Providing the most accurate evaluation and identification of new American music talent

February 7, 2011, New York, NY – New Music Seminar (NMS) announces The Artist on the Verge Top 100, the most comprehensive list to date for emerging artists in America. The first published Artist on the Verge Top 100 is available now.

The NMS Artist on the Verge Top 100 is compiled based on analytics both online and traditional. Factors considered include: music sales (physical and digital) ticket sales, frequency of gigs, touring history, merchandise sales, media (both online and print), social media activity, online buzz and other factors as determined by the NMS Music Committee.

Artists are further evaluated by using an arsenal of analytics from NMS Partners: BigChampagne, Next Big Sound, ReverbNation and OurStage; music industry experts and tastemakers. From this collected data, the NMS Music Committee selects The Artists on the Verge Top 100, which are listed alphabetically, regardless of genre.

Other listings are purely subjective or based solely on music sales, this chart takes into account every criteria that helps identify a developing artist’s trajectory toward success.

Although no chart is perfect, NMS believes The Artist on the Verge Top 100 is the most authoritative listing ever assembled of breaking artists. This is the first time a listing has been compiled that measures all facets of an artists’ career.
To be considered, artists must have never sold over 10,000 albums, must not be signed to a major or significant independent label and must have U.S. domicile. Additional criteria measured include:
• Quality and uniqueness of the songs
• Quality and uniqueness of the production and recording
• Quality and uniqueness of the live show (videos other than a straight live performance are not accepted by NMS)
• Quality and uniqueness of artist image, concept and platform
• Artist career momentum and the buzz they have built
• Social media and other activity on MySpace Music, Facebook, Twitter, ReverbNation, OurStage and other music and fan sites
• Questionnaire filled out by each artist and researched by the NMS team to check that all the information submitted to be correct in terms of touring, merchandise and sales of music, both legal and illegally
• Analytics performed by BigChampagne’s “Ultimate Chart” and “Next Big Sound”

For each New Music Seminar (New York/Summer and Los Angeles/Winter), the top three available artists are selected to perform with the opportunity to win over $50,000 in marketing, promotion, music equipment and consultations from some of the top industry leaders in their respective fields. The Artist on the Verge Project is designed to break an artist’s career by exposing them to some of the most connected leaders of the NEW music business and expose their music to the public.

The Artist on the Verge Project is a closed process and solicitations are never accepted or considered. The NMS Artist on the Verge Project is NOT an open contest for artists to submit their music to NMS like other contests, which are subjective in nature. NMS does not charge artists to enter or to be selected.

See Final Schedule & Speakers here:

Registrations and reservations are available by going to

About the New Music Seminar
From the co-founder and director of the original legendary New Music Seminar comes a conference with a mission; to create a just, sustainable and profitable music business and to help artists break through the growing glut of artists and releases to success. Artists have never had so much power to control their own careers and build their success. This affordable event gives music business executives, technologists, and artists the knowledge, tools and connections to step into the tomorrow’s music business today.
The two-day, three-night conference includes a symphony of five “movements” (focused discussions) over the course of two days, twenty-two18-minute Intensives (presentations) from key industry leaders, 25 mentoring sessions, 3 nights of music showcases, High-Level Industry Summit Meetings as well as the NMS creative workshops focused on Live Performances, Vocal Performances, Producing and Songwriting, with ongoing networking opportunities throughout.

For more NMS information or to interview co-founders Tom Silverman or Dave Lory contact WE + PR – Pam Workman: (646) 351-6700; or Pamela Lipshitz: (917) 859-6852;

“SB is one of those rare artists who creatively paves a new road while still honoring the past hiphop heroes His music comes from a true place and reminds us of that feeling a lot of us got from our first love, hiphop.”

Eric Roberson-singer/songwriter/producer (Musiq, Jill Scott, Floetry, Dwele)

“SB represents a breath of fresh air in hip hop music…his message is positive and reminds me of Common & Talb Kweli. You are a great talent, follow your heart & soul and success will follow.”

B.A.M.-Assistant Program Director of WPWX-POWER 92 Chicago

“SB is the whole package, great performer, with a sparkling personality and a stage presence that commands your undivided attention. You can’t get a package better than this. He needs to be on YOUR stage.”

Michelle McGhee-Student Activities Board/NACA, Bradley University

“SB so effortlessly resurrects Hip-Hop with genuine soul and a reflective spirit that manages to demonstrate divine inspiration and reign. He is the past, present and future of Hip-Hop. SB is Hip-Hop’s truth…”

La’Keisha Gray-Sewell- Producer/Editor WVON Talk Radio Freelance Journalist/Write1 Communications

“As a veteran Chicago DJ, I find that SB’s commanding stage presence, coupled with his thought provoking lyrics means that his performances are never sub par and the audience always takes sometihng away with them. SB easily fits into the company of hip-hop lyrical giants of the Lyricist Lounge, Mos Def, Talib Kweli and Chicago’s own, Common.”

DJ Shaun T- Founder of Soul Selectors & Full Impact DJ pools

In the June 7, 2010 Issue

Erykah Badu Has No Regrets

Outspoken singer sounds off about controversial video, motherhood and much more

Erykah Badu doesn’t back down from anything and she definitely works hard to be true to herself. Gearing up for her Out My Mind, Just In Time multi-city tour, the mother of three tells JET’s Senior Writer Clarence Waldron that she’s not moved by the recent controversy about her artistry or anyone’s opinion about her in general. In fact, she has much more to say in this week’s issue.

JET ENTERTAINMENT: JET celebrates Black music month this June by honoring the brilliance of both legendary and up-and-coming music makers, such as songwriters Kenneth Gamble and Christopher “Tricky” Stewart. PLUS, Soulful singer LeToya Luckett talks up her new CD and movie, Preacher’s Kid.

JET MONEY: More than 17,000 service men and women have been severely injured and often face years of extensive and expensive medical care. JET offers readers insight on how military families can seek financial relief.

JET PERSPECTIVE: Hip-hop newcomer SB shares his thoughts on the positive impact music could have on inner-city violence. ALSO, Warren Ballentine addresses readers’ questions regarding felon gun possession and surviving harassment from medical collection agencies.

JET STYLE: George A. Robles started out as part of a graffiti tagging crew in The Bronx. He tells JET how he turned his keen eye for whatever is hot into a blooming career with Rocawear.

JET LIFE: JET’S entertainment reporter Mikki Turner follows up with a former at-risk teen, Loren Wilder, who recently graduated from Hampton University with the help of comedian and philanthropist Bill Cosby.

JET Magazine Exclusive Online Offer – 20 Issues Plus 3 Free (23 total) for only $10.00 Subscribe NOW

Follow JET on and on Facebook JET 24/7.

THE June 7, 2010 ISSUE OF JET IS ON SALE MONDAY, may 31, 2010.

