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saiilorstars · 5 years ago

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Dare To Forget Me

Ch. 2: Novak, Witness. //Story Masterlist //

Pairings: Rafael Barba x Original female character

Warnings: Due to the nature of the series’ plots, I do have to rate this as ‘mature’ for constant mentions of rape.

Summary: Montserrat speaks to SVU about what she saw on the night of the attack.

~ 0 ~ 0 ~ 0 ~ 0 ~

"Right this way," Olivia helped Montserrat into Rafael's office. Rafael reached the desk first and pulled out a chair for Montserrat.

"Thank you," she said to both of them. It was a struggle to sit without having to basically drop herself down, but almost nine months into a pregnancy made every daily activity a challenge. Her dark brown eyes flickered between the ADA and the Sergeant while an awkward silence fell over the room.

The two had obviously been expecting a fierce detective willing to literally run away from them out in the hallway. Instead, they had a pregnant detective who would eventually need help getting up from her chair.

Montserrat Novak was an average height woman with fair skin. She had dark ginger hair that was wavy with straight bangs covering her forehead. "Casey mentioned your name," Montserrat said to Olivia. "She said I would have to talk to you…"

"Yes, um…" Olivia briefly glanced at Rafael, both lost on how to even begin with the woman. "I have to be honest, we are a little perplexed about this situation..."

"Because...I'm pregnant? Or because I fled from a crime scene?" Montserrat's humor relieved some of the awkwardness in the room.

Rafael smiled as he took his own seat across her. "Both."

She smiled back. "I don't run from crime scenes. I'm a Detective, but...this time it's different."

"Right, we can understand that," Olivia pulled up the chair next to Montserrat. "We've been looking for you, Montserrat."

"I'm sorry," Montserrat tucked some hair behind her ear. "I...I panicked. You understand that I'm not at my best state right now. I do more waddle than walk or... anything else at this point."

"Why did you leave?" Rafael asked the hard question she knew she'd have to face sooner or later. "We have paramedics claiming you were slashed with with a knife..."

Montserrat raised the hand that was indeed bandaged. "I took care of myself. And I just wasn't supposed to be on the street at that time. I'm..."

Both Olivia and Rafael gave her a minute for her to continue, but it seemed like Montserrat was having trouble.

"Miss Novak, we really need you to talk," Rafael's voice seemed to startle her out of her thoughts.

"I'm-I'm a...surrogate mother," she swallowed hard and looked at the two who were surprised (yet again). "We made a contract - the couple and me - and one of the rules was I needed to be home by nine."

"The attack happened at ten," Olivia recalled, slowly beginning to understand where Montserrat was getting at. "You broke one of the rules of the contract."

"It's for the baby's protection," Montserrat shrugged in her seat. "The couple are two of my friends and they just want to make sure I'm safe and...me being on the street at that time was unsafe."

"You being at that street helped that woman stay alive," Olivia thought that would ease Montserrat's guilt.

"How is she?" Montserrat hadn't been able to sleep last night thinking about the poor victim she'd left to the paramedics.

"She made it. She'll heal."

"Physically, but emotionally?"

Olivia made a sway of her head. That was always a tough question. "Listen, Montserrat, we need you to give your statement for this case. You're the only witness in the scene. Do you think you can do that?"

Montserrat nodded her head. "Of course. I'm a Detective, I know how things go."

"Really?" it was clear Rafael was referencing her fleeing the crime scene.

Montserrat accepted the jab with all her faults. She earned it after her unprofessional act. "I'm not going anywhere now. I am sorry."

"The important thing is you came back," Olivia got up from her chair. "Why don't we go to my office back at SVU and you can tell us what happened? Is that okay?"

Montserrat nodded her head. "Yes, um, yes…"

"You're going to be fine," Olivia promised her. She could see Montserrat's bandaged hand from the attack but other than that the woman herself seemed to be just fine.

"And please don't flee anymore. It would make our job just a tiny bit easier," Rafael's sarcastic request made Olivia silently scold him but Montserrat chuckled.

"These days I don't do a lot of running. Last night was just adrenaline and inattentive cops. I try to run now, you'd catch me in three steps."

"Two."

Montserrat opened her mouth but ended up laughing again. "I'm not that slow, though."

Olivia still shook her head at the ADA but thanked God Montserrat had a sense of humor.

~0~

Montserrat thought it was her walk of shame when Olivia brought her into SVU's bullpen. Employees looked up from their work and others stopped their conversations just for a moment to get a look at her. Olivia led her down the room but, to Montserrat's misfortune, she stopped by a couple desks.

