June 21, 2025 • 21 mins
El Episodio Brings you "Mr Bello" Afrobeats singer, discussed the differences between Afrobeats and Afrobeat, what was 1st Afroabeat vs Reggae, Who could sing Afroabeats, are latinos apropiating the afrobeats, also the challenges faced by these artists
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Your Yeah, yeah, I'm gonna say it is what it is,
uprising just the same better go ax Bill or the support.
Speaker 2 (00:13):
I say, you don't they from a leg in one
it goes to marine bad being won in they don't
see the bands.
Speaker 3 (00:20):
Up Yah yah.
Speaker 2 (00:36):
Innovation thinking into Maria's motivation that we're giving up the
preservation that we live it up colibrid because we're going, yay,
it's a better yea. My people going, we tell me
nothing of the something uh maybe they can't should like
him married, should like him, he.
Speaker 4 (00:55):
Lives Marrit.
Speaker 5 (00:58):
The right. You're ready away in the building. Rowbot.
Speaker 6 (01:06):
Listen when you're talking about afrobeats, and I emphasize the
s s I E.
Speaker 7 (01:15):
You have to.
Speaker 5 (01:15):
You need to.
Speaker 6 (01:18):
Because it's different, very different so afrobeat than afro beats
with us and three we d I heard radio remember
the pap this Episolio the episode, Yes, sir, and I
(01:38):
heard radio app mister Balla said the.
Speaker 5 (01:41):
House come on, guys like no, come on, come back,
come on, come on, come on. Mister Ballo. Wasn't mean
you selling my man laid back.
Speaker 6 (01:49):
Let me ask you this, why is it p the
afrobeats They was like laid back it was like lean
like you know when you're.
Speaker 5 (01:56):
Drink artists, artists come in a bump because I'm ready
to fight. What up yours is like chilling? I'm taking
the girls. You said it's about It's about vibes. It's
you know, it is the battle. Listen this. This is
a very informative type of interview.
Speaker 6 (02:17):
Informatia because afrobeats it's on his peak right now and
he has translated to all cultures pretty much after I will.
Latin culture has adopted afrobeats big time.
Speaker 3 (02:36):
It.
Speaker 5 (02:36):
However, there is a difference know and the afrobeat and afrobeats.
Speaker 6 (02:40):
Correct, besides thee an, what's the difference?
Speaker 4 (02:45):
Afrobeat is original made by which is one of the
founders of afrobeat. Is the older vibes. It has a
bit of high life in it, which is from Ghana,
has a bit of a jazz and it.
Speaker 5 (02:59):
Come my soul. It's more soul than then than than
what we have right now now. It's more modern, is
the evilution of it?
Speaker 4 (03:09):
Correct?
Speaker 3 (03:09):
Right?
Speaker 5 (03:09):
Correct? All right?
Speaker 6 (03:10):
So just for you guys to they don't understand, don't
say AfroB What do I say? I fring afrobeat? No,
you don't you sing afrobeats. It's not the same, not
lo anymore. So No, they're gonna now fast forward into
this to you is Africana. You were born in Africa,
right in Nigeria?
Speaker 4 (03:28):
Correct?
Speaker 6 (03:28):
Okay, okay, so you being born out there, but you
Brooklyn Bread, you you were you were raised out here
to think that, don't right? So so how is the
contrast how how does that translate to you, especially because
you're not.
Speaker 5 (03:42):
From from from the well, you are from the mother lembo,
You're not edit Because how do they see you?
Speaker 6 (03:49):
Do they see you as a as an outsider trying
to trying to you know what I mean, cash in
the culture, or do they see you like yeah, great good.
Speaker 4 (03:57):
I think I think it's a bit of both in
a sense because you know, you can't take away the
fact that I was born in Nigeria.
Speaker 5 (04:05):
You know, but but you more I'm Aericano than anything else.
Speaker 4 (04:09):
That I was raised out here, you know. I guess
it's a little bit of both as a combination. So
that I'm that it's like what they used to say,
you know, too too black to be white and too
white to be black.
Speaker 5 (04:19):
No kidding that that's crazy though.
Speaker 6 (04:20):
The reason why I ask you that is because like
there hasn't been and this is a point line, all
right for this interview. There has not been one single
Puerto Rican artists from the States they have now moved
back to Puerto Rico in order for them to make
it and wrap Puerto Rico first, there hasn't been You
know what what Dominican dembo is.
Speaker 5 (04:38):
You know what dembo is, right, So same thing, same story.
Speaker 6 (04:41):
There has not been one single Dominican artists of them both,
they had not moved to d R in order for
them to kind of make it. Are you going to
have to move back home in order for you to
like super blow the way to the model lamp, but
order for them to respect you.
Speaker 4 (05:01):
I don't mind going back home, you know, I just
want to make sure that I've done the work out
here first, because I feel like back home is home.
That's why they call it home. You always be accepted
by home. So when I do go out there, I'm
going to December actually with the whole team, and.
Speaker 5 (05:13):
They show, they show your love when you go out there.
But some people give some pushbacks.
Speaker 4 (05:17):
You know how it is. You're from home, but they
see an outside and that.
Speaker 6 (05:22):
The most pushback the all the phones or the young
and the young and the young generation can the can
They said no, no, people.