* Subscribe to JET Now

* Renew Subscription

* Give the Gift of JET


Wendy E. Parks
(312) 322-9352 (o)
(312) 520-6714 (cell)

Jeanine Collins
(312) 322-9337 (o)
(312) 520-6684 (cell)

Wendy Parks & Jeanine Collins – Johnson Publishing Company (May 31, 2010)

In These Times, Music’s Positive
Power Could Help Calm Violence by Sean “SB” Butler

In Chicago, my hometown,
there have been calls for the
National Guard to combat
the staggering numbers of
violent deaths in the city. I’m
calling on the power of positive

In my formative years,
outside of the teachings of
my parents and my own personal
reading, positive music
had the biggest impact on
the shaping of my ideology.
Soul music that my parents
played around the house or in
the car, such as Marvin Gaye’s
Mercy, Mercy, Me (The Ecology)
and What’s Going On,
and Curtis Mayfield’s We The
People Who Are Darker Than
Blue that would help to plant
the seeds for my burgeoning

Later on, it was hip-hop
music that would water and
cultivate those seeds. I still
remember the euphoria I felt
the first time I heard Grandmaster
Flash & The Furious
Five’s The Message. Its ability
to poignantly articulate the
disparity and hopelessness I
was witnessing, not only in
my community, but in slum
villages across the nation and
world left a lasting impression
on me. But it was BDP’s
sophomore album, By All
Means Necessary, that would
most effectively illustrate to
me the power that music,
particularly hip-hop music,
had to transform people’s
lives. That album provided
answers to questions that
school textbooks would never
address and additional fuel to
dig deeper into the truth about
our history.

I began to see that music
always had a special power
over our lives. In West Africa,
the ancient griots used music
to pass on the ethos of our
people from generation to
generation. Here in America,
Negro spirituals carried coded
messages that were beacons
of light to slaves with ambitions
of escaping to freedom.
In the ‘60s, positive music
gave us the courage to endure
strife on the path to freedom
from segregation.

But today, when we need
it most, positive music is proving
more and more difficult to
find while songs about mate-
sexual conquests and
violence dominate our airwaves.
We ask why more and
more of our children are dying
in violent acts. The question
shows we have ignored the
lessons of the past.

Positive music has consistently
demonstrated the
power to shape our reality,
through the most trying circumstances.
It’s high time we
exercised that transcendent
power again … before it is too
late. //

SB is a groundbreaking hiphop
artist whose debut CD,
Revolusean, features Looking
4 A Claire Huxtable,
Fighting 4 The Future and
Angelz (

Sean “SB” Butler – JET Magazine (May 31, 2010)


SB is bringing you the Revolusean. Loving the song “I’m Looking 4 Claire Huxtable,” and not just because some people have said I look like Phylicia Rashad. (Hee hee!) No serioulsy, sample that song and here’s a link to the album, , that’s due out officially on May 25. SB keeps it clean and positive, and I like that.

Politics, love, and God — it’s all in there in the raps of Sean Butler, who keeps his rhymes on the positive tip whether singing about a minx who’s caught his eye or the struggles he faced while growing up in Chicago’s Chatham neighborhood. Butler’s also well versed in the craft of his fellow South Siders, whether it’s the slick R&B production of R. Kelly or the conscious lyrics of Common. Under the stage name SB, Butler has spent equal time performing in Chicago and New York, where he’s been trying to drum up major-label interest over the last few months. From the sound of his five-song demo, he shouldn’t have much trouble.

Matt McGuire – Chicago Tribune-Metromix

SB relies on deep rhymes

September 10, 2004|By Kyra Kyles for RedEye. KYRA KYLES IS A REDEYE SPECIAL CONTRIBUTOR.


SB, known to friends and family as Sean Butler, is like many local hip-hop artists who decline to reveal their ages. To do so would provide fans with a glimpse of how long he has been in the rap game, struggling to be heard.

But the recent rise of deep rhymes such as Kanye West’s “Jesus Walks,” as well as a growing national reception for Chicago artists, gives him high hopes for his rap future.

The underground MC has tasted mainstream success a few times.

“I have gotten radio exposure, and it’s been interesting,” the twentysomething rapper says.

Shortly after the 9/11 tragedy, SB penned an inspirational rhyme about the incident called “Living the Life.” He visited WGCI-FM 107.5 to hand-deliver the track and lucked out by getting it directly to The Diz, one half of WGCI’s Bad Boys duo.

“Diz was real cool,” SB says. “He said he’d listen to my song and call me if he was going to add it to the mix.”

Diz kept his promise, calling and then playing the single that same night. The popular personality kept in contact with SB, and a year later offered him the opportunity to perform a cameo on a promotional remix for Usher’s “You Don’t Have to Call.” The SB-featured version reached the top of WGCI’s charts, prompting label attention and buzz of signing offers.

But nothing materialized, sending SB back to the studio. Now, with the help of star producer and Chicago native No ID, SB is completing a full-length album.

“You don’t want to run out there with just a single,” SB explains. “Then, if people feel you, they won’t be able to support you in retail.”

“We’re ready as a community to move past all the talk of drugs, guns and sex,” he says. “You can see that in the popularity of ‘Jesus Walks.’ Music moves in cycles, and a more soulful sound and meaning is finally getting attention.”

Struggling to keep it real

Going With The Flow

July 21, 2005|By Jim Walsh, RedEye.

The rap industry can be a tough place for independent artists. But unlike the pimp-turned-rapper played by Terrence Howard in “Hustle & Flow,” some local artists say they’re just fine on their own.

For them, keeping creative control is more important than working within the framework of the mainstream music industry.

“They want to have the freedom of artistic expression, but they also want to eat too,” said hip-hop artist SB, who grew up in Chatham and now lives in Lisle. “That’s a thin line that you have to walk, ‘How do I stay true to my inner muse?’ ”

The clean-cut rapper, known also as Sean Butler, wants to one day start a label for independent artists who are true to their music but “don’t fit the cookie-cutter image” of a rap star. As an independent artist, he said, he already does the work of a small record label, so it makes sense for him to lay the foundation for his own label. “You have to go out, and you have to build an audience,” he said. “You have to learn how to address that audience. Those are the things I have to do in this day and time just to get signed.”

“The do-it-yourself mentality is so on the rise because of the state of the music industry,” he said. “It’s really forcing the hand of the artists to be more like entrepreneurs.”

Recording artist Taione Davis is one of those entrepreneurs. The South Side native has been making and distributing his independent hip-hop music from Princeton Park since the early 1990s. He compares the music industry to the insidious world of street crime.

“You don’t need to be signed to a label to be successful,” he said. “I’m from one of the worst neighborhoods in the city, and I’ve been touring around the world.” Davis said he has performed in England, France, Germany, the Netherlands and Spain.

While marquee artists such as Kanye West and Common have put Chicago’s rap scene on the map, some say the area still can be hostile for rising stars, especially since many think of the city more for its jazz than its hip-hop.

“A lot of Chicagoans have that reputation like they’ve seen it all before,” said Cosmos Ray, a member of the hip-hop group Star People and resident of Hyde Park. “In terms of fan base and fan support, it’s kind of stifling,” he said, adding that support among artists in the community is very strong.

