Nappy Roots, a kentucky-based hip-hop group comprised of Skinny Deville, Big V, Scales, Ron Clutch and B. Stille will release their fifth album, Nappy.Org on September 27th. The project is completely produced by the legendary Organized Noize production camp. The group’s first album Watermelon, Chicken And Gritz was released almost ten years ago and in this exclusive interview with TheUrbandaily, the members explain how they’ve survived the pitfalls of the music industry and remained a unit all of these years.
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Watch 50 Cent’s “Things Fall Apart” Movie Trailer

50 Cent has been taking his acting career very seriously, losing over 60lbs to get into character for this movie. Curtis says that he gets phone calls to play the role of the bad guy all the time but this is the first time he got to work on a family drama. He says he is blessed to have worked with Al Pachino and Robert Dinero.

Hit the play button below to check out the interview!

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David has come along way from working with network television to now owning his own production company CreativeSeen, a South-Florida based production company established in 2008 specializing in music videos and commercial production.

Rousseau’s directing resume includes videos for Pitbull, Lil Wayne, Akon, Lil Jon and Fat Joe just to name a few. His name started to bubble last year when he shot a string of music videosfor Lil Wayne and Cash Money Records before Lil Wayne reported to Rikers Island to complete a one year sentence for attempted gun possession. The productions garnered national coverage, including placements in Rolling Stone, MTV News and Billboard.

The Urban Daily took a few minute with Mr. Rousseau to find out how staying focused and working your way can pay off in a major way.

TUD: How did you get started in film?

David Rousseau: I always wanted to do study film since I was a kid, listening to music and watching movies was always a thrill for me as a child. I grew up on MTV and YO! MTV raps  watching Michael Jackson, Biggie and Tupac videos. This is always what I wanted to do but the question was how do I get there. The passion I have for film and music is what drove me into this profession and I combined them both and did something creative.

How did you get to this point?

I was working for Viacom doing work for CBS, MTV and many more. I decided to go for it 100 percent so I decided to leave my job. Hanging with friends of mine in the industry, meeting different artists and developing relationships helped me along the way. It took years of studying film to get to this point. I met Pitbull in 2006. Pitbull and Nore were the first artist I did videos for. I started doing street videos and artists noticed I had a hunger and passion for directing.

What other areas in film are you familiar with?

I have been involved in the industry from behind the scenes for a long time. I’ve done basketball games and pre shows for The Source Awards and more on TV. I knew I had to build a bridge, which was all apart of the plan to where I am now.

What is the difference between directing for TV and directing a music video?

When working on a music video it’s all about the song. It’s about doing justice to the song, bringing the energy of the song out, capturing the artist’s lyrics. On a show you have 30 minutes to an hour to capture it but with a music video you only have about 3 min.

Tell us about your production company “CreativeSeen”

When I started Creativeseen I wanted to put together a team that could get me to that next level. I wanted people that had the same goals and my goal was to be the best production company in Miami and then take it to NY and LA. I knew when we started we wouldn’t get the big budgets but if we worked hard and do right by the artist we would. We’ve been able to meet that goal and we are looking to expand and work all over the world.

What is the process for creating music video?

Usually you will get a brief of what the artist and label are looking for. I would sit with the song on my iPod or I may go for a walk and then I come up with the best treatment. A treatment is a written script of what the video will look like. I come up with different concepts and I attach some visuals to present to the artist and label. Then once it has been chosen you work with the artist to come up with the final concept.

How do you manage an artist’s ego on the set?

As a director I say be prepared. If you are ready for the artist you won’t have those problems. If the artist senses that you are not prepared, that is when you have a problem. Most artists don’t like to have their time and money wasted. The artists are usually very  busy, but if you include them and show some respect then you will rarely have a issue with artist.

How do you handle the groupies that show up to the shoots?

Groupies are everywhere. Artists are followed 24/7 by groupies even at the gas station. They are around but it doesn’t really distract anything. It has never been a issue but they are always around. Being a groupie is a full time job.

