This carefully curated eight pack will soon dominate their fields. Flutes up as we toast to the new power generation
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Anthony “Top Dawg” Tiffith | CEO of Top Dawg Entertainment
You know Anthony “Top Dawg” Tiffith’s label far better than you know him, and that’s the way he likes it. Well, he’s broken his silence and VIBE is first up to bat. Ladies and gangsters, meet the man who brought the world Kendrick Lamar and the Black Hippy crew—the leader of this year’s New Juice class. —BRANDEN J. PETERS
VIBE: In your wildest dreams did you ever think TDE would get to this point?
Top Dawg: Man, it’s crazy, when I [used to watch] Uncle Mike (Tiffith’s uncle is rap mogul pioneer Michael Concepcion), I was like Man, this nigga getting so much money, I want to try music. It was this producer named Demetrius Shipp [who] was going through some issues, so he hollered at me. Me and a few of my niggas rode down to get his money for some shit he produced. Me and him kind of partnered up where he was using my studio because it was just sitting there. He was using the studio but I was off doing what I was doing, hoping that he might strike gold and I could cross over. When I did decide at the end of ’04, early ’05 to really mess with the music, I had the dream of it being [this big]. This took me by storm, though. This nigga first record is platinum. I knew that Kendrick could be the biggest kid in the game. Honestly when I heard him at 16 [with] the knowledge that he had, I knew he would be big.
It’s amazing to see Kendrick remain so humble after all the success. What did you see in him initially?
When he first came to the studio… I put him in the booth and put this double time beat on, trying to throw him off. He went in there and started going off! So I’m trying to play like I’m not paying attention. He notices I’m not moving and starts going crazy. So I look up and I’m like, “God damn. He’s a monster.” So the next day I had a contract for him [Laughs].
You’re a West Coast guy who’s well-respected in the street. Now you’re a respected music executive. How were you able to make the transition?
Really, just hard work, learning lessons as we go [and] our whole situation at Warner Bros. with Jay Rock (Jay Rock was signed to Warner Bros. in 2006 and released with masters in 2010). Jay Rock is pretty much our guinea pig. When [TDE] first got signed to a label, I thought we was on our way. Going through all that bullshit taught us how to really win.
What are the lessons you learned from the Warner deal?
One thing I learned is don’t chase radio or follow the artists that the label follows. If it’s hot, that’s what they’re on. They make me fuck up my acts ’cause I’m telling them to follow that when they should be doing their own thing. Two, don’t depend on nobody else to things for you. The label is there, but they don’t know shit ‘cause they not in the streets. Spinning out of the WB situation, we realized that the Internet was really becoming big and that became our focus.
You and Jay Rock are both from Nickerson’s. Did you know him before he was rapping?
I wasn’t really familiar with Jay Rock because it’s like a 15-year age difference. When I decided to really start messing with this music, [I began] looking for artists. One of the homies said, “You need to check out Jay Rock.” I heard his name because he was messing up. A lot of times I like to talk to the young homies: I been through all this bullshit you been through. Cut this shit now. I wind up chasing Jay Rock down in the hood. He seen me a couple times and tried to go the other way ‘cause he think I’m fixing to discipline him. Then one time I catch him on the porch getting his haircut and his eyes got so big like, He got me. I said, “Yo, you can rap, I need you at the studio tonight.” We went from there.
You have artists from different, sometimes rival, neighborhoods that didn’t know each other. Was there ever conflict?
It was a little tension with Kendrick and Jay Rock early on because our hoods were going at each other. They didn’t know how to react. With me being the big homie [I would advise them]: “You guys can bridge the gap between the hood, because y’all can speak to the world now.” You can get some money and change all this gangbang shit.
How much did your uncle help you with the music business?
Uncle Mike helped me with pretty much all of this. I watched him do music, so it made me think, that’s a way out. I watched him in the streets; I wanted to do that. He had all the fancy cars, the houses, the hoes; he had everything that inspired me. He taught me so many things.
Some funny shit, when I was in the 9th grade, he came to our house and he was pimping. He left a hoe at the house with me and I’m 14-years-old, a horny devil, trying my best to get that girl [Laughs]. But when I talked to him he said, “You don’t need no girl like that.” I took all the lessons that I learned from him and applied it to this hustle in music. He wasn’t hands-on with what I’m doing, but what I learned from him taught me how to navigate through this shit.
You’ve won with simple-man principals. How has an upstanding guy like you prospered in an industry with the fake?
