In a digital landscape saturated with artists, few manage to cut through the noise with the sheer conceptual. Texas-based artist, Ykmyname first captured my attention last October with the release of Panhandling Picasso  (2024) , the first installment in a uniquely ambitious trilogy named after iconic visual artists. Since then, he followed up with the "dusty" sonic palette of Dusty Da Vinci  and the final act, Vosswater Van Gogh was completely produced by STIX , creating a three-part exploration of the "stages of being broke" through a masterful blend of boom-bap and trap influences. His relentless creative momentum didn't stop there. Beyond the trilogy, Ykmyname also released the full-length album Flowers  (with STIX ), the collective album MR.SUMMERTIME PRESENTS: SUMMERS OVER  (with THE DOOBIES ), and three EPs: we need to talk , silvertooth surfer , and i don't owe you . I caught up with YK (as he clarified his stage name) in May/June of 2025 to dive deep into the mythology he's created. In this candid conversation, Ykmyname discusses the organic, FaceTime-initiated chemistry with his prolific producer STIX , the inspiration behind naming projects after Renaissance masters, and the true meaning of his bold moniker, which he discovered accidentally took on a life of its own. Beyond the music, YK offers a revealing look into THE DOOBIES , the multi-city collective of underground artists who have re-sparked his creative drive, turning a group chat into an engine of relentless artistic output and genuine friendship and a supportive environment. From doing his own cover art, to being an "unbothered" voice critical of societal BS, Ykmyname’s primary goal is to use his music as a vehicle for truth and emotion. "I think my music is the perfect oxymoron poems. I think every song I'd say something that's so oxymoron. Like it's so contrasting. I just want people to appreciate it for just art." Read on to hear Ykmyname’s perspective on the influence of Lil Wayne , being a father, why he believes the best art should make you feel something , no matter what that emotion is, and a lot more. JAMEKA Hey, so I don't want to say your name wrong. Is it uh, YK, or is it, you know, my name? YKMYNAME It's Y, K. A lot of people, a lot of people think it's, you know, my name, but I just let people do and say whatever they wanted, as long as they listen. I don't really care, you know, but it is technically Y, K. JAMEKA Okay, I got you where the Y, K come from? YKMYNAME Um, shit, young being high, coming up with dumb rap names and shit. I was on shrooms and I listened to this JFK speech. So I started calling myself Young Kennedy. And then I got drunk one night and was freestyling and said something about better get it right, ykmyname . And then my homeboys just started saying y k, my name, my name, like they all just started calling me that. So then I just went with y k, and then because of my name, my name thing, I just added it to the name. And then fast forward, everybody to start choosing no abbreviations. Like nobody was really using y k for, you know, until, like, maybe a year ago. You know what I mean? JAMEKA Yeah. YKMYNAME But now it's like the new thing. So it's like, gotta kind of take it. Don't ever get mad about it. It's just, it is what it is. JAMEKA It works, though, at the same time though.. YKMYNAME It does. JAMEKA It declares, like, a certain type of like, you know, like the confidence is there. YKMYNAME Nah, real shit. JAMEKA But it's just like, yeah, you know what it is type thing too. YKMYNAME Which crazy part is it kind of worked out that way. And I never planned for it to work. Like, you know what I mean? Like, I didn't know who know ykmyname would be like. I thought it was fire because, like, I say bars, like, with my name like, it's almost automatically a double entendre. JAMEKA Yeah. YKMYNAME But like, once people started saying, you know my name, I'm like, Oh, damn. That's kind of crazy that it's, it almost took a life of its own. And I'm not somebody that's gonna get mad about that shit, you know like, it is what it is. JAMEKA Well, that's just good to know. So either way, I guess. YK, huh. YKMYNAME And we go, YK, yeah, either way at the end of the day. YK, whether it's, you know, whether it's the other meaning, it don't even matter to me.  JAMEKA Alright, bet that, bet that. Well, that's good. Um, so where you at? Where are you located?  YKMYNAME I stay probably like 10-15 outside of Dallas. Okay, Dallas, Texas. Yeah. JAMEKA Okay, you in the South. YKMYNAME C’mon now. JAMEKA Yeah, no, I knew it. I knew it from the accent already, but I just didn't know what part. The only thing I can't even tell you how I came across you really, but I just remember last October when you dropped, what was it, Panhandling Picasso , and it came across my timeline, or something like that. And I was like, whoa. This album art is just dope. Like, who's this person I've never met and then it was, of course, I was just like, [ ykmyname ]  you know, my name. I was just like, but I don't know him. Let me see what it's about. YKMYNAME Fire. JAMEKA And, yeah, and, and then you just like, drop those other two parts of the trilogy, Dusty Da Vinci and Vosswater Van Gogh . And that shit just really caught my attention. Because I'm just like, seemed like, there's a lot of onset there. You know what I'm saying, like, that process. And I was just wondering if you could tell me about that. YKMYNAME Crazy. Because, like, I'm real close with STIX , the producer. JAMEKA Yeah. YKMYNAME We actually met probably about a year ago. I ran across   Dru Kelly , which I'm sure you've probably seen on Twitter, but I ran across Dru Kelly's  page, and I hit him up to work, and I hit him through email, because old school, like, I'm 30. JAMEKA Same, haha. YKMYNAME So like, see some if I see something in the bio that says, hit the email, I'm gonna hit the email. I don't even think to DM him, or none of that shit. JAMEKA Yeah. YKMYNAME So I just sent him an email. We ended up doing this song together. And then,  I was really fucking with the beats that he was on, and I saw that it was STIX  so I went and hit STIX , but I hit him in the DM.  Man, he was telling me he's like, bro, I never checked DMs, but he caught me like, two o'clock in the morning. I'm just surfing Twitter, but we connected kind of like that. And then, you know, we were just kind of, he was sending me beats, I was working on stuff, you know, we didn't really know each other, know each other like that. And then I had did this one song over this beat of his, and he asked for my number. But then he FaceTimed. The first time we ever, like, talked like, not through DM or text or whatever was a FaceTime. He was like, man, I just had to make sure you was real.  Aileen by Dru Kelly And he just, he's crazy, like, but me and him ended up building this crazy relationship. And then I think it was towards the end of Dru   finishing up Aileen ,  his last album he dropped.  JAMEKA Yeah. YKMYNAME STIX was like, when are we going to start yours? I'm like, well fuck, let's get it.  So then we started kind of bouncing around some ideas and then he had sent me the beat for “Picasso.”  Originally, I forgot what the fuck the name of the beat was. But it was, because he's busy, he deals with a lot of artists, constantly making beats for people. So I did was, is, I was like, I'll chop up samples, and you could just throw drums over the samples. JAMEKA Oh wow. YKMYNAME And that way it'll, you know, kind of lessen your workload a little bit, you know, like, I'm all into the full collaboration of it or whatever. JAMEKA Yeah. YKMYNAME So he had sent me the beat for “Picasso,”  and he was freestyling over, like, in the background, and he said something about, “I take a piss on a Picasso painting.” And I was like, alright, bro, I gotta go. And he was like, what, I said I gotta go. I got it. So I ended up doing a song, “Picasso.” Panhandling Picasso by Ykmyname x Stix And then we were sitting there and we were trying to figure out a name for the album. And he was like, just thinking of, like, something that started with a P that would match with Picasso. And then he said, Panhandling Picasso . He just kind of was like, oh yeah, that's it, you know what I mean, I was like, oh shit. Like, yeah, that's fire. Because then I'm like, in that moment, I'm like, bro, we could build off Da Vinci . We could build off all these other painter names, you know. JAMEKA Yeah. YKMYNAME So I was like, I bet that's what we'll do. And then we finished Panhandling Picasso, that was dope. I think that was kind of the first album that really, like, started putting me in a different, you know, getting eyes, you know. JAMEKA Yeah, different audience, yeah. YKMYNAME And then we just, we like, right now, it's just a trilogy, but we got a fourth one in the works.  JAMEKA Oh nice! YKMYNAME Actually, it's almost done. We are just waiting on a few things, putting it together. But, yeah, nah STIX   is fucking, he's a mastermind. I just do the raps. He's the fucking man.  JAMEKA But, you know, yeah the soundscape he provided for all three of them are amazing, and they're distinct in different ways, but they're still like, there's still a foundation there.  YKMYNAME Yeah, mmhm. JAMEKA What is it like? What's it like having the same producer for one album, for three, for three in a row, like that? YKMYNAME So I've been making my own beats for like, 12 years and I got to a point where I'm like, I'm not going to YouTube for beats, like, I'm not doing remixes, like, I'm not I'm off that. You know what I mean? Like, I was like, if I want to make my hobbies, I'm just going to make my own.  He was the first producer I had heard that was like, I really like his sound, you know, like his sound just caught me, and I was like, I want to work with him. You know, I never like, I would have, like, year and a half ago if, if somebody would have told me, I would have had three albums with a different producer, I would have been like, you're fucking crazy. Because I just never, like, I was even, like, even my homeboys, like, before, like, I started getting, like, eyes on the internet and shit. Like, all my homeboys were like, bro, like, you got this shit. When you blow up, you don't need nobody. I'm like, Yeah, I don't need no fucking body. I'm gonna do this. You know, they have me all hyped up, and then once I started actually networking and branching out, that's when I started noticing the shift and, like, not only the amount of people that would listen, but music itself, like, yeah, because, like I said, with with the whole creative direction of these albums is we have titles so, like, we kind of go, like, when we were done with Panhandling Picasso , and literally, the day we finished mix for because I mixed it. JAMEKA Oh okay. YKMYNAME The day we finished the mix for Panhandling Picasso , he had a different beat in my email. It ended up being “Mom You Ain't A Pastor”  on Dusty Da Vinci . JAMEKA Mhmm, yeah.  YKMYNAME So once we finish an album, like the day the album's done, mix whatever. He sends me a beat, and we start the next album. So it's like, I work, but like, not only am I working on albums with him, also my homeboy Blvff , he's a producer on an album together. JAMEKA And he just dropped one too, didn’t he? YKMYNAME Yeah, he just dropped an EP (BENTO弁当: VOLUME 1) , he forgot he uploaded it. He remembered the day he woke up that he dropped it. So we all, I mean, when I like, we have our whole collective now, THE DOOBIES , which is, I think it's like 10,12, of us, 13 of us in there.  JAMEKA Oh, wow! YKMYNAME We're all working. So it's like everybody's dropping music and making music at such a quick frequency. The time you sit back and look, you're like, oh shit, I've got like, six albums I could drop, which is what inspired my month and I took or I took last month off. I am going to take this month off too, but next month, I'm dropping two albums just to get them out, because I don't want to, if I sit on them, they're just going to sit and never see the light of day. I try to push that message, like, can't be holding this shit. Like we pay these distributors to put our music out. And, I mean, there's people that want to take a year, take two years, whatever, to make an album, and it's just like, the time you're done with that album, ain't even gonna like that album when you drop it. I'm trying to make an album quick and drop it, so I'll still listen to it when I drop it.  JAMEKA Yeah, that makes sense to me. It's so different for everybody. But like, seems like, since you're such an inspired space as well, that there's just a lot of stuff to put out there. YKMYNAME Yeah, and Wayne . I grew up on Wayne, so like, I watched Wayne's come up, and it was like, Wayne didn't do shit, but be in the studio. So it was like, for me, it was like, okay, that's all I'm gonna do. I'm just, you know, like, we got real life shit, you know, we not, we not making no money off this shit.  JAMEKA Not yet. YKMYNAME Until we get to that point. So gotta, I got a 9-5. I got my son, no, I have a fiance. Like, I got real life shit that goes on. I just know how to handle my business at home and handle my business on the internet, which is kind of conflicting sometimes, you know, but for me, I really give a shit like that. Like, I just, I make it work. JAMEKA Yeah, does your son listen to your music? YKMYNAME No, not yet.  JAMEKA Oh, okay, he's still pretty young. YKMYNAME Yeah, he's my son's six, so, like, or he, actually, he'll turn seven next month, but just, like, I don't know, like, he, he be in the car, you know, he'll hear, like, hear what we listen to. So, like, we listen to, like, a bunch of different like, my girl only listen to fucking whatever's fucking popping at the time.  Ykmyname, his son + fiancé But like, when he gets in the car with me, you know, like, I try not to, I go try to find clean versions, and I can't put them on, like, Gucci mixtapes , because, of course, there's no clean versions. But like, I played them Flockaveli the other day, like I be trying to put them on all this shit I grew up on, but he don't want to hear that shit. He want to hear fucking weird ass kids song, but, you know, you got to respect it. But, nah, he'll come in the room sometimes, and he'll kind of listen to the beats and stuff, and he'll be like, yeah, I like that. Or he'll dance around, which is cool, but like, I don’t know, I feel like the themes and some of the some of the things I say in there, I don't really want him to like, it’s cool. Because, like, I don’t know. Like, when I grew up, once I started listening to or getting into the music. It was just like, I wanted to live that life, you know what I mean? So, you like, I didn't grow up in the best area, so all that shit was, like, pretty easily accessible. So like, once I started getting in it, I was in it. And then, you know, I really don't, like, I don't want that for him, but once he's older, yeah. He’s gonna have to listen to all these classics, on repeat. Nah, he  likes the art aspect. Like I do the cover arts. Because I'll set up, and I'll set him up to color and shit. And then that's when I sit down to do the cover, then he's doing something, looking at mine, getting inspiration and shit like that. JAMEKA That's what I was wondering. You do your cover art too? YKMYNAME Yeah, everything. I'm so hands on. I hate for anybody that I have to do anything I can do, like, when it comes to mixing the record, like, but I have people I could send the records to, and probably get a way better mix, yeah. But, no, hey, if I can do it and it sounds good to me, like, if it sounds good to me, then we straight. JAMEKA Right. YKMYNAME But, you know, yeah, I do. I'm so hands on. Like, honestly, I got friends that mix records so crazy. Like Blvff , Blvff is an insane engineer, but, nah, I can't, I'm too hands on. I'm too picky.  JAMEKA So like, would you when you   do those cover arts for your projects? Do you do them before, after the music is done? Dusty Da Vinci by Ykmyname x STIX YKMYNAME Um, uh, trying to think like, Picasso  we were probably also we were either halfway done or we were right on the verge. So once I did the Picasso , I think the same day did the Picasso , I was like, oh, let me try, because we said we we talk a lot, so we are constantly bouncing ideas on we had already came up with Dusty Da Vinci before Picasso was even done. JAMEKA Ohhh, okay. YKMYNAME So I went ahead and made the cover for it. Well, once I made the cover for Da Vinci , we already knew what we needed it to sound like, to match the cover. So I think we, when I started making the covers, kind of pre-making the music, it was like, almost, kind of like a visual, like, when you put this album on and you see the cover art, like the music has to almost encapsulate the cover art, if you will. JAMEKA Yeah, yeah! YKMYNAME And how it all comes together… I don't even know. God. JAMEKA Yeah, nah for real… divine intervention, but I would say that that's the same. I feel that, especially with Dusty Da Vinci , because the cover art is in black and white, the other ones are colored, and it really do give off this like, I know it's all underground because you're underground artists, but the Dusty Da Vinci really does get out give off like an actual dusty feel to it. YKMYNAME Yeah, and what’s crazy is when we were working on Van Gogh,   STIX , was like, and it's kind of crazy, how you go Panhandling  to done Panhandling,  but now you kind of Dusty . And then in the Vosswater  is kind of like, no, it's the three stages of, like, being broke. And then, you know, and I was like, damn, like I said, like, all this is just, it's not even, I feel like I want to say this and sound like a hater, but I feel like, when you know like Kendrick do some shit, I think Kendrick has earned people to do what they do for him. You know what I mean?  JAMEKA Yeah. YKMYNAME Because I don't think Kendrick does a lot of shit intentional like that. I think his fans are crazy enough to make it believably intentional, then you're like, oh, shit. Oh, he dropped this on this day at this time with this person, they connect all these dots, and I would put so much money down. He don't look at it like that. I mean, like, just do the shit. And people do it for him, right?  JAMEKA Because even in one   of his songs, he says, you know, I'm a scribe, you know, I'm a, I'm a, what? He's like a vessel. He's like, He literally says that, you know, he's just doing what he's been led to do. YKMYNAME Yeah, exactly that. And I think that's kind of where we are, like, we just kind of do this shit. And once it's done like, it's done. So STIX's favorite number is 11. It was like his number when he was in school and played sports, and he was always 11. So every album will always and only have this… any me and STIX album, it will only ever have 11 songs. JAMEKA That’s really cool. YKMYNAME And that gives us, like, a good start and stop point too, you know what I mean. So, like, we make 13, 14, records, and we know we're going to have to cut three. There's no sense of making three or four more records. It's just like, okay, let's look at what we got. Let's cut what we don't want, and then let's fucking do it. You know? Like, just work so quick together, because I think we'd be on the same wavelength. But yeah, when we did Dusty , I said, bro, I want to, want to make a fucking trap Griselda album. And that's what. JAMEKA Yeah, no, fasho. YKMYNAME Because, yeah, no, for sure, part is I don't listen to that kind of music, I never really listened to that kind of music. JAMEKA Like traditional boom bap? YKMYNAME But like, The Alchemist , yeah, you know, like all that shit. Like, I don't listen to that. And like, everybody thought that was crazy when they heard my beats when I was first coming around the scene and shit. But I was like, I'm like, bro, I listen to fucking Lex Luger . JAMEKA Mmm, shout out Lex Luger. YKMYNAME I fucking I listen to Gucci , Wayne and Future . JAMEKA Real southern, real southern boy. YKMYNAME Yes, Lex is the goat. JAMEKA He is. YKMYNAME Yeah, I don't have… all my favorite beats, the Lex Luger sound is on it. JAMEKA Yeah, yeah. YKMYNAME So, I mean, I grew up on fucking Future . I mean, like, Zaytoven  and shit. JAMEKA Yeah, yeah. YKMYNAME This whole, like, really rap and shit, like, this whole, like, Alchemist , underground, drumless wave, like, this whole shit that's going on in underground. I wasn't even privy to it. I didn't even know about it. Just making that over sample shit was cool. And then I find out though all my friends and shit, like, yo, like, nah, this is a whole genre shit. I’m like oh, damn. But then I listened to it, and I'm like, alright, don't really hit like Future hit so sorry, I can't, you know, like, if Future and The Alchemist get together, I'll probably run that album a billion times. But that's kind of what we decided to do, was make a sound as if, as STIX tells me that my cadence is very similar to Wayne . But when he goes into the album, he thinks of it as if Alchemist and Wayne were working together, what kind of sound would that be?   