Have you had any unexpected setbacks during filming?

We have had raw film stolen one time when shooting with Lil Jon in Trinidad and people will freak out but as the director I can’t freak out. I always make sure I have a camera on standby if something happens.

What was it like working with Lil Wayne before he went to jail?

We were working with one of the biggest artists in the world going into prison so we had to make sure we got everything done. Lil Wayne made sure he got a lot done. He was so Focused. He knew what he had to do and what was in front of him but he was not gonna let anything stand in his way. You would have never thought anything was going on because he never showed it. There were nights where we shot six videos. You gotta work ten times faster and harder when working with Lil Wayne, it’s like going up against Jordan. You gotta up your game 110 percent. This was one of the highlights of 2010 for me.

Do you have any more  Cash Money/Young Money videos planned?

We just finished doing a video for Jay Sean and Birdman which should be out soon.

Which artists would you like to work with the most?

The dream artist to work [would have been] Michael Jackson. He was an architect when it came to music videos. I would like to work with artists like Jay-Z, Lenny Kravits and Bon Jovi.

Where do you see your company CreativeSeen in 5 years?

TV shows, movies and more just taking it to the next level. When you put people together you must put people that are on the same level as you.

How do you see music videos evolving?

In the 80s a music video was just a blank canvas. The art form is evolving and it’s still young, but we gotta make sure it keeps growing with people who are willing to push the boundaries and look at it as an art form.

CS REEL from Creativeseen on Vimeo.

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During the interview he revisits some topics he’s discussed before, like growing up without a father, but he also shares his thoughts on excellence and how evolved from his double-time flow to how he raps now.

In one telling moment he confesses that his second album In My Lifetime Vol.1 didn’t come out right because he was chasing the commercial success he didn’t achieve with his debut, Reasonable Doubt.

“Reasonable Doubt didn’t sell massive numbers worldwide,” he says. “It was still very niche. On my second album…I tried to make these records that were bigger, so it would be more popular. Which was a failure. Going for that success really messed up that project and set a bad tone. It was a huge learning lesson for me.”

The interview airs tonight on the Oprah Winfrey Network but you can get a sneak peek here.

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“Start It Up” might be Lloyd Banks latest hit but “starting over” probably best describes his mind set now.

“Everybody has their time,” says Lloyd Banks from the terrace of the G-Unit offices. “But when you go through your buzz and people still rock with you that’s when you’re doing something right.”

Eight years  ago his crew put a new spin on the mixtape game with “50 Cent Is The Future.” Unauthorized remixes of songs like  Tweet’s “Call Me” established Banks as a star in the crew which led to two solo albums, The Hunger For More and Rotten Apple. But after a successful run with Interscope Records Banks found himself a free agent again.  But with the music industry in flux that could have been a blessing in disguise.

“I was working out of my home and one of the first things I did was build a studio,” he says.  “I never stopped recording. I was able to think clearly as an independent with no one in my ear. ‘Beemer Benz Or Bentley’ felt like a new beginning.”

The auto-motivated street hit spun off multiple remixes (most notably Joell Ortiz’s “Nissan, Honda Chevy”) and placed him back in the public eye. Along with the LLoyd collabo “Any Girl” Banks now had the the ammunition to negotiate a distribution deal for his next project.

His third solo album Hunger For More 2 will be in stores on November 22nd distributed by EMI Records. Banks sat down with TheUrbandaily.com to talk about starting over, working with the other Lloyd and which car he actually prefers between the Beemer, Benz and the Bentley.

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Unfortunately the duo went their separate ways in 2006 and they are now each pursuing solo careers. After a hiatus Natalie is back with her first solo album, Floetic Soul being released on Shanachi Entertainment. The first single “Forever” features Musiq Soulchild and was everything we’ve come to expect from the symmetry of spoken word and blues that made Floetry so appealing.

