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David Banner Breaks Down Mental Illness in the Black Community

In many minority communities, depression, anxiety and mental illness are not often recognized as true struggles amongst individuals. While so much of our population around the globe faces a detrimental internal battle every single day, many minorities have had to overlook their own issues, which could be broken down to being a means of simply survival.

David Banner believes that mental illness in the black community, particularly, stems all the way back to slavery, and the community’s inability to obtain medical care throughout history because of the horrific odds against them. After multiple generations have passed down this habitual instinct to brush off their internal emotions, it has led to many of today’s generation to disregard the mental illness theory completely.

“Most young black people don’t know that they’re depressed,” David says in our recent conversation.

The award-winning music creative has openly battled with depression throughout his career, and has gotten a hold of the reigns of his mental health in recent years. Through meditation, an outstanding support system, a switching of surrounding energies, and the new path of his musical journey, Banner has been able to cope with his depression in a healthier, productive fashion.

With his new album The God Box out now on iTunes, David seeks to educate those battling with their own mental health struggles, and those who are deep in the depths of post traumatic stress.

From the making of his new album, to how trees play a crucial and heartbreaking connection to the black community, the producer sheds some incredible light on a lot of taboo subjects in this exclusive interview.

See David Banner get raw about mental health and the black community in our conversation below.

Lindsey India: You’ve said that The God Box is like an “art exhibit,“ hoping everyone gets something different out of it. As the creator of the project, what sort of things did you, personally, get out of making it?

David Banner: Wow, that’s a great question. That’s sort of a hard question because I don’t know…I don’t really look at it like that. It’s life. I had a really dope listening party last night, where we went through a couple of tracks, and I was telling the crowd [that] I am the person that you see now. Like, that’s me. It’s no façade. So I live this album. I’ll tell you something that’s crazy. I had a slight anxiety about putting it out because I had lived with this album for so long, it had become almost part of my lifestyle. I wasn’t quite sure, although the most high had given me the vision that our people were ready, it was almost like I was a single father who raised a daughter and it was time for her to go to college. And you know how they do the freshmen on campus when they first get there [laughs]. That’s sort of how I felt about my album. I wanted to make sure she had the best opportunity to get heard and to be successful in the world.

You know how they run through rap albums. It’s about the same way America runs through children. But what I did want people to get out of it was a sense of freedom. For artists to know that you can do it on your own, this is a 100% independent album. I paid for everything. Any poster you see. Any billboard. All of it. Now I understand why the record industry was scared of Master P. I understand the power of Tech N9ne now. So for me, I wanted artists to see that they can be free and that you can make money. I had the No. 1 album when this album dropped on iTunes without a radio single. 100% independent. Where does that happen in America? So for me and my small, and very bright staff, we put together a stellar marketing campaign. I created something where we literally sell God boxes with very conscious information in there like books and DVDs and flags and stickers. I can barely keep up with the demand of it. I wanted artists to know that they can do it. But for the fans, one of the things that I don’t hear much in music, and what it did for my generation, is that it took me to different worlds. They have tricked, especially young black men and women, to stay in the ghetto. Most of us rep our hoods and the situations that we in, but we don’t like them. We glorify them, but most of these rappers can’t go back and live in their own neighborhoods if they wanted to, and they don’t want to. So we convince these children to do it. Hip-hop literally went from “Up with hope, down with dope,” which was my generation, to being the dope user. I wanted to give these children and give my listeners the same feeling that A Tribe Called Quest did when they told us to go to El Segundo, or when Outkast told us to go to Stankonia, or N.W.A. taking us to Compton. They took us to different places. A young David Banner took you to Mississippi. But then I got popular instead of taking people on journeys. That’s what I wanted The God Box to do.

Lindsey India: Talk to me about the mind state you were in creating some of these powerful songs like “Magnolia.” They share some extremely prominent and stomach-turning imagery. What was your mental state like writing some of the more gut-wrenching tracks?

