BandWagon Magazine - August 2023 - Afroman

NOT A TOY PRBLMS

adulthood is likely a hard-hitting one for every listener, while tracks such as “Nervous” & “Say So” delve into themes of young love and relationship challenges, making the album relatable and heartfelt.

NOT A TOY’s new album, PRBLMS, is a thrilling, genredefying gem. Lead singer and producer, Brandoon Hoog, brings a unique vocal timbre to every track, delivering an authentic sound, while exploring an array of musical styles. To put it simply, PRBLMS is versatile. By seamlessly blending rapinfluenced verses, catchy pop melodies and dance patterns, NOT A TOY crafted a body of work that is both comprehensive and dynamic. Each track, and the album as a whole, is meticulously arranged, effortlessly transitioning between sonic styles and themes. "Grown Folk Problems’" introspective themes of growing up while resisting

The poignant trumpet solo in the post-chorus of “Soul Slippin’” so beautifully creates a soothing atmosphere for the listener to immerse themselves in the song's sorrowful, heavy message. Two tracks down, one of the album’s key stone moments takes shape on “DIE W/ U,” when the production switches up altogether, artfully taking a dark turn with heavy, spatial production. NOT A TOY introduces a fresh blend of rock and rap on the final track, “Gutter Kid,” ending the album on a high note, at least until listeners click on track one and experience it all over again. PRBLMS is a polished and radio-ready album that showcases NOT A TOY's exceptional talent and musical vision. Every moment felt real, and the band visited each musical motif for the perfect amount of time before guiding the listener to a totally different space in their journey through what may be the best album to come out of Denver this year.

Landon Ungerman BandWagon Magazine

AFROMAN IS RUNNING FOR PRESIDENT

(NO, SERIOUSLY)

BY KYLE EUSTICE

When people picture a presidential candidate, Afroman certainly isn’t the first person to come to mind. His suits are typically covered with marijuana leaves, he carries a gold chalice with him nearly everywhere he goes—which he calls his “Pimp Cup”—and his Instagram page isn’t exactly family-friendly. But despite all odds, the “Because I Got High” rap phenom has indeed thrown his hat in the 2024 presidential race. Afroman filed the necessary paperwork in April with the encouragement of a few investors.

“I got these wealthy, hippie guys investing in me,” Afroman explains to BandWagon. “They got so much money, but they look like bums. They got flip-flops on and dreadlocks, and they're cool as hell, man. But then they're so smart. You look at 'em and their intelligence and it just throws you off. It's just awesome to be around.”

What started as a joke soon evolved into something much more serious. The investors initially suggested a fake presidential campaign would be a “really good” publicity stunt to get more eyes on Afroman and his music.

“At first I was like, ‘Dude, get outta here. Whatever.’” he remembers. “Then I started thinking about it and what if I actually ran. There's so much racism and hate in America, I’m thinking there’s no way I would make it. So it started looking fun to kinda enjoy it with people.”

Afroman got to work on a poster with a tagline that read, “Make America Pay For Slavery,” a play on Donald Trump’s infamous “Make America Great Again” campaign.

“I was just gonna go full dumbass just to be funny as fuck,” he says. “Even if I lost the presidency, I would still be a higher caliber rapper than what I am right now. I would not just be the ‘Because I Got High’ guy. I'd be like the ‘Because I Got High’ guy who ran for president. It’s the cherry on the milkshake.”

But then something strange happened. People were approaching Afroman, shaking his hand, asking him to fix the roads and tackle other community needs and “they weren’t laughing.”

He says, “People were taking me serious to the point I gotta take myself serious. Now, I really gotta do this.”

As an advocate of marijuana, legalizing it on a federal level would be a huge goal for Afroman. He also wants to address the housing crisis, inflation and the corruption in law enforcement.

“I believe I can improve America’s economy,” he says with confidence. And he has an actual website with a quote from his campaign manager, Jason Savage, who writes, “There comes a time in the course of human events when change must be affected. That time is now. Americans are suffering, and the status quo is no longer acceptable.

“We need a candidate that is truly elected by the people, and for the people. We need a man that can step up and lead with a firm hand. The people are starved for a Commander in Chief, that leads from a place of love and not hate. In these dark times, we need a leader that truly embodies the American dream. It is my immense honor and pleasure to formally announce Afroman as an independent candidate for President of the United States of America.”

By all intents and purposes, this is serious. There are eight priorities listed on the website, including decriminalizing marijuana, criminal justice reform, law enforcement reform, halt of all foreign aid, reparations, unity, love and peace, more sports celebrations and legalization of prostitution. But he’s going to need a running mate.

