I’m really proud to be from Florida and have us represented like that on a big platform.”įrom an acting perspective, Osman was proud of how the show’s use of social media helped achieve a level of authenticity in regards to how the young characters relate to each other, as there are several plot points communicated through Shawna and Mia’s livestreams on Instagram. A lot of people appreciate the visibility. “Miami is a melting pot of different cultures, languages, foods and fashion - and it’s also known to be very treacherous. “But when it comes to Issa and how she writes, she’s not touching anything inauthentic.” “As a Florida girl, I already knew Miami people was gonna be waiting to see something fake, then get on Twitter and go crazy,” she laughs. I had to learn a lot.”īeing from Jacksonville, accurately depicting Miami was key for KaMillion. All the stuff that you don’t think about when you’re just rapping along to Meg lyrics in your car.
PRINCESS MIA READING GRADE LEVEL HOW TO
“We were really fortunate to work with Danja, and he would sit with me in the booth for hours, just trying to figure out how to come in on the and with good enunciation and power.
PRINCESS MIA READING GRADE LEVEL PROFESSIONAL
“I had never recorded my voice in a professional studio,” Osman says. I take it seriously like I do my own music career.”
“Mia is getting to do everything that Kamillion wanted to do as an artist and I love it. It’s real music you would listen to,” KaMillion says. “The music in this show is like no other show. It was amazing and hysterical.”Ī post shared by HOORAE, An Issa Rae Company held a second camp in Miami to fill out the soundtrack for the series. She’d had this thing in her mind that she was trying to express to us over the course of two months. But what ended up happening was Issa was in town, and she got in the booth and did both sides of the rap. So we had a session with Danja, a huge Miami producer who produced all the vocals on the show, and we were going to have Aida come in to re-track and try again. “But there wasn’t room for Mia to do her hype man moments, where she jumps in and ad libs and the duo starts to develop. Then we sent it to Issa and Syreeta to approve,” Bromberg says. “We ended up hodgepodging together what both of them wrote. “PineappleCiti had written a bunch of stuff, but she also asked Dreezy to write on it,” Bromberg says. Ass Shawna gets closer to Mia, she begins rapping more in that direction, as evidenced by her freestyle at the end of the pilot, which eventually becomes “Seduce and Scheme.” At this point, PineappleCiti also began to contribute to Shawna’s character. Mia’s character is more inspired by figures like Megan Thee Stallion and Trina, as well as City Girls, who executive produce “Rap Sh!t.” PineappleCiti did a lot of the writing for Mia’s verses, as did Miami rapper A Chic. Bromberg sought to create exaggerated versions of rappers like Noname and Rapsody, while Osman cites Leikeli47 and Lauryn Hill as additional inspirations. A part of the series’ central conflict is that Shawna’s lyricism at first is intellectually over-the-top - at one point, she writes a verse from the perspective of a student loan. “Dreezy wrote all of Shawna’s early raps, her conscious raps,” says Osman. Raedio put great artists together to create these songs.” (Along with acting, she is a rapper herself.) “But for the most part, the songs were presented to us.
“Once we got in the studio, we were allowed to play around with it,” KaMillion adds.
He was on set during production of “Rap Sh!t” to continue shaping the music to the characters. “We brought in people that we felt really spoke to the voices of the characters in the show, and put them together based on the briefs - which were, because Issa and Syreeta were writing in real time and working with them,” Pierre tells Variety. Then, at a “camp” in Los Angeles, a group of different rappers and songwriters came together to create the beginnings of each of Shawna and Mia’s raps. This process was headed by Sarah Bromberg and Philippe Pierre, the Raedio vice presidents who served as music supervisors on “Rap Sh!t.” They had weekly meetings with showrunner Syreeta Singleton to check on how the writing of the show was progressing, and developed briefs outlining the moods and goals of each song accordingly.
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