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  • Alex Kuchma

Mobb Chains: A Conversation with Lord Mobb's Starz Coleman

Despite his first record on the label being released only last month; Lord Mobb's Starz Coleman has been a consistent figure behind the scenes of the roster over the past couple of years. Directing music videos for G4 Jag, Flee Lord and others, it's unsurprising that this relationship would have eventually incorporated Starz' musical talents as well. With two albums under his belt and a viral music video with the comedic "I Eat Ass", Starz Coleman is ready to blend his ingenuity and stylistic output with that of the Mobb.

I first heard Starz Coleman earlier this year with the release of Canadian producer IM'PERETIV's Burial Plots and Pyramid Schemes. Appearing alongside G4 Jag, the emcee held his own among a star-studded cast. With lines like 'I seen the bitch drowning and I ain't even throw a lifeboat.' Starz proved that he was worth your attention with a flow and hard lines reminiscent of a hungry Meyhem Lauren. Fast forward a few months and Flee Lord himself has given him the chains - propelling his label debut For the Views into new heights.

With a colourful and eccentric cover art, it's evident that Starz is bringing something new to the table. This is not alike what we've seen from Lord Mobb in the past. Last year, Lord Mobb introduced Jameel Na'im X (JNX) to the roster with the Mephux produced record Viktor. A favourite of the year, this was a clear departure in sound from what Lord Mobb had been known for. The melodic trap elements of JNX clashed with the hard and abrasive elements of the labels attitude and identity. Viktor worked. It was a great record that indicated a directional shift for the label as a whole. A year later, Starz Coleman adds to that directional change, highlighting Lord Mobb's willingness to experiment and push their own borders outside of their comfort zones. While For the Views is not the wildest Starz has appeared, the record showcases his enthusiasm and character on the mic enough to distinguish it from the rosters prior releases.

The record immediately raised questions. I became interested in Starz as a personality and was curious how an artist of his stature found himself in the hands of the one of the grimiest labels out. What was Flee's vision for the label? And how did Starz fit into that vision? Furthermore, what was next for Starz Coleman? Would future records expand on the fun and charismatic character that Starz has created for himself? Or would we see the emcee further gravitate towards the dominant sounds of the label?

I would like to thank Starz Coleman for taking the time out of his schedule to sit down with me over the phone and discuss these topics. I learned a lot from his story; and if you're interested in Lord Mobb and the artists who make up this new rap renaissance, then I'm certain this interview will be a good addition to your morning reading. Grab a coffee and enjoy the read.


What was your introduction to hip-hop culture? Not even necessarily injecting yourself into it in any sort of way, but just from a fan's perspective? What were your earliest memories of the culture?

My mother was a jazz singer. She'd keep me in the studios at night. Trying to keep me out of trouble. So, she'd be keeping me in the studios with her. They'd go through a lot of Sugarhill Gang, a lot of hip-hop that she liked. Then of course my Dad, when he was around when I was younger, he would play a lot of his favourite music like Kool Moe Dee and stuff like that. So that's how I got into it basically. My parents were hip-hop heads.

Where abouts did you grow up?

I was born in Newark. I basically grew up a little bit of everywhere. I was born in Newark, but I was raised in Plainsville, New Jersey. Spent time in Harlem for a few years. Spent time in Charlotte, North Carolina for a few years. So, I've been around a little bit.

So, you're in New Jersey as a kid and you're being introduced to hip-hop culture. At what period of time do you start to realize that there is a scene local in Newark, and in New Jersey? Obviously, it's close to New York, and there's that proximity... but New Jersey has had its roots in hip-hop culture. Even on the underground tip you had cats like The Outsidaz in the 90s, you had Shawn Lov, of course people like Chino XL who ended up moving to the west coast. But you had this local scene that was brewing out there. At what point do you begin to realize that there's a scene locally that you could participate in?