Speaker 4 (05:29):
I think it's mostly the younger generation because you never
really go.
Speaker 5 (05:33):
Through the struggle.
Speaker 3 (05:33):
You went through.
Speaker 6 (05:36):
It like like it's like it's an obligation to go
through this struggle. Struggle is not necessarily my struggle.
Speaker 5 (05:42):
But I also have struggles. I know that you do.
You working on something called Sounds of Afrobeats dot org.
Speaker 4 (05:48):
Correct, what is this? Brow this research man that Sounds
of Afrobeats is something that we made out here in
the States to represent the afrobeat artists and a diaspora, okay,
to kind of give them a platform to perform. And
you know, because out here there's not really that much
people get gaining platforms for afrobe artists even performed.
Speaker 6 (06:08):
Okay, so so hold on, hold on, let me stop
you for a second so I won't get I actually
feel super optic. There is a super optic in regards
to afrobeats. You feel still that there isn't that much
of a platform. Even though we got artists like Burning Boys,
Worst Kid and all of them, artists that are super
huge numbers. It's like it's like them both them bows
(06:30):
big huge, but you were like, okay them Bo, it's cool,
but it's cool, it's all right, but it's not real
like type of jac situation.
Speaker 4 (06:36):
You got it, and it's we have like the Big
three or the Big four in Nigeria doing really well
internationally everywhere. But I think because of that, people are
not focused on the people coming up right now. You know,
it's a struggle, like you said earlier, our struggles from
your struggle. The struggle out here is we have to
show them that we are just as well afrobe artists
(06:57):
because not only were we born there, you know, we
have it in our blood and we're representing out here,
you know, but they don't see that with sometimes because
we're not over there.
Speaker 5 (07:06):
So so yes, so they know back home. But I said, yeah,
you also you know it only your Rubert descending you
actually directly your room and you were warned there there.
Speaker 4 (07:15):
Right literally all right. I can't take that away so.
Speaker 5 (07:17):
Real quick.
Speaker 6 (07:19):
If they give you an opportunity right now, all right,
So mister bellow burn a boy whiz kid David, which
one would you pick?
Speaker 5 (07:29):
No, you subscribe, it's not in that question. That woman
said something right there.
Speaker 4 (07:35):
Uh, the person that I'll say, I'm a combination of
too in my opinion. But if I have to choose one,
I'll choose Berna Boy because he's taking it to the
next level. That's what I'm here to do.
Speaker 5 (07:46):
An if I throw a right mind there, what would
you do?
Speaker 3 (07:54):
Man?
Speaker 4 (07:54):
He's coming to man, the young generation coming hot.
Speaker 5 (08:00):
Listen. It's it's fun to to to to find out.
Speaker 6 (08:05):
Uh, the the younger generation are taking over and making
sure that evolution is there in order to avoid the
action in general to die out.
Speaker 5 (08:15):
But I can't it.
Speaker 6 (08:21):
Mosmentos. But I got a question for you though, how
do you feel about Latin artists come That's the reason
why we had that intervention before we came to the interview,
so people could associate your sound with that Latin sound
that it's really afrobeats, it's just in Spanish. So how
(08:43):
do you feel about that? Do you feel like like
cultural appropriation right them to.
Speaker 3 (08:50):
Do that?
Speaker 5 (08:50):
Or you think this also will enhance the culture.
Speaker 4 (08:54):
I think it would answer culture. I feel like you
can't appropriate something that you are if that makes you know,
I feel like over time people start feeling like Latin
artists are different, but we're all from Africa in the science.
You know what I'm saying, Like and if you look
back to literally even the beat, you know, the rhythm,
pa pa pa, it's all the same rhythm. That's that's
(09:16):
so already back home.
Speaker 6 (09:17):
Hold on, let me at the day. So so, when
certain Jamaican artists complain about Dominiicans taking this from them
and so on and so forth, you're saying that they
should not complain and actually just welcome now, is that
what you're trying to say?
Speaker 5 (09:37):
No wady catches. You know, I agree.
Speaker 4 (09:42):
I think just bring everybody in. Accept it. At most,
ask for credit, like you know, say, oh, you know,
shout out to this people for you know, showing us
this or doing this. You know what I'm saying, like
the young generation dude to the burner and whisky David, Oh,
shout out to David burn a boy, and you know
for you know, opening the door. Or but we're head
to you know what I'm saying, we're adding onto it.
(10:02):
We're not here to take away from it.
Speaker 6 (10:04):
If I know that down to listen, we're chilling right now.
We're mister Bellow, which bellow by the way, where does
the name bellow comes from? For those people that don't know.
But I think they're gonna then they're gonna be calling
you mister.
Speaker 4 (10:17):
It's a it's a very popular African name, Nigerian name.
It's also a Muslim name.
Speaker 5 (10:23):
Okay, what does it mean?
Speaker 4 (10:26):
It has a it's like a family name. It's a
very strong name like kings and queen. You know what
I'm saying. O carry travel name. But then coming out
here I found out that, you.
Speaker 5 (10:35):
Know, mister Bello for Spanish is like its beautiful in English.
Speaker 4 (10:39):
Everybody when I tell him my name, they said, oh wow, talking.