“Don't take me too serious right now, but I'm tripping on people who you think are stupid but are actually really intelligent,” he says. “Don't laugh too hard, but I got my eye on Flavor Flav. I haven't thought too much about a running mate yet, but Flavor Flav is who’s been popping up in my mind. You think he's dumb, but he's smart and he kinda like me. People think I'm dumb and sometimes I don't mind ‘em thinking that. I don’t wanna blow my cover. But yeah, my vice president would be kinda wild.”

THE POWER OF THE ONE

PARLIAMENT-FUNKADELIC

ICON BOOTSY COLLINS ROCKS F O C O

BY KYLE EUSTICE

Bootsy Collins and his wife Patti strolled into Room 373 at Colorado State University’s Lory Student Center on July 12 looking like the rock star couple they are. Bootsy was sporting a black top hat and his signature star-shaped sunglasses, while Patti was rocking heart-shaped shades and jeans with Bootsy’s face airbrushed on to the denim, an unmistakable symbol of her unwavering commitment to her husband of nearly 30 years. The legendary bass player—most famous for his role in Parliament-Funkadelic and stint in James Brown’s backing band, The Pacemakers—was quick to smile and noticeably lacked an heir of pretentiousness that sometimes comes with music icons. But he’s no ordinary artist. Bootsy and his wife were in Fort Collins as part of Music Will’s Modern Band Summit, a three-day professional development conference for music educators from

all over the country. Bootsy served as this year’s keynote speaker, offering his vast experience in the music business as inspiration for all those who attended.

Music Will, the largest nonprofit music program in the public school system, was founded by first grade teacher Dave Wish in 2002. Formerly known as Little Kids Rock, the organization asked Bootsy to visit a middle school in New Jersey roughly 10 years ago—and that was it. Bootsy quickly fell in love with the students and Music Will’s mission soon became his mission.

“When I saw those kids eyes light up, they were just on a vibe that I was used to when I was coming up,” Collins says. “I was used to being in a classroom with kids who were all there for the same purpose—to learn how to play. Everybody was just so excited. It just reminded me of myself and the way I came up. To see young kids into music and live instruments, that was a joy.”

Collins, who retired from live performing in 2019, was also encouraged by the camaraderie he was seeing among young band members.

“IT WAS A REMINDER I STILL GOT HOPE,” HE SAYS. “ONCE YOU GET AWAY FROM BANDS AND PEOPLE PLAYING TOGETHER, THAT’S ANOTHER WORLD FOR ME. I DON’T KNOW THAT WORLD. SO I’M KINDA TIP TOEING AND OBSERVING ‘CAUSE I DON’T KNOW THIS NEW WORLD. I AM NOT SAYING IT’S SOMETHING I HATE, IT’S SOMETHING I’M TRYING TO EMBRACE BECAUSE I HAVE TO. IT’S ALL ABOUT LEARNING. WHEN I LOOKED IN THOSE KIDS EYES, AND THEY WERE JUST LIKE, ‘WOW,’ I WAS WOWING THEM AS THEY WERE WOWING ME. THE EXCHANGE WAS JUST SO BEAUTIFUL.”

Bootsy was able to look to his older brother, Phelps “Catfish” Collins, for guidance. Catfish, who was eight years older than Bootsy, was already in a band by the time Bootsy was old enough to understand being a musician was something he wanted to pursue.

“He was out experiencing this stuff that I was excited about,” he remembers. “He got to experience it, and I got to look at him and get the vibe from him. Whatever he was doing out there. I loved it—and that guitar looked awfully cool. It was one of those things where I just gravitated toward it as a kid. Being a kid in a fatherless home,

quite naturally, I looked up to my brother. He inspired me, not by sitting down and talking to me but by his actions. That’s where I kind of learned everything, just watching and listening.”

But Bootsy needed his own guitar. At 9 years old, he asked his mother if he could get one from the local Sears, but it cost $29.99. In 1960, that was a lot of money for a young family. But Bootsy was determined—and so was his mother.

“It was considered the ugliest guitar in the world,” he says with a laugh. “But I thought it was the most beautiful thing. My mother was just so dedicated to whatever I was dedicating myself to. She always supported me in whatever I was doing. And she actually knew she couldn't get it on credit, but she was willing to take that chance to go with me to get embarrassed, but she at least wanted to show her son that I'm supporting him.”

As they approached the salesman, it quickly became clear they were going to have a fight on their hands.

