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

CROWNTHEM ENT. x Swiss Army Radio x Lord RA Feel free to talk as long or as short as you want about all of it. Just feel free. So the first question I have for you is - who is LORD RA? LORD RA - at this section of my life, I'm a 23 year old artist, rapper, painter and Phoenician. You know what I'm saying... live from Arizona. And I live to make music. That's my whole thing. What's that hip hop scene like out in Phoenix? Phoenix has a very thriving and diverse hip hop scene. And over the last, I would say like five years, we've been getting a lot more attention, which has been nice. Because there's like a lot of talented folks and a lot of different sounds coming up out of the city. Excited to see that blossom. How often are you performing down there? I perform pretty often—I would say, like, three times a month. I try not to do too much over that. And I like to space it out a little bit, too. So, if I'm not necessarily dropping, like in the next three months, then I probably won't be outside performing too much either. much either. Are they like open mics? Or are they artist showcases? What is it that you're performing at? So it's a lot of homegrown events. We just started getting a lot of spaces pretty recently in the city where I would say music in particular, like that part of the art scene, (especially hip hop) is being able to be showcased fully by itself. The scene kind of started off with incorporating hip-hop and rock nights, to the point where I mainly do a lot of shows at record shops. There's a record shop not too far from me called Grand Ave Records , right there off of Grand Avenue. And the shop owner, Coco, he's had like years in this game, so he's very supportive of the young guys out here. Let us hold our own showcases. That's really cool. In terms of Phoenix Hip Hop, who were the generations before you? Who were those notable Phoenix rappers? Like the older folks? I can't think of anybody notable, and I don't want that to come off as crazy at all. Like Phoenix as a scene as a whole is like made up of a lot of younger folks that are kind of getting it together and finally starting to get the name out there a bit. But you know how that goes... it's just that local politics can be very stagnating for a couple of generations before people finally realize we need a whole community to make it work. And it always takes the younger generation to really make that happen.  Right. So, what type of cities do you feel like y'all look to for reference? Being from Phoenix, who are some artists? Like, what cities do you look to for inspiration? I don't know if I can speak for the rest of the city. I would definitely - but I can say fairly that there is a big L.A. influence just because of proximity and people's histories. If you ask a lot of people, their grandparents aren't directly from Arizona. Even if they lived here their whole life. A lot of people's folks be from Southern California. So all those different things will be baked into people's styles. I got you - you can kind of hear the migration patterns in a way. Yeah, yeah, that's the perfect way to put it. Yeah, that's pretty cool. I think we've been following each other for a while on social media, but this was like my first time really tapping in with some of your work, but I saw it off of, I want to say it was because of Gorgeous Jefe .  Ayyy, that's my boy! He's based out there with you? Yeah, we make a lot of music together actually. Okay, that's a good connection to make in my mind.  So  in your crew, the people that you hang around—that's building up this Phoenix scene—who are some names that you would put out there? I'll just say before, I will miss some, but I'm going to try to give as many as I can. Yeah, first and foremost, Gorgeous Jefe  - we got my boy, Paymedro , my homie Yasuke . There's Unorthodox , Trulove , 602 Profit . Sheesh, like I can go all day! I know you said I can talk as long as possible, but I'm like, damn, this would be a crazy list. Yeah, Phoenix is just full of talent. I definitely hang around with a handful of incredible dudes. But like, even outside of us. There's just, there's just so many people, you know, I come down to miss names. Are you born and raised in Phoenix? Mhm, my whole life - all 23 years. I remember when you sent the project over to me, you mentioned something like, "It's where Africa meets America" type thing. What is the significance of AKATA  to you? So,  AKATA   itself is like an African slang term for Black Americans, pretty much like a version of, I guess, Coon, to a certain degree. It roughly translates to a black cat who's lost his home. And it's a phrase I've heard a handful of times. I'm not just being in a community with, like, African people directly from the continent of Africa. And I thought it'd be a perfect way to encapsulate my thoughts on being a black American. Like, with that title, you know, because I view everything I do through that lens. I never forgot my history. As a black man, I do know who I am. So I also understand that I'm very American. So I just