Cappadonna gave some real insight on his journey when he pulled up to The Punchline Academy and gave them real Shaolin talk, straight from the roots of Staten Island. They sat down and went deep into Wu-Tang history, how "Ice Cream" became his first video, and the era that shaped one of the most important movements in Hip Hop culture.
Cap speaks on being one of the most underrated pens in the Clan, the responsibility of carrying Staten Island on his back, and how Wu-Tang’s legacy continues to influence the new generation. The love, the pressure, the history, he lays it all out with no filter.
This is one of those conversations you feel full of gems, memories, and a real Hip Hop perspective from a man who lived it. Wu-Tang is forever, and Cappadonna breaks down exactly why.
Content Courtesy of The Punchline Academy: Hosted by Da Inphamus Amadeuz, alongside Tone Viera & Mrz Get@Em, on Shade 45 (SiriusXM).
You can get ready for electrifying freestyles and "The Left Lane Mix," which gives you a dose of Hip Hop classics while breaking the hottest records in the street!
For Annabel Anderson, music has never been a hobby, a phase, or even a decision. It has always been a knowing. “For me, it actually started when I was about five years old and stood on stage for the first time in a choir,” she says. That early spark arrived under the bright lights of a major children’s concert, one that left a lifelong imprint. She continues, “I had this big concert back then, Rolf Zuckowski was a really popular children’s musician in Germany at the time, and I sang one of his songs in front of 2,000 people. That’s when I knew I wanted to become a singer.”
Influences Without Borders
Anderson’s inspirations span eras, genres, and continents. “I don’t really have one huge role model, but there are definitely people who inspire me,” she explains. “For example, I think Britney Spears did it really cool; she had this kind of girly vibe, she could dance, but she was also sexy at the same time. And in Germany, I really look up to Helene Fischer because she’s truly achieved a lot.”
A New Pop-Dance Direction
In 2025, Anderson steps boldly into international pop with her new single Bum Bum, produced by legendary hitmaker Teddy Riley. “Working with Teddy Riley inspired me to dive into a more modern pop-dance sound and really show how versatile I am,” she says. “It’s basically a reflection of where I’m at right now as an artist, moving from Schlager and children’s music into something more international. So in short, it just shows my new creative direction.”
The Chance Encounter That Sparked a Major Collaboration
The path to working with Riley began unexpectedly. “So, it actually started when I was on a trip to Dubai and met someone who connected me with Teddy Riley,” Anderson says. “I sent over some videos, he checked them out, and he was totally up for doing a project with me. At first, I honestly thought it was a joke, because, I mean, it’s Teddy Riley! So many people dream of working with him, and I couldn’t believe it was real.”
“Then we had our first conversation, and it was just crazy. He showed me some songs, and things moved pretty quickly from there. We set up a studio session in Texas, and that’s really how the whole project took shape."
Inside the Studio With Teddy Riley
Recording with Riley was an intense and unforgettable experience. “I was incredibly nervous, I don’t think I’ve ever been that nervous in any studio in the world,” she recalls. “I had no idea what to expect. I mean, this is Teddy Riley, who’s worked with Madonna and all these huge names, and there I was, a German singer, suddenly expected to jump in and perform. And it wasn’t just him in the studio; there were like 10 people around. One person was responsible for the mixing; there were a couple of vocal coaches, and just so many people there. And then it was like, ‘Okay, sing!’ It was really emotionally exciting and stressful at the same time, strange but also wonderful. And yes, we recorded it in Texas.”
A Creative Leap With Heart
Even as she expands into international pop, Anderson stays connected to her roots. “I just really wanted to try something different. I mean, I love Schlager, I love doing Ballermann stuff, and my new children’s project is a lot of fun too. But I thought, why not try something new that might surprise people and maybe bring them along for the ride? No matter what happens with it, for me it’s just been an amazing project, and I’m really excited to see where it goes.”
TheRealSkitso’s explosive single, “Fired Up,” featuring Memphis rap icon Project Pat, is proving to be one of the most durable independent records circulating on digital radio. The track has now held its position in the Top 80 of the Digital Radio Tracker Global Top 100 Independent Airplay Chart for eight consecutive weeks, fueled by more than 750 weekly spins across 13 stations nationwide.
