I recently introduced my little nephew (he’s 2) to Kris Kross, and he absolutely loves them. Watching him bounce around to “Jump” sent me down a rabbit hole, and I ended up learning way more about the duo than I ever knew before. What started as a fun moment with my nephew turned into a genuine appreciation for what Kris Kross represents in Hip Hop history and a newfound respect for Jermaine Dupri as a producer and songwriter. The man KNOWS talent. I mean, he did give us Da Brat, Xscape, and Lil Bow Wow.

Kris Kross was a young rap duo that debuted in the 1990s, a period when Hip Hop was still in its early stages of crossing over into mainstream American culture. The group consisted of Chris Kelly and Chris Smith (aka Mac Daddy and Daddy Mac), two stylish middle school-aged boys from Atlanta, Georgia. They were discovered, while sneaker shopping, by producer Jermaine Dupri, in Atlanta’s Greenbriar Mall in 1990 (some sources say 1991). After recognizing their charisma, confidence, and star potential, Dupri decided it would be a great idea to turn them into a rap group. It led to him developing the concept for their debut album Totally Krossed Out. The album, written and produced primarily by Dupri and Joe “The Butcher” Nicolo, spawned the hit “Jump,” which became the fastest-selling single in fifteen years at the time and remained at number one on the Billboard Hot 100 for eight weeks in 1992 (Kennedy, 2013). The follow-up single, “Warm It Up,” also reached number one. Two more singles, “I Missed The Bus” and “It’s A Shame,” followed with moderate success. The album itself reached No. 1 on the Billboard 200, remained at the top for two weeks, and stayed on the chart for a total of 65 weeks. It was later certified 4x Platinum by the RIAA, representing over four million copies sold in the United States.

Their youth made them non-threatening to mainstream radio audiences that had previously resisted rap music. This allowed Hip Hop to reach younger and more suburban listeners. Kris Kross became a fixture on radio, television, and music video networks, solidifying their place in popular culture. Their widespread visibility, chart success, and cultural influence mark them as a defining piece of the popular culture of the early 1990s.

Kris Kross can be analyzed through a semiotic lens by examining how their image, music, and fashion functioned as cultural signs during the early 1990s. They popularized the trend of wearing clothes backwards, a style that children across the country quickly adopted (Hip Hop Content, 2024). This fashion choice signaled youth rebellion, non-conformity, and playful defiance of adult expectations. These meanings were socially constructed through repetition in music videos, performances, and media coverage. Their success helped reshape how Hip Hop was presented to mainstream audiences by emphasizing fun, youthfulness, and accessibility rather than heavy aggression. Kris Kross contributed to the entertainment industry by helping to normalize child and teen performers in mainstream Hip Hop, paving the way for artists like Lil Bow Wow and Lil Romeo to be taken seriously. In terms of social representation, they presented young Black boys as creative, stylish, and commercially powerful figures, challenging pre-existing negative stereotypes.

The primary audience for Kris Kross consisted largely of children and teenagers, though their appeal extended to adult listeners through mainstream radio and television exposure. Young fans interacted with the group not only by listening to their music but also by imitating their style, particularly their backward clothing, which became a visible and social form of participation. This transformed everyday fashion into a performative expression of fandom. While fandom during this era did not exist through online communities, fans expressed devotion through embodied activities such as schoolyard performances, dance routines, and reenactments of the group’s image. Merchandise, magazine features, and televised appearances further reinforced identification with the duo. Fan engagement was largely collective and social, occurring in classrooms, neighborhoods, and youth-centered spaces. Together, these behaviors demonstrate how Kris Kross’s fandom operated as a youth culture rooted in physical presence rather than digital interaction.

Media technologies played a major role in the production, distribution, and consumption of Kris Kross by extending their presence beyond music into multiple media formats. Television platforms like MTV helped popularize their image through music videos, while print media, live performances, and mainstream advertising reinforced their visibility and expanded their reach. Heavy rotation on programs such as Yo! MTV Raps increased visual familiarity and strengthened audience connection. In 1993, Kris Kross appeared in a Sprite television commercial, signifying their crossover into corporate branding and demonstrating how Hip Hop artists were increasingly used to market consumer products to young audiences. The group also became part of an early transmedia franchise with the release of Kris Kross: Make My Video in 1992, a video game that allowed fans to interact with the group through gameplay (Make My Video: Kris Kross,1992). This expansion into interactive media illustrates how emerging technologies deepened audience engagement. Media convergence blended music, fashion, television, gaming, and advertising into a unified cultural experience. In addition, Kris Kross toured internationally as an opening act for The King of Pop, Michael Jackson, using large-scale concert tours as another media channel to reach global audiences. Through international tours and music television networks, Kris Kross reached audiences across Europe, Asia, and other regions, contributing to the globalization of Hip Hop as a mainstream youth culture.