Umm, never. Because the way an artist thinks of New Jersey is that we're always going to get pushed to the side. Even Redman, the people who we looked up too, it's 2022 now, we really haven't had too many Jersey rappers in the game since the early 90s. So, we kind of looked at it like New York will always overshadow us. We're going to have to fight by doing everything. Everyone who came out of New Jersey did a little bit more than music. Some might have did comedy such as Redman. Some might have did movies such as Queen Latifah. We try to be a little more than rap. Because we know we have to keep our hands in all of the pots in order to get in the door. Someway, somehow.

As a creative, do you think that influenced the decisions you made, early on in your career? Maybe not focusing on rap so primarily, maybe focusing on other avenues? Or do you find yourself just wanting to rap.

Of course. I've always been a class clown. I've always did the thug shit as well. I just always wanted to have fun in life. As I grew up I kind of just seen that there was a pattern of always tough rappers. Always everyone wanting to be gangster. I always looked at it and said 'Maybe if I try to be your Redmans and stuff like that, maybe that's how they got the How High movies and things of this nature. So, I always looked at it like that. Do a little more and see what happens.

At least from my perception of you, from the music. You feel like a larger-than-life character. You feel energetic. You feel fun. There's a sort of looseness that comes with how you deliver lines. Maybe you don't take yourself as seriously. Of course, some of the singles like 'I Eat Ass', there's that comedy factor. Now this album doesn't necessarily have that straight up comedic relief, but there's still that tone to how you deliver yourself - it feels as though you are THAT presence, and it feels authentic.

Yeah. I mean, the intro and the outro has some comedy. And the 'I Eat Ass' thing was something that was based upon true life. I don't like to lie in my music. I ate a girl’s ass one time and I was expecting her to say 'wow, that was amazing.' But instead she said 'I ain't never had anyone eat my ass for that long.' I said 'You know what? I'm going to make a song about this so you don't try to put me out there.' Know what I mean? If I make a song about how I eat ass, now everyone know I eat ass. You can't embarrass me. That's why I did that. That was for all the girls who try to embarrass me. You can't do that now because now the world knows! You feel me?

[Laughs]. So, at what point do you start taking music more seriously? So, you're a fan. You're growing up in and around different neighbourhoods. New Jersey primarily. You're a fan of the music. At what point do you start saying 'Hey, this is something I actually want to do. This is something I want to take seriously.' Maybe you can start using some of the recording studios that your mom is frequenting? At what point do you take that leap?

Well, my mother back in the 90s she sung at The Apollo. I was so scared for her. She got on stage - cause The Apollo was rough back in the days. You got booed, Sandman would come out and drag you off stage. I just didn't want that to happen to her. She ended up singing very well, gave me goosebumps and the whole crowd gave her a standing ovation. Right then and there I said 'the way there screaming for my mom? I want that for me.' I had to be maybe five? Maybe six years old? Feeling like that? There really screaming for my mom... that amazed me. I said, 'I want that to be me one day.'

So as early as five, you had this dream. At what point do you start materializing that dream? Because I heard of you in 2022. You're thirty some years old. You've been around for a long time. This moment is from the 90s - this is 20-25 years ago that we're speaking of. I know your Spotify discography goes back a little bit longer, but still only in the last couple of years. At what point do you start materializing that goal - that dream for yourself? Do you see yourself freestyling at lunchroom tables and shit as a kid? Or is this still something recent and new?

Nah that's exactly how it started. Ended up just battling kids at school. Ended up being the top guy that everybody wanted to beat. Beat everybody. Then it moved on to just battle rap basically. Then I went on to 106 & Park. I ended up winning there. Not all of the weeks, but I won like two weeks. And just winning the audition gave me confidence through the years. The streets got to me for a little while. That's why I wasn't taking it serious as the streets was heavily indoctrinated. After that, I just put the streets down and said, 'let me try this rap thing.' And it just started working. But then rap kind of slowed up a little bit, I said 'man I don't want to go back to getting a job. Let me see if I can get nice with videography.' And then that just opened up more doors for me, and that's where we're at now.

