Tagged with "york"
Jazz Legend - Ethel Waters
Category: Voices of Jazz
Tags: Black Swan; Broadway; Columbia Records; Cotton Club; His Eye is on the Sparrow; On

Abstract: Born in Chester on October 31 1900, Ethel Waters was an African American singer and actress famous for her style of “blues” as well as for leading the way for black entertainers of her time. Her career peaked during the roaring 1920s and continued throughout the 1930s during which time she completed the majority of her 259 recordings. Waters is best known for her performance of “Stormy Weather” at the Cotton Club in New York City, as well as her role of Hagar in On with the Show. She is also known for writing two critically acclaimed autobiographies, His Eye is on the Sparrow, which focuses on her beginnings and achievements as an entertainer, and To Me It’s Wonderful, which describes her participation in the Billy Graham Crusades that she toured with in her later years. Waters died in 1977 of heart disease.


Ethel Waters was born the daughter of Louise Howard, on October 31 1900, at her great-aunt Ida’s home in Chester, Pennsylvania. Waters was a product of rape. At the age of 13, Waters’ mother was raped by John Waters (pianist). Waters said about her childhood, “I never was a child. I never was coddled, or liked, or understood by my family. I never felt I belonged. I was always an outsider.” Waters’ never had a relationship with her mother. Louise Howard moved away when Waters was a child, leaving her to the care of her grandmother, Sally Anderson. However, Waters’ spent most of her time with her aunts, Vi and Ching, because her grandmother worked long hours.

Though both alcoholic with terrible lifestyles, Waters’ aunts loved to sing. Waters wrote in her autobiography, Eye is on the Sparrow: “Vi had a sweet, soft voice. Ching’s was bell-like and resonant…One of the first pieces I remember Vi singing was ‘I Don’t Want to Play in Your Yard.’ Ching’s favorites were ‘There’ll Come a Time’ and ‘Volunteer Organist.’ But in the beginning it was always the story in the song that enchanted me.” These last few words explain Waters’ style of singing more than anything else. Waters was always able to tell a story with her music, though she would not figure this out until later in life.

As a young girl, Waters was exposed to a lot of negative things. She befriended a prostitute and witnessed the sexual relationships of her older sisters (they all shared a room). She grew up fast. Though she was exposed to these things, she didn’t allow them to influence her. Waters’ first steady job was at the Harrod Apartments in Philadelphia. She was a maid—a very humble job compared to what she would soon land. On October 17 1917, Waters’ seventeenth birthday, her friends convinced her to perform at a Halloween party. She sang a blues ballad which the crowd and a black vaudeville team (a group who would perform variety shows), Braxton and Nugent, loved. They approached her after the show and offered her $10 a week to join their team. Waters then began her steady ascent to fame.

Her first performance was in 1917 at the Lincoln Theater in Baltimore. She sang solos and was known as Sweet Mama Stringbean because, “I was so scrawny and tall.” Though the crowd was tough, and often louder than the performances, Waters’ voice would always capture the audience. One night Waters decided to add a new song to her show. She took the song, “St. Louis Blues” and sang it more slowly, with more pathos. She says, “You could have heard a pin drop in that rough, rowdy audience.” Her version of the song is now a classic and known to be the greatest blues song every written.

However, she was not involved with the most honest people. Waters soon found out that Braxton and Nugent were pocketing extra money from her act. At the time two other females were performing with Braxton and Nugent, as the Hill Sisters. After finding out about the scam Waters immediately left and the Hill Sisters followed. They decided to travel together as their own act.

They performed the same songs they did in Baltimore. One of them was Waters’ famous song, “St. Louis Blues.” They moved from theater to theater, performing for a different crowd every time. Though the Hill Sisters had good times, the trio did not last. The original Hill Sisters, Jo and Maggie, were jealous. There was backstage rivalry which stemmed from Waters’ success. Though they were a trio, Waters soon felt singled out and unwanted.