I’m from Mississippi, love. My great Uncle was hung. Tito Lopez, to me, is one of the most prolific artists who people don’t talk about ever, he said something that is so dope that I don’t think about. He said “Our kids have to play where they lynched us.” If you think about it, white people would have to go outside of their communities and terrorize black people. They never really had to deal with the horror that they left behind. Imagine if you’re a child and you still had to play around the same tree that your Uncle got hung on. Or still have to live in the same house that your mom got raped in. Or play in the yard where that burning cross was. As much as people would like me to give this introspective standpoint and get really deep, this is just a sad part of my history.

What I will tell you, though, is that “Magnolia” was actually a concept for a book that I’m going to write called If Trees Could Talk. When you go back and listen to the song, it’s going to freak you out now. We’re speaking from the perspective of two different trees. The way that this book is going to be written [covers] the relationship between trees and Mississippi and Africans who have come through the state. The taller the tree, the wider the perspective, but the less personal the story is going to be. The tallest tree is going to tell the story about the Moore’s who came to this continent even before the Native Americans were here. That’s history that people don’t talk about, but that’s the tallest tree. But that’s not personal. The smaller tree is going to give you the perspective of maybe one person, but tell you about that one person’s life. My verse was about the Magnolia tree and how I was sent by the Magnolia tree, and she explained the story of how she was used in the [lynching] of blacks. And she was sorry for that. So in one case, she broke her own arm, so his neck wouldn’t snap.

Cee-Lo’s verse was more of a smaller tree that has the perspective of this black man who was a cop who had certain things going on in his life, thinking that having a white wife, and having a certain job of power would actually make him an exception to the rule, but it didn’t.

Lindsey India: Let’s talk mental health. How do you balance your creative streak when dealing with times of depression?

Well, the problem is this. Most young black people don’t know that they’re depressed. So it’s sort of hard…well, one of the things that helps me with depression now is the fact that I know that I have bouts with depression. Sometimes just knowing what it is helps you to deal with it. And in a lot of cases, we mask it with drugs or hypersexual tendencies or alcohol. I found that I used to mask my depression and my fears and my anxieties with anger and being mad. The thing is that question is sort of hard for me to answer because once I found out I was depressed, I found mechanisms to help me deal with it. Like I do transcendental meditation. It was introduced to me by Bill Duke, who is a legendary writer and actor. I don’t know how, but he was able to see through my façade and could tell that I was going through things. And transcendental meditation changed his life, so he introduced me to that. I was dying at the time. My depression was that bad. I felt my soul slipping away. Then after transcendental meditation, I met my mentor in Atlanta, and he convinced me to go to therapy. I haven’t had but maybe one or two slight bouts because I work against [it], and I know my triggers now. So if I start feeling bad, I’ll go watch Step Brothers a thousand times or find something to make me laugh. I also got rid of all of my Debbie-downer friends. Everybody that’s around me is trying to do something with their lives. I guard my mind like I would a child. My mom knows not to call me and tell me about everybody in the town who got killed. People know not to gossip around me. I literally guard my mind. It hasn’t been as hard since I found out what depression was because I have people around me that supply me with the mechanisms to battle it. Before, I just didn’t know I was depressed.

Black men are always told to pull themselves up by their boot straps. We’re always taught that therapy is white folks shit. The stuff that was literally created by Africans that can help you deal or give you coping mechanisms…we’re always taught to just man up. When that has nothing to do with being a man. You’re sick, you feel me?

David Banner

Lindsey India: Why do you think that mental health awareness and mental illness has been such a taboo subject in minority communities, and especially the black community?

I think it was a direct connection to slavery. We couldn’t go to doctors. Anything that black people had to deal with, we just had to wait it out. People talk about post traumatic stress disorder as it pertains to people who are in war. Most of the people who go to war go for two or three years at the most if you really think about it. You have to think about the fact that black folks were in slavery for three or four generations. People don’t really talk about the fact that, for the most part, the treatment of black people as a whole, to some degree, has gotten maybe a little better. But it never stopped. If you calculate the years that we were in slavery, black people haven’t been out of slavery longer than they were in it. We never got any physical, mental, or spiritual therapy. No one has ever dealt with that. In America, we need therapy as a whole. That’s not even talking about the pressure of cops, or the financial pressures. That’s not talking about the fact that literally slaves were told in slavery to just deal with it. There wasn’t a homestead act for us. Nothing was given to us. We literally just had to do it. So in a lot of cases, because we couldn’t afford mental health [treatment], we made something that was just negative because we couldn’t do it in the first place. It’s sort of the same way that black people have accepted the [n-word]. We didn’t have a choice but to hear the word. We couldn’t make that stop at the time when we were slaves, so we co-opted it. That’s a sickness within itself. Black people say all the time that they can flip the word and take the power out of it, but I say, in order for you to flip something, you must first accept that you are. I refuse to do that.