Speaker 6 (10:44):
About stop being hope for man. Listen, we're chilling with
mister Bello today, mister bellow. A lot of these artists
that they are doing afrobeats in Spanish test they actually
not black. So there is a question out there is
there is there any level of blackness that you need
(11:06):
to have in order for you to perform and do
afrobeats and feel it. And and you know, because I've
seen it again a lot of Jamaican folks and and
including that, there was an artist that just came out
of jail. Jamaican artists and just came out of jail.
He came out blazing talking a lot of smack about
it or whatever.
Speaker 5 (11:21):
I bootu. I love you, bro, I love your music,
but you gotta stop, man, we got to stop.
Speaker 6 (11:26):
It's like it's like it's like whenever they ask the
Dominican me, no black, of course I'm gonna say me
no black, because I'm Dominica.
Speaker 5 (11:32):
First.
Speaker 6 (11:33):
I don't look at myself on the color. I look
at myself as where I'm from, my ignicity, ethnical pedro.
Back to this, most of these artists are actually light
skin and and there is in light skin like blonde,
a lot of them, and and a lot of the
Latin afrobeats artists that have been doing it for a
long time, like Chuck in Town, they are are complexion.
(11:57):
So so do you feel that at any point certain
artists needs to be getting more attention not only because
of the color of the skin, but also because of
the quality of the work that they're putting out there,
or date's a little you know, maybe I don't know,
push back because they also dark skinned.
Speaker 4 (12:15):
For me, I'm always gonna put art first, meaning it's
all about the art. Meaning do you know about if
you're doing afrobeats or reggaeton whatever it is, or you know,
even just reggae music. Did you do your research?
Speaker 5 (12:29):
Are you getting out, do you do your homework?
Speaker 4 (12:32):
Your homework? Are you paying homage? You know what I'm saying,
because it's all about credit.
Speaker 3 (12:36):
You know.
Speaker 4 (12:36):
Imagine coming here and then we are in Rumba in
ninety seven point seven and I'm tagging a different radio
station that's very suspectful. You know what I'm saying, pain image.
Speaker 6 (12:46):
Well, it's only disrespectful they feel the day under it.
But I mean, you know, and it all depends.
Speaker 4 (12:52):
Like I mentioned in the beginning too, aphrobits is about love,
you know, and community and togetherness. So I don't feel like,
you know what the person's darkskin, light skin it matters.
I think what matters is does a person really own
the heart? Or they paying homage to afrobeats. You know,
they're showing love to the community of afrobeats because you
can't come in take something from somebody and not sure
(13:15):
love back to that community.
Speaker 6 (13:16):
Even if all the artists that have been working longer
than them are not successful, maybe because of their skin color.
I mean, that's an industry thing.
Speaker 5 (13:24):
But I don't know.
Speaker 4 (13:25):
I mean, I can't tell you why somebody is not successful,
to be honest, that's that's it. It's that's very tough
to say this is the reason why they weren't successful.
But what I could say is as long as you
put art first, and you always pay homage to where
you got it, because nothing is really original nowadays. Yeah,
but if you do do it, pay homage at some
point and say, oh, this is where I got inspired from.
Speaker 5 (13:47):
You know see what that man, mister bellows A quick
question for you. Why what's first? That's all a right
for beat? Afrobeat?
Speaker 6 (14:03):
I said, afrobeat. Brother, I didn't put it. I didn't
put no answer in there. I think afrobeat came first
and gave birth to to dance.
Speaker 4 (14:12):
All I won't. I don't know if it gave birth
to dance. I know I know it was reggae okay
before dance, all.
Speaker 6 (14:19):
Okay, reggae before dance. All right, So let me give
you ready to read the question. How many I said
afrobeat was it before reggae?
Speaker 4 (14:28):
Afrobeat was I'll say, hmm, rega goes all the way
back to.
Speaker 5 (14:36):
Well, they probably grew up together. They came up together
the same time.
Speaker 4 (14:39):
Because when we talk about because when I'm thinking about
afrobeat without the we're talking about nineteen sixty right, thinking
about a lot. I'm thinking about Bob Marley doing.
Speaker 6 (14:48):
Right, they were corresisting, all right, I'm right, So so
I would I would think I wouldn't think because about Marley,
so he always thought about going back home? Okay, pas
So I think I think afrobeat was before, maybe it's
slightly before and influenced all these Caribbean rhythms. I really
think aphrobat did that for us, and and and there
(15:10):
has been so many things. My brother, listen, you got
a new record out, but before we get to that record,
all right? After that and the Ivory, what's that event
all about? It's coming up in August sometime, right, What's
what's that event all about? But then dynasts in Brooklyn
that's going to take place.
Speaker 4 (15:30):
So the Ivory is a location that we used to
do Sounds of Afrobeats. We originally use Housive, yes, but
the Ivory is just one of the spaces that we
used to, you know, give those platforms to the artists,
you know, So Sounds of Afrobeats pretty much reach out.
We pay attention to the afrobeat artists and the diaspora
in the States that are really doing their thing.
Speaker 5 (15:49):
We also give me three names drop.
Speaker 6 (15:51):
Three names of latists are already doing their thing out
here in the diaspora.