The trio turned into a duo, with just Jo and Ethel Waters. Though they traveled and sang together, Waters often took the spotlight. Once, Waters landed a job at 91 Decauter Street in Atlanta. That same night, Bessie Smith was on the bill. Smith had a lot of say with the managers, and forbid Waters to sing any blues while Smith was there. However, during Waters’ performance, the crowd began to shout, “Blues! Blues! Blues! Come on, Stringbean, we want your blues!” The manager was forced to revoke the ban placed on Waters. Bessie Smith personally gave Waters permission to sing “St. Louis Blues” and said to Waters after the show, “Come here long goody. You ain’t so bad. It’s only that I never dreamed that anyone would be able to do this to me in my own territory and with my own people. And you know damn well that you can’t sing worth a--” Waters had come into her own. She was a one-woman act.

“I still had no feelings of having roots. I was still alone and an outcast,” Waters says about her time with the Hill Sisters. After being injured in a car accident in 1918, Waters went back to Philadelphia. She placed her singing career on hold and began washing dishes at an automat. She did this until Joe Bright, a black actor-producer from New York, persuaded her to go back on stage. Wearily, in 1919, Waters accepted Bright’s offer and performed at Lincoln Theater in Harlem. It was during her second week at Lincoln Theater that her acquaintance, Alice Ramsey—a dancer—invited her to sing at Edmund’s Cellar. Waters began working there for $2 a night.

Her salary came from the audience in the form of tips. There were no set hours for work. Waters said, “There was no set closing time…I used to work from nine until unconscious.” Again, she changed her style of singing. Andrea Barnett writes in All-Night Party, “A pianist, Lou Henley, challenged Ethel to expand her repertoire, urging her to tackle more complex, ‘cultural’ numbers. But to Ethel’s surprise, she found that she could characterize and act out the songs just as she did with her blues. Audiences were enthusiastic.” More and more people would come to Edmond’s Cellar to watch Waters perform and tips became so good that musicians all around Harlem began looking for a chance to perform there. Waters’ finally began making a name for herself. Waters even went to Chicago at the request of Al Capone, who wanted her to sing at his bar. In 1929, with James P. Johnson as her accompanist, Ethel was singing songs like, “Am I Blue?” in On with the Show, where she was now making $1250 per week!

In All-Night Party, Andrea Barnet says, “Ethel’s versatility and inventiveness were beginning to serve her well. She had the sexual swagger of singers like Bessie Smith and Ma Rainey, yet her voice was softer. Ethel’s style was crisp and urbane, more northern.” She soon was noticed by Black Swan Records. She began recording with them and released a record with two sides. “Oh Daddy” and “Down Home Blues” were on that record, which sold 500, 000 copies in 6 months. Waters had recorded with pianist, Fletcher Henderson. The duo was so successful that they toured through the South and became the first black musicians to broadcast on the radio. Ethel continued to perform with various artists: female pianist, Pearl Wright, dancer, Ethel Williams (suspected to be her lover). She was living a lavish lifestyle, but her music never reflected her extravagant lifestyle. Instead, they reflected a more negative side of Waters’ adult life.

Ethel Waters held a few rocky relationships in her lifetime. She once dated a drug addict and thief. She married and divorced three times, though she rarely talks about two of her marriages. There are also rumors that Waters was bisexual. Though she tried to keep this private, she was often seen fighting in public with whichever girlfriend she was with at the time. The nature of her relationships was often reflected in her music; her songs are full of heartbreak. There was also another aspect of Waters music that must be noted. According to Barnet, “…besides the sweeter quality of her voice, she was just as likely to take a more droll, comedic view of male-female relations, making mischievous sport of both sexes.” Though singing was a great part of Waters career, she also became an actress.

Waters acted in a number of films and Broadway plays. In Waters’ opinion, her greatest role was that of Hagar in Mamba’s Daughters on Broadway in 1939 where she gave 17 curtain calls on opening night. In Mamba’s Daughters Waters plays a woman sent to exile after committing a minor crime. Consequently, she has to leave her daughter, Lissa, to the care of her mother, Mamba. Years later, Hagar must make one more sacrifice for her daughter, who is on her way to fame and fortune. She felt that Hagar paralleled her own mother’s life, and she put all of the emotion that she had into each performance. She was also the first black woman to ever star in a dramatic play on Broadway. In 1950, she was nominated for an Academy Award for Best Supporting Actress in Pinky. In the movie, she plays the grandmother of Pinky, a young light-skinned woman, who passes for white while attending school in the North. In that same year she won the New York Drama Critics Award for her role in the play, The Member of the Wedding. Her co-star was the actress Julie Harris. Waters continued to land a number of roles in films and plays. She performed in Cairo (1942), Cabin in the Sky (1943), The Member of the Wedding (1952) and was even a guest on “The Tonight Show Starring Johnny Carson” in 1972.