Honestly, coming up, I ran into so many fake nigga’s promises that it just made me more determined to win without nobody. A lot of the same people who gave us the fake bullshit call me now and I remind them of the time when I asked them for something and it never happened. To me your word is everything. So many people can’t handle the truth. They be like, “Top, you changed.” Nah, I’m just keeping it real. I’m the same nigga sitting at the Lakers game. My number been the same for 15 years. So if you my homie, don’t call me and ask can Kendrick do something on somebody I never heard of’s [project]. Don’t be offended if I tell you it’s not good. Didn’t nobody hand this to me. If you want something, bring me the next big thing; bring me some hot beats; do something. Don’t just call me like “What you gon’ do for me?” You not my kid.
What can we expect from Schoolboy Q’s major label debut, OxyMoron?
OxyMoron is about to be a real problem. Q sits back and watches what Kendrick does…so he’s already got his game plan. For a minute, I was on his head like, You need to do this, do that, but I’ve been riding to it lately and that shit is sick. The fans are gonna get an album they can ride straight through. It’s gonna be just like GKMC or better.
TDE is the first West Coast label in a long time to produce quality music and success similar to Death Row’s. What do you feel are the similarities and differences between the two?
I respect Suge for what he’s done in music. He had the coast booming. They had a star roster; I think I have a star roster. Shit was a lot wilder back then and I think shit got a little out of control in certain situations. I try to stay calm; I try not to have the big entourage because sometimes when people see so many dudes moving they want to challenge you. We got a lot of similarities, but we don’t club like they clubbed ‘cause you always got someone that want to come and try some shit. Then you have to put a demo down on somebody and then the following week you gotta put a demo down on his brother, then his cousin. It keeps going and brings negative attention. We had that attention early in the game with Jay Rock—everybody thought [we was] gangbanging. We couldn’t get no shows; everybody was scared for us to show up at events. We learned from that too.
As the new exec on the block, do you ever get advice from the older guard?
I like when people call and give me advice, but I still like to go my route. Baby called me and paid me some respect; I done talked with Diddy; me and Fif [50 Cent] have two- and three-hour conversations—he a real dude. He knows everything that’s going on.
So what’s the ideal end game for TDE?
I want to get Jay Rock, Soul, Q these platinum records and just sit back…Those are the four dudes that I been with forever and these are the dudes I want to see rich. Eight to ten years is a lot of time to be messing around with these niggas man. [I want] each of them to get they own label, branch out limbs from TDE.
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Quadron | Music DuoThis duo may be Danish, but its music is dessert for the soul lover. —BENÈ VIERA
A DANISH electro-soul duo like Quadron has never felt so authentic. Real-life heartache isn’t a prerequisite for Quadron’s soul-wrenching two-step melodies, either. “I realized that because I never had a boyfriend until like a month ago, I’ve been very depressed for 25 years,” says chanteuse-songwriter Coco O, who along with producer Robin Hannibal, 31, supplies electronic emo for their sophomore LP Avalanche (Vested in Culture/Epic). “I realized I had to write about that and stop faking the lyrical content.”
Coco and Robin first blended their groovy in 2008, after a mutual friend introduced them in their hometown of Copenhagen. Through their shared love of Stevie Wonder and Marvin Gaye, the duo (whose name pays homage to their respective African and African-American great-grandfathers by remixing the word “quadroon”) recorded its self-titled 2009 debut (Plug Research). But this twosome is no Motown imitation. “It’s important that we’re not a retro group trying to emulate something that’s already been made,” says Hannibal. If Coco has it her way, they’ll soundtrack memories with rhythm and Kleenex: “I want people to dance while they cry,” she says.
Now that Coco need not force emotional lyrics anymore, how will Quadron avoid the same “happily in love” curse of predecessors like Mary J. Blige? “Now I can write some actual great love songs,” she says. “Or maybe he’ll break my heart. We’ll see.”
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Jeymes “The Bullitts” Samuel | Singer, Songwriter, Producer, FilmmakerThis Jack-of-all-creative is Jay Z and Jay Electronica’s favorite unsigned artist.—CHRIS YUSCAVAGE
GIVE JEYMES “THE BULLITTS” Samuel all the credit. Whether serving as executive music consultant for The Great Gatsby (Warner Bros. Pictures, 2013), directing a star-studded cast in his first film, They Die By Dawn (Film Village, 2013) or recording his undefined debut album, They Die By Dawn & Other Stories (Kilburn Lane Music, 2013), the U.K.-based artist deluxe has been the soul controller. Here, the 34-year-old reveals how he, without a major label or Hollywood studio, made a name for himself.
VIBE: How did you break into the music business?
Samuels: The first person I wrote for was Icelandic folk artist Emiliana Torrini in 2005. After that, I ended up writing and producing for Mr. Hudson’s album when he signed to Kanye West. Then, Jay Electronica and I met. From there, my name got out as an interesting person to watch.Why do you think Jay Z chose you to help him select music for The Great Gatsby?