Lindsey India: What do you think are some solutions or coping mechanisms to mental health issues and mental illness that can be brought to those that might need help?

One thing that I’ll say, and I have to be clear about this, is that I did not do it alone. That’s one of the things that leads us into depression. We think that we’re alone or we have to do it all ourselves. I had a team of people that helped me. The thing is, that’s also not fair, the reason why I had access to these kinds of people is because I was rich. Most people don’t have the time to realize that there’s a problem. They don’t have the financial space to take a break for a second.

Lindsey India: Health care doesn’t always cover all of it, or even any of it.

Exactly, love. So that’s the biggest thing that I want to tell people. I didn’t do it alone, and it wasn’t something that I magically just discovered and picked up and started doing myself. Actually, at the time when I was depressed, I was a devout Christian. So doing meditation seemed practically almost evil to me. Religion has done so much to the minds of all Americans, to be honest with you. But because I was so depressed, I would do anything that wouldn’t compromise my manhood or my spirituality to get depression off of me. Let me tell you something. I would wish a lot of things on my enemies, but depression isn’t one of them. I would not wish that on my worst enemy. I never contemplated suicide, but I understand now. I have empathy of why a person [would think like that]. I used to think that people who committed suicide were weak people. Once I went through depression, I realized that that’s not the truth at all.

I’m not the toughest guy in the world, but I don’t take a lot of shit. So when kids see somebody of my stature and somebody who’s been able to accrue the amount of success that I have, to be able to honestly open their heart and show you all the pain that I went through, and not be embarrassed about it…I think that’s one of the biggest things that has helped my career. Not just from a financial standpoint, but I’ve had people come and tell me, “Dammit if David Banner can fight through this, then I can too.” Most of the time people feel like they’re alone and that they’re fucking crazy.

Lindsey India: Is there a particular song or studio session you can recall that might have helped your coping journey?

Yes. I don’t even remember the name of the song, but one of my therapists told me, in actuality, the old David Banner was more healthy for me. He said maybe not from a spiritual standpoint, but from a mental standpoint. He told me to think about this: if the old David Banner wanted to say “Fuck you. Kiss my ass. Die,” he would tell you that. That’s off of my mind, my heart and my soul, and I can go about my business. He said this more introspective David Banner and kinder David Banner is packing it all in, holding it on my heart, and carrying it around. Once I became more introspective, I took my diary away from myself. He told me that even though I may not want to put that music out, I don’t have to put that music out, but keep recording exactly how I feel. Get it off of your heart. Get it out of your mind and get it outside of your own head. That’s basically what therapy is anyway. My homework was to go and record this song. I recorded it and I put it on YouTube. I forgot the name of it, but I basically was talking about how I needed hydrocodone to go to sleep. I talked about all of the pain I was going through. I felt like in my old career, I let my people down and I was guiding my people to hell. Now that I’m a little bit smarter and bit more conscience, I see that that wasn’t the case. [4:20]

Lindsey India: What’s coming up for you for the rest of the year?

Let me tell you something. This has actually been the best time of my life. I want to show people happiness too. Actually, The God Box is going to be a happy album. What I realize is that I had to go back in to some dark places in order to bring people out. A lot of times when people don’t see the process they think that that’s just the way that you are. To be honest with you, unless it’s Tupac or something like that, I don’t listen to a lot of negative music. Unless it’s a video game, I don’t watch too much crime or killing or drama and gossip. I don’t watch the news. If it’s not anything about opulence or success or happy times or comedy or something to lift my spirits, I don’t do it. So in saying that, I’m just excited. When I tour this year, I don’t think I’m going to just run through cities. I think I’m going to spend three days there. Instead of doing maybe 20 cities, I think I’ll only do 10. [I’ll] spend some time, lecturing in cities. Go to the colleges. Go to the schools. Touch the kids. Go see where Nat Turner lived. I want to get an opportunity to go into the cities to live and have fun.

