Monday, February 23, 2015


'...The Black PimP is an icon in the hoods across the country'
Rosebudd with Bob Jablonskee 

His name rings bells and brings a smile to the coldest kat in the room.  He has lived a life both admired and demonized...  With an infectious laugh and mind of a brainiac, Rosebudd has gained his fame by traversing the both a rich and treacherous terrain of the streets and PimPin'.  With his feature role in the highly anticipated film/documentary KINGS (Summer 2015) and his upcoming one-man-stage-show, Rosebudd took a moment to chop it up with business mogul, consultant and writer, Bob Jablonskee.

BJ: What is a 'PimP'?  What are the requirements to be a 'PimP' in your view?

RB: Most people think of a PimP as being a parasite, because of the way they see that life.  If you were a person who wanted to really know the truth you would have to look at who defined the word PimP. Did you know in other countries the PimP is respected?  Not until this country made the PimP part of 'trafficking' did any country other than the United States hate PimPs. In foreign lands the PimP is a national. In China the PimP is Chinese, in Paris he is French, in Germany he is a German.  Only in America is the PimP considered not to be a national. After slavery was over, the PimP was the first black person to stand up to white people and use their restaurants. The movie Cotton Club shows you that. The PimP was the first person to go into the Cotton Club, which was in Harlem, he was the first black person to go in the front door.  This is why the black PimP is an icon in the hoods across the country.

BJ: The term 'bitch' can be a lightning rod - turning people on and off.  What is the difference between a 'woman' and a 'bitch'?  How do you recognized the difference at the 'Drop Of A Dime'?

RB: You guys are so damn funny with these silly questions. If I was upset at a woman I might call her a bitch, just as if I was going to fuck the shit out of her, I might call her bitch, just as when I am in the most loving mood I can be in, I might call her bitch.  There is no difference, because a bitch or woman are the same thing. When I say it to my ho, she gets sexually excited, because she is in a lifestyle that uses that term in a sense of endearment.  It doesn't matter what you think it is or means, it only matters to us what we mean when we say it.  Everything about PimPs in the United States is based on the fact that the black PimP was the only black person to stand up to white supremacy in a way that urked white people. PimPs said, "Fuck you!!"

BJ: How does a PimP define success?  What tools do you use to measure success?

RB:  Success to a PimP is being recognized in every circle in the country that have PimPs. Success is money, and shit, possessions and all, but to a real PimP, he has reached the top when he goes to New York and is known by his peers, when he goes to Minnesota and is known by his peers, when he goes to Hollywood and is known by his peers. We do not equate success with what squares equate it with. If we thought light that, how could we be PimPs? Today, the media has everyone thinking they can be PimPs, they even have people thinking there is a such thing as corporate PimPin. This is all nonsense. Just like they said 'rap was crazy and would not last', they ended up selling cars and potato chips with it . . . they are doing the same thing with the word PimP. PimP my Ride, PimP my House Out.

BJ:  In the business world, the concept of Risk vs. Reward is a mandatory principle to consider... As a PimP, what are three risks and rewards that you consider vital in life?

RB:  There is only one risk worth taking and that is the risk you think is necessary to get where you are trying to go and the reward if you make it is, that field of endeavor will take care of you in the end. Be true to the Game and the Game will be true to you.  I am living witness to this fact and I can attest to being treated like royalty to this day, because I PimPed my black ass off, had hella hos and never made any kind of deal to have any one of them. Macaroni and the cheese, Swiss cheese if you please, because everywhere you look you see hos hos hos.

BJ: Talk about Loyalty and Betrayal.  How have each impacted your life?  What signs should one look for to quickly identify Loyal vs. Disloyal people?

RB:  In the streets, everyone's loyalty is to themselves. If a person follows your instructions to the letter for many years and never does anything out of pocket, how would you feel when you stick the key in her door and she and all of her shit is gone? PimPs live with that reality everyday. No woman is promised to you and when she is gone, you better have gotten paid. We believe most women come, going and if she stays, she has to pay. My loyalty is to me, just as her loyalty is to her. This Game is lonely if you play it correctly, no matter how many hos you have.  

