Interview By Cameron Allen

C-Note, Grammy nominated writer, vocal producer, and engineering producer who received a nomination for his work on Rihanna’s “Loud” album shares his secret to a dream with us.

Cameron Allen: Who is C-Note?

C-Note: I can best describe myself as laid back, hard working with a strong belief in God.

CA: Have you always had a strong belief in God?

C-Note: I always had a steady belief in God. Even the struggling in college was a blessing. God has always been the driver. He has always directed life. Even meeting Rico Love, who is a vocal producer and engineer was God driven.

CA: How did you first get into music, meaning, how did you get your foot in the door of music industry?

CN: Like I said, even the struggle in college was a blessing. I had the opportunity to meet Rico Love and work with him while I was in school. Rico Love, #1 song writer in the game -- responsible for such hits as “Touching You,” by Rick Ross -- executive producer on Usher’s album, and “Motivation (Kelly Rowland).” We were both low on funds, and just treating people right and working hard -- I made a name for myself. When Rico got on he put me on. People liked my work and things grew from there.

Interview By Tachelle Shamash Wilkes

Tachelle Wilkes: Who is Khaled Ouaaz?

Khaled Ouaaz: I'm still asking myself that. I would put it as an ambitious and open-minded young man originally from Algeria, North Africa. His family was fortunate enough to win a Visa through the government lottery program during the civil war there in the 90's. And here I am now, a recording artist, writer, actor and producer.

TW: How would you describe your work ethic?

KO: I'll give you a cliché. You got one shot in life. I came from a third-world country. I was raised in Brooklyn on food stamps and section 8. Bottom line, I don't like living like that so I work hard. Every single day. I want it all.

TW: How would you describe your style as an artist?

KO: Limitless. Barrier- breaking. I don't like to settle for he's alright, but he's not real. My 'ego' days were 5 years ago, but that's natural. If it's good enough, tell me, how could it be great? You know.

Interview By Kirk Anthony

Ms. Instrumental: My Love, My Passion Is Music

Kirk Anthony: How did you go from singing/songwriting to poetry to, finally, producing?

Ms. Instrumental: For me it was a very easy transition. Singing and writing poetry has always been my passion, however I wanted to put music behind the words I was writing. From there I came to love the process of creating/producing music.

KA: With you having talent & skills in singing, songwriting, spoken word poetry, & music production, what made you decide to pursue a career in production when it seems a successful career in the other aspects would lead to more fame, fortune, etc?

Inst: That's a good question -- I'm pretty laid back and not really interested in fame or fortune. I am interested in happiness and peace of mind and that's exactly what producing music gives me. It allows me to say something without ever opening up my mouth or jotting a word down. It's very powerful.

KA: How would you describe your production style?

Inst: I've been told that my production style is unique. I can agree with that description. I tend to lean more toward a R&B/pop style mainly because that's the genre that I've been brought up on. That and Gospel. So if you mix R&B, Pop, Gospel and Classical music into one genre then I'm somewhere in there!!!

Interview By Tachelle Shamash Wilkes

Tachelle: What three words describe your essence?

Winsome Sinclair: Loving, discerning, visionary (wow never been asked this one before).

T: Did you dream about being in the entertainment industry as a child?

WS: Actually no, I loved entertainment, but it wasn't my dream. It chose me.

T: How did you first get into the casting arena? Take us back to that day.

WS: After I graduated from college (FAMU) a girlfriend told me Spike spoke at her school and she took down his address. She kept urging me to take it down for myself. I refused for a while then I finally acquiesced. That was the week "Do The Right Thing" came out. I wrote Spike a letter on a Monday (asking him only for the opportunity to learn). I mailed the letter on Tuesday morning, his executive producer (Jon Killik) called me that Thursday and the rest is history.

T: What duties encompass the day of a casting director?

WS: Depending on the project, film, commercial, or music video, we spend the day vetting talent for the directors and producers so they can choose the best actor/actress for the job.

Interview by Kirk Anthony

Kirk Anthony (KA): What got you interested in a career in audio engineering? 

Abhita Austin (AA): I was a drummer when I entered college and as a freshman at New York University I began to get involved in that whole East village/Brooklyn underground hip-hop and poetry scene. In my sophomore year in college I began to experiment with music production and I also took my first principles of recording class. I was inspired by the professor of that class to pursue a career as an audio engineer. 

