This Womens History Month, ERS+ revisits a visit from a Bostonian Cindy Diggs who is a Hip Hop community activist/organizer, event planner, and youth mentor. Urban Coordinator Anytza D. sat down and spoke with Cindy Diggs, known to many as Boston’s Mother Hip Hop. Cindy Diggs was recently inducted into Berklee College of Music’s Hip-Hop Hall of Fame, and rightfully so. She is a true pioneer, a peace-driven visionary, and an unstoppable force of positive change in her community. Growing up in Roxbury, Cindy has spent her life using Hip Hop as a vehicle for empowerment and healing. Join Anytza and Cindy as they speak about her background, experience, inspirations, impact and more!
https://wersplus.org/wp-content/uploads/sites/2/2025/03/IMG_9580-scaled.jpg25601707mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2025-03-16 19:12:352025-03-17 00:12:35ERS+ salutes Cindy Diggs: A woman shaping Boston music history!
The Boch Center in Boston was transformed into a soulful living room as Pink Sweat$—Daniel Bowden—took the stage for his “Welcome Home Tour.” Born in West Philly and raised in a deeply religious household, Bowden’s early years weren’t typical for an R&B singer. Pink was only allowed to listen to Christian music until he was 17. Onstage in Boston, he was a cry from the life he was raised in. His journey, including his time experiencing homelessness contributed to the artist he is today. During this challenging period, Pink Sweat$ was born: a name derived from a pair of pink sweatpants that were the only ones in his size and a mic gifted to him by his best friend and bass player, who believed in his vision and artistry.
Pink Sweat$ 5
More than just overcoming adversity, Pink Sweat$ is on a mission to bring “love” back to the forefront of R&B. He’s part of a movement that wants to elevate vulnerability, compassion, and connection—the kind of universal love, not just the type we see on screen. This tour and this show reflected that—he provided his audience with an open invitation into his world, where honesty and emotional depth are at the core.
Aqyila 4
The evening began with the opener Aqyila, whose performance was an exercise in vulnerability and depth. The crowd was immediately swept into her world, where honesty and raw emotion collided with soulful melodies. Aqyila’s smooth yet powerful voice was like a warm invitation into her personal space. With lyrics like “I speak my words but with a pen,” Aqyila sang about self-discovery and journaling. A standout, buoyed by the rhythmic beauty of the percussion by pianist and Framingham local Bryan Abreu and his stunning piano chords. There was a delicate intimacy in Aqyila’s delivery, one that felt almost like listening to someone read aloud from their journal. It was a beautiful and sultry set, the kind of music that makes you want to get lost in its honest narrative. Aqyila’s Caribbean roots, especially on an Afrobeat-influenced track, reminded us that sensuality doesn’t have to be shallow—it can be rooted, honest, and reflective. She even offered a sly anthem of independence, channeling Ari Lennox, telling a past lover that she’s sexy on her own and has found peace in her solitude. Aqyila has a way of drawing you in, and she did so effortlessly.
Aqyila 1
Then came Pink Sweat$, who took the stage with that effortlessly cool ease that defines him. Dressed in purple sweatpants, a black hoodie, and pink sunglasses, Pink immediately set the tone; over the next two hours, he didn’t just perform—he created an atmosphere. His setlist, filled with fan favorites like “Honesty,” “At My Worst,” and “Bloom,” felt like a blend of nostalgia and intimacy. Pink Sweat$’s music is simple yet profound, the kind of songs you want to put on repeat while having deep conversations with friends. His smooth falsetto was in top form, but his quiet confidence and grounded energy stood out. There was no pretense—just a man sharing his heart with anyone who would listen.
Pink Sweat$ 3
For a moment, Pink made us all feel like his friends. During “Would You,” he invited the entire crowd to rise. He declared, “What’s for me is for me”—a message of empowerment, self-belief, and resilience that resonated deeply. The affirmation made the room feel less like an audience and more like a community. And just when you thought it couldn’t get any more intimate, he called for couples to get up and dance. The simplicity of it—a private little dance party for two in the middle of a concert hall—was one of the night’s most heartfelt moments, an honest portrayal of the intimacy that runs throughout his music.