Speaker 4 (15:56):
Three names right now. Aside for myself, mister bellow, I'll
say me, Day Music is doing this thing, Okay, Timmy
Dre doing his thing. And Faddy is another artist. She's
killing it right now.
Speaker 5 (16:09):
All right, fatty, So make sure that you all come through.
We got to talk a little bit more about this. Listen.
Speaker 6 (16:14):
I truly appreciate you being with us. Is a new
record Radio, quick story, Quick story.
Speaker 3 (16:20):
Radio.
Speaker 5 (16:21):
I see that, I see the file for Radio, and
then I'm like, oh, Radio, this is the radio version. Bro.
Speaker 6 (16:26):
I gotta I gotta radio rate this. I gotta say that.
I know I said it behind behind the mic, but
I got to say it again. But Radio is actually
the name of the song. What influenced that particular record
for you.
Speaker 4 (16:35):
It was a it's gonna be a single that's coming
up from my album. It's the first single of the album.
So Radio is pretty much just talking about, you know
the struggle of being in a relationship, you know, being.
Speaker 5 (16:47):
In love, crying like a baby.
Speaker 4 (16:49):
But at the same time. You know, you're saying it
in a sweet way and you're talking about the pull
and the push of a relationship. You know, she could
get you mad, but she also turns you on like
the radio.
Speaker 5 (16:58):
Okay, okay, okay, okay, okay, okay.
Speaker 6 (17:00):
Any any influence any I don't know anything that you
use as a reference from all the all the records
in regards to create this one.
Speaker 4 (17:09):
This is original record. So this is just something that
came from the heart. You know, this's something that came
from my own experience. What I'll say influenced. It will
be my producer excite beat because he made the beat
originally apparently for dance on Artists podcon. So funny enough.
Speaker 3 (17:27):
You know you're.
Speaker 4 (17:31):
I told, I told my little producer, yoah, I love
that beat, man, I need that beat. But he's like, yo,
this is one of the two beats from made for
this guy. But guy paid, mister Beller paid. Listen you
already off.
Speaker 6 (17:46):
Mister Bella's in the building and right under ground the radio.
Remember to catch us in the iHeart Radio app. I
did iHeart Radio app. Right now, L Solo is going
to be there. You're also going to be on my
YouTube Valuo TV. Mister Butlo, I want you to introduce
this right here, right now in Barston. Let's go who
room by ninety seven point seven Dolly.
Speaker 4 (18:03):
Yes, sir, we have mister Bellow on the scene.
Speaker 5 (18:05):
We're all here.
Speaker 4 (18:06):
We'll high radio room by ninety seven point seven with chocolat.
Then you know the value to save.
Speaker 5 (18:12):
Yo shitting out.
Speaker 6 (18:13):
This is shit on the case called radio. Mister Bellow,
stop playing. We got the same house afro bitch.
Speaker 7 (18:22):
On what.
Speaker 6 (18:27):
Don't go out there?
Speaker 7 (18:29):
I know thats this that I don't know what I
don't know when you can't go, it's it's been too
much you. I'm it's a thing I can do. If
not what she says, he don't do. If you want
stressfully by you, that's the one outside by that d shoots.
Speaker 2 (18:48):
I mean you don't like manio mady u uh.
Speaker 3 (18:52):
Then I on she said, I'm Madium media.
Speaker 4 (18:58):
That's my dad.
Speaker 7 (19:00):
Good baby your She telling me you.
Speaker 3 (19:03):
Don't like Ready, don't put Ready your boat.
Speaker 2 (19:07):
She pulls me your fans a line you didn't wanna say.
Speaker 3 (19:11):
My Bandanda for your love, baby.
Speaker 7 (19:13):
Bamdi your life, I my way through badam my wife.
You'll make me from Montana by.
Speaker 3 (19:19):
Banka come to each other.
Speaker 2 (19:22):
If you look and say, may I bad run to
maza man, tell me I like Madi.
Speaker 4 (19:36):
She turn me.
Speaker 3 (19:36):
I'm like ready ready yo, uh you.
Speaker 4 (19:40):
Did anything I.
Speaker 7 (19:41):
Want to see.
Speaker 3 (19:42):
I'm ready you be ready.
Speaker 6 (19:45):
Kay, that's my baby.
Speaker 7 (19:47):
You're good baby.
Speaker 4 (19:48):
Your h She tell me you don't lie.
Speaker 2 (19:51):
Ready you'll put ready your boat, she said, tell me.
Speaker 3 (20:04):
That's my baby.
Speaker 5 (20:12):
Baby.
Speaker 2 (20:12):
Oh, and she turned me on my radio fabbio.
Speaker 5 (20:17):
Oh yeah, come on everybody like some night with tabella
s in the building.
Speaker 3 (20:22):
Baby.
Speaker 5 (20:23):
By the way, that.
Speaker 6 (20:25):
How came people get at you? How can people follow
you up? On our social media?
Speaker 4 (20:28):
Brother, you can find me on all platforms, especially on Instagram,
mister Bellow music. You can find me on all platforms YouTube, Google,
mister Bellow music.
Speaker 5 (20:37):
And if you need the for one once and then
to see that dog when that littlek is afrobeat in
afrobeat that to he got the locked in all right?