With her new album out today TheUrbanDaily.com was granted and exclusive preview of the album and interview with Natalie to discuss her inspirations, what she thinks of Marsha’s new music and if there is any chance that they will ever work together again.

Interview by Jazzy F.

“My approach to the manifestation of “Floetic Soul”, has simply been to get out the way and go beyond my comfort zone, making sure to challenge any limitations that I may have placed on myself over time” – Natalie Stewart

TUD: What inspired The single “Forever”?

Natalie “The Floacist”: Forever was inspired by my life, my husband and son. It’s about the unification that comes from a relationship. My husband has been there with me since the beginning of my journey which is why I needed a male perspective. I needed Musiq Soulchild because of the tone and sincerity in his voice.

TUD: As a writer where do you get you inspiration from?

Natalie “The Floacist”: I am always writing, I am not only a recording artist. I write to understand the world. I am inspired to write by everything that is going on around me, by simply existing. I love to write plays, short stories and journal entries.

TUD: What made you decide to finally release a solo project and what was the direction?

Natalie “The Floacist”: I would have been totally at peace if I did not release a solo album. I wanted to share my energy with the fans and let them know that one can deal with such change like the break up of Floetry. I had no pressure in recording the album, I removed all limitations that I put on myself.

TUD: How do feel about the state of the Neo Soul genre?

Natalie “The Floacist”: I have a lot to say about that. I think some of us were naive when the genre was created, a lot of us didn’t want to be referred to as Neo Soul. It was almost like a catch 22. It’s important to belong and have an identity. I feel Neo Soul was more than a genre but a service to humanity. In this generation Hip hop has become mainstream and Neo Soul artist began to feel pressured into feeling if they are down with the mainstream. I was comfortable with a genre that created music that was for the soul. Neo Soul is an important and young genre and still needs some growing and it is very important for us to join together and continue to build it. Neo Soul serves as big a purpose. You can play it around your children and can be played years from now.

“I think Floetry was a stepping stone for her but Floetry is exactly what I wanted to do.”

TUD: You have only three artists featured on “Floetic Soul”, What about these artist made you choose them for your debut solo album?

Natalie “The Floacist”: The features are honored. I chose artists that I believe in what they say. Every artist has a choice in what you write and what you perform. Raheem Devauhn, Musiq Soulchild’s first album is still one of my favorites. The delivery, the swagga on that album is so fly.  And Lalah Hathaway and the legacy— I can’t speak higher of what she has done over the years.

TUD:  What is the relationship like between you and Marsha now?

Natalie “The Floacist”: We haven’t spoken in years. I learn about what Marsha is doing form the internet and interviews. When I fired [our] manager in 2006 Marsha stopped communicating with me. Marsha needed to release herself from the base of which she came here. Sometimes you have to understand things change. I have known Marsha since I was 11 years old and knew Marsha always wanted to do mainstream R&B hip hop music. I think Floetry was a stepping stone for her but Floetry is exactly what I wanted to do. I don’t think Marsha felt she was being real with Floetry, I think she feels she is being real now. I have always known Marsha wanted to do R&B mainstream music. Floetry was so great because of the magic of two different people creating at the same time and what made it so great it what made it end.

TUD: Have you heard any of Marsha’s new music, and if so what do you think?

Natalie “The Floacist”: I have because people sent it to me.  Hearing the music I understand why Floetry broke up. I understand Marsha would have to be solo to deliver the message in the current music she is creating, it isn’t Floetic. I don’t really have a thought in that sense on someone’s expression, she is doing what she wants to do.

TUD: Will there be a Floetry Reunion in the future?

Natalie “The Floacist”: The doors of Floetry is always open for my sister. I will remain loyal to the type of message I want to give so we would have to be on the same page.

TUD: What do you think about the music industry in 2010?