Pink Sweat$ 6
Pink’s performance was as much about the people around him as his music. His band was an integral part of the night, and Pink made sure to give them their moment to shine. During “Only A Fool,” a song he admitted to forgetting he’d written, each band member had a solo moment, showcasing their impressive talents. I must note that Pink’s best friend and brother are musicians in his band, making it a true family affair. Pink clearly has a deep respect for the musicians who support him, and it is easy to see that this respect is mutual. In fact, the band’s energy—combined with Pink’s humility—made the night feel like a genuine collaborative effort.
Pink Sweat$ 2
One of the evening’s more playful and spontaneous moments came when Pink surprised the audience with a medley of old-school hits. He pulled out “One Wish” by Ray J, “Let Me Love You” by Mario, and “September” by Earth, Wind & Fire. The crowd went wild, clapping along and doing the Electric Slide. WERS Urban Coordinator Bryan found himself further in Pink’s atmosphere when he was plucked from the crowd to dance onstage with Pink and the band. There were so many moments like this throughout the show, where Pink pulled us into his world— like when he gave $20 to several audience members for gas money; a small moment but a big reminder that for all his talent and success. Pink Sweat$ hasn’t forgotten his roots — a world where classic R&B reigns and the joy of dancing and community is just as important as the music itself.
Pink Sweat$ 4
Throughout the night, Pink Sweat$ effortlessly shifted between his catalog of soulful hits, with songs like “Coke and Henny Pt. 2” and his latest “Coffee” as fan favorites. His voice remained smooth and velvety, and the live band’s performance was top-notch, elevating each song to another level. The chemistry between Pink and the band was palpable—each member played a vital role in bringing Pink’s vision to life. When Pink performed “Call Me,” a song he hadn’t performed in years, it felt like a rediscovery, an intimate gift to his most dedicated fans.
Pink Sweat$ 1
Pink left us with his classic hit “Honesty” and a heartfelt encore of “I Feel Good” as the night wound down. There’s something magnetic about Pink Sweat$—an aura of ease that makes you feel like you’re in on a secret, a shared moment between friends. When fellow Urban Coordinator Bryan and I met him backstage, Pink greeted us warmly, as if we were friends he hadn’t seen in a while. In an industry where they often say, “Don’t meet your heroes,” Pink Sweat$ blows up that phrase because he is as humble and kind as they come. His “Welcome Home Tour” wasn’t just a performance but an invitation into his life, heart, and journey. While collaborations with artists like Jessie Reyez, Kehlani, and Tori Kelly have earned him his place in the R&B landscape—it’s his authenticity, his realness, and his mission to bring love back to the genre that will keep him there for years to come. For now, though, he’s home, and it’s clear that his music is where we all belong.
https://wersplus.org/wp-content/uploads/sites/2/2025/03/ERS-Pink-Sweat-cover-art-1280-x-720.png7201280mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2025-03-03 02:40:242025-03-03 18:11:45Pink Sweat$ at Shubert Theatre review
Favorite Songs: heart pt. 6 , man at the garden, reincarnation, gloria
For Fans Of: Ab-Soul, ScHoolboy Q, JID
The ‘Culture’. Over the past year this is what Kendrick Lamar has sought to reclaim and redefine. In his eyes hip-hop has lost what its original meaning was, having been tainted by bad actors and people who only want to use the genre for profit. GNX serves as a victory lap for what has been a generational 2024 for not only Kendrick but West Coast rap and hip-hop culture in general.
One Hour Rollout
One hour was all it took for Kendrick Lamar to break the internet. November 22, 2024, 11:00am EST, he released a snippet of his upcoming project titled GNX. Just an hour later he released the full album to the surprise of everyone on the internet. Social media went wild, as everyone scrambled to listen to this album that writes and extends the legend of Kendrick Lamar.