You already know by body on the ground and through
radio they staying somebody little GiB body, you see it,
(20:58):
don't see it there
Your Yeah, yeah, I'm gonna say it is what it is,
uprising just the same better go ax Bill or the support.
Speaker 2 (00:13):
I say, you don't they from a leg in one
it goes to marine bad being won in they don't
see the bands.
Speaker 3 (00:20):
Up Yah yah.
Speaker 2 (00:36):
Innovation thinking into Maria's motivation that we're giving up the
preservation that we live it up colibrid because we're going, yay,
it's a better yea. My people going, we tell me
nothing of the something uh maybe they can't should like
him married, should like him, he.
Speaker 4 (00:55):
Lives Marrit.
Speaker 5 (00:58):
The right. You're ready away in the building. Rowbot.
Speaker 6 (01:06):
Listen when you're talking about afrobeats, and I emphasize the
s s I E.
Speaker 7 (01:15):
You have to.
Speaker 5 (01:15):
You need to.
Speaker 6 (01:18):
Because it's different, very different so afrobeat than afro beats
with us and three we d I heard radio remember
the pap this Episolio the episode, Yes, sir, and I
(01:38):
heard radio app mister Balla said the.
Speaker 5 (01:41):
House come on, guys like no, come on, come back,
come on, come on, come on. Mister Ballo. Wasn't mean
you selling my man laid back.
Speaker 6 (01:49):
Let me ask you this, why is it p the
afrobeats They was like laid back it was like lean
like you know when you're.
Speaker 5 (01:56):
Drink artists, artists come in a bump because I'm ready
to fight. What up yours is like chilling? I'm taking
the girls. You said it's about It's about vibes. It's
you know, it is the battle. Listen this. This is
a very informative type of interview.
Speaker 6 (02:17):
Informatia because afrobeats it's on his peak right now and
he has translated to all cultures pretty much after I will.
Latin culture has adopted afrobeats big time.
Speaker 3 (02:36):
It.
Speaker 5 (02:36):
However, there is a difference know and the afrobeat and afrobeats.
Speaker 6 (02:40):
Correct, besides thee an, what's the difference?
Speaker 4 (02:45):
Afrobeat is original made by which is one of the
founders of afrobeat. Is the older vibes. It has a
bit of high life in it, which is from Ghana,
has a bit of a jazz and it.
Speaker 5 (02:59):
Come my soul. It's more soul than then than than
what we have right now now. It's more modern, is
the evilution of it?
Speaker 4 (03:09):
Correct?
Speaker 3 (03:09):
Right?
Speaker 5 (03:09):
Correct? All right?
Speaker 6 (03:10):
So just for you guys to they don't understand, don't
say AfroB What do I say? I fring afrobeat? No,
you don't you sing afrobeats. It's not the same, not
lo anymore. So No, they're gonna now fast forward into
this to you is Africana. You were born in Africa,
right in Nigeria?
Speaker 4 (03:28):
Correct?
Speaker 6 (03:28):
Okay, okay, so you being born out there, but you
Brooklyn Bread, you you were you were raised out here
to think that, don't right? So so how is the
contrast how how does that translate to you, especially because
you're not.
Speaker 5 (03:42):
From from from the well, you are from the mother lembo,
You're not edit Because how do they see you?
Speaker 6 (03:49):
Do they see you as a as an outsider trying
to trying to you know what I mean, cash in
the culture, or do they see you like yeah, great good.
Speaker 4 (03:57):
I think I think it's a bit of both in
a sense because you know, you can't take away the
fact that I was born in Nigeria.
Speaker 5 (04:05):
You know, but but you more I'm Aericano than anything else.
Speaker 4 (04:09):
That I was raised out here, you know. I guess
it's a little bit of both as a combination. So
that I'm that it's like what they used to say,
you know, too too black to be white and too
white to be black.
Speaker 5 (04:19):
No kidding that that's crazy though.
Speaker 6 (04:20):
The reason why I ask you that is because like
there hasn't been and this is a point line, all
right for this interview. There has not been one single
Puerto Rican artists from the States they have now moved
back to Puerto Rico in order for them to make
it and wrap Puerto Rico first, there hasn't been You
know what what Dominican dembo is.
Speaker 5 (04:38):
You know what dembo is, right, So same thing, same story.
Speaker 6 (04:41):
There has not been one single Dominican artists of them both,
they had not moved to d R in order for
them to kind of make it. Are you going to
have to move back home in order for you to
like super blow the way to the model lamp, but
order for them to respect you.
Speaker 4 (05:01):
I don't mind going back home, you know, I just
want to make sure that I've done the work out
here first, because I feel like back home is home.
That's why they call it home. You always be accepted
by home. So when I do go out there, I'm
going to December actually with the whole team, and.
Speaker 5 (05:13):
They show, they show your love when you go out there.
But some people give some pushbacks.
Speaker 4 (05:17):
You know how it is. You're from home, but they
see an outside and that.
Speaker 6 (05:22):
The most pushback the all the phones or the young
and the young and the young generation can the can
They said no, no, people.
Speaker 4 (05:29):
I think it's mostly the younger generation because you never
really go.