Ethel Waters also wrote two autobiographies. In 1951, His Eye is on the Sparrow was published. Her second autobiography, To Me it’s Wonderful, was published in 1977.

Ethel Waters’ career began to slow as the blues began to fade out of pop culture, but she was able to continue her career largely because of her ability to identify with the characters she played and the songs that she sang. Waters died on September 2, 1977, in Chatsworth, California. She will always be remembered for her incredible vocal and theatrical performances, and for being a woman who broke racial boundaries by playing in black and white vaudeville companies and earning equal praise in both.

Decades after her death, three of Waters’ singles were inducted into the Grammy Hall of Fame: “Dinah” in 1998 for Traditional Pop, “Stormy Weather” in 2003 for Jazz, and “Am I Blue?” in 2007 for Traditional Pop.


  • His Eye Is on the Sparrow. (with Charles Samuels) New York: Doubleday & Company, Inc., 1951.
  • To Me It’s Wonderful. New York: Harper & Row Publishers, Inc., 1972.


  • Barnet, Andrea. All-Night Party: The Women of Bohemian Greenwich Village and Harlem 1913-1930. New York, New York: Algonquin Books of Chapel Hill, 2004.
  • Carr, Larry. “Ethel Waters.” Jazzateria.com. 2004. 15 Oct. 2004. .
  • Gourse, Leslie. Sophisticated Ladies. New York, New York: The Penguin Group, 2007.
  • Marks, Peter. “A Familiar Tale of Sacrifice, traversing Today and ’39.” New York Times 25 Feb. 1998 .

This biography was written by Julia J. Spiering, Fall 2004; revised and extended by Joanne A. Gedeon, Spring 2010.


AZ is one of the most phenomenal rappers to ever rise
Category: The Golden Era
Tags: AZ hip hop rapper golden era new york peices black man doe die word

Anthony Cruz (born March 9, 1972), better known by his stage name AZ, is an American rapper. Born in Brooklyn, he currently resides in Englewood, New Jersey. He is known for being a longtime and frequent rhyme partner of Nas, and also a member of hip-hop group The Firm alongside Nas, Foxy Brown, Cormega and Nature.

In a countdown of the 10 Most Underappreciated Rappers—Most Underrated Rappers of All Time, the editors of About.com listed AZ as #1 on the list. He was also included on About.com's list of the Top 50 MCs of Our Time (1987–2007), where he was described as "arguably the most underrated lyricist ever.

AZ first became known by appearing on Nas' landmark 1994 album Illmatic on the song "Life's a @!$%#", as well as featuring vocals on the opening track The Genesis. He was the only guest feature to appear on that album. AZ signed with EMI, and soon released his debut album Doe Or Die in 1995 to critical acclaim, but meager commercial success. The album's lead single, "Sugar Hill", became AZ's only major commercial success as a solo artist, reaching #25 on the Billboard Hot 100 chart, and achieving Gold status. AZ's EMI contract was transferred to sister label Noo Trybe Records/Virgin Records when the EMI Label Group was shut down. In 1997, he and Nas appeared in a Sprite commercial. Also in 1997 the group The Firm with AZ, Nas, Nature, and Foxy Brown released their only album as a group, The Album. The album featured production from well known producers such as Dr. Dre and the Trackmasters and generated much hype. The group disbanded after just this one album. In 1998 he released his second solo album, Pieces of a Man. The album fared well but did not chart quite as well as his debut and did not feature a crossover single like "Sugar Hill". The same year AZ made a cameo appearance in the movie "Belly" starring Nas, DMX, and Method Man.

After this album's release, AZ signed with Motown/Universal Records and released 9 Lives. In 2002, he released Aziatic. A single from the album, "The Essence," (featuring Nas) was nominated for the 2003 Grammy Awards for Best Rap Performance by a Duo or Group.

In 2004 AZ was planning on releasing his would-be 4th studio album, Final Call, however, it was eventually scrapped due to heavy leaking and released as Final Call (The Lost Tapes) in 2008.He released his 5th and 6th studio albums A.W.O.L. and The Format in 2005 and 2006, respectively. Then Undeniable, which is considered a underground classic.