But what is Hip Hop without the beef? Going down this rabbit hole, it became clear that Kris Kross had real tension with Another Bad Creation and Da Youngstas. Listening back to the lyrics as an adult, it is obvious that they were dissing them, especially with the lyric, “Don’t try to compare us to another bad little fad...” Apparently, this stems from a beef between Jermaine Dupri and Michael Bivens, but that’s another story for another day. However, the beef went deeper than just Kris Kross throwing shade. The Philly duo Illegal came after Kris Kross hard on their 1993 track “We Getz Busy,” produced by EPMD’s Erick Sermon. Jamal Phillips and Malik Edwards were only thirteen at the time, but their music took on a harsh, bleak view of life that felt completely removed from Kris Kross’s lighthearted, mainstream-friendly vibe. Line after line, Illegal targeted Kris Kross with insults like “can’t write your own rhymes, sellin’ Jermaine’s life stories,” while also dissing Da Youngstas and Another Bad Creation. An article from The Boombox notes that “We Getz Busy” was their second diss track aimed at those groups and the only one of their songs to reach No. 1 on the Hot Rap Singles chart. The twist is that Illegal broke up just two years later, with both members eventually moving toward more commercial music. As The Boombox suggests, it is possible they launched those beefs because, on some level, their rivals embodied the success they craved for themselves.

Looking back at all of this with fresh eyes, thanks to my nephew’s enthusiasm, I have a whole new appreciation for what Kris Kross accomplished and what Jermaine Dupri orchestrated. They were not just a novelty act. They were cultural architects who helped mainstream Hip Hop reach places it had never been before, all while navigating the very real competitive tensions that make Hip Hop what it is. The story is also bittersweet because Chris Kelly (Mac Daddy) passed away in 2013, and it is heartbreaking to think about how much more he might have contributed to Hip Hop and popular culture. Rest in peace, Mac Daddy (1978-2013).

- Bisawonder

Sources

Breihan, T. (2012, January 12). The number ones: Kris Kross’ “Jump” Review of the song “Jump” by Kris Kross. Stereogum. https://stereogum.com/2172381/the-number-ones-kris-kross-jump/columns/the-number-ones

Channel 80. (2025, September 18). Kris Kross drops a freestyle on “Yo! MTV Raps” (1992) #kriskross #90srap #onehitwonder #freestylerap [Video]. YouTube.

Fuzzy Legends Archives. (2023, December 23). Kris Kross Sprite commercial 1993 HD [Video]. YouTube.

Hip Hop Content. (2024, February 21). The tragic story of Kris Kross [Video]. YouTube.

Johnson, A. (2025, January 18). Have you heard of Kris Kross? These 90s teen Hip Hop stars endured fame and tragedy. The Root. https://www.theroot.com/have-you-heard-of-kris-kross-these-90s-teen-hip-hop-st-1851741730/slides/7

Kennedy, G. D. (2013, May 2). Remembering Kris Kross’ Chris Kelly, and the power of “Jump.” Los Angeles Times. https://www.latimes.com/entertainment/music/la-xpm-2013-may-02-la-et-ms-remembering-kris-kross-chris-kelly-and-the-power-of-jump-20130502-story.html

Kris Kross – Totally Krossed Out Album. (2025). Discogs. https://www.discogs.com/master/102220-Kris-Kross-Totally-Krossed-Out

Make My Video: Kris Kross Video game. (1992). LaunchBox Games Database. https://gamesdb.launchbox-app.com/games/details/4802-make-my-video-kris-kross

Partridge, K. (2024, June 18). When Kriss Kross launched a backward clothing trend. Mental Floss. https://www.mentalfloss.com/entertainment/music/kriss-kross-backward-clothing-trend

safraducreay. (2018, July 18). Illegal’s Feud with Kris Kross + Other Groups: Was it Worth it?. The Boombox. https://theboombox.com/illegal-beef-kris-kross-we-getz-busy/

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I grew up appreciating music from the 1970s even though I didn’t grow up in that era. There’s a certain magic in those records that moves me in a way that’s hard to explain. From Stevie Wonder to Aretha Franklin, all the way to Ann Peebles… I love it all. Every time I listen to music from this era I get inspired to create. It’s like fuel for my imagination.

If I could time travel, I wouldn’t even try to fix the future. I’d just go back to the 70s and be a fly on the wall while these artists were recording. I’d sit in the corner of the studio and soak it all in. The raw vocals, the analog warmth, the live instrumentation, the honesty in the lyrics. That type of music is alive. It breathes. It speaks to your spirit.