Artistically, [Jay-Z and I] speak the same language about going places people haven’t gone before. With him, he doesn’t care whether you’re famous. He cares about what you’re bringing to the table.How did you convince big names like Michael K. Williams, Erykah Badu and Isaiah Washington to appear in your indie release, They Die By Dawn?
I took 100 flights to build the cast. When I met [actors], I didn’t say, “It would be nice if you could play…” I told people they needed to be part of the movement. -
Darrell Wallace Jr. | Race Car DriverBuckle up racing fans, this 19-year old phenom—nicknamed “Bubba”—is only the fourth African-American to compete for NASCAR nationally. Now he’s gunning for that No. 1 spot, pedal to the metal. —MAURICE BOB
VIBE: Who taught you to drive?
Wallace Jr.: I’m self-taught, but when it comes to racing, I started racing go-karts at age nine. Pretty much every driver starts in go-karts.When was your first crash?
My first crash was my first race. I was nine and [it was] down in Florida, it was a national event. They’re not as bad as you think. You’re strapped in and you got a seven-point harness, neck restraints and helmet.If you win, will you drink chocolate milk?
[Laughs] No. I’m not a fan of milk, so unless we have a milk sponsor probably not.Any racism in car racing?
Nothing has happened that I can remember. That’s how much better it’s gotten. I’ve had stuff thrown at me but that was when I was younger and I didn’t understand it.Favorite car in the world?
Lexus LFA. It’s a sweet looking car, got a lot of horsepower, the dollar signs are pretty big, too.What kind of music do you listen to before a race?
Rap, rock, but I’d have to go with Lil Wayne, Drake and 2 Chainz as my favorites right now.Most recent fan moment?
One of the TSA guys at the airport was like, “Big fan of yours” and I was like “Thank you. Can you speed this line up?” -
James Fauntleroy | Songwriter By faking it ‘til he made it, this scribe ended up co-writing one of the year’s biggest albums. —KATIE BAIN
IT’S HARD TO fake confidence, But if someone has that moxy, it’s easy to fake most other things. James Fauntleroy is a self-assured guy, quick to smile, all breezy swagger. Stationed in his Inglewood studio on a hazy Los Angeles afternoon, the 29-year old cowriter of Justin Timberlake’s The 20/20 Experience is kicked back on his couch in a cloud of weed smoke, explaining his journey to pop’s mountaintop.
It started as a kid growing up on the border of Inglewood and South Central. “These dudes in school were like, ‘Can you sing?’” Fauntleroy says. “And I was like, ‘Yeah, I sing all the time.’” That fabrication landed him onstage in front of a crowd of screaming girls. He got addicted. He tried his hand at rapping—experiencing a winning streak on the local battle rap scene—but it was his singing voice and an association with production duo The Underdogs that led to gigs as a background vocalist for artists like Chris Brown and Jordin Sparks. During a studio session, someone asked James if he could write. He hadn’t penned R&B before, but fortunately he lied (again).
Fauntleroy proved to be a gifted writer, quickly working his way up the ranks composing tracks for artists including Usher, Britney Spears, Rihanna and Beyoncé. During a 2010 studio session with singer Esmée Denters, he turned around and Timberlake was standing there, bobbing his head. “Scared the fuck out of me,” Fauntleroy says. The two became fast friends via mutual buddy, hip-hop/R&B producer Rob Knox. Timberlake joined Fauntleroy and Knox’s production team The Y’s, (named for generation Y and “wise”), and it was Knox who called his homie into the studio for the 20/20 sessions.
The album was produced in just under a month, with Fauntleroy working alongside Timberlake, Knox and Timbaland daily. “I was learning the whole time,” Fauntleroy says. He has a credit on every track.
Fauntleroy tells this story coolly, like he knew he’d work on one of the decade’s most anticipated LPs. His excitement comes through, though, when he shows an Instagram screenshot of a Timberlake tweet saying that “Mirrors” broke the record for most spins on U.S. radio. Fauntleroy’s hashtag on that Instagram? #bestlifeever
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Beata Drozd | ArtistThis creative expresses with paint, textiles and H.E.R. heart. —COURTNEY WILLIS
IMAGINE A 14-year-old girl living in 1980s Poland—a country disjointed by its icy relationship with Communism and the opposing political regime, Solidarity— and you’ll understand the magnetism between visual artist Beata Drozd and hip-hop. “I’m not 15 anymore,” begins Beata, now 40. “But when I look at the lyrics I can relate to the culture because I come from Poland. There was no respect for people, no food, no money. I can relate to the root of hip-hop.”