So, you've been around for a while. And you've obviously been a fan of hip-hop culture for a while and you would have therefore seen the different eras take fold and the rise and declines of certain movements within this hip-hop thing. And I would say 2015, maybe 2016, maybe even 2017, you really begin to see the start of what we're in now. You can call it The Renaissance, or what have you. Just this new movement of underground rap that is seeming to carry a lot more weight. I was covering hip-hop as a journalist in 2011, 2012, 2013 and we seen the early beginnings of it then, but I don't think we really understood people like Roc Marciano, or Planet Asia, we didn't quite understand the weight that they would have in the hip-hop scene. We understood they were making really good music, and we understood that they were authentic and that they were credible within hip-hop culture. But I personally didn't expect there to be this new wave of your Griselda’s, your Lord Mobbs, your Da Cloth's, your 38 Spesh and Trust Gang's... I didn't expect that movement to really end up picking up. To me, it seems like a breathe of fresh air. It seems like something really unique and cool that's going on in the underground hip-hop scene right now that's beginning to enter into kind of mainstream conversations that didn't happen with your Jedi Mind Tricks and Army of the Pharoahs, and Vinnie Paz and all that kind of shit. You just didn't find those conversations taking place.

You find yourself now hopping into hip-hop culture in a more dominant way within this new wave, this new movement. I wanted to ask you; how have you seen that evolution of this scene that you now find yourself in? And when did you start to become aware that there was something brewing?

Well, to go back to the timeline - I pretty much started taking myself seriously in 2009. We came out with mixtapes and everything like that. I always wanted to keep that 90s sound because of your Planet Asia's and stuff like that but it was sad to see a lot of the south stuff make up north rappers rhyme southern and get on southern beats. It was sad to see that. I just wanted to keep it authentic. As I kept digging for that kind of stuff, then I came upon your Griseldas, your Roc Marcianos, your different people and I said 'oh there's other people doing that.' Cause no one predicted Griselda to actually blow. It was just a great situation to know that there are other rappers who rap the way you do and think the way you think. So, I say the same timeline that you're saying. 2013-2014. I think John Forte had come home. I'm not sure if you remember that artist but a couple of people had came home from jail and started back up again. It's like it formed a world all in itself. Once Eminem stamped it? It just took a world on its own. So about probably 2013-2014 that's when I seen it, and was like 'Oh, hopefully this can grow even larger.' and it did.

I see that with other artists as well. Like Grafh for example, or Ransom... These are artists that come from a different era and they had their respect within that different era but they never fully felt like they belonged. And it feels like this new scene has allowed them room to be themselves and be appreciated for being themselves in a way that they just never got to fully materialize before. Do you feel like that's the case for yourself with this new scene and a home like Lord Mobb for instance?

Oh, for sure. All of us. I mean, I’m not as known as a Ransom, but we all had the same thinking. At the time we were all listening to your Fabulous's and everything, and then that world shifted. The South took over. So, everybody was put in a fritz. Some people tried to follow along, other people failed. So yeah. We are all on the same timeline. Everybody. And now that it's back and it's prominent again thanks to the Griselda movement, and Eminem stamping it - because that really was important for the political side of it - it's back. I'm not sure if it's here to stay, I hope it is, but we are damn sure going to keep working to keep it strong.

Let's talk about Lord Mobb specifically. How do you get connected to Flee Lord and the rest of the family over there at Lord Mobb, and how do you negotiate those ideas to be a part of that crew?

