The Factory was Andy Warhol's original New York City studio from 1962 to 1968, although his later studios were known as The Factory as well. The Factory was located on the fifth floor at 231 East 47th Street, in Midtown Manhattan. The rent was "only about one hundred dollars a year". The building no longer exists.

The studio[link]

The Factory was the hip hangout for artsy types, amphetamine users, and the Warhol superstars. It was famed for its groundbreaking parties. In the studio, Warhol's workers would make silkscreens and lithographs. In 1968, Andy moved the Factory to the sixth floor of the Decker Building, 33 Union Square West, near Max's Kansas City, a club Warhol and his entourage would frequently visit.^[1]

Speaking in 2002, John Cale said "It wasn't called the Factory for nothing. It was where the assembly line for the silkscreens happened. While one person was making a silkscreen, somebody else would be filming a screen test. Every day something new."^[2]

By the time Warhol had become famous, he was working day and night on his paintings. To create his art, Warhol used silkscreens so that he could mass-produce images the way capitalist corporations mass produce consumer goods. In order to continue working the way he did, he assembled a menagerie of adult film performers, drag queens, socialites, drug addicts, musicians, and free-thinkers that became known as the Warhol Superstars, to help him. These "art-workers" helped him create his paintings, starred in his films, and basically developed the atmosphere for which the Factory became legendary.

The Silver Factory[link]

The original Factory was often referred to by those who frequented it as the Silver Factory. Covered with tin foil and silver paint, the Factory was decorated by Warhol's friend Billy Name, who was also the in-house photographer at the Factory. Warhol would often bring in silver balloons to drift around the ceiling.

Upon visiting Billy Name's apartment, which had been decorated in a similar manner, Warhol fell in love with the idea and asked him to do the same for his recently leased loft. The silver represented the decadence of the scene, as well as the proto-glam of the early sixties. Silver, fractured mirrors, and tin foil were the basic decorating materials loved by the early amphetamine users of the sixties. Billy Name was the perfect person to take this style and cover the whole factory, even the elevator. By combining the industrial structure of the unfurnished studio with the glitter of silver and what it represented, Warhol was commenting on American values, as he did so often in his art. The years spent at the Factory were known as the Silver Era, not solely because of the design, but because of the decadent and carefree lifestyle full of money, parties, drugs and fame.

Aside from his two-dimensional art, Andy also used the Factory as a base to make shoes, films, commissions, sculptures and just about everything else that the Warhol name could be attached to and sold. His first commissions consisted of a single silkscreen portrait for $25,000, with additional canvases in other colors for $5,000 each. He later made that $20,000. Warhol used a large portion of his income to finance the lifestyle of his Factory friends, practically showering them with resources.

Music in the Factory[link]

The Factory became a meeting place of artists and musicians such as Lou Reed, Bob Dylan, Truman Capote and Mick Jagger. Other, less frequent visitors included Salvador Dalí and Allen Ginsberg. Warhol collaborated with Reed's influential New York rock band The Velvet Underground in 1965, and designed the famous cover for The Velvet Underground & Nico, the band's debut album. The album cover consisted of a plastic yellow banana that the listener could actually peel off to reveal a flesh-hued version of the banana. Warhol also designed the album cover for The Rolling Stones' album Sticky Fingers.

Warhol included the Velvet Underground in the Exploding Plastic Inevitable, a spectacle that combined art, rock, Warhol films and dancers of all kinds, as well as live S&M enactments and imagery. The Velvet Underground and EPI used the Factory as a place to rehearse, though the definition of "rehearsal" should only be taken loosely.

"Walk on the Wild Side", Lou Reed's best known song from his solo career, was released on his first commercially successful solo album Transformer. The song is about the superstars he hung out with at the Factory. He mentions Holly Woodlawn, Candy Darling, Joe Dallesandro, Jackie Curtis and Joe Campbell (referred to in the song by his Factory nickname Sugar Plum Fairy).

Sexual radicals[link]

Andy Warhol commented on mainstream America through his art while disregarding its strict social views. Nudity, graphic sexuality, drug use, same-sex relations and transgender characters appear in some form in almost all of his work filmed at the Silver Factory. Considered socially unacceptable, even appalling at the time, theaters showing his underground films were sometimes raided and the staff arrested for obscenity.