I made this playlist as a little time machine. A sonic trip to a time when artists really sang. When people weren’t afraid to be dramatic, emotional, and experiment. No skips. No fluff. Just real music. Press play.

Background and Vision

• What inspired you to establish NoOx Worldwide, and how did your journey in the music industry begin?

NoOx was established organically within the community of creative people and professionals I had and have around. When I understood that what I was doing 24/7 was not only a passion, but a job and not music but a mission, I thought it was the right moment to “formalize” the project under a brand.

There were needs that are still to be answered and NoOx could support through music and its business to fill the gaps on its very humble dimension.

My career in the music industry started from my background: as a dancer, in the Hip Hop culture and Dancehall, Tap Dance, I could not miss the music side and lifestyle of them. Music was always at my side within the community and the activities I was engaged with (events, jams, festivals).

I have begun to study and I have graduated in Arts & Events Management, firstly ‘cos I wanted to know how to earn money as a dancer and secondly ‘cos I liked the cultural project management.

My own stage started by experimenting with Event and Artist management in the field of music and community engagement / social innovation back in 2017.

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• Can you elaborate on NoOx Worldwide’s mission to bridge Italy, the Afro community, and Sub-Saharan Africa?

NoOx firstly understood that there were gaps in the Italian music industry, such as no representation of the Afro Community. Today NoOx is about the Afro Community, more over the Afro Urban sound and the New Generations’ ones.

With New Generation we intend all those people to feel part of the world, embracing diverse contexts, origins, communities and lifestyles.

Now, as the representation gaps are still a big problem, creating models by investing in new markets (such as the Afro Urban one), since 2018, supported opening up to more creativity and courage to create with diverse music moods and styles (not only the “I am black so I have to produce hip hop” or “I am Italo-italian and I have to sing melodic melancholic songs” kind of dynamics).

One of the missions, firstly, was to bridge back to the origin, so we started visiting Senegal, with F.U.L.A. (Senegalese-Italian artist) to recover roots, back in 2019.

After that, we understood that we might have worked with Senegal as a territory and music market to export from Senegal to the world.

So bridging cultures now means cross-culturals collaborations and intersections of point of views (contexts, origins, sounds, markets, people…):

• working within the italian / European New generation’s music market

• working within territories, creatives and professionals in Africa

• working with a Worldwide network of creatives and professionals and connect them

• bridging all of above

When bridging we have to keep in mind decolonization and de-stereotype of storytellings, the de-western centralization of what comes from Africa, the New Generations’ communities and the world.

That means working out fairness in music, such as mobility (visas, fundings, opportunities), intersectionality and valorization of cultures (songwriting, compositions, artists’ rights, intersectional line ups, biographies, creative directions…)

You see? Social innovation comes where music starts. For someone it is very easy to just make music and create a career (and internationalize it), for someone else, before making and selling music another job has to be done and it starts from the first layers of socio-political and cultural environment and systems.

So from Management only, NoOx became a label, a creative (and strategy) direction, a project management, a music consultancy, a platform, an innovative start up.

All in the name of music and community!

More: brochure NoOx // https://linktr.ee/noox_management

Afro Urban Music and Cultural Integration

• As a pioneer of the Afro Urban music market in Italy since 2018, what challenges and opportunities have you encountered in promoting this genre?

The first examples of Afro Urban sounds in Italy come from the first part of 2000 with the sound-systems and the dj sets by the seaside and in the squats/social centers, evolving to a more “commercial” approach in 2017 till now.

I remember when I was a teenager, jumping in squats/social centers’ parties and clubs, dancing to African urban music and observing that some artists were beginning to write and songwriting music in Italian on the same beats I was used to dance on, starting from Reggae and Dancehall sounds.

When I officially entered the music industry as an Artist manager, I found myself surrounded, naturally, by Afro-Italian artists and creatives, who as a community, were pushing and supporting each other. This was mainly happening in Milan, as the number 1 meeting point for the Italian music artists.

Tommy Kuti had just released Afroitalian through Universal Music and the community was feeling really inspired. This was a very first and shy attempt to what we call today the Afro Urban Italy.

Before the pandemic, with F.U.L.A., my very first Afro Urban artist in the roster, we decided to travel to Senegal to make the very first creative direction in Senegal of afro-italian songs. We came up with two videos who made a little part of history: Maldafrica, with an Afrotrap/ Coupe decaler spirit and Sabar, more Afrobeats sided.

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When the Covid came we thought that it could break the wave we were creating, but, actually, that left more space to create, network and build that bridge in between the diaspora and the origin continent, starting from Sub-Saharan Africa.

Just right at the end of the lockdown, which touched Italy in a very strong way, there were demonstrations for the Black Lives Matter movement (after the death of George Floyd) in Italy and many other topics concerning equality rights and immigration. That time expressed a very important moment for the development of Afro Urban music in Italy: the music of the artists was a proper anthem of that period, with LVDUP of Equipe54, for example.