Despite the trials of flying solo, some independent artists say maintaining the integrity of their music is worth passing up the broad distribution offered by major labels.

Technology and changing trends have made producing and distributing one’s own work a viable option, and since more artists are willing to do it, getting signed has become “sort of cliche,” Ray said.

“From Master P to P. Diddy to a lot of artists right now, they’re in control of their own destiny in a way that wasn’t really possible before,” he said.

Rising hip hop performer SB is bringing something different to the music table. The Chicago-based, independent recording artist is proving that you can be hip and cool — and avoid explicit lyrics. His debut CD, Revolusean features “Looking 4 A Clair Huxtable,” “Angelz” and “Fighting 4 the Future.”

He sat down with to discuss his unique sound. Check him out. The brother has a lot on his mind.

Q/ You once opened for fellow Chicagoans Common and Kanye West. Describe that experience.

A/ I was filled with pride and humility at the same time. It’s not often that people get to share the stage with artists of their caliber. I’ve learned so much from watching their careers and I’m especially proud of the way they’ve put Chicago hip hop on the map globally.

Q/ A lot of the music we hear today is filled with profanity, the b-word, the n-word and explicit, sexually charged lyrics. How challenging is it for you to perform music with positive lyrics that celebrate Black women and call for unity in our communities? Is it commercial? Does that matter to you?

A/ I don’t consider it a challenge because my music is reflective of the person that I am. I come from a large family that impressed strong values on me from an early age. I believe that my music is commercially viable so in that sense my music is commercial. It’s just that my content is the antithesis of what some people in the industry consider to be commercial. I intend to prove them wrong.

Q/ What are the benefits of being an independent artist?

A/ Having the freedom to make music that is true to self and having creative control. I don’t know many artists on major labels that have that freedom.

Q/ Describe the ‘Clair Huxtable’ tune and ‘Angelz’? What are you saying to listeners?

A/ In the Clair tune, I’m challenging women (and us all) to live up to old school values. If you want an exemplary man in your life you need to first be an exemplary woman. I believe that all good things stem from God, so He should be your focus and all other things will fall into place. In ‘Angelz,’ I am trying to change the mindsets of men that have been conditioned by society to view women as objects to be used as they will. I believe it’s this type of thinking that opens the door for them to commit these atrocities and if they can look at women in terms of being someone’s sister, mother, wife, lover, etc., in addition to understanding the long-lasting damage they cause, it can hopefully prevent this from happening so rampantly.

Q/ Who were some of your musical influences?

A/ The Jackson Five, Curtis Mayfield, Bob Marley, Marvin Gaye, James Brown, Lauryn Hill, KRS ONE, Public Enemy, John Coltrane, Eykah Badu, The Brand New Heavies, Gangstarr, Common, Musiq, The Roots, Jill Scott, Nas, Camp Lo, Jay-Z, Talib Kweli, Mos Def, Pete Rock & CL Smooth, etc. //

SB::The RevoluSEAN Will Not be Televised
by TMM Staff
Tuesday, 20 November 2007
“I love God, and I love people. I want people to be happy, and people are happiest when they’re walking in God’s purpose for their life.” When was the last time you heard a secular rap artist say something like that? Change is on the brink, and Chicago native SB is fusing boldness with humility and taking a stand. With his self-defined “vintage-progressive” style of hip hop, this indie artist is transcending the “conscious rapper” label as his reputation as a skillfully insightful emcee expands.

He’s an author, an educator and an explosive performer, having shared the stage with the likes of Common, Amel Larrieux and Talib Kweli. His debut album, RevoluSEAN, will be out soon. We’ll let you know when and where you can pick up a copy. In the meantime, check out what SB had to say about the state of hip hop, the Africa crises and why we should be bracing ourselves for the RevoluSEAN…

The Movement Magazine: As an indie artist in, what’s the mainstream hip hop scene look likefr om your point of view?

I think what has happened is that corporate America initially didn’t want to mess with hip hop. But hip hop became something that they couldn’t deny. So they said, “How do we get in a position where we can control this genre?” Hip hop came out of us wanting to express ourselves and not really having a passing down of the torch. And it happens all the time. That’s how Rock and Roll got birthed, that’s how jazz got birthed and that’s eventually how hip hop got birthed. It’s nothing new. We should have been more prepared for it, but the problem is that there’s that generation gap between the hip hoppers and the be boppers.

If any corporation can say that they can determine the trends, that’s what they’re gonna do all day every day. They’re training us to like bad music. They’re training us to like music where anybody can go in the studio, get a little Casio machine and start talking over it. They say, “We’ll take the lion’s share of the profits,” which they did and have been doing forever. “And we’ll keep it moving. Once we train them to like this type of product, we’ll just keep pushing it out like a factory.” And that’s the commercialization of it. The watering down of music. We as a people have to take it back. If the system’s not working for you, build a new system.

It’s one thing for me to do it. It won’t look as good if I get on a soapbox by myself like, “Yo, we need to do this this, that and the other,” because then I get labeled as being a defeatist. People have to go out and support those artists that are making the [good] music. Corporations will respect where you’re putting your dollar. You can talk , you can throw around the rhetoric all day. It may put a little pressure on them, but those peoples’ memories are short.

TMM: How have you seen hip hop evolve?

I think so many guys say, “I’m gonna follow the trends,” instead of “I’m gonna be a trend setter.” And hip hop was never about following trends in the beginning, it was really to the point where [artists said]. “Okay if dude is doing this over here, I’m about to go over here and make this what’s hot.” Nobody said, “I’m gonna try to be like so and so.” You had a little bit of that, but it really wasn’t the cool thing to do. The cool thing was to make whatever you’re about hot.

Like KRS-1 and MC Sham. You had so many situations like, “You may think that’s hot, but here’s what’s really hot, and here’s why.” I think KRS-1 is a good example. If he isn’t the best, he’s definitely one of the best MCs for a lot of reasons, but that’s probably a whole ‘nother situation. I have much respect for Talib, Mos Def, Common. Certain people to me are really carrying on hip hop and are really saying something in the music.

TMM: You are the founder of the REACH Workshop. Talk about the work you do with that.

I wanted to use the lure of hip hop with young people to hopefully teach them something constructive and to help really build people’s character. The main focal point of it is to teach and enhance critical thinking skills. We have a bunch of different modules, we have a module that deals with misogyny, one that deals with politics in hip hop.

But one of the main ones that I usually do, kind of like an introduction, is The Origins of Hip Hop. I don’t ever hear anybody come up to me and say, “We absolutely love all the hip hop that’s out right now.” Most of them complain about it. They’re like, “Hey, we think this is way different than [what] hip hop started out as and we want to see change.” And it’s really inspiring to hear that coming from them, ’cause when you talk to these music execs they’ll try to tell you that the reason why the music industry is the way it is, is because of the kids. But it’s not. [The record labels] are putting that agenda out there.