So how I look at it - back in 2015, one of my best friends got locked up. He's in the feds now. Free my boy Larry. He got locked up and I really needed to find other ways to get money. I've done a lot of things with a lot of celebrities. I got songs with Sheek Louch, Beanie Sigel, linked up with a lot of celebrities through my travels and I just felt so embarrassed to go get a job again. So, I grabbed up a camera, started shooting my own videos, shot locals, and as I got nicer at the locals - my boy Bad Lungz did a song with G4. G4 took a liking to me. Shout out to my brother G4 Jag who took a liking to me. I started shooting G4 Jag's videos. Got nice at that. Flee started seeing, like 'who do your videos G4?' 'Oh, a guy Starz from New Jersey.' Started doing Flee Lord's videos... Then Flee Lord found out I actually do music, and it was on from there.

What was that first video that you ended up doing for Flee Lord?

I think it might have been one for him and Roc Marciano. That might have been the first one. Then the second one was for the Delgado album which was "Breeze in the Porsche." So, I think that was my first video I shot for him. I could be wrong. I don't remember the timeline but it was either "Breeze in the Porsche," or the other one.

What was your first impression when meeting Flee Lord? My impression - just from being a fan of his music - is this guy is truly one of the heavyweights in the scene. Like not only is the music... the music speaks for itself, it's powerful, it's music that almost demands attention from the listener - but the cultural credibility, the cultural clout that he's been able to gain within hip-hop spheres is so well recognized. What he's been able to do with Lord Mobb feels powerful. It feels like there's something truly special here that we're going to be able to look back and recognize him as one of the greats. What was your first impression meeting Flee Lord? Did you get that impression from him?

I don't look at Flee Lord as everyone else. How I met Flee Lord was just by being a great person. A great friend. A person with a great heart. A great father. A great family man. Just a great person all around. I mean, I was a fan of Flee before I met him. Of course, I knew his music before and actually, I knew a lot of his songs by heart. But when I finally met him and I seen how normal he was? Like me but shit... in some places actually a better man than me. So, when I realized that, it took that away and just kind of said 'Yo, this is a great dude over here.' Actually, I want a lot of people to know that. I don't know how people look at Flee Lord, but that's how I look at him. Just a great person. A great heart. Loyal! Even if it kills him, he's still going to be loyal to you. Just a great dude. We're friends-friends. Brothers-brothers. We say, 'I love you,' 'I love you' back. All that. We talk about how the kids doing, all that types of stuff. I don't look at it like that, I look at him just as a great person. If music stopped today - if Lord Mobb were to just cease today, that'd still be my brother. I'd still come visit him. G4 as well. Those two people are just great people.

Well said. When it comes to Lord Mobb, I feel as though there have been a sonic aesthetic from the brand. And they really haven't deviated much away from that. If you look at someone like G4 Jag, or Flee Lord, or others that belong to that roster - there's a cohesion to the sound. That hardcore, eerie... maybe a little less eerie than people like Da Cloth do, but yeah. That hard - spooky - almost Griselda - but it has its own little flair to it. And they've kind of carved out that pocket of the underground sphere. I really enjoy it, I really fuck with it. But what I've seen recently with not only your signing, but also JNX (Jameel Na'im), you guys operate a little bit outside of that bubble. I think JNX maybe even a bit more so than you. He's kind of on that trappy wave a little bit, but he bounces back and forth. Does both ideas very very well. A big fan of the records that he's been able to put out. And listening to this new record from yourself - and especially when listening to some of the earlier cuts and singles - it certainly feels like 1) there's a little bit of a bounce, almost like your Redman type persona that almost bleeds through, and you bounce back and forth between different styles. You have those sombre moments off of the record like Figure 8, but then you have cuts like the one with Flee Lord which is super hard and aggressive song. And even on those, you have the rapid flows, you bounce back and forth between different styles on the mic - it sounds natural, it fits, but it certainly seems like Lord Mobb is going into a slightly different direction, or at the very least becoming more comfortable with experimentation. Did you feel that your style was going to fit in with Lord Mobb's roster? Or did you already get the agenda that 'we're going to try to expand this label a bit, we're going to try to play with different sounds.' Because at this point, JNX is already in Lord Mobb, and I’m not sure how familiar you were with his music, but that is a little bit of a different stylistic approach to what they were doing. Did you feel like you as an addition was going to fit in? Or did you feel like you were going to be an outside cast to put into this click?