A green flag of that was also Spotify that finally included some Afro Urban songs inside some editorial playlists such as New Music Friday (a kind of miracle!).

After that, gradually the vibes expanded and many artists, authors and composers started feeling they could go out of their comfort zone of the Hip Hop-ish/Urban sound and get into new vibes.

The interesting part, in my opinion, comes with the fact that new generations of Italians could express their origins, backgrounds and even international influences. Many artists, authors, composers and dancers, with no Afro/African origins are now vibing and experimenting on these new sounds.

It is not possible to talk about a stable Market yet, till the big Majors, through labels, booking, promoters and the whole powerful stakeholders system won’t fall for the amazing world of Afro Urban music. Development needs bulky investments from the top levels.

Although, lately, thanks to influences and good economical data coming from diverse markets and diaspora communities (UK, USA, FR), the Afro Urban sound arrived in Italy, intriguing and tickling the elitarian music industry, even tho it still seems very distracted (or not aware) of the international events that bring the A.U. to settle in pole position in charts and awards.

From Beyoncé to Black Panther, the Grammys and Coachella, the Afro Urban sound conquered features and co-creations, stages and runways, brands, radios, magazines and tv.

In Italy it is loud: the vibes of the Afro / African Diaspora, of the satellite communities, the natural and raw inclusion of diverse cultures, speaking in Italian, Wolof, Pidgin English, Yoruba, Patuah, Lingala (etc).

The audience exists and finally feels represented and wants to feel it more and more. It’s made of those that know and listen to international music. It’s that part of the audience free from the “pizza-spaghetti-mandolino” or “bananas-cabannes-tribal” kind of stereotypes.

An active, aware, cosmopolitan, Afro / African or not, fans of the expressions coming from the “black music” culture, dancers, high quality and diverse music lovers, its trends and their influencing powers through media.

The biggest communities in Italy have an African / Afro background and the inclusion of their influences in the society are naturally evolving together with immigration flows that enrich the native cultures by creating new crossovers.

Majors and big brand webzines are walking toward this “innovative” world, often without so much awareness, generalizing about a “genre probability influenced by ’RnB, or maybe Hip Hop (?)”, but it's “trendy-ish”. For example, as said before, the word “Afrobeat” has been used to refer to Afrobeats (see above), always ( or very suddenly) forgetting about that fateful “S”.

Small and medium realities, in diverse areas and roles of the music industry, profit and non, are borning as signs of change and desire of cooperation / coopetition, in the vision of reaching out the same and unique objective: regularize an expressive language that is still considerate as “diverse”.

To develop the market there is still a need of entrepreneurs that invest in the Afro Urban market and in its entertainment world around.

Research and development, constant growth and concretization of the international network, quality and awareness, international collaborations & placements (sync, brands…), export and internationalization (and the “S” in Afrobeats): these are the ingredients to conquer the italian and the international industry, in a non stereotyped, equal and inclusive way.

To name some of the Afro Urban Artists in Italy developing the style and the trends around it: Tommy Kuti, Slim Gong, Roy Raheem, l’Equipe54, Epoque, Abe Kayn, Mustik, Wade, Jeezus, Wado, Em, Heartman, F.U.L.A., Yves the Male Chantal and also Ghali, Rhove and many more.

Listen to the Spotify playlist “AFRO URBAN ITALY” promoting almost all the old and new discoveries.

• How does NoOx Worldwide work to represent Africa and its diaspora (and the new generations) beyond stereotypes, and what strategies do you employ to promote diverse sounds and cultures?

We work within the very deep side of project management (strategy and creative direction) working out strategies, communication and networking.

It is important who works behind the strategy and production and the creative idea, they might have the same vision such as the networking we want to collaborate with.

It is also important to work on breaking stereotypes starting from SELF DEFINITION and SELF DETERMINATION of music genres (I prefer talking about styles tho), explaining context to the other part we are negotiating with (as they might not know the diverse context in terms of market and approaches, for example). We work on lyrics and the freedom of writing in whatever language represents the artist (could be hybrid languages, for example Italian and Wolof, only Wolof or plural languages to valorize the plurality of identities).

If we want to open up a market we need to be part of the system but not compromising to it: we need the system to adapt to us starting from storytelling about us and not pointing fingers against it. It is a sort of cultural mediation that has to be done first. Also, avoiding opportunities of false communication is important and protection on behalf of artists’ rights.

Project management delves into diverse dynamics and initiatives, depending if the project has to be activated in Italy, another country in Europe or Senegal or Mozambique or whichever other country in Africa. The project has to focus on points of view in terms of perspectives, markets, approaches to the market, audiences, history, languages, etc.