Consisting of twelve tracks and not a single second of the snippet that he dropped earlier in the day, GNX sees Kendrick further cement himself as the biggest name in rap at the moment and potentially all time. He further legitimizes himself as the best and furthers his own spirituality and defines what he believes not only rap to be, but also what his purpose in this life is. He once again lays claim to the title of the ‘king of rap’ and questions what credentials anyone else has to lay a finger on his crown.
Reincarnated
Kendrick begins GNX with a reflection on the past couple of months of his career. Just two months ago, he was announced as the headliner of the Super Bowl halftime show February 2025. Rapper Lil Wayne expressed resentment and jealousy because of Lamar’s success. Kendrick’s response was to lay his heart out there and comment on the two-faced aspects of the industry and the fans who have split on whether or not to support him or not. In “wacced out murals,” he calls out multiple rappers. He calls out Snoop Dogg and Lil Wayne for not celebrating his achievements or congratulating him from one rapper to another. This is what makes the foundation of the ‘Culture’ that Kendrick wants to rebuild: a mutual respect for other artists, while also believing yourself to be the best rapper. Outside of wanting his respect from other rappers, Kendrick wants his respect from the rest of the ‘Culture’. The name of the song is a reference to his mural in Compton being defaced.
The next songs on the album have a less targeted message and are more so Kendrick’s own thoughts on what is owed to him. “luther” featuring SZA serves as his own reflection of what he would give the people he loves if he could. Wanting to give them the world, but only being able to give them love and attempt to take away their pain. He views this as all that he can do despite knowing that if he were all powerful, then everybody would be living in bliss and want for nothing, as he says, “I’d take away the pain, I’d give you everything.”
Reclaimed
Like most albums do, GNX has its songs that are meant to be hits and then it has songs such as “man at the garden” and “reincarnation” that lay all of what Kendrick believes deep down. He feels that everything that he has achieved in the hip-hop world is deserved and that no one can take anything away from him. Everything that all of these other rappers have is what Kendrick thinks that he deserves. All of the fame, money, recognition, brand deals, everything. No one in his mind represents the ‘Culture’ better than he. Not only does he believe he deserves these things, but he also believes that he is sent directly by his ancestors to make sure that people have a true image of what hip-hop is when compared to what Kendrick considers to be fake hip-hop like Drake and other artists.That is one of the cruxes of what Kendrick is getting at in this album: that he himself is the savior of hip-hop and the ‘Culture’. Everything that he does is to protect the next generation from bad examples of hip-hop and elevate us to continue his legacy and the legacy of his idol 2pac.
In the song “reincarnated,” Lamar takes us deeper into his psyche and his approach to being that aforementioned savior of hip-hop. He shows us that he views himself and other musicians as the manifestations of Lucifer, sent to lead people astray and praise false idols. He references Isaiah 14, which could be interpreted as Lucifer being the angel of music to further his story. He sees this in every artist and then goes on to detail a conversation between himself (Lucifer) and God. He realizes that he has to use his gifts for good and to stop the cycles of violence that are promoted in other forms of rap. He wants to fix everything, but God tells him that this is a part of who he is. It is in his nature to lead people astray through music and he has to come to terms with and actively seek out giving people understanding rather than confusion to be “reincarnated” into someone who can lead the next generation against bad influences. These influences in the end are something that he knows he is responsible for and now he has to disconnect the devil from music to cleanse the ‘Culture.’
In the backend of the album, Kendrick in “heart pt. 6” lays his pride out there for us to see how it is something that both encourages his form of music, while also being something that can’t guide his decisions. He further shows us his own problems in the form of “gloria,” recognizing his own shortcomings in his relationships with women. His woman is his inspiration and his driving force to be great. He wants to be great for her and knows that everything that he is able to do comes from their union and is not in spite of it.