And yeah, so we kind of really play off that dynamic a lot. And yeah, I mean, like I said, I think STIX is the mastermind behind all of this. I just, I'm a fellow creative that knows how to do a couple things, and we just, we, I think we're a great pair, but I say that, but he's got so many artists that he can do that with. So when it comes down to who's the mastermind, it's all him, like he's just, I'm so shocked that he's not out of here already.  JAMEKA Mhm, I heard that. YKMYNAME Like he should be out of here. JAMEKA I hear that for sure, because I do see, I do see his name pop up a lot in production credits. I'll be surfing and digging and stuff for music all the time. And then I saw you just do all these projects with him. And then I followed him. And then off your projects, I learned, oh, you introduced me to, like, Dom Mooney . YKMYNAME Oh my gosh, that’s dope. JAMEKA Yeah. And then, like you were saying, I didn't know you all were a collective like that. I thought you all just, you know, sometimes people just share shit. YKMYNAME A community, being in the same.  JAMEKA Yeah! But off of, “Snowstorm Coupe,”  I followed them right? YKMYNAME Yup. JAMEKA And then I'm just like, damn, they got all these projects that dropped at the end of last year and this year too, that I still have to catch up on and I'm just like, that shit crazy. Y'all are all unique too, right? Because collectives can sometimes like, too similar sometimes.  YKMYNAME That, yeah. Me, I think I'm very good at, like, endings, you know, I mean, like, uh, like, I could do it. Like, if somebody send me a trap beat, I could rap on that bitch, and then I can do a drumless, I could do pop, I could do whatever. JAMEKA Yeah. YKMYNAME And Dru Kelly  is that way too. Like Dru is, Dru could do whatever the fuck he wants, type shit. So like him, and then you got Reed Starks , is another dude.  JAMEKA Okay, yeah! YKMYNAME Mike Quill , Nik Moody , Blvff,   Dallas Kaye , Kiran the Nomad . JAMEKA Oh, yeah I know of them! YKMYNAME Who else, there's so many. There's so many, like, just so many people. JAMEKA Is everybody based in Texas? YKMYNAME Oh, so I'm the only one in Texas. Um, Blvff and Nik live in New York. Dru and Kiran are in St. Louis. Mike Quill  actually lives in Dubai, but he's from the UK. JAMEKA Woah. YKMYNAME STIX is out of Minnesota. Dom is in Minnesota with STIX , but Dom is actually from Denton. So Dom's from, like, maybe 20 minutes from where I am. JAMEKA Oh Okay. YKMYNAME Yeah, so I met Dom through STIX because the first beat I ever wanted to hop on by STIX , Dom had already had a song on. And STIX hit me one day and asked for the acapella, and I sent him the acapella [ “Randy,” ] and he ended up putting it on Dom's album, which went viral. Dom's  album ended up going viral. We'll Be Home Soon by Dom Mooney x Stix JAMEKA The one from last year? YKMYNAME Uh yeah, We'll Be Home Soon . JAMEKA Yeah, yeah. YKMYNAME Anyways, I think Reed lives in Illinois or some shit, I don't know.  Everybody's different. We all come from different walks of life we all love, different kinds of music. They used to and we're all in a text chat, so we're literally, all. We text all day.  JAMEKA That was like, ask, how do you stay connected? YKMYNAME ALL DAY. And we have a group chat with 13 of us. And when I tell you that chat goes from 6:30 in the morning till three o'clock in the morning every day. It's kind of, there's never a break in there. Like, and we just, we really don't even be in there talking about music. We just there as friends. Like, we have gained a friendship. We can talk about real life shit, what's going on at home and shit, like venting about whatever, like just all became a really good, connected group of friends, and music just came out of it. The whole reason the group was created in the first place was to not be about music.  Blvff wanted to create a group of artists that just talk about real life shit without having to be about some music shit. And then, of course, you put the 13 artists in a group chat together… music is gonna happen. So it's all just, it's just a snowball effect. And then I said, over the year and a half we've been created, it's just been go, go, go, go, go, drop, drop, drop. I think we're probably sitting on at least 70 unreleased songs.  JAMEKA That’s crazy. YKMYNAME It's non stop.  JAMEKA When y'all created this, when they put y'all in this group chat. Did y'all know of each other before then? Or did you learn about each other through that?  YKMYNAME I knew, already Dru and I had already kind of had, like a working relationship, like had sent him a couple songs to be on. We would, you know, talk here, there, comment on each other's posts and shit. Me, like I said, same thing with STIX , they said, I was the closest with STIX before any chat was created me and STIX were already FaceTime being, you know, talking about music and shit.  JAMEKA I gotcha. YKMYNAME So we're already kind of close. And then Blvff used to run a, he would do a live review stream, and we'll go in there and be like, yeah, I just recorded this over this STIX beat. I know they all know STIX is, drop my name in there with this produced by STIX on there, you know, like trying to get into this in-crowd. Because that's what it felt like, like it felt like I was the new kid at the school who's trying to get in with this clique, and I didn't really know how. So let me try to kind of, because they all, like, they all knew each other from Twitter, like they all kind of already had worked with each other, or knew of each other, seeing each other. I was kind of the new guy on the block and then, literally, Blvff was running these live streams , and I just wanted to be like, I just thought he was cool from the live streaming, he had a good personality.  So, like, I'd hit him up to work a couple times. He never opened the DM. Anytime he’d go on the livestream, I would tell my girl, hey I gotta be in this quick stream. I know I’m not old, but I'm older, so like, I don't know how to fuck, to work discord and all this extra shit. Gotta know how to navigate and collab with people. I just know email. So like, email, and I'm trying to learn social media shoot these fucking videos that I've never done. I'm like, okay, cool. I got to do all this shit, whatever.  JAMEKA Yeah. YKMYNAME And then they've been awesome, teaching me how to do all that shit. But Blvff tweeted one day. He was like, hey, I want to start a group, like a group chat for artists, and not talk about music. I put a comment on it, saying, I got, I got hella jokes. And he threw me in the chat. And I was in this chat, and I was like, oh shit. And then we actually have, uh, Kembe, Kembe X , I don't know.  JAMEKA Yeah! YKMYNAME X is actually in our chat too. JAMEKA Oh, wow, yeah, Kembe is  kind of a big deal. YKMYNAME Yeah, so he gives us a lot of advice, like, he's still cool. Like, I've talked it up with him a couple times outside of the chat too, like, he’s a real cool guy, and he puts us on a lot of game. On kind of how to move and, like, obviously, I don't think he's in a position to, like, put anybody on, but he does everything he can to kind of steer us in the right direction. He'd be around people that he knows what to look for, and he just kind of, you know, he gives a lot of game too. But the whole chat started on some this is a break from music .  JAMEKA Yeah. YKMYNAME And then it was a day. I think we were in the chat all day, because chat started on Twitter, we were on Twitter all day, just, I mean talking. If I go to sleep, like say, I put my phone down right now and walk away from my phone for like, three or four hours, I come back to my phone, I will easily have missed 500 texts. That's just what we jumping in here, clowning all day, crack we've done when the Kendrick and Drake shit happened, we started dissing each other in the chat, but we only kept it in the chat. Not on, not on the timeline, not for people to see, just some shit between rappers like I you think you better, let's go. But it's all love, like nobody ever feels a way. It's never like him, I wanted to get on that song that y'all made. It's just everybody praises each and it helps with the algorithm too. Like, if somebody posts a video, they throw it in the chat, and then we get on Twitter and start reposting, you know, liking shit.  So you got 15 people already liking and retweeting everything. JAMEKA  That’s facts. YKMYNAME That's already a good number for the people that ain't in the chat. Then, you know, people kind of see it and it's like, oh, I want what I can't have. And so, you know, we've had people text us about applications, and we're like…  JAMEKA Uhhh, what?? YKMYNAME We have people say, Hey, can I put my application in for, like, I had this dude that collaborated, he got a feature from me, and then try to use that as a way to try to get in the chat. And we're like, bro, we’re like friends. JAMEKA That’s so weird. YKMYNAME We don't really know these people like that, you know. We crack a lot, and we kind of like, you know, we have our own little insiders about this shit we see on Twitter, and some of the people we see on Twitter like. JAMEKA Yeah, of course. YKMYNAME We’re just talking. It's like a big ass barber shop all day, really. Like, no bullshit. Its barbershop talk all motherfucking day. So it's cool. It is, and I was on the verge of, like, right before the chat started, I was kind of, you know, talking with my girl a lot, and I'm like, man, I'm getting older. Really don't understand how this fucking internet shit works. Like, this shit is just starting to get kind of stressful. JAMEKA Yeah. YKMYNAME And I was like, man, I think I'm gonna just, like, fuck around with it when I fuck around with it. But as far as, like dropping songs and like trying to market myself, like, cool on all that, like I'm done. And chat kind of re-sparked my love for it because I've been doing this shit since I was like 14.  JAMEKA Oh wow. YKMYNAME So you know, it's been a long time of this coming, and I think everybody's right there. You know what I mean? I think everybody's kind of at a point where it's only going to take one to go. JAMEKA Yeah. YKMYNAME But we're not making viral music. That's kind of the only other thing.  JAMEKA Well, that's the good thing about it. MR. SUMMERTIME PRESENTS: SUMMERS OVER by THEDOOBIES x Ykmyname YKMYNAME Exactly. Not chasing nothing. We just making art at this point. We all just kind of content with if we make dope ass music and grow up have a cool ass group of artist friends, you know, if nothing ever happens, this happened type shit, you know what I mean. And we’re all humble dudes too. That's the thing is, like everybody in that chat super fucking cool, and everybody's cool with everybody. You know, obviously we're all grown ass men, so there's time shit gets a little crazy in there, but do nothing but support each other at the end of the day. We could be mad as hell, but be on Twitter fucking shit because, no, that's just what we do.  JAMEKA Well, that's real community. YKMYNAME Yep, exactly. Blvff is the mastermind behind that whole shit. Blvff is the one that gets the albums ready. He's the one that makes the songs like Blvff is the mastermind of that, we just get to record. You know, we got it easy, but I mean, I wouldn't say it's too much work that goes into it, just because we all have a level of understanding of what it takes to do whatever. So it all ends up working out at the end anyway. JAMEKA Sounds like a really cool, like, community to just kind of stumble upon. YKMYNAME Yeah. JAMEKA Especially at a time like, were you saying you were, like, kind of done with promoting yourself and just letting it be. YKMYNAME Yup, it put a battery, and I think it put a battery in everybody's back, you know. JAMEKA That’s real. YKMYNAME You get a group chat full of killers, and you start working on sumn. You write a bar, and you go, I know that's weak. Like, I know that's weak to go back then, like, you know, like, and it's a lot of good. There's been songs somebody's made, or they maybe can sing on some shit. Let me try to get on my singer shit. And I'm sending shit to the chat, see what they think. And know they'll be like, either, hey, I fuck with this, or nah, dog, this ain't it.  And it's cool, because instead of doing that shit at your crib and then getting around your friends who are going to love whatever you do regardless. It's like, a good filter, like, it's like, oh, y'all ain't fucking with that. Okay, cool. Y'all not fucking with that. Maybe I should go back and not do that shit no more.  JAMEKA Mmm, yeah. YKMYNAME So it's dope. Like we're all a good team, collective, and has been dope. I can't even I wouldn't trade like, even if I quit making music today, I would still be like, cool with all of them, like they are all fucking just real ass cool fucking regular people. We all fucking regular people, and nobody got that fake ass fucking music ego shit and they better than everybody in the world. Like, we just are regular fucking people, you know.  JAMEKA Yeah, I love that, because it takes, I don't know. There's like, you know, social media kind of hit this place where, like, people just, well it's still there. People just be wanting to show out for no reason, right?  YKMYNAME Yeah.  JAMEKA And it's like, I can imagine being in a group, like a collective like that, where nobody's trying to compete with each other like that. Like, if it's competition, it's good competition, sharpening each other. You know what I'm saying? I can imagine that's a fresh breath, like for real. YKMYNAME And when you and when you feel like you in a group chat with the best people in that Twitter community. JAMEKA Yeah. YKMYNAME When you feel like you are already a part of a group of the best, we're not even competing with the people on Twitter. There's nobody. I couldn't be one person other than, like, bigger artists, you know, that have established fan bases and shit. Like a real big fan of  Blacc Sam .  No, I've come across so many artists on Twitter that I think are really artists, and they already have deals and shit like they're out of here. So like, it makes us know that it's possible to blow up the way we're doing this shit, but at the same time, it's like, can't compete with nobody on Twitter. And if we're competing with each other, friendly competition. Okay, cool, then we already know better than the field. I just gotta be better than you. Even if I'm not better than you, I'm still there. Like, yeah, so it's, you know, like, it's cool and, and I've lately, like, what I've been trying to do is reach out to the other communities of I'll be in live streams, or they be playing people's songs. I'll be like, what the fuck is this? But I try to show love, because I remember being an artist trying to get my shit off and, like, put on, like, because we do live stream where it's like, all of us live and we're listening to the music and shit, and no, I try to, like, if I even if  I think it is the worst fucking song I've ever heard. I'm never the guy that's like, this shit, trash, hang it up! JAMEKA Yeah, yeah. YKMYNAME  Like, I'm gonna be like, you know, hey bro. Like, here's some things to think about next time you go to do this. Like, some people to go listen to, maybe you can try this. You know, it's all about, like, I said, I’m a regular fucking person. I'm nobody special. I just have a good talent.  JAMEKA A few good talents! YKMYNAME Yeah, a couple. I try to be humble. I feel like when I'm not humble, that's when shit in my life starts going crazy. But I think being able to, like, go to some of these artists that don't have the quality, don't have good sound yet, you know, just turning it and maybe being like, hey, bro, I see what you're trying to do. There's maybe a way you could make it fly. JAMEKA Yeah. YKMYNAME And I was that way, you know, in high school. I was like the druggie kid. I was just fucking chilling and shit. But I didn't let people fuck with people that you know were the unpopular kids, like, I didn't fuck with shit like that. So now that I'm older and I see that shit, like, I don't – on the internet, I don't really fuck with that shit. So I'm like, Alright, cool, and all the communities are so open and loving, like, I think Twitter is like, a real cool place to find your network of people, because it don't really matter what the fuck you make. You can make whatever the fuck you want. You will find a fucking network of people somewhere on Twitter. And I don't think you can use Twitter to really blow up anymore.  But I mean, hell, I've met so many big artists there, and had conversations with them. I've had the opportunity to talk with Sauce Walka . I have Sauce Walka’s  number on my phone. JAMEKA Oh mann, he’s one of my faves. YKMYNAME Oh my god, oh yeah. He's the – beside Go Yayo , I'm a huge Go Yayo  fan, which sucks that they beef.I got to FaceTime Sauce Walka , it was cool. It was like, kind of one of those.  JAMEKA  Yeah. YKMYNAME And I sent them everything. He never replied. I don't really expect it to. JAMEKA He might one day. YKMYNAME One day, right? And I'm not saying I want to sign the TSF . I don't even really want to do that. I'm just like, I fuck with Sauce Walka  tough. I've had the pleasure of working with Big Tuck , a Texas legend.  JAMEKA Yeah! YKMYNAME It's just, I've had a really a bunch of dope shit happen and now we’re just making dope music.  I could completely care less if we blow up today or tomorrow. Stix is very adamant that we’re all out of here, like, in the next couple months. Stix is just, he's a freak.  I don't know if you know what [untitled]  is. JAMEKA Yeah! The app? YKMYNAME Yeah. So, I have his link and he's got an album on there where he just puts all his favorite beats from the year in there. I'll be sitting there, and out of nowhere, my phone will start fucking going off crazy, and I look and he's adding, like, 13 beats. I'm like, and it's daily, like, he does this shit daily, my bro, you are sick. JAMEKA Yeah, that’s amazing, though. YKMYNAME He’s incredible and he raps! Anytime he's rapped on the fucking albums, it's the best fucking verse on the album for me. Like, I'm a huge fan of his. I think that's the thing too, it's like, not only are we friends, we're all fans of each other and what each other do. Stix just knows how to take whatever the fuck it is you do and make it perfect. Vosswater Van Gogh by Ykmyname x Stix JAMEKA He magnifies it for you. YKMYNAME And he's by far, such a great like, he's, no we've had vent conversations. We've talked about real life. We've talked about music life. Stix  is like one of the greatest friends I have not had the pleasure of shaking hands with yet.   