Speaker 5 (05:33):
Through the struggle.
Speaker 3 (05:33):
You went through.
Speaker 6 (05:36):
It like like it's like it's an obligation to go
through this struggle. Struggle is not necessarily my struggle.
Speaker 5 (05:42):
But I also have struggles. I know that you do.
You working on something called Sounds of Afrobeats dot org.
Speaker 4 (05:48):
Correct, what is this? Brow this research man that Sounds
of Afrobeats is something that we made out here in
the States to represent the afrobeat artists and a diaspora, okay,
to kind of give them a platform to perform. And
you know, because out here there's not really that much
people get gaining platforms for afrobe artists even performed.
Speaker 6 (06:08):
Okay, so so hold on, hold on, let me stop
you for a second so I won't get I actually
feel super optic. There is a super optic in regards
to afrobeats. You feel still that there isn't that much
of a platform. Even though we got artists like Burning Boys,
Worst Kid and all of them, artists that are super
huge numbers. It's like it's like them both them bows
(06:30):
big huge, but you were like, okay them Bo, it's cool,
but it's cool, it's all right, but it's not real
like type of jac situation.
Speaker 4 (06:36):
You got it, and it's we have like the Big
three or the Big four in Nigeria doing really well
internationally everywhere. But I think because of that, people are
not focused on the people coming up right now. You know,
it's a struggle, like you said earlier, our struggles from
your struggle. The struggle out here is we have to
show them that we are just as well afrobe artists
(06:57):
because not only were we born there, you know, we
have it in our blood and we're representing out here,
you know, but they don't see that with sometimes because
we're not over there.
Speaker 5 (07:06):
So so yes, so they know back home. But I said, yeah,
you also you know it only your Rubert descending you
actually directly your room and you were warned there there.
Speaker 4 (07:15):
Right literally all right. I can't take that away so.
Speaker 5 (07:17):
Real quick.
Speaker 6 (07:19):
If they give you an opportunity right now, all right,
So mister bellow burn a boy whiz kid David, which
one would you pick?
Speaker 5 (07:29):
No, you subscribe, it's not in that question. That woman
said something right there.
Speaker 4 (07:35):
Uh, the person that I'll say, I'm a combination of
too in my opinion. But if I have to choose one,
I'll choose Berna Boy because he's taking it to the
next level. That's what I'm here to do.
Speaker 5 (07:46):
An if I throw a right mind there, what would
you do?
Speaker 3 (07:54):
Man?
Speaker 4 (07:54):
He's coming to man, the young generation coming hot.
Speaker 5 (08:00):
Listen. It's it's fun to to to to find out.
Speaker 6 (08:05):
Uh, the the younger generation are taking over and making
sure that evolution is there in order to avoid the
action in general to die out.
Speaker 5 (08:15):
But I can't it.
Speaker 6 (08:21):
Mosmentos. But I got a question for you though, how
do you feel about Latin artists come That's the reason
why we had that intervention before we came to the interview,
so people could associate your sound with that Latin sound
that it's really afrobeats, it's just in Spanish. So how
(08:43):
do you feel about that? Do you feel like like
cultural appropriation right them to.
Speaker 3 (08:50):
Do that?
Speaker 5 (08:50):
Or you think this also will enhance the culture.
Speaker 4 (08:54):
I think it would answer culture. I feel like you
can't appropriate something that you are if that makes you know,
I feel like over time people start feeling like Latin
artists are different, but we're all from Africa in the science.
You know what I'm saying, Like and if you look
back to literally even the beat, you know, the rhythm,
pa pa pa, it's all the same rhythm. That's that's
(09:16):
so already back home.
Speaker 6 (09:17):
Hold on, let me at the day. So so, when
certain Jamaican artists complain about Dominiicans taking this from them
and so on and so forth, you're saying that they
should not complain and actually just welcome now, is that
what you're trying to say?
Speaker 5 (09:37):
No wady catches. You know, I agree.
Speaker 4 (09:42):
I think just bring everybody in. Accept it. At most,
ask for credit, like you know, say, oh, you know,
shout out to this people for you know, showing us
this or doing this. You know what I'm saying, like
the young generation dude to the burner and whisky David, Oh,
shout out to David burn a boy, and you know
for you know, opening the door. Or but we're head
to you know what I'm saying, we're adding onto it.
(10:02):
We're not here to take away from it.
Speaker 6 (10:04):
If I know that down to listen, we're chilling right now.
We're mister Bellow, which bellow by the way, where does
the name bellow comes from? For those people that don't know.
But I think they're gonna then they're gonna be calling
you mister.
Speaker 4 (10:17):
It's a it's a very popular African name, Nigerian name.
It's also a Muslim name.
Speaker 5 (10:23):
Okay, what does it mean?
Speaker 4 (10:26):
It has a it's like a family name. It's a
very strong name like kings and queen. You know what
I'm saying. O carry travel name. But then coming out
here I found out that, you.
Speaker 5 (10:35):
Know, mister Bello for Spanish is like its beautiful in English.
Speaker 4 (10:39):
Everybody when I tell him my name, they said, oh wow, talking.