For example we started a project in Mozambique, together with cultural hubs and creative arts university in which we are involved in a capacity building on a general music industry essentials first part and we specialize it to the local market (in the second part), together with creatives and executives from that market and we analyze it. After that, we understand how we could develop and eventually internationalize that same market from a worldwide perspective. The tendency is to “adapt” products to the other markets, de-valorizing their unicity and it is an obvious negative effect from the western centralized vision of the music market.

So that we need to redefine on a self perspective things such as: strategies, biographies, music styles, pitches, terminologies, data to showcase.

Another example to stress the importance of right partnerships:

we need to be able to self define music styles and other metadata (i.g. languages, country of origin) while distributing our music digitally on platforms to be included in the right playlists (if they exist) and to be listened to by the right audience (over-passing the algorithm). The choice of the right Digital Distributor will help out with data inputs and de-colonizing from a technical and promotional perspective.

The choice of a ‘good’, mentally and practically decolonized/deconstructed manager/producer/label/booker/etc will support in the promotion and valorization of the specific artist internationally, giving a coherent and upright representation of the artist and his/her career.

In a few words: we have to work on contexts and self determination, its valorization and positive impact - this is social innovation in music.

FIND OUT MORE:

AFRO URBAN MUSIC in Italy

The Afro Urban Italian sound, market, innovation through music, new approaches and languages.

AFRO URBAN is a term used to identify a specific music and style attitude, the Urban one, united with sounds, languages, lifestyles, symbolisms from the Afro descendant and African origin world.

In 2023 we, the young and innovative executives of the music industry, do not talk about (at least we should not) music “genres”. Creating music genres definitions would sound reductive, especially in musicology and in the music industry.

Better would be talking about music styles, giving space to mingles and fusions in between attitudes, origins, sounds, expressive languages and cross-cultural dialogues (and “crossovers”).

The “ethno-musicology”, differently from what was said before, declined the catalog of music in three diverse areas: “Traditional”, “Popular” and “Folk”. Later on, the class of “World Music” was added (taking it from Peter Gabriel’s Womad).

“Traditional” is meant for the written tradition music (the western classic music, the opera…); “Popular” stands for “pop” music (and the big funnel including both HipHop and Rock, for instance); “Folk” is the music linked to folkloristic traditions, shared orally (for example the Pizzica).

“World music” has its own meaning in the word “the music from the world”, and so all that music that could be Pop, Rock, Hip Hop, Folk, etc. but coming from “the other side and rest of the world” concerning a western centric vision of it.

I, as an innovative executive, dislike the ethnomusicological tone of voice and terms as it deforms, categorizes, defines and limits the artists in a sole and western-centric vision of market and music culture.

Going back to the term “Afro Urban”, in my humble opinion, could strongly embrace and largely include specific attitudes and choices (in terms of music and style). For example: the Afrobeats (with the “S”, as Afrobeat stands for a diverse music style), Amapiano, Afropop, Gqom, Wolof Beat / Mbalax Drill, Afro Rave, Coupé Décalé etc.

It is quite easy to find people who still use the terminology “World music”, especially “old” white guys in the industry, and many who don't. Ok, many artists through their creations are from the world but that original world has peculiarities and specifics, that can be Afropop, Afro Experimental Jazz, Afro Soul, Afro House, etc…So: why generalizing that much as “anything that has not Western origin is world music”?

Also, it is kind of generical to include all kinds of music coming from the Afro Urban artists under the umbrella-term “Afrobeats”, as not all of them practice (just) “Afrobeats”.

Projects and Initiatives

• Could you share insights into the “DARE: to take that first step” documentary and community event? What impact do you hope to achieve through this project?

DARE is not only a Documentary but a Community Event… and this came as much organically as possible.

With the DARE team we understood that the message of DARING was touching and impacting on the audience that always have liked to share what dare means to them.

That proactive participation made us develop a concept of community event in terms of engagement and impact of intersectionality diverse audiences through diverse activities, linked to music and the creative cross-sectors such as the audiovisual, concerts and performances, dance and cyphers, open mics and networking, dj sets, food ‘to be discovered’…

The response is very positive, active and the audience is very diverse (from babies to old people, new generations and backgrounds, origins…).

With DARE we want to spread a message of “no matter what - you can take that first step to change the things around you, to dare to be yourself, there’s people around you that think exactly the same”. And the very amazing outcome was that the need for everyone (from the old white lady to the new-arrived-Senegalese 17 years old boy) was the same “to be free”, “to change things”, “to be themselves”.

DARE unifies and breaks down barriers, organically, showcasing human stories where music is the main character and tool for a social innovation. DARE is a Manifesto.