KINGS (Summer 2015) Official Trailer - Extended (KhanMecca Films)

Bob Jablonskee is a business manager, writer and philosopher based in New York.

Tuesday, June 10, 2014




It’s mid-week in Philadelphia, Pennsylvania and one of the world’s most successful producers is up early in the city planning his next move. DJ Mustard is not new to the game, although his sound has taken over the sound waves of urban radio for the past two years. Hitters like ‘Rack City’, ‘I’m Different’ and work on Clyde Carson’s recently released thematic and trunk-rattling new classic, Playboy, have caught and kept the attention of DJs, MCs and fans alike… In other words DJ Mustard’s impact is one capable of lasting for a long time.   

Mustard started his career as a DJ in LA, but starting fiddling around with sounds himself whilst in his era of rocking parties and sets for his homies in Los Angeles. He hails from a notorious/famous area of LA – South Central is what they call it. ‘I grew up near the jungles and went to Dorsey High School – a lot of different races there – Blacks, Mexicans and Latinos… I got along fine at Dorsey’, says DJ Mustard. The heavy set, low-spoken soundman lets his music speak for him most of the time, but today he feels like talking about some of his pathways and pursuits and who and what influenced him. 

‘I grew up in an area where the gang life was deep’, says DJ Mustard. ‘It was hard, but even though I grew up in the middle of the gangs, I was supported with the thing that I was doing – music.’ Fortunate, no doubt, a lot of talented cats in the so-called ‘hoods wind up being sucked into the destructive and downward spiraling gang culture, despite their best efforts. Even as an affiliate or just related to members of the set, it is easier said than done to depart the ‘hood unscathed – especially in places like Los Angeles where the gang culture is an official institution – as institutional as UCLA, The Mayor’s Office and Disneyland. DJ Mustard’s support system had to be strong for him to elevate his game. ‘My people were very supportive and so was the hood – the gang life and politics didn’t affect me the same, based on that support and my focus.’ DJ Mustard was and is focused. He’s on tour now with his homeboy from Compton aka 'Bompton' (the age-old reference employed by Blood and Piru Gang sets from the in/famous city, known for references of NWA, Compton’s Most Wanted, DJ Quik and gang culture), YG. YG’s My Krazy Life Tour is in effect and DJ Mustard supplies more than the soundscape for the tour, he’s also DJaying sets, paying homage to his original position within the culture. Still… He’s about the beats. 

At the turn of the century digital audio production was a niche market – only a small percentage of musicians, producers and artists were competent and in proximity to digital studio equipment and access. Today, any and everyone is seemingly a ‘producer’, ‘beatmaker’ and/or ‘artists’. Which begs the question, who’s left to be the ‘fan’? So to refine the question – ‘what is the difference between a producer and a beatmaker – according to DJ Mustard?’ The line must be made clear with the game so oversaturated and such easy access to creative tools, digitally. ‘The difference between a producer and beatmaker is this: the producer is putting in hours of work in the studio for arrangement, mixing, mastering and [perfecting a finished product]. Anybody can make a beat, but a producer is more involved in the process of creating an entire track.’ DJ Mustard not only involves himself as a producer, but is adaptable with today’s version of studio sessions, where the session might be in-studio or the tracks may be recorded and then emailed. ‘Sometimes I send the track – I’m okay with sending the track or working in the studio – I have no preference.’ Rather than focus on the initial recording, DJ Mustard focuses on refining tracks, as is the case for his new project with RocNation entitled ’Ten Summers’.
Ten Summers (due Summer 2014) marks DJ Mustard’s debut offering to the world. As a featured producer on tracks by some of today’s most notable and sought after MC/vocalists, like YG, Young Jeezy and 2 Chainz – now DJ Mustard will feature his chosen MCs on his own offering. ‘I got YG, 2 Chainz, Nipsey (amongst others) – they’re all on Ten Summers’, says DJ Mustard with a grinning light laugh. Don’t look for Jay-Z on this one, Mustard relishes Jay-Z’s presence for more long-term goals. Ten Summers sets the stage for DJ Mustard to follow in the footsteps of his most influential and favorite soundmen who have released projects as executive producers more than as ‘vocal artists’. His role models are Dr. Dre, Lil Jon, Timbaland, Swizz Beatz and Kanye West. We briefly discuss what we both consider the genius of Kanye West’s sharp-'leftesque', popularly questioned and critically-critiqued project, Yeezus, with Mustard stating that ‘sometimes you have to do something different and sometimes the sound chooses you.’ Each of the ultra-successful producer/artists, whom Mustard admires, have designed and delivered sonic platforms for some of the most successful and/or critically acclaimed Hip-Hop/Rap projects ever released – guess where Mustard wants to go? 