“We went up there and the guy said, ‘Well, I'm sorry. We can’t do it on credit.’ So then me, I’m 9 years old, and I'm talking to the man and explaining to him why he should give us this on credit because I will pay for it. I’m like, ‘I'm gonna pay for this. I’ll come up and pay you every week, and he took it to heart. He actually went against policy rules and he did it. And guess what? I went up to him pay him 50 cents a week. I made $2.50 on my paper route. So I was dedicated to whatever I said I was gonna do.”

Bootsy says that kind of commitment is sometimes missing these days, but it’s “part of all of that hope we all are looking forward to.” He’s intent on using Music Will as a vehicle to teach kids the value of hard work both in and out of the classroom.

Bootsy and Patti have their own initiative called Funk Not Fight. As the name suggests, the organization aims to replace violence with music. In May, Bootsy hosted a panel at the Rock & Roll Hall of Fame in Cleveland, Ohio—not far from his hometown of Cincinnati—where he unveiled plans for the inaugural Funk Not Fight hub in partnership with The Bootsy Collins Foundation and The Village, a local community organization that supports the youth in the Cleveland area. The Funk Not Fight hub will feature a variety of services for young people, including a music studio for blossoming musicians to learn and explore as well as access to certified professionals as mentors.

“We gotta funk it up,” he says with a smile. “That’s really what it is.”

BEN CHAPMAN THE TRAIL TO AND FROM NASHVILLE

BY LANDON UNGERMAN

The heart of country music lives in Nashville, and Red Dirt Country artist Ben Chapman is capturing the heart of the city after his last two records and national tour with Lainey Wilson. With his recent successful album, Amber Sound, Vol. 1, and an upcoming tour in August, the singer-songwriter is set to bring his unique sound to Denver, Greeley, and Casper, accompanied by rising star and… roommate of all things, Tyler Halverson.

While on the road with Lainey Wilson this past year, Ben Chapman had an itch to put out something totally new for all the new faces in the tour’s sold out crowds. In an ambitious move, Chapman told his road band, "Let's go in and make a record." After just two days crafting the album, what resulted was a collection of groovy, feelgood tracks that resonated with fans. It was a unique experience for Chapman, who had always wanted to record with his road band, and it allowed him to showcase their chemistry and passion for their craft.

After sharing his new music with the country in the opening slot on the sold-out Country With A Flare Tour with Lainey Wilson, Ben would head backstage and revert to the true student and fan of country music that he’s always been. Watching Wilson's sets from the side stage turned Chapman into a fanboy, as he geeked out over how she moved the crowd. “Every night I was a fan,” he tells BandWagon.

Chapman's journey started with self-taught guitar lessons and frequent gigs at obscure, local venues, in Lafayette, a small town in Georgia. These beginnings, though sometimes challenging, shaped Ben’s work ethic and determination to reach bigger stages. “I was like, ‘Man, am I doing this right?’ You start to question yourself, but you just keep plugging along.” He firmly believes that when one door closes, another one soon opens, and his unyielding passion for music eventually led him to Nashville. Inspired by guitar pickers he watched in the Nashville bars during his childhood vacations and the advice of his “musical father,” Channing Wilson, Chapman made the move to Nashville at 21, setting his career on a new trajectory.

On 8th Ave of The Music City, Chapman's successful residency at The Basement, called "Peach Jam," has been groundbreaking for him and his collaborators. The small venue, with a capacity of around 150 people, stretches its walls every few months as 175 people squeeze in to enjoy what Ben Call’s “a mini Nashville in Nashville.” What started as a way to introduce Chapman to the Nashville music scene turned into a monthly event featuring high-profile guest artists including Hayes Carll, one of Chapman's heroes and a standout guest of the show.

The event has allowed Chapman to present his records in a personable, authentic way, including his debut project, Make The Night Better. Ben’s first true champion in town, producer Jake Gear, collaborated with him from start to finish on the album, marking the beginning of Chapman's journey in Nashville. “At the time I didn’t know what I was doing, but that’s the beautiful thing about the record. It was my first Nashville recording, and it was amazing.” The rawness and authenticity of the album resonate with fans and first-time listeners alike. As Chapman's artistry evolved, Amber Sound, Vol. 1 brought a new dimension to his music, but his journey is far from over. He's currently working on a new project with Anderson East, one of his musical heroes. The collaboration promises to be organic and powerful, drawing from both artists' strengths and passions. Then, The Out West tour throughout August will keep Chapman busy, and fans can expect an exciting mix of fresh tracks and beloved favorites.

For his upcoming shows in Denver, Greeley, and Casper, Chapman promises a night full of surprises and new material. This will be the first time both him and Tyler Halverson perform together with full bands, despite their long history as show partners and roommates. Chapman guarantees that no two shows will be the same: “Come for the fact that there’s no telling what’s gonna happen.”