Part of the record’s strength lies in its dynamic pairing. “Fired Up” merges Skitso’s Buffalo-born production edge with Project Pat’s unmistakable Memphis cadence, creating a sound that resonates across demographics.
“Fired Up” serves as a featured single from Skitso’s upcoming project, Asylum Vol. 1. The momentum also paves the way for the next single, “Fatherless Child,” with a video directed by Ralph McDaniels, founder of New York's iconic Video Music Box, known for first introducing Nas to viewers in New York.
Skitso’s earlier breakout record, “Well Connected,” gained national spotlight following its BET Jams premiere, where the West Coast-leaning visual positioned him as a cross-coastal producer capable of bridging generations and regions. This one also featured a remix from DPG's Kurupt.
Released through Bud E Boy Music and Illustrious Music, “Fired Up” continues to highlight Skitso’s creative vision and ownership-focused approach.
With eight straight weeks in the Top 80 and rising rotation strength, TheRealSkitso’s momentum shows no sign of slowing.
One of Canada’s most consistently compelling voices in contemporary pop-rock is back. After a two-year hiatus, Nova Scotia’s own Jon Mullane returns for his next musical renaissance— embarking on what promises to be his most inspiring and dynamic chapter yet. Since bursting onto the scene in 2007 with The Source, Mullane has built an international following that continues to accumulate with each release. Over the years, his music has garnered a remarkable array of awards, accolades, and media coverage, along with radio play and placements in film and television—all testaments to the universal appeal of his genre-blending sound.
With nearly two decades of musical experience, Mullane has mastered the rare ability to weave together infectious pop hooks and electrifying rock anthems into a sound that evolves alongside him, interconnected with every place that’s shaped him. After a period of living in LA, Mullane’s return to Nova Scotia’s picturesque, coastal landscape sparked a renewed sense of creativity. Surrounded by the province’s natural beauty, he’s begun to experiment with a more grounded, introspective style—crafting heartfelt songs brushed with sea salt and carried by ocean breezes. Now, reignited with the same unbridled passion that’s fueled him from the start, Mullane stands at the edge of a new beginning—ready to remind the world that his best work is still to come.
In music, collaboration is often the key to success, and few examples illustrate this better than “Remember in November,” Mullane’s first single on his upcoming EP, set to release next spring. This touching, evocative track was written in Nashville alongside two of the top A-list hitmakers in the business: Michael Dulaney, a Grammy-nominated songwriter whose seven #1 Billboard hits have been recorded by nearly every major name in country music, and Michael Jay, a songwriter, record producer, and composer best known for his prolific catalog of hits, including Martika's #1 Billboard smash, "Toy Soldiers.” Together, they’ve crafted the ultimate autumn love song—a wistful tribute to brighter, sunlit days, written from the gray haze of November.
It’s as if Mullane has slipped on a pair of rose-colored glasses, reliving each moment of falling in love, and letting the nostalgia wash over him. From the first notes, the track wraps listeners in a tender, reflective melody—shimmering guitars, a gentle beat, and Mullane’s soulful, gravel-edged vocals all building toward a rush of emotion. When the chorus arrives, bursting with indie-rock energy, the depth of the story becomes clear. This isn’t just another love song—it’s a once-in-a-lifetime connection, a honeyed romance worth remembering. The narrator vows to hold on tight to those fleeting moments: watching the sun set, walking hand in hand along the boardwalk, wrapped in moonlight. And when the days inevitably grow dark, cold, and gloomy, those sun-soaked memories will still shimmer, lighting the way back to those lovely, golden summer days.