TMM: Some of your songs shot out freedom fighters and social ailments. Are you into doing any humanitarian work, or is it all in the music for you?

For me right now, it’s mostly the music, because it encompasses so much. It’s not that we have a lack of organizations out there. It’s not that we have a lack of black leaders. People always say, “We don’t have any black leaders, we don’t have the Martin’s or the Malcom’s.” In one sense I understand where they’re coming from, as in we don’t have this one person on the TV screen all the time that everybody feels strongly about. But the reality is, we have various organizations out there working hard in the streets to affect change. The problem is that people are like a sleeping giant sometimes. You have to get us mad enough to [stand up against something]. And that’s not a black thing, that’s a people thing.

When everything started unfolding with the war in Iraq it was like, “Okay, when is it gonna be enough? How many of the soldiers have to die before we’re gonna say this is enough?” Gas prices are still going up. And we’re still taking it on the chin. When is it gonna be enough? At some point people have to just put their feet down and say “Look I’m not gonna take it.”

Everybody has to find their particular way to fight. And I think if we all just did something consistently, we would be able to affect the change that we want to see. I just think people have to get upset enough with the government or the state of affairs in the world that they say, “We’re not gonna take it anymore, we’re going to find our way to make change.”

TMM: Now that you touched a little bit on foreign policy, let me ask you this: How do you feel about what’s happening in Africa and our response to it in America?

So much of the stuff is like a Band-Aid on a gunshot wound. When you look at the situation of AIDS in Africa. What are we really doing? I’m a little pessimistic because I look at our involvement and European involvement in Africa and it’s never been good. It’s just never been good.

We have this image of Africa of just being a dark continent like there’s nothing good. There is poverty. You have people who are hungry there, people who are sick there. But you also have a lot of beauty. You have a lot of commerce going on. You have a lot of wealth there too. Somehow we have to get over talking about and always identifying it with one thing like its a country. It’s a continent. Africa is a continent. We need that curriculum so that we can have a better understanding of the world. If we had a more diverse education we would appreciate other cultures a lot more.

It’s messed up, in a sense, because it’s to the point where it’s almost cool to say, “I’m giving money to Africa,” or, “I’m wearing these particular clothes,” or, “We’re making these beads.” It’s hip now. But I understand the mentality of it because of where we are in society. What better way to get people to support something than to make it cool? I’m doing the same thing with the music. I try to make it cool for you to be socially aware. I try to make it cool for you to want to make a difference. I could talk about the same things, but if people felt it was corny, they wouldn’t embrace it, so the message gets lost. Part of the business of getting people to support things with their time, energy and their money, is dressing it up in a way that it’s attractive to them. While I don’t really like that, and I wish that people would just support because they should, I understand it. And at the end of day, the means is justified by the end.

TMM: Who are your biggest influences?

Malcom X, Martin Luther King, Huey P. Newton, Nat Turner, John Brown, Mahatma Gandhi. Anybody whose had the guts to fight for social change, those are the people that I always dig.

TMM: You have a song called “Spit 4 U” where you actually call some of these people by name. Talk about what that song means to you.

I’ve always wanted to pay homage to all those who came before us, that died for us, that have fought for us to have the rights that we enjoy today. And I wanted people when they heard that song to understand why it is that I talk about the things that I talk about in the music. Sometimes people don’t understand how important it is for us to put these messages out there. So I was gonna dedicate a whole song to breaking it down, so if there’s anyone who doesn’t understand why it’s important for me to speak out the things that I say…after you hear Spit 4 U there shouldn’t be any question as to why I do the things I do instead of rapping like any of these other guys. In pouring all that passion and venting out there, and people feel that.

TMM: What does SB mean?

SB are my initials, but that’s not why I chose SB. I chose SB because it stood for Supreme Being. I wanted to be able to be an artist that you know when I’m on the stage that God is behind what I’m doing musically, and just how I’m living. Understanding that God has given you certain things, you should be humble and accountable with those gifts. So SB is about me giving him the credit, rather than putting myself in a situation where I can feel like, “Sean you’re just the greatest.” No, I’m just a vessel with it. Real artists are vessels. It’s not that I’m doing it, it’s that He’s doing it through me. And God has his whole purpose, his wonderful potential for all of us to be like him.

At the end of the day, SB is about bringing people back to God. At the end of the day, I love God and I love people. And I want people to be happy. And people are happiest when they’re walking in God’s purpose for their life. We think we’re happy doing this this and this, but I know from myself and watching other people that people are only really happy, and can only really reach their true potential through God. You can try it through a lot of other things, but it’s just not going to happen.

TMM: Your first full-length album, RevoluSEAN, is coming soon. What is the RevoluSEAN?

I call it RevoluSEAN because at the end of the day when you want to spark change you have to start with yourself. But it’s revolution on a lot of levels: mentally, spiritually, socially. Just change.

The definition of a revolution talks about returning to a beginning point or revolving around something. And for me [it means] revolving around God and bringing people back to those morals. Back to that golden age in hip hop when socially conscious music was predominant. I feel like I can bring that back.

To me, my music is vintage progressive, in a sense. It goes back, but I’m about taking it forward. Building on everything that we had that was good in the past, but let’s take it higher than that. RevolSEAN is all of these things.

TMM: What do you have to say to artists who put out abusive, misogynistic music?

We make our role models for good or for bad and sometimes we follow them to our own destruction. [Artists] need to be more responsible for the youth more than anything. Music has power and we need to use it right.

And a lot of times people just end up getting misled by cats that just don’t handle the gifts that their given responsibly. You don’t have to be a gospel artist. I don’t feel like everything that you talk about has to be of a spiritual nature, but when you’re putting out certain songs that are disrespecting women, you can at least say, Tthis is wrong, you shouldn’t want to be like this.” Show some type of regret. Show some accountability, ‘Cause there are a lot of kids who are watching you and if you weren’t rich and you weren’t on TV and famous saying some of the things that you say, nobody would be listening to you, and nobody would be following you. But because you’re rich, because you’re on TV, because you’re famous, there are a lot of people who will follow whatever you do and say because they think that if they follow you then they could possibly have those same things for themselves. But the chances of that happening are very slim.

TMM: What is your purpose in making music?

I really believe that we are supposed to be servants to each other in different capacities. My servitude comes through the music. It’s all about inspiring people to go after their dreams, and to bring them closer to God. I just want to know what the truth is about number one, who God is, and number two, our purpose. Why am I here,? Why are we here?

Photo by Clifton Henri

SB Official Website

SB on Myspace

Buy SB Music:

home :: contact us :: advertise

privacy policy :: terms of use ::

Copyright 2007 The Movement Media Group

The 1am headcount was nowhere near capacity at Harlem Nightclub, but the stage filled that void floor with talented Chicago-area rapper, SB, who kept the party going into the early morning of Saturday June the 10th. “It don’t matter if it’s 5 or 5000,” he says nearing the end of his set. Unfortunately, his trip to Toronto for NXNE might have been overshadowed by the trip back home for the people who had Harlem almost packed (Toronto Transit Commission’s last subway train heads for Kennedy Station at 1:35am). Sweat off his face, cell phones and lighters in the air; the 10 people around for the last song were convinced: a class-hip-hop-act. Everyone was lucky to catch this star before it rose – or lucky that TTC wasn’t taking them home. “Make some noise for yusselves!”