'It's bigger than money for me [I can't let that change me], it’s really about the culture’, states DJ Mustard. For an artist lauded for his sound being overlapped by vocals that glorify the monetary, material, sexually exploitative and overall ‘lush’ life portrayed with such popularity in today’s era of Rap and Hip-Hop, it is a refreshing moment to hear DJ Mustard speak about ‘the culture’. Clearly intelligent, but soft (and quickly) spoken, Mustard values his current position and where it can catapult him for the future. Culturally speaking, DJ Mustard has a boss from the block to the boardroom as a mentor/coach – Jay-Z. ‘Jay says ‘stick to the culture [and change it], don’t let it change you [in terms of the fast-paced life that goes hand in hand with success in the world of entertainment and sport.]’

He has Jay-Z at his disposal at a moment’s notice and is part of one of the most popular and successful youth movements in Hip-Hop. He’s in motion and has his ears open as one of RocNation’s latest signees. ‘Being with somebody [Jay-Z and RocNation] who supports me and sees my vision – as a management group and helping with my sound and goals is big. The older homie, Jay-Z is teaching me the roots and culture – it’s cool. Anytime I have a problem, I have access and can just ask [Jay-Z], you know what I’m saying’, expresses DJ Mustard. When discussing the pitfalls and power moves experienced in ‘the life’. Preparing to exit his Philly hotel room, board the tour bus and be on to the next one, Mustard, in a moment of spitting wisdom, explains with his short life’s experience and game-gained that there are ways to be and not to be. ‘You gotta stick to what is true about you; stay true to the culture and what you represent, and what represents you.’ That’s GAME for you. 

A LUVVA J Conversation.  J$GJr.

Monday, August 12, 2013


A Guy Called Gerald's Classic release, ESSENCE. Growing up with Hip-Hop Culture in my household was a privilege, as I always take moments to reflect on history and my upbringing. My mother and her brother, Alphonse were children in the cities of Watts, Inglewood, Pacoima and Vallejo, California growing up and getting into new and interesting things. Luckily for my sister, La Fre$h and I, one of these things was Hip-Hop Culture in the form of Pop-Locking/B-Boy/B-Girling. My mother's involvement with the popular West Coast version of B-Boy/Girling paid dividends, because this made it so that Hip-Hop was not foreign in our early '80s household - in fact, Hip-Hop was embraced and encouraged. I am forever grateful.
We loved all forms of Hip-Hop from UTFO to Whodini, from Afrika Bambaataa to Egyptian Lover and Twilight 22. Always, was the presence of electronic music during my youthful Hip-Hop experience - the love remains. However, as I grew, I would not be introduced and hardly would I be interested in the existence and emergence of electronic/techno/dance music. Even in the form of Hip-Hop House (Twin Hype, some Native Tongue tracks, etc.), I in my youthful 'all-knowingness' was reviled by the House music. I would not be abandoned in my youthful closed-mindedness, thank goodness.
Lucky for me, a college-buddy who I worked with at Washington State University in Pullman, Washington would stay on me about studying the relationships between Hip-Hop and it's family member, electronic music. Jeff Helm and I worked at KZUU 90.7 FM from 1995-99 - I was there until 2001. Jeff would always make his best effort to introduce me to new sounds like DJ Krush and many other 'eccentric' artists and cultures - Jeff was fascinated with Japanese Culture (and Japanese women too). As the Electronic Music Director, Jeff had his hands on everything NEW and EXCLUSIVE. As the Hip-Hop Music Director and Associate General Manager, I leisurely brushed him off repeatedly, until one day an album appeared and I actually... LISTENED. From the isle of England, a legend entered my sonic life when, in the spring/summer of the year 2000, I opened the case and inserted the CD entitled, ESSENCE, by one of my (now) favorite artists, A Guy Called Gerald (yes, in the vein of A Tribe Called Quest).
Certainly, one of my favorite works, ESSENCE is a sonic journey into the questions, thoughts and passions of life - from my humble interpretation. At least these are the moments that I experience while listening. Among the tens of thousands of albums/records/tapes that I have listened to, played, charted, produced and tossed-out, ESSENCE is among my favorites - like Top 10 ever! AGCG's masterwork (in my humble opinion) sits aside the works of Michael Jackson, Stevie Wonder, Prince, DJ Quik, John Coltrane, Bob Marley and others whom I consider essential-listening. In imagining one of the most pleasant days I could experience - it would include lying on my back among the summer rains of Pullman, Washington with A Guy Called Gerald's ESSENCE being played in the background. The beautiful melodies, vocals, production and ideology introduced to me on this album, marked a moment of sonic-growth and introspection and research about what music/soul/spirit means to me. When you get a moment of clarity and need for peace, take a listen to A Guy Called Gerald's, ESSENCE.

