WORDSPJ Some
封面明星 - Prettyboy 做
創意總監 - Derrick Odafi & Jessica Rushforth
創意製作人 - Jessica Rushforth 和 Derrick Odafi
攝影師 - 芭芭拉普雷莫
視覺總監 - John Serunjogi
造型師 - Malcolm Yaeng
造型師助理 - Gloria Iyare
佈景設計師 - 傑西卡·拉什福斯
MUA - 祝福 Kambanga
STUDIO - 拍攝更多照片工作室
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我們覺得你身上有一種好戰的光環，你認為它來自你爸爸嗎？
P：是啊，我爸爸是個硬漢，他第一次對我說我愛你是在今年。我和他的關係總是要向他證明我是值得的。在去年之前，我們已經有 5 年沒有說過話了，只是為了讓你知道他有多努力。我覺得我去年從他那裡得到了驕傲。
我談到它。我仍然做商業的東西，但我覺得人們需要聽到真實的東西。我之前在我的歌曲中提到過，我們從來沒有說過話，我經常覺得人們不會在尼日利亞音樂中談論它或說那些東西。我的父母不想讓我聽音樂，但我必須通過向上帝祈禱和工作來向他們證明我值得這樣做。
就像在你的一首歌“Deh Go Hear Weh”中一樣，你會聽到關於我的意識形態。
P：是的，就是這個想法，基本上是整個國家。你在這裡看到我的兄弟 - 指著他的經理 - 他是一個大人物，乾淨的數字音樂大亨。但是如果他穿成這樣來到尼日利亞，他們就會像這個人在做什麼，他在做欺詐嗎？因為在尼日利亞，他們只知道醫生/律師。
這就是我為之奮鬥的目標，在尼日利亞，他們並不真正尊重音樂可以帶你去哪裡的工藝。前幾天我告訴他他們只相信醫生和律師很聰明，我他媽的很聰明。
下一個問題，漂亮男孩的名字從何而來？
P：DO 是我的首字母縮寫，漂亮男孩來自我媽媽和姐姐，因為他們曾經這樣稱呼我，我也是搖滾樂的忠實粉絲，他也經常使用它。
你希望女性伴侶具備哪些特質？
P：忠誠……她只需要為某事而努力，不管是什麼，她必須對它有熱情。
Full Look, Mowalola
Gloves, Agency 11
Prettyboy DO 的星光熠熠
就像第九期的“野火”一樣
當您想到 Afrobeats 時，尼日利亞藝術家很可能是您心目中的形象，我們知道他們擁有許多強大而有影響力的名字。開創性人物 Prettyboy DO 是當前來自非洲音樂強國的有影響力的藝術家名單中不容錯過的人物。這位出生於新澤西州的突破性藝術家提供了一種充滿活力和活力的聲音，不會讓您坐以待斃。這些聲音與他古怪的風格無縫匹配，從他在 COLORS 上的“Jungle Justice”和其他非常成功的單曲（例如“Same Energy”和“Chop Elbow”）的表演中，您可以清楚地看到這種創造力的反映。 Prettyboy DO 是一位走鋼絲的社會評論和實驗音樂的藝術家，將這些性格特徵歸功於他的環境和個人影響。 Prettyboy 本人和他的音樂一樣有趣，受 Dennis Rodman 和 Sisqo 等人的影響，他的個人風格和能量從頭到腳都與眾不同，從他五顏六色的頭髮到他富有表現力的風格感。
在他最近發布的最新項目之後，受聖經啟示錄啟發的名為“野火”的 EP； Prettyboy DO 已經能夠在 Afro-Pop 和 Rap 之間產生分歧，炫耀他的多才多藝，這使他與眾不同！被稱為 Alte 界的王者，毫不奇怪，他的影響力隨著音樂傳播，營造出迷人的氛圍。繼續他的旅程，這位歌手/說唱歌手似乎有一個明確的目標，那就是成為最偉大的人，一路上激勵人們，鋪平自己的道路。
WORDS Fidji Gomis Mendy
“音樂讓我成為一個男人。我一直熱愛音樂，即使是在孩提時代，但更喜歡音樂的時尚方面。大吉、馬斯、圖帕克…… ”
跳投：3 Paradis
珠寶：Rathel Wolf
帽子：卡拉
太陽鏡：造型師自備
Blazer, Mowalola
NW: When listening to ‘Pink I’ and ‘Pink II’, the experience is such a musical evolution, especially with the compositions, tempo lyrics etc. As if the albums are two sides of a coin. Which one would you resonate with the most?