I asked if he was excited for his show at 1am. SB answered a definite yes, but cleared up something I didn’t notice while checking on the NXNE website and SB’s myspace page ( One might assume that 1am Friday the 8th was the exact date and time, but if represented properly, the true date and time would be 1am Saturday the 10th. The interview, which SB graciously granted Campus X a day before it was conducted, wrapped up smoothly after just meeting at the Holiday Inn on King. His cool voice seemed humble and welcoming over the phone and those features translated face to face. This defied my preconceived notions of hip hop artists – which would have held true if he were only wearing grillz on his teeth. In fact, his trendsetter philosophy aims to deconstruct these kinds of preconceived notions in all of us, and what sets him apart as either a rogue or a conformist can be seen as shocking or pointless depending on who you ask. “I love the fact that I don’t use profanity because it allows me to just express myself in a way that’s not only more intelligent but I think is just more interesting. Rather than saying “I like that girl,”…there’s so many ways I can say it through like a song, like “You’ve Got me Singing,” that is far more interesting than being more guttural with it, and saying it the way that some of my other hip hop brethren might say it.” With major label interest in the background, this difference is proving successful in asserting his potential of reaching the hip hop dream.

DC: Are you mainstream?

SB: “I think I have the underground approach with commercial appeal. I’m an advocate of thinking that good music is just good music. It can be mass marketed, it can be commercial in the sense that it can sell. I remember the Fugees…Lauryn Hill. There are artists out there that are commercial in the sense that they make money. I think a lot of times, people think that if you’re a conscious hip hop artist…you can’t sell. I totally disagree with that. Now, the term [‘mainstream’] has evolved into meaning that if you’re “commercial” then you’re just following what the trend is, and I don’t think that should be the case…I think people should start recognizing that, you know what, if you make good music and you have a good team behind you, then it can be commercial in the sense that it makes money, not commercial in the sense that you’re selling out, and doing whatever you think the popular trend is.

DC: Do you think you’d ever be the trend?

SB: I think so. I think it’s coming back. At one point, it was…in the Golden age, you had like, the KRS-One’s, Chuck D with Public Enemy, Brand Nubian, I mean, you just go down the line and what I do was more in vogue, and things over time can change, but I think everything happens in cycles. And now what you’re seeing with the recent signings…Common…he finally got a pig payoff with Kanye on BE, and now he’s getting into movies…Lupe Fiasco…Rhymefest…(both out of Chicago)…those cats just gettin’ signed, is just a sign of the times and showing that it’s coming full circle again. And when I talk to people over at the labels, you know, most of the people at the labels think the music they’re puttin’ out sucks.

DC: It’s for the money

SB: It’s like, everybody has their daytime job: there are certain things you like about your daytime job; there are certain things that you hate. When you look at the people at the record companies and when you look at the consumers…I think they’ve had enough, and they’re ready for more of what I do.

DC: Are you worried about just becoming a trend?

SB: Not really. I think when you’re authentic with you’re music and your music comes from an honest place, I think you’ll have fans for life. Amel Larrieux, she started out with Groove Theory. They were commercial, they were the only ones doing what they were doing and the mainstream accepted it. She broke away from that, kind of went indie, but she’s still doing her thing. Amel can still go anywhere and she’s got a built-in fan base because she’s got people who are lifelong Amel fans.

People like Eric Robeson; he’s a really hot indie artist, great songwriter. I mean, people pack his shows because they know that’s really who he is. And I think it’s the same thing with me. I make honest music and it comes from an honest place, and people vibe with that. Whether it’s in at one point [or] not in, I’m always going to have my audience that is going to support what I do.

DC: …incorporating jazz

SB: Well I’ve always been a big jazz fan. My dad, he put me on to Miles Davis, Dizzy Gillespie, Donald Byrd…a lot of the early hip hop, Gangstarr, the Roots, they really dipped into that. It’s just a vibe, man: it’s a certain energy you feel from the music that I always wanted to fuse into what I do.

As an artist, I want to incorporate as many musical genres as I particularly like, and that’s one of the beautiful things about hip hop.

I don’t want to say all hip hop now is violent, misogynistic… Do you think there’s even a market for you when those issues are so dominant?

You know, one thing I’ve kinda found with music is that…no matter what you do – you know who really taught me this; Eminem. When I heard his first Slim Shady LP, it proved to me that you can say or do whatever but whatever it is that’s in you, if you do it and you do it skillfully, you’ll find a base of people who are gonna buy into it. There are songs where Eminem talks about killing his mom. But he did it skillfully and he did it in a clever way…you know what, he had a built-in fan base of people who vibed with him or just appreciated the metaphors or personification, or just what he was doing from a literary standpoint. So, I’m not really concerned about the market “trending” toward what I do. I’ve always had the attitude that I wanna be a trendsetter. When you have that kind of philosophy, you’re gonna do what you have to do to find your market. The people are out there, and people listen to all kinds of music. But it’s just about figuring [how to] get my music to those people who will vibe to what I do, and because it’s anti-violent…

This is how I look at it. You look at like Disney [laughs], and I’m not trying to say that I’m the “Disney rapper.” OK, you got your slasher movies; they’re crazy violent, and you got people buying into that, right? But then you’ve got Disney, and Disney does what they do in a way so that, not only are they able to reach the kids, but they’re also able to reach teenagers; they’re also able to reach parents; and grandparents. So Disney (clapping it out) racks up, even more, and they’re more universal, and I think even more commercial in that sense because they can touch people from 4 to 90. And I think with the music that I do, because you don’t have any profanity, even though I deal with some very very strong topics, at the end of the day, you don’t have to say to yourself “Man, I can’t put SB on now because I got my 3-year-old daughter is in the car,” or “I can’t put SB on because my grandma’s in the car.” Everybody can come to the table and they can find something in what I do. So, I think that I’m more marketable than some of my other guys that are out there that may have profanity, that have guns and glory and all ‘a that. I think that what I do is more marketable. When the people hear the music…it’s never a problem. The biggest issue is gettin’ it to them.

DC: Do you have any major label interest?

SB: Right now we do. I can’t really say which ones yet, but I’ve got like 3. If I say three, you can guess. One of them is a major independent, and the others are majors.

DC: Since you don’t swear, do you find that that limits you?

SB: My parents always raised me to think, like, people who use profanity all the time, really are just kinda showing you that they have a limited vocabulary. And I mean, when you look at language…man, there’s so much out there, so many words that you can use to really describe what it is that you’re trying to get across, and to say it in a way that’s more interesting than just saying “I’m gonna go to the store today.” There’s so much more that you can do with that.

DC: How do you judge good hip hop?