What the Culture Needs
GNX does exactly what Kendrick wants it to do. It further cleanses the ‘Culture’ that he sees as superficial and distinctly different from the ‘Culture’ that he grew up in. Hip-hop as a whole has needed something like the year of 2024 for a long time. Rappers have become too comfortable being terrible influences on black children and children all over the world. The glorification of gang violence and drugs has been something that has completely tainted the genre. Kendrick sat back and watched all of this unfold until he no longer could. This is why he dissed Drake and J. Cole earlier in the year. He himself admitted that it was not supposed to turn into the bloodbath that it ended up being, he just wanted to shake up the ‘Culture’. However, this has turned into a full on reclamation of hip-hop. He’s taking it from the people who don’t deserve it in order to make sure that the next generation is better off. This is why he made Mr. Morale and the Big Steppers and this is why he went after Drake the way he did. Kendrick has always believed that he is the man to carry the torch and continue 2pac’s legacy, and that’s exactly what he is doing. The Drake beef and Pop Out concert were only the beginning in his war for the ‘Culture,’ and GNX is just one battle that he has once again won in historic fashion.
What’s Next?
The next thing that is solidified for Kendrick Lamar is his appearance as the headline of Super Bowl LIX in New Orleans, where he will be able to showcase his vision for the ‘Culture’ on the biggest stage in America. However, after that, fans are not quite sure what to expect from Lamar. For the most part people were expecting this album to come out after his Super Bowl performance, but with the release of GNX, fans no longer know what to expect. Will he release another album after the Super Bowl? Will he go back into an era of silence, only coming back when hip-hop needs him most? Only time will give us the answers to all of these questions, but one thing that is certain is that Kendrick Lamar is one of if not the best rapper alive.
I personally felt like this album had some of the best songs I’ve ever heard, let alone rap songs. Each song gave us a new perspective into the mindset of Kendrick Lamar and the spiritual battle that he believes himself to be at the center of. Come this time next year, I would be surprised to not see this album being celebrated as one of the best albums of the year and most influential of all time.
https://wersplus.org/wp-content/uploads/sites/2/2025/01/Kendrick-Lamar-ERS-767-666-CTA.png666767mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2025-01-14 19:43:192025-01-14 20:47:01ERS+ experiences Kendrick Lamar's album GNX
(Below is a transcript of some of the interview)
Good evening. I’m DJ Mo Wilks of The Secret Spot, and we’re taking a deep dive arts-wise from studio 8-8-9 to celebrate the joy of Christmas and the holiday season. Musically, the season just isn’t here until we hear our musical gifts from artists you have been rediscovering, such as Donny Hathaway, Nat King Cole, and The Emotions. But did you know there is basically a chance to witness also to get the full spirit of the holidays as well.
I have the pleasure of sitting down with Adult Choral Director, Judge Milton Wright. He’s joining The Secret Spot to reflect on the show celebrating its 54th year. He’s also the narrator, and actually sings in the show. Welcome to The Secret Spot, Milton Wright.
Judge Milton Wright
Thank you. Thank you. Happy to be here.
Thank you very much for joining us today. I appreciate your time. Tell us a little something first about yourself, if you may. If you could give us a little bit of background history about you.
Well, I’m originally from Miami, Florida. I came to Boston in 1968, to go to law school at Boston University. I graduated from law school, practiced law for 23 years, and I was a judge for 17 years. But all the time, I sang. As a matter of fact, I recorded two albums while I was an attorney I recorded them down in Miami, for Alston Records and TK Productions . One was called Friends and Buddies. Actually, they didn’t do too well in the States, but did quite well in in Europe, and I recently was in Spain in 2023, for the Real Festival in Dubao, Spain, where I did an hour of my my album.
And I was in Germany at the Baltic Soul Festival last year, doing again, some of the numbers from my recording. You know that I’m from a family of musicians, my sister is Betty Wright, she passed in 2020, but she’s a Grammy Award winner. Betty Wright. Oh, the singer.
Yes, yes, my other sister Jeannette was with in K.C. and the Sunshine Band, my brother Philip played with Junior Walker. King Curtis. My brother Charles played with Betty. Oh, my goodness, yeah, if I’m not mistaken, I saw something. It might have been 60 Minutes. They were talking about like the anatomy of a production, and she was one of the guests, and they were describing how I think she was a singer on, “Dance With Me”. I think that’s the song. Yes, and so they were describing how she overdubbed her vocals, and she was actually in the booth, and it was. It was quite amazing. Thank you for sharing that. I did not know that. So you definitely have music running through your veins.