JAMEKA Oh man, it’s going to be beautiful when y’all do. YKMYNAME Oh, yeah, I already told him I'm probably gonna cry. It's just cool, like, we've shared a lot of deep trauma. It's real, like, that's what I'm saying. Like, we're all, like a real – you would have thought we all grew up together. If somebody was to open the chat and read the chat, would literally think we all grew up together and just moved to fucking different states. We’re that close. JAMEKA That's how you make it seem. That's why I was just like, are you all in Texas or what?   YKMYNAME I’m telling you. Sometimes I wish they was I’d pull up on ‘em. Some of the places I’ll go to. I’ll go to Minnesota and New York. I'm supposed to actually be meeting Blvff like in person for the first time in November, fly out to New York and shit and kick it with him and Moody . Moody's another one, super fucking awesome guy by the game, real OG in this shit. Been in the streets doing ciphers in the hood. Like, Moody is a real rap guy. Like, he's the epitome of New York fucking street rap. Like, That's Nik Moody , and he's fucking challenging and shit. He makes me go rewrite bars when I listen to his music. I'll be like, nah, if he's saying shit like that, I gotta go do something else, you know.  But everybody’s got a different style, something to contribute, and I do all the cover arts for the DOOBIES’ aesthetic that we created together. JAMEKA Yeah! YKMYNAME So they're actually the ones that told me to start drawing and using it for cover art.  JAMEKA Yeah, because I'm glad you did. YKMYNAME ‘Cause all my homies out here were telling me to take pictures. Like brother nobody want to see a fucking drawing. Go fucking take pictures of yourself.  JAMEKA That's boring.  YKMYNAME I’m like, bruh I’m a bomb ass artist. JAMEKA No, your cover art is perfect.  YKMYNAME I really appreciate hearing that. That means more than you know.  JAMEKA Do you have merch? Ykmyname performing in the Dusty Da Vinci shirt YKMYNAME Yeah, I actually have a Printify . I think it might be, might be in the link in my bio. If it's not in the link in my bio, I'll DM it to you. But yeah, I got, I haven't updated it with Van Gogh  shirts, because I'm still finding a I want to find a certain color to put that on. I don't want to just put it on a fucking probably end up just putting it on a fucking black shirt. But yeah, we slapped the cover art on some t-shirts. We were talking about getting, like, hard copies, like vinyls and shit, like special for people.  JAMEKA Yeah, I definitely like to see that. YKMYNAME I definitely want to do more for Stix just period, because he's fucking awesome. And, you know, once we finish and I feel like we're like, alright, cool like done with the painter shit. I want to be able to get all the albums on vinyl and give them to him as, like, a set, like, be able to design a set, maybe wrap it like a brick, or something, I don't know, something fucking wild. Yeah, like, just do something for him because, like I said, he's just fucking awesome. All these guys are fucking, super fucking awesome people. JAMEKA Love that. The last question   I have for you, because you really covered a lot of stuff that I had. Yeah, it's been a good conversation so far. YKMYNAME I'm a talker. I apologize.  JAMEKA No, you don't have to apologize. I always, I like that you feel like you can talk, you know. YKMYNAME I'm passionate about this shit! And I'm not fucking… don't have money that these famous artists that get to act a certain way have. JAMEKA Yeah. YKMYNAME And even if I had it, I don't even, I mean, do you know how excited I was to watch a Migos’  interview for the first time? I was hype! And then they got up there and said two words. I'm like, I know y'all know how to fucking talk. You know what? I mean, I'm a fan first. I just hate when people get in front of something and don't say anything. It's like one of my biggest like, come the fuck on, bro.  No one’s really gonna hate you if you didn't really sell drugs dawg. Like, that's not gonna kill your credibility for me. I just want to know your story, you know? JAMEKA Yeah, Yeah. YKMYNAME And then what happens is, we lose an artist everybody fucking loves, and you don't know shit about them. And it's like, damn you know? Like, that's the shit that'd be frustrating to me.  JAMEKA Yeah. YKMYNAME Yeah, but sorry. You realize I talk a lot. JAMEKA Don’t even apologize.  The last one I have for you is, what do you hope that the listeners, like the people that find your music? What do you hope that they take away from your music or gain from your music? That too.  YKMYNAME That's a good ass question. That's a really good fucking question. Never been asked that before. You stumped me on that one.  I think I would want the most. I would want the most for somebody is, one to maybe find something that resonates. I think, you know, a lot of us grew up in certain  just shit. Like, I think everybody grew up with, I don't judge people where they're from. So, like, I know people that had real nice lives, that had fucked up shit happened to him.  Just hope somebody hears something and goes, damn man, I feel that like when I was growing up. I try to like, I want, like, yeah, there's parts where it's like, the bars are cool, but I'd be trying to give a lot of game in these songs too. Like, just on life shit. Like, there's times I'll say a bar where it might come across as, like, I'm just saying some fly shit. But like, like, I said one line. I said something like, I think my music is the perfect oxymoron poems. I think every song I'd say something that's so oxymoron. Like it's so contrasting. So when people, I want people to appreciate it for just art.  I don't think I'm the greatest rapper to ever do it. I, you know, I'm a guest in the culture. I just want people to know that, like, I really love this shit, like, I want when people hear this shit be like, oh, he's not just doing this shit, no, dude, like he's not just doing he's not just being a rapper because he wanted to be a rapper, yeah, like, I really love this shit. Like I fought for this shit. I've been fucked over, scammed. I've scammed. You know, so much shit that comes with this lifestyle that especially when I was younger, now that I'm older, it's just kind of like putting out the music is more of a reflection of like, how to get there, want to go and if not, if there's some shit you could fucking put on in the car and fucking get mad or be in the gym and get some stress out, just as long as people leave feeling happy, that's all I would I just would want my music to create some emotion, whatever the emotion is, whether it makes you feel anger, not because the music trash. Like anger in the sense of, like, oh, damn. Like, he really saying some shit, or, you know, some joy, or, you know, sad, like, I mean, I made songs I cried listening to like, just, know, whatever emotion it can generate in you, I want you to feel it. And I want you to just feel it like. I don't want you to feel like, damn, why am I feeling like this about this? Nah, feel that shit like, feel it, live it, it, and then, man, fuck it. Go and go to fucking Best Buy, buy a microphone and go, fuckin’ make some rap.  Like why not? If you want to put some words together, go put some words together. Go get these fucking rage beats and try to be [unknown audio,] and then all them. Go fucking like, try to write some rap, and then learn how to rap, because that's the problem. A lot of people can write a rap. They don't know how to rap. If you sound like you are reading that shit off the phone, chances are I’m not going to be listening to that shit. You gotta feel that shit. I feel that shit like, go, do the history. Go, you know, I'm not somebody that'll tell you Tupac  and Biggie are in my five just because you gotta say that shit to be Hip Hop, you know? JAMEKA Right, right. YKMYNAME You know, like I'm a Wayne head. I grew up on Wayne. I studied Wayne. I watched his whole career from Tha Carter I  on, you know, like, I just that's who I try to know. Like, I hope my music gets people to go find somebody that they really fucking like through the style that I made, right, damn, I like this style. Oh, this guy makes his style too. Man, don't really build something, but I just want people to feel something. I don't know what the feeling is, but just feel that shit. And they can hit me whenever, my DMs is open. I open my DMs up. I'm not the guy that's gonna read your DM and keep it pushing like, I hope people that hear that shit come talk to me. Because you know, like, I think it's cool if I can make you feel something and then, you know, you come tell me what it made you feel. It'll help me for my next work. Like, oh, damn, this did this? Let me try to do that again, you know, with something else, you know. "Balenciaga's Are Trash" JAMEKA I like that. That's a good answer. Okay, I lied, I have one more.  I think it well, there were a lot of songs that you're, you're very critical of society at the same time, which I appreciate. You know, especially, like “Balenciagas Are Trash” and the other stuff that you're saying in that track, but the one that, like, really grasped, like, emotional attention, was “Mom You Ain't A Pastor”.  YKMYNAME Ohh yeah. JAMEKA There's a lot of things embedded in that one that was like, damn, this is, there's levels to this shit. And I think with some of the things you talked about in that song too, it kind of gave me a little bit more context to where you're coming from as an artist as well.  "Mona Lisa" YKMYNAME Because it's like, I think “Mona Lisa” is the one for me that really, like Mona Lisa, my mother, was too subtle for me to love a diva. JAMEKA Oh yeah, that one too. YKMYNAME  …when my digi-scale start tripping, it must be a Libra.  I dated a Libra, and she was a trip.  So, like, you just Libra is the scale, you know. JAMEKA Yeah, yeah, they're literal signs. YKMYNAME There’s so much. It's so much. I try to sprinkle so much in there because, like, I played some songs for my mom. Mom, being here, “Mom You Ain't A Pastor,” and my mom laughed like, my mom hit me and was laughing because she was, like, I've said that to her before. You know what I mean. Like my mom, you got to stop preachin’ you are not a pastor. "Mom You Aint A Pastor" But when you say it, you ain't a fucking pastor! I was scared my mom was gonna hear that shit. But my mom thought that shit was funny. You know, because we've had that convo. So it's, it's a lot of real life in that. Well, the whole shit is real. I can't be the guy that gets on there and, like, I pull it off in the Lambo, you know, I can't do that. I don't have a Lamborghini so, like, you gotta know how to make certain shit that's not fly– fly, and you gotta it's the art to it. Everything in this shit is art to me. So I like, there's so much real shit in there. On one of these new songs I have coming out, because I don't know, I know it's kind of controversial, and there's like, it's kind of big, but it happened kind of down the street from where I'm at. But the Carmelo situation, stabbing that happened at the school, or whatever. JAMEKA Yeahyeahyeah. YKMYNAME On this, on this new song that I got on the next tape with STIX  I have this bar where I say,   if you go and run your mouth, just make sure the story tracks shoutout Karmelo . And I dropped the beat right there, and I played it for my homeboys and they were like, “oh, that's how you feel? That's what you coming with.” And I'm like, yeah, bro, it's time. I’m white. JAMEKA Yeah. YKMYNAME I’m a real white man, you know. But never, I didn't have white friends till I was, like, in my teenage years, you know? I didn't really like I just, I grew up in an area that I was the minority. But so, like, I didn't really kick it with white people like that. So, once I got around some white people and their families, and I was like, oh, okay, yeah. JAMEKA It’s different. YKMYNAME It was like, culture shock, almost for me. And I was like, the like, What the fuck? And then, so now I'm starting to get like, I was talking to even STIX . I was telling STIX I'm like, bro, like, about to just start calling white people out on bullshit just randomly, like, you know, sprinkled in. I don't want to be – I’m not, I'm not a messenger. I'm not fucking somebody that's super fucking, like…I'm not, I'm spiritual, but my spirituality is my spirituality, I'm the type that wants to, like, want to call people out on bullshit. Like, I think if you want bullshit, I should be able to call you out on it, like, that's what we– you know. I'm not, like, Eminem, I don't listen to Eminem . I've never been an Eminem guy, um, never. It just he don't fucking do it for me. But I want to be able to create a little bit of conversation, not necessarily, like, viral. Like, Oh, damn! He said this about white people and he's white. JAMEKA Yeah… YKMYNAME Like, yeah, let's blow him up. Nah. I don’t want to do all that, like, I'm not political I'm not there's none of that shit. Like, I don't have a political party. I give a fuck less about that shit. JAMEKA Right. YKMYNAME I just… there's some bullshit that be going on, and somebody gotta say something. JAMEKA Yeah, yeah. YKMYNAME So I'll be the person I don't give a fuck and if it blows up cool, then they get the message. That's the biggest part of it all, is just getting your message out there. For real.  JAMEKA And it's funny because, as when I took notes on your projects and stuff, the one thing that I said was just all like, I like his delivery in the way that he's unbothered with saying things that need to be said. Literally.  YKMYNAME I really appreciate that. JAMEKA I mean, that's, yeah, I like that type of stuff because I feel like you don't have to be a politician like you say you don't have to do it to go viral. But like to just speak truth and seek truth through your art. What else are you doing art for? YKMYNAME Exactly. You doing that shit to make some cool little bops with your friends, put it in the car, whatever you saying something, that's my thing. If you saying something, you're gonna get me. That’s why I hate that the two artists that actually have the platform to fucking say something, because it's like, we're both so great for saying something. I know Drake is more of a poppy sound. But when he be talking to people, he be talking to people. And I've learned that from just because, I mean, like, I said, I'm not even the biggest Kendrick fan. I think he makes some of the greatest music I've ever heard. I'm not slapping that shit when I'm running down the highway. But, like, he says something, you know what I mean? I mean, he says something, you got to sit there and go, oh shit. I feel that. You gotta do this shit to say something. And it goes for all art, whether you're painting, or because I'm not even big enough paintings like, I know, we did this whole painter series and named it after all these artists. But I don't understand paint art like that either, because a lot of that shit looks like they took a paint can and fucking slapped that shit on the thing, and people sell it for $4,000. I don't get it. But somebody's trying to convey some sort of message that I just don't get. But whether you're doing videos, pictures, making music, any genre… art, like physical art, digital art, whatever you do, even if it's your job that you go to work at, like, what are you doing to not be for the every dayer. Because we got so many every dayers. What are you doing to show that you're an actual person? You know what I mean? You gotta, you gotta stand out. Can't  like… I've been sagging since I was 13. You know how many people told me before my pants up? Everybody. Have I done it yet? No. I don’t give a fuck about that shit. Can't tell me how to wear my shit. You just have to find who– I think that's the problem nowadays is people don't know who they are, and once you find out who you are, and I think your life will become what you want it to be, while you trying to impress people, be somebody you not just to get somewhere like that shit. Ain't doing nothing for nobody like you gotta be you do? You gotta stand on your own beliefs, your own values, and you can't be led astray based off some shit somebody might say.  It could be somebody you’ve fucked with since day one. They might have a different opinion. Don't switch yours. That's what makes you, you. And I think art is the best way to convey that. And I think everybody's an artist in their own way. I think anybody that does any sort of trade or anything like you're an artist all the way. And you just gotta make your argument, whether whatever it be. JAMEKA I heard that.   YKMYNAME You know.  JAMEKA Heard that fasho. ALL THINGS YK: https://linktr.ee/ykmyname00?utm_source=linktree_profile_share<sid=38a6632d-ea7d-4183-80e5-10c1f1500778 + https://www.instagram.com/yk.whatitdo/

thaJoint ( Joey Golden x JohnNY UniteUs ) debuts the visuals for their new single, "We Roll," a powerful track produced by Bon Jordy . Shot in the duo's longtime stomping grounds of Sunnyside, Queens, the video uses a dramatic sepia tone to capture the emotional duality of "playing the game," the weariness of the struggle paired with unwavering faith. This visual serves as an authentic window into their creative minds and steadfast message, giving fans the first look at their upcoming album, GAME 4 . INNERVIEW + VIDEO BELOW. JAMEKA The title, "We Roll,"  and knowing the history of a name like thaJoint , people might expect a certain kind of visual. But in the video, we see these recurring shots of rolling dice. Was that a deliberate choice to shift the meaning from "rolling up" to "rolling the dice," like taking chances in life? JOEY GOLDEN Absolutely, a recurring theme with thaJoint is having real life raps. In life, we have to take chances. We’re going to have a lot of disguised  "weed song title" names of songs that are real life raps. Definitely play into the theme of the words. And the listeners can hear the easter eggs and know these aren't "weed songs" at all.  JOHNNY UNITEUS The feel while making this song was more motivational than anything. The lyrics and title just came naturally.  JAMEKA What do the dice symbolize or represent to y'all? Is there a metaphor at play as an extension of the lyrical content of the song? JOEY GOLDEN The dice represent a gamble. The verse is about where we come from, how we got to this "gambling" life. The risk we take to express ourselves in this artform. The gamble is to put yourself out there. Every time we step out with an art piece, a verse, a video its a gamble. Every time we roll out music it's just like a dice roll and the payout most times is the acknowledgement. To the point I'm willing to be an unfavorable type of character, the annoying guy trope like, "I'm back on the block. I want my hug".  JOHNNY UNITEUS Definitely that life is a game of chance. What decisions are you willing to make to further your being? Your lineage? What happens if you fail? You can’t win (or lose) without playing the game though. So, we roll.  JAMEKA Are there other details woven in that the audience might miss on the first few watches? JOHNNY UNITEUS Joe shot & edited the video so he has the best insight on this. Photos by Noah Bility JOEY GOLDEN I would never want to give those away. My favorite parts of art is the interpretation of the fan or observer, follower etc. The fans' interpretation of lines, videos, songs, titles is just as important or valid as mine. It may not be true canon in the story I'm telling but if it hits you like that, that's for you. JAMEKA The sepia tone is a major part of the video's aesthetic. At what point in the creative process did you all decide on that visual style, and what was the inspiration behind it?   JOEY GOLDEN That color style was to set the emotional tone. like, "melancholy in spite of... but still".  JOHNNY UNITEUS Definitely setting a mood and tone to encapsulate the weariness in “playing the game” with the unwavering force of faith to keep playing. JAMEKA Where was the video shot? What does that area represent to y'all? JOEY GOLDEN The video was shot around the corner from the studio we record in. JOHNNY UNITEUS Queens, Joey’s neighborhood Sunnyside to be specific, lol. That’s where we started recording together in ‘07. JAMEKA What is the importance of the music video in our current streaming-era? JOEY GOLDEN Right now the music video is just as important as it ever was. Nowadays, there's very few artists that have the budget or acclaim of our favorite signed artist from the 90s-00s to have high quality current videos on a consistent basis. all for fans to be as passive as Instagram posts. JOHNNY UNITEUS It’s still a great way to get your message heard if done potently. That definitely takes the right investing and timing but seeing how technology has expanded the possibilities - the creativity is going to get even crazier w/o needing a big budget. The music video will always be important no matter what it may turn into sooner or later. It’s a visual window into an artist's creative mind.  JAMEKA Tell me more about "We Roll," is it a standalone single or part of a larger project? GAME 3 by thaJoint JOEY GOLDEN Part of an upcoming album,   GAME 4 . the sequel to our GAME 3  project. We are very sports oriented. Johnny and I grew up playing sports our whole life. JOHNNY UNITEUS Hence my alias UniteUs (Unitas) . GAME 4  is entirely produced by our homie, Queens producer Bon Jordy .  JAMEKA As artists, how do you feel this video represents your growth and evolution from your previous work? JOEY GOLDEN Lately, we have done our own visuals. Not being traditionally trained in editing and videography is an advantage creatively. We have all the control to put whatever message, wherever we want without worrying about any rules to follow. JOHNNY UNITEUS It shows we’re steadfast in our message. We’ve done a lot of the lifting along our music journey but not without the help of each other and our circle of support.  JAMEKA What do you want the audience to take with them from this video? JOHNNY UNITEUS That everything is possible and all is attainable.  JOEY GOLDEN I want the song to be stuck in their heads.  EVERYTHING JOEY GOLDEN : https://linktr.ee/JoeyGold24k EVERYTHING J OHNNY UNITEUS : https://uniteusall.bandcamp.com/ | https://www.instagram.com/johnny_uniteus/ | https://x.com/JohnNY_UniteUs Garfield Park by thaJoint REVIEW (2021)

