BuzzN iNterview With @devinjames96

The Pacific Northwestern area of America hosts home to a new wave of musical innovators in the Hip Hop World. We’ve already been able to witness great music from the likes of Macklemore & Ryan Lewis, Baph MC and Grieves. However, today’s guest has taken an entirely different approach to his Hip Hop presentations by spinning the vintage world of pin ups into the grand scheme of things. With the next installment in his “Pin Up” series just released, recording artist Devin “Gatsby” James meshes sounds from the Roaring Twenties up to the Flower Power Sixties and all in between. Together with JCA Beats Productions, the trio has been able to construct genre meshing hits as well as other notable releases in the few years they’ve been crafting music with one another. Together with a hefty portion of established pin up models, Gatsby has been able to establish himself as the main character in what they’ve dubbed “Swing Hop”. Join us as we begin our latest installment of our “Buzz’N” iNterview series with Portland’s own, Devin James.

Mr. James, it’s a pleasure having you stop by for the interview sir. To start things off, could you reiterate what “Swing Hop” is all about and how you ended up trekking into the sound?

Swing-Hop was born from my love of that super crooner style embodied in guys like Frank Sinatra. The big band sound has always intrigued me. It feels like anytime you put horns and brass on a track, the listener gets taken away. We all have this nostalgic feel around old movies. It makes us feel comfortable, like we’re back in a time we never knew. A time that we’ve only seen on film, and never experienced…

I decided to bring swing to hip-hop, because it’s my way of being classy in a street medium. My gift is with words, not with ego. I feel like “swing-hop” will put a little sophistication into the medium I so adore for being gritty, and will hopefully take the ego out of it as well. Besides, you can’t have a moniker like Gatsby, and not be associated with swing 😉

Some of our viewers should be aware of Gatsby. Leonardo DiCaprio played him in the 2013 movie production which was inspired by the great American classic novel, “The Great Gatsby”. Why did you feel this was the perfect stage moniker for yourself?

I feel like Gatsby is one of the greatest rags to riches stories ever told. Jay Gatsby is also not a man of ego, or of an attention seeking nature. The parties he threw were some of the best in the land, with hundreds upon thousands of people in attendance. Yet, no one knew who Gatsby really was. I feel like that’s how things have started with that name. Gatsby is an idea. He can be made larger that life, simply by what people perceive him to be. That’s kind of the idea I had in mind with Devin “Gatsby” James. People know Devin James, but the Gatsby aspect…well that can be whatever they make it out to be. If it means class, it means class. If it means money, it means money. I find it better to start people with an idea, and let them expand on it. I want to be something that isn’t definable…something that people can apply to their own lives, and become their own personal “Gatsby.”

You’re best known for your “Pin Up” series of video vignette releases. The initial “Pin Up ‘Preciation” kicked things off for this series and that’s when the ladies began taking major notice to things. What started this whole sequence of releases and what has it been like being able to work with such an esteemed line of ladies?

When I first decided to incorporate pin-up models as a way to visually present swing-hop, I was doing it mainly for the reason that everyone loves beautiful women. We all know sex sells, and I figured, let’s give these folks some vintage eye candy while listening to me. After talking with several models, some more than most, I’ve learned that pin-up is much more than just cute girls in vintage clothing. It’s an empowering thing. It’s a way to be sexy, without the sleaze. A way to be cheeky, candid, faux pas…without being slutty. These girls have taught me what being involved in a community feels like. I think one of my favorite aspects of the culture is what’s called a Share 4 Share. This is where a model will share another model’s Facebook page, in exchange for the reciprocated act. In hip-hop, this is very hard to find. Most MCs don’t share each other’s music…just because. It’s all very cutthroat, and sometimes competitive to the point of physical harm. Working with these ladies has opened up my eyes to what it means to be classy, through and through. They’ve shown me what LOVE is all about.

Once the first project dropped, things really heated up with the second release, “Pin Up 2: Rockabilly Silly”. JCA Beats Productions and yourself really began fine tuning the sound of “Swing Hop” molding a very sexy overtone to it. What is the creative process between you guys seeing as though you’re located in Oregon and they are stationed in Illinois?

The process is quite an interesting one. It’s very step-wise, and pattern oriented. First, I decide on a reference track to be used as a model. JCA then takes that and makes it sound similar, while putting their spin on it, and remaining original. Once we’ve decided on a structure and sound that seems to really catch, it’s time for me to compose my thoughts. I usually write and record what I believe to be the structure of the song. I bounce out the mp3, and have Barry & Justin listen to it. From there we all decide whether it’s a go, or whether some parts just don’t sit right. We may pass the idea track back and forth a few times before getting it right, then it’s on to exporting the vocals for the mix.