Yeah. My mother played guitar. When we were five years old you were in the family group. You traveled all over Florida. We were there at first the Wright Spiritual Singers, and then the name was changed to The Echoes of Joy. So I’ve been doing this all my life.
Very nice, very nice. So were you a singer prior to your joining this production, or were you a singer and then you joined the production after, how did you come about connecting with Black Nativity.
I’ve been on stage since I was five years old. I connected with Black Nativity because I was a member of a church, Saint Mark Congregational Church. And a number of the members of my church were in Black Nativity. And I would go see it four, five times a year. I would go see Black Nativity. Sit in the aisle and sing with them when they march down the aisle.
Black Nativity performance
And some of the casts kept saying saying to me, ‘You need to be up here with us.’ Finally I and I had done, and I had also done some work with John Ross, who was the Director of Black Nativity. I sung at several events, and he accompanied me.
So I finally joined the cast. That was 40 years ago. Wow! 40 years ago. Wow!
And when John passed, I became the Adult Choral Director. We sort of had to split John Ross’s contributions into three parts. He was such a fantastic musician, director, everything. So we have Stephen Hunter on the keyboard playing with John, played. We have Marilyn Andre as the vocal specialist, also the choral director for the children. And I’m the choral director for the adults.
https://wersplus.org/wp-content/uploads/sites/2/2024/10/Black-Nativity.png666767mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2024-12-20 06:09:022024-12-20 06:39:10Black Nativity, a Boston holiday tradition!
D. DaNubian sat down to talk with local legend Skippy White. Skippy is a respected record store owner who stocked all of the urban music hits of the day. They discuss Skippy’s start in radio and his commitment to R&B and Soul.
Skippy White has held a legendary role in Boston’s soul, rhythm and blues, and gospel music scene for over 60 years. His work as a record store owner, producer, on-air DJ, and concert promoter has led him to be likely one of the most knowledgeable people on Boston’s music scene in the early 60s.
Formerly known as Fred Leblanc he started his journey as a music lover in Waltham Massachusetts, falling in love with the rhythms and blues sung by mainly Black musicians. When he graduated high school he moved to Boston and began collecting records and buying them in bulk. His love for soul and gospel music grew as he worked in a record store.
Skippy White Record Store logo
Eventually, and by chance, he opened up his own record store, Mass Records at 1820 Washington St in Boston’s South End. He started his work as a DJ at the financially struggling WILD-AM on the condition he finds four sponsors for his two-hour show. When the record store he was working at refused to be his fourth sponsor, he decided to open up his own record store.
Skippy White became known as Skippy White while at WILD-AM (1090).
Skippy White DJ logo
During this era his record stores served as a mecca for all music lovers. His stores became prime locations for people to learn about upcoming concerts and White shared his knowledge of all music to everyone who came in. Eventually, he opened up multiple stores that fell under the name Skippy White’s records that expanded to Cambridge, Providence, Pawtucket, and New Orleans.
He started his work at WILD-AM, and continued to be on different radio stations throughout Boston, even DJing today, at the cheerful age of 87. White’s work is deeply embedded into Boston’s music scene. As a concert promoter and producer, cultural music historian, record store owner, and community expert Skippy White knew his music better than anyone else in any room.
After 60 years his last store, which was stationed in Egleston Square closed in January of 2020 due to pandemic-related economic troubles, and White’s desire to have more free time. Now, in his free time he’s managed to begin a memoir and hosts two weekly radio shows. “The Time Tunnel” on Saturday mornings from eight to eleven and “The Gospel Train” on Sunday mornings from seven to ten both on 98.1 FM Online Radio The Urban Heat.