Akete @ Swiss Army Records x For Keeps Books [10.13.2024] | Photo by Keo AKETE So this came off of a run starting with Naestetic , produced by   Devine Abstract . And then you could say the first phase of that run ends with Phantasy  produced by   ILL KALIL . In between that we had Overdraft   and Yolanda’s Score , which Overdraft  is a mixtape, you might find if you really want to. And Yolanda’s Score  is produced by freespottie . And these are all just close friends around the city that we've, you know, linked and have common, you know, common interest, and we're able to work together. So  Phantasy   is an extension of that. And, you know, I basically hit up KAHLIL ans said, Yo, let's set something up. I'm pull up on you. Let's go through some beats. Let's try to do an EP. And went through, looking through these beats. We got five picked out, and I went back, and I handled the songwriting side of it. Try to pull a song up out of those, and a lot of the time, not gonna lie, the beat will just straight up give you the song. Like, shoot on track five, “Get Along” literally. When he sent me that beat, it was called “Get Along Better.” It was already called “Get Along Better,” you know, like, okay, and then, you know, it just kind of wrote itself, you know. So it's always a blessing when something like that happens. Sometimes I have to, like, sit and listen to the song and try to find where the topic is. So yeah, that's what I'll say about that. JAMEKA Do you feel like it was like that for all five of the tracks that they just kind of came to you like that? AKETE Or, let's say three of them, the concepts came pretty easily. Actually, no, no, I'm not gonna lie. I gotta say four now. KALIL   be having some good, good names for his beats. JAMEKA Sets you up. AKETE With the perfect name, like, oh yeah, that makes perfect sense. Run from there, because if I go through what the beats were called, not to go in order on the track list. JAMEKA Okay. AKETE So, “Eugene and Eric” . JAMEKA That’s an interesting storytelling track. AKETE Yeah, so, that one the beat was called “Generic 2k, Lo-Fi.” So, I'm sitting there looking at that. And, you know, we come from a more avant-garde perspective most of the time, so us being on a classic boom bap trap is a little rare for us. So, I'm looking at the word generic, and I'm kind of playing with it. And I figured this might be a way that we could get the ILL   KALIL  little feature onto the tape, because I try to get a feature with the producer, you know, for all these tapes on this run, you'll see you'll see that. So I hit KALIL  up. I'm like, “Hey, man, I think I got an idea playing with the word generic. Think about eugenics, for some reason. “Eugene and Eric,”  you generic. So that's how we came up with the concept of two brothers. One, you know, is more along the straight and narrow path, the classic family man path. Other one more of a world traveler, eccentric type, but they come back together, you know, and find that common ground; they still brothers. So “Eugene and Eric”   is a fun one. “2 from 90,” literally, that beat was called "88," just 88 and so if you do 88 that's two from 90. There's also 88 keys and a piano. So yeah, you know, I kind of took that, started playing with some metaphors there. “Work Denim.” I remember all the names for these beats because, they literally, now I think about it... he gave me the name for it. He gave me each one of these songs straight up. “Work Denim,” it was called, "Blue Rawls.” You know, you got your blue overalls, perfect. For “ Phantasmagorical ” the beat was called “Fantasy.” So the “Phantasmagorical” is a bit of an extension of a fantasy. JAMEKA But it fits. It fits with the whole concept of the EP and the sound that it gives, right. AKETE As soon as I got that, I was like, oh, this is the one, yeah. JAMEKA And it's like, it felt like, the whole thing felt like shamanistic in a way. It feels like ethereal in that sense, right. But especially when I got to track four as well, I was just like, oh, there's a different type of density to this project. Like, did you perform these tracks when we, when you had the showcase? AKETE At For Keeps ? JAMEKA Yeah. AKETE Yeah, I did. I did, definitely did “ Phantasmagorical ” and “Get Along” there. JAMEKA It's so wild. Like, it was great seeing you perform, but hearing it, like, getting to sit with it, I was able to, like, ingest it a whole different way, where I was just like, wow, I didn't catch this stuff in a live performance. AKETE Ohh, word. JAMEKA I was like, this is, like, very philosophical. AKETE Oh, that's dope. Yeah, we try to, we try to have fun with it, but we definitely out here tackling concepts. JAMEKA It’s inevitable, mhm, it’s very apparent. I love it.  AKETE So, yeah, “ Phantasmagorical , ” literally, the moment I said the word, I don't even think I tried to say it in any kind of way; it just fit perfectly with the beat. So it just, we just ran from there, and then “Get Along” like I said, it was already called “Get Along Better.” So, you know, it's tough to tackle those emotional concepts for me. Like, I have a harder time diving into that. I try to keep things lighthearted, you know. But, um, I do appreciate the fact that, you know, a song like “Get Along” was able, like, I appreciate KALIL , you know, shout out to ILL KALIL , the God you know I'm saying, for being able to help me access some of those thoughts and emotions.  JAMEKA Yeah, and that kind of made me think about, like, what were your thoughts and emotions that catalyzed this creation? AKETE So actually, it came at an interesting time. It was where I didn't have a way to record at the time. So, I ended up, wait, actually, no, this is slightly before that. I've gone through a lot of periods where I don't have ways to record, and it'll be just like, a lot of downtime. JAMEKA What do you mean by that you don't have a way to record? AKETE Um, like, I don't have a studio space I can set up. There been times I didn't have proper electricity to get things going… JAMEKA I gotchu. AKETE So just in between situations. But then even outside of that, there's the flip side of where we've had access to dedicated studio spaces. So it's just, it's definitely an ebb and flow. And it's been interesting. I appreciate that because it's like it forces me to sit down. So this was, this was right before another one of those moments came up. And I was; I was actually going back to New York for the first time, which is, that's where I was born. I was born in New York. JAMEKA Ohh, okay. AKETE So you probably, you know, the influence is there. You're gonna hear it. That's why. JAMEKA That makes sense. AKETE You know, the Hip Hop is just in me, you know. So I got to go back to New York for the first time in over a decade. And when I got there, I was, you know, going by myself and got myself an Airbnb because, actually, I'm supposed to stay with my aunt, but then that ain't ended up working out. So I guess Airbnb, you know, got the Airbnb, and I'm, you know, just in the city by myself as an adult, seeing it a different way. And I got to link with some of my old friends from when I was a toddler. And I'm up there, and I'm writing; that's where I wrote, “Work Denim,” finished up “2 from 90,” and by the time I got back, I had all the lyrics done, and the songs were done. So sometimes at that point I was like, I'm gonna just write everything and then record everything. So I got back, around the New Year, to record everything, and I think I got everything done by like February or March, and this is in 2022, at that point. JAMEKA Okay. AKETE So finish that up. I actually dropped “Phantasmagorical”  a year before I dropped the rest of the tape. JAMEKA Right. AKETE So I have “Phantasmagorical.” That was like the one single that's out everywhere; that's on all streaming services. And, you know, it was kind of like a real plateau moment — where it's like you made it over the ledge to a new level. Because coming back from New York, having that, that rekindling of, you know, touching base with my brother… like this, I'm talking toddler age, and then having we ain't seen each other in a decade. JAMEKA Wow. Phantasy by Akete [2024] AKETE Get back; it's like nothing ever happened. You know, saying it's just like experiences like that. I performed. I went to an open mic while I was up there. It's the same open mic they've been doing for 20 years. They were doing this when I was a toddler. My parents performed there and all these things. So it's like all these layers kind of set in. And, you know, that Phantasy  to me, it kind of solidified me being able to tackle a topic within a song, you know? And I feel like since then, it's been a little easier to reach that space. So it's definitely a monumental moment I feel, and even more so when you add in that, it lines up with the same time learning about pressing vinyl records, and it ends up being the first vinyl record we make. So definitely, definitely a very potent project in the journey. I definitely feel that way. JAMEKA A mile marker. AKETE Yeah. JAMEKA So then, what can you tell me about how would you describe your sound? AKETE So I actually started making music as a jazz fusion artist who didn't want to be classified as a jazz fusion artist. I wanted to make music that extended beyond jazz fusion, because jazz fusion is often boxed in and sort of lumped in with rock. It's like you got jazz fusion and progressive rock, and they're kind of siblings. It's a great thing. Amazing music. I love it. You know, I've always loved some good jazz fusion, but I didn't like how jazz fusion ended up being sort of pigeonholed into a specific space of instrumental music, you know, because some of the forefathers of jazz fusion, you know, and there's so much overlap between jazz fusion and progressive rock, so some of the forefathers of that, it's early on. It's lyrical music, you know; it's developed out of funk and bee bop. It's in between there. So seeing how the industry takes stuff and kind of morphs it and specializes genres, I said, I don't. I gotta come up with something new. And I decided I was going to be a bluesian artist, which is blues fusion. So that's my whole musical journey it started there. I was like, Nah, I'm gonna make whatever kind of music I want to make. I'll put it all together. It's gonna be called bluesian . I did that, probably right after I got out of high school. In between that and playing in different bands, I played drums in a lot of bands with a lot of different artists around the city. JAMEKA Do you still? AKETE Not as much right now. Yeah, I'm kind of more focused on my solo career and my musical catalog, and developing that. So at the time, though, I think it got to a point I was in four or five bands at once. JAMEKA Wow. AKETE And it, yeah, it gets overwhelming, but it's a lot of fun. A lot of fun. JAMEKA Were you playing more than drums in them?   AKETE In my band, my bluesian band, Clear Blue Audience , I actually led the band on bass. JAMEKA Wow. AKETE My first album I made out of high school, I was playing all the instruments, and that's how I started making music. The second album I made, I produced in Ableton . So this is, you know, it's all kind of dictated by the space of the setup . A lot of time, that plays a large part. You know, what tools I have to create the music. So, after that, I had got Ableton, a copy of Ableton from my friend, like a crack version of Ableton. Ableton is expensive. And I was using that learning that and ended up producing a project that was called   Akete and The Clear Blue Audience . So it's kind of in between there. After that, I have one more Clear Blue Audience  project before my first time having no way to record. It was thrust upon me, you know. So it was like, I ended up breaking my interface in like a crazy accident. Probably could have been a little calmer. That's a story for another day. Yeah. So break the interface, and I'm like, dang. I ain’t have enough disposable income to be like, let me go get another one. Nope, I'm sitting here. I'm like, what am I gonna do? Some months go by, I open up my laptop and start trying to produce just with the laptop keyboard. And, you know, I think I had a MIDI keyboard I found, and that's like, shoot… this is how we are doing it, you know. Straight out, off the laptop, I ended up learning how to make beats. And through that process, when I say learning how to make beats, because, you know, let me preface that by saying I come from a musical background. Like, I've always been around music. My parents were in a band together when I was born. Like, I've been on stage with them up and, you know, with my toddler years this whole time. So I've always been around music. And even when I was younger, like, I remember when we visited, go to New York to visit pops, he'd have GarageBand on the computer. So me and my cousins up there, we mess around on GarageBand making beats. You know, I remember one dope moment when we found the drum loop from “Umbrella” like, you know, Rihanna / Jay-Z joint. We found that in GarageBand , we were like, they’re using GarageBand, that’s crazy. So, yeah, I've always been around it. It's just as I got more into, you know, practicing live drums and doing that, I kind of was definitely more focused on that.  The X Files by Akete [2021] Like, I even remember thinking like I was anti, you know, I got to the point of being anti I went so far the other direction. So being kind of forced to sit down and come back to, like, solo production in that way, that's where we get the project called The X Files , which I dedicated to Malcolm  X . Ended up using, like, some quotes from from his speeches on there, “By Any Means Necessary,”  which actually, now that I think about it, makes even more sense than I thought about like back then, because it was kind of by any means necessary. So, yeah, yeah, we get The X Files  out, and then from there, over this whole time I've been able to record with the homie Dev, Devine Abstract , so he’s like the reason I'm rapping for real. 80/74+ percent, Devine Abstract . Like he’s sending me beasts, you know, making sure we link up. And we also do jazz jams too, like he pulled up to my place. We jammin’ in the basement. Me, him, Riot Oblivion . Shoot the homie, Nick , bunch of friends. That used to be a spot. We used to jam in the basement at the house. So over that time, we’re recording tracks for Naestetic , and it's just like slowly been building up. Oh, this beat. Okay. This is dope. And around the same time, after I dropped The X Files , this is 2020, now we've made it into 2020 and we dropped The X Files . Now it's a lockdown. I had to go figure out work. You know, my whole work had been shut down. I had to go. I end up going to California. And then by the end of me being out in California towards the end of 2020, I hear about a studio in Atlanta that was available to rent at The Goat Farm . Naestetic by Akete x Devine Abstract So, come back to Atlanta, run up there like, hey, is it available? I see the studio, it's got a vocal booth with the double door glass room that the person before built. And, you know, they ain't charging double door with the glass booth numbers. I'm like, oh, how much it costs. What? Oh, run it. So, yeah, we ended up having a studio at The Goat Farm . And when I moved in there they were about to renovate in February. So, this is in January – I'm like, alright, whatever a month. I'm still gonna get some work done, this is a cool studio. You know, get in there and they kept pushing back renovations. So the first couple months I'm just in there by, I know, I didn't want to invite too many people because, you know, it's about to be gone. You know, let me try to get a couple things done. Then they keep telling me they're pushing it back, pushing it back.  We start doing something called Tap in Tuesdays . I'm gonna save that story for another day. It's just, it's so much. We did Tap In Tuesdays and we ended up being at The Goat Farm for about a full year. That goes by, so much music... Overdraft  comes out of that. You know, postmark, and Naestetic is finished up. Yolanda’s Score , actually, no, not Yolanda’s Score , just an Naestetic and Overdraft , and then some unreleased music that I'm still working on getting out. So, after that, another one of those periods where there's not much I don't have a specific way to record, go a few months in that way. JAMEKA You ended up leaving The Goat Farm ? AKETE Yeah, they ended up doing their renovations they were supposed to do! JAMEKA Ohh, okay. Overdraft by Akete x freespottie AKETE Yeah, we ended up getting full year there, so they didn't do it till like, the next February. So that was a blessing, in and of itself. Did so much great stuff, made a lot of great connections, you know, a lot of great memories. And then from there, that's kind of when the seeds of the Nu’Bn   collective, kind of was sown around that time. So, at the same time, I go into one another one of my phases. I didn't have a way to record. Still hella inspired off of it, though. I'm thinking. I'm like, what can we do? What can we do? I get the beats for   Yolanda’s Score . Get the beats for Phantasy . Actually did an Naestetic Part Two . So what you have is called Epis Trophy , which I'm doing a re-release later this fall or 4/20 next year. JAMEKA Epis Trophy , what is that? AKETE Epis is, is a Haitian like sofrito that's made with, like, it's like, all their spices. They mix it up, pepper spices, all that, and they throw it on everything makes it taste delicious. Atrophy. We know what a trophy is, right? So, I like to play with words and do a lot of compound meanings. JAMEKA I see.  