Doe or Die (1995)

Doe or Die was released October 10, 1995 on EMI Records. The album features guest appearances by artists such as Nas and Miss Jones, and production from N.O. Joe, Pete Rock, L.E.S., and Buckwild, among others. Upon release, Doe or Die received notable commercial success. The album peaked at #15 on the Billboard 200, and #1 on the U.S. Top R&B/Hip Hop Albums chart. Doe or Die was known for popularizing the theme of mafioso rap, alongside several albums, namely Jay-Z's Reasonable Doubt and Nas's It Was Written. Doe or Die produced several singles, including, "Mo Money, Mo Murder, Mo Homicide," "Gimme Your's (remix)," "Doe or Die" and "Sugar Hill" - which was certified Gold by the RIAA in 1995.[citation needed]

Pieces of a Man (1998)


Pieces of a Man is AZ's second album. The album was highly praised for its complex and insightful lyricism. The first single was supposed to be "Hey AZ" featuring SWV. That song uses the same sample as Mariah Carey's song "Honey", "Hey DJ" by the World Famous Supreme Team. Both were released in summer of 1997. After the release of the album, AZ left the label.

9 Lives (2001)

9 Lives peaked at #23 on the Billboard 200 and #4 on the Top Hip Hop / R&B Albums. The leading single, Problems, with its accompanying music video, reached #34 on the Hot Rap Singles.Considered AZ come back single.

Aziatic (2002)

Aziatic is considered AZ's comeback album, which restored his credibility. Also Young Manager/ Producer Orrin Ennis was involved in making this album, which gave AZ youth and new life to his production.The album features AZ's flow and style over melodic, soulful production. It featured a duet between AZ and long-time friend and collaborator, Nas, "The Essence", which was nominated for a Grammy for Best Rap Performance By A Duo Or Group.The album was mostly well received by critics, one such positive review from Brad Mills at Allmusic, states: "AZ has been looked upon to do amazing things with his music. Has he lived up to those high expectations? On this album he has. From start to finish, the beats on this album are complex, inventive, and almost perfectly suited for AZ's style of rhyming. He's carefully crafted this album rather than slapped it together overnight to meet his quota, and it shows. It helps immensely that he's br ought along people like DR Period, Az Izz, Nas, and Buckwild, but they don't outshine the younger AZ and he holds his own well." He continues by saying; "Lyrically, musically, and historically, AZ has come up with his best work in a long time on this album."

A.W.O.L. (2005)

A.W.O.L. was released on September 6, 2005. It was recorded after Final Call, which AZ declined to release because his label had pushed its release back two months—according to him, they were also the source of its early leak to the press and the internet. Garnering critical praise with production from highly regarded New York underground acts such as DJ Premier, Buckwild, and DipSet production duo the Heatmakerz, the rapper abandoned his previously money-oriented subject matter, stating that he "wanted it to be all street.[citation needed] A.W.O.L. is the first AZ album which was released on his own Quiet Money Records imprint. In a couple of months after the release, A.W.O.L. 1.5, which included a bonus disc featuring a cappella and instrumental versions to the songs on A.W.O.L., was released. The Format (2006)

The Format album features production from Fizzy Womack (better known as Lil' Fame of M.O.P.), Face Defeat, Emile, J. Cardim, Phonte, Statik Selektah and DJ Premier. Guest appearances are provided by M.O.P., Little Brother, as well as artists on AZ's new label, Quiet Money Records. The album's lead single is its title track, "The Format", produced by DJ Premier, with "Vendetta" as its B-Side. The Format also features the bonus track "Royal Salute", a retaliation to 50 Cent's song "What If", which included a line aimed at AZ. On October 7, 2007, Quiet Money released The Format (Special Edition) adding six bonus tracks including "Royal Salute."

Undeniable (2008)

Undeniable was released on April 1, 2008 through Fast Life Music and Koch Records. The album debuted at number 141 on the U.S. Billboard 200 chart, selling over 5,000 copies in its first week.