SB: When I look at a MC, one, I look at skills…what literary techniques do they employ? Personification, metaphor, onomatopoeia: all the things that people don’t really realize that hip hop artists do use. How well does that person command that?

Confidence is a big one too. A lot of people call it swagger, but confidence is that charisma – it’s not really what they’re saying but how they’re saying’ it.

For me, content is huge. You can have two rappers that are great lyrically on their own, but if one of those guys has more content that has substance to it, I’m going to gravitate towards him every time.

For me, my favorite MC, and to me, the greatest MC of all time – hopefully one day I’ll be able to actually look at myself the same way. I think I’m going to get there, but – (“swagger”) right, but, I wouls have to say that would be KRS One. You gotta look at the whole package. That leads me to the last thing: you gotta look at their entire catalogue. I get into arguments with people…but my thing is like, no dude. Look at how long cats like a KRS One or LL Cool J have been able to not only be in the game, survive and adapt, but to still be relevant.

DC: Do you find hip hop is more of a community sport?

SB: I think it’s always been that way. What I think is special about hip hop is, yeah, while it started out in the Bronx and expanded out from there, the beautiful thing about hip hop…hip hop doesn’t give a what about what race you are, it really doesn’t – even though it can be very misogynistic – it really doesn’t give a what about what gender you are, I don’t even think it cares about what your sexual persuasion is. Like, if you’re nice (laughs), if you’re nice, you’re just nice. I believe you can come out and be a gay or lesbian rapper, and people would embrace you if you were nice. But if you’re whack, you’re just whack. And that’s one of the beautiful thing about hip hop, it’s like…we appreciate people expressing who they are regardless of who it is that you are. If you express who you are and you do it well, people are going to buy into that. Eminem did a song talking about killing is mom! There are a lot of people who probably would be a little offended by it, but he did it so skillfully…same thing with his girlfriend. He does it so skillfully that anyone who’s honest with themselves would look at Eminem and be like “you know what, this dude is talented,” whether you agree with everything he says or not.

DC: Talent or Hard work…what are you?

I think a combination of both. I think I’m talented, but I think the people that really stand the test of time are not just the people who are talented, but the people who have the strongest work ethic. I think what made Michael Jordan so unique, was that fact that…his work ethic matches his talent. It usually doesn’t work that way. Usually people who are very talented are very well-aware of it and they feel like they don’t have to work as hard. Here you have Michael Jordan who’s just gifted, and this guy had the hardest work ethic out of anybody in the game…that’s what I wanna push for.

DC: Hip Hop: passion or love?

SB: It’s both, man. I’m very passionate about hip hop, but at the same time I love it; I love it to death. That’s why it hurts me, sometimes when I see some of the stuff that’s out there, and I see the effect that it has on kids in particular…a lotta kids are gettin’ mislead by people who are portraying a certain role that doesn’t even represent who they are, and it’s leading them down a dark path. As much as I love hip hop, I have that love-hate relationship with it because I hate certain elements of the game and how it’s been corrupted, but I love it enough to look past that…If you’ve ever had a relationship with a girl where you love her to death but sometimes you can’t stand her… It’s like that. But real love, real love man, is unconditional.

So real love is gonna see past the things you don’t like and you can’t stand about a person, and is gonna make you wanna stick wit ’em. And that’s how I feel about hip hop. I’m gonna stick widdit…you know, we’re gonna make it.

Co-hosting the “Ill Noize” Hip-Hop radio show for the last year allowed me to hear different local artists. Being involved with Hip-Hop Culture for the last seventeen years, I’ve gained an ear for talent. Quite a few cds and records came through the radio station and SB’s single “Living Life” quickly became a mainstay on my show’s play list as well as other shows on WCRX. With so much watered down Hip-Hop scattered across the radio, it is refreshing to hear an artist like SB come onto the scene. This brother is one of the most versatile MCs I’ve ever heard!

SB’s rhymes are articulate and conscious. His versatility shines on tracks like “Not Giving Enough”. SB delves into the relationship between a woman
and a man that doesn’t spend time with his significant other. On “Living
Life”, the tragedy of 9-11 is the focus and how we won’t let the terrorists break our spirit. And if anyone questions SB’s lyrical prowess just check out “Still Never”. This fast paced joint shows SB spitting lyrical venom like any MC should. It’s not very often that an artist with SB’s potential and talent comes along, and when it does the music industry better take heed. Hip-Hop
hasn’t had many conscious artists recently and SB is an MC ready to bring

positivity back to Hip-Hop. To paraphrase SB on “Still Never”, “ You can search the whole universe even the galaxies, but you’ll still never find an MC like SB!

Mark Jolliffe (MJ)
WCRX 88.1FM Chicago

Mark Jolliffe – WCRX 88.1FM Chicago (Dec 16, 2002)

CHICAGO, IL — Soundchick Media Presents The Website Launch Party and Comedy Bash taking place on Thursday, March 31st @ Joes Sports Bar, 940 Weed St, Chicago. Doors open at 7:30pm and the show kicks off at 9pm. Tickets are $25.00 and can be purchased in advance at Cisco’s Music World, Music Trax and Hosted by Power 92.3 Morning Show Comedian, Leon Rogers, the event will feature some of today’s top entertainers: Vanessa Fraction, Eric Roberson w/ live band Zzajje, SB w/ live band Soul People, Poetree Chicago, Deon Cole and Malik Yusef. After the performances, the party continues with the sounds of Fathom DJ and DJ Shaun T.

Vanessa Fraction is one of the newest superstars of Comedy. Vanessa has appeared on BET Comic View and shared the same stage as Cedric the Entertainer & Eddie Griffin. She has also been a finalist in NBC’s Last Comic Standing, MGD Kings and Queens of Comedy Search, and Barber Shop 2.

Singer/songwriter Eric Roberson creates some of the best songs in soul music today. As a songwriter, Roberson’s credits include tracks for Jill Scott, Musiq, Dwele, Carl Thomas, Vivian Green, 112, and Will Downing. As a singer, he’s amassed a loyal following of die-hard soul music heads in the States and abroad. And it’s not hard to see why. describes Eric’s music as “… musical theatre – each song a complete experience to be observed and felt. One listen to Eric’s smooth baritone-tenor voice, coupled with his earnest, heartfelt lyrics, will have the hardest heart melting with warmth and emotion.” Eric will be taking the stage with Chicago Jazz Band Zzajje.
SB delivers a brand of hip-hop that successfully communicates the values, traditions and struggle of a people fighting for survival in a post-colonial context. His profanity-free, socially conscious lyrics combined with a truly energetic stage show continues to win him fans both nationally and internationally. SB is currently working fervently on his first full length LP which includes contributions from various industry producers including: No ID (Common, Jay-Z, Tony Braxton, G-Unit), Hula & Dejion (Jazzy Jeff, Will Smith), DJ IC Dre, Harvy AllBangaz, Tye Hill, and K. Fingers (Jazzy Jeff, Will Smith). SB has graced the stage alongside artists such as Common, Erykah Badu, Dead Prez, Eric Roberson, KRS ONE, De La Soul, Black Sheep, and Jungle Brothers. SB will be accompanied by the Soul People band.
The Poetry Chicago was founded in 1999 by Chicagoans Teh’ray “Phenom” Hale and Mike “Brother Mike” Hawkins- innovative performance poets who sought to create a meeting ground for socially conscious local artists. Deon Cole, a comedian who has toured with HBO’s “Def Comedy Jam, has also appeared in Barbershop (2002), Barbershop 2 (2004) and The Evil One (2005). One of HBO’s original Def Poets, Malik Yusef is unarguably one of the country’s premier wordsmiths. His first Full Length LP “The Great Chicago Fire” contains the talents of Carl Thomas, Kanye West and Common. His single “Wouldn’t You Like To Ride” featuring Common, Kanye West and JV was selected for the Coach Carter Soundtrack.