"Hey, you found her," Fin was still laughing inside from the idea of what Casey Novak had to have faced for this woman to be here now.

All Montserrat could offer was a smile. The group of detectives were first and foremost taken aback by Montserrat's pregnancy. It was a detail no one disclosed about after all.

"This is Detective Montserrat Novak," Olivia introduced the woman despite it being unnecessary. They all knew who she was. "These are Detectives Tutuola, Munch, Rollins, Amaro and Carisi."

"I heard you were looking for me. I'm sorry for the trouble I caused," Montserrat sighed. She felt like a broken record apologizing to everyone but they did deserve one.

"We're just glad you're here," Amanda honestly said. "If you need anything…"

"A chair, actually," Montserrat sheepishly looked at Olivia. She had a hand on her back and was gently rubbing circles to sooth the back pain.

"Oh, I'm so sorry!" Olivia, in an embarrassed state, led Montserrat towards the interview room where she figured Montserrat would be more comfortable on the couch. Montserrat bid goodbye to the detectives as she followed Olivia. "I'm sorry about that," Olivia honestly apologized.

"Don't worry about it," Montserrat took a seat - fell towards the end - on the couch. "I'm a nuisance for everyone in this state."

Olivia smiled. "Not here. Can I get you anything before we start?"

"No thank you, I'm fine."

"Okay," Olivia gathered a legal pad and a pen to jot down whatever Montserrat was going to say. She just hoped it would be useful to nail the perp completely.

"Before I start, I want you to know that the reason I retracted my transfer application was because of me," Montserrat surprised Olivia with the sudden topic. "I really wanted to be here but, um...this happened…" she gestured to her pregnant stomach, making Olivia momentarily question the manner in which Montserrat had said it. It almost sounded as if Montserrat was regretful or...resentful.

"That's fine, it really is, but if anything you would have just been on desk duty," Olivia slowly said, still studying Montserrat's demeanor of the moment.

"Mhm," Montserrat stared at her hands over her stomach. There was something not right about this but Olivia decided to focus on the current case before she dug into anything else.

"So, um, is it alright if we start?"

"Yes, of course. Um, let's see," Montserrat took in a breath while she gathered memory of the previous night. "I was coming home from, um...somewhere, and it was pretty late - well, it ten o' clock. Maybe it's not that late in reality but my contract said I have to be home before dark so…" Montserrat shook her head, "Sorry. Um, I was walking down the street when I heard noises. It was a woman - she was screaming. There was a man pushing her against a wall. It was clear he was trying to attack her. He smacked her head, there was something shiny pointed at her face. She cried for him to stop but he was so aggressive…"

"Do you remember what the woman was wearing?" Olivia asked after finishing up a note. "We need to make sure we're talking about the same victim."

"I know," Montserrat nodded, not needing to remind Olivia the process wasn't new for her. "It was dark so I couldn't see a lot but she was wearing a shiny dress. It sparkled a lot. The man, he was wearing a jacket um...a beanie. He looked young, to be honest. He was lanky too."

"You got a good look at him," Olivia briefly looked at Montserrat's bandaged hand.

"Yeah, when he attacked me," Montserrat confirmed. "I wasn't carrying my gun so I was at a disadvantage apart from the pregnancy. But I couldn't walk away. The woman was screaming for him to get off her, to stop it, but the bastard didn't listen. I…" she suddenly chuckled a bitter chuckle, "It was ridiculous but...I threw rocks at him that I found over a car's hood. It was all I could do."

"It's not ridiculous," Olivia reassured her. "You probably saved her with that."

"Yeah because he turned on me with a knife afterwards," Montserrat sighed. "I got scared when he started coming for me. He said just because I had a big stomach it didn't mean he couldn't do the same to me. If there was ever a time I wish I was on the job, it was then. He came at me and I tried fighting him off - which is how I got this-" she raised her injured hand, "-and then I managed to punch him. He dropped the knife and...I guess he got scared when he heard sirens so...he ran."

"One of the neighbors made the call to police," Olivia informed her. "We haven't been able to get any pictures from him since our victim hasn't woken up yet. Do you think you would you recognize him if you saw him again?"

"Oh yeah. I could talk to a sketch artist if you want."

"That would be really helpful," Olivia smiled softly at her. "Is there anything else you remember? Anything you want to add to your statement?"

Montserrat thought about the horrendous night for another minute. "Actually, yes. I believe the man called the victim by a name."