• NoOx Worldwide has been involved in various cross-cultural projects, such as the Music Hackathon in Mozambique. Can you discuss the objectives and outcomes of these initiatives?

NoOx has been involved in various initiatives in Mozambique thanks to AGAPE ETS and their project “Building with music” which aims to develop the creative-music ecosystem and valorize the cultural heritage through music and its people, jobs, artcrafts, communities. The uniqueness of this project is that the Ministry of Culture in Mozambique is the main partner. This gives a relevant stress on actions required to the development of the music ecosystem and its industry, on a local and international levels.

We managed:

• music business capacity buildings addressed to musicians, artists, managers, professors within the cultural hubs in the capital Maputo, the regional ones and the University.

• the Music Hackathon: the creative and strategic direction, the production and the international partnerships. The Hackathon selects and unifies diverse participants from the Mozambican creative industries (including artists, entrepreneurs, tech people, designers…) which have to work on a main topic problematic and solve it through their innovative solutions that each group will present to an institutional jury. For the first edition 3 projects were incubated and the winner had the chance to travel at the milano Music Week’s Linecheck Festival 2024 and join the Music Tech Academy’s workshops and incubation. Also, as some members of the winning group were artists/djs, they have been selected to showcase a b2b afro house and afro tech dj set in Milano (Double Drop, Yuss, Granda Beats). That was only the beginning of a bigger collaboration with local artists and a festival that is now happening.

We are now working on the second edition happening in August 2025.

Industry Recognition and Personal Achievements

• You’ve been recognized as a 2022 Keychange Innovator and a 2022 Genova Global Goals Awards Winner. How have these accolades influenced your work and vision for the future?

I can say that Keychange was over the top as it supported me in various ways: mobility, networking and recognition within the European / Global Music industry. These are the most influential elements for my job. Being able to be physically around and recognized could give me more experience and notoriety to speak up our mission and vision.

Capacity buildings and opportunities, such as mentoring are very important as they help out as they create a constructive comparison and growth. Being in touch with an international community supports the exercise of “wearing” diverse points of view out. Also it helps to spread the world of your job on a wider audience and higher level.

Comparing with alike-people through equal and fair approaches, made me feel part of a bigger music community (a proper ecosystem) and more powerful of keeping up with my/our project, evolving with it and creating bigger goals including internationality.

• As a social innovator focusing on inclusion and decolonization of storytelling, how do you approach these themes in your projects and collaborations?

As said before, I am more and more interested in finding similar mindsets to partner with. I also love to support evolving different mindsets and deconstruct them through my job (I like entering the matrix and bugging it lols).

Collaboration or coop-etition are my only approaches, as I don’t need to be the only one earning but my focus is on impacting to create a common growth (economically and culturally).

I am not a non-for-profit person, but my last mission is not money but careers, rights and fairness within a diverse and intersectional ecosystem.

I had to say no to many collaborations that were selling out the concept of inclusion, immigration and the whole politically correct world. We are here to make music and my artists are there to be artists with no specific responsibilities on changing the world. Only the promotion of them could actually change a small part of the world, not selling out their origins or dramatical biographies that press want to post, for example.

I approach de-stereotypes by deconstructing models within the same communities with the local communities (it is not from me, I learn within the process)

Let’s give two examples: all the music from Africa, for the majority, is now generalized defined as “Afrobeat” while saying that we forget about many other styles that are not afrobeat.

While talking about African Music at Grammy Awards we could notice that the most of the African artists featured in USA playlists are from Nigeria, Ghana and South Africa (forgetting the whole meaning of a Continent) and envisioning that, means that these clusters of artists mostly song write in English or hybrid forms of English (“ex” colony language tho) which is more marketable in US and UK (also thanks to the audience of the diaspora or communities living these countries). It is a bit sad that the industry closes up to diversity and stands on [generalizations] negatively impacting on independent and local artists, which anyway are more than the major ones.

Future Directions

• What are your plans for NoOx Worldwide, and how do you envision the company’s role in the evolving global music landscape?

NoOx goal is to let music play forever - on a fair level, envisioning an universal and intersectional audience of a new generation open to cross-cultural elements.

I wish that one day we will not talk about social innovation as the goals will be reached and we will just make music.

I believe NoOx will work physically with as many territories as possible, not only in Africa but Worldwide and that the meeting of diverse communities could create new music styles and opportunities. International cooperation to break barriers and create solutions.

I believe that, thanks to a part of our job, the Italian music market and majors will invest in the new generations, the present with an innovative mindset.

The goal is also to bring back music to people and communities and let the new generations to redefine the music markets models.

• How can the music industry better support and promote diversity and inclusion, based on your experiences and insights?