want to speak on a lot of things dealt with as far as identity, and AKATA  just felt like the right way to like the right summary for all those thoughts, you know. . I thought it was a very creative title. Extremely creative because it puts you... a lot of people I don't feel like know that term. You know what I'm saying? Unless they are in close relationships with African folks who use that term, But it holds so much history, you know, what I'm saying it holds stories and holds like lineages and like spirituality, all these different things in this one word, you know what I'm saying? Even the fact of having like the Black Panther and what that means for Black Americans versus Africans, you know... Exactly, yo. I'm glad you picked up on that. So, I just think it was a really cool and creative fusion of things. There's a lot that can be said for it. Yeah, everything that you just said. So, how did you know it was complete?  I think when I was the most nervous about what I had, like when I couldn't make any more songs that made sense for it. And then, when I was scared to put it out, I was like, alright, this might just be that time . I physically could not make anything that sounded like it fit on there. Like after a while. I was like, Alright, basically I got forced.  I got forced by the other side of my brain. What do you mean? Oh, okay, like internally. Yeah, that internal battle. Like, is it good enough? Because it's always gonna be good enough for me. But there's like a like, social anxiety part of releasing into the world. I can imagine. How has it been received by your fans and supporters and peers? It's been beautiful. Every project is my baby, and they are taking care of my baby out there. People are giving me really good notes on the project. And it has actually just been a really relaxing time. I'm not saying reviews on my last few projects haven't been positive. It's been so overwhelmingly positive this time around. I can actually, like, relax into it. I love to hear that. That's not always a thing for everybody. So that's good. You are really at peace with the project, you really put what you had to put into it.  Everything was said. Yeah, everything. And it was like, I love the melodies that you played with as well. And they're, you know, they're familiar, but they're still yours.  Oh, thank you, yeah. Where did your production for the project come from? So this one I produced all by myself, which is, like the third or fourth project, I've got to put out with all my production. And even that, like even just rapping among beats, is my trust in myself. Like that was like a whole different battle. But, but yeah, and I'm really proud of just where I've come with those beats. Because I mean, I made AKATA  last year like the top of last year. So my beats are sounding totally different. The mixes sound totally different at this point. Honestly, the way AKATA  is being received makes me super excited for the next few projects I have coming. That's beautiful. So when you were making this project, AKATA , what came first? Like, did you just like to lay out a soundscape? Like, were the beats that you chose specific for AKATA ? Were there things that you had made, and they just seemed to work well? Like, how was that? I like the backwards working philosophy that I kind of picked up from Earl Sweatshirt . Like in an old interview, he states he'll basically start with the outward aesthetic, or even like a word or just having a cover art to look at. And I always knew the AKATA cover art was going to look something like that or just evoke that whole idea of, you know, saying AKATA is essentially just another word for Black American and to think about all the great black Americans that fought for African ideals. It usually starts like that, like I have like a weird ass thought about something that's like bugging me, and then I'll just turn it into like eight songs. It was like a whole little memoir. But essentially, everything started backwards, and then I just started making beats, and then I finished all the lyrics and recorded them. Wow, that's very... it seems it doesn't even seem like you could really even plan it. It just kind of happens how it does.  Right! I love very deeply how it kind of just floated all together. I don't like forcing anything when it comes down to art. I can imagine, you mentioned Earl Sweatshirt, where else do you draw inspiration from? Who else? I will really say my friends and family because a lot of my subject matter—my songs—is a big part of it. It's just like things my grandmother has imparted on me—not even necessarily like the people that they showed me, but even just sharing those experiences. My grandmother used to work at the hospital, so I would just sit in the hospital after she had picked me up from school and wait for her to get off shift. And then we would drive home to smooth jazz and stuff like that. It was like I said, like you said, you can kind of hear the migration patterns, but I guess more so, you can hear the life experiences and how I choose to attack certain things or speak about certain