LF: It is different for the listeners of my music compared to me because, the music I make is what defines my passion and the past experiences that I’ve been through. When making ‘Pink I’, I didn’t see myself as an artist. I was still outside, and I was doing things. The special thing about ‘Pink I’ is that the music I make is polar opposite. If you know me on a personal level; the things that I’m saying on the songs, the image, and the flow, don’t align with what I was completely opposite to how I was living my life. I really could’ve been making drill back then, or something a bit rougher. I think my family and friends were really caught by surprise with that music, and with ‘Pink II’, I was settling more with becoming an artist and “not making music for fun”- I mean I am, but I’m not. Whatever I was doing then, I’m not doing anymore. With ‘Pink I’, there wasn’t that much reflection done upon how deep things were in my life. I just went my about my day getting into trouble, and in the night, I would record music. Interestingly, I had a conversation with someone the other day, and I was telling them that I think I’m going in reverse. Put it this way – When a drill artist makes music before they become known, their lyrics are touching, and their topics are relevant themes. When they gain that notoriety, the context to who they are is gone. When you listen to ‘Pink I’, you think “How does he go from this to that to that and that?” and that’s why I resonate with ‘Pink I’ the most.
NW: Your influence in fashion goes without saying. Who are some of your favourite designers?
LF: Youngers like SilkSyd. I think all the youth creating businesses especially, are my favourite people now because none of them give a fuck about high end clothes. At 19 or 20, no one is realistically getting Louis Vuitton, so you’re more likely to rummage around the artistic concepts of Syd. Any young person that says ‘I make clothes’ makes me inspired, because they want to put something out that is their own, just like I do with my music.
NW: You have a great relationship with Matthew Williams; Why do you think that friendship has flourished over the years?
LF: I’ve known Matthew through Skepta, and since then, we’ve done loads of work together. I’m such a fan and in awe of the way he does things. When a designer makes clothes, it’s fascinating to see how other people use their style from their work and bring it to a new level. I see that connection within the relationship between me and Matthew, as well as being great friends.
“ 平等，一切都應該平等。沒有階級主義、部落主義、種族主義——沒有主義。 ”
NW: Speaking of collaborators, another individual that is evident in your music and style is Dagye - Where did your bond with the designer come from?
LF: I’ve known my brother for a very long time, and through fashion. I’m a closed person whereas he’s someone that’s bubbly and outside and opposites attract. I’m close with him because he’s my eye or ears – There are certain things that I wouldn’t do if he wasn’t there, both in the music and fashion eye.
NW: With the all black leather aesthetic that you so infamously depict and channel, and people replicate through various platforms, how has that become something that is a part of you?
LF: That dark mode is my natural mode, yes, but the aesthetic is more a certain swag. I don’t try to make people stick to a certain thing as they are fans. I’d call my clothing theme ‘Mafia’ if we were to name something – Black and White, mafia tone. My purple look is the ‘LIFE IN HELL’ swag and it comes from how I move in life. If you ask Syd or Trench, those that I hang out with, i guess the vamp connection is more about the timings I’m at the studio for.
NW: You’ve been a leader in fashion since your entry into the fashion industry; What inspires you to go in a new direction fashion-wise?
LF: See, this is the funniest thing, I feel like I’m always going into a new direction. I do crazier things away from the public eye than in front of it. Again, there’s no one single inspiration, and I’m always shopping, and going on tour, interestingly, allows me to go into a new fashion direction. When I go different cities, I feel the need to fill in a gap and wear something unique. New York is one of my favourite places to get dressed and find a new swag.