The “Remember in November” music video paints this dreamy, rarely seen portrait of Halifax—a city every bit as romantic as New York, Paris, or any other capital of love. With its cinematic style, it feels less like a traditional music video and more like a tender short film, following two young lovers as they savor each other's company on a cool summer night out on the town. Each frame captures the spirit of the season: glowing sunsets, flashing amusement park lights, and radiant smiles that bring a sense of airiness and serenity to every moment. Yet the subtle grain of the film hints that this love story may exist only in memory. As Mullane’s voice—narrating the tale as it unfolds—bounces off the walls of the iconic Astor Theater in Liverpool, NS, one of Canada’s oldest theaters, it feels like a full circle moment, a homecoming, a heartfelt declaration: he’s still here, and he’s making his homeland proud.
After your two-year break, how did it feel to return to making music again?
It was really energizing and inspiring for me to begin the journey of creating new music again.
You’ve lived and worked everywhere from LA to Nova Scotia—how has being back home shaped your new sound and perspective?
I feel it has allowed me to create in a balanced environment. I think the result of that is there’s a more organic and soulful nature to my sound. And it’s highlighting more of my guitar background, where it all began for me.
“Remember in November” feels full of nostalgia and heart. What sparked the idea for this song?
I was in Nashville in April in a writing room at Peer Music Publishing with hit songwriters Michael Dulaney and Michael Jay. It was our first session together for the three of us, so we were just chatting about a few things to break the ice and I started playing a chord progression I’ve had for a while, and Michael D mentioned a title that came to him earlier that morning and it was Remember in November. That’s where it all started.
The lyrics and vocals carry a real sense of warmth and reflection. Was this written from personal experience?
I think it was more a collective of all three of us of our own personal experiences. As it turns out, and I didn’t even think of it at the time, I had the exact situation that the song describes early in my life.
You teamed up with Michael Dulaney and Michael Jay on this one—how did that collaboration come about, and what was the creative vibe like in the room?
I had previously written my last single with Michael Jay, and my publisher, Michael Davenport, connected me with Michael Dulaney about a year ago. And the two of them had both been involved with famous music publishing back in the late 80s where they managed Michael Jay’s catalogue. So it seemed like it was a serendipitous natural evolution for all three of us to write together.
The song blends catchy pop hooks with a soulful rock edge. How do you find that balance in your writing and production?
That’s the million-dollar question, and it’s not easy to do. I think I’m at a point in my life and career that that ideal is very important to me, and I am very aware now of incorporating those elements into the music.
The music video paints such a romantic, cinematic picture of Halifax. What did it mean to you to showcase your home province that way?
It wasn’t really the intention to do that, but more of the result. Nova Scotia is such a beautiful place, and I’m glad we were able to capture the essence of that.
What’s your secret to connecting emotionally through melody?
For me, melody is almost always where it starts for me and I always feel an emotional connection to when I come up with something I think is good.
After two years away, did your creative process or mindset change when you started recording again?
I think it always evolves on every recording project, but the real change was during the writing sessions. All of the writers that I collaborated with for this collection of songs were terrific and inspiring to me. Having their input and creative energy drove the project.
“Remember in November” marks the start of a new chapter—what can fans look forward to next from you and this upcoming EP?
Well, the EP is going to be released at the end of March 2026, preceded by another single. Currently, I’ll be doing a couple of theater shows in Nova Scotia in December and will be doing some more concerts to support the EP throughout 2026. And there will be some more music videos as well!
Once in a blue moon, two creatives cross paths who are destined to create magic together—a match made in musical heaven. Duos like Power Down prove what’s possible when a veteran of the industry—seasoned in playing, producing, and founding his own label—joins forces with a young, headstrong virtuoso brimming with raw talent. Dan Voss Jr. met Aaron “Zeus” Zepeda while working with Bob Margouleff, the electronic music pioneer behind Stevie Wonder’s award-winning albums, and the rest is history. In the studio, their chemistry is electric—each bringing a distinct perspective, trading and trying out ideas until a masterpiece emerges. Separated by generations, Voss Jr. delivers sucker punches of '80s and '90s rock edge—echoing his days writing and producing for major artists—while Zeus propels their sound forward, wielding his “studio wiz” skills to blend in fresh, modern textures. Together, they’ve struck sonic gold—music that’s professional, unpredictable, polished, yet ferociously fun. With their original debut just around the corner, Power Down is ready to turn up the good vibrations. Expect big hooks, bold sounds, and the kind of music that can only come from two artists having the time of their lives doing what they do best.