Skippy White’s contribution to Boston’s music scene will never be forgotten.
https://wersplus.org/wp-content/uploads/sites/2/2024/10/D-and-Skippy-At-WERS.jpg666767mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2024-10-29 22:19:152024-10-29 22:19:15D. DaNubian interviews local legend Skippy White
written by Mo Wilks Audio – Chidera Ugwu Ojobe Photography – Bryan Edouard
Secret Spothost DJ Mo Wilks sat down with performers from the dance and music theatrical production of In The Same Tongue, which is performing at Paramount Center in downtown Boston through September 29, 2024 courtesy of ArtsEmerson. The production is a creation of choreographer and modern dance legend Dianne McIntyre. Dianne has been creating dance and music/dance works of stage and screen art for over 50 years. This is the first time her works are being showcased in Boston, Massachusetts. Thanks to music director Gerald Brazel, along with principal dancers Kamyrn Vaulx and Christopher Page Sanders.
There are still chances to get tickets for the Saturday evening 9.28.24 and Sunday 9.29.24 matinee shows. Go to ArtsEmerson.org for more informaiton.
https://wersplus.org/wp-content/uploads/sites/2/2024/09/IMG_2513-scaled.jpg17072560mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2024-09-28 20:57:422024-09-29 12:54:58DJ Mo Wilks interviews dance theater cast from In The Same Tongue!
During June’s Black Music Month, I had the honor of interviewing Marlanna Evans who’s known to the world as the three-time Grammy nominated Hip-Hop emcee, Rapsody. Rapsody is known for her lyrical bars, cadence, direct openness, and beyond. She’s been a professional rapper for over a decade and continues to reign supreme. Rapsody recently dropped her newest album, “Please Don’t Cry”, this past May 17th, 2024.
Rapsody graciously sat down with me for an ERS+ a phone interview prior to her performance. We talked about her career path thus far, her album “Please Don’t Cry” and memories about why she enjoys performing in front of a Boston audience. She shared thoughts about how covid assisted her creative process. From the cover art, to making new friendships like the one she formed with Erykha Badu, and overall growth she forged, Rapsody continues finding herself and provides first hand testimony within her music projects.
Rapsody will be performing in Boston, Massachusetts for BAMSFest aka Boston Arts & Music Soul Fest June 29th and June 30th at Franklin Park Playstead Field. For more information about this festival an other scheduled local and national acts go to bamsfest.org
https://wersplus.org/wp-content/uploads/sites/2/2024/06/Rapsody-picture-for-BAMSFest-1-scaled.jpg25601690mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2024-06-25 18:57:532024-06-28 15:28:53Rapsody shares her 'gratitude' with ERS+ before performing at BAMSFest!
Our series of installments highlighting June’s Black Music Month artist musician interviews continues. For the upcoming BAMSFest, we have Butcher Brown’s percussionist, Corey Fonville. Corey sat down and shared a few minutes with us providing insight into his role in a unit of five producers. Butcher Brown originates from Richmond, Virginia and is inspired by a variety of music genres. From Jazz to Blues, Hip-Hop to Electronic music, you name it, Butcher Brown incorporates it. Butcher Brown tries to include all music artforms for they have been inspired by music as a culture and not as a sub genre. This was displayed on their debut album in 2014 named, All Purpose Music.
Corey Fonville thoroughly enjoys music, but highly respects all who contributed to not only his growth but the growth of the drummer culture as a whole. Corey discussed his love for music, when and why he started drumming, who and what helped him develop his style, and how Butcher Brown was able to just take their love and passion and apply it in a way that rewards them by going to different cities and performing for people.
Corey along with his Butcher Brown brethren will be taking BAMSFest’s stage in Boston, Massachusetts June 29th at Franklin Park Playstead Field. BAMSFest stands for Boston Arts & Music Soul Festival For more information about this festival and other scheduled local and national acts go to bamsfest.org
https://wersplus.org/wp-content/uploads/sites/2/2024/06/Corey-Fonville-drummer-for-Butcher-Brown-scaled.jpg17072560mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2024-06-22 20:20:282024-06-28 20:40:37Butcher Brown's drummer sat down before they throw down at this year's BAMSFest!
