Next Level: Roc Nation’s J. Cole puts NC on the hip-hop map

J. Cole is the first artist signed to Jay-Z's Roc Nation label.

By Kia O. Moore (kia@mingleberry.com)

Fayetteville native Jermaine Cole (J. Cole) posses the talent to make the hip-hop world recognize N.C. as the miniature N.Y.C. of the South. With the demeanor and lyrical dexterity of the great Regional Era (’93-’00) MC’s, this fresh faced rap rookie is gunning for the summa cum laude¹ title in hip-hop’s New School Class of rappers.

This magna cum laude² St. John’s University alum was the first artist signed to Jay-Z’s Roc Nation label. He was handpicked by Mr. S. Carter himself, and was featured on the Blueprint 3 album. Jay-Z allowed him to lay a verse down on the track “A star is born.” It is not uncommon for Jay-Z to feature unknown artists and producers on his tracks. In an Associated Press article Jay-Z said that he loves the energy that raw talent brings to his albums. He also loves to give newcomers the opportunity to crossover into the mainstream.

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2009 Queen City Awards Winners

Hip Hop

Hip Hop Artist of the Year (Male): Cutty Boy

Hip Hop Artist of the Year (Female): Shelly B

Hip Hop Group of the Year: Tripple Threat

R&B

R&B Artist of the Year (Male): Joe Barrino

R&B Artist of the Year (Female): Neesha

R&B Band: Intertwyne

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2009 Queen City Awards

by Kia O. Moore (kia@mingleberry.com)

The 3^rd Annual Queen City Awards, held at club Skandolos (E. Independence Blvd.) on Dec. 12, was a semi-organized event that showered accolades on Charlotte’s entertainment community. This year’s award organizers, TalkofNC.com and CarolinaArtist.net, expanded award categories beyond the urban market. The genres of rock and country had a strong presence this year. Few were in attendance to actually accept awards in all 26 categories, which made the event more local talent showcase than award ceremony.

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Tone-X leaves Power 98 for BET

Photo by Moye

By Kia O. Moore (kia@mingleberry.com)

Anthony Besler, 41, better known as Tone-X, said goodbye to Power 98 on Friday, Oct. 16. He is moving on to the land of television to work for BET’s The Mo’Nique Show.

No Limit Larry and the Morning Maddhouse played a barrage of hilarious Tone-X radio moments to send off this member of the Maddhouse brethren. As the cast laughed and reminisced, listeners called in expressing how much they would miss their “Uncle Tone.” As the listeners spoke to Besler, many had a tremble in their voice as they said goodbye.

When the morning show wrapped, arms began to wrap around Besler’s neck as his co-works said teary eyed farewells. He hugged and shook hands with over a dozen people before exiting the recording rooming he had worked in for so long. He then walked to the waiting area to greet two fans who decided to come to the studio since they could not get through the Power 98 phone lines. He laughed and joked with them for a moment.  Then he thanked them for taking time to come to the studio while waving goodbye as they entered the elevator. He then walked over to me, extended his hand, smiled and said, “You must be the writer.” He lifted my computer bag from the floor and led me to a spot he felt would be nice and quiet: the control room.

Entering Tone-X’s New World

A desk lines a wall with a plexiglass window that looks into the radio station recording room. A programming board and rack of audio equipment sits at one end of the desk and a microphone sits at the other. He rolls a worn stool out from under the desk. The seat upholstering is busting at the seams as the yellow foam padding protrudes out of the corners. It may have been at the station as long as Besler. Power 98 listeners have heard his bass accented voice hum through their stereo speakers from 5:50 a.m. to 10 a.m. for over a decade.

Besler sits atop the stool. As the tape recorder starts, Besler’s right knee begins to rhythmically bob up and down. It is like his body is unconsciously keeping time as he squeezes one last interview into his schedule. Besler has only had a few days to wrap up his long lasting radio career, pack him and his family’s belongings and make arrangements for their big move to Atlanta, Ga. He has been hired as a network writer for The Mo’Nique Show, BET’s Atlanta based late night talk show. “I had a six day turnaround to leave something that I had been doing for 11 years and get prepared,” he explains.