"Her name?"

"It sounded more like a nickname. He said 'c'mon, Hales, you know you like me' while he attacked her," Montserrat was sure of it and it showed. "He had to be someone that girl knew and probably rejected at some point."

Olivia agreed. They at least now had another alternative to search for their suspect. "Thank you Montserrat. Now, I have to ask, are you willing to testify if this goes to trial? Which it most likely will."

"Yes, of course I would," Montserrat nodded. "You just give me a time and date."

Olivia lightly smiled at the woman. "Thank you."

Montserrat attempted to get up on her own but the couch seemed to suck her back in. Olivia tried her hardest not to laugh, even quietly, but Montserrat side glanced her. "It's funny, I know. Everyone laughs. Look at Montse, she can't even stand up or sit down anymore."

Olivia put down her note and pen to help her get up. "Would that be Casey by any chance?"

"Mm, I don't think I should speak ill about an ADA who happens to be my cousin."

Olivia laughed. "Alright."

"Again, I'm really sorry for not staying last night. From now on, anything you need for this case I'll be here."

"And we thank you for it," Olivia said as she walked Montserrat out of the room. "I know our victim will too."

"Where can I leave my contact information? I moved so whatever you had on file isn't up to date anymore."

"Uh, you can leave that with one of my Detectives," Olivia said as her phone buzzed in her pocket. She picked it out of her pocket and saw the text left for her. "Actually, yes, leave that with one of them while I head to the hospital." She looked up to see everyone staring at her. "Hayley Connors woke up. Nick, care to join?" Nick gave a nod and got up from his chair with his jacket in hand. "We'll be in touch," Olivia told Montserrat before heading out with Nick.

"You can leave your information here," Amanda motioned Montserrat to her desk. She had a sticky note and pen waiting for Montserrat.

"Thanks," Montserrat walked over and picked up the sticky pad.

"Now when we do get the perp we'll need you to do the formal ID…" Amanda explained but Munch cut in.

"I think she knows the procedure," Munch reminded her, giving Montserrat a small smile. "Isn't that right, Detective?"

"Yes," Montserrat smiled back and handed Amanda the sticky pad and pen. "Olivia also said I could talk you about a sketch artist."

"You think you got a good view of the perp?" Finn asked, exchanging glanced with Sonny. It would be a real step up from what they had so far.

"Yes," Montserrat recognized that look of relief all too well. It was so frustrating to have next to nothing on cases. "And like I told your Sergeant, I'll do anything I can to help."

"You sure you're Casey's cousin?" Munch's question made her chuckle. "Not that Casey never helped, but..."

"My cousin has a fantastically hard attitude," Montserrat finished for him. "I tell her that and she still gets pissed off. "Maybe she gets that from her mom. We're related on the paternal side. Our fathers were brothers."

"Were?" Sonny looked at the others in case they knew about it.

"Casey's father died in the military," Montserrat figured Casey would have at least mentioned that but then again she didn't really know ADA Casey - she knew her cousin Casey. "She never mentioned me?"

"Uuh..." she heard Fin go before shrugging. "Lots of work around here, little time to talk."

"Right," she playfully rolled her eyes. "Anyways, can we do that sketch of the perp please? I have to go, so..."

"I can take you," Sonny stood from his desk, all too cheerful to do the task. "You're going to help us a lot with this."

"That's what I'm aiming for," Montserrat chuckled and followed him.

~0~

When Montserrat returned to her apartment, which was inhabited by the couple awaiting the child she carried, she was forced to tell them the truth about things. They were good people, they were her friends, and ultimately they would find out on their own.

Leah Saunders moved around the kitchen table serving lasagna to her husband, Michael, and Montserrat. "I just don't think getting yourself into that situation is the best thing right now," Leah was voicing her opinion in the kindest, civilized manner she could muster. "You're about to pop - literally - and you already got blood pressure to worry about. Is testifying and all that really necessary right now?"

"Considering this woman was raped and beaten, yes I think it is necessary," Montserrat picked up her fork to start eating. She was about to dig in when a scent caught her nose. "Is that brownies I smell?"

Leah playfully rolled her eyes. Michael chuckled in his seat. For the entire pregnancy, Montserrat experienced a series of cravings but the one that stuck throughout it all were the brownies. Leah took to making brownies daily just for her.

"Eat first," Leah pointed Montserrat to her plate. "Brownies come afterwards."

"You spoil me," Montserrat dug her fork into the lasagna.