Tuesday, November 29, 2011


On November 4, 2011 The Live From I-5 Radio Program was visited by a legend, pioneer, philosopher, guardian and father/son of Hip-Hop Culture - the great Blastmaster & Teacha' KRS-ONE.

Not only is KRS ONE one of my favorite Hip-Hop 'artists', but he is the father that many of my homeboys and I did not have. A wise man of color spitting game, knowledge, intelligence and raw MC skills was and still IS a rarity. He slayed sucka MCs and brilliant MCs during his hey-day and could still do it today if challenged. More than an MC, KRS ONE is a B-Boy, Graf Artist and embodies the BEST of Hip-Hop culture from its foundation.

Now in his mid-40s, once thought an age of irrelevance in Hip-Hop, KRS ONE is undertaking what he and others consider his most important and relevant work as the founder, leader and spiritual guide of The Temple of Hip-Hop - an organization which aims to solidify Hip-Hop as a cultural body that embodies all aspects of life, somewhat 'religiously'. KRS ONE is adamant about the part of Hi-Hop being a way of life (almost religously) because of how the culture itself saved and advanced his own life thanks to the gifts of The Jamaican-American founders of the culture, namely Kool Herc, Afrika Bambaataa & DJ Grandmaster Flash... Enough of me. Listen to The Teacha' spit his game and name on KAOS 89.3 FM - Olympia's KAOS Block Party on my Live From I-5 with LUVVA J Show... Audio DOPE!

Peace, Love & Courage,

LUVVA J, In A Real Way!
Winners Train, Losers Complain... Do Yo' Thang!

Monday, November 28, 2011


In 2011-2012 The 25360 Awards will return to the South Puget Sound region of Washington State, again celebrating the achievement of Tacoma-Olympia-area (and beyond) Hip-Hop and community members.

I created The 25360 Awards in 2008 as a ceremony and vehicle to honor and recognize individuals and organizations who have been a part of advancing Hip-Hop culture, business and our community via the arts and/or activism. Awards such as MC of The Year, DJ of The Year, Radio DJ/Host of The Year, Man and Woman of The Year are just a sampling of the points of recognition. At one point, supported with the aid of The Weekly Volcano, The 25360 Awards now stands alone and is traditionally held during the annual Hip-Hop 4 The Homeless Weekend at the end of January (the 28th and 29th)... This year the location is still to be determined. But the awards and the show will go on - just letting y'all know. 'It Don't Stop, 'Til The Casket Drops'!

Nominations begin on December 1, 2011 and run through December 19, 2012. Voting begins on January 2 and ends on January 7th, 2012. Each person is encouraged to honor the process by nominating people and voting once per category.
Send nominations with no more than 5 sentences describing why you are nominating your party to

Enjoy and celebrate and stay tuned for updates on the only award program, which focuses on the advancement of Hip-Hop and our community in The 25360.

Categories will be announced on December 1, 2011.

Peace, Love & Courage,

LUVVA J, In A Real Way!