Leaving behind the day-in and day-out lighthearted conversations with his radio family on the Morning Maddhouse is a little unnerving. To him, the only way he will make it in this unfamiliar land of television entertainment is to trust in God and  trust in himself. “I’m trying to really step out on faith and trying to believe in myself enough to walk away from something I have been doing for 11 years,” he says. 41-year-old Besler recognizes that he has been prepared for this new phase in his career for a while. “God’s time is different than ours. I would have needed and liked more time [than six days] to get myself together, but in God’s time…you are already together,” he says.

Pastor Charles E. Jacobs Jr. of Next Level Ministries knows that Besler is ready for this next phase in his life. Pastor Jacobs enters the control room, interrupting the interview, but he needs to say a few words to Besler before he leaves for Georgia. As Pastor Jacobs talks to Besler in a low steady voice, Besler’s leg stops shaking (which has been moving since the begining of the interview).

Pastor Jacobs tells Besler that he possesses strength and the ability to encourage others. Pastor Jacobs tells Besler that success is awaiting him in Georgia. Besler reveals to Pastor Jacobs that he cannot believe the wonderful text messages people are sending him. “It’s crazy, people tell you have been a blessing to them and you don’t even realize it,” Besler says.

Laughing his way to Success

Besler realized he was on a path to success in 1995. He won a comedy competition sponsored by Zima Clear Malt Liquor held at the Comedy Zone, then located on E. Independence Blvd. His first attempted at organized stand-up comedy landed him a new job and a chance to perform with established comedians. He was hired to host Comedy Zone’s “Freaky Tuesdays.” For two years he traveled back and forth from his hometown of Wilmington, N.C. to host the show.

In 1997 those weekly trips from Wilmington to Charlotte ended. In July 1997, Power 98 hired him. He joined the BJ Murphy and the Breakfast Brothers Morning Show cast. From then on the Queen City knew the voice of Anthony Besler as Tone-X. The Power 98 morning show line-up changed over the years but Besler was kept on the roster. He continued to contribute his message-laced comedy to No Limit Larry and the Morning Maddhouse. In April 2008 he began Tone X and Friends, which became a nightlife hot spot. Charlotte residents flocked to the comedy show to hear comics that kept them clutching their belly.

As of October 16, 2009, the radio chapter of  Besler’s career has ended. His mind is now focused on The Mo’Nique Show. “Making moves in your life is just like space and time,” he says. He points to an object lying on the table. “You see that notebook you got sitting on the desk. It is occupying a space. Nothing else can go there until you move that notebook. Even when you move the notebook you got to put it somewhere else.” He continues, “The only thing that makes sense is to put it somewhere where there is some space—so my career is like that notebook. I got to move from Power 98 to another space in order to go into the next phase [of my career].”

Mainstream Stardom with The Mo’Nique Show

Besler says that he always knew this mainstream recognition was right around the corner, but he never knew when right around the corner was. He says his new tagline will read, “I’m one of the funniest comedians you should have known sooner.” Comedienne Mo’Nique has known just how funny Besler was for quite awhile. They have known each for 18 years.

She informed Besler that she had a TV show in the works and wanted him to be a part of it. Besler didn’t think it would turn into a real job. “In the entertainment world people say thing like that all the time in passing,” he explains.  When Mo’Nique had the BET deal ready, she offered Besler a job as a scriptwriter. “I didn’t know how to feel, but I thought it was the best thing in the world [that happened to me],” he says.

With television he feels his educational/entertaining comedy will reach more people at once. “The beautiful thing about television is you never know how many people are watching you and where they are watching you. With The Mo’nique Show you’re talkin’ ’bout the Caribbean, Japan, Africa. It’s worldwide,” he says. For him, being a behind-the-scene guy is just as satisfying as being the person out front. “It feels good when you are sitting and watching the show and you recognize a line you came up with or a concept that your writing team put together,” he says.

The Mo’Nique Show is not limiting Besler to scriptwriting. He is on-air talent too. From time to time Besler will do skits, play characters, and act as a man-on-the-street liaison. Recently he represented The Mo’Nique Show as the red carpet consultant for the 2009 BET Hip Hop Awards. Besler says a chance to be on the red carpet made work feel like play. “You are out there interacting with all the kats you listen to on the radio!” He chatted with Snoop, Ice Cube, Sheree from Real Housewives of Atlanta and the list goes on. That experience made Besler understand the flashback stories so many successful people recount. “Last year I was asking Power 98, ‘Can I go to the BET Hip Hop Awards with No Limit?’ They were like, ‘We can’t pay for it, but you can go.’ And now I’m working the red carpet for The Mo’Nique Show,” he recalls.