written by Bryan Edouard aka Bishop Toussaint interview by DJ Mo Wilks
Our second profile guest for June’s Black Music Month is a DJ performer and producer who will be showcasing his talents this summer at BAMSFEST, which happens for two fun days, Saturday and Sunday, June 29th and 30th. Jason Almeida goes by the DJ name Where’s Nasty hails from neighboring Providence, RI. Nasty, who first caught the desire to move the crowd at the young age of 16, specializes in crowd rockin’ family fun. His DJing abilities have allowed him to travel nationwide as well as led him into the remix production sphere. Using digital production software, he has created numerous mixes and remixes, which can be streamed on SoundCloud like Formation by Where’s Nasty and Heard It All Before by Where’s Nasty. His philosophy is to keep the party jumping no matter where his spinning travels take him.
Nasty’s entrepreneur endeavors also extend into managing companies. He is the co-founder of Stay Silent and Trade, which are both non profit organizations. He not only sets the mood for parties to vibe, but creates an eventful series that continues to grow, not just in numbers, but inside communities in and out of Boston.
Where’s Nasty will be performing in Boston, Massachusetts for Boston Arts & Music Soul Fest aka BAMSFest June 29th and June 30th at Franklin Park Playstead Field. For more information about this festival an other scheduled local and national acts go to bamsfest.org
https://wersplus.org/wp-content/uploads/sites/2/2024/06/DJ-Wheres-Nasty-for-article.png1431024mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2024-06-21 22:26:372024-06-28 16:56:55DJ "Where's Nasty" chopped it up with Mo Wilks prior to droppin' beats at BAMSFest!
ERS+, Boston’s Black Experience is pleased to be not only in it’s new year, but also have the privilege of introducing two of our newest Urban Coordinators and content creators. Meet Kathia and Bryan. Below are a few little snippets about them and what we can expect in the months ahead.
Urban Coordinator Kathia
Hi all! My name is Kathia Dawson and I’m a senior student at Emerson College studying journalism. I have always loved music of every genre, and I am so excited to be working at ERS+. Looking to the future, I hope to continue writing about music, sharing my opinions and learning more about the music world.
Urban Coordinator Bryan
Ayo! What’s poppin to all the boppers out there reading this. My name is Bryan Edouard. A.k.a Fry and I’m from Mattapan, Boston, Massachusetts (Have to let y’all know). My artist name is Bishop Toussaint and I’m a MC who was inspired by the golden era of Hip Hop. I was born in 1999 but lived as if I was a mid teen in the 90s. Getting into music was bound to happen for i used my resources to obtain music and my main 3 was the Radio, Film, and video games. It was a process because outside of life experiences, Friends and mentors in the game like Devin Ferreira who now works at Berklee, KEI who brought home a BMA, Back to Back, Jo Saza, who’s up and coming and so on and so forth. Being a Bboy first and now being a MC who films is really something that brings me joy for It became my purpose to help show that hip hop isn’t dead… If anything it’s being recycled and revamped. Hip Hop isn’t just a culture to people like me and with differences. It’s life and a life saver and that’s ILLmatic, word up.
https://wersplus.org/wp-content/uploads/sites/2/2024/02/Meet-New-Edtions-Banner-1024-x-143.png1431024mwilkeyhttps://wersplus.org/wp-content/uploads/sites/2/2020/09/wers-logo-300x138.pngmwilkey2024-02-06 18:33:272024-02-09 03:19:06Meet ERS+'s New Editions!
This Womens History Month, ERS+ revisits a visit from a Bostonian Cindy Diggs who is a Hip Hop community activist/organizer, event planner, and youth mentor. Urban Coordinator Anytza D. sat down and spoke with Cindy Diggs, known to many as Boston’s Mother Hip Hop. Cindy Diggs was recently inducted into Berklee College of Music’s Hip-Hop Hall of Fame, and rightfully so. She is a true pioneer, a peace-driven visionary, and an unstoppable force of positive change in her community. Growing up in Roxbury, Cindy has spent her life using Hip Hop as a vehicle for empowerment and healing. Join Anytza and Cindy as they speak about her background, experience, inspirations, impact and more!