“Bag In Hand” marks listeners’ first step to the sonic universe of Power Down—and they might be surprised by what they find. Their debut single feels like it was written beneath the neon haze of a sprawling city, as if Voss Jr. and Zepeda crafted a tale of longing, detachment, and surrender designed to crank up the drama and allure to the max. Blending pop, rock, and electronic sensibilities, “Bag In Hand” could slide seamlessly into a cyberpunk film soundtrack—a surge of shimmering synths, cavernous whistles, distorted rhythms, and climactic harmonies. The tempo pulses with urgency and intensity, tracing the thoughts of a lover chasing after a partner who's already halfway gone—“day after day, night after night”—stepping into the spotlight with one foot out the door and a “bag in hand.” As the track unfolds, anticipation builds, hinting that these two might be drifting apart for good. Emotion-charged vocals swing between restraint and release, heightening the sense of desperation. Though the waiting and loneliness threaten to tear him apart, he vows to remain her “audience of one,” even when it feels futile—because “sometimes in love, you let them run.”
Just as easily as “Bag In Hand” could score a cyberpunk film, it could just as easily soundtrack a larger-than-life anime about love on the brink. Fortunately, viewers don’t have to imagine it—Aaron “Zeus” Zepeda brings the vision to life himself for the music video, directing an anime-style micro-drama teeming with tension and heart. At first, the lovers seem inseparable—sharing cuddles, kisses, and easy smiles—but things shift when the girlfriend takes the stage, black feathered wings trailing behind her as she walks out the door. Trapped inside a giant bubble, the boyfriend becomes cut off from reality, lost in his own head, and unable to break free. As she moves on without him, the tension mounts until it hits: he can’t bear to lose her. He races to make her next performance, desperate to catch her before it’s too late—only to arrive after the curtain falls. By then, she’s already gone—off on tour, chasing her own spotlight, with no promise of return—leaving behind only echoes of romance and a breathless sense of awe.
How did this first song come together between you two?
“Bag In Hand” really began with the two of us reconnecting at a moment when life felt a bit heavy for both sides. We’d already worked together in the past, and there was this unspoken creative language that clicked right back into place. We found ourselves sharing personal experiences that were oddly parallel, and that opened the door to something raw and honest. Before long, the concept, the title, and the emotional core were all sitting on the table, and the song just poured out from there. It was the right moment, the right conversation, and it sparked the beginning of Power Down.
You met while working with Bob Margouleff—what did you learn from that experience?
Working around Bob was like getting a crash course in sonic architecture. He’s known for his mixing approach—how he balances layers so each element supports the emotional core without ever getting lost. Watching him work taught us how powerful a mix can be when every detail is intentional. That philosophy stayed with us: let the layers tell the story just as much as the lyrics do. That mindset definitely shaped how we approached Power Down and the depth we aim for in each track.
The song mixes pop, rock, and electronic sounds. How did you land on that blend?
Honestly, the blend happened naturally. Both of us pull from such wide musical backgrounds— everything from classical training to rock bands to EDM and film score influence—that the collision of genres is almost inevitable. Rather than chase a specific style, we tend to let the songwriting dictate the sonic palette. If the story needs grit, we lean rock; if it needs atmosphere, we lean electronic; if it needs scale, we borrow from cinematic and pop elements. “Bag In Hand” became a hybrid because that’s what its emotion demanded.
There’s so much energy and tension in the track—what kind of mood were you trying to create?
We wanted the track to feel like movement—emotional motion, physical motion, and the push and pull that comes with both. A lot of the real-life events that inspired the song were happening in real time while we were writing, so the tension you hear is the tension we felt. The mood we aimed for lives somewhere between heartbreak, endurance, and the clarity you only get when you’re forced to walk forward even when it hurts. That sense of traveling while unraveling.
It has that cool, cyberpunk vibe. Did any movies or visuals inspire the sound?