Besler knows that the move to BET is the next level in his career, but he feels that it is NOT the final level. “It’s [BET] a beautiful thing and it’s big. But it is not as big as it can get,” he says. Besler explains, “If you are trying to find Tone-X, your neck is gonna get tired because you’re gonna have to look up. When I say up, I’m not talking where the planes are at. I mean where the space shuttle is…where the satellites are at… You wanna visit me? Go to the space station.”

MTV Names The Hottest MC’s of 2009

Whether you agree or not, MTV has named the hottest MC’s of 2009!

*Drum rollllll*

#10 – Raekwon

#9 – 50 Cent

#8 – Fabolous

#7 – Young Jeezy

#6 – Gucci Mane (Really???)

#5 – Rick Ross

#4 – Kanye West

#3 – Drake

#2 – Lil Wanye

And #1….Jay-Z!

Who needs to be removed, dropped a few spots, or given more props? Let us know…

JAY-Z Stays At Top Of Billboard Album Chart; Will Appear On OPRAH, Thurs. 9/24

Jay Z

Wednesday, September 23, 2009 - Atlantic

New York, NY - JAY-Z’s “The Blueprint 3” debuted at the top of the Billboard album charts last week selling over 475,000 copies. With that grand entry on to the charts, JAY-Z surpassed Elvis Presley as the solo act with the most # 1 albums in the history of Billboard. Now “The Blueprint 3” reigns supreme for a second consecutive week with sales of 297,911 copies.

The album’s success has been propelled by unprecedented fan support, hit singles, “D.O.A. (Death Of Autotune) and “Run This Town” with Rihanna and Kanye West, and “Empire State of Mind” with Alicia Keys which is the #1 selling digital single in the country this week selling 205k copies. JAY-Z has also made high profile appearances on HBO’s “Real Time With Bill Maher,” and “Late Show With David Letterman,” a BET three part special, “Food For Thought,” and performances on the MTV Video Music Awards and “The Jay Leno Show.”

Continuing momentum that hasn’t been seen in years, at long last, JAY-Z will make his highly anticipated debut appearance on “The Oprah Winfrey Show.” The show, airing, Thursday, September 24th builds upon their initial conversation in Brooklyn, New York’s Marcy Projects.

“The Blueprint 3” excitement began in June when the album was originally scheduled for release on Friday, September 11th. Overwhelming demand dictated the album be made available 6 days earlier. “The Blueprint 3” went on sale Saturday, September 5th exclusively on line at Rhapsody and Tuesday, September 8th in retail stores.

“The Blueprint 3” is the last chapter of the “Blueprint” series. Its release date paid homage to the date of the original “Blueprint,” Tuesday, September 11, 2001. Recognizing the events of that date, JAY-Z staged the historic “ANSWER THE CALL” charity concert at New York’s legendary Madison Square Garden. 100% of the proceeds from ticket sales and concert merchandise benefited the “New York Police and Fire Widows’ and Children’s Benefit Fund. Airing in HD and commercial-free on the music television network FUSE, the wildly successful sold-out concert featured artists Beyonce, Mary J. Blige, Rihanna, Kanye West, John Mayer, Pharrell Williams, Swizz Beatz, Kid Cudi and Memphis Bleek, and ranked among the highest-rated television programs in Fuse history.

JAY-Z is currently performing with Coldplay in the UK before returning to the U.S. for his stateside tour beginning October 9th.

Nate Quick Past Away

Former WPEG Power 98 on-air personality, Nate Quick, passed away late Wednesday night from apparent liver complications. Quick was currently the program director at KRNB and was the marketing director at K104-FM, both in Dallas, Texas.

An obviously emotional No Limit Larry and Tone took the airwaves at 5:50 a.m. with the announcement during the first break of their show, The Morning Maddhouse. No Limit calling him “the greatest radio personality ever,” and the reason he’s on radio today. No Limit flew down to Dallas on Monday to see Quick and said, he was at peace with that.
During today’s show, No Limit Larry and Tone recanted some of their fondest memories of Quick, which seemed to helped both personalities get through the show, with No Limit talking about how Quick paid him out of his own pocket and gave him a platform to get better…
Who knew in celebrating an achievement of a current QC legend, No Limit. We’d also be celebrating the home going of the man responsible for his career Nate Quick. Please come out @ 6pm to Ice to celebrate w/Larry but also to pay homage to the closest person to him in his industry, this is a very bitter sweet time for Larry so let’s come out to hold him & ourselves up during this moment of mourning, thanks in advance!

