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ullnevano x jumbled THE GHOST OF LEN BIAS

There’s been a lot of talk on the press lately of rappers returning to the in-producer album. The spirit of collaboration has been replaced with Soundcloud singles. The Ghost of Len Bias, is an EP matching up Baltimore artist UllNevaNo and Baltimore producer Jumbled. With a ton of music under his belt, UllNevaNo is more focused than ever and writing his best raps.

Jumbled reached out to UllNevaNo last year – by sending the beat for “How does he do it?” to show he was serious about building with Neva. UllNevano flows over the bluesy guitar riffs with ease, then the hook comes back reminding you that ‘you’ll never know’ how he does it.

“Shoot your Shot” teams UllNevaNo up with Baltimore artist Ashley Sierra. While Neva encourages you to take a chance, Sierra responds. The track has a playfulness, similar to “Let Me Watch” by Viktor Vaughn.

“Bias vs Jordan” puts 2 great artists (and long-time friends) up against each other, UllNevaNo and Logic Marselis. The track is tied together with cuts from DJ Blaze Daily.

The mini-album slows down the pace with “Five Panel Halo”, an airy sample without drums, followed by “Magnetik”, a rare instrumental on rap album.

This project has a lot of energy – and is reminiscent of the some of the classic rapper/producer albums of 90’s like Gangstarr and Showbiz and AG!

eddie bauer edition

This summer, I had the opportunity to travel to Africa for the end-of-year retreat for my fellowship at Global Health Corps. The retreat was scheduled for one week but I go to The Motherland every 28 years; I might as well stay a few weeks. From July to September, I traveled to Rwanda, Uganda, Kenya, and Tanzania. I kept a journal of my travels, for this is a brief synapsis of my trip with some YouTube assistance (download an Ad blocker if it gets obnoxious).


I grew up in a Pro-Black, Pan-African household. My father owned an art gallery, specifically focused on African and African-American art. As a child, my brother and I had coloring books, textbooks, and video tapes, which featured images of smart, healthy, and powerful black people in Africa and throughout the Diaspora. My mother critiqued my coloring books for the predominant use of the peach crayon for skin color. I told her that I was following my classmates, but she suggested using the brown crayon more often. Brown-colored crayon people resembled me and people like me more than the peach-colored crayon people, she said. I credit these moments in shaping my worldview, despite hearing unsavory statements about Africans even by Black Americans outside of the home. Comments denoting the opposite of smart, healthy, and powerful people.

Admittedly, I was that 7-year-old kid watching music videos and imitating Pro-Black, Pan-African rap acts -- most notably X-Clan, Poor Righteous Teachers, Boogie Down Productions, Public Enemy, and Lakim Shabazz. Africa was cool. Being black was cool. Knowing your history was cool. I was all-in. But sheeeeiiit, it took some time to step foot onto African soil.


As a college student, I was introduced to continental African music via Dr. Christopher Brooks (VCU). Outside of the class, I gravitated toward Mariam Makeba, Manu Dibango, and Fela Kuti. Then, I experienced my first taste of African-inspired American music like Oneness of JuJu and Johnny Pate ("Shaft in Africa" soundtrack). On the airplane ride over, I was crossing my fingers anticipating that grand ol' African funk music. I experienced something else (we'll get to that later).


Before I left The States, Cormega released his latest LP, entirely produced by Large Professor. You know I had to purchase it off iTunes before I hit the airport. Turns out, his subject matter was spot-on and timely. Sounded like he was studying world history. It even sounded like he watched "Hidden Colors" a few times when songwriting. Definitely, a splendid album. Little did I know, it would be my theme music for what I felt as I scrolled my social media newsfeed during this bloody American summer.


This was my international maiden voyage. I received my passport and vaccinations weeks before the trip. Damn procrastination. Yes, flying is nothing new to me but I had never flown beyond the Mississippi River, let alone over an ocean. With passport and a fully-charged 120GB iPOD in hand, I set off to Dulles Airport with my fellow DC fellowship folks: Casey, Majo, Jon, Jose, Joya, and Odina.