However, by making the films, Warhol created a sexually lenient environment at the Factory for the happenings that they staged, such as fake drag weddings, porn theater rentals, and vulgar plays. A large amount of free love took place in the scene, as sexuality in the 1960s was becoming more open. Sex was practically a must for anyone hanging around, and was encouraged by Warhol, who used footage of sexual acts between his friends in his work.

Also part of 'the scene' at the factory were famous drag queens such as Holly Woodlawn and Jackie Curtis, and the transgendered Candy Darling. As an artist, Andy Warhol frequently used these women and other sexual non-conformists in his films, plays, and on-goings.

Because of the constant drug use and the presence of sexually liberal artists and radicals, drugged orgies were a frequent happening at the Factory. Andy met Ondine at an orgy in 1962.

Ondine "I was at an orgy, and [Warhol] was, ah, this great presence in the back of the room. And this orgy was run by a friend of mine, and, so, I said to this person, 'Would you please mind throwing that thing [Warhol] out of here?' And that thing was thrown out of there, and when he came up to me the next time, he said to me, 'Nobody has ever thrown me out of a party.' He said, 'You know? Don't you know who I am?' And I said, 'Well, I don't give a good flying fuck who you are. You just weren't there. You weren't involved...'"^[3]

The couch[link]

Not only was Billy Name responsible for the silver look of the Factory, but he also found The Factory's beloved red couch. He discovered it on the sidewalk of 47th street during one of his "midnight outings." He dragged it back to the Factory, where it quickly became a favorite place for Factory guests to crash, usually after coming down from speed. During its stay at the Factory, the couch became a focal point for many photographs and films from the Silver era, including Couch and Blow Job. It was stolen in 1968 during the move when they left it on the sidewalk for a short while.^[4]

Regulars[link]

Warhol Superstar Mary Woronov

Warhol Superstar Ultra Violet

Friends of Warhol and superstars who hung around the Factory include Edie Sedgwick, Gerard Malanga, Ondine, Ivy Nicholson, Ingrid Superstar, Anita Pallenberg, Nico, The Velvet Underground (Lou Reed, Sterling Morrison, Maureen Tucker, and John Cale), Johnny Conflict, Candy Darling, Jeremiah Newton, Jim Morrison, Jackie Curtis, Gage Henrich, Frank Holliday, Holly Woodlawn, Viva, Billy Name, Rotten Rita, David Bowie, Freddie Herko, Mario Montez, Brian Jones, Mick Jagger, Noelle Wolf, Joe Dallesandro, Naomi Levine, Joe Dro, Paul Morrissey, Stephen Shore, Betsey Johnson, Truman Capote, Becky D, Fernando Arrabal, Taylor Mead, Mary Woronov, Ronnie Cutrone, Jane Forth, Lenny Dahl, Neke Carson, Baby Jane Holzer, Ultra Violet, Brigid Polk, Rickpat F, Paul America, Penny Arcade, Bobby Driscoll, Herbert Muschamp Peter Gramlique, and John Giorno, Brigid Berlin, Danny Williams, Chuck Wein, William Burroughs, Ulli Lommel, although there were many other visitors as well.

Films[link]

Warhol started shooting movies in the Factory around 1963, when work began on Kiss. Warhol would screen movies at the Factory for his friends before they were released for public audiences. When Warhol could not find traditional theaters to show some of his more provocative films, he would sometimes turn to night-clubs or porn theaters. Here is listed all movies filmed entirely or partly at The Factory. Warhol also shot other films not on this list, however, many have been lost or were never completed.

1963

• Kiss
• Rollerskate
• Haircut no. 1
• Haircut no. 2
• Haircut no. 3

1964

• Handjob
• Blow Job
• Screen Tests (1964–1966)
• Jill Johnston Dancing
• Eat
• Couch
• Henry Geldzahler
• Shoulder
• Taylor Mead's Ass
• Mario Banana
• Harlot
• 13 Most Beautiful Women
• 13 Most beautiful Boys
• 50 Fantastics and 50 Personalities

1965

• John and Ivy
• Screen Test #1
• Screen Test #2
• Drink
• Suicide (Screen Test #3)
• Horse
• Vinyl
• Bitch
• Poor Little Rich Girl
• Face
• Afternoon
• Beauty No. 1
• Beauty No. 2
• Space
• Factory Diaries
• Outer and Inner Space
• Prison
• The Fugs and the Holy Modal Rounders
• My Hustler
• Camp
• More Milk, Yvette
• Lupe