MAXWELL RETURNS TO CAROLINAS FOR ONE NIGHT ONLY AT TIME WARNER CABLE ARENA

TICKETS GO ON SALE SATURDAY, AUGUST 29 THROUGH TICKETMASTER

Mos Def Concert Review

By Kia O. Moore

Mos Def Concert

Mos Def came to Amos Southend, located in Charlotte, on Aug. 12 to bless the Queen City with some real hip-hop. The blessing fell short, and a miracle was the only thing that was going to inject some energy into this show. His latest album titled “Ecstatic” may have made critics overexcited, but Mos Def’s performance could not elicit much excitement form this crowd.

Doors opened at 8 P.M.; Mos Def was on stage by 11:12 P.M. There was a lull between the opening act, Jay Electronica, and the start of Mos Def’s set. For about 45 minutes the only thing that was left to entertain the audience was some background music, two unmanned turntables and a lonely orange drum set.

The crowd became restless while waiting for Mos Def, and sporadic chants of “MOS DEF…MOS DEF…MOS DEF,” ensued.  As the wait wore on, the chants became half-hearted efforts. Those less than enthusiastic chants were a precursor of what was to come.

After the extended wait, two DJs finally made their way to the stage. When they released the vinyl to let the music evade the crowd’s ear drums the volume was uncomfortably high. They quickly adjusted the sound, causing the bass to vibrate through chest as hearts hipped and hopped to the beat.

The stage lights went out as Mos Def came in the back door of the venue. The audience erupted in an exuberant bellow of approval. Mos Def moved swiftly to the drum set. He pounded the vibrantly colored musical cylinders as he rapped into a mic strategically placed in front of the instrument. Like the psychological experiment with Pavlo’s Dogs, hands automatically went up in the air as soon as the sound of Mos Def’s voice move from the speakers to the ears of audience members.

This was the most excitement seen from the crowd throughout the whole performance. After he wrapped up his first song he addressed the crowd and said the familiar Jay-Z spiel, “You could have been anywhere in the world, but you are here with me.” He also thanked the crowd for paying $30 to see his performance.  Mos Def chatted with the crowd and thanked them many times throughout his performance, which became irritating. Performing more of his classic songs would have been the gratitude many would have appreciated.

Mos Def was one of few who seemed to really be into the performance. He, and the white towel draped across his shoulder, swayed from side-to-side with each lyric he spat. He even threw off his black baseball cap as he got deeper into the performance. Mos Def quite often serenaded the audience, which was met with the feedback of silence.

The crowd gave positive feedback when Mos Def spat lyrics to hard hitting, hip-hop induced songs. The crowd seemed to enjoy his ode to Grandmaster Flash and the Furious Five with his rendition of “Close to the Edge.” The crowd also reacted with enthusiasm to “Auditorium,” which is a song featuring Slick Rick vocals. Mos Def also paid homage to the Sugar Hill Gang by lacing many of his song with “Rapper’s Delight” lyrical references.

Every time Mos Def deviated from the classic hip-hop sound he lost crowd support. There was no booing, just no crowd reaction what-s- ever. Hands were no longer in the air, a few head nods were sprinkled throughout the crowd and the majority of the songs received courtesy claps. By midnight the crowd had no energy, and Mos Def was not providing the fuel needed to recharge them. The crowd simply became on-lookers and many made their way to the exit before the concert ended.

Mos Def is a talented lyricist but he needs to take some notes from the New Generation of Hip Hoppers, and learn how to engage a crowd. Mos Def does not need an instructional dance song, but he needs to pay attention to his crowd and study their reactions.

The Amos Southend crowd favored classic hip-hop beats and witty lyrics. Mos Def needed to hold off on the serenades, drum playing, and crowd conversations and give this crowd a straight up dose of hip-hop medicine. If this show was supposed to bring real hip-hop to the Queen City, then I would have rather went to the club and danced to some fake hip-hop.