這有點注定，這是一個過程，但你不知道這個過程是什麼。
P：是的，你不知道在遇到人的過程中會發現什麼。事情變大了。是上帝。這是上帝和工作。
除了音樂，你還會做哪些有創意的事情？
P：電影，我導演了很多音樂視頻。我可能會進入電影，這取決於我去那裡的雄心和意願。我真的很想現在開始。
你有造型師嗎？如果不是，它從哪裡來？
P：我只是在 Instagram 上，保存東西然後混合起來。
我們最喜歡你的項目之一是你的 2018 項目，你最喜歡創造它的時刻是什麼。
P：當我回到拉各斯時，我去了伯明翰和洛杉磯，那一次我決定放棄一個項目。然後我和我的表弟進行了一次談話，他告訴我“你必須放棄一個項目，放棄一些東西並了解你的聲音，就像你的單身人士正在流行一樣，你很興奮，但需要了解你的聲音”。太好了，一旦他說我很酷，讓我們走吧，讓我們開始吧。我有一堆我已經錄製好的音樂，去倫敦錄製 2 首歌。去拉各斯，開始和我的孩子們一起錄音，雨果，然後我們有兩個。現在我們可以舉辦一場表演了……我很生氣，我討厭行業政治，如果我們努力工作，你就能努力工作，讓我們去吧，讓我們抓住這個機會。我和我一起去參加一個表演行業 n****s tryna f**K 我很生氣。但演出結束後，我很生氣，我去了他的工作室，告訴他給我演奏一些東西，那個節拍讓我感到最快樂。拉起
Full Look: Mowalola
“如果我還在做音樂，我認為自己是在尼日利亞從事音樂工作的山羊之一。”
You have had many sold-out shows in the UK and US, is anything different for you performing oversees?
In the UK, they know properly what I’m saying and what I’m representing. For example, when I say on ‘DON’T TALK’, “Stop tryna match promoting your baddie, she not even black don’t talk”. They understand it immediately, but in the US, they just rage out and enjoy. In the UK, we’re cultural – African, Caribbean, White, we’re from everywhere.
You’ve previously discussed the diverse range of talent in the UK, but we see you as a vanguard in a whole new wave coming from the city, how would you describe the lane you have built for yourself and others?
I think I’m the wrong person to answer that question because sometimes I’m not as aware. I may have a bigger impact than I think, but I need 200 versions of me to be seen as being a vanguard. I see myself in Fimiguerrero and other upcoming young artists as they’re so sick and talented. There’s 200 of Fredos, Daves and DBEs and until I see 200 versions of myself, I can’t really see myself being that leader. I can’t tell my impact just yet. I feel it coming though, as these young artists come up to me and say how in awe they are. I’m just like that with Skepta, Gucci Mane and David Bowie. If a lot of people can take something from you and you are that influence, you can then say you’ve built that legacy.
NW: Your bond with Leomie is extremely strong, what trait of hers do you try to apply more to how you approach life?
LF: She’s very personal and very good with people! I need to learn to be better with people socially to be fair, as I’m very to myself. She’d talk to everyone; she has a very good attitude in public places, and she is a very public person. I admire that a lot about her.
NW: Talk to us about your creative relationship with Skepta. What is your favourite song you have collaborated on? After you created that song, how has that solidified that relationship?
LF: It’s a song that’s not out yet, the lyrics are deep too. I remember, he called me a year after we made a song together and expressed how touching a lyric was to him. Ever since then, we’ve been close.
NW: Speaking of Life, how is Life in Hell?
LF: Amazing. Honest. True. It’s something we should all look for. Your worst days are really your best days. If something is terrible on Wednesday, by Sunday, what do you remember? Everything; and you come from that place to be in a better one.
為什麼您認為來自尼日利亞的新音樂家保持聯繫和經常合作很重要。
P：對我們來說賺錢很重要，第一。我們是同時來的，這讓我們走到了一起。我們肩負著同樣的使命，將人們與非洲音樂聯繫起來，向他們展示這是我們國家的一個新時代，我們都互相支持，也激勵著彼此和其他藝術家。
你們中的很多人現在都在發光，但有些人可能會迷失其中，那就是製作人。您經常合作的製作人有哪些？
P：Higo、DARE、Adey……很多與我合作的製作人都是我上台時遇到的，他們所說的製作人迷路或落後是真的，但這一代的製作人，他們正在為之奮鬥他們的權利......他們都太棒了，我覺得他們的名字和品牌將在全球傳播。隨著我的成長，我的人會和我一起成長。
你的另一個元素是你的視覺效果，你說你了解你的電影。告訴我們像 TSE 這樣的人以及你喜歡和他一起工作的原因。
P：我從他們開始，他們了解我的願景，不僅僅是圖片和視覺，而是一切，一切的外觀和感覺……我是我們國家的藝術鬥士，我的人民、視覺團隊、製作人都擁有那同樣的心思也為之而戰。
離我們很近的人是 Chuka Nwobi，他也和你一起工作，和他一起工作感覺如何？
他是我的兄弟，對藝術最有熱情的人之一，我認識的人中最有熱情的人之一。他是最年輕的人之一，但即便如此，我仍然和他說話。我們合作過很多項目，他在“Dey Go Hear Weh”視頻中發揮了重要作用。
你是一個很有表現力的人，你多久換一次頭髮顏色？
P：每個月
你談到製作音樂來觸及政治話題等。對你來說最重要的一些社交事情是什麼？
平等，一切都應該平等。沒有階級主義、部落主義、種族主義——沒有主義。每個人的機會均等是我最喜歡的事情。
NW: What have been the defining moments in your career? Your progress is seen to be extremely significant!