Yeah, that's off the rip. And JNX, that's my guy. I was a fan of JNX before I met him. I knew a lot of his stuff from 2019 and 2018. A big fan of JNX. Yeah, I already knew that. They knew that too. When you have an artist coming out with songs like "I Eat Ass," you already know what direction this guy's going into. It's not your norm. It's not something that's serious, gangster, shoot em up... So yeah, they knew that off the rip. And I knew that. Like, 'listen, I'm trying to push this label, and this culture forward. In a whole new way, that ain't been seen in a while.' And they were with it.

So, we've discussed Flee and JNX, but what is your relationship with the rest of the cats out of Lord Mobb?

Aye man, those are the brothers. My man G4 Jag, he's the one who brought me into the whole situation. I was shooting videos with him at first. And then Flee took a liking to me. Mephux took a liking to me. And it was pretty much a wrap from there. Everyone from Tianna, to T.F., to Mummz, to Young Act, to Flee Lord, to Mephux, to G4 Jag, those are all my brothers man. I love them dearly, and we're riding to the wheels fall off man.

I want to talk about the new record. Do a little bit of a deep dive on some of the ideas and decisions you made when making this thing. When I listen to this thing, it feels as though there's choices that are being made in terms of cohesion, stylistic endeavours you want to partake in. There's certainly diversity when looking at cuts like "Figure 8" to the Flee track "For the Views." These are very drastic choices but there is a sort of cohesion. What I don't see you including is a cut like 'I Eat Ass' on there. Can you explain to me your thought process in terms of cohesion when approaching an album? Cause there are different ways you could have done this. You could do it the way you did. Or you could have had a bunch of cuts like "Figure 8." Or a bunch of cuts like "For the Views." And let's be honest, Lord Mobb's roster is full of artists who make albums filled with cuts aesthetically similar to 'For the Views.' And they work. They sell out vinyl, and the artists do it very well. You have purposely went into an album and made something that has a little bit more diversity, but not to the extremes of what you're capable of. Can you talk about that decision that you made.

Yeah. Well, little do people know, For The Views is actually an experimental album. I just wanted to see how to move for my next album. How I approach each album is every album has to have a concept. I've never wanted to be an artist who just rapped. If you notice on certain points on this album, I'm actually saying things that are revolutionary and maybe even controversial. I'm doing that to mix it up. Not everybody listens to the teacher. But if the teacher has a gold chain on and Gucci than they might listen. So that's how I'm approaching this. I'm actually trying to be a bit more of a political rapper. But I also want to be more entertaining. Each album that's pretty much what it's going to be. So, each album is just approaching it with a nice concept, to make people think, use their brain. Each video has secret messages, and secret things that you can interpret on your own and then realize that it's way deeper than what you think you see. So, look again. I just want to play with people’s brains. I love Kendrick Lamar. People like that inspire me to just be little bit different and put some messages into your music so that the music can live on longer than the microwave music.

I'm glad you touched on the idea of adding substance to the content of the record. I picked up on a lot of individual lines. Not so much full conceptual concepts for songs. Maybe something like "El Jefe" is a little bit more in that direction, but there's lots of individual lines that are sprinkled throughout this that are really thought provoking. One of the lines that stood out to me was near the end of the record where you say something to the effect of 'Penny for your thoughts? I made a million off of paragraphs.' That line required some meditation for me. You mentioned Kendrick Lamar, and there's a Kendrick line from the 2015 cut 'For Free' where he says 'Ou America, you bad bitch. I picked the cotton that made you rich. And now my dick ain't free.' This idea that Black America had to fight to be valued but now we see Black men and women in the country demand value from the most inconsequential aspects of themselves. That idea is powerful. In your lyric, I think it touches on the same idea. Here's a man, you, who has spent time in prison. Lost chapters of his life to bullshit. Who has been put in an environment where you have to battle to be heard, to have their voice valued. And when we do proclaim value to a voice, we will say 'penny for your thoughts,' but here you are, that same person, who is now able to make a million off of those same thoughts. Those same thoughts are now in demand. Transitioning from those realities ought to be powerful. And reflection on that change - I can't even imagine what that does for someone. I'm not even sure my question here, but this album was filled with those lines that hit - and provoked real internalized dialogue.