I went to school for engineering in Los Angeles but as a mixer. I just don’t have the ear that Justin has. So, I export all vocals as audio files, and Dropbox the a capellas to Justin for mixing. I set up the session how I envision the vocals should be arranged; i.e. main vocals front and center, punch vocals panned wide right and left, ad libs, chorus vocals – mids, lows, highs, bridge vocals, etc. He then takes my vocals and mixes them into the beat with the already separated instrument tracks. This, I feel, gives it a bigger, more robust sound that I just can’t get inside Logic with a stereo pair. I’ve been touted as a very specific person when it comes to the mix, and this process can be a headache at times for Justin lol. However, once we’ve got it mixed and sounding the way we want…then we’ve got our crisp sounding audio. Next, is the visual aspect…

That would bring us to the third release, “Pin Up 3: Flapper Muzik”. For the prior releases, it had been you coming up with the reference tracks for staging the production end of things. This time however, it was the fellas at JCA Beats Productions that took the lead with things. The song currently has 2,500 organic plays on Youtube and has amassed an impressive 27k views on FB thanks to the wonderful Ria Fend’s fan page. What was it like not coming up with the concept for this project and how did Ria come into the picture?

It was a great process letting Barry and Justin choose the reference track for Pin Up 3. We knew we had to get back to swing after we had just done Rockabilly, so this was actually a perfect selection of music for the record. Barry and Justin chose “Piddily Widdily Widdily” by Nappy Brown. It reminded me of music associated with the flapper movement, hence why we called it “Pin Up 3: Flapper Muzik”.

Ria Fend has been a blessing for the movement. We actually talk close to every day, if nothing other than to continually motivate each other. Every now and then she’ll ask me, “So, what’s next in our quest to conquer the world?” She’s a brilliant, amazing woman.

She came into the picture just like all the other models have….through Facebook. See, once Facebook found out that I have an affinity towards pin-up models, it started suggesting pin-up models to go and look at. I stumbled upon Ria’s page, and she definitely caught my eye. Cheeky, sexy, blonde, slender, driven, and beautiful. How can you go wrong with that? 🙂

With the sudden splurge in notoriety from release three you decided it be best to make Ria the face to the “Pin Up 4: Gatsby B. Good” campaign and in doing so, made her the cover art gal. Another wonderful addition to the series is that you wanted to make sure to include pin up gals of all colors and sizes. You’ve branched outside of the States and into Europe with prior releases but this time we get treated to Ebony and Asian pin ups as well! I personally commend you on that sir as they are an equally important part of the pin up community. Please talk about staging the models for the video this go round and why you felt the desire to reach out in the way you did?

This time around I chose to go with as much of an eclectic mix as I could possibly get. Now, mind you, all I can do is merely ask the model if she wants to participate. It’s her choice to respond back, and take interest…

That being said, after Pin-Up 3 was released, it was pointed out to me that the video was pretty white washed. I took that to heart. For me, these showcases need to show ALL aspects of the pin-up culture and beauty. So, I made it a point to reach out to as many non-white girls as possible. I want to be respected for including ALL types of women in my showcases, not just the white ones, and not just the skinny ones.

Another big project yourself and the guys at JCA Beats Productions have been working on is providing new music for an upcoming documentary, “Pin Up: The Movie”. What initially started off as a job detail concerning scoring a particular scene in the doc turned into you guys recording a one off verse with accompanying chorus for the scene. After hearing the final result along with movie director Kathleen Ryan, it was decided it would be made into a full length recording dubbed “Calendar Girls” with Kathy one upping the scenario by spinning it into an upcoming music video for the film. You must be excited by that to say the least! Please speak about Kathleen, the documentary and how people can help contribute to the release.

Kathleen is an amazing woman who is, as you’ve said, the director of the documentary “Pin-Up: The Movie.” She’s also a journalism professor down at a college in Colorado. Her social media is a force, and she’s got something really special with conceptualizing this film.

That being said, I’m very happy with how the “Calendar Girls” track has taken shape so far, and is being used to help promote the film.

