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The 20 Best Lyrics From Kendrick Lamar's 'good kid, m.A.A.d city'

To celebrate its 5-year anniversary, VIBE takes a look at the standout lyrics on Kendrick's critically-acclaimed album.

If you look back over the past three decades, there are numerous rap albums that have been embraced by the hip-hop community and given classic status for their musical quality, subject matter, and overall impact on the genre and the culture. However, there's also a shortlist of rap albums that stand in a class of their own and have marked a changing of the guard, sonically, lyrically, topically, or in terms of shifting the culture. Of these albums, many happen to be debuts and were the first time the world at large have gotten an opportunity to see what these artist had to offer. Among them include Rakim (Paid In Full), KRS-One (Criminal Minded), Dr. Dre (Chronic) Nas (Illmatic), The Notorious B.I.G. (Ready To Die), JAY-Z (Reasonable Doubt), 50 Cent (Get Rich Or Die Tryin'), and Kanye West (College Dropout), all soloists who have helped define and dictate the direction of hip-hop as we know it.

One of the more recent additions to that list is Kendrick Lamar, rap's current preeminent lyricist and resident poet laureate. Released on October 22, 2012, good kid, m.A.A.d city may have been Kendrick's introduction to casual rap fans and the mainstream music world at large, but it was also the culmination of a nearly three-year period of him building himself from a relative unknown into the most coveted prospect in rap. After scrapping his original rap name, K-Dot, and adopting his government name as his rap moniker, Kendrick Lamar unleashed his self-tiled EP on the eve of 2010, which would receive critical acclaim but fly under the radar. His profile among tastemakers would increase with the release of 2010's Overly.Dedicated, but it wasn't until Section 80 arrived in 2011 that his status as the savior of the West Coast would become apparent. Earning a co-sign from Dr. Dre, who inked him to a contract with Aftermath Records through Top Dawg Entertainment, Kendrick had the weight of the world on his shoulders heading into the release of good kid, m.A.A.d city.

When all was said and done, Kendrick would not only live up to the hype, but exceed expectations, delivering an album that was hailed as an instant classic and reinvigorated rap fans hungry for a messiah with all of the tools to become one of the greatest of all-time. From carefree rhyme spills ("Backseat Freestyle," "Money Trees") to reflective moments of introspect ("Good Kid, Bi**h, Don't Kill My Vibe") and vivid accounts of his youth "(Art of Peer Pressure," "Sing About Me, I'm Dying of Thirst"), good kid, m.A.A.d city gives a look inside the sprawling psyche of Kendrick Lamar and gives listeners a slice of his life and times.

In celebration of its five year anniversary, VIBE dissected Kendrick Lamar's iconic debut and highlighted 20 of the most captivating and impactful lyrics that good kid, m.A.A.d city has to offer.

"Sherane AKA Master Splinter's Daughter"
"So now I'm down Rosecrans in a Caravan/Passin' Alameda, my gas meter in need of a pump, I got enough to get me through the traffic jam/At least I hope 'cause my pockets broke as a promise, man/I'm thinkin' about that sex/Thinkin' about her thighs or maybe kissin' on her neck, or maybe what position's next/Sent a picture of her titties blowin' up my texts/I looked at 'em and almost ran my front bumper into Corvette"

"Backseat Freestyle"
"All my life I want money and power/Respect my mind or die from lead shower/I pray my d**k get big as the Eiffel Tower/So I can f**k the world for seventy-two hours/Goddamn I feel amazin', damn I'm in the Matrix/My mind is livin' on cloud nine and this 9 is never on vacation/Startup that Maserati and – vroom-vroom! – I'm racin'/Poppin' pills in the lobby and I pray they don't find her naked"

"The Art of Peer Pressure"
"Bumpin' Jeezy first album, lookin' distracted/Speakin' language only we know, you think it's an accent/The windows roll down, all I see is a hand pass it/Hotboxin' like George Foreman grillin' the masses of the workin' world/We pulled up on a bunch of workin' girls and asked them what they workin' with/Look at me, I got the blunt in my mouth/Usually I’m drug-free, but sh*t, I’m with the homies"

"The sun is goin' down as we take whatever we want/I hit the back window in search of any Nintendo, DVD's, plasma-screen TV's in the trunk/We made a right, then made a left, then made a right/Then made a left, we was just circlin' life/My mama called: "Hello? What you doin'?" — "Kickin' it."/I shoulda told her I’m probably ‘bout to catch my first offense with the homies"

"Money Trees"
"It go Halle Berry or hallelujah/Pick your poison, tell me what you doin'/Everybody gon' respect the shooter/But the one in front of the gun lives forever/And I been hustlin' all day, this-a-way, that-a-way/Through canals and alleyways, just to say/Money trees is the perfect place for shade and that's just how I feel"

"Imagine Rock up in them projects, where them ni**as pick your pockets/Santa Claus don't miss them stockings, liquors spillin', pistols poppin'/Bakin' soda YOLA whippin', ain't no turkey on Thanksgivin'/My homeboy just dome'd a ni**a, I just hope the Lord forgive him" - Jay Rock

"Poetic Justice"
"I recognize your fragrance/Hold up, you ain't never gotta say sh*t/Uh, and I know your taste is/A little bit, hmm, high maintenance/Uh, everybody else basic, you live life on an everyday basis/With poetic justice, poetic justice/If I told you that a flower bloomed in a dark room/Would you trust it?"

