Art thrives on new voices. Music, in particular, tends
to take major steps forward when emerging acts arrive on the scene with
a fresh perspective. Emerging from Los Angeles is Mann, an 18-year-old
rapper wise beyond his years whose fresh, positive, inspiring outlook
on life provides his debut album, Mann’s World, with a remarkable
vibrancy.
“It’s a young world,” Mann says. “It’s about being young and enjoying
life. Right now, our world is so down and so negative because of what’s
going on. My world is the opposite of that. My world, everything is on
the up and up. I appreciate everything that I have and everything that
I’ve gone through to make it to where I am today. The world needs an
outlet and the kids need an outlet to be happy. I feel like I can do
that with my music.”
Mann’s World lives up to its author’s proclamation. The high-powered
collection serves as a coming-of-age soundtrack for today’s generation.
Featuring polished, exquisite production from Jonathan “J.R.” Rotem
(Rihanna, Sean Kingston, Jason Derulo), Fingaz (Snoop Dogg), and Rob
Knox (Justin Timberlake) among others, the album includes an optimistic
outlook on life, as well as several examinations of the highs and lows
of romantic relationships.
“Every man can relate to that and every girl wants to hear a guy try to
get at them,” Mann says. “Every boy growing up is going through it with
girls, especially at my age. Every girl wants to know what a guy’s
thinking. That’s the best way to get into their ears, by giving them
what they want. At this age in my life, it’s something I can relate
to.”
Mann showcases his confident, fly side on “MVP” and proclaims his
allegiance to girls from his home state on the celebratory “Cali
Girls.” Then, on lead single “Text” featuring Jason Derulo, Mann
delivers a future smash that encourages his lady to shoot him a private
message. The song has a special significance for Mann, who is sure that
listeners will gravitate toward the cut. “Nobody really talks on the
phone anymore, or they despise talking on the phone,” he says. “A lot
of people I know don’t even have the phone feature on their phone
anymore. They just text. It’s so much easier, so everybody’s going to
feel the song.”
Though much of Mann’s World covers life’s high points, Mann showcases
his versatility by crafting the insidiously clever “Cupid.” The song’s
aggressive rock vibe matches his goal of killing the god of love. It’s
a statement cut, one that highlights Mann’s ability to use his
vulnerability as the creative catalyst for memorable music.
Although many rappers are unwilling to put their personal pain,
frustration and anger on display, Mann believes that doing so makes him
a more genuine artist. “If I’m going to try to hide who I am in my
music, then there’s no reason for me to do it,” he says. “I can be the
player, but I can also be the person who got played – and that’s every
human. Everybody tries to act like they’re only a player and that’s not
true. I feel like being vulnerable is a good chance for people to be
like, ‘He’s real.’ Right now people want to hear real music and people
want to hear what’s real.”
Mann explores another universal desire on “Mars.” This is his escape
song, a cut in which he imagines leaving the life his lives now in
order to grow into being his own person without outside interference.
“Mars” hits particularly close to home for Mann. That’s because he and
his mother moved from suburban Norwalk, California to Los Angeles when
he was in the fifth grade. It was as if he had arrived on another
planet.
Mann was confused and torn. Peers made attempts to lure him to join a
neighborhood gang and he dabbled in regrettable activities, but Mann’s
path became clear when his mother found out about his less than
honorable pastimes. “Seeing her cry made me change everything,” he
recalls. “I don’t want to make my mom cry or make her upset. That
changed me.”
Making a change, Mann channeled his energy into acting. He had always
been a playful child who seemed experienced beyond his years (he earned
the nickname Mann because of his tendency to hang out with adults and
carry himself well), so acting seemed like a good match. His life
changed when he enrolled in the Amazing Grace Conservatory. Now
surrounded by other kids who were working toward a positive goal, Mann
excelled, landing film (Ghosts Of Mississippi) and television roles
(Married With Children) as well as the lead in several plays.
Mann was also able to develop his other skills. He was the member of a
dance ensemble; many of the members also rapped. Being the youngest,
Mann became known as Boy Wonder. But he was dismissed as a rapper by
his friends because of his junior status. The rejection drove Mann to
sharpen his skills.
After joining and separating from neighborhood rap groups, Mann was
discovered in early 2008 at a Hollywood performance by Jamie Adler.
Jamie along with co-manager Joshua Fisher signed Mann to music industry
power broker Steve Lobel’s A2Z Entertainment (Bone Thugs-n-Harmony,
Iyaz, Nipsey Hussle), and then entered into a partnership with Beluga
Heights and Mercury.
Even though most Los Angeles-based rappers are known for their gangster
ways, Mann impressed industry vets and fans alike by his status as a
complete artist. He’s a sharp lyricist who is able to pen hit records
and maintain an edge. “I try to find my way to flip it where it’s still
not too pop for anybody urban,” he says, “but it’s not too urban for
anybody that’s in the pop world.”
By bridging the gap between the urban and the pop worlds, Mann is
indeed set to conquer both realms. In fact, he imagines himself
following in the footsteps of another trailblazing artist whose
distinctive style led to multi-platinum success. “I look at myself as a
modern day Ma$e,” Mann says. “When Ma$e came out in New York, he was
different from their sound, but he fit in perfectly. Everybody loved
him. He’s was a girl’s guy and he was fly. That is what he represented.
I feel like I can do the same thing.”
Don’t doubt him. After all, it is Mann’s World.
For more info, news, images, etc. please visit www.mannsworld.net
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