Speaker 6 (10:44):
About stop being hope for man. Listen, we're chilling with
mister Bello today, mister bellow. A lot of these artists
that they are doing afrobeats in Spanish test they actually
not black. So there is a question out there is
there is there any level of blackness that you need
(11:06):
to have in order for you to perform and do
afrobeats and feel it. And and you know, because I've
seen it again a lot of Jamaican folks and and
including that, there was an artist that just came out
of jail. Jamaican artists and just came out of jail.
He came out blazing talking a lot of smack about
it or whatever.
Speaker 5 (11:21):
I bootu. I love you, bro, I love your music,
but you gotta stop, man, we got to stop.
Speaker 6 (11:26):
It's like it's like it's like whenever they ask the
Dominican me, no black, of course I'm gonna say me
no black, because I'm Dominica.
Speaker 5 (11:32):
First.
Speaker 6 (11:33):
I don't look at myself on the color. I look
at myself as where I'm from, my ignicity, ethnical pedro.
Back to this, most of these artists are actually light
skin and and there is in light skin like blonde,
a lot of them, and and a lot of the
Latin afrobeats artists that have been doing it for a
long time, like Chuck in Town, they are are complexion.
(11:57):
So so do you feel that at any point certain
artists needs to be getting more attention not only because
of the color of the skin, but also because of
the quality of the work that they're putting out there,
or date's a little you know, maybe I don't know,
push back because they also dark skinned.
Speaker 4 (12:15):
For me, I'm always gonna put art first, meaning it's
all about the art. Meaning do you know about if
you're doing afrobeats or reggaeton whatever it is, or you know,
even just reggae music. Did you do your research?
Speaker 5 (12:29):
Are you getting out, do you do your homework?
Speaker 4 (12:32):
Your homework? Are you paying homage? You know what I'm saying,
because it's all about credit.
Speaker 3 (12:36):
You know.
Speaker 4 (12:36):
Imagine coming here and then we are in Rumba in
ninety seven point seven and I'm tagging a different radio
station that's very suspectful. You know what I'm saying, pain image.
Speaker 6 (12:46):
Well, it's only disrespectful they feel the day under it.
But I mean, you know, and it all depends.
Speaker 4 (12:52):
Like I mentioned in the beginning too, aphrobits is about love,
you know, and community and togetherness. So I don't feel like,
you know what the person's darkskin, light skin it matters.
I think what matters is does a person really own
the heart? Or they paying homage to afrobeats. You know,
they're showing love to the community of afrobeats because you
can't come in take something from somebody and not sure
(13:15):
love back to that community.
Speaker 6 (13:16):
Even if all the artists that have been working longer
than them are not successful, maybe because of their skin color.
I mean, that's an industry thing.
Speaker 5 (13:24):
But I don't know.
Speaker 4 (13:25):
I mean, I can't tell you why somebody is not successful,
to be honest, that's that's it. It's that's very tough
to say this is the reason why they weren't successful.
But what I could say is as long as you
put art first, and you always pay homage to where
you got it, because nothing is really original nowadays. Yeah,
but if you do do it, pay homage at some
point and say, oh, this is where I got inspired from.
Speaker 5 (13:47):
You know see what that man, mister bellows A quick
question for you. Why what's first? That's all a right
for beat? Afrobeat?
Speaker 6 (14:03):
I said, afrobeat. Brother, I didn't put it. I didn't
put no answer in there. I think afrobeat came first
and gave birth to to dance.
Speaker 4 (14:12):
All I won't. I don't know if it gave birth
to dance. I know I know it was reggae okay
before dance, all.
Speaker 6 (14:19):
Okay, reggae before dance. All right, So let me give
you ready to read the question. How many I said
afrobeat was it before reggae?
Speaker 4 (14:28):
Afrobeat was I'll say, hmm, rega goes all the way
back to.
Speaker 5 (14:36):
Well, they probably grew up together. They came up together
the same time.
Speaker 4 (14:39):
Because when we talk about because when I'm thinking about
afrobeat without the we're talking about nineteen sixty right, thinking
about a lot. I'm thinking about Bob Marley doing.
Speaker 6 (14:48):
Right, they were corresisting, all right, I'm right, So so
I would I would think I wouldn't think because about Marley,
so he always thought about going back home? Okay, pas
So I think I think afrobeat was before, maybe it's
slightly before and influenced all these Caribbean rhythms. I really
think aphrobat did that for us, and and and there
(15:10):
has been so many things. My brother, listen, you got
a new record out, but before we get to that record,
all right? After that and the Ivory, what's that event
all about? It's coming up in August sometime, right, What's
what's that event all about? But then dynasts in Brooklyn
that's going to take place.
Speaker 4 (15:30):
So the Ivory is a location that we used to
do Sounds of Afrobeats. We originally use Housive, yes, but
the Ivory is just one of the spaces that we
used to, you know, give those platforms to the artists,
you know, So Sounds of Afrobeats pretty much reach out.
We pay attention to the afrobeat artists and the diaspora
in the States that are really doing their thing.
Speaker 5 (15:49):
We also give me three names drop.
Speaker 6 (15:51):
Three names of latists are already doing their thing out
here in the diaspora.
Speaker 4 (15:56):
Three names right now. Aside for myself, mister bellow, I'll
say me, Day Music is doing this thing, Okay, Timmy
Dre doing his thing. And Faddy is another artist. She's
killing it right now.