It’s funny—you’re not the first person to mention a cyberpunk quality, and we’re honestly a little surprised by that interpretation. As fans of cyberpunk culture and its music, we didn’t consciously aim for that lane at all. In hindsight, however, we can understand where the feeling comes from: the steady pulse, the propulsive rhythm, that forward momentum the track carries. In reality, we leaned more toward epic, 80s-inspired textures and a kind of modern power ballad energy—almost something in the world of Sia, but reframed through a male vocal and dramatic instrumentation. It’s always really cool to hear the different perspectives from our listeners!
Dan, what parts of your classic rock background still shape your music today?
The “classic rock” side is definitely a thread, but the truth is that both of us bring a wide scope of influences to the table. What we’ve found is that our musical histories actually complement each other more than they separate us. Rather than leaning on genre labels, we pull from whatever emotional or sonic element feels right in the moment—whether that’s gritty guitars, intricate rhythms, or cinematic arrangements. The magic happens when our individual backgrounds merge into something neither of us would have done alone.
Zeus, how do you bring in that fresh, modern edge with your production?
A big part of the “modern edge” comes from the way we both create visually and conceptually, but I’ll admit—I’m a bit of a computer nerd. I love diving into the latest plugins and tech as soon as they drop, and we use that to push textures, vocal treatments, and atmospheres into places that feel new. Even with that, though, the production always revolves around emotion first. We challenge each other constantly—one person pushes the boundary, the other shapes it—and that back-and-forth is what makes the sound feel contemporary without losing depth.
What’s your usual process—do you start with a melody, a beat, or just jam until it clicks?
It honestly changes every time, but the constant is that we follow the spark. Sometimes one of us brings a melodic idea to the table; sometimes the lyrics appear first; sometimes a beat sets the entire emotional stage. We try not to force a rigid workflow, because the best moments come from leaving room for instinct. The core of our process is really just two creatives chasing the idea that feels the most honest.
Now that your debut’s out, what can fans expect next?
We’ve been building a world through these songs, and “Bag In Hand” was only the first doorway into it. The material that follows keeps that same emotional throughline—dramatic, bittersweet, atmospheric—but each track explores a different facet of that universe. We’ve been very intentional about lyrical continuity and vocal identity, so listeners can expect a consistent vibe while still being surprised by the sonic twists. There’s a lot more on the way, and the story definitely deepens from here.
What do you hope listeners feel when they hear “Bag In Hand”?
Above anything, we hope people feel understood. The song carries weight, but that weight comes from real experiences—conflict, loss, reflection, resilience. If listeners walk away feeling like their own struggles, heartbreaks, or transitions are mirrored in the music, then we did our job. Power Down is about finding strength and beauty inside the heaviness. If the track can help even one person feel less alone, it means everything to us.
Recently, emerging fashion and costume designer Kaiqi Zhang received the “Chinese People’s Artist Certificate” from the China National Ethnic Culture Promotion Association (also known as the China Culture Promotion Society). The honor recognizes her sustained creative practice and outstanding contributions in contemporary fashion art, stage visuals, and cross-cultural exchange. It not only affirms the solid body of work she has built in recent years but also highlights her role as lead designer and principal creative force in her projects, where she demonstrates comprehensive strength in conceptual development, structural research, and material experimentation.
The China National Ethnic Culture Promotion Association, founded in 1992, is a nationwide social organization approved by China’s Ministry of Civil Affairs and supervised by the Ministry of Culture and Tourism, headquartered in Beijing. Guided by the mission of “promoting Chinese culture and advancing international exchange,” it brings together cultural figures from China and abroad and operates more than one hundred branches. Over the years, it has conducted social art proficiency examinations and organized nearly 2,000 cultural and artistic activities spanning academic research, international exchange, and cultural industries. Against this authoritative institutional backdrop, the “Chinese People’s Artist Certificate” is not only a confirmation of an individual’s artistic status; it also represents a systematic recognition of Ms. Zhang’s professional creative capacity, academic potential, and social impact as a young designer.