1966

• Ari and Mario
• Eating Too Fast (aka Blow Job #2)
• The Velvet Underground & Nico: A Symphony of Sound
• Hedy (aka Hedy the Shoplifter)
• The Beard
• Salvador Dalí
• Superboy
• The Chelsea Girls
• The Bob Dylan Story
• The Kennedy Assassination
• Mrs. Warhol
• Kiss the Boot
• The Andy Warhol Story
• A Christmas Carol
• **** (four stars) (aka The 24-Hour Movie)

1967

• Imitation of Christ
• I, a Man
• The Loves of Ondine
• Bikeboy
• Tub Girls
• Nude Restaurant
• Sunset

1968

• Lonesome Cowboys
• Flesh
• Blue Movie
• Trash (1968–1969)
• Women in Revolt (1968–1971)

Later movies were filmed away from the Factory, or in another one of Warhol's New York apartments.

References[link]

This article is about the fictional character. For the candy company, see, The Willy Wonka Candy Company.

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since February 2009. It needs attention from an expert on the subject. Tagged since February 2011. Its introduction may need to be rewritten to comply with Wikipedia's lead section guidelines. Tagged since February 2011.

Willy Wonka is a major character of Roald Dahl's 1964 children's novel Charlie and the Chocolate Factory and the film adaptations that followed. The book and the 1971 film adaption both vividly depict an eccentric Wonka — a feature arising from his creative genius. He bewilders the other characters with his antics, but Charlie enjoys Wonka's behavior. In the 2005 film adaption, Willy Wonka's behavior is viewed more as a (sympathetic) character flaw.

Appearances[link]

1971 film adaption[link]

Candy maker Willy Wonka has hidden five Golden Tickets amongst his Wonka Bars. The finders of these special tickets will be given a full tour of his tightly-guarded candy factory as well as a lifetime supply of chocolate. The contest sets off a global craze with everyone desperately seeking out the tickets. They are eventually found by five different children from around the world.

Wonka greets the winning children and their guardians at the factory gates. He immediately shows his unpredictability by slowly hobbling towards the gate with a cane, then pretending to fall, only to do a somersault and spring back to his feet with a flourish. Once he and his visitors are inside, Wonka requires each to sign a contract before the tour can begin. The tour progresses though many fantastic rooms and labs in the factory, all run by Wonka's crew of Oompa Loompas. Along the way, four of the children misbehave against Wonka's warnings, resulting in serious but comical consequences and removing them from the tour.

Eventually, Charlie Bucket is the only remaining child. Wonka informs him that the tour is over, politely dismisses him and Grandpa Joe, and disappears into his office without mentioning the promised prize of a lifetime supply of chocolate. Grandpa Joe and Charlie enter the office, where Wonka tells them that Charlie does not get the prize because he broke the rules. When questioned on the existence of the said rules, Wonka irritably reveals the forfeiture clause of the contract Charlie signed. Charlie's part in the theft of Fizzy Lifting drinks earlier in the story means that he violated the contract, and therefore he receives nothing. Now seemingly enraged, Wonka again dismisses them with a furious "Good day!".

When Charlie subsequently returns a gobstopper to Wonka that he initially planned to give to an industrial spy, Wonka joyfully tells Charlie that he "won" and begs his guests' forgiveness. He reveals that the spy "Slugworth" is actually an employee named Wilkinson, whose offer to buy the gobstopper was a morality test for the Golden Ticket winners, and Charlie was the only one who passed. Wonka leads Charlie and Joe to the "Wonkavator", a multi-directional glass elevator, and fly out of the factory in it. As they soar over the village, Wonka tells Charlie that his actual prize is not just the chocolate but the factory itself, as the Golden Ticket search was created to help Wonka search for an honest and worthy child to be his heir. Charlie and his family will reside in the factory and take over its operation when Wonka retires.