LF: I’m very self-critical. People may say that me having sold out shows should be defining moments, but no. I want to do Wembley, I want to do O2 Arena, so I don’t have that defining moment yet. I have a few more chapters in the story that is my career. When I do get sold out dates in those arenas, I’ll come back and answer yes to that question. I feel like I’ve been held back from how fast my career has been going too.
NW: On Elon Musk you mention “that song you say, the level I play is the hardest one”, What are some of the most difficult things you have encountered competing at the highest level?
LF: I mean, just realising that this game is not based on talent or on how good your song is. It’s everything else, particularly that for everyone, the game is not forever, that’s the hard part. I want my music to be forever, but I think the more we evolve as people, the less time songs survive. Some people aren’t lasting 50 plus years, and to defy that, you have to work and put your music out faster as an artist now. Back then, an artist can drop 5 albums in 10 years. Now, you must drop 5 albums within a year to be on that same level of recognition. If you want to thrive, people have to know a lot about you.
Vest, Sukokudo
Mesh Top, Natasha Zillow
Trousers, Bianca Saunders
Chains, Feather Pendants
Shoes, Artist’s Own
NW: ‘FIRST DEGREE’ came out of nowhere with the most abrasive energy. What caused the energy behind songs like ‘MURDER TALK’, ‘DON’T!’ And ‘BIPOLAR BAG’?
LF: Well, a lot of people that don’t make music would tell me things about me! Also, when you have a clear head, you start looking at things differently – You can hear things but don’t listen, and lately, I’ve started to listen to more things and realised that a lot more people than I thought are wrong.
NW: Songs like ‘I KNOW’ are amazing offerings, you have previously said you preferred performing these songs to your more up-tempo records. What do songs like that do for you?
LF: Those songs are real songs. I feel like rappers talk about the fun stuff, which I get but, when you live that life, it’s boring. So, with ‘I KNOW’, I do miss being in the car with tons of jewellery on, loads of girls and whatever, but there’s something deeper that I know I can change in my conscious. For example, when you come back from a party, you wonder if there was even any need in going or not…and it’s that type of conversation that you have to have with yourself, which I love having all the time.
NW: A monster single on that project is ‘SWEET!’, if you were to create a visual for that song, what would it look like?
LF: I would want to be in the Middle East with loads of women driving G-Wagons with no doors, and don’t want to go further because I don’t want to disrespect culture, but we would be having the sickest time. It would be extravagant; it would just be fun. I want my G-Wagon to do a 360 wheelie and everyone hanging on to dear life! I with the chaos but also doing it in the best outfit.
NW: Leomie Anderson was our cover star for our last issue, she said 25WAGG3DOU2 is on her playlist for shoots - If you were to make a 3 song playlist for her of your songs, what would they be?
LF: She likes ‘GIRL A GUN’ and ‘I FEEL LIKE I’M ME’. She really likes the fun songs.
“如果我還在做音樂，我認為自己是在尼日利亞從事音樂工作的山羊之一。”
我們看到您擁有很長的職業生涯並領導著新的藝術家。在接下來的 10 到 15 年裡，你在哪裡看到你自己和你的手藝？
P：10 年後我想在哪裡……該死，我會老[笑] 我看到不同的東西，但我認為自己是在尼日利亞在音樂上做這件事的山羊之一，如果我還在做音樂的話.如果我不是，我將擁有一位藝術家，但仍然是有史以來最偉大的藝術家之一。 10 年後我可能會拍電影。也許在我的腦海裡，我可能會試圖獲得奧斯卡獎。那時我認為自己是泰坦，一個家喻戶曉的名字——它甚至不會是我的藝名，而是我的真名。
令人驚嘆，希望製作能被世界記住的一代電影？
P：是的，只是想成為娛樂界的巨人。我不認為自己在商業上有什麼表現，但我會把手伸進去，我知道我會去拍電影。到那時，我認為我不會成為焦點，但我的電影會。