Investing in new generations in terms of artists, creatives, executives and audiences; opening to diverse sounds, rhythms and lyrics / languages; analyzing the reality from the audience point of view to really represent their needs; becoming more and more collaborative locally and internationally.

Connect with NoOx Worldwide:

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It wasn’t there the first time I went to the store.

I walked that block every night. Same beat, same order. Bodega. Club. Thrift store. That mannequin in the window was wearing the same yellow dress, like she’d lost interest in seasons. Everything predictable. Everything in its place.

Until one night, it wasn’t.

There was a small shop that had materialized between the thrift shop and the club as if it had squeezed in when nobody was noticing. There were no lights on in the windows. Window painted black. Above the door, in faded gold lettering, a sign read:

Vinyl & Echoes

I looked. My head said go on. My feet didn’t move.

And then this loud, abrupt bus passed, and I looked again, the door was closed.

The next evening, it was open.

Just a crack. As if it had been waiting.

It was damp and dense in there. Moldy old paper. Electricity. That scent you only ever catch a whiff of in attics that haven’t been disturbed in decades.

The store was much longer than it should have been. Much longer. Piles of vinyl melted into darkness. A phonograph was playing in the back, low, repeating. The song was not identifiable, but it pained my chest.

Behind the counter stood a man. Silver locs, piercing eyes. He didn’t look surprised to see me.

“Took you long enough,” he said.

I should have said what did he mean. Instead I said, “Do I know you?”

He didn’t respond. Just pointed to the shelves.

“It is here.”

“What is?”

He turned away, finished talking. So I walked. The rows weren’t labeled. The records weren’t alphabetical. Some sleeves had names that I recognized. Some didn’t have names at all. One just said Not Yet. Another had a single sentence scribbled across it: When you are ready.

And then, in a corner that shouldn’t have been there, I found it.

No cover. No label. Just my name, printed in gold in the center of the vinyl, as though it had been sitting for years, waiting to be found.

I carried it to the counter. My hands shook like they do when you are not cold, but naked.

The man did not flinch. Simply put it on the turntable.

And dropped the needle.

It was my voice.

Singing.

A song I’d never heard. Never written. But somehow knew.

The lyrics were accurate in the worst way possible. They knew the cracks. The quiet failures. The almost that I never admitted. It sounded like every dream I almost chased and every reason I gave myself instead. I had to get the record to stop. I didn’t move.

When the song ended, the silence was louder than the music.

He handed me the record. “Now you cannot pretend you did not hear it.”

I stepped out.

The door closed behind me with a soft click.

I turned around.

No storefront. Just brick.

The jazz club. The thrift shop. The yellow mannequin.

Same block. Basically.

I held the record home in my hands. It weighed more than vinyl was meant to.

I never played it again. Not from fear.

Because I know that it is not the same song. And the next time I hear it, it will be wondering what I’ve done.

Interview with PaxNJ

The story behind my musical journey…

I just remember a few moments from my childhood that when I look back on, I realize how early I really tied myself to this dream. Dress Up Karaoke at the pool when I was like 5 or 6, taking my little pocket notebook to school to write lyrics when I was 11… then my dad finding that and having me record it to an instrumental… I went by the name Young Yeezy 👀.

Inspiration for music

I really can’t even say… I feel like it’s been a part of me subconsciously…never inspired to begin 🤔.

The creative process

Hmmm okay so call me lazy but no not really, I heard a movie director explain his process and I can only relate… almost took the words right out of my mouth. He said he has the idea (which in my case idea is emotion) and then once the process begins it’s like you’re shaping it along the way but the creation is almost conscious itself… it creates itself! I’m no producer… purely a writer, recording/mixing engineer, and a vocalist… but my emotion definitely comes through. Lately, I’ve been punching in instead of writing too… very fun stuff.

Musical influences…

I’d say some old school G-Eazy like his song “Marilyn,” lowkey some Hoodie Allen… I loved those sounds from back in the day. Kanye West for sure. Something about his old school stuff was so fun when I was a kid. Taylor Swift interruption. “Stronger” type days. Haha, fun days.

My latest release

Hmm.. well officially I’d say the Taking The Game Back EP. The inspiration was simple… way back in 2019, I bought all those instrumentals exclusively… took them to Patchwerk in Atlanta and just long story short I went through a lot since then and decided to take those same instrumentals and make something new and refreshing with it. As a take-back kind of moment.PaxNJ

The visual aspect of my music

Yes! I love making the visual song cover arts… I just play the song in the background and go through my photos or think of whatever I see while listening… bring it to life with some photo editors and whatnot. Music is an art that can’t be seen… art traveling through sound waves… not to take anything away from it… but it’s always fun to put a visual to the unseen. I am a very visual arts indulging person haha… online virtual museums… in person… whatever. I love it. Can’t be an artist without indulging in all kinds of it.