"It's the least we can do after what you went through," Leah blurted as she took her seat. Montserrat froze just as she was about to take her first bite of lasagna. Leah's eyes widened when she realized her words and immediately set to amend for them. "Montse, I'm so sorry I didn't mean to bring that up. I'm-"

Montserrat warmly smiled at her friend. "It's okay. Don't worry about it."

"Don't say that. It is something to worry about," Leah felt terribly guilty for her careless slip.

Michael reached for his wife's hand, giving it a gentle squeeze, then glanced at Montserrat. "Montse, you know that you seeing a therapist isn't grounds for breaking the contract, right? If you need a ride, Leah or I can take you."

"I should have said something, I'm sorry," Montserrat licked her lips nervously. "I just wanted to keep it away from people...I don't know. I'm sorry."

"It's difficult, I know. But please, next time just tell us."

Montserrat nodded. "I will. Thank you."

"And as for this whole case thing, we know you're not stopping-"

"-I am not."

"And we get that. It is part of your job, but take it easy, alright? We'll be there for you, anytime you need us."

Montserrat sighed with relief. "That means a lot, believe me." Her friends both smiled at her, their promise to stay with her was the leverage she needed at the moment to continue with this until she could get back on her feet on her own... literally.

#rafael barba x oc #svu fanfic #noblecrescentedit #rafael barba x original female character #svu #law & order svu fanfic #rafael barba #olivia benson #sonny carisi #amanda rollins #fin tutuola #nick amaro #john munch #svu fanfiction

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ethenell · 6 years ago

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Best Films of 2018, Part I

10. First Man (dir. Damien Chazelle)

“That's one small step for man, one giant leap for mankind.“

Everything about First Man screamed "Oscar Contender". Director Damien Chazelle was fresh off his Best Director win for the widely-beloved La La Land - a win which made him the youngest ever recipient of that prize - and was re-teaming with La La Land co-star Ryan Gosling to dig into the life of a modern American hero and explore behind the scenes of one of mankind's greatest technical accomplishments. On paper, it had front-runner status locked in from day one.

Alas, the award season gods had other plans ... First Man sagged at the box office despite a warm response from the critics, and it's Oscar campaign simply never took hold.

For the life of me, I can’t quite figure out why.

First Man more than meets the high bar Chazelle set for himself with the prodigious one-two punch of Whiplash and La La Land. It succeeds in such dramatically different artistic and thematic territory than his first two films that practically demands reconsideration of any preconceived notions of his limitations as a filmmaker and as a storyteller.

Chazelle's direction is as tightly controlled and formally ambitious as ever, and the script is rich in personal and technical detail, without ever getting bogged down in either.

Gosling and Claire Foy - already building a noteworthy filmography following her critically-praised turn on Netflix's The Crown - are terrific at every turn, delivering restrained, affecting performances that deserved far more attention than they ever got in this crowded award season.

As is becoming routine on a Damien Chazelle film, the below the line work is roundly fantastic, with special distinction going to Justin Huwitz's brilliant score - clearly one of the year's best.

But more than it's myriad technical achievement, First Man soars in large part because it recasts a chapter of history often depicted for the universality of its impact on intensely personal grounds, and in so doing, rediscovers the fundamental humanity one of the human race's defining moments.

9. Shoplifters (dir. Hirokazu Kore-eda)

“Sometimes, it’s better to choose your own family.”

What makes a family? This is the question that sparked lauded Japanese filmmaker Hirokazu Kore-Eda to begin work on the screenplay for what would become a Palme d'Or winning film.

It's a deceptively simple question which begets layers of gnawing moral ambiguity under even the lightest scrutiny. It is within these layers of grey that Kore-Eda places his central characters, a ragtag group who all live under the roof of their makeshift matriarch, earning a passable living from an ever-shifting combination of welfare fraud, soft-core sex work, and, of course, shoplifting.

Living on the margins of society, the group maintains a relatively stable existence before making the fateful decision to take in a neighborhood child showing clear signs of parental abuse. It's an ethically problematic moment, but the film hardly lingers on it. It drifts forward with such tender and graceful ease when the other shoe finally drops with the entirety of it's devastating weight, you hardly see it coming.

As the true scope of the group's messy co-existence comes into clearer focus, we are left to face an uncomfortable truth - despite all of their moral shortcomings, together, the group had found some kind of genuine happiness. It pits the black-and-white moralism of modern Japanese society against the nuanced humanism of Kore-Eda’s characters, and ends up making a convincing argument that neither perspective can adequately encompass the unforeseeable moral fallout of their actions.