AKETE So epistrophe is also repetition. So it's like you can repeat something to the point of epistrophe. “Epistrophy”  is a song that I love by Thelonious Monk , one of my favorites. And it's also, we're doing a second Naesthetic .  So, Dev has this folder of beats that is just sitting there. And like, he keeps adding beats and keeps adding beats, like 100 beats in here. He's like, yeah, I just put the thing there. And like, people want it. I'm like, alright, but I let it sit for a while. And then I was like, no, Imma have to take some of these, right? So I let him know, like, hey, Imma take this one, this one, this one, this one. And then he's like, Well, just not that one. I'm like, okay, bet – Epis Trophy . That whole time right after The Goat Farm , which we call Ancient Future Studios . That whole time after that was where Yolanda’s Score ,   Epis Trophy , and Phantasy  were created. And I ended up recording those, like, right behind my bed. I like, threw up some of the foam panels I have in the studio and, like, put the mic in there, and I was like, alright, this’ll work. Boom, we recorded all that there. And I think that kind of fills in the story. But it's like, it's definitely been a lot of steps in the process, you know. JAMEKA So like, those moments where you're without recording. How do you get through those moments? How like, what does that look like? AKETE Fortunately, I don't. I've never felt like I need to record. Like, I can musically go sit down and play drums for a couple hours, and I'll be like, musically fulfilled, you know? So during those times, I kind of get by just playing drums, you know, picking up the bass, and just kind of playing and, yeah, so I don't feel like it ever, it never gets that bad. But it's like the recording part, like the documentation, isn't there a lot of times. So the ideas are coming, and I might just have to set them aside, and they just kind of built up, you know. JAMEKA Mmhm, marinate a little bit. AKETE Yeah, and I have no problem marinating, like, if I got an idea, like, oh, that's it, that's the song. If it's good, I remember it, then that's really the song. But if I, if I go away, I forget it, that might not have been it, you know, saying, like, I definitely try to take my time. Sometimes I'm starting to work on doing stuff immediately. You know, like yesterday, I had an idea to do a freestyle. JAMEKA I saw you put that up on BandCamp. AKETE Yeaaah. JAMEKA That’s the same one? AKETE Yeah, and I was like, I'ma just do it and drop it today. Like, I woke up, and I was like I think we was listening to Graduation . Um, so shout out, Kanye . Um, listening to that, I hear “Champion.”   I'm like, oh yeah, man, I love this album. Steely Dan , great, you know. So I go outside, I think of the other song, which I end up flipping and doing a freestyle all over and, um, you know, took some inspiration from ariesfoolmoon , who definitely is a proponent of this, and has inspired me with her thoughts on it, of just, you know, expressing and just sharing the art. So, you know, I took a little extra push from that. And I was like, nah, dude, put, put the track out. JAMEKA Yeah. AKETE So, yeah, just, you know, finding that balance. I think, I think there's so many great ways that amazing things get made, and there's no reason to force any one way, any one type of way, you know. JAMEKA Yeah, it kind of reminds me I'm forgetting what song is from, but the lyrics were just all like, you know, basically you're saying, just put it out. It doesn't have to be profound. AKETE Yeah, oh yeah, that’s in “Get Along.” JAMEKA Yeah, it seems like you don't apply that type of unnecessary pressure to your artistry. AKETE Yeah. I try not to. I try not to, like, I do my best when I record it, I try to satisfy myself and feel like I've done my best, and then I step away from it and know that that was that time and place. Like it's rare that I'll attempt to re-record something or something like that. And I like even that was something I tried to do with my first album with playing all live instruments. I recorded the first one on my iPad in GarageBand with this little mic that plugged into the headphone jack, and I tried to re-record those songs two more times, and they never came out sounding quite as good like it didn't have the same emotion. It didn't have the same… there was something about the quality of it being recorded on that iPad. JAMEKA Texture. AKETE It was meant to be recorded that way, you know.   So I feel like the art happens as it's meant to and you have to allow yourself to let the art create itself. There's a balance between you deciding to create art and just creating art. You know, it takes a little bit of both. A nd it's, it's something that I definitely I try not to think about it. If the thought comes, then take it from there. JAMEKA Yeah, definitely can create your own obstacles. I feel like with too much pressure, its unnecessary. Of Phantasy , what would you say was the most challenging track to make? AKETE Yeah, I gotta say, in second place “Work Denim.” It was cold. I literally, I was really standing on the stoop, you know, in my blue rawls, right in this shit, like I was really sitting on the stoop sipping a brew. It's cold outside. I'm trying, you know, smoke my little whoop dee, you know and write some lyrics. It was cold. That was kind of hard. JAMEKA You were out East at the time? AKETE I'm writing this. I’m in New York, it's icy! So, “Get Along” definitely. Like, that's without question, though. Like, I probably shed a couple tears trying to do get along. JAMEKA So, emotionally… and the other one was more physically? AKETE Yeah, yeah, right. JAMEKA What was it about “Get Along” ? AKETE Um, just trying to do my best to speak to common experiences, like, I talk about, you know, having arguments with your significant other, you know, saying, like, it's something I'm sure everybody gonna go through in life at one point. Trying to understand the struggles that we go through. You don't go through them alone, you know, that's something I noticed, like performing that song it really resonates, you know, like even more than a lot of my other songs, you know? Because, you know, I don't tend to usually tackle heavier topics like that. So I feel like it definitely found a sincere way to tackle some heavy topics. JAMEKA Yeah, that one's one of my favorite tracks, I think because of the vulnerability aspects. I mean, it's all vulnerable in its own way, yeah. But the emotional aspect, I was like, ohhh. AKETE I’m not like stone drying! JAMEKA I don't think you are, but you definitely come off reserved when it comes to emotional things. AKETE Yeah, definitely, you know, definitely. JAMEKA So I was like, oh, wow, a little light shining through. AKETE Shout out ILL KALIL . JAMEKA I don't know if I asked this in this way, but did you have a particular intention with creating this? Were you like five songs? AKETE Yeah, definitely. We did start off and say it was gonna be an EP, because I want to do more of these EPs, especially now, knowing the, you know, learning more about a seven inch record, you know, and knowing that that's even something that's possible to do so that just, it's a fun concept to try to keep the project shorter and concise. And it's a nice balance between, like, going the full TikTok music route, where it's like, I'm just gonna make a one minute song. It's like, it's not a one minute song, but, it's a 10 minute listen. You know, it's something you can kind of just mix in wherever you can see it. Check it out real quick. You don't have to, like, set up full time aside to do it. It's something you take a little break and, oh, cool. Let me check this out. You know, you can do it on your break from work. You get a 15 minute break at work. JAMEKA Definitely, like, depending on the listener, it's not a quick listen still, although it is only 10 minutes. There's a lot of depths and layers to it, you know. 2nd verse from "Get Along" AKETE Oh, always, yes. And hopefully it is something that, like, people would want to, like, run back and because I shoot, I can't wait for the day that they looking at it, you know, I'm not even gonna just say, just my lyrics, because it's so many, so many of my peers that I respect that are, you know, y'all know them yet. But you know, when folks are digging through our lyrics, like, oh, that's what that means. Because they'll say some stuff, and I'm like, oh, that's what that means. It's like, there's a lot of folks have a full deck for show, but they only showing you, like, four or five cards at a time, you know. So always understanding that, and like, you know, hopefully people want to keep flipping through the deck. JAMEKA No, I was real grateful you put the lyrics up on the project, because, yeah, I'm a reader and like to read through it too. AKETE Ohhh yeah, for real. I have a couple friends who said this to me, and they make music too. So that surprised me to hear their perspective on lyrics like that. It takes them a few listens for lyrics to stand out as words. Like a lot of folks here, lyrics are a melody, you know, and it'll come out and like it just is a part of the song. If it sounds good, it sounds good, but they might not be catching every single word that's going on. I even noticed there's a lot of music I'm getting. Lately I've been pretty good about it, but there's some songs that come on I'm like, oh, it's rocking but I don’t know what they’re saying. JAMEKA Yeah, yeah, that happens a lot. I'm definitely the type that lyrics mean the most to me. I think it's very... especially when it comes to like, I know that your multi hyphenate genre, if there's even a genre for what you do, right, but in terms of what you do in the hip hop realm, like, to me, I just feel like, like you said, there's so many songs where we don't know what's being said, but lyrics are always the most important thing to me. Like, whatever I am propping up and being like, yo, this is great. This is recommended. Like, it has to actually have good lyrical content, yeah, I'm not gonna put out some stuff that's self-destructive towards us. AKETE Oh, no, definitely, not. JAMEKA I mean, of course, there's some things that really make us dance, and that's just as important. But I think for this era that we're in, the lyrical content is paramount. AKETE And that's like, that's what I'm searching for, is that balance between, like, having the lyrical content and still being able to dance to it. Yeah, so, like, because I even I started experimenting with, like, house music and electronic that kind of started with The X Files , where I kind of, you know, started learning I do like house beats. House beats are cool, you know. So I started experimenting with that a little more and trying to find that balance like I used to look at a house beat and it would seem so hard to add lyrics to it, like, I don't see how, like, where's this gonna fit? And now, as I've done some attempts, and, you know, practice with it and sort of marinate on the idea, like, I'm starting to get there, we gonna be, you know, we're gonna be able to make them dance to, you know? We make them dance. We make them think, you know, yeah, trying to try to take them on a journey. JAMEKA Yeah, gettin’ back to the 70s/80s feel. AKETE Right, real disco. JAMEKA We having a good time but we put this good knowledge in there too. AKETE Right. JAMEKA How did you get connected with Swiss Army Records and that collective? AKETE Yeah, so Swiss Army had already been rocking for a while, you know, and I didn't even like officially tap in until probably over the last year. JAMEKA Ohhh really, so it’s really that recent? AKETE Yeah, like me and me and Promise , had met a few times here and there, um, been in at similar shows and similar spaces, and just never fully got this like, sit and chop it up for real. So I always remember the homie Dev , because he was early on with Swiss Army , like he had been locked in with them early. And he would always tell me, yeah, homies, Swiss Army, yeah, Chebba , Promise , you know, Promise doing this. And I'd be like, oh yeah, bro, that's cool. What you doing with this beat? Just kind of in my own land, you know. So as the time went on, more and more, and I didn't meet Chebba  until, like, literally, I got to give props to spottie   for this man. Shout out, freespottie , this man is a real, genuine soul, like for real, just very embracing, and he managed to, kind of bring folks together in a way that hadn't been before. So, like, that was my first time getting to meet Chebba   was pulling up to a session at spottie’s  place and got Chebba in there. I'm not mistaken. That might have been how I met KALIL , too. And then ended up later on being like, oh, Yo, you got some extra beats. And then now we got Phantasy .  HALL SESSIONS VOL III by T'ALIIA B . So when I, when I finally met Chebba , put a face to the to the name of the music, because they got him and Promise  they got a series called T’ALIIA B . . JAMEKA Yeah… AKETE Which is gas. Like, I love that one. I love  T’ALIIA B , that shit is great. Like that was the one that was the track that Dev  showed me when he's like, yeah, this song. He's all like, actually, go listen to it. So, um, me and Chebba , he's seeing the type of person and then putting that with the music, and then now diving more into the catalog since I done actually met folks in person now and just gaining a new respect for these folks. Like Promise  me and him, working with him and seeing, like, how much his hands are in so many different places of creativity. JAMEKA It’s wild. AKETE You know, like, I wouldn't have known he was like that much on the camera, but then also that much on the visual art in general. JAMEKA Yeah, and he’s real humble about it and he doesn’t have to be. AKETE It's the point. He's so far doing like, so many things that it's like, it'd be like, hey, bro, you got a beat and be like, real quick, like, a, two minutes of a beat, and be like, yeah, alright. But I was also like, just, like, so much dope stuff going on. And, um, so, yeah, working, working with everybody in Swiss Army , and seeing, like, the overlap, like, even, even ONELOVE , like, with Love Village  over there. We NEED God by ONELOVE [2024] JAMEKA Yeah, yeah! AKETE I love what they do. That's so dope to see folks having a residency, keeping it consistent, being out there so the community, so we got somewhere to go. Like, shout out to them. Shout out to AUXIGEN , you know, Controllerise , all our hip hop institutions, Soul Food Cypher  like, shout out to everybody in Atlanta, holding it down for real. Shoot. JAMEKA It's a lot of good stuff out here. AKETE It’s a lot of good stuff, right? And it's like, you wouldn't even think, because, you know, our mainstream is so different from what a lot of what's actually going on in the city. JAMEKA That’s why I love it here… the independent underground scene is, a lot of it is untapped, yeah, but it's so diverse. AKETE Mm, right. No deadass. JAMEKA It's a majority more so to me, like, when I'm in the city and going to like events, looking for things to do, it's like, it's really the underground. AKETE Right? It's all local stuff. Because, yeah, besides, like, Atlanta doesn't have a lot of venues, you know, we have, like, State Farm, Mercedes Benz, like arenas. And then we have, below that. We have, like, the Buckhead Theater, Coca Cola, Roxy, and then like, Tabernacle. And then everything else is, is like, local are folks renting out a venue, throwing an event. They find in a spot, we find a spot like, there's not the same kind of, like, bar music scene that a lot of these other cities have, because Atlanta is kind of, like, in between being one of the most major cities in the world to where, like, Live Nation has, like, lots of stock here, you know, like, it's a if you're doing it, you know, the major artists doing a big tour, it’ll probably hit in Atlanta.  You know, it's like, so our musical scene kind of, like, it thrives off of that, because we have, we get a lot of mainstream looks. You know, a lot of industry money is funneled through Atlanta. But that led it to a majority focus on that, you know? I'm saying which is unavoidable. You know? That's the nature of the beast. What's great about Atlanta is it still manages to pump out so much unique, you know, diverse music, and it's just an honor to be a part of it. I'm not sure if I answered the question there. JAMEKA Yeah, definitely. Are you part of besides, like, being connected to, like, Swiss Army , Nu’Bn   and things like that, which is, they're connected anyway, right? Is there any other collectives you’re part about here or out East? AKETE I used to be more actively involved in the woods. I work with literally my father's label, Rally Up Music  it's a Reggae label. JAMEKA Oh wow, what? AKETE Ohh yeah! JAMEKA You have Reggae roots? Where are you folks from? AKETE Ohh yeah! Like, Binghi. So I got Caribbean family in St. Croix, so that's actually just got to see them recently. So I was able to get a week down there away from the cold, it was amazing. JAMEKA Ohh, that’s where you were these last few weeks. AKETE Yeah. So, yeah, that was good. Got to see family I see in probably every couple years, yeah. I'm named after the Rastafarian ritual drum. The Akete Drum is the center, the lead drum, the talking drum that plays the melody over, you know, so, yes. JAMEKA So symbolic. AKETE Big up Rasta reggae ting! JAMEKA Wow, that is so cool – so your dad has a label. AKETE Yeah, yeah, actually, we just did another song that came out nice. Its got a real Afrobeat/soca vibe. Like, I do production with him. So, like, he'll send me tracks if he want some, like, synth lines, or like, hey, as I'm here, you know, maybe a bass line, or, like, really, like, send beats. So, I try to make some beats and, like, send beats. I'll send a beat to my pops, and then he'll arrange it in a different way. JAMEKA Whoaaa. AKETE And then get the artists on there. So, yeah, there's always something musically going on. Like, I'm always doing something. JAMEKA That's really beautiful. AKETE Yeah, it's been dope. Like, even they've been going for like, probably about six, seven years now. JAMEKA That’s amazing. AKETE Yeah and and they have probably about 15 artists, 15 plus artists, because artists that came and only done a couple songs, but it's like, 10 artists that are just, like, consistently with the team. He produces for him. He mixed them, he helped them record, he might engineer them, you know. JAMEKA That’s really cool, you really come from it. AKETE Oh yeah, oh yeah. My mom was performing while I was in her belly, like she was up there singing. JAMEKA That is really cool. I have no other words for you. This is all adds so much context to the project, and also, just like you as an artist. AKETE Word, because I be wondering, like, that's something I do, like, wonder if like, because it's so much to try to condense, and it's something I have, like, actively tried to condense, you know, so that it could be reasonable and approachable, you know. Because I'm knowing I want to make all kinds of different music, and, you know, shouts out to people who have kind of helped pave the way for stuff like that. Because, you know, that's something I know is like, it's very difficult to do. You know, getting into it like people, it's easier to latch on to a brand, it's easier to sell something that is specific, you know. So that way they know what it is. They can know if they want. But with the way I'm making music, I'm kind of trying to convey – it is my philosophy. You know, it's kind of like I just try to make sure my philosophy is understood and woven into the music, so that way whatever kind of music it ends up being it's gonna have that same uniqueness. It's gonna have my specific touch on there, which is a lot of times about the funk . Try and make y'all move, like, for real, moving every part we try and try and get it flowing, you know. ALL THINGS AKETE HERE .