Doe or Die II (2013)

As of October 2009, he is working on his ninth studio album titled Doe or Die 2. He hopes to enlist the original production team to Doe or Die such as L.E.S., Pete Rock, DR Period & Buckwild. He has even confirmed a couple of tracks with Pete Rock, including "Rather Unique Part II". AZ also has ambitions on trying to acquire beats from DJ Toomp, Dr. Dre & Kanye West for the album including reaching out to his old rhyme partner Nas. The first single from the album is "Feel My Pain" produced by Frank Dukes.Recently, former member of Da Beatminerz, Baby Paul, confirmed he will be producing for the album also serving as the album's executive producer. He released a 15th Anniversary edition of Doe or Die titled Doe or Die: 15th Anniversary on November 30, 2010. Currently, Dr. Dre & Kanye West are too busy to produce for the album right now but AZ says he is patiently waiting for them to both drop their next solo records so they can join on the production board. He is also seeking production from DJ Premier. During an interview with XXLMag, AZ guaranteed to have Nas featured on the new album.

On March 27, 2012, AZ revealed the first street single from Doe or Die II. Entitled "My Niggas" it features production from longtime collaborator, Buckwild. As of April 2012, there is still no release date set for the project only instead set for a third quarter expected release. AZ has so far unsuccessfully managed to secure tracks from Dr. Dre as he previously wanted, but was going through the album's second half pickings for its productions. He is seeking production still from both Eminem & DJ Premier, but has tracks from Statik Selektah, the album's executive producer Baby Paul & the original Doe or Die team of beatsmiths L.E.S., DR Period, Pete Rock & Buckwild.

Source: Wikipedia

HONORING THIS MONTH CELEBRITY PICK-MF GRIMM Tags: mf grimm underground hip hop music new york word life production

By: Cyril Cordor

A promising career in hip-hop evaded the Manhattan-born rapper MF Grimm after his tragic shooting in the early '90s. Confined to a wheelchair, the man who gave MF Doom his "MF" prefix eventually became a mover and shaker in New York's independent rap scene as founder and CEO of his own label and international distribution company, Day by Day Entertainment. Before he joined the fast-paced vigor of street life, Grimm (born Percival Carey) was an avid skateboarder and actually graced the television screen as a child actor on Sesame Street. He started to take the rap game seriously when he turned 14. Calling himself the Grimm Reaper, he formed one-half of the Gravediggaz (different from the RZA/Prince Paul group of the same name) with Roc Raida from the X-Ecutioners. Grimm recorded with or performed on-stage next to some of the industry's finest: Kool G Rap, KRS-One, and 2Pac, just to name a few. He was originally supposed to have a guest verse on Main Source's landmark posse cut "Live at the BBQ" but missed out on the opportunity because he was temporarily in jail; the verse later appeared on his first 12" single, "So Whatcha Want Nigga?," in 1993. Atlantic, Interscope, and other major labels started to present Grimm with lucrative deals, but the following year, he was shot at several times in an attempt to take his life. He lost his sight and hearing and was paralyzed from the neck down. Although he did recuperate his senses, he still remains in a wheelchair. Coping with his dire predicament, he wrote many songs during his hospitalization that would appear on the album Scars & Memories, though it was not released until 2005.

As the independent hip-hop movement emerged in the late '90s, Grimm cropped back up with a few 12" records, alongside acts like Company Flow, the Juggaknots, and of course, MF Doom, on Bobbito Garcia's Fondle 'Em Records. Inspired by the cohesive concept behind the Wu-Tang Clan's kung-fu motifs, Grimm devised Monster Island Czars (M.I.C.) basing the clique on the monsters from the Godzilla movies. Members of the group took on aliases like Megalon and Gigan while Grimm and MF Doom adopted the names Superstar Jet Jaguar and King Geedorah, respectively. Once Fondle 'Em folded, Grimm was able to find his own avenue to create music and put out other artists on his Day by Day Entertainment label. In 2000, he recorded his debut album, The Downfall of Ibliys: A Ghetto Opera, with only 24 hours to spare, since he was out on $100,000 bail facing criminal drug charges. He received a four-years-to-life sentence under New York's stringent Rockefeller drug laws, but after some legal wrangling, he only served three years. After he was released from prison, he delivered Digital Tears: Email from Purgatory under his M.I.C. alias in 2004. By that time, Grimm and Doom had a falling-out, and he altered his name to GM Grimm (although he still goes by the MF Grimm moniker also). He vented his frustration with Doom on the track "The Book of Daniel," which he added to his 2006 triple-disc album (the first in hip-hop's history) American Hunger. That same summer, DC Comics' adult-oriented imprint Vertigo announced it was going to release in 2007 a graphic novel based on MF Grimm's life story, entitled Sentences: The Life of MF Grimm. ~ Cyril Cordor, All Music Guide.