If I relied upon certain textbooks and television specials, I would believe Africa was the epicenter of insurmountable poverty. These images would be devoid of  humanity. Thankfully, my parents knew better. Plus, I know enough about international political economy to know many African nation-states are considered "developing" by Western standards and are far from wastelands. I braced myself for the impending moment when my WiFi would not be at Fios-speed or being without those comforts of drinking tap water. In my travels, I noticed stark contrasts between the proverbial haves and havenots. Expatriates with European and U.S. citizenships (me) ate fresh sushi in bohemian eateries and slept behind gated walls armed with security guards ; meanwhile, the common Black Africans appeared to experience more rugged conditions. Many of the houses that I saw from the main roads were not equipped with indoor plumbing, electricity, and air conditioning. The cell phone situation was definitely new for me. Each few steps in Kigali and Kampala, you see a phone stand where you can purchase minutes on your mobile device. Our guide informed us that the phones were vital in maintaining connection with family back in the rural, farmland. Money is also sent back home via cell phone accounts.

Ben, a GHC fellow, gave us a tour of Kibera. Ben worked in Kibera for seven years before heading to Boston for his fellowship placement. Kibera is one of the largest informal settlements in Africa. The poverty may be overwhelming but the sense of community is immense. I am grateful to have toured Kibera and see and talk to community members. Africa is not monolithic. The single narrative of poverty unfairly paints too broad of a stroke. Opportunities for economic empowerment appear to be limited to so many people -- particularly for those without advanced education and/or social connections (much like in the U.S.), but it does not have to remain as such.


When we initially planned for this trip, I was invited to a safari by Jon and Jose. I politely declined. I wanted my first trip to Africa to be an intentional time with African people.  Ain't no lion more important than one of my cousins. I think it was and is imperative for me to meet with Black Africans, and for Black Africans to have personal relationships with people from the U.S.

A moment that's still vivid took place at the mini-bus station in Kigali. About eight GHC folks were sitting in a mini-bus. We were waiting for a few more fellows to arrive so we could go to Lake Kivu. My head was down. I was reading a magazine. A gentleman was loading the bus with a passenger's luggage. I heard commotion. I looked up and our eyes met. Our eye contact was brief but in that moment he left his mark when he said, "Black Power." Whoa! A magical Kwame Ture moment. It solidified my intentions to make this trip about people and not about lions and tigers.


Religion was almost ever-present while we traveled. I am not the most pious or devout person you'll ever meet. I understand religion/spirituality is great for many people but I wasn't in the headspace to care much. However, I couldn't help but think about the many organizations sending missionaries to Africa to convert people as if their native countries were beacons of morality. Religion and power dynamics (a blog post will not suffice). In Uganda, Majo and Joseph toured various mosques and temples. That was my extent of interest.

As we ventured through Africa, Facebook posts were ablaze with news of Michael Brown's killing and the subsequent #Ferguson protests. I felt a deep mix of emotions: frustration, calm, anger, depression, sadness, and hope. Once again, another unarmed black man was killed by police. This was nothing new but the response actually galvanized mainstream media attention and a short-lived national conversation. I just saw the video of the New York Police Department choking Eric Garner to death before I left DC. And before that, there has been a long chapter of names etched in our American story. My internal struggles with the racial dynamics of the fellowship were already weighing upon me. Now, Michael Brown's situation allowed for more people to be involved in the discussion. Being in Kenya for the peak of the protests tugged at me. I am too far away. I need to get back to set things straight. Unfortunately, that's not how racist/sexist/classist/homophobic/oppressive structures work.


Away, thousands of miles, my homesickness began to arise. Perfect timing. That's when Majo and I took a 12-hour bus from the Rwanda/Uganda border to Kampala. We sat in a cramped charter bus and rode without recognizable bathroom pit-stops. I had to go. My legs hurt from rubbing up against the seat ahead of me. I needed a distraction. Luckily, I had my trusty iPOD. It's time for Funkmaster Flex & Kool DJ Red Alert's Christmas Mix (holidays are great times to listen to urban FM radio for golden age hip-hop). For a solid six hours, I felt little worry and urine urge with Funk Flex geeking out over stories he traded with Red Alert and Mr. Cee.

After the Funk Flex mix, I went for my go-to music, Ghostface Killah and Nas. Their catalogues are full of great music which fit my reflective mood while traveling via planes, trains, and automobiles.