KA: With there not being many women in the audio engineering industry, how difficult was it for you to get started in your career? How did you get your start inyour career? 

AA: It wasn’t difficult to get started. I just decided that I wanted to learn more about this field, so I sought out an internship. I think it was probably easier to land an internship at that time, which was the late 90s, because there were way more recording studios in NYC. I definitely experienced discrimination because I was a female, but I could not afford to focus on that. My main objective was to learn as much as I could. The majority of individuals respect you in a professional studio setting if you know what you are doing and can help them get the results they want. 

KA: What does song recording & mixing in the studio involve, and what makes it such a vital part of the song making process? 

Interview by Tachelle Shamash Wilkes 

Tachelle: What are three words you would use to describe yourself?

Autum Ashanté: Free, Loquacious, and Different

T: How and when did you first get into poetry?

AA: Well, I’ve been with my father all my life. And when he did Open Mic’s, television shows and poetry events I was always there, and since I was around poets and music I just gravitated towards it and I knew that this was something that I wanted to do. I was 3 when I told my dad that I wanted to get up on the stage. And he told me, No, I was too young. So then he waited until I was 4 and I asked again and then he finally said Okay, but what are you going to say? I told him that I would say a poem and Arabic and they won’t know. And that’s how it started.

T: Where are some places you have performed at?

AA: Oh my goodness, the question is where I haven’t performed. The Bowery, The Nuyorican Poets Café, Steve Harvey’s Big Time (back when he had the TV show), The Ancestral Burial Ground, BBKings, Caroline’s, Ellen DeGeneres, Summer jam, BET, and a lot of other places that I can’t name off the top of my head.

T: What do people say when they hear your poetry?

Interview by Tachelle Shamash Wilkes

Tachelle: What is your mantra for life?

Robyn Willard: Never do it for the reward, always do it for the impact.

T: Tell us about your journey in the music industry and how it enabled you to start your own graphic arts company.

RW: My story began a lot younger than many people in this industry. I started writing songs when I was 8 years old. I wasn't much of a talker but I was a great observer and this gave me the ability to convey people’s real life experiences accurately and passionately through the art of song. This gift helped me land my first publishing deal at the age of 14. Being involved in real world business at such an early age gave me the drive and determination to start my own company at the age of 17. I knew entrepreneurship was something that I always wanted and this gave me the outlet I needed to focus on building my business brand; a brand that encompassed all facets of art. My company, Reign Entertainment Co. (REC), is a marketing, production and promotion company for brave, boundary pushing artists in entertainment and music. In 2008 I signed my first visual artist S. Whittaker to REC, and in 2009 I founded WWR Graphics a subsidiary of REC.

T: Who are your major influences and why?

Kirk Anthony: What sparked your interest in the “background aspects” of the music industry (producing, songwriting, & entrepreneurialism)?

Ebonie Smith: It is very hard for me to divorce production and artistry. I have always equated producing and songwriting with performance. The idea of being able to be the “entire band” was what originally attracted me to music production. I’ve always wanted to play all the instruments simultaneously. Music production presents a tool that allows me to do this—as silly as it sounds. Additionally, I enjoy being in complete control of my creative process as an artist and musician. The idea of “being produced” feels very constraining. I don’t want to give the impression that I am averse to being directed. However, my songs are often personal and specific to my lived experience. It is sometimes difficult to have someone else accurately articulate musical ideas that are so close to me. For example, no one else could have possibly produced “Secret Love” on my latest album. That record in my heart translated, a true musical manifestation of what I was feeling at the time.

KA: How would you describe your production style?

ES: My production style is a combination of what the artist asks for and what I know works. I work with artists in all genres, and I try to tailor the sound and production experience to them specifically. I add my “Ebonie-ness” in there and Voilà! I don’t confine myself to genres. Fortunately, I have training in a number of different styles (i.e. jazz, hip hop, classical, r & b, rock), and I can use these forms as reference points. However, I would never describe myself as a “hip hop producer” or anything like that. But if a quick, concise definition is what you want, I have been calling my production style “Urban Zing” these days. I define that as a little urban soul mixed with a dash of musical deviance, eccentrics and asymmetrical irregularity.