2005 film adaption[link]

Willy Wonka, the owner of a famous chocolate factory, has long closed access to his factory due to problems concerning industrial espionage that ultimately led him to fire all his employees, among them Charlie's Grandpa Joe. One day, Wonka informs the world of a contest, in which five Golden Tickets have been placed in five random Wonka Bars worldwide, and the winners will be given a full tour of the factory as well as a lifetime supply of chocolate, while one ticket holder will be given a special prize at the end of the tour. After all five of the tickets are found, Wonka greets Charlie and the other ticket holders outside the factory and leads the group into the facility. During the tour, Wonka tempts each of the bad children to disobey his orders with something related to their individual character flaws. Wonka then invites Charlie to come live and work in the factory with him, and reveals that the purpose of the Golden Tickets and the tour was to make the "least rotten" child the heir of the factory itself, so he can have someone carry on his legacy when he dies. The only condition, however, is that Charlie must leave his family behind, because Wonka believes family is a hindrance to a chocolatier's creative freedom, a philosophy Wonka developed due to his dentist father, Dr. Wilbur Wonka, denying his son candy because of the potential risk to his teeth. After secretly sampling some candy, Wonka was instantly hooked and ran away to follow his dreams. After being refused Charlie's offer, Wonka falls into a state of emotional depression and returns to Charlie to seek advice. Wonka soon reunites with his estranged father and allows Charlie's family to live in the factory, forever.

Concept and creation[link]

2005 film adaption[link]

Early on in the production of the 2005 film, Nicolas Cage was under discussions for portraying Willy Wonka, but lost interest.^[1][2] Warner Bros. president Alan F. Horn wanted Tom Shadyac to direct Jim Carrey as Willy Wonka, believing the duo could make Charlie and the Chocolate Factory relevant to mainstream audiences, but Roald Dahl's widow Liccy Dahl opposed this.^[3] After Tim Burton was hired as director in May 2003, Burton immediately thought of Johnny Depp for the role of Willy Wonka, who joined the following August for his fourth collaboration with the director.^[4]

Burton and screenwriter John August worked together in creating Wilbur Wonka, Willy's domineering dentist father. "You want a little bit of the flavor of why Wonka is the way he is," Burton reasoned. "Otherwise, what is he? He's just a weird guy."^[5] Warner Bros. and Burton held differences over the characterization of Willy Wonka. The studio wanted to make Willy Wonka the idyllic father figure Charlie Bucket had longed for his entire life. Burton believed that Wonka would not be a good father, finding the character similar to a recluse.^[6] "In some ways," Burton protested, "he's more screwed up than the kids."^[7] Prior to Burton's involvement, Warner Bros. considered or discussed Willy Wonka with Nicolas Cage, Jim Carrey, Michael Keaton,^[1] Brad Pitt, Will Smith^[5] and Adam Sandler.^[3] Johnny Depp was the only actor Burton considered for the role,^[7] who signed on without reading the script under the intention on going with a completely different approach than what Gene Wilder did in the 1971 film adaptation.^[8] "Regardless of what one thinks of that film," Depp explained, "Gene Wilder's persona, his character, stands out."^[3] Reportedly, Depp cited Marilyn Manson as his inspiration for his portrayal of Wonka.

Comparisons were drawn between Willy Wonka and musician Michael Jackson. Burton joked, "Here's the deal. There's a big difference: Michael Jackson (d. 2009) likes children, Willy Wonka can't stand them. To me that's a huge difference."^[6] Depp explained that the similarities with Jackson never occurred to him. "I say if there was anyone you'd want to compare Wonka to it would be a Howard Hughes, almost. Reclusive, germaphobe, controlling."^[9] Burton agreed with the Hughes similarities, and additionally supplied Charles Foster Kane in Citizen Kane as inspiration. "Somebody who was brilliant but then was traumatized and then retreats into their own world."^[7] Depp wanted to sport prosthetic makeup for the part and have a long, elongated nose, but Burton believed it would be too outrageous.^[5]

Critical analysis[link]

Wilder's performance as Willy Wonka was well-received and remains one of his best known roles. Time Out Film Guide called it "Great fun, with Wilder for once giving an impeccably controlled performance as the factory's bizarre candy owner."^[10] Critic Jeffrey M. Anderson, of Combustible Celluloid, wrote "...when the movie does actually reach the factory, and Gene Wilder takes the stage, the movie is saved. Wilder was in the middle of an incredible run of subtle comic performances... and he was at the height of his powers here."^[11] Regarding Wilder's effect, Anderson wrote "If you're a kid, Wonka seems magical, but watching it now, he has a frightening combination of warmth, psychosis, and sadism."^[12] Kevin Carr, of 7M pictures wrote "This is Gene Wilder's legacy. He was perfect for the role, and it was his mixture of childlike wonder and bitter, deserved vengeance that made the character so compelling."^[13], while critic Widgett Walls simply called it "Probably Gene Wilder's finest, most manic hour." ^[14] Wilder received a nomination for the Golden Globe Award for Best Actor in a Musical or Comedy for his role as Willy Wonka, but lost to Chaim Topol as Tevye in Fiddler on the Roof.^[15]