I’ll end it on this. I had an ex-girlfriend once that told me I looked at the ground so much, that I never saw how beautiful the sky was. Even if you’re in the worst neighborhood in the world, the sky is still beautiful. This world is so negative, that we don’t get to take in the blessings that we do have. Just being able to breathe and see. The things that are the most valuable, you can’t pay for. We have those things. Everything that God does is perfect. You are perfect just the way that you are.

Sean C and LV Talk Mental Health In Music, ‘American Gangster’ Motivation and More

The “veteran” label has become a title in hip hip culture that has frequently coincided with a slew of unique characteristics. Some may earn the inscription on their careers for their impact on the culture during a particularly notable era, while others carry the label once their unofficial “dues” have been paid. For certain individuals, however, their creative consistency is what speaks for their title as a master of the craft in the hip hop business.

For longtime producer duo, Sean C and LV, their dedicated time, hands, and ears to the game have given them a notorious label as more than just veterans. The two have dipped their feet, taken risky dives, and created full bodies of water in the music industry over the past two decades with their musical genius. While one of their most notable titles has come from being part of Diddy’s legendary producer group, The Hitmen, their capabilities have been tested and victorious throughout many spectacles of hip hop and music culture.

The pair have been longtime friends, with Sean and LV growing up around each other before they even got heavily into music. While Sean has been hustling since his humble beginnings with the former X-Executioners, he went on to create a major impact on the culture by working with the likes of Fat Joe, Mobb Deep, Ghostface, and other superstar acts. He later earned himself a Grammy nomination after his work on Big Pun’s Capital Punishment debut, and even influenced a huge wave of Terror Squad’s original sound. At the same time, LV was beginning his his own chapter in the business as Pun’s official DJ on the road, thanks to a hookup from Sean, and eventually took on producing when he got a hold of his partner’s former equipment.

Soon, the two got even closer creatively, spending majority of their time in the studio, and launching their Grind Music brand, becoming their credit alias on multiple projects. They went on to get their first artist, Aasim, signed to Bad Boy Records, before landing a producer deal with Puff and joining his iconic team.

Things picked up pace quickly for Sean and LV over the next decade, with the two putting in their most notable work together on Jay Z’s American Gangster album in 2007, which they deem as their highest hill of success achieved yet. The two are even famously responsible for one of the Brooklyn rapper’s most famous hits of today, “Roc Boys (And The Winner Is).”

Fast forward to today, and the twosome are still hard at work at providing the soundtrack to our every day playlists, which includes the likes of Busta Rhymes and Lil Wayne. Although they have earned their titles as iconic veterans, both Sean and LV can attest to the hardships of being a hip hop creative, and how it impacts one’s mental health.

I recently sat down for a raw discussion with the incredible duo, where we spoke about their musical journey, mental illness in the music business and urban community, Kanye West’s genius, advice for sensitive talents and how their work on American Gangster inspired them.

Read my conversation with Sean C and LV below to tap into the minds of two musical greats.

Lindsey India: How did you both come into music as more than just a passion or hobby, but a full-time pursuit?

Sean: For me, I always wanted to be in music, so I don’t think there was ever a time where I thought [differently]. I started out as a DJ, so the natural progression from being a DJ is production. To me, that’s how I looked at it. I was in a group, the DJ made the music, so that’s just how it was when I was coming up. I think I decided that I could become a producer and make money producing for people outside of the group when the person in the group stopped rapping. [laughs] So, I was like, I guess I have to do this now. That was the natural progression.

LV: I always wanted to do music. It was never a question about whether I was going to take it seriously. That was always serious for me. I guess having a regular 9-5…that wasn’t serious to me. Right after high school. I started DJing for Big Pun. I didn’t even know what producing was. I was just tagging along with Sean every day as he was working on projects. Then it started hitting me like, “Oh, that’s what producing is.” I started being around in the studio, and one day Sean was about to sell his MPC, and I asked him if I could hold it for a little while. I started making beats and figuring out what I could do with them until I realized how much money you could actually make from it. I thought, “Oh, maybe I need to stop DJing for a little while and focus on that.” It was always serious, but I guess once I started producing, and started seeing someone else actually get a check for a beat, I thought it was serious.