Soundchick Media

Dear SB:

Martin’s Inter-Culture, Ltd., the promoter and producer of the 22nd Annual Chicago Music Awards, is proud to inform you that you have been chosen to receive the following Special Nomination for your contribution to the music industry:
**Best New Entertainer

The 22nd Anniversary of the Chicago Music Awards will be held on Saturday, February 8, 2003, at the Renaissance Chicago Hotel, One West Wacker Drive, Chicago, Illinois. Starting time for honorees and other VIP’s is 7:00pm. The public segment begins at 8:00pm. Solo artist is allowed one guest. Group/Band are given VIP passes for the members only. We encourage you to invite your fans and supporters to come out and show their love for you at this gala ceremony.

As you may know, our primary objective is to honor and uphold Chicago and Chicagoland entertainers, producers and promoters in all categories of music for their contributions to the entertainment industry locally and internationally.

Please let us know immediately if you will be able to attend the Awards ceremony. The official press conference announcing the awardees and nominees was held on Wednesday, December 18, 7:00 pm, at Akainyah Gallery, 357 West Erie, Chicago, Illinois. Please send us your promotional materials (such as: CDs, Bios and photographs, etc.) as soon as possible.

We again congratulate you on your achievements, and look forward to seeing you at this outstanding Gala Awards Celebration. Should you have any questions or concerns, please feel free to contact me at the above telephone numbers.

Ephraim Martin – Martin’s Intercultural, Chicago

Friday, January 13, 2010

Robin Dixon

SB – One of Chicago’s ten hottest rising Hip Hop artists In Lights and Art at Chicago’s Museum of Science and Industry’s Black Creativity 2010 Exhibit – “Taking Charge of YOU”!
SB, one of Chicago’s Ten Hottest Rising Hip Hop Artists is featured in a photo titled “I Spit 4 You”,
shot by Award Winning Photographer Clifton Henri that was honored and is on display at the
Museum of Science and Industry’s Black Creativity 2010 – Taking Charge of YOU!

Chicago (January 13, 2010) – On January 13th, the photograph titled “I Spit 4 You”, by Clifton Henri was honored and on display at the Chicago’s Museum of Science and Industry’s Black Creativity 2010 Exhibit – “Taking Charge of YOU!” This photograph is the product of an ingenious collaboration between SB, a conscious Chicago artist that represents true Hip Hop and Clifton Henri’s ability to create and capture in modern times the concept of the “Soapbox Preacher” and the imprint that they left on many communities during the Civil Rights Movement. It is the cover for SB’s “REVOLUSEAN” album just made public in February. The photograph educates its viewers and will forever leave lasting impressions and nostalgic memories of a thread in the past of American culture. It is a masterpiece of African American integrity and power.

Henri, who considers himself a “Storyteller” and SB succeed in passionately illuminating the idea for SB’s newly released album cover “REVOLUSEAN” by imitating the “Soapbox Preacher”. The imagery in the photograph represents the likeness of profound ministers such as Malcolm X and Dr. Martin Luther King Jr. as they stood on soapboxes and brought courage to the corners of African American neighborhoods. The general idea behind the image is simple and gracious. It draws on the true leaders of the Civil Rights Movement and what the movement was about. Coincidentally, it is a movement that both Henri and SB have an incredible level of passion for. Henri candidly uses the camera to capture the past and celebrate the great leaders of the Civil Rights movement and SB uses the award-winning photo as a means to illustrate his album cover and affirm why he crafts the style of Hip Hop that he does and whom he crafts it for. The photograph is an important element that gives listeners a visual idea of what SB’s musical purpose is. SB explicitly lays out his reasoning in a song also titled “I Spit 4 You!”, the newest release on his “REVOLUSEAN” album. The song tells us why SB will continue to rap conscious, profanity free lyrics and how he will continue to inspire, educate, and have a positive effect on the present state of African American culture through Hip Hop.

Chicago’s Museum of Science and Industry’s Black Creativity 2010 Exhibit – “Taking Charge of YOU!” opened on January 13, 2010 and will run until February 28, 2010. The Chicago Museum of Science and Industry is the only museum in the country that features an African American exhibit of this kind. Henri’s “I Spit 4 You” hangs alongside many great works of his comrades and pioneers in an exhibit that allows us to see him as a great and true conveyer of storylines and an awesome photographer. The exhibit is a celebration of African American artists that also celebrates the achievements of past and present African-American pioneers in medicine and innovative technology for medical and surgical education. The Chicago’s Museum of Science and Industry’s Black Creativity 2010 Exhibit – “Taking Charge of YOU!” fills three floors with an abundance of African American work that has undeniable integrity, striking imagination, and faultless creativity.

Please direct all interview and media inquiries to Robin Dixon at For more information on Clifton Henry, please visit For more information on the Museum of Science and Industry’s Black Creativity 2010 – “Taking Charge of YOU!” please visit

Robin Dixon – SBHipHop (Jan 13, 2010)

Friday, March 05, 2010


Robin Dixon

SB – “REVOLUSEAN” Is Coming! (Spring 2010)
Once again, SB treats us all with music that reaches
plateaus most consider null and void in today’s style of HipHop.

Substance, Integrity, and Charm is what can be heard in the soulful music of “SB”, an influential player in the game of HipHop. The release of his new album “REVOLUSEAN” will surely leave an impression on its listeners.

Chicago (March 5, 2010) – SB, often known as the “Peoples MC”, has a humble spirit and defines his life’s purpose to BE a catalyst of change by using music to address the social injustices of the world. His objective is to ensure that through his music, he as a leader and role model continuously stand as living proof that positive and morally conscious HipHop still exists. SB has shared the stage with fellow peers such as
Common, Kanye West, Erykah Badu, Talib Kweli, KRS One, Dead Prez, De La Soul, Slick Rick, MC Lyte, Amel Larrieux, Doug E Fresh, Amiri Bin Ari, Redman, Method Man, Rhymefest, Lupe Fiasco, Twista, etc. SB is resolute on staying focused not on what mainstream considers quality music but how he can add value to the lives of others by showcasing constructively that music is one of the most useful tools in impacting the lives of others.