Natalie “The Floacist”: The music industry reflects people. The industry is a module it’s not a living breathing being. 10 years ago I would have told you what people need to do but as a mature adult I am very much into being the difference. I like to make the music I like to listen to more-so than expecting some one to do it for me or getting upset with someone about using the opportunity to do what they want to do. If there are changes to be made it will have to start with the people.

TUD: Will you be touring after the release of “Floetic Soul”?

Natalie “The Floacist”: Oh Yeah. I am a performance artist, I am a live artist. I make an album to send an invitation to come out and see it live. My tour dates will be posted on my facebook and reverbnation pages (Search The_Floacist). I will be on the road starting from Feb until the rest of the year of 2011.

TUD: Who inspired you growing up?

Natalie “The Floacist”: I had a calling in my spirit. I was writing books since I was eight years old and selling them in my school. My mother and my Grandmother are my external inspiration, they were iconic to me. I am a big reader and study of history and time, which made me look at the importance of music. I studied performing arts and theater before i got the musical stage. I like to see people happy and well and I always like to offer something to help manifest that.

TUD: Will The Floacist continue to put out solo music?

Natalie “The Floacist”: Great question. My husband and I were talking about that last night. I think so, I do know I will do it because I respect my audience and when I am away it will only be because I am studying my craft to bring the best for my audience.

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Bilal Oliver is one of music’s best kept secrets, and that’s rather unfair as he has a voice deserved to be heard by everyone.

He’s appeared on albums by Jay-Z, Solange, Common, Guru, and Erykah Badu to name but a few, in addition to releasing his own album, 1st Born Second at the beginning of the millenium.

In this interview with D-Nice, formerly of the legendary hip-hop crew Boogie Down Productions, Bilal talks about how the leak of his unreleased second album, A Love For Sale affected him, and also talks about his influences and his upcoming album, Airtight’s Revenge.

Listen to “Restart,” the first single from Bilal’s new album, Airtight’s Revenge, in stores September 14th.

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In the talent room under the stage of Los Angeles’ House of Blues nightclub, i sat down one-on-one with Prince minutes before one of his fabled after parties…

PRINCE: OK, let’s go… You get six questions.

SMOKEY D. FONTAINE: Six?  Well I guess I better make them good ones then, deep questions that lead to long follow-ups!

Good ones are fine.

Let me start by saying I’ve been a fan for many, many years.  My iPod says I have 423 of your songs on it.  If I played them all in a row, it would take 2.4 days!

[Laughs] I appreciate it.

Throughout the past three decades, you have influenced music in so many ways.  As an artist, you don’t really have any peers–

–Hold on.  If you write that, please just do me a favor, and put it in a way that gets the point across but doesn’t dis anybody because my band an I are not in competition with anyone.  If you’re hanging out with Maceo Parker, who are you in competition with, really?  At this age, it starts to be more be about what the gift is and then what your role is.  That’s where the Scriptures come into play.  As men, we’re supposed to be humble.  The ones that can’t admit that are the ones that fall because they’re caught up in worldly things like women, sex, drugs.  The Bible is like the guidebook to help men and women with their sins.  If I’m going to get some advice, wouldn’t I want it from Solomon?  That man had a thousand wives.  I mean, I want to talk to the guy who had a thousand women!

Do you feel gifted?

Yes. And I’m not going to waste my blessings.  God over-blessed me, but you have to appreciate what you have, and to do that, you have to break down a lot of walls, meaning that you’re not afraid anymore.  If you look at earlier performances of mine, my eyes were closed.

There seems to be a calmness about you now.  You seem happy, open, positive.

Over time I’ve started to understand that it’s really the love of music.  When you have a real love for music, you kind of let go.  When you let go, I don’t care if you’re a writer or a dancer or a musician or a lighting guy doing the spots above the stage.  Sometimes I look at our lighting guy sitting up there, and he’ll be watching me during a show, looking at me like, “I got it.”  It’s little things like that.  I mean, we could be dead; we could be non-existent, but we’re not.  We’re all alive.  It’s the acceptance of the gift of life.