THIS WEEK'S CELEBRITY PICK-J LIVE Tags: j live new york hip hop artist word life production underground railroad hot real


J-Live Biography; Timeless

As an emcee, dee-jay, producer and CEO of his aptly named company Triple Threat Productions, J-Live's music has been a staple of inspiration for listeners of hip hop from New York to Cali and around the world. His discography spans over 10 years and includes four full-length albums, two EPs, a collection of earlier singles, as well as countless guest appearances and features. His last two projects “Reveal the Secret EP” and the full length “Then What Happened” were released by BBE in May 2008.

While J-Live is all but a household name to those who collect their knowledge of hip hop music via mainstream radio, he has worked with his share of icons in the industry. Producers such as DJ Premiere, Pete Rock, DJ Spinna, Prince Paul, DJ Jazzy Jeff, DJ Spooky, Numark, Da Beatminerz, Dan the Automater to name a few. Recording artists the likes of Mos Def, El Da Sensei, Wordsworth, Talib Kweli, Chali Tuna and several others have all shared song credits with JLive. World renown for a stage show that lives up to his name, J has toured around the country as well as Canada, the UK, Europe, Japan, the Middle East, Africa and Australia. J-Live shared stages with artists such as The Roots, Wyclef Jean, Fabolous, Soulive, Ozomatli, Soundtribe Sector 9, Blackalicious, Sister Nancy, Wu Tang Clan, A Tribe Called Quest, De La Soul, MF Doom, KRS One, and many others.

Born Jean-Jacques Cadet (Jon Joc Ka-Day) and raised by his Mother in Spanish Harlem on the east side of Manhattan off First Ave, J-Live reps NY in more ways than one. While working towards his bachelors degree in English from State University of New York at Albany, J-live was already touring the world and learning the ropes of the industry. Introduced to the 5% Nation (or Nation of Gods & Earths) during his college years, Jean-Jacques would eventually change his name to Justice Allah.

Before graduating, with the help of Raw Shack Productions, he signed a deal with Payday / London / PolyGram. Shortly after graduating, J learned that the best laid plans o’ mice and rappers oft go awry. Especially when corporate take-overs dissolve labels and separate artists from distributors. In 1999, the highly anticipated, often illegally duplicated debut album “The Best Part” would go down in history as one of the best records never heard. That is at least until the many bootleg versions were followed by the official release in 2001. By then, J was living in Brooklyn, teaching 7th Grade Language Arts in some of New York’s toughest school districts. J would find himself at a crossroads in 2002. With the opportunity to release what would be his “second first album” All of the Above”. J decided to suspend his teaching career and pursue music full time. All of the Above was released on independent label Coup D E’tat / Caroline’s. After severing ties with CDE, J put out his first totally self produced project in 2003, Always Will Be. The 8 song EP released on Fat Beats Records showed fans that Triple Threat was more than just a corporate identity as J took on the task of all verses, beats and scratches himself. In 2005, with Penalty Ryko’s release of The Hear After, it became clear that as labels come and go, J-Live would continue to find a way to release quality music to his ever growing fan base. People have come to expect a certain standard of quality with every J-Live record. Whether self produced or working with others, J’s beats are typically bass heavy consistent boom-bap instrumentals that incorporate and infuse various genres of music from afro beat, latin, jazz, reggae, rock, and funk into his own distinct timeless hip hop sound.

For better or worse, J-Live has developed a reputation for going against the grain of an industry dominated by flavor of the month pigeon holed made up characters. J’s subject matter is as eclectic as his taste in music. His most popular tracks show that he is more than just a boastful wordsmith that can rock a party. Often times an introspective philosopher of life, love, music, and people, J delivers hard hitting well thought out social commentary on issues ranging from US Foreign policy to the environment, black on black crime to police brutality. However, he is very deliberate in maintaining balance on each of his albums. Humorous, sometimes hilarious narratives like One for the Griot or Car Trouble are filled with vivid imagery. There are the traditionally devastating battle verses on songs like Whoever and Always Will Be. Party and show anthems like Adda Cipher, Harder, and Don’t Play. As his reputation and following continue to grow with his catalogue, the one common and constant theme in J-Live’s ever evolving style of music, is the use of original styles, and imaginative concepts, to stay fresh relevant and timeless. 