What brought you both together as business and creative partners in music? Was it a chemistry connection, or a more of a mentor situation?

Sean: We started a company together, but if you look at earlier records, a lot of them will either say they were produced by Grind Music, or they’ll say “produced by Sean C” or “produced by LV,” separately. After he got the machine and started making beats, he would play me beats. I think it happened one day when we were in the studio, and we got two MPC’s. We usually just had one, but once we started working with two at the same time, that’s when it really turned into a collaboration.

LV: I think it was kind of like all of that. It was kind of a mentorship, because even before I was doing beats, I would see how the process of it happening went down. It was just all of that between mentorship and working together. It just made sense to me. It was easier that way. We liked the same things, but differently, and if you blend that together…that shit is just ill.

Both of you have done Grammy-nominated and award-winning work throughout your hefty careers that’s been laced all over the culture for over two decades. What’s been the most monumental high for you?

Sean: Creatively, it would be working on American Gangster, for me. But I think the first time I got a check for making a beat, that was also a moment, like how you said it. Figuring out that I could do something that I liked to do, that I could make a living off of…it was like an “a-ha” moment. After we did the American Gangster album, I would say that that was the height of our success, creatively.

LV: For me, it’s probably two of them. One was actually being able to DJ for Pun. That was just crazy for me, because I didn’t know what I was doing. I stopped going to school, I was just…like…I don’t want to say I was lost, but I didn’t want to get a job. I couldn’t really survive on $200 trying to do a party every month, and my mother was on my neck. So being able to go on the road and actually have fun and make money while DJing, that was fun. The second moment was when Sean and I had an artist named Aasim, and we got him signed. I think that was real hot. It’s not to say working on American Gangster wasn’t incredible, but that seemed inevitable to me. But working from nothing, and getting someone signed to someone like Puff, who’s like my idol, that was a “this is crazy” moment. Everything else after that was very good, but those are the life-changers for me.

Talk to me about your creative space. What does it take for you guys to get in your best element, but what can deter that as well?

Sean: I think if someone is the room with a bad vibe, it can definitely fuck up the creative process. If you’re trying to get something out that’s in your head…that about does it. As far as getting the best out of me, I listen to other music. Other people’s music inspires me to make music, so if I heard something that’s dope, that makes me make that face that I can’t help but make when something’s hot, that will make me want to make more music.

LV: There’s a few things that make me want to make music. Listening to other things and seeing other things definitely inspires me in that way. Women help. Wanting things, whether it’s wanting to do things like travel, buy sneakers, or those things. I know that if I make music, I know that I can do things that I want to do. I know that if I don’t make music, I can’t do any of that. I love being in the studio with Sean and around my friends. That helps me so much creatively too. When life goes the other day, it can help your creativity, but it sometimes also helps it. A lot of times it can throw a curve. When you got something in your head and you know how it’s supposed to sound, but it’s not coming out that way, that fucks up my vibe. I try my hardest not to let people have that much control over the work.

Sean: I want to build on something he just said. The business aspect of the music business can really destroy your creativity. If you get to a certain point, and you’re trying to figure out, “Well, we should make these kind of records in order to get here,” or “Maybe we shouldn’t be sampling, because with sampling, we’re not going to make as much money.” Then once you start thinking about things too much, it’s two different sides of your brain. That I would say is probably the thing that does spoil my creativity the most. Thinking too much, and thinking about how to profit off of something instead of just being creative.

LV: Definitely! That’s why I, maybe to a default, try not to think about that. I always just try to stay creative. I figured I made it this far off of doing shit that I love. Once I started I started realizing the business, I was like, “Oh, I don’t like this shit.” It definitely fucks it up. I try not to think about that and just be as creative as possible. If it happens, it happens.

As producers, how do you find mental health affecting you as a musical creative? Being that you’re constantly thinking of sounds, does depression or moments of anxiety impact that?