Speaker 5 (16:09):
All right, fatty, So make sure that you all come through.
We got to talk a little bit more about this. Listen.
Speaker 6 (16:14):
I truly appreciate you being with us. Is a new
record Radio, quick story, Quick story.
Speaker 3 (16:20):
Radio.
Speaker 5 (16:21):
I see that, I see the file for Radio, and
then I'm like, oh, Radio, this is the radio version. Bro.
Speaker 6 (16:26):
I gotta I gotta radio rate this. I gotta say that.
I know I said it behind behind the mic, but
I got to say it again. But Radio is actually
the name of the song. What influenced that particular record
for you.
Speaker 4 (16:35):
It was a it's gonna be a single that's coming
up from my album. It's the first single of the album.
So Radio is pretty much just talking about, you know
the struggle of being in a relationship, you know, being.
Speaker 5 (16:47):
In love, crying like a baby.
Speaker 4 (16:49):
But at the same time. You know, you're saying it
in a sweet way and you're talking about the pull
and the push of a relationship. You know, she could
get you mad, but she also turns you on like
the radio.
Speaker 5 (16:58):
Okay, okay, okay, okay, okay, okay.
Speaker 6 (17:00):
Any any influence any I don't know anything that you
use as a reference from all the all the records
in regards to create this one.
Speaker 4 (17:09):
This is original record. So this is just something that
came from the heart. You know, this's something that came
from my own experience. What I'll say influenced. It will
be my producer excite beat because he made the beat
originally apparently for dance on Artists podcon. So funny enough.
Speaker 3 (17:27):
You know you're.
Speaker 4 (17:31):
I told, I told my little producer, yoah, I love
that beat, man, I need that beat. But he's like, yo,
this is one of the two beats from made for
this guy. But guy paid, mister Beller paid. Listen you
already off.
Speaker 6 (17:46):
Mister Bella's in the building and right under ground the radio.
Remember to catch us in the iHeart Radio app. I
did iHeart Radio app. Right now, L Solo is going
to be there. You're also going to be on my
YouTube Valuo TV. Mister Butlo, I want you to introduce
this right here, right now in Barston. Let's go who
room by ninety seven point seven Dolly.
Speaker 4 (18:03):
Yes, sir, we have mister Bellow on the scene.
Speaker 5 (18:05):
We're all here.
Speaker 4 (18:06):
We'll high radio room by ninety seven point seven with chocolat.
Then you know the value to save.
Speaker 5 (18:12):
Yo shitting out.
Speaker 6 (18:13):
This is shit on the case called radio. Mister Bellow,
stop playing. We got the same house afro bitch.
Speaker 7 (18:22):
On what.
Speaker 6 (18:27):
Don't go out there?
Speaker 7 (18:29):
I know thats this that I don't know what I
don't know when you can't go, it's it's been too
much you. I'm it's a thing I can do. If
not what she says, he don't do. If you want
stressfully by you, that's the one outside by that d shoots.
Speaker 2 (18:48):
I mean you don't like manio mady u uh.
Speaker 3 (18:52):
Then I on she said, I'm Madium media.
Speaker 4 (18:58):
That's my dad.
Speaker 7 (19:00):
Good baby your She telling me you.
Speaker 3 (19:03):
Don't like Ready, don't put Ready your boat.
Speaker 2 (19:07):
She pulls me your fans a line you didn't wanna say.
Speaker 3 (19:11):
My Bandanda for your love, baby.
Speaker 7 (19:13):
Bamdi your life, I my way through badam my wife.
You'll make me from Montana by.
Speaker 3 (19:19):
Banka come to each other.
Speaker 2 (19:22):
If you look and say, may I bad run to
maza man, tell me I like Madi.
Speaker 4 (19:36):
She turn me.
Speaker 3 (19:36):
I'm like ready ready yo, uh you.
Speaker 4 (19:40):
Did anything I.
Speaker 7 (19:41):
Want to see.
Speaker 3 (19:42):
I'm ready you be ready.
Speaker 6 (19:45):
Kay, that's my baby.
Speaker 7 (19:47):
You're good baby.
Speaker 4 (19:48):
Your h She tell me you don't lie.
Speaker 2 (19:51):
Ready you'll put ready your boat, she said, tell me.
Speaker 3 (20:04):
That's my baby.
Speaker 5 (20:12):
Baby.
Speaker 2 (20:12):
Oh, and she turned me on my radio fabbio.
Speaker 5 (20:17):
Oh yeah, come on everybody like some night with tabella
s in the building.
Speaker 3 (20:22):
Baby.
Speaker 5 (20:23):
By the way, that.
Speaker 6 (20:25):
How came people get at you? How can people follow
you up? On our social media?
Speaker 4 (20:28):
Brother, you can find me on all platforms, especially on Instagram,
mister Bellow music. You can find me on all platforms YouTube, Google,
mister Bellow music.
Speaker 5 (20:37):
And if you need the for one once and then
to see that dog when that littlek is afrobeat in
afrobeat that to he got the locked in all right?
You already know by body on the ground and through
radio they staying somebody little GiB body, you see it,
(20:58):
don't see it there
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