Was there a turning point for you when you began to realize this?

No.  I always accepted it, but I didn’t understand it until I got into the Scriptures.  When you read the Scriptures, you start to understand that, wait a minute, someone said this way before I did.  I ain’t the first one.  If society did this, we would have a paradigm shift, and everybody would all get along.  Everyone is supposed to eat.  Everybody is supposed to treat people with respect.

Has this understanding affected your music?

The more you get evolved in the truth, the more it affects everything.  It affects every decision you make.  Sometimes kids have to try different things.  Well, let me try this -ism, or let me try that -ism until you get to the point where none of them really satisfy you; none of them give you peace.  This is the beauty of God.  Once you get with God’s will, now you feel whole.

Do you have a pl an for the next phase of your music?

I might try a symphony, might try composing something with flutes.  I also want to talk to people, be able to listen to them.

When you hear melodies, do you hear notes?

It’s hard for me to answer that because I am music.  It’s like me asking you to describe whatever race you are.  Ultimately, your answer willl only be rehashed out of what someone else told you that you are.  I can’t put it into words.

What does it feel like when you get onstage and you strum a note on the guitar or play a key on the piano?

It feels like a revelation, a realization… the answer.  That concept of the everlasting now.

Was all this meant to be?

Well, I don’t believe in time now, so your question… You just want to look at what God’s will is.  They say I’m arrogant, but what I’m just trying to do is lead people to the truth.  The truth is that we don’t even know what the world will be like until we shake things up a little bit.

You’ve never been shy at doing that.

You got to.  Miles shook it up.  Stevie shook it.  I’m going to shake it up.  It’s like, “Wait a minute, you sold a million copies and didn’t release it on a major?  Nah, that can’t be true.”

I’ve always felt that modern fame gets in the way of artistic expression, but you’ve seemed to navigate through that pretty well.

Go back to when Coltrane and Miles and all those guys were playing.  What was fame back then?  Fame is only a by-product of whatever the medium is, like the Internet or fifty channels as opposed to four.  Me? I grew up with four channels.  We didn’t have E!, Extra, 20/20, 60 Minutes… You can go on and on.  And in Miles’ time, you didn’t have any of those!  Fame is media constructed with stars that they control.

So how do you succeed in that system?

The best thing you can do, as a writer, is to keep telling the truth.  Keep people’s antennas up because it’s crazy.  It’s all fake. This lady asked me today, “Are you teaching the lip-synchers a lesson?” And  I said, “Ma’am, that’s not my duty. I just do what I do.”

Do you teach a lot of the younger musicians in your bands?

No. I just do what I do, and they’re going to get what they are going to get.  If they get dog, they get dog.

I’ve always thought there are two kinds of artists: those that listen to their own music and those that don’t.  Do you listen to your own music?

No, because I’m always working on something new, and as you can see [points to his band], these young folks don’t listen to the old music. They just want to get out on this stage and jam!

Editor’s Note: This interview originally appeared in August/September 2007 issue of Giant Magazine.

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While in Atlanta promoting his new album, Raymond Vs Raymond, Usher stopped in to Hot 107.9 FM and revealed that he didn’t mind getting peed or pooped on…

…by his kids, of course.

Usher also explained the title of his sixth album by saying that it’s about his own internal battle, and not his recent divorce like many have speculated.

Raymond Vs Raymond is scheduled to hit stores on March 30th!

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Well, someone finally wrote a song about The Tequila Story, and that singer is new R&B artist LeMarvin. His new single, “Too Many Patrons,” is all about beer tequila goggles, shots, and stupid decisions. Which is what tequila’s all about, anyway. So he and I went to New York City’s Union Prime restaurant to chat about his career, background, and what he’s about to hit you with in upcoming months. And we drank Patron… of course.

Check out the video below.

Missed other Drinks With… videos? Click here to catch up!

Tired of Jack and Coke? Find a new cocktail with these recipes!