Sean: I went through a lot of different periods while making music. I’m a cancer survivor. I’m a single father. When I was going through cancer, I had my son at the same time, and I was working a regular job. I wasn’t happy. I was trying to get a job in music. So, I guess, mentally, making music [helped]. If I would sit in my room, no matter how stressed I was, and I made music, it would help me feel better. Even now, it’s the same thing. If I’m going through something, and I sit and make something, it helps me feel good. If I’m frustrated, and I’m trying to make music, but I don’t come up with anything, that also adds to my mood. It will make me feel worse, actually. I have to leave it alone at that point.

LV: I feel like [mental health] is very important. It comes out in different ways for me. If I’m going through something, whether it’s family, personal, or whatever else, I definitely use music as an escape. I try to really go deep into music. If you’re trying to escape something, and it’s not working, I kind of try not to beat myself up too much for not creating. I just leave it alone immediately. That’s something that I never want to get mad at or be upset at. That’s something I never want to have a problem with. We go through things, so sometimes that can actually help you. I was fucking depressed and I made some real up shit. It just helps. I feel like all creative people are special in their own way. Like special geniuses. You get obsessed with it, and it can make you do some crazy things.

When you were dealing with some of your harder times, is there anything you particularly created that came out of that?

Sean: I can’t say a specific song, but I’ll go back to American Gangster a little bit, because that was the time when I was figuring out whether I should just do executive stuff, and not be a producer. The opportunity to do American Gangster came, and it was like, “Whoa, okay.” It’s no specific song that I can attach to that period, but I know that project [is where] I was at a point where I was trying to figure out if I should even continue to make music or be in the business in a different way. So that opportunity gave me some light.

Continue reading Sean C and LV Talk Mental Health In Music, ‘American Gangster’ Motivation and More

Gabrielle Ross Is The Anti-Bullying Advocate That Sings To Your Soul

If there’s one aspect of appreciation that can be taken from our lives each day, it’s definitely the different interactions we have amongst each other. Whether it be a lesson about others, ourselves, or just a piece of positivity, so much can be learned when we come across familiar faces, or connect with new souls.

This month, I had the pleasure of being introduced to the lovely Gabrielle Ross, who is a beautiful talent straight out of New York that has a voice with a purpose. With an extra bright smile, some colorful locks, mixed with a soothing tone in her voice, I instantly felt the light beaming from Gabrielle the second she greeted me. Fortunately, I soon learned over our intimate dinner that her heart and mindset were just as genuine and alluring as she initially appeared.

On the heels of releasing her latest record, “MCM,” which sees a feature from Jeremih, the young songstress is eager to take on 2016 with a full force, as she’s been hitting the studio to gear up her Things Are Gonna Change EP. While she’s hustling up a storm in the music game, Gabrielle also seeks to use her evolving platform to speak out on issues that get swept under the rug. The singer not only wants to help people embrace who they are to the fullest with her #beYOUtiful campaign, but she’s even an advocate for anti-bullying.

It’s not often one comes across authenticity within beautiful souls of the industry, but Gabrielle is one that will be a pleasure for everyone to connect with. Get to know her, her purpose, and what’s coming up for her in our exclusive conversation below.

Lindsey India: How did you get into music and performing? What made you want to pursue it more heavily?

Gabrielle Ross: I got picked on a lot, and it took me a long time to be really comfortable in my skin. I had a great family, no matter how many times I came home crying when people were being mean to me in school. My mom was always my best friend. Both of my parents were great. Music was like my therapy, and I really started writing when I was 14 years old. I was very insecure as a little girl, so I started acting. My mom thought that being on stage was either going to make me comfortable and help me break me out of my shell, or just make me really uncomfortable. It turned out that it was immediately where I felt the most comfortable in the whole world, and I just knew that second that I wanted to be on stage.

Lindsey India: What was your first experience on stage like?

Gabrielle Ross: I guess it was acting. My first big lead role came when I was 11 years old, where I played Dorothy in the Wizard of Oz. That was when my dad realized I could sing, even though my mom had always told him. When I was 6 years old, I asked my mom for singing lessons. Finally, when my dad saw me, I opened the show with “Over The Rainbow,” and he was blown away. I actually did that show again when I was 13, and there was a live Toto dog. They even had to train the dog.