Ultimately, Shoplifters is a film about the gritty details and complicated history that lies beneath the surface of our most ubiquitous human relationships. Uncommonly wise and unerringly gentle - even when it's ripping your heart from your chest - Kore-Eda's latest is an absolute masterclass, and the best film of his career.

8. Annihilation (dir. Alex Garland)

“I think you're confusing suicide with self-destruction ... Almost none of us commit suicide; almost all of us self-destruct.“

There are moments (or is it days? or weeks?) in which I can't make heads or tails of this film. It's an enigma. It shifts before your eyes, defying your expectations and challenging your notions until you finally either get up and walk away, or give up trying to understand it and settle for just experiencing it. If you were lucky enough to find yourself in the latter group, then you were treated to a beautifully thought-provoking cinematic treatise on the human propensity for self destruction.

Annihilation focuses on a team of scientists sent to explore a mysterious (and steadily expanding) phenomenon known only as The Shimmer, from which no other previous expedition has returned. As they move further into The Shimmer, the breadth of its mysteries only expand, taking an increasing mental and physical toll on the team, tasked with finding their way its point of genesis.

Breakdowns, both mental and physical, are inherently cinematic, but never has a film that conflates the two ever felt so deeply invested in mining the metaphysical connection between them.

Writer-director Alex Garland’s exploration of this philosophical territory is unyielding, making for a draining, sometimes punishing, viewing experience. Annihilation puts its characters through the ringer and takes the audience along for the ride. But it’s grizzlier moments never feel unearned.

Every sequence feels deliberate, every shot painstaking, like they’re all pieces of a puzzle that’s laid out only partially assembled in front of us. That it’s left to the audience to piece some things together on their own isn’t a bug, but a feature - this is a film that’s built to linger.

If the comparisons to Tarkovsky’s Stalker feel obvious, perhaps the greatest credit I can give to Garland’s brilliant sophomore effort is this: Annihilation proves itself worthy of the comparison.

7. Cold War (dir. Pawel Pawlikowski)

“Let’s go to the other side ... The view will be better there.”

The Cold War, despite being generally cast in broad geopolitical terms, had real human consequences. This observation may not be novel, but as Pawel Pawlikowski’s moving sophomore film gracefully demonstrates, it can be painfully personal.

Beginning in Poland in 1949, Cold War follows Wiktor and Zula, who meet in a makeshift musical academy established with the nominal purpose of assembling a touring ensemble based around traditional Polish folk music. But as the new Soviet government begins to exert increasing influence over the group, pressure builds until Wiktor finally flees to the West with Zula reluctantly staying behind.

From there the film takes on an elliptical structure, in which years pass during a momentary cut to black, and we see this fateful decision reverberate through the rest of their lives, with consequences both obvious and unforeseen.

Like Pawlikowski's debut film Ida, Cold War is shot entirely in a high-contrast black-and-white, its images packed within a boxy 4x3 frame. Far from empty stylistic flair, these creative choices pay huge narrative dividends.

Its precisely-framed shots, striking cuts and elegant camera movements come together to form the most distinctive visual language of any film in 2018. Pawilowski then puts this language to brilliant use, communicating with image and montage what he never could with dialogue alone.

The isolation that comes with the loss of national identity; the pain of love separated by political boundaries; the tension between personal satisfaction and artistic ambition. These ideas, merely present on the page, are given tremendous power on-screen thanks to Pawilkowski's exacting artistic vision and the film's incandescent lead performances.

Despite the fact that it failed to take home any of the three awards for which it was nominated last night, the nominations themselves demonstrate that Cold War has a strong contingent of passionate supporters. Something tells me this contingent will only grow with time.

6. Minding the Gap (dir. Bing Liu)

“This device cures heartache.”

Skating was an escape. For three boys in Rockford, illinois, skating was a release from myriad pressures that threatened to crush them in their early adolescence. At some point along the way, one of them picked up a camera and started filming.

From that seemingly innocuous decision, we can trace the birth of 2018's best documentary. Even more, it wouldn't be a stretch to call Bing Liu's Minding the Gap one of the best debut films (of any kind) in recent memory.

The film’s elegant, gliding skating sequences are enough to make Liu's skills as a cinematographer and editor abundantly clear. But technical skill is only one element of film-making greatness. A truly great filmmaker puts their skills to work telling essential stories. The stories that Liu tells in Minding the Gap - stories about skating, friendship, family, and abuse - will shake you to your core.