As a whole, the film is completed. Kathleen is beginning another Kickstarter campaign in the fall mainly as a way to pay the artists who are contributing music to it. I think her idea to payout all artists the same, regardless of status, is pretty genius. Her Kickstarter is asking for a bit of cash but I believe we’ll be able to reach that goal. I’m going to contribute a decent amount as a backer, and use my social media to get this thing funded, because I believe in what this project will do for the community. I’m not backing it just because our music will be in it but because it’s something this world needs to see. This is empowerment in women, this is self love, this is pin-up 🙂

Check out “Pin Up: The Movie” online at http://www.pinupthemovie.com 

(all social media links are contained on the site as well as info on the movie)

Besides from the whole pin up line of material, you’ve released other Hip Hop records such as the late night cruise anthem, “Just Ride”. This song actually was the first project you worked on with Justin and Barry and features your “chopping” abilities. Will we be hearing more material along these lines from you? How has working with those two affected your music and career? Will we ever see a live action video from you?

When I got back into hip-hop in 2012, I started really taking a liking to the chop style delivery that’s associated with MCs like Busta Rhymes, Tech Nine, Twista, Yelawolf, Rittz, and Wrekonize of ¡MAYDAY! I REALLY liked chopping as much as I could on tracks when I found out that I could do it. It’s brought a new level of song-writing to my game, and it’s enabled me to rock beats in a wider tempo range. Lately, I’ve been spending a lot of time developing the swing-hop brand, so I’ve taken a bit of a break from the rest of my hip-hop repertoire. I will be getting back to that style more in the future…

Working with JCA Beats has been a game changer for me. It’s been a wonderful thing to work with like-minded individuals for so long. It’s more than just me paying for services. They’re not like the rest of the producers that just take your money, shoot you a product, then send you on your way. They actually have a vested interest in where I’m going, and how WE’RE going to get there. Justin is an amazing composer that can flip damn near any reference I throw at him into something that I can work with. He’s demonstrated time and time again why he’s simply…the best. Barry’s been a great friend, marketing manager, creative consultant, and PR person for me. We’re building our own brand, and with the release of “Pin-Up 4”, it’s finally looking how we’ve wanted it to look since the beginning. We’ve found our flow, we’ve found our niche and we’re going to keep pushing until we don’t have to introduce ourselves to anyone anymore.

You will see more live action videos from me going forward. I’ve done a few so far, but need to focus more on making them the visual focus for my songs. So far, there’s a video for the “FLY” track that was dedicated to my friend Tim Skellenger, who is a professional disc golfer. There’s also one for a track off the Gatsby Compilation called “Living in the Beat,” and one for the “Portland Anthem” featuring my good friend Donald Cobbs. The end goal is to actually take these pin-up model showcases into the live action realm, and show everyone off in that format. THAT will be the next game changing level for Team Gatsby!

For all the guys and gals out there wanting to stay updated on your hijinx and music, where can they find you online?

Devin, it’s been a gas having you join us for this edition of our “Buzz’N” iNterview series. Before we head out to catch a burger and shake from the local drive in, is there anything you’d like to add in? Anyone you’d like to shoutout or give thanks to?

I’d like to thank my family and close friends for making me who I am. I’d like to thank Lily Steele, owner of Northwest Artist Connection, for being my second creative consultant and my motivational guru. I’d like to thank Emily AKA The Vintage Doll for being the source of making Pin-Up 4 the highest viewed post on GetYourBuzzUp in the site’s history, and for contributing to each installment so far. I’d like to thank Ria Fend for, again, being another motivational guru and a hustler to the Gatsby brand. I’d like to thank all the other pin-ups from 1-4 for being the source of great visual content that they are, and for pushing the brand forward.

I’d like to thank Trevor Ward, and Robbie Russell of SkyHigh Radio for continuing to play my music on their up and coming internet radio station. I’d like to thank swing, classic rock, and rockabilly music for giving me a way to fuse hip-hop with them, and create my corner of the market. I’d like to thank JCA Beats for taking a chance on a hip-hop crooner, and show willingness to go outside their box to make this brand come to life. I’d like to thank F. Scott Fitzgerald for writing the literary classic, The Greaty Gatsby, and for giving me a character to model my approach to success with. And finally, I’d like to thank the fans…for without them, I’d be nothing.

Thank you very much for taking the time to compose questions for me, and give people an insight into Gatsby. I’m very appreciative of it!

There you have it ladies and gentlemen, Gatsby has left the building. However, he’s left us with some awesome tunes and wonderful pin up videos until next time. Hip Hop is very powerful to say the least and it’s always great seeing the culture crossover and evolve, such as in Gatsby’s case. GYBU would like to thank Gatsby again for join us for another installment on our “Buzz’N” iNterview series. We will catch you cats next time.

Interviewed by: @blitzb_60505