HIP HOP ARTIST M.E.R.G.E. IS DOING BIG THINGS Tags: merge riva walka hip hop latino new york music underground hip word life production

M.E.R.G.E which stands for Money Earner Representin' Ghetto's Everywhere / Mind Exposin' Real Ghetto Energy / and Murderin' Every Record Ghetto Eboneeza among other alias's has been rhyming and recording for the last 15 years.

His passion for his culture and experiences from growing up in the Lower East Side of New York City/Lower West Side/Uptown/Brooklyn are easily reflected in his music. Raised in the very tough Avenue-D Jacob Riis projects M.E.R.G.E has endured extremely difficult times in his life but as a strong latino brother he is determined to overcome them.

He has lost both of his parents, pops to cancer and his moms to diabetes and heart failure. He has survived a stabbing, collapsed lung, fractured skull, the law, among other tragedies and has risen from the ashes to take the world by storm among other tragedies that keep him on a righteous path.

He takes great pride in his writing. M.E.R.G.E does not compromise in his creativity, which can be easily heard in the music that he creates. M.E.R.G.E has a presence that shines on any stage he performs on.

Currently, M.E.R.G.E has released his EP on vinyl that is being used to service D.J's across the country and throughout Europe. You can also catch M.E.R.G.E at www.RIFFRATZ.com where he has landed the theme song for this up and coming 3-D cartoon.

His hit underground banger titled "Destined For Glory" is being featured in the soundtrack for the upcoming independent film "Diamonds In Da Rough." M.E.R.G.E is also in the process of recording new songs for future releases.

He is a former member of the group "809 Foundation" wit cross BOE Bravo which was managed by Tink who is a Member of EPMD's HITSQUAD and cuzzo of PMD. MERGE also had smash underground hits which was played on Hot 97.1 by DJ Enuff. He's dealt wit' haters fo' a long time but da GOD always perseveres

He has performed at Wetland's for Cold Crushs 20th anniversary bash, the Arena with Jeru The Damaja, and most recently at S.O.B's for the Latin Coalition, The Black Expo. M.E.R.G.E is not your average MC, he's been slept on for a minute and with his NI-TY click: N.G., HARM, AMARI Perez, DSWAN, Stormshadow, Cross BOE Bravo, June, Michete Eddie, and da Jr. Regulatorz-He will prove he's the real deal as true underground cats all over have already witnessed. Now it's time to take over Corporate America!!!!!!!

I got the hottest chick in the R&B game down with us: Cherie D'Avino, check us out in her song "Why Don't You" at myspace.com/cherie.

My partner N-G is my pa'tna and you could holla at him at [email protected]

M.E.R.G.E Quotes: " The Last Shall Be first, my hunger and thirst will bring the rebirth".

Yo cop the "Pottery Fragments" EP which has over 175,560 downloads and contains two more songs that were too big a file to upload, at CDbaby.com/Merge05.

All I gotta say is watch me, keep an eye on me. All you gotta know iz i told u so..NYC beware when I get back from tearing up Europe so stay tuned. Peace

Member Since:

June 08, 2005


Humble cat layin' low with my carefully chosen click...I got the hottest chick in the R&B game down with us: Cherie Davino. Check out her song "Why Don't You" which I'm featured on. It's fire! at myspace.com/cherie. my bizness pa'tna N-G A.K.A THE MANAGER, you could hit him up at [email protected] My crew Harm (bay bro n my right hand), Amarie Perez( cuzzo), NG, DSWAN, Seas, Cross B.O.E., L Da Pro aka Dike Nice, Mike Brown, Cherri, Loose, Lil MERGE, Parol Joe, Wise, Baggz, RT-Dogz 4 Life,Michete Eddie, TFO, Jr. REGULATORZ, DPR, June, E-luv, Solis Flip, Bear, Robs, Devel, Chelo Roc, Al boogie, Gus da motto, Louie Lengua, Miguel Pilon, Juaquin Beneno, Jav Love, Lex, P funk...n' all my NI-TY Operativez!!! 1 Thou! Martin "Face" Wilson Rest in Peace! 


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