THE LORD IS STILL WORKING Lord Olo and TELEVANGEL return with a follow-up to their remarkable 2024 LP, Demon Slayer . Demon Slayer 2 is a fitting title for this new project, as it takes listeners into familiar territory but also manages to expand on it in significant ways. Once again, Seattle's Lord Olo and Portland's TELEVANGEL team up to execute some demons and deliver one of the year's better projects. Demon Slayer 2 is self-explanatory; Lord Olo spends an abundance of time candidly acknowledging personal shortcomings and violations against him while also demonstrating hope, resolve, determination, and survival. This could easily have been an unnervingly dark experience. But Lord Olo isn't one to wallow in the darkness and allow the demons to define him. He acknowledges the hard times while drawing strength and inspiration from his faith and the love and endurance of the people in his life. On "Demon Puncher," he raps: "Thinkin' you could possess me, I got the spirit of God n**** test me/ Four years old step cousin molest me, got that off my chest, now my demons at rest/ We, doing better, I'm doing the best at this" It's a vulnerability that's not so common these days, especially among men, in a social climate where everybody is perfect and full of judgment. The line is delivered with the same cavalier attitude that permeates throughout the album's 15 songs. Thanks to Lord Olo's outlook, Demon Slayer 2 plays like a groovy, uplifting, and motivational soundtrack rather than something brooding and soaked in despair. His rhyming is as sharp and as purpose-driven as ever, while it deftly bounces between clever multi-syllable rhyme schemes, invigorating melodies, and hypnotizing choruses. Demon Slayer 2 features equally inspired appearances from some of the best in the Pacific Northwest, including Nacho Picasso and Dizzi Slick , Jaxsaun , Donormaal , and Milc . TELEVANGEL has been on a winning streak; Demon Slayer 2 not only keeps the streak going but further cements him as one of the best producers out there. It's definitely a continuation of the sound he's been working with for the last several years. Normally this could be a negative, but somehow TELEVANGEL continues to find unexplored nooks and crannies to facilitate new avenues of expression in his compositions. These instrumentals are just as dexterous and unpredictable as Lord Olo's rhymes. The result is a soulful and warm, uplifting sound that's strong enough to hold these bars and give the listener some confidence and comfort at the same time. Overall Demon Slayer 2 is a welcome release from 2025, It's some of the best work out right now. It's themes and quality of execution ensures that it will be one that can stay in rotation for months to come. "Protected" By Lord Olo from Demon Slayer 2 Release Date: May 30, 2025 Features: Milc ,   Dizzi Slick , Jaxsaun , Donormaal , Nacho Picasso Top Songs: BEAT EM!, The Side, Get It Shawty, Aggressive, Heat Check, Hysteria Words by Monk

2024 marked an interesting year for Hip Hop in the film and TV mediums. Unlike previous years, the offerings were few and far between. Various factors were at play that heavily impacted film and TV production in general. Corporate layoffs and restructuring at networks and streaming services saw many projects get shelved or cancelled. The 148-day writer’s union strike of 2023 put Hollywood on its heels, and the film and TV industry hasn’t fully recovered. There’s also the issue of getting viewers to return to theaters at the same rates they did before the 2020 COVID pandemic. With all this uncertainty and general chaos, some Hip Hop projects still managed to see the light of day in 2024, below are some highlights. OL' DIRTY BASTARD: A TALE OF TWO DIRTYS Never-before-seen footage and interviews with family, friends, and colleagues provide insight into the life and career of hip-hop icon Ol' Dirty Bastard . This poignant documentary chronicles the life and career of Wu-Tang Clan’s most bold, soulful, outrageous, and enigmatic member, Ol’ Dirty Bastard . It’s a documentary that’s assembled with great detail and care by the father-and-son directing team of Sam Pollard  and Jason Pollard . We are presented with never-before intimate footage of Ol’ Dirty , along with commentary and footage from friends, family, and his peers. It’s a poignant visual presentation of one of Hip Hop’s greatest, who unfortunately left us too soon. Director: Jason L. Pollard, Sam Pollard Available On : Hulu, Digital Sale and Rental Ol' Dirty Bastard: A Tale Of Two Dirtys Trailer KINGS FROM QUEENS: THE RUN DMC STORY The never-been-told story of one of the most influential rap group in the history of music, RUN DMC . Joseph "Run" Simmons, Darryl "DMC" McDaniels and Jason "Jam Master Jay" Mizell met on the streets of Hollis, Queens, before these hip-hop legends went on to legitimize a genre of music that critics labeled a fad. Kings From Queens: The Run DMC Story  is a 3-episode documentary series that profiles one of the most important rap groups, Queen’s own Run DMC . It’s a documentary with a lively and engaging presentation that takes us from Run DMC’s humble working-class beginnings in Hollis, Queens, all the way to selling out arena tours worldwide. We get candid commentary from the group members, as well as a who’s who of Hip Hop legends who confirm the significance and influence of the group’s career, which spread Hip Hop culture, and provide solid evidence that the music had an audience and was commercially viable. Director : Kirk Fraser Available On : Peacock Kings From Queens: The Run DMC Story Trailer HOW MUSIC GOT FREE Based on the true story of Dell Glover , a CD factory worker who led the music piracy revolution by collaborating with teen hackers; the rise and fall of piracy groups; legal battles, FBI investigations, and the impact on artists and executives. How Music Got Free takes us on a wild ride through the early 2000s. This was an interesting era for music; CD sales were at their peak, and the industry as a whole was printing money. There’s also another revolution that was happening as high speed internet and writable CD drives were included in every home pc being sold. File- sharing apps like LimeWire and Napster made it easy for users to share music without having to pay for it. And finally, the last piece to this puzzle is a small town Universal Music Group CD manufacturing factory in Shelby, North Carolina. Dell Glover and other workers there were responsible for supplying the secretive internet groups with advanced, freshly pressed copies of highly anticipated albums by swiping them straight from the assembly line. Everyone chimes in for this two-part series, including Dell , the artist, and the music executives who flailed around for years and lost a tremendous amount of sales to technology and trends that weren’t taken seriously. It’s an eye-opening series that explains how the music business went from a billion dollar physical media based industry to a digital one. Director: Alex Stapleton Available On : Paramount+ How Music Got Free Trailer HIP HOP AND THE WHITE HOUSE Hip Hop And The White House showcases the pivotal contributions of artists who created some of the most powerful political songs of all time, and explores the experiences of rappers who interacted with presidents and performed inside the world's most famous residence. Hip Hop And The White Hous e explores Hip Hop’s political past and how it has influenced the highest office in the US government since its beginning. The engaging film takes us to the beginning, when Melle Mel and Duke Bootee were inspired by an NYC transit strike to create one of Hip Hop’s first conscious protest records, “The Message." Songs by NWA , Public Enemy, and others would continue to address social issues over the years, and Hip Hop’s growing popularity, combined with its influence, would make it both an ally or target of various presidential campaigns. Jeezy provides narration for us, while various political and Hip Hop figures are tapped to provide their insights about the milestone moments between Hip Hop and the White House, including Maxine Waters , Curren$y , Renee Montgomery , Common , and Davey D . Director : Jesse Washington Available On : Hulu Hip Hop And The White House Trailer RHYTHM + FLOW SEASON 2 DJ Khaled , Latto , and Ludacris are on a mission to discover hip-hop’s next superstar. Set in the heart of Atlanta, GA, the series features hungry contestants from across the nation, each ready to prove they have what it takes to claim the $250,000 grand prize and the coveted title of hip-hop’s rising star. Rhythm + Flow returns with a new team of judges and a new batch of contestants. DJ Khaled , Latto , and Ludacris are assigned the task of determining who will win the cash prize and the potential boost to their careers for winning the high-profile contest. While the show is full of game show and reality TV aesthetics and the pluses or minuses that come with that, at its core it’s about the rape battles. Our judges are joined by a revolving door of their peers, such as Eminem and Busta Rhymes , who offer critique and support to the contestants. Guest judges, like Glorilla , show up to lend a hand when one of the mains is out for other obligations. Latto is the standout judge here, considering she got her big break by winning The Rap Game , a similar contest in 2016. It gives her a perspective that the other judges don’t possess. The competition is intense as each rapper faces elimination based on their performances in each fiercely contested round. The contest’s previous winner, D Smoke , went on to sign a deal with Death Row Records in 2023. Can the winner of this season go on to have similar opportunities? Directed By : Sam Wrench Available On : Netflix Rhythm + Flow Season 2 Trailer PIECE BY PIECE LEGO bricks tell the life story of singer/songwriter and record producer Pharrell Williams , from his childhood in Virginia to his success in the music and fashion industry. Piece By Piece is one of the more interesting films of 2024. It combines Hip Hop, documentary filmmaking, and one of the more imaginative animation styles to portray the story of producer Pharrell Williams . Using LEGO blocks to recreate real-life interviews of Pharrell's friends and peers and animate their anecdotes is genius and leads to some truly beautiful moments in this film. This film is full of star power, but the animators are the stars here for infusing the project with so much attention to detail and creativity; their efforts made Piece By Piece a standout effort for 2024. Full review, here . Director: Morgan Neville Available On : Peacock, Digital sale and rental Piece By Piece Trailer KNEECAP When fate brings a Belfast teacher into the orbit of self-confessed "lowlife scum" Naoise and Liam Óg , the needle drops on a hip-hop act like no other. Rapping in their native Irish language, they soon lead a movement to save their mother tongue. The fact that Kneecap exists at all is a testament to Hip Hop’s political activism roots and its universal appeal. In this film, an Irish educator who moonlights as a translator for non-English-speaking Irish citizens crosses paths with two local hoods who are also Irish-speaking rappers. It’s a match made in heaven as he recruits them for his cause. Offering his home studio and his services as the duo’s DJ/Producer, he encourages the duo to make hip hop songs in Irish to draw Millennials and Generation z to the language. The native tongue is slowly being used less and is being pushed out of public places and government institutions in favor of English. The result is a fun film with a ton of heart that reaffirms the power of Hip Hop music as a voice for the marginalized, as a tool for raising awareness, and for inspiring grassroots political action. Director: Rich Peppiatt Available On : Netflix, Digital sale and rental Kneecap Trailer IN CONCLUSION 2024 was a small year for Hip Hop compared to the frequency of projects we saw in 2022 and 2023. We did have some exciting announcements for upcoming projects, such as a Queen Latifah biography film. The untitled film will be co-produced by Latifah and will be the first in line of a series of Hip Hop themed projects from her and her co-producers, which include Will Smith . We also have a scripted series about the FUBU clothing brand on the way, which is great since Hip Hop is definitely about more than just the music. Be on the lookout for updates as the Hip Hop film and TV projects of 2025 begin to roll out. Words by Monk

THE KING'S SPEECH King Magnetic’s music is known for its imaginative rhyme schemes, personal reflections, and gallows humor, all bolstered by an energetic, aggressive, and seemingly effortless delivery. It’s been a while since the Allentown, Pennsylvania MC released a project, and that can mostly be attributed to life happening. Some of these setbacks are mentioned in his new album Third Time’s A Charm , including losing his hard drive to police custody after a studio he frequented was raided for a homicide investigation. This left countless hours of work stuck in limbo for an extended period of time. King Magnetic stayed active with production and features until the works could be returned to his possession. He quickly began assembling and polishing the long-awaited project Third Time’s A Charm for release. Foregoing typical intro theatrics, the title track, “Third Time’s A Charm,” immediately and welcomes listeners to King Magnetic’s Hip Hop empire. Over Tone Spliff’s hard-hitting drums and a light piano riff, the king wastes no time reminding fans of what they came for. “Rah Rah” displays his prowess to great effect as he teams with Hip Hop legend Kool G Rap for a dexterous display of wordplay: “Every pawn you push, it’s bishops waiting, rooks plotting/ Kush coppin’, turn consignment shopping to a jux auction” Kool G Rap matches his energy and delivers a blistering verse over the beat by Custom Made . It’s great to see pioneers remain active and show and prove that there is no age limit for rappers. Another standout effort is “Warrants,” featuring John Jigg$ and produced by AR . It's one of the most infectious songs on the LP based on the strength of the writing and John Jigg$’ ultra-catchy chorus rendition. “Good Day” is an inspirational and motivational banger that features Dink, Tug Magraw , and Twin Gambit . "Trust Issues" is King Magnetic’s most personal song here. He gets vulnerable in a way few rappers do these days; Tug Magraw shows up for the hook and helps him air out some intensely personal feelings and situations. "Warrants" By King Magnetic Ft. John Jigg$ The variety of sounds and ideas makes for a focused body of work. The 12 songs go by fast and immediately call for an encore. If you’re looking for great production combined with clever and inspired lyricism, then pay King Magnetic’s audio empire a visit and check out Third Time’s A Charm . Released: October 25, 2024 Production : Tone Spliff , Haze Attacks , Khrysis , Per C Wells , Custom Made , DOCWILLROB , NYSOM , AR , Jake Palumbo , Explizit One , Teddy Roxpin , 9th Wonder , Kash Don’t Make Beats Features : Dink, Big Remo , Kool G Rap , Tom Sav, Ill Conscious , John Jigg$ , Tug Mcraw , Twin Gambit Top Songs : Warrants, Gun Charge (Rmx), Where You From?, Good Day, Rah Rah WORDS BY MONK

DOING THE LORD'S WORK. Demon Slayer is the latest collaboration from Portland based producer TELEVANGEL who’s been extremely prolific in 2024. This marks the fourth project of the year to feature his production exclusively. For Demon Slayer,   TELEVANGEL teams up with Akron born, Seattle based Lord OLO for a match made in heaven, so to speak. The Pacific Northwest has been conjuring Hip Hop heat for years now, and it’s surprising the region isn’t under observation by climatologists for its contribution to global warming. Immediately, what can’t Lord OLO do? There are so many styles on display through Demon Slayer’s  12 song runtime. On “Find Me” Lord OLO playfully does a Young Thug  impression and then goes into “Devil In The Backseat” which begins with a melodious chorus before warning us about the evil that’s always lurking and looking for a way in:  “The peace I come with is solid, This that splurge, but it’s moderate, Can’t want more than you gotta get, This why n***** be spiraling” The rhymes are at once introspective, motivational, full of bravado, and spiritual. The spirituality stands out as it’s always lurking in the bars, and it never sounds preachy or forced. It’s simply part of Lord OLO’s make-up as a human being and works in his music as an extra color with which to paint. TELEVANGEL is the other half of Demon Slayer that makes it such a compelling listen. He masterfully manipulates sounds, creating full of life compositions for Lord OLO to thrive in. As with most of his works, there’s a diverse variety in his production from start to finish. “Enough Is The Most” and “Anyday,” sport a classic boom bap flavor, while “Know Ya Role” and “Find Me” are channeling trap records. These inspirations are then infused with TELEVANGEL’s own special blend of a cosmic, spiritual, soulful herbs and spices. One minute you’re sonically in the streets, the next it’s like you’re floating on a galactic highway. These two sound great together, and Demon Slayer is pushing the boundaries of Hip Hop expression because of their combined efforts. Hopefully we can get more of this fusion on another project in the future. Release Date: October 18, 2024 Features: Squadda B Favorite Songs: "Find Me," "Let It Be," "Know Ya Role," "Anyday," "Khrist Like" Words by Monk