Lindsey India: Who are some of your biggest influences in both music and your life in general?

Gabrielle Ross: I grew up listening to Whitney Houston, Mariah Carey, Stevie Wonder, as well as going through my Spice Girls and *NSYNC era [laughs]. My dad’s drive, work ethic, and persistence really inspired me, especially because he never gives up. I always admire that so much, which is why I work so hard. My mom is the kindest, most understanding human being in the whole world. The two of them mushed together are who I want to be when I grow up. They’re the best.

Lindsey India: Let’s talk about your record, “MCM.” The concept is obviously from the social media hashtag, #ManCrushMonday, but where did that evolve from to inspire you to make a song?

Gabrielle Ross: It was the result of a really fun [studio] session. A lot of my music is actually really deep and personal, and the messages are really strong. That time, I was just in the studio with Young Boys, who produced the record, when they started the track. I thought it was so fun, so I decided to get on it. I texted my manager and told them how much I loved it, and we started writing it. As I was going through it, I decided that the hook needed a hashtag theme to it, but I just couldn’t think of anything right away. Once we got back in the studio, I was going through Instagram with one of the writers, and she suggested I use #ManCrushMonday, but make it every day of the week, like your #ManCrushEveryday. We were in the studio really late at BMG, and no one was there, so of course we were just dancing around to it. It was really fun. I had a second verse for the song, so we started sending it out, and it ended up getting into the hands of Jeremih, who really loved it. It kind of just all happened. A few weeks later, we were both in L.A., doing studio sessions. I sort of went and crashed his session, and stopped what he was doing, so we had him lay his verse down. It really just fell into place, and a few weeks later we finally shot the video. The feedback has been amazing, and nothing but positive.

Lindsey India: You just finished doing an overseas tour, and as you said, you love being stage more than anything. What was your favorite stop and why?

Gabrielle Ross: My favorite and least favorite stop was Paris because of a funny story. All of my stuff got stolen out of the van we had, which had my suitcase with all of my show clothes, and performance material. It kind of put a damper on Paris for me, but the title of my EP coming out in maybe a month or so is Things Are Gonna Change, with one of the tracks [having the same name]. I actually recorded it the day of the Paris attacks last year, so I was excited to perform that song in Paris. They were so receptive to it, and I even gave a heartfelt speech about the situation that they showed so much love to. The show just went amazingly, which fixed my mood in Paris instantly. It was really special. All of the shows were great, honestly, but that was the most special moment.

Lindsey India: It sounds like adapting is a big theme in your life, especially with the name of your upcoming EP. How do you feel about the concept of adapting in your life?

Gabrielle Ross: I think, as an artist with this dream that I’ve had since I was practically born, life is just so unpredictable. Everything is so unpredictable. The grind is just non-stop. I think a lot of people see an artist when they finally make it, like a Lady Gaga, or Katy Perry, and think that they release a new song that’s brand new. They don’t realize that sometimes a song can take years and years of work. It’s definitely a grind. You have to kind of be ready for anything to happen at any moment. Being that I’ve been performing since I was so young, you learn to just adapt to all kinds of scenarios that can change in seconds. That’s a big part of my message.

Lindsey India: What about adapting and your message has inspired your EP?

Gabrielle Ross: When I started this EP, I was in a really bad place, which was due to a pretty unhealthy relationship. We all learn from those, and I think we all have one of those relationships where we learn what we stand for and what we won’t stand for again. I was able to come out of it and realize that it was awful, but everything happens for a reason. You might not understand what it is in the moment, but it really helped me transition into a brand new place in my life. It really put me in such a positive place, so I was able to appreciate the bad and learn not to worry as much. I feel like worrying is a complete waste of time. Whatever is meant to be is going to be. God has his plans for everybody, and worrying is an unpleasant way of getting there. I’m very big on being positive.

Lindsey India: I know that anti-bullying is a big part of your message as well. What would you hope to see as far as progressing techniques to help prevent bullying?