Wednesday, November 9, 2011


LIVE FROM I-5 presents… Certified DOPE
With Jose S. Gutierrez Jr., M.Ed.


He was an MC, a dancer (a great one at that), an accomplished actor and most definitely an overweight lover. For 25 years we had a brilliant light-skinned Jamaican-American talent among us. But these complimentary adjectives do not do justice in describing the gift that was Dwight Errington Myers also known as Heavy D aka Mr. Big Stuff aka Big Daddy aka Hev Diggy. He ascended beyond the Earth today – November 8, 2011.

My first impression of Heavy D in 1987 at the age of 10 years old, was that he could rap. I don’t mean that he could rhyme words – I mean, Heavy D was an MC; a rapper who could compete and deliver vocal dope. My next impression seconds later, I’m sure, was that he could dance; so could his entire crew of homeboys. Trouble T-Roy, Eddie F, G-Wiz… Name someone else; anyone else – they could dance too! Straight from Money Earnin’ Mt. Vernon, via Jamaica – Heavy D was a vital character and member of The Hip-Hop Universe who not only showed that a big guy could be sexy, charismatic, romantic and hard whenever he wanted to be – but he was an activist as well. Heavy D cared about his community.

In 1989 he joined KRS-ONE, Big Daddy Kane, Stetsasonic, MC Lyte, Doug E. Fresh, Kool Moe Dee, D-Nice and many more as a vital and standout member of the Stop The Violence Movement. Stop The Violence was a timely and urgent movement installed at the height of The Crack Era by the legendary Hip-Hopper, KRS-ONE as a means of combating drug abuse and violence that was not only plaguing, but consuming communities of color – especially in the 1980s and early 1990s. ‘Heavy’s on the mic, so there’ll be no bum rushin’, he rapped with such force. ‘I heard a brother killed a brother, it broke my heart’, he would continue. See Heavy D was someone who oozed confidence and a sense of self-worth and purpose. He was not afraid to showcase his emotion, care, concern and passions – although there were other heavy rappers, MCs and DJs – Heavy D stood tall and stood alone. He was not a clone, never tried to be The Fat Boys and didn’t resemble those legends at all – he created his own.

In wake of one of his dancers and friend of many in the Hip-Hop community, Trouble ‘T-Roy’, Heavy D dropped Peaceful Journey in 1991, which would yield his biggest hit in ‘Now That We’ve Found Love’ – Hip-Hop-House-type joint (that I didn’t dig at the time, not appreciating the cousin-relationship between electronic music and Hip-Hop, but I grew) that in the era of Guy, Bell Biv Devoe and Johnny Gill, everyone was bouncing to. Peaceful Journey followed another classic that yielded his trademark twang-saying ‘Bdiddly, diddly, diddly, diddly, diddly – D!’ on the classic dance track, ‘We Got Our Own Thang’ from the classic, Big Tyme. Plain and simple, Hev Diggy is dope and his body of work speaks to his dopeness.

He followed the early 1990s with albums like, Blue Funk (1993), Nuttin’ But Love (1994), Waterbed Hev (1997), Vibes (2008) and he recently dropped a song-driven album in September 2011 titled, Love Opus. He would add an array of on-stage, television and film works that are very notable, but what is most notable – I believe is the following. Heavy D, like many legends of the truly American art form of Hip-Hop, was underappreciated and overall neglected as a donor and ambassador of Hip-Hop. See, Hip-Hop is not the Blues, Jazz, Rock and Roll or anything else. It is first and foremost a combination of all of those genres, but its power derives from the tenacity, inspiration, motivation and perspiration of those who survived and strived to create it. Heavy D is of the Golden Era of Hip-Hop and so many of his peers from this era are overlooked not only as pioneers, but LIVING LEGENDS in our time. He was not a ‘flash in the pan’ or ‘gimmick’ artist and he did not change with the times, he changed the times subtly by being himself – such an overlooked quality this is.

Heavy D will be missed most certainly by his family and close friends, but also by those of us who consider ourselves and carry ourselves as members of The Hip-Hop Community. Not just fans, but members of The Hip-Hop Community who see Heavy D as a champion for Hip-Hop and humanity as a whole. The gentle giant (who most definitely was not a push over by any means) demonstrated what anyone who believes in themselves can be. He was supremely confident and the big brother with the tinted shades – always looking fresh, will be remembered as one of our heroes and one of the best to bless a mic and the planet. Much love, Heavy D…

Winners Train, Losers Complain ...Do Yo' Thang!