Yeah, it's surreal. It just shows you the power of words. That's why every rapper wants to be a rapper. When they see that their words can actually change people’s lives. You see people passing out at a Michael Jackson concert - that has to make you say 'mann, I want to be like Michael Jackson.' Because of the power of words. Or you might wake up in a bad mood and I might throw some Anita Baker on and feel totally different. Music is almost like a drug in a sense. Yeah, just to go off of what you're saying, it's just crazy, just surreal.

I wanted to ask about the feature line-up on the new record. For The Views has three guest spots from Flee Lord, T.F. and Lenox Hughes. So, you've kept the guest list small, and there's many past collaborators missing from the tracklist. Can you talk about how you went about picking the guests for this album?

That was actually easy. I wanted to showcase my talent for this one. I didn't want this album to be a banger because I had Roc Marciano on it - who's my man. I didn't want it to be a banger because it had all these features on it. I didn't want my first album to the public to be like 'Ahh, it's only good because of these people.' I wanted to shine on it for me first. Which means I can always take that with me. Like 'You know, my first album had no features on it.' Even if it don't get the greatest streams. But that's just how I wanted to do it. The next album is going to be full of features, right? We're going to have some big features on the next one. But just this one I wanted to showcase me, and a few other of my guys that I really adhere closely. So, that was the science on that.

You said something interesting there. You referred this this as your 'first album to the public.' Now you have other releases under your belt - that are available on Spotify, streaming, etc. Now those weren't released on Lord Mobb, but nevertheless they exist. Do you actually consider this your first album to the public?

Oh for sure, I mean, the difference between being a local rapper and a national rapper is the fact that when you keep coming out with these records before you get on any platform, because we already know, it's not about what you know, it's about who you know, so when you come out with records and you just have your local fans liking it and maybe a few of their friends liking it, you're always going to be stuck in a box. So, Lord Mobb provided me somewhere where Alex, you, can hear my records. Or somebody in Canada or somebody in California... So, this is just bringing me out to a bigger market where I can get more ears. So yes. To me, this is my first official album that hits the record books basically. Because I did everything else that never hit anybody's radar. So, this is the first album that I consider hit the record books and being tallied down as being an actual album that he presented to the earth that was pretty dope! And people are praising me for it, so...

One of the aspects that's often overlooked on a record is the cover art. But this cover really stood out. It's bright, it's colourful. A lot of personality. You've pulled the trigger on a gun to your head and out comes all of these social media icons. Who drew this, and how did you come up with the concept for the cover?

Well, I just want to tell you man... LSD is a hell of a drug! It's a wonder drug. Just smoking, thinkin'. I've always been a conceptual guy. I always wanted to be thought provoking and make people think. And the world we live in now adays, you know, you put a collection together of what we've been doing as humans throughout the years and you put it in front of the faces - and it's like 'Oh wow, you bring reality.' So, that's all I wanted to do. I wanted to bring reality. I wanted to remind people the type of world we're living in right now, where everything is being done for the views. People are going crazy. I mean like literally; people are losing their minds. Some people are depressed. I heard Kevin Gates say that in an interview like 'man, I'm always comparing myself to someone on Instagram, it makes me depressed.' It makes you want to blow your brains out. That's how I came up with the idea for it.