As Liu's camera follows the journeys of his friends and subjects through the years, its piercing view shows with uncommon clarity how the abuse that they have suffered continues to shape their paths. To his own great credit, Liu is careful not to exempt himself from this intense scrutiny, sitting down with his own mother for an interview that makes up one of the film's most heart-wrenching scenes.

In the end, it is Liu’s friendship and familiarity with his subjects that elevates Minding the Gap. First and foremost, his presence during his subject’s most painful and intimate moments can’t be taken for granted - that kind of access is only possible when the filmmaker has taken the time to really earn the trust of their subjects.

But their closeness pays further dividends when his camera catches the friends in their worst, most painful moments. In less familiar hands, these moments could overwhelm everything else we’ve come to know about these kids. But instead of reducing them for cheap emotional points, Liu provides the necessary context to continue seeing them as three-dimensional, complex people. Because Liu never loses sight of the goodness in these people, neither do we.

Minding the Gap’s exploration of the complex emotional repercussions of abuse are all the more powerful because of it.

#minding the gap #cold war #annihilation #shoplifters #first man #damien chazelle #hirokazu koreeda #alex garland #paweł pawlikowski #bing liu #best films of 2018 #film review #movie review #best films of the year #cinema

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rapsrisingstars · 8 years ago

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Guess Who's Back? Hip Hop's Worst Nightmare

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Featured artist: Trashy White - Guess Who's Back? Hip Hop's Worst Nightmare

Below is a short interview with the upcoming underground artist Trashy White.

How did you decide to become an artist?

Trashy White: I been around the music scene all my life. My whole family are musicians. So I think I had subconsciously decided to become an artist at a young age but actually becoming an artist and making my own music was a transition over the years. I don't think I decided it just happened. I was very Rock n' Roll/Heavy Metal influenced growing up around rock bands and the live music scene but Hip Hop all begun back in my skateboarding years listening to Wu-Tang on those old school tape decks.

To just be yourself and not everyone is going like you. There will be people that don't like you no matter what you do so just do what makes you happy and not to worry about what people think of you. You know who you are and that's all that's matters.

- Trashy White

What about concerts? Do you play live?

The last 14 months has been a bit of rocky road I guess you could say and my focus has been on bigger priorities so I've been taking a hiatus from the music with only a few schedule shows here and there last year but this year I'm back. I can't wait to get back on a stage to be honest. There's no other feeling like it.

Best punchline you ever wrote?

"I'm the shit but don't be acting fly around me"

- Trashy White

What are you currently working on? Did you release something in the past?

Currently I'm working on a double disc album with Likwid Eyece from Sydney which hopefully we can release by mid to end of year, we will see how we go. I was suppose to put out my independent release "13" back in November 2016 which was the whole story to the last 14 months and everything that's gone on but I decided to scrap the whole thing. I may still release it, you never know. You definitely see some single tracks be released in the coming months.

Last but not least: Would you sign a record contract with a major label?

Well that depends and that's a good question. I feel there isn't really anything a record label can do for an artist these days that artists can't do independently especially with the access we have to social media platforms and being able to promote yourself through all those different outlets. I think the independents are taking over and have been for years I think its becoming more clear to artists that we don't really need the labels anymore. In saying that that's not a yes or no from me it would all depend on the contract, ownership rights, creative input all that stuff. It's a tough question to answer unless you really had to make a decision and actually answer that question. I think there's a lot of questions to answer first before any artist could say they would or wouldn't sign to a record label.

Any last words?

Um, there's so many. First and foremost my daughter I don't know where I'd be right now if I didn't have her. She is my reason for everything I do. I love you baby girl! There's too many to name but all those who have been there since day one and have always supported me. To all those I've met along the way through the music journey and formed friendships with. I appreciate everybody in my life right now. I appreciate every single person that has impacted my life on a positive level you know who you are. Much love to you guys but I also feel I need to thank those who brought negativity into my life also because through those hard times and failures were lessons and I got to learn a lot about myself and who was really on my side and who was just pretending. Learning who was who helped me cut all the people I didn't want or need out of my life and made room for new incredible people to come into it. So shoutout to you guys too! (Laughs) Success is the best revenge right? (Laughs)

Where can we contact you?

Trashy White: http://ift.tt/2l224WL

Thank you for your time. We wish you and your career the success it deserves.

This interview opportunity has been provided by RapBeats.net, the digital marketplace for urban production music .

Want to get featured too? Apply here to get interviewed!

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