Jose S. Gutierrez Jr.

Saturday, October 29, 2011

KRS ONE TO VISIT OLYMPIA, November 10th, 2011

One day, maybe half a century from now Hip-Hop will still be in existence. Heads will be rockin' to the beats, graffiti will be on walls, b-boys/girls will still be dancing and DJs will still be spinnin', cuttin' and scratchin'. But one wonders what it will look, feel and sound like? At least I wonder about these things. I look at Jazz today in comparison to what it USED TO BE and I find it troubling that the culture of not only Jazz but Rock and Roll, Blues and Soul have almost all but lost their souls. The root core of these classic art forms have in many ways been diluted, 'corporatized' and overall seem to have lost their original taste.

To me, it is the 'original taste' which matters so much to me. The taste that was and is still unforgettably excellent and exhilarating now as when first it was consumed. KRS ONE is that 'original taste' of Hip-Hop culture in my humble experience on this small planet. It is simply his hunger as an MC, which came from his experience of actually being homeless and hungry which obviously spawned the hustle and ambition for him to pursue the career and duty of being an MC. Such a passion displayed throughout his lifetime to represent Hip-Hop culture from the block to college classes and lecture halls is a tremendous offering that he has made to humanity. From his innate ability to educate and elevate the minds of humanity on the microphone to his Stop The Violence Movement and Human Education Against Lies (H.E.A.L.) program - both of which served the public in multiple ways - KRS ONE is an indisputable living legend and an ever-necessary fixture as a pioneer, curator, guardian, philosopher and educator of and beyond the Hip-Hop culture... Oh, I did I mention none have been able to overshadow his stage performance.

For all of the humanitarianism efforts (despite throwing Prince Be off of the stage in the early '90s - which has disturbed some critics) KRS ONE has undertaken during his career he is still one of the original chief party rockerz of Hip-Hop. Simultaneously spitting knowledge like Rakim and rocking parties like Doug E. Fresh, his stage presence is beyond reproach as he truly masters the ceremony. Aspiring MCs and loyal fans can only watch and hope, pray and practice that they may embody the spirit of Hip-Hop that KRS ONE grew up within - The magnificent era of Crack, Drugs, AIDS and Gangs ...The 1980s. So, finally for the first time since 2005 - The Teacha' visits Washington state's capital city - Olympia.

It must be noted as well that Olympia is a Hip-Hop haven within the great Pacific Northwest and is a perfect place for KRS ONE's visit. With its progressive, liberal arts-driven and generally open-minded community, Olympia has at least been a home for Hip-Hop since the mid-1980's when the widely respected voice of DJ Nancy G graced the airwaves of KAOS 89.3 FM. KAOS (based on the campus of the internationally renown liberal arts institution, The Evergreen State College) has pumped Hip-Hop over the airwaves, complimenting independent Hip-Hop in Olympia from groups like 4Real (the first Hip-Hop group out of Olympia) to Black Anger and K Records - the indie rock giant, which pushed Hip-Hop out of its studio. So, it is no surprise, but rather a great welcome that Olympia is set to host The Teacha's return on November 10, 2011 as he speaks at South Puget Sound Community College and will rock the stage and party down at The Royal Lounge later that night.

In the name and spirit of all who appreciate him, Olympia and Tacoma (The 25360 as we call the joint communities) welcome KRS ONE back to the Puget Sound. We thank him for his work with The Temple of Hip-Hop (which you all should research and find out about), his keeping the memory of Scott La Rock and other Hip-Hop legends alive and his overall 'can-do' attitude at the forefront of all of his inspirational, educational and motivational endeavors. He is truly a catalyst for advancement and a voice for the voiceless. WE CAN'T WAIT to host his visit!


KRS ONE will also be in Seattle at Seattle Central Community College and Jazzbones (Tacoma) on November 9. Be there!

Peace & LUVV,


Winners Train, Losers Complain ...DO YO' THANG!