 12 awards, esteemed gents like Swizz Beatz, Timbaland, and D-Nice are saluted as Quarantine Kings for their Verzuz and Club Quarantine (respectively) social media music creations that entertained the masses during the dogged days of our universal shut-down. There is also a heroic soul of a man who protected a black woman and her family from the surrounding presence of racist neighbors on his own time and dime. They have an award for Father of the Year, where former NBA all-star and champion, Dwyane Wade shines as a glowing example of understanding and ushering in new ways of parenting in today's society.

With the awards being a noble move towards giving Black men some much-needed praise in 2020, Level made sure to round up the last 365 days with themes on "The State of Black and Brown Men" as well. Essays that cover the realms of political ideology, coping with covid among Blacks health care workers,  how Black men fell short of protecting Black women, and exploring what Black men see when they look in the mirror (a piece that is a user-generated content driver/audience-led convo). All hard topics that need to be detailed, yet are rarely in a space for deep-dive convo.

Helmed by former VIBE editor-in-chief, Jermaine Hall, Level's editors explain their thoughts on the special coverage and celebration of their one year old brand:

“With the Best Man Awards, we wanted to lean into people who are doing incredible things to support society and publicly thank them. Anthony Herron, Jr is a hero. He stepped up to protect someone he didn’t know because, as he saw it, harassment is unacceptable. LEVEL wanted to make sure he received a nod for his heroics. But there are also several celebrities who are doing things outside of their jobs. D-Nice, Swizz, and Timbaland helped us cope through music. And it wasn’t a paid gig for any of them. They responded because people needed help healing so they provided care. That’s a strong attribute of the LEVEL man. It’s certainly is the definition of men being their best selves."

Click here to read about these individuals and learn more about the Best Man Awards 2020. Excelsior to Level.

 

Continue Reading

Top Stories