Beata left her volatile, post-war country at 16, then attended London’s Saint Martins School before graduating in 1996. She heated up over the next decade, exhibiting in London, DC and New York.
Today the formally trained painter is a Harlem resident, who hasn’t picked up a brush in seven years because she “got bored” with the DESIGNER medium. Instead, she’s made splashes with her decadently textured collage portraits that explore luxury and pop culture. Assembling hand-torn pages of top glossies like Vogue and Rolling Stone, Beata rebuilds the faces of music, fashion, and art’s grandest: Aaliyah, Alicia Keys, Jay Z; a couple even became collectors. Talk about picture-perfect endings.
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Seth Jones | Hockey PlayerBlack people and hockey players aren’t usually synonymous. Meet the teen that’s about to shake the ice up. —MATT CAPUTO
ALTHOUGH IT’S TELEVISED, the National Hockey League draft is never widely viewed—even by die-hard fans. It’s a long process, and for many of the players it will be the closest they’ll ever get to skating in “the show.” This year, though, the event would prove more colorful as the Nashville Predators used the 4th overall pick on 18-year-old prospect Seth Jones—son of former NBA forward Popeye Jones—making him the highest-drafted black hockey player since the league began drafting in 1963.
For Jones, there’s an opportunity to live his young life’s dream making history in a sport long dominated by Caucasians. Although today’s league has several black players, the heady defenseman is the first African-American rookie considered by scouts as NHL-ready. That might be because Seth’s father was feeding his son pro hockey advice before Seth could skate. “My kids really started getting into hockey, and I saw [NHL great] Joe Sakic working out and asked him what I should do for them,” says the elder Jones. “He said that because of my size I should make sure my kids could skate.”
And skate Seth did. As a kid, he never played any other sport. His focus was on hockey. Growing up both in Colorado and Texas, Seth played travel hockey, quickly advancing to the U.S. hockey pyramid. Now, though not ignorant to his ethnicity, Seth’s attention is on the goodwill that him making history will spread: “My mom’s white and my dad is black—I understand where people are coming from with stereotypes, like I should’ve played basketball or football, but I know [being an black drafted by the NHL] is a big deal. I hope I can encourage other African-American kids to play the sport.”
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Mimi Plange | Fashion DesignerThis craftsman in heels has adorned and collaborated with a who’s who of public figures and fashion brands. Nonetheless she considers her creations the only celebrity. —GENEVA S. THOMAS
MIMI PLANGE is a serious designer. Even if Michelle Obama and Janelle Monae can’t get enough of her mesmeric creations, even if she has collaborated with Manolo Blanik, the 35-year-old is disinterested in becoming the next celebrity artisan. “I want my clothes to be the star,” says the two-time African Fashion International Award winner, seated inside her NYC studio, wearing a dark-wash denim blouse and unmatched jeans. “[They’re the most important thing.”
Mimi’s studio is actually her showroom. Nestled on the 16th floor of a New York Garment District sky rise, the quaint confines belie its usual traffic of fashion insiders—none grander than mentor turned friend, Andre Leon Talley. There’s a knee-high table stacked with books on contemporary art, which sparks conversation that leads to Mimi’s parents moving her from Ghana to Ranch Cucamonga at age five. As a teenager, she wore Vans—one yellow shoe, one red, with yellow-and-red socks, respectively—and men’s ties. Her earliest fashion inspiration came from period films and classical music, which she reveals introduced her to fantasy. “[They] allowed me to explore and see more.”
Unsurprisingly, Mimi’s Ashanti parents preferred that their daughter choose a traditional career. She graduated from UC Berkeley with a degree in Architecture but eventually took on fashion at San Francisco’s Fashion Institute of Design and Merchandising. In fact, merchandising became Mimi’s main gig before a sharp and admittedly bizarre turn in 2002 landed her at Rocawear, where she rose from Assistant Designer to Creative Director by age 25. “One thing I really loved about working with Jay-Z is that he was a great listener,” she recalls. “He was really involved in the process.”
When Mimi launched her own line in 2009, she was admittedly confused, struggling to identify consumer direction and even a name for her brand (originally called Boudoir D’huitres, now it’s her namesake). It all changed when she received her first order from Kuwait and outfitted pop superstar Rihanna. Today Mimi’s offspring draws from her Ghanaian background with quiet design intelligence. You won’t find vibrant West African prints on her garments. Instead, in her Spring 2013 collection, “Tea With Mother,” you’ll notice she cleverly appropriates the geometry of traditional scarification as her signature stitch for lambskin sheaths. “I want to find a newness in African culture people haven’t seen before,” she explains. “I’m trying to design the dream.” She pauses, gives her showroom a quick glance then corrects herself: “No. I am designing the dream.