Alongside this domestic recognition, Ms. Zhang has also distinguished herself in international professional awards as a principal creator. Her individual work, Foam of Desire, was submitted to the “Patterns for Performance Award,” organized by The Costume Society in the United Kingdom, where it received a “Highly Commended” honor. The piece draws inspiration from the character Sir Epicure Mammon in Ben Jonson’s play The Alchemist. Zhang proposed the overarching visual concept of “luxurious corruption,” using seventeenth-century European male aristocratic dress as a structural foundation. Incorporating historical elements such as the doublet, trunk hose, and ruff collar, she applied deconstruction and exaggerated proportions to amplify the volume of the chest and shoulders, creating a swollen, unbalanced silhouette that symbolizes a body bloated by desire. She further introduced water-moldable fabric, embedding foam and air pockets within the textile to generate irregular “bubbles,” giving the surface a semi-transparent, semi-hardened quality between garment and soft sculpture. This aesthetic leads viewers from candy-like colors toward a subtle unease about “excess and emptiness.”
Founded in 1965, The Costume Society is the United Kingdom’s national academic institution dedicated to the study of dress history and clothing, and its awards are widely regarded as professionally authoritative in the fields of costume and stage costume internationally.
For the 2024 edition of the “Patterns for Performance Award,” only three finalists were selected. The jury was led by costume designer Susannah Buxton, known for her work on British historical film and television productions. The organizers characterized the overall standard of submitted works that year as “incredibly high.” To receive a “Highly Commended” distinction in such a competitive and rigorously evaluated context indicates that the professional community in the United Kingdom has formally recognized Ms. Zhang’s ability to connect historical costume methodologies with contemporary performance.
Beyond her experimental work based on the Mammon archetype, Ms. Zhang has also repeatedly collaborated as lead designer with performing artists in stage practice. One representative case is the stage costume she designed for Dolly Rocket, a renowned cabaret artist in Brighton. Widely viewed as a major hub for performance and LGBTQ+ culture in the UK, Brighton is home to key venues where Dolly Rocket has long served as host and headlining performer, frequently appearing on primary stages including Brighton & Hove Pride. Media outlets have referred to her as “the sensational Dolly Rocket.” Creating bespoke designs for a resident headliner at this level means that Ms. Zhang’s work enters obvious live performance spaces, reaches a stable and diverse audience, and carries substantial professional weight.
In this collaboration, Ms. Zhang approached the project through the question of “how to allow the female body on stage to escape a singular, consumptive gaze,” treating costume as an externalization of stage psychology and personal will rather than a mere vehicle for sexualized imagery. By carefully controlling garment volume, structural rhythm, and material weight, she deliberately reduces the formulaic seductiveness typical of conventional cabaret costuming. Instead, she foregrounds a powerful stage presence that “refuses to be erased.” She also chose not to use real feathers; instead, she hand-wove feather-like textures from fabric warp and weft, allowing the stage image to inhabit a tension between opulence and sharpness while preserving the performer’s sense of self-authorship.
Industry observers note that whether in the bold experimentation with historical garment structures and material language in Foam of Desire, or in the nuanced articulation of female subjectivity on stage in the Dolly Rocket project, Ms. Zhang consistently intervenes from a position of authorial agency. She is the one who proposes the concept, frames the core questions, selects the technical pathways, and personally supervises the realization of details, forming a clearly identifiable personal methodology in her work. By integrating historical pattern-cutting research, material and craft innovation, and broader socio-cultural issues, she ensures that her stage costumes possess not only visual impact but also a depth of discourse that invites critical discussion and academic research.
From the “Chinese People’s Artist Certificate” awarded by the China National Ethnic Culture Promotion Association to the “Highly Commended” honor from the 2024 Patterns for Performance Award of The Costume Society in the UK, the recognitions Ms. Zhang has received across different contexts collectively underscore her professional caliber and growth potential as a new-generation costume designer for the stage. As her works continue to be presented and circulated on international platforms, her ongoing series of projects—centered on theatrical texts, bodily narratives, and material experimentation is poised to extend further across performance and academic arenas, articulating a distinctive voice from the rising generation of Chinese designers.