Gabrielle Ross: Every show I do, I always tell my fans to come over to me afterwards and talk to me, or even write to me. I even still have so many that write to me all the time, and I respond as much as I can. I feel like the world kind of needs someone like me, or someone like me with a voice to influence young kids and be a good role model that can inspire people to be kind instead of crazy, negative, or mean. You hear of a lot of music that is kind of not the most positive message. I also have songs that I write when I’m sad that aren’t the most positive, but I would like to be a voice to help people get through those tougher times. I’ve seen people unfortunately take their lives due to bullying, and I know if I didn’t have music to get me through my situation, I wouldn’t be the person that I am now. It’s terrible, especially with social media and all of that. It’s harder to control. I feel like if there were more people with a big platform that spoke about it, and brought attention to it, the better it would be.

Lindsey India: How do you stay true to yourself, especially in the music industry?

Gabrielle Ross: I really think it was from my upbringing, and being bullied. I grew up in a neighborhood where the girls would all make friends with each other because they had the same pocketbook. My mom would said, “You’re in 4th grade. I’m not buying you that pocketbook. That’s crazy. You’re not going to make friends off of a pocketbook. You’re going to make friends because they’re really your friends.” At the time, maybe I didn’t understand it, but now I get it. I learned what was important to me and in a friend. I think her bringing me up that way really stationed me at a young age. I found my friends in theater class, music camp, or through music in general. That helped me get through it to. When people are bullied, they feel very alone at the time, and there are so many people that do feel the same way they do. You sort of just have to find them. It’s unfortunate that a lot of people don’t have that support. Thank God I had my mom and my dad to tell me that when I came home crying. I would love to be that person to someone.

Gabrielle Ross Interview

Exclusive: Would Rick Ross Executive Produce A Nas Album?

If you have had a 5-minute conversation with me at any point in life, then there is a very high chance that you were made aware of my admiration for Nas. The Queens MC, or God’s Son, as I rightfully address his presence as, has had a major impact on my life, being that his music has lifted me out of some incredibly dark periods.

With that said, I am more than anticipating an upcoming project from Mr. Jones, and I’m literally sitting at my desk on the daily, awaiting any type of updates on this next album that he’s been teasing. This summer will make it four years since his last album, Life Is Good, graced the music game, and with him making huge strides after taking on Mass Appeal, I’m counting down the days. Unfortunately, his next studio album will not be a Def Jam release, but that opens the floodgates for many opportunities so he can properly bless us with a new calibration of sound.

It’s no secret that Nas critics have a history of disagreeing with his production selections on his projects in the past, as he is an MC that keeps the focus targeted towards the skill he is best known for: his wordplay. No, Nas is not the same rapper with the same mindset from his Illmatic debut days, and we shouldn’t expect him to be 20 years later, but there is one person who has helped him fit quite handsomely into today’s sound.

Rick Ross has teamed up with Nas on multiple collaborations, including the God Forgives, I Don’t banger, “Triple Beam Dreams,” the MMG compilation record, “This Thing Of Ours,” as well as the underrated “One Of Us” track from Ross’ recent Black Market release. There’s an evident spark that Ross brings out of Nas when they come together, and their chemistry results in some serious bangers that hip hop ears simply can’t deny.

While attending the Wingstop event in New York City this week, held at Extra Butter on the Lower East Side, I had to take advantage of being able to talk to the boss. On top of learning about their amazing scholarship program, I was able to speak with Rozay for a couple of minutes about this very burning question I’ve had for the past 3-4 years. So, would Rick Ross executive produce a Nas album?

You know, Nas is so great as an MC. He’s a legend. So I wouldn’t even play with that, because of course you know Rozay will f**king do it! You know I would love to do it, but more importantly, the way Nas moves is so calculated. I feel like everything he does is perfect timing. He’s a legend, and I would love to. You know it’s whatever for the big homie.

There you have it. Ross is just as with it as much as I would have hoped he’d be. So now, Nasir and Rozay just need to get on Facetime soon and schedule these studio sessions out before fans lose it. The #NasHive is impatiently waiting to lay down the red carpet again.

How would you feel if Ross took productive control of Nas’ next album? Sound off your thoughts at me on Twitter.

Lindsey India