A musical biopic that’s built differently. Piece By Piece  is the latest offering in an annual stream of biographical films based on musicians. In this case the subject is the dynamic singer and writer Pharrell Williams who is also part of the production duo The Neptunes , and the band N.E.R.D. The Film starts off with Pharrell being interviewed by director Morgan Neville . Morgan Neville has carved out a name for himself in filmmaking by creating a long catalog of documentaries on a wide range of creatives such as  Mr. Rogers ,   Anthony Bourdain , and   Steve Martin . After the introduction it’s off into familiar biopic fare such as Pharrell’s childhood, and influences, and the circumstances that pushed him towards a music career.  There’s also this other thing. From the very beginning of the film it’s immediately apparent we are in unfamiliar territory because foremost this film is animated, second it’s animated with Lego building blocks. Over the past ten years there has been great success with the Lego brand being used in filmmaking with animated projects like, The Lego Movie and The Lego Batman Movie . In the realm of gaming Lego has collaborated with Marvel , DC Comics , and even the Star Wars brand to create games made with the Lego building block aesthetic. This is the first time Lego has been used to portray a feature length story based on real life.  The results for Piece By Piece are immediately striking. Every scene is rendered with so much color and detail, from the Atlantis Housing project buildings in Virginia Beach that Pharrell grew up in, to the model’s outfits in the “Frontin’” music video. The animation format offers a flexibility to the storytelling that would have been difficult to achieve with live action. One thing that stood out was Pharrell’s songs being portrayed as colorful, jewel encrusted statuettes. It’s a quirky element that wouldn’t make sense in a live action rendering, but here it’s humorous as   Noreaga  takes off to board a plane with a box that contains this seemingly magical, physical embodiment of the “Superthug”  song. For those that know how significant this was in real life, it's a treat to see Noreaga finally open the container. Pharrell has included a ton of his musician collaborators in the making of this film. Even with the characters sporting the standard blocky Lego figure frame, the animators went to great lengths to make sure the characters are recognizable by including distinct facial, hair, and clothing details. It’s a treat seeing how each of these people are rendered in comparison to their real life counterparts.   Chad Hugo ,   Snoop Dogg ,   Noreaga ,   Missy Elliot ,   Gwen Stefani  and others lend their voices and anecdotes to the film. Pharrell has mentioned not telling people like   Jay-Z  what the interviews were going to be used for because he wanted genuine responses for Morgan Neville and the animators to work with.  Speaking of the animators, they deserve the utmost praise for helping to bring this film to fruition. Because of the choice to go with animation and Lego, there was so much freedom in the way the story is presented. At times, it’s as if a painting has come to life. In one scene   Pusha T  makes a perilous run as he tries to make a studio session under a tight deadline before Pharrell gives away the “Grinding” beat to another artist. We know it didn’t happen like this but because of the choice to go with Lego animation it allows for a whimsical and comedic interpretation. The film is full of such moments including one of the funniest and memorable scenes featuring Snoop Dogg in a room full of Crips . The film doesn’t just cover Pharrell’s music life, there also quieter more personal moments which deal with failure, loss, and love, and his exploration of creative endeavors outside of music. Overall Piece By Piece joins a strong list of 2024 animated features including   The Wild Robot ,  Inside Out 2 , and   Transformers One . It’s one of the year’s best cinematic offerings and does a great job of celebrating Pharrell Williams’ contribution to the Hip Hop, R&B, Rock, and Pop music that has enriched our lives for over 30 years. Director: Morgan Neville Released: October 11th, 2024 Distributor: Focus Features , Tremolo Productions , The LEGO Group WORDS BY: MONK

Last month, a wave of powerful music emerged, united by a common theme: personal growth and transformation. From introspective reflections to bold declarations, these six albums offer a diverse yet interconnected exploration of self-improvement. Below you’ll find 6 projects that inspired me enough to express some words about them. *an additional 33 recommended projects @ end of page. MARIO DANTE by NOM DE GUERRE x Vuyo MARIO DANTE  is a fusion EP created by Vuyo  and Ultraposh , collectively known as NOM DE GUERRE . Vuyo first caught my attention on  Ol' Burger Beats'  album, 74: Out of Time . Their track, "Stories" featuring J'Von , quickly became a personal favorite and led me to follow Vuyo's career and eagerly anticipate his solo work. MARIO DANTE , Vuyo's latest EP, showcases a unique fusion of Hip Hop and House music, offering a fresh and invigorating listening experience. While the album may deviate from expectations, it remains undeniably enjoyable. The energetic collaboration between the two genres creates a captivating atmosphere, reminiscent of a seasoned uncle or aunt sharing their wisdom with a talented nephew or niece. The album's roots can be traced back to the rich tapestry of musical influences that shaped hip-hop, including jazz, blues, funk, soul, and dub. This lineage highlights the genre's diverse heritage and its ability to evolve and adapt. Their innovative approach to blending these genres results in a truly fun and energetic album that is sure to resonate with music lovers. They Ain't Want Us by Wakai They Ain't Want Us  by Baton Rouge, LA artist Wakai is a vulnerable and honest offering that explores the soul of a young artist. The album revolves around his conceptualization and expression of the world around and within him. Moments feel like a poetry reading, some like therapy sessions, and others offer advice to those who may come after or are adjacent. The project features several talented soulful artists, including  3LISE , Sedona , and the infamous Planet Giza , who recently released an EP. Everything about this project is beautiful, from the soundscape, content, delivery, melodies, and flow. A significant portion of contemporary Hip Hop and Rap music that upholds traditional values is emerging from the South, from Tennessee to Texas to Georgia to Louisiana. This project is another testament to the exceptional Hip Hop music and aesthetics that have come out of the South in recent years. Some Losses Set You Free by Gary Junior "I'm not back, I'm better." If there's one artist truly and consistently improving their craft, look no further. This is a significant step forward for Gary Junior . The rhymes and hooks are tight, the soundscape offers variety but aligns in a way that allows Gary to express several stories in different ways. There's an underlying cohesion beyond the artist's voice; it's simply an improvement. It's obvious that the artist had to shed many layers and personas to find this sound and thrive in it. You strive for it and then thrive in it. A hustler's lifestyle, once annotated in a notebook, is now expressed through Hip Hop from The Bay Area, California. shit ain't funny anymore by Jiles Jiles' shit ain't funny anymore is a thought-provoking 3-track EP that showcases his distinctive, gritty delivery. The opening track, featuring RnB artist Notebook P , offers a surprising contrast to Jiles' usual sound, creating a more reflective atmosphere. The EP's lyrics delve deeply into themes of societal change and personal growth, exploring the complexities of human experience. The Brockton artist's introspective tone and heartfelt delivery make the EP a compelling listen. He navigates the boundaries between being a human and simply a person, reflecting on the challenges and triumphs of life. The EP's cohesive nature and solemn tone reflect Jiles' thoughtful exploration of these theme. Desert Camo by Oliver The 2nd x Heather Grey Desert Camo , a collaborative album by Fontana, CA artist Oliver the 2nd and Rochester, NY producer Heather Grey, is a standout project. While the duo's name is the same as the album title, the music itself offers a unique listening experience. Oliver the 2nd's lyricism is a highlight, as he skillfully navigates complex themes without overwhelming the listener. His words are both personal and relatable, allowing listeners to connect on a deeper level. Just as desert camouflage allows its wearer to blend into a specific environment, the album's characters often must adapt to navigate challenging circumstances. The lyrics, like the patterns within desert camo, may initially seem straightforward but reveal deeper meanings and emotions upon closer examination. The album's themes of isolation and resilience echo the vast and desolate nature of desert environments, suggesting that individuals must often persevere and find strength within themselves to overcome adversity. Desert Camo  is a positive expression of struggles, challenges, and unwavering dreams. The album oozes ambition and reflection, exploring both personal and societal themes through creative social commentary. ADVENTURE by Calvin Valentine x Lawz Spoken Oregon artists, Calvin Valentine  and Lawz Spoken  have teamed up once again to deliver another pristine Hip Hop project from the Pacific Northwest. ADVENTURE is filled with endless raps about mountains, weed, and camping, this album is a celebration of outdoor life. The chorus/hook of "Raging Rapids" is so catchy it could easily be used in outdoor commercials. The transition from "Raging Rapids" to "Land Cruiser Lawz" is seamless, with a Land Cruiser ad leading into a track about importing and customizing the iconic vehicle. ADVENTURE  is a fascinating blend of outdoor enthusiasts and Hip Hop heads. These "fly outdoorsmen" have a suave demeanor and a unique way of moving. The project is incredibly cohesive, with each track flowing seamlessly into the next, creating a collection of interconnected stories. The outro of "Land Cruiser Lawz" features a clip about not needing excessive bass, which perfectly sets the stage for the substantial bassline in "Heavy Terrain" featuring Illa J and Frank N Dank . This attention to detail makes the album even more intriguing. Even in tracks like "Incline Village," the artists' love for off-roading vehicles shines through, reminiscent of Young Dolph's "16 Zips." While the coasts, pace of life, and environments differ, the underlying connection in terms of lyrics and lifestyle is undeniable. Scattered throughout the album are ads for Range Rover and other off-roading vehicles, creating a vibrant backdrop for the "outdoorsmen" raps. This project is not only cohesive but also positive, showcasing a different lifestyle and approach to music. ADDITIONAL RECS: Love (the) Ominous World  by Blu x Exile The Ballad of D.B. Looper  by SadhuGold HULK THA HUSTLA  by Jae Hussle x Manzu Beatz Connect Four  by Kaleo Jacobs x Chandler Ward Long Kiss Goodnight  by Rocky Rivera Bury My Heart In East Oakland  by Nimsins x jooneyor A Quarter to a Quarter Mill  by Wave Parker x Sir WNDR Yvette  by Kaicrewsade Speak On It by Tspokes GOT FOOD AT THE CRIB'!!!! VOL. 4  by Pink Siifu Courtleigh Chemist  by Daniel Son x FINN Hope U Feel The Same  by SOUNDSLIKETC Cast Out Of Hell  by Hell’z OWN x Don Carrera A Place To Hide  by DVNTBEATS Born In It 3 by Chippass The One They Doubted by Stixx x Sledgren Bordeaux   by OG x buddy.not.bud Griotes of the 3rd Rail  by Vega7 The Ronin x Ayo Shamir Cavi En Cursive  by Trizz x MIKE SUMMERS D.O.L.L.A.R. by Malz Monday Throwing Bows  by Monaleo Pumpkin Seeds  by Wiseboy Jeremy x Kirti Pandey Big 3  by 3wayslim U hear Me 2  by Streets Soprano x Black Soprano Family HUNGRY $iNCE BIRTH  by Sauce Heist HEATHEN  by Von Alexander Hello, I Must Be Going  by Greg Cypher GOD, Turn Me Up!  by Mat Randol Where’s Your Feet? by Lord Apex x El Lif Beats JONDO3  by BoriRock x DVNTBEATS A Cold Summer  by KNGSOL x TWSB Nocturnal Hooli, Vol. 3  by Da Flyy Hooligan x Wun Two x Taurean sax FINEST DIAMONDS III  by KHEYZINE For access to the document with 120+ LP / EP / mixtapes and demos inquire via email: crownthement@gmail.com WORDS BY JAMEKA

Curren$y  and DJ.Fresh  have teamed up to produce an exceptional album for 2024. The Tonite Show The Sequel  showcases Curren$y in top form rhyming over equally outstanding production provided by DJ.Fresh. The Baltimore Born, Oakland raised artist started mixing on turntables at only 9 years old, spinning the kind of soul, jazz, and Hip Hop Records that would later define his production sound. He would go on to start his “ The Tonite Show ” album series after spinning at parties, battling, and working as a gig and tour DJ. This would lead to collaborations with the likes of Mistah Fab ,  Freddie Gibbs , E-40 , and Mitchy Slick . After a hiatus, The Tonite Show The Sequel  marks a return for the series and another collaboration with Curren$y has already been announced as dropping soon.  Curren$y sounds great on The Tonite Show The Sequel. The subject matter, if you’re familiar with the New Orleans native’s game, doesn’t stray far from weed, cars, hustling, and women. This sounds rigid and could be a knock from a lesser artist but these rhymes are structurally sound and delivered with a confidence and charisma that only come from years of work, and experimentation. “Stay The Course ” is a standout and is a great example of what the project is aiming for. It’s got an infectious chorus and as a bonus he calls in an assist from Paul Wall   to help motivate the grinders out there:  “Yeah same thing every day n***** gotta press the line, Make sure that I add to my paper stack ‘fore I go back inside”  The Tonite Show The Sequel  also features appearances from: TF , Kamaiyah , Payroll Giovanni , Larry June , G Style , ALLBLACK , The Musalini , and   Jade Angelle . DJ.Fresh is the 2nd half of what makes The Tonite Show The Sequel  work so well. The variety of sounds on display here is amazing. There’s boom bap, funk, soul, R&B, down bottom bass,  even gospel inspiration throughout the 14 tracks. We also get some old school inspired radio drops sprinkled in that help with the immersion. It’s a standout Hip Hop offering for 2024 that definitely deserves a listen. Also be on the lookout for the next collaboration from Curren$y and DJ.Fresh The Encore , due out Oct 11th, 2024. Favorite Songs: Ultra Violet, Next One, Stay The Course, Lay It Down Released: August 30th, 2024 Words by: Monk

Breakin’ On The One is a compact and lively documentary on the early emergence of breakdancing in New York City. Over the course of it’s 45 minute runtime we get a peek into the social and economic conditions of late 1970s and early 1980s NYC that would inspire an explosive, creative wave in the arts, including music. It was during this time that we would get the parties and park jams that would begin to form what we know as Hip Hop. Breaking would emerge as an aggressive, and expressive style of dance that went along with the emerging DJ style of looping song breaks at parties for attendees to dance too. Breakin’ On The One give us first-hand accounts of the era from legendary dancers Ken Swift , Jessie Jess , Mr Wave , Lady Roc , E ddie Ed , Spinner , additional commentary from author   Johnathan Abrams , writer   Jesse Washington , documentarian Michael Holman , and dance studies professor   Imani Kai Johnson .  The film   does an excellent job of relaying the breakers’ stories and their early experiences of being introduced to breaking and attending their first parties and battles. Members of the world-famous   Rock Steady Crew  and their rivals,   The Dynamic Rockers  guides this journey which culminates in a series of battles between them at United Skates Roller Rink in Queens, and New York City’s prestigious Lincoln Center for the Performing Arts. The Lincoln Center battle is highly regarded as the most important breakdancing battle ever. Not only was it an exhibition of the art form at the highest level, it also jolted interest, participation, and helped Hip Hop, as a whole, spread out and influence the world.  Breakin' On The One  offers a compelling exploration of the early days of breakdancing, a cornerstone of Hip Hop culture. Through intimate interviews with legendary dancers and insightful commentary from experts, the documentary vividly portrays the social context and artistic fervor that shaped this expressive dance form. The film's exploration of iconic battles and personal narratives underscores the raw energy, creativity, and competitive spirit that fueled the rise of breakdancing.  Breakin' On The One  is a testament to the enduring impact of this dance style and its contribution to the rich legacy of Hip Hop. Director: JamsBash Where To Watch: Hulu Released: June 24, 2024 WORDS / REVIEW by Monk