Critical response to Johnny Depp's performance as Willy Wonka was often enthusiastic but more mixed overall. Critic Andrew Sarris, of The New York Observer, who did not enjoy the film's style in general, wrote "I wonder if even children will respond to the peculiarly humorless and charmless stylistic eccentricities of Mr. Burton and his star, Johnny Depp."^[16] However, Owen Gleiberman of Entertainment Weekly wrote that "Johnny Depp as Willy Wonka may be a stone freak, but he is also one of Burton's classic crackpot conjurers, like Beetlejuice or Ed Wood."^[17] Mick LaSalle from the San Francisco Chronicle found that "all the laughs [in the film] come from Depp, who gives Willy the mannerisms of a classic Hollywood diva".^[18] Roger Ebert wrote "Depp, an actor of considerable gifts, has never been afraid to take a chance, but this time he takes the wrong one. His Willy Wonka is an enigma in an otherwise mostly delightful movie from Tim Burton,"^[19] while Peter Travers wrote in Rolling Stone magazine that "Depp's deliciously demented take on Willy Wonka demands to be seen. Depp goes deeper to find the bruises on Wonka's secret heart than what Gene Wilder did."^[20] Ann Hornaday of The Washington Post also criticized Depp's acting; "The cumulative effect isn't pretty. Nor is it kooky, funny, eccentric or even mildly interesting. Indeed, throughout his fey, simpering performance, Depp seems to be straining so hard for weirdness that the entire enterprise begins to feel like those excruciating occasions when your parents tried to be hip."^[21] Joe Lozito of Big Picture Big Sound questioned the intention as well, writing "Depp's Wonka exudes none of the gravity required for the role. It's as though he didn't take the role seriously. Rather than an intimidating candyman teaching brats a lesson, this Wonka is simply a freak."^[22] Depp received a nomination for the Golden Globe Award for Best Actor in a Musical or Comedy for his role as Willy Wonka, but lost to Joaquin Phoenix as Johnny Cash in Walk the Line.^[23]

References[link]

External links[link]

• "Willy Wonka" the stage musical
• Charlie and the Chocolate Factory film website
• The Willy Wonka Candy Company

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Trip Lee
Background information
Birth name	William Lee Barefield III
Born	(1987-12-17) December 17, 1987 (age 24)
Origin	Dallas, Texas
Genres	Christian Hip hop, Christian rap, crunk
Instruments	voice
Years active	2005-present
Labels	Reach Records
Associated acts	116 Clique
Website	Trip Lee on Myspace

William Lee Barefield III, better known by his stage name, "Trip Lee", is an American Christian rapper who is signed to Reach Records and has recorded both independently and as a founding member of the 116 Clique. Originally from Dallas, Texas,^[1] he now resides in Washington, D.C.. He first gained recognition after appearing on the Reach Records website at the age of 16. His third album, Between Two Worlds, was nominated for two Dove Awards and won the Stellar Award for Best Hip Hop Album in 2011.^[2]

Biography[link]

William Lee Barefield III, better known as Trip Lee, was born and raised in St.Louis. As a young boy, Lee had dreams of being a professional athlete or famous rapper, and he began to hone his lyrical skills at the age of 12. “I rapped about random stuff…how hot I was, how many girls I could pull,” Trip says.^[3] But upon giving his life to Christ, at age 14, his focus changed from fortune, fame, and women to serving and ministering the Gospel.

Lee slowly recognized that all of his life should be centered around Christ. “One day, I just decided, I’m only doing Christian hip hop. Rappers like Ambassador and Da Truth helped provide a model for how I would begin to do that,” he says.^[3] He also had an immense desire to learn and teach the Word of God, so he became a leader in his youth group and preached his first sermon at age 17.^[3]

In 2004, Lee met Lecrae at a concert; months later, after talking and building with each other, Lecrae began to disciple him. While still in high school, Lee was given the opportunity to pen a few devotionals for the Reach Records website that dealt with theological matters and showcased his spiritual maturity.^[3]

Lee signed with Reach Records, and his debut album, If They Only Knew, was released a few days after his high school graduation.^[3] His first full-length album introduced hip-hop fans to his distinct southern sound, unique delivery and gospel-saturated lyrics. That same year, he was also featured on the Dove Award-nominated, Jesus Muzik with label mate Lecrae.