Engaging with my audience…

Hmmm… Right now I’m still building an audience so engaging is usually just responding to comments and whatnot… but I hope they feel good listening to my music. A lot of music nowadays is just yelling at you, cursing at you, and negative. I don’t get how I ever enjoyed it when I was younger. I want them to feel inspired and uplifted.

Challenges faced

Hmm I’ve faced many challenges. Challenges that I’m glad I faced though… they made me stronger, hungrier, and more determined… cheesy enough… to name a few, I’ve lost just about everything, picked everything back up… lost it again… picked it up again… just now really finding myself again… and happy I am. I feel like my youth slipped right through my hands… I have 3 beautiful kids I’ve dedicated my life and time to, so there hasn’t been much room in my life to put myself head and center… but I’m finally taking care of myself the right way and have a plan here… so we good 💯🚀.

Future plans

Yes ma’am… I have a recipe I’m about to test out that’s for sure… a lot of engaging live performance-wise… while working on a music video to push out… hope to find an advertising agency… or marketing agency that knows their way around the web 😎😎😎.

Advice for emerging artists looking to establish themselves in the industry…

Hmmmmm… get yourself healthy… treat it like you’re trying to get recruited… there are definitely scouts… I’m sure they want to see you take yourself serious on and off the court.

Other interests

I like to play basketball… loosen up there. I’m trying to get into drawing/painting… and even writing poetry. I know it can seem lame but poetry can really help you lyric-wise… dive deep and take yourself serious 🚀 They influence my artistry simply by gaining confidence from achievements in those areas I feel like I need that… I definitely get imposter syndrome and need to challenge myself in those ways… to say I’m an artist at least, I think I should partake in those things… poetry, drawing, painting and whatnot. And it’s good expression… don’t even think just go… frees your subconscious.

Bonus questions

Historical figure you’d like to meet…

Oowwweeee… historical figure… this is interesting… Vincent Van Gogh. Crazy guy… good art… we’d get along just great🙌 That would be fun, wouldn’t it.

Most unexpected place you’ve heard your own music played?

Hmm… someone made a sport edit with it once🤔 that’s probably the more unexpected time.

Must-have gear…

Haha only three. Laptop, headphones, mic… that’s it 😎

If you could hang out with any historical figure…

Ooh… yeah, ima take a historical one because I don’t feel comfortable choosing someone alive😭😂 I’d pick Elvis and just go to Waffle House or something.

If your music were a flavor, what would it taste like?

It’d taste like green sherbert with an aftertaste of electricity 🤣😎

Follow PaxNJ.

Why Majestic Chaos?

I created this EP because I wanted to inspire others to manifest abundance in their lives while doing the same for myself. The title Majestic Chaos reflects the beauty and unpredictability of life and how we can find magic in the midst of it all. Manifestation is like magic—real and powerful—and it starts with intention and belief.

The Inspiration

Music has always been a guiding light for me, especially during tough times. For this project, I pulled inspiration from disco, J Dilla’s iconic drum style, and the concept of the power of the tongue. Disco taught me how to keep things fun and uplifting, while J Dilla’s intricate, soulful drums pushed me to experiment with rhythm and texture. I’ll admit, I’m not there yet in fully mastering his style, but I’m determined to keep practicing.

The power of words was also a huge influence—what we say becomes our reality. That’s why the cover art features a mouth with a vibrant, magical tongue. It’s a visual representation of speaking positivity, abundance, and power into existence.

The Tracks

Each song on Majestic Chaos tells a story about claiming your energy and staying aligned with your goals:

• “Nobody”: This is an anthem about autonomy. It’s about doing what I want and taking control of my life unapologetically.

• “Abundant”: A chant that declares abundance. This track reminds me (and hopefully you too!) to feel rich in spirit, energy, and potential.

• “Focused”: A reminder to keep my eyes on the prize. There’s always noise—gossip, negativity—but I’ve learned not to let it distract me. This song keeps me grounded.

• “Paid”: A celebration of financial success and growth. It’s about getting those big dollars and affirming that prosperity is my reality.

Creating Light in the Darkness

This project helped me climb out of a dark place. It was my way of reclaiming joy and purpose, and now I want it to be the same for others. Whether you’re dancing to the beat, chanting along to “Abundant,” or vibing to the grooves, I hope Majestic Chaos inspires you to manifest greatness in your life.

Join me on this journey, check out Majestic Chaos on Bandcamp: Listen/Buy Here. Your support means the world to me, and I can’t wait to share more music and creativity with you as I begin my journey.

Let’s manifest abundance together. ✨

Until next time,

Bisawonder 💫