The provided synopses offer a diverse range of themes, reflecting the multifaceted nature of contemporary Hip Hop / Rap. Nostalgia and retrospection emerge as prominent themes, with artists like MaGic and Swizzy drawing inspiration from past eras. Personal growth and transformation are explored in depth, as artists like WayneFowle r and Jordan Xx delve into their own journeys of self-discovery. Additionally, the synopses showcase a variety of musical styles and influences. From the soulful rhythms of jazz and blues in The Gray Area with Qualls , to the experimental fusion of genres in Blake Anthony x DJ Grumble's , Afrogalactic,  the artists demonstrate their versatility and creativity. Furthermore, themes of urban exploration and street life are present in some of the projects, such as 2 Eleven's , Proof of Concept. ENJOY. Escape To ‘88   by MaGic x Clickqnot Escape To '88  by Indianapolis artist MaGic, produced by Clickqnot, is a nostalgic journey through the sounds of the late 1980s, evoking the opulent atmosphere of a large mansion adorned with black marble and towering monsteras. The project's smooth, laid-back vibe, reminiscent of a late-night drive, is enhanced by Clickqnot's production, which draws inspiration from space travel and player-esque aesthetics. MaGic's flow complements the music perfectly, with catchy hooks and lines that transport listeners to different realms. This is MaGic's second release of 2024, following his collaboration with Ohbliv on Regal . Proof Of Concept   by 2 Eleven Proof of Concept  is a poignant and motivational album that showcases 2 Eleven's signature blend of intentional, luxurious, and street-oriented rap. Produced entirely by the acclaimed Python P, the project immerses listeners in a soundscape that seamlessly blends the gritty streets of LA with the refined elegance of an art museum. Python P's production, known for its soulful creativity, provides the perfect backdrop for 2 Eleven's lyrical prowess. The artist's honest and relatable storytelling, combined with his unwavering motivation, creates a powerful and inspiring listening experience. Proof of Concept  further solidifies 2 Eleven's position as a staple in the LA rap scene. THE FAST   by WayneFowler THE FAST  by Cincinnati, OH artist WayneFowler is a soul-stirring EP that chronicles a journey of personal growth and transformation. Through introspective lyrics and a soulful soundscape, Fowler delves into profound themes such as parenting, love, the loss of friends, and the evolution of perspective and mindset. As the EP unfolds, listeners are invited to witness Fowler's ascension, both spiritually and emotionally. His music reflects the challenges and triumphs he's faced, offering a relatable and inspiring narrative. With each track, Fowler's aspirations and ambitions become increasingly clear, revealing a musician who is not only talented but also deeply committed to his craft. R E T R O G R A D E   by JORDAN Xx Jordan Xx's R E T R O G R A D E,  is a captivating blend of contemporary Hip Hop, psychedelic folk, soulful R&B, and soft rock. The Nashville-based artist effortlessly weaves together these diverse influences, creating a unique and expressive sound. The album's themes of ascension, affirmation, and personal growth resonate deeply, while its raw and authentic atmosphere draws listeners in. With tracks like "VICES 2 VICES," a soulful soft rock gem, "CRAZY 4 UR LOVE (bonus)," a soft grunge anthem, and "NEPTUNE," an undeniably Hip Hop-influenced track, R E T R O G R A D E  showcases Jordan's versatility and artistic talent. The album's arrangement is so fluid. It just flows and floats. In Retrospect by Swizzy  x AbbotJackson In Retrospect  is a laid-back, soulful hip-hop project by Boston, MA rapper Swizzy and producer Abbott Jackson. Swizzy's lyrics are grounded and relatable, offering a chill and enjoyable listening experience. The production, characterized by jazzy elements and a relaxed pace, complements his distinctive flow. In Retrospect, is perfect for cruising outdoors on a bike, skateboard, or scooter, providing a soothing backdrop for any activity. While the project may not delve into deep, philosophical themes, its solid songwriting and enjoyable sound make it a satisfying listen. The Gray Area  by Qualls Qualls', The Gray Area,  is a poetic exploration of the soul, blending the soulful rhythms and instrumentation of jazz with the raw emotion of blues. This project feels like a homecoming for the genre, reminiscent of the avant-garde jazz of the late 60s and 70s. With tracks like "Reflection," featuring the Bars Choir, Qualls infuses gospel influences into his music, creating a deeply moving and vulnerable experience. The album's 12 songs showcase the beauty, melody, and emotional depth that can be found in hip-hop. This is a project that deserves to be celebrated in grand fashion, with a Southern city tour featuring a live choir, band, and orchestra. The Gray Area  is a must-listen for music connoisseurs seeking a truly unique and artistic experience. Afrogalactic  by Blake Anthony x DJ Grumble Afrogalactic  is a groundbreaking album from Tacoma, WA artist Blake Anthony and producer DJ Grumble. The title perfectly encapsulates the project's unique blend of Afro-inspired rhythms, futuristic soundscapes, and conscious, love-leading lyrics. Building upon the innovative sounds explored in his previous 2020 collaboration, BadMilk  with Old Milk, particularly the song "BLACK INFINITE" with Astral Trap , Afrogalactic  showcases Anthony's versatility as both a rapper and singer. While hints of his other 2020 project, Star Stereo , can be heard on the album, Afrogalactic  represents a significant evolution in his sound. Tracks like "GLO" and "JOY STORY" highlight his ability to create infectious melodies and deliver powerful messages of love, loss, and growth. The album's production, courtesy of DJ Grumble, is a masterclass in blending traditional West Coast hip-hop elements with modern electronic influences. Tracks like "Space Flips," featuring fellow PNW artist Perry Porte r, evoke a nostalgic vibe reminiscent of classic funk and soul music, while still maintaining a fresh and contemporary sound. It's a testament to the thriving music scene in the Pacific Northwest and Blake Anthony's undeniable talent. ADDITIONAL RECS: THE GAME DON’T DESERVE ME  by AJ Snow CRYSTAL AGGRO  by Rey Morado Breathing/Underwater  by THEALLSEEINGEYE Championship Rounds 2  by Demrick x Mike & Keys IT’S NO FUN AT HOME  by Con$piracy From Where To Eternity  by VIC ROSE x DVNTBEATS In Due Time  by K.A.A.N. x DJ Hoppa WHAT’S THE MATTER  by Bocha x Corey G Stop Calling Me, I’m Cookin (Side A)  by Stove God Cooks Heavy Metal   by Lord Khalil x Cudimitsu Bet It Back.  by Jayson Cash Built For Cuban Links  by Elcamino x Black Soprano Family OTHERWISE A BLUR  by blackchai x August Fanon Pride of A Man  by ANKHLEJOHN Hood Telenovela  by Astral Trap Tales of The Void: Lazarus + The Tree That Split In Two  by Allen Thomas Corduroy Concorde by twohorizonra x MANE Order Of The Day: Family Business (Side A)  by WateRR x Tone Beatz SUMMER AIN'T FOREVER by AVENUEBLVD x Chase N. Cashe THE BALLAD OF LOESPERDO  by Nyesui Loe x Loman OPERATION FLAMETHROWER  by Rei The Imperial x Conductor Williams Toonami After Dark   by Wulf Morpheus For access to the document with 120+ LP / EP / mixtapes and demos inquire via email: crownthement@gmail.com WORDS BY JAMEKA

Directed by the father and son team o f Sam  and Jason Pollard , Ol’ Dirty Bastard: A Tale Of Two Dirtys  aims to document the life and career of Russel Jones , known professionally as Ol’ Dirty Bastard of the Wu-Tang Clan . Using interviews, family home videos, and news footage, the Pollards document Jones’ humble beginnings and his rise to fame with the Wu-Tang Clan as his larger than life persona, Ol’ Dirty Bastard. Eventually the lines would blur between Russell’s real life and Ol’ Dirty Bastard and would lead to his death at only 35 years old.  The documentary starts from the beginning with ODB’s birth in Brownsville, Brooklyn to a father who was a huge music fan, and a mother who was a talented singer. Crime would push them out of the neighborhood in search of better for their family. They would end up in Linden Plaza, a relative oasis for them. This new environment allowed the family to thrive and laid the groundwork for the formation of the Wu-Tang Clan . GZA , RZA , and Old Dirty Bastard began experimenting with hip-hop expression and performed their first rap routines while hanging out at ODB's Linden Plaza home .   The majority of this story is told through interviews with Ol’ Dirty Bastards friends and family including Mariah Carey , Raekwon , Ghostface Killah , Iceline Jones   (Wife), Ramsey Jones   (Brother), RZA , William “Boot” Jones  (Father), Funkmaster Flex , Sophia Chang , Stretch Armstrong  and many more. It’s easily apparent the impact ODB had based on the multitude of people who show up in the film with fond memories of him. T his is the side of Dirty we encounter: the bright, intelligent, caring, and talented family man from Brooklyn. It ’s great watching this unfold, but Russel Jones’ life was also plagued with adversity before and after the initial success of Wu-Tang Clan. This is where we encounter the other side of Dirty, a man grappling with fame, mental health challenges, and drug addiction. His reliance on drugs and alcohol as a coping mechanism for newfound fame and responsibilities sent him into a downward spiral, leading to situations that took a toll on his physical and mental well-being. The documentary does not shy away from the dark aspects of Ol’ Dirty Bastard's life, and at times some of what’s witnessed and reported can be enough to move a viewer to tears.  Overall, I believe Sam and Jason Pollard, with the invaluable support of ODB's family, friends, and colleagues, have done a great job of getting under the surface of the outrageous, mythical version of Ol’ Dirty Bastard. Their documentary peels back the layers, and allows the human being to shine through the darkness that surrounded him. Directed: Sam & Jason Pollard Where To Watch: A&E Network , Rent and Buy on Digital Platforms (iTunes, Fandango) Released: August 25th, 2024 Words by Monk

Seattle’s Nacho Picasso and Portland’s Televangel have emerged with an exceptional Pacific Northwest Hip Hop collaborative album. Jesse’s Revenge is titled after and features artwork inspired by the cult classic blaxploitation film J.D.’s Revenge . The film   tells the tale of a notorious New Orleans gangster who is murdered by police. His spirit is given an opportunity to rest and revenge decades later when a chance encounter allows him to possess the mind and body of a college student. The story serves as a loose blueprint for Nacho Picasso and Televangel to build this album around, with Jesse Robinson AKA Nacho Picasso putting himself in J.D.'s place during the project. Nacho Picasso is operating as an MC at peak levels on Jesse’s Revenge. Someone who has spent years working at their craft and perfecting it is one thing, but there’s an extra gear when they manage to perfect their version of the craft, their style. Nacho Picasso’s delivery is laid back and nimble, he manages to infuse much depth and meaning into his irreverent rhymes without jamming in a ton of words and syllables. The hooks are infections and the imagery is vivid as he draws you into his darkly humorous observations and self reflection. His comical vibe is on full display on  “Mazzy Star,” : “Pimps used to wear gators now they wear Crocs, I wish white kids would go back to Birkenstocks / So I can get some fucking Jordans while they still in stock / Don’t mean to shit on Birkenstocks, they was cool with socks” By combining infectious rhyme schemes and even some singing, Nacho manages to make Jesse’s Revenge  engaging through the entire 14 songs. Televangel is the other star on this project. The Portland producer has been building a significant body of work by entirely producing projects for the likes of Milc , AJ Suede , and Child Actor . What he's done for Jesse’s Revenge  puts it among the best produced albums of 2024. Again, there are 14 songs on here and nothing sounds the same, but they all feel like they belong together. It’s a soulful, funky, smoked out vibe, that engulfs the listener with a layer of warmth, comfort, and confidence like your favorite jacket. On “Do It For Johnny,” Televangel’s magic is on full display. A soulful sample, xylophone, trumpets, and a muddy baseline all combine on one of the album’s strongest offerings, and that’s just song number two. All the tracks are equally layered and expressive. This is a project you’ll be compelled to play all the way through every time you listen to it, it sounds that good! Jesse’s Revenge  is a standout effort for 2024 check it out and make sure you put Nacho Picasso and Televangel on your radar going forward! Standout tracks include: "Do It For Johnny," "Still Ballin’," "The Old Nacho," "I Can Still Smoke," and "Ryuichi Sakamoto." "Still Ballin'" (IG Exclusive Visual) Released: July 12, 2024 Word by Monk

These six albums offer a diverse exploration of contemporary hip-hop and rap, showcasing the artists' ability to blend genres, experiment with sound, and address important social and political issues. From the genre-bending fusion of punk and hip-hop in 3SVS8S  to the stimulating lyricism and production of Foundational Stones , these projects delve into themes of identity, experience, and cultural references. Pyrex Housecat  explores gender identity and societal expectations, while Nigo With The Skully pays homage to the iconic fashion designer Nigo. Demos & Memos  offers a collaborative effort from various Atlanta-based artists, showcasing the collective's unique sound and community-focused approach. COWBOY KALEEO'S BOPS  blends hip-hop with a retro aesthetic, inspired by the anime series Cowboy Bebop . Each album demonstrates the versatility and innovation within the genre, offering a rich tapestry of sound and storytelling. 3SVS8S  by TARREESA x SIOUXXXAN  x HXXS “Givin’ life back shots.” 3SVS8S  by TERRESSA , SIOUXXXAN , and HXXS , a trio out of Wichita, KS artists affiliated with the label/collective, “THE COOKIE STORE,” delivers a refreshing blend of Punk and Hip Hop / Rap. Produced by HXXS , the EP defies current trends while maintaining a rhythmic pulse. The artists utilize bass and a variety of textures to revitalize and create a moment of authentic energy. Their unique approach, fusing Punk influences into a Hip Hop / Rap art form, results in an exciting and innovative sound. As a listener new to these artists, 3SVS8S offers a captivating experience with fresh perspective and a distinctive style. Foundation Stones  by Shane, the Shaman x Skip The Kid “The formula they distribute to us ain’t the 1.” Foundational Stones ,  a collaborative project between New York artist Shane, the Shaman  and Pennsylvania producer Skip The Kid ,  is a deeply soulful exploration of lyricism and production. Skip The Kid's masterful beats provide a rich foundation for Shane's insightful and energetic verses. In the track "Say What's Real" featuring Party G The Humble , Shane pays homage to Memphis artist GloRilla's hit "Tomorrow," incorporating a line from the song into his own lyrics. This unexpected reference highlights Shane's ability to bridge the gap between traditional and contemporary hip-hop. His music, with its boom-bap influence, energetic delivery, and insightful content, embodies the essence of the genre as described by KRS-One: "For some of us Hip Hop is simply our interaction with God." Pyrex Housecat  by CENSORED dialogue “I’m a chick with a dick, I ain’t ashamed of that shit / but if society make it a problem then I’ll go tote me a stick!” Pyrex Housecat ,  the sophomore album from Oklahoma/Texas artist CENSORED dialogue , is an alluring exploration of gender theory, sexuality, and contemporary and historical politics, wrapped in a chaotic yet smooth and soothing Hip Hop/Rap form. The album's cover design, featuring a foot on a face in the grass with a few lavender braids, immediately draws the listener in. The production, delivery, and lyrics showcase a clear punk influence, while CENSORED dialogue' s freeing expression reveals their experiences as a trans woman. Pyrex Housecat, delves deep into the expectations placed on trans women to be hyper-feminine and the importance of the artist's sobriety and dedication to their craft. This incisive project inspired me to revisit José Muñoz's , Disidentifications . Nigo With The Skully   by Curbside Jones “Ape shall never kill ape.” Nigo With The Skully pays homage to the iconic fashion designer Nigo and his brand, BAPE . The EP features a memorable production landscape, with contributions from Flat Stanley , DooF , and Phill Blanks . The diverse sound is further enhanced by collaborations with Estee Nac k , HPBLK , Squad Words , and DAN . The cover art, designed by Najee Whitehead and Curbside Jones , showcases Nigo in his signature streetwear attire, including a brown skully with a yellow BAPE symbol , a pink cloud camo background, a green cloud camo hoodie , and green Bape shoes. The EP's lyrical content touches on themes of community and building, referencing the "ape shall never kill ape" mantra from the Planet of the Apes  series. While the lyrics may not explicitly address these themes, the underlying message of unity and cooperation is a notable aspect of the EP. Demos & Memos  by Nu'Bn “...this collection is not merely a set of loosies, but a curated journey through the collective’s rich tapestry of sound.” The Atlanta-based label and collective, Swiss Army Records , returns with their compilation LP, Demos & Memos . Curated by Promise , the 13-track collection features contributions from Akete , ariesfoolmoon , freespottie , Chebba , and ill Kalil , who provide the verses, hooks, hymns, production, mixing, writing, and more. This is truly an auditory treat. The production and energy that emanates from Demos & Memos bring peace and reassurance that this quality art is very much worthy of intake and celebration. Personally, I enjoyed not having to be overly conscious of the lyrics because it's obvious they're not on a destructive path but more so on a community-creating and illuminating journey. The compilation's ability to transport you from your mind to your body is a testament to its power and beauty. COWBOY KALEEO’S BOPS  by Kaleo Jacobs “I get everything I dream, I’m in touch with the callin’.” COWBOY KALEEO'S BOPS is an intriguing EP, marking the artist's second release of 2024. Inspired by the iconic anime series, Cowboy Bebop , the EP's title, artwork, and overall aesthetic pay homage to the beloved show. The EP's production is introspective and thought-provoking, offering a listening experience akin to viewing fine art in a museum. It blends elements of strength and delicacy, creating a retro yet contemporary feel that is likely a result of its creation in the present day. Track titles like "Jupiter Jazz" and "Waltz for Venus" further emphasize the EP's cosmic theme. Undeniably, Massachusetts boasts a distinctive and expansive Hip Hop scene, and Kaleo Jacobs ' latest release is a testament to its rich contemporary creations. ADDITIONAL RECS: Amygdala  by Passport Rav, Rob Viktum Veena LP   by Heems Woke Up Pretty Trill  by Sammy Saintclair No Time to Wait, I Gotta Ball  by Wave Parker  x  Dr. Johnny Fever It’s Five O’Clock Somewhere  by Mickey Diamond The Recipe  by Chef G Cole x RJMrLA Icarus   by Khary x Abhi The Nomad Don’t Panic   by Chap D Zootieee Wrld   by El Snappo Super Villain Origin Story   by King Hendrick$ Veryest  by Quadie Diesel Cut Your Teeth  by Free Party RELAY by Jack Vinoy Rillest in the Room 2  by Bless Picasso MR. ALKALINE  by Heavy Crownz Imports  by Khalisol x Dvme Part Time Rapper Full Time Gangsta  by Big Txp Trust The Chain II  by Planet Asia PLEA$E DON'T THINK I'M ACTIN FUNNY  by BUB ROCK The Reaper  by EBK Jaaybo For access to the document with 120+ LP / EP / mixtapes and demos inquire via email: crownthement@gmail.com