REVOLUSEAN is a profanity-free, substance packed album that reaches out to the hearts of not only HipHop enthusiasts but also music lovers alike. It is original and blended with tones and idiom. It excludes language and lyrics that are misleading and undermines the true meaning of HipHop and soul music as a whole. REVOLUSEAN features production from Kanye West mentor No ID (Common, Jay-Z, G-Unit, Toni Braxton), Hula, Dejion & K.Fingers “Azza” (Will Smith, Jazzy Jeff, Missy Elliott), Tye Hill (Felix da Housecat, Sean “P-Diddy Combs), Allbangaz, and the talented Soul People band.
Newly released, REVOLUSEAN is steadily making airwaves on the music circuit. One of the album’s most renowned singles is already “I Spit 4 You”. “I Spit 4 You” is a song that was inspired by naysayers and those that have no understanding of why it is that I make the music that I do, or my direction as an artist – SB. The purchase of “REVOLUSEAN” the album and any of its singles can be made through
To review SB’s profile visit For more information including booking and performance availability, please contact Senior Management at Please direct all interview and media inquiries to Robin Dixon at

Robin Dixon – SB HipHop (Mar 5, 2010)

Heart-felt and compassionate Sean “SB” “Soul Brother” Butler displays his God driven talent and blessed mic presence with Revolusean, an album that gives hip-hop an Eternal deftness, a kind that provides a pure and sanctified Reflection on key life issues: no gimmicks, all-natural. Like Damian Marley and Nas, SB is hip-hop’s Distant Relative: embraced and well-received by critics, fans, true hip-hop/soul heads, cousins, uncles, aunts, grandparents, but highly favored by Savior GOD. It’s evident with “I Know Sean” as he reflects on self and the positive magnitude affect he has with his music on his public. The injurious beat and swelling lyrics of this song dissipates the cancer in a patient.

The emotionally charged “Angelz” tales the lost innocence of a victimized girl turned woman. The production and lyrics remind how Tupac’s Brenda is still having babies, throwing them in garbage disposals, while Diamond D’s Sally still has a one-track mind. Looking through the eyes of many “Angelz” makes “Fighting For The Future” a priority: tracks showing love heals, stitches, and patches all scars, wounds, and heartbreaks. The Soul People superbly acoustic enriched “Living Life” make people breakthrough the broken sky soaring high like whiter than snow doves.

SB is “Made 4 Love” and ready to settle down putting all games aside “Looking 4 A Claire Huxtable,” tracks that make men’s pimping die tonight to “Get Free.” After finding that pretty sly fox, she will have SB and the fellas chant “U Got Me Singin’.” In essence of The Roots, SB’s healing “No Children Here” is the reason How I Got Over life’s afflicted destitutions. A reason for our children who are hurting to get by.

The singles “I Spit 4 U” and “Revolusean” are considered Revolutions Per Minute. These songs are so powerful they burn the depths of many souls and feel the victory already won through veins when revolting, like GOD parting the sea for Moses and his people to flee from the enemy.

While SB is the truth, other conscious rappers fall victim short of urban myths as his peers have wrongfully let their egos become bigger than their music. The elements of humility, raw substance, upheaval, and transformation are patented throughout the entire discography they echo through the burials of our heroes that sacrificed their entire lives to make “The World” a better place: Harriet Tubman, Martin Luther King Jr., Malcolm X, Marcus Garvey, Che Guevara, Bob Marley, Fred Hampton Sr., and many greats. Revolusean is the voice for the voiceless, the immigrants, the homeless, the sick, the dying, the hopeless, the impoverished, and the troops at war. President Barack Obama, Fred Hampton Jr., Muhammad Ali, and Aaron Robinson of Consciousness Magazine would co-sign the revolutionary R.I.P. Michael Jackson humanitarian spirited SB.

“My personal ministry is my music and it starts by touching
people’s minds and hearts,” mentions Chicago native and conscious
MC Sean “SB” Butler. This is coming from an MC that
refuses to sell out and rather have “50,000 people buy my album
and say [I] changed their lives than the artist that sold a million
units that did nothing for [the masses].” Disgusted with the crass
machinations of the music industry and today’s hip-hop music, SB
serves as hip-hop’s Golden Child. “So many kids out there listening
to hip-hop go the wrong direction. The powers that control
radio limit the music and artists you hear.” Hip-hop had a balance
of gangsta and conscious rap. “All of a sudden it got polarized.”
SB suggests, “hip-hop is for the people and I would like to bring
it back and I feel I can take it there.”

His frustration with the genre gave SB a purpose as an MC. “I got
tired of artists at award shows thanking everyone including GOD
when so much of their music is contrary to what GOD is doing.
An artist should channel what GOD wants for them to do with
their talent.” SB not only stands for his given name, but as reflected
of “supreme being.” He adds, “I wanted a stage name that
keeps me humble and always give praise to the Most High, keeping
Him first.”

However, SB found his purpose as an MC when he had an
encounter with death. “When you’re on your death, the things that
people think are important in the end like how much money they
have and how many people they slept with are not significant.”
He reflects, “I thought about this gift called life and what I did
with it positively…did I show my friends and family how much I
loved them?” After questioning his existence, SB saw life from a
different perspective and set out to accomplish his goal and
applied motto to life by “inspiring people in their outlook on life.”

It is evident in his music providing sincerity and realness taking
on themes a conscious MC rarely vocalizes. “You Got Me
Singing” points out the importance of being celebrant when in a
relationship. The message in “Made For Love” serves potent.
“The song is for the ladies who have been approached by men
inappropriately and viewed as a sex object.” SB makes it clear
that women have “men that do respect and love them as their
equal.” He lets men know in the song to “love and honor our
women and to grow up and stop allowing society to condition us.”
His music is also uniquely different of his conscious counterparts:
the lack of profanity. “Part of me loves Common and Kweli, but
still feel something is missing in music. I also hear conscious rappers
disrespect women and being misogynists.” As a Christian,
SB strays from the formulaic.

More than an entertainer, SB is an advocate for change in his
community going to different schools and attending workshops to
speak to the youth. “We have to help our youth cause they are
killing each other over materialistic things like sneakers and
hats.” As an artist he feels taking on more responsibility and “not
being afraid to say anything to them. They want someone to step
in and tell them they are better than that and not be out there doing
negative things like selling dope on the streets.” His approach is
to “show the youth real life opportunities.” Indeed, he has moved
kids because they had an experience to where they relate.

“I want to lead people to GOD by not preaching to them but talking
through them.” SB wants for the people to have what he has
in his life: joy and happiness.” He makes an analogy. “I want them
to digest my music like food. You can eat fast food but wont do
much good until you get organic food that has live enzymes.” He
continues, “you can take nutrition from it. It’s a much better alternative.
That’s what I’m bringing to hip-hop. Substance!”

If KRS-One is nicknamed as The Teacher as a sign of ultimate
respect, SB is crowned The Professor.

Hector De La Rosa – Consciousness Magazine (Oct 1, 2010)