"Young East African girl, you too busy fuckin' with your other man/I was tryna put you on game, put you on a plane, take you and your momma to the motherland/I could do it, maybe one day, when you figure out you're gonna need someone/When you figure out it's alright here in the city and you don't run from where we come from" -Drake

"good kid"
"As the record spin I should pray/For the record, I recognize that I'm easily prey/I got ate alive yesterday/I got animosity buildin', it's prob'ly big as a buildin', me jumpin' off of the roof is me just playin' it safe/But what am I 'posed to do when the topic is red or blue/And you understand that I ain't, but know I'm accustomed too"

"In all honesty I got time to be copacetic until/You had finally made decision to hold me against my will/It was like a head-on collision that folded me standing still/I can never pick out the difference and grade a cop on the bill/Every time you clock in the morning, I feel you just want to kill/All my innocence while ignorin' my purpose to persevere/As a better person; I know you heard this and probably in fear"

"m.A.A.d city"
"Uh, Warriors and Conans, Hope euphoria can slow dance/With society, the driver seat the first one to get killed/Seen a light-skinned ni**a with his brains blown out/At the same burger stand where *beep* hang out/Now this is not a tape recorder sayin' that he did it/But ever since that day, I was lookin' at him different"

"Bodies on top of bodies, IV's on top of IV's/Obviously the coroner between the sheets like the Isleys/When you hop on that trolley, make sure your colors correct/Make sure you're corporate or they'll be callin' your mother collect/They say the governor collect all of our taxes, except/When we in traffic and tragic happens, that sh*t ain't no threat/You movin' backwards if you suggest that you sleep with a TEC/Go buy a chopper and have a doctor on speed dial, I guess"

"My pops said I needed a job, I thought I believed him/Security guard for a month and ended up leavin'/In fact, I got fired, 'cause I was inspired by all of my friends/To stage a robbery the third Saturday I clocked in/Projects tore up, gang signs get thrown up/Cocaine laced in marijuana/And they wonder why I rarely smoke now/Imagine if your first blunt had you foamin' at the mouth"

"Swimming Pools (Drank)"
"Ni**a, why you babysittin' only two or three shots?/I'ma show you how to turn it up a notch/First you get a swimming pool full of liquor, then you dive in it/Pool full of liquor, then you dive in it/I wave a few bottles, then I watch 'em all flock/All the girls wanna play Baywatch/I got a swimming pool full of liquor and they dive in it/Pool full of liquor, I'ma dive in it"

"Sing About Me, I'm Dying of Thirst"
"I'm fortunate you believe in a dream/This orphanage we call a ghetto is quite a routine/And last night was just another distraction/Or a reaction of what we consider madness, I know exactly what happened/You ran outside when you heard my brother cry for help/Held him like a newborn baby and made him feel/Like everything was alright, and a fight he tried to put up/But the type of bullet that stuck had went against his will"

"This is the life of another girl damaged by the system/These foster homes, I run away and never do miss 'em/See, my hormones just run away and if I can get 'em/Back to where they used to be, then I'll probably be in the denim/Of a family gene that show women how to be woman/Or better yet, a leader, you need her to learn somethin'/Then you probably need to beat her, that's how I was taught/Three niggas in one room, first time I was tossed"

"I suffer a lot/And every day that glass mirror get tougher to watch, I tie my stomach in knots/And I'm not sure why I'm infatuated with death/My imagination is surely an aggravation of threats that can come about/’Cause the tongue is mighty powerful and I can name a list of your favorites that probably vouch/Maybe 'cause I'm a dreamer and sleep is the cousin of death/Really stuck in the schema of wondering when I'ma rest"

"I count lives, all on these songs/Look at the weak and cry, pray one day you'll be strong/Fighting for your rights, even when you're wrong/And hope that at least one of you sing about me when I'm gone/Am I worth it?/Did I put enough work in?"

"But what love got to do with it when I don't love myself/To the point I should hate everything I do love?/Should I hate living my life inside the club?/Should I hate her for watching me for that reason?/Should I hate him for telling me that I'm seizin'?/Should I hate them for telling me "ball out"?/Should I hate street credibility I'm talkin' about/Hating all money, power, respect in my will/Or hating the fact none of that sh*t make me real?"

"Won't you spend a weekend on Rosecrans ni**a/Khaki creasing, crime increasing on Rosecrans ni**a/Kendrick Conan ni**a, where you sword at, hand on the cross and swore that/I do it big as Rasputia for them shooters/Kama Sutra scream f**k your position and make you hold that"

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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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