Heavy Rotation: Top 5 Songs of August

DJ Flemingo

By DJ Flemingo & Kia O. Moore

Welcome to the music column of DJ Flemingo “The East Coast Bad Boy.” He is Charlotte’s official Def Dj (So So Def Records). He has been featured in XXL Magazine and has deejayed on BET’s Rap City the Basement. He will give the Mingleberry family the inside scoop on the top 5 songs in Heavy Rotation on nightclub turntables and radio line-ups. For the month of August. Flemingo has selected:

Kill Dem- Busta Rhymes ft. Pharrell & Tosh

“This song reminds me of Lil’ Kim’s ‘Lighters Up,’” says Flemingo. “It is that reggae from up top [New York].”

Busta gets gully wit it on this track. He lays on the thick Jamaican accent and breaks out the patoia linguistics.  The track is filled with island phrases like “bomba clot,” “ras clot” and “com tes me boi.”

Pharrell was behind the sound board injecting the infectiously rhythmic Neptune sound to the track. The beat is composed of hard hits from the bass drum coupled with clear snare snaps and a steady tap of a cow bell with a few Pharrell add libs sprinkled throughout. The blare of the brass horn is highlighted on this track. That gives the track a 1940s big swing band feel with some hip-hop swag and Jamaican dancehall flare. Tosh adds that familiar female vocal chatter that club goers expect from a standard dancehall track.

The beat certifies this song as a club banger, but Busta’s lyrics are straight grimy. He paints the picture of a typical street escapade of a gangsta and his “ratchet” [gun]. The remix with Bounty Killer and Movado is an unfiltered deep dark gangsta tale that will be blasted in dancehalls everywhere. Busta will definitely Kill Dem on the dance floor from New York to Toronto, and back down to Charlotte and out to Jamaica.

All dem ras clot won be rappas bet get out Busta’s way if dey don’t won Busta Kill Dem wit dis here track boi.

Whatever you want- Consequence ft. Kayne West & John Legend

Kayne is featured on the track, but he controls the mic just as much as Consequence. Kayne not only lays down the lyrics, he also lays down the beat. Kayne is still addicted to the 808’s. This track has a tribal drum pulse like Love Lockdown.

The track has a soul-house feel that can easily make you fall into a head-nod-trance. You can’t help but move your head from side to side to the highly rhythmic 808’s as the catchy hook, “Whatever you want…want…want…want…,” echoes from one speaker to another.

This song will get folks out on the dance floor and put them in the mood to groove.

The ladies can definitely appreciate a song that has a guy telling her she can do “whatever she wants.”

So Fine- Sean Paul

Whenever you hear the name Sean Paul attached to a track you automatically know you will hear it thumping from nightclub speakers. So Fine will have ladies’ hips wining to the beat as fellas’ eyes follow their sensual body motion. The steady heavy bass drum pattern is great for booty popping. So ladies get your hands on your knees and tease the fellas until they can no longer maintain their cool composure.

The men will have to get off the wall and dance with the ladies if they plan to do this song any justice. Flemingo says, “This is a love song…reggae style.” In the song Sean Paul pledges that he wants to be there for his girl. Thanks to her beautiful looks he doesn’t mind being there for her every single time. She’s so fine.

Million Bucks- Manio ft. Swizz Beats

This song is made for car audio systems. The sound of the horns is just as dominate as the drums. The free flowing sound of the horns make you want to let down all of the windows and allow the breeze to drift over your face. Million Bucks is essentially a feel good song. Flemingo says, “This should be every man’s theme song for every occasion.”

The song is about feeling so good about your life  accomplishments that you want to provide for everyone you care about. Manio talks of having shopping sprees, taking on the bar tab for everyone at the club, and going back to the hood and giving money to those who need it. If you are having a hard time putting food on the table to feed your family, then don’t worry because Manio got you.

This should be every persons themes song, because when you attain success you should share it with those who need it. What would you do if you had a million bucks?

You ain’t gotta leave- T-Lelo

This is a Charlotte artist to look out for. Flemingo says that he is not a big fan of local artist. “The majority of them are lacking when it comes to content.” However, Flemingo feels that T-Lelo’s song stands out from the rest. When it comes to You ain’t gotta leave Flemingo says, “This is just GOOD music.”

Take a listen to the Heavy Rotation Top 5.

Click the logo below to LISTEN!

Look out for the DJ Flemingo Mixtape. We will keep you posted on the release date.