Majo and I spent one year in Washington, DC working at HIPS for our fellowship. Like many major cities, DC is changing. People who lived their whole lives there are being displaced by increased costs of living. In our time, we experienced much of DC's history and culture -- from the AAA guy who replaced my car battery being in a go-go band or the HIPS colleague who organized marches with Dr. Martin Luther King, Jr. on the National Mall. Try to imagine that warm and fuzzy feeling that engulfed me as we sat in a restaurant in Nairobi when the DJ played music from DC. Yup Yup, Nonchalant. As some heads know, she's from The Chocolate City. The video is filmed in DC too. This was one of those magical moments when home travels with you even thousands of miles away from that comfort.


2PAC is loved in East Africa. His face is on t-shirts. His music is playing in storefronts. I was happy to see how much love and admiration he garnered from young people. As I sat on a beach in Paje, Zanzibar, I was zoning to his album, "Me Against The World," especially the title track.


Remember how I was looking forward to that good ol' East African funk? Well, well, well. I missed that. I was only vibing with live instrumentation when I attended shows. I went to at least three live shows. On the radio and in the club, I was not feeling it. I heard mostly pop dance songs. What did I expect? I am a tourist with a limited time in the region. Do I want to chop my money? No, thank you. These songs sounded like diluted dancehall reggae. That groove, that feeling was amiss in the popular songs played on the radio and in the clubs. I am not here to defecate on African music. Never. I am definitely down for my African friends to put me on. Send me that good ol' East African music (Benon, I have your music on the way).

Thankfully, these three songs stuck out. Two of the three songs are pop but packed with a groove that satisfied my funk sensibilities. When these songs played in the club, I morphed into King of The Dancefloor. And who isn't down with Dan Aceda? He's the Crowned Prince of Benga and the homie.


My friend from back home lent me the novel "2000 Thousand Seasons" years back. I finally read it while in Africa. This was the image I envisioned as I read. Please read it. I don't want to reveal too much, but I found it quite ironic to finish the book where I did in our trip.


It's not every day that a person like me can travel to Africa. I am a Black American who does not shy away from Afrocentricity. Still, with slave trade and colonization, I do not know what present-day country my people are from. This being so, I proudly claim the whole continent. I experienced a grand richness of culture, history, and humanity. I do not want to romanticize the trip because my travel companions would attest. There were some rough moments, especially when I desired an actual human connection only to feel like a plain tourist (remember the economic situation). Then, there were those moments -- magical moments -- when I felt entrenched in the African experience. I longed to step foot onto the soil and touch the people. I did that.

I really, really, really want more Black Americans/African-Americans to travel to The Motherland. We backpack Europe and party in the Bahamas, yet we too many of us do not take that extra step. Black Africans need to see us more on their streets, in their restaurants, in their homes. Black Americans need to embrace some sort of Sankofa in an attempt to strengthen our bonds with our distant cousins on a global scale.

Africa. This is the same place that transformed Richard Pryor and Afrika Bambaataa. This is the same place that transformed many of my friends, in and out of the fellowship. And, I stand before you noticing a change within myself. Transformation may be in effect.

But, in the meanwhile, asante sana.



"Passport stamped/ Yeah, I'm out on a mission/ Explorer of the world/ Eddie Bauer Edition" (c) Nickelus F

When Fredericksburg, VA producer Logic Marselis isn't doing work with emcee UllNevaNo, he's constantly knocking out instrumental albums, and his discography says a lot. Logic drops tapes at random without telling anybody because he's all about creating dope music for the masses. Being that Madlib is one of his biggest influences, his work ethic and focus is incomparable when releasing music. Logic has released a instrumental project entitled "Cheesesteak Eggrolls" which is a very popular carry out item in Baltimore, MD.  From visiting Baltimore on countless occasions, he's fascinated with how raw and authentic the city is, not to mention his favorite show is The Wire. One of the stand out instrumentals on the tape is the bass line driven "North Ave"  which takes listeners on a ride on one of the most famous streets in Baltimore.  Logic also takes you in for some cheesesteak eggrolls with hard drums on "Jerry's" which sounds like the equivalent of a 70's game show intro. That's where the idea of this beat tape came about, just from eating at Jerry's.  On "E Cold Spring Lane", Logic asks UllNevaNo for some assistance, which is the only track with vocals on the entire project.  Neva tells a very descriptive story on what goes down in a sneaker lineup when trying to purchase the latest pair of Jordan's by starting out the song with "hopped out the taxi/wearing taxi's". Each track title is a reference to the culture of Baltimore, so when you listen to it, think of it an ode to the city of a Baltimore from Logic's eyes. 

© MGNTK 2019