Actually, I actually got the artwork done on Fiverr. [Laughs]. I know a good guy on Fiverr who does album covers on the low end. I already had the idea and the cover, it was very easy to execute once I told him the idea. So, it was easy for him, easy for me and we got it done.

You say you already had the idea for the cover. When you posed the idea to the Fiverr artist, did you include the request that it be bright and colourful in the way that it is? Because if you look at For the Views, at the very least if you contrast it to the rest of the Lord Mobb catalog, this is a very bright and colourful record in a lot of ways. It's not a pop record by any means, it's still a hardcore boom-bap rap record, but nevertheless, compared to other Lord Mobb releases, it's a lot more bright. Did you have that idea for the album art as well, or is that something that the Fiverr artist ended up incorporating on his own?

Yeah, everything you see is pretty much my idea. The Fiverr artist just turned it into a cartoon. I had the cover and everything already. So basically, as I thought of it is - Lord Mobb artists - everything is very dark. The sound is very dark. Mine isn't. There's a few that might be dark, but i'm really trying to be the new Redman, or the new Busta Rhymes of this. I wanna bring a little character, a little comedy to it, keep the hip-hop going by just doing something different. I am the most colourful artist right now when it comes to the comedy. I don't see people incorporating comedy with their music and things of that nature. So, I just wanted to stand out and show everyone, including Lord Mobb that I'm very different from everyone else. And I can prove that through time.

The records been out now for a few weeks. And although there's longevity of a record in the long term, in this new climate we find ourselves in, a few weeks is typically enough for the fans to move onto something else. How have you found the reception for this release? A lot goes into making a record, time, thoughts, artistry, business maneuvers, do you feel as though For the Views fulfilled what you wanted for it?

Ahh yeah. Like for me, I'm not going to fit into the box of what artists is going through. I would say I'm more of a Kendrick Lamar type thinkin' person where I don't care if everyone else consumes their music fast. If I want to take a year or two to come out with the next album, I will. Because I don't want to provide microwave music. The reception that I've been getting the first week, has been great. The producers, you know, Flee Lord, Mephux, they already said, 'hey man, this might be the album of the year,' but we want the people to say it. But the reception is great. I just don't want to fit into the popcorn music. If I have to take another year to come out with something great, then I will. If that takes three months, six months, whatever, but yeah.

What are you working on next? What can we expect from Starz Coleman for the remainder of the year, and if you've already begun planning 2023, maybe you could speak on that as well.

Okay, well, what's coming up next? I'm definitely going to be dropping another album. I'll probably be working with Historian and my man Ford again on the next album. The actual next album that's coming out faster than my next album, will be my movie soundtrack. I'm working on a comedy movie called The Elrod. It's like Harold and Kumar, meets Half Baked, meets Friday, meets How High! It's going to be the funniest you ever seen in your life Alex, I promise you.

You picked some of my favourites there! Harold and Kumar go to White Castle is a continuous go-too, and I watched the shit out of Half Baked when I lived in BC for a while - we watched that on repeat over and over and over and it was great.

Hell yeah! A little bit of Silent Bob and my man Jay. So, it's going to be a mixture of all those movies all mixed together and we're coming out with a dope dope movie soundtrack. Which will basically be my album 2.0 but it will be for a movie soundtrack where I have features from the Mobb, and whatever other features I can get. That will be my next music compilation I put together will be for the movie soundtrack. The movie will probably be coming out the top of 2023, maybe even this winter. We're getting it done as we speak. Monday, I shoot some scenes, we're getting it done. So yeah, that's the next venture. Onto the comedy movie, then onto another album. And just keep pushing out the comedy movies. So, I'm already giving you my te-year plan! Know what I mean!

Thanks so much man for taking the time out of your day to speak to me, I appreciate it, and look forward to doing this again.



#3 - Lord Mobb by New Vegas Films or Dough Networkz (?)

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