MAGAZINE
written by
CLINT PORTE
When Angela Yee appearance on the cover of ALPHA Magazine marks a significant convergence, a meeting point between two media eras, two platforms of influence, and two builders who understand both legacy systems and the future architecture of culture.
For Luciano Layne, ALPHA’s editor-in-chief, the decision was intuitive. “You’ve given so many flowers to so many people,” he told Yee. “I felt like it was time for you to have yours.” But the gesture also functioned as something larger; a collaboration between a radio institution and a new-media publisher reshaping how visibility is distributed.
After years of interning in various marketing and management roles under Shade 45 and WuTang, Yee’s work ethic and professionalism was on full display after her breakout interview with Jay-Z in 2004 which helped her to solidify a role at SiriusXM radio.
Yee’s career has been defined by two powerful decades in radio, interviews that shaped narratives, and conversations that broke artists and defined public perception, most notably during her time at Power 105.1 alongside DJ Envy and Charlamagne Tha God.

The candid, high-profile interview style she perfected with the Breakfast Club gave the audiences legendary appearances with Cash Records’ Birdman, Gucci Mane, Bakari Sellers, Dr. Umar Johnson, and many other guests across the spectrum of politics, entertainment, and lifestyle - many of them producing some of the modern Internet’s most memorable and viral moments.
After leaving the Breakfast Club in 2022, Yee transitioned into the independent media space with her programs, “Way Up with Angela Yee” and “Lip Service” where she continues to profile many of the most interesting people across business and entertainment. Success, relationships, and power dynamics have never been too taboo for Yee, endearing her to fans globally.
Yee’s influence has always extended beyond broadcast, bridging into digital platforms, social conversation, and entrepreneurial media spaces. “I’ve always felt like what I do is more of a vessel to help other people get what they have going on out there,” she said. “I’m normally the one interviewing people. Not always the person getting interviews.”
Layne comes from the opposite direction—new media, multi-hyphenate creativity, and platform-building outside traditional institutional pipelines. Before Alpha, he moved through music, ghostwriting, photography, and talent management, learning the mechanics of visibility from the margins. The magazine emerged not just as a fashion title, but as a corrective system—a way to place Black culture-makers into legacy visual spaces while retaining the ethos of independent media.
“When people hear the name, ALPHA, they think masculine,” Layne said. “But it’s really a mindset. It’s an act of service.” His goal was radical in its simplicity: to see Black people occupying the same newsstands and cultural real estate as mainstream legacy publications. “Why don’t we deserve to be on the covers with the Hillary Swanks and everybody else?”
Yee’s cover sits at that intersection. A radio veteran stepping into a fashion-forward, culturally insurgent magazine. A legacy medium meeting a digital-first platform that still believes in print as artifact and archive. The collaboration is symbolic: old media and new media not competing, but co-authoring the narrative.
The standout ALPHA covers—Rick Ross, Deborah Cox, and now Yee—function as visual archives. But, Layne is equally focused on the experience behind the imagery. He credits the magazine’s organic growth to intentionality rather than marketing spend. “We tapped into creating a really good experience for them,” he said. “Every single cover we worked with, 90 percent of them reposted it. They consistently reposted it.”
For Yee, the shoot reflected that ethos. An all-Black creative team, thoughtful styling, music curated to her taste, and a collaborative approach to her image. “It was a very comfortable experience,” she said. “You guys really paid attention to what it was that I liked and needed.” The transformation from her usual casual aesthetic into a stylized editorial persona felt additive and unintrusive.
Layne frames his creative philosophy in relational terms. “Great relationships are like a home-cooked meal,” he said. “You want to leave a great taste. You want people to come back for seconds.” That mindset extends beyond aesthetics; ALPHA is Yee’s early magazine appearances—party spreads, a XXL Magazine profile during her early radio years—conjure feelings of the emotional weight of print. “There’s no feeling like being in a magazine,” she said. “There’s something to be said for having something you can actually feel.”
Print remains a physical record of presence, proof that a moment existed. Layne shares that reverence, even as ALPHA scales digitally with

millions of monthly subscribers and distribution through major retailers. His emphasis on crediting every contributor reflects a new-media ethos layered onto an old-media artifact. “If you’re doing eight to ten hours working with a celebrity and you only get an Instagram tag, how is that good enough?” he asked.
The collaboration culminated in a Times Square billboard surprise for Yee, a gesture that felt both old-school spectacle and new-school amplification. “All the flowers that you’ve given to people, I just wanted to highlight you,” Layne said.
In that moment, ALPHA became a bridge between eras. Angela Yee’s cover is a symbolic handshake between two generations of media architects—one who helped define broadcast culture, and one building the next infrastructure for how culture is seen, documented, and remembered.
It is, in full view, the convergence of media itself, past and future meeting on glossy paper.
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