His second album, 20/20, was released in 2008 and garnered much success, breaking into the Billboard Top 200 and reaching No. 11 on the Billboard Christian albums chart and No. 4 on the Gospel chart. Back with his third studio album, Between Two Worlds, Lee offers a collection of reflections on life in a fallen world. His hope is that his reflections not only resonate with listeners, but also point to Jesus as the Hero.

Since his first album release, Lee has traveled the world doing concerts for thousands of listeners, and his last three summers have been spent on tours (national and international) with his Reach label mates. His Christ-centered hip-hop message has also built a platform for him among churches and other Christian organizations, which has led to numerous opportunities to preach and teach at conferences and other events.

Lee attends Boyce College,^[4] the undergraduate school of Southern Seminary in Louisville, Kentucky. Lee’s unending desire is to proclaim the grace and beauty of Jesus Christ to anyone that will listen; ultimately, he hopes this journey will someday lead to pastoring a church.^{[citation needed]}

Lee released two new singles "Brag On My Lord" and "King Like Mine", the latter featuring Alex Medina, on March 29, 2011.^{[citation needed]}

Trip Lee released his fourth full length studio album, entitled The Good Life on April 10, 2012.^{[citation needed]} The album will feature various notable Christian artists, such as Sho Baraka (formerly signed with Reach Records), J.R., Lecrae, J.Paul, KB, Andy "C-Lite" Mineo, Jimmy Needham, V.Rose, Suzy Rock, Jai, and Leah Smith.^{[citation needed]}

Discography[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2011)

Albums[link]

Solo

With 116 Clique

• The Compilation Album (2005)
• The Compilation Album: Chopped & Screwed (2006)
• 13 Letters (2007)
• Amped (2007)
• Man Up (2011)

Singles[link]

Solo

• "The Invasion (Hero)" (featuring Jai)
• "No Worries"
• "Brag On My Lord"
• "Real Vision" (featuring Tedashii)
• "King Like Mine" (featuring Alex Medina)
• "Robot"
• "I'm Good" (featuring Lecrae)
• "Fallin'" (featuring J Paul)

With 116 Clique

• "Man Up Anthem"

Guest Appearances

• "In Ya Hood (Cypha Remix)" (Tedashii featuring Thi'sl, Json, Sho Baraka & Lecrae)
• "We Did" (Tedashii)
• "Jesus Muzik" (Lecrae)
• "Holla At Me" (Everyday Process)
• "The Last Cypha" (The Cross Movement feat. R-Swift, Everyday Process, Da' T.R.U.T.H. & FLAME)
• "Price Tag" (Da' T.R.U.T.H.)
• "Slow It Down (Simplify Your Life)" (Sho Baraka)
• "What It Do" (Json featuring Titus)
• "Checkin' For My God (Remix)" (The Ambassador featuring Lecrae)
• "Fall Back" (Lecrae)
• "I Been Redeemed" (FLAME)
• "Ridaz" (J.R. feat. Da' T.R.U.T.H. & Iz-Real)
• "I'm a Believer" (Tedashii featuring Soyé)
• "Transformers" (Tedashii featuring Lecrae)
• "Trumpet Blow" (Da' T.R.U.T.H.)
• "Where Ya At" (Legacy Conference)
• "Get Busy" (DJ Official)
• "40 Deep" (Lecrae featuring Tedashii)
• "Revolutionary Died" (Sho Baraka)
• "The Rising" (Sho Baraka)
• "Grace Amazing" (Jimmy Needham)
• "Conversion" (Lamp Mode Recordings)
• "We Can Be More (Gentlemen's Remix) (Sho Baraka featuring JR, Alex Medina & FLAME)
• "Gentleness" (B3AR FRUIT)
• "No One Greater" (PRo featuring Json)

Music Videos[link]

Solo

• "Real Vision" (featuring Tedashii)
• "The Invasion (Hero)" (featuring Jai)
• "I'm Good" (featuring Lecrae)

Guest Appearances

• "Jesus Muzik" (Lecrae)
• "Grace Amazing" (Jimmy Needham)

With 116 Clique

• "Man Up Anthem"

See also[link]

Poetry portal

• 116 Clique
• Reach Records

References[link]

External links[link]

• Reach Records