things. Being raised with a certain level of loving care, that's definitely what I pull from. I love that. What type of music do you listen to? I guess, like, what type of art do you engage with? I know you mentioned that you're a painter as well. Anything I get my hands on, for real. I have put painting to the side over the last year just because I've been going crazy. I was putting together AKATA and another joint me and Jefe had, Kufi Conversations , so I kind of put painting down, but I'm looking at my wall right now. I have so many rugs hung up here, I got paintings, my studio is set up. You know what I'm sayin'. I want to do it all. I want to direct as well. That's also what I had questions about. I know you recently put out two videos for "Fly"  and "Theme Music."  Like, did you write them? Was that your idea? How have those come about? So, I can never take all the credit, I can always give credit. My boys are here; they go by Outpost Village . But they're like this group of young artists in their own right. But they do videography; they also rap. So getting with them, it's like, it's very easy to work with all of them, from Roy to Steph to Arthur, like all of them  - I love those boys. But they're so creative in their own way, I could literally be like, here's a white wall, and here's the setup. And they'll have a whole idea for it, and they’ll break it down and figure out how we can make this the most interesting video as possible. I definitely co-directed on those, for sure. How'd you feel about how they came out? I love how they came out! The whole time I've been making music, these are some of the best videos I've had. I've really enjoyed them as well because, you know, it's aesthetic for me. You can tell you're an independent underground artist, right? But it's still like, but we're still gonna give our best; you know, we're still putting our best foot forward, and we're still creative with it. We're still artists, you know, we're independent. That is definitely what I've received from it, because it's like, there are people who have so many resources to be able to create what they want. And they would try to get the aesthetic that y'all were able to capture, you know, whereas, like, you didn't have to have all that. So, the "FLY" video was on the same block as Grand Ave Records .  And the reason I chose that spot was through life experience. Like just walking to Grand Ave's under that bridge, and I will, I always wanted to shoot something under there because it has a certain feel and look. I hope to never lose that because, like you say, that's not something you can just replicate by thinking something is cool. I think we're art with anything, like if you want things to have a certain aesthetic, there needs to be an intention and everything. For example, there's nothing in the book that gets mentioned, no matter how minor or major, that's in there for no reason. Every little detail, from my cat looking out the window to the color of a car passing by the main character, is going to have some significance. I wanted to attack the same way with the videos and stuff like that. That's so true. And what would you say? I know you mentioned  AKATA  was kind of just a thought that you had to attack, but with attacking that thought, like, what was your intention? With the project? I guess I wanted people to understand that part of me some more. Because to be Black in America is to be misunderstood to some degree. Living life as a black person can kind of feel like a dark comedy, you know, like it can get so bad it is almost hilarious sometimes. And I just find it interesting. And like, I would like to think like people looking back on his project and like the next 10, 15, 20, right, however long from now, can kind of pick up on some of the humor that's in there. Some of the sorrows that are in there. And like, understand this was a Black man and encapsulated in this time, you know, because we're all modern to each other right now. But, I mean, I like to think in my future tenses, like with things like that. Obsession over weird thoughts. Stuff I don't want people to forget about. Yeah. And it's like, to me, it's a very special story that you're telling, because how many stories do we have about Black men out of Phoenix? You know what I'm saying? I grew up on the West Coast as well. I'm based in Memphis right now. But I grew up in Washington State. And, yeah, as far as I know, the demographics that we both grew up around are similar. I know, there are a lot of Latino folks, a lot of Native folks, some white folks—you know what I'm saying, of course, and you know, we're a minority in a way, especially on the West Coast, I feel like, but moving down South, it's a whole different story. But I just feel like there are certain stories and influences from the West, being a Black person from the West, you know? There are certain things that other folks—other Black folk—don't necessarily understand because they are not from the same geographical region, you know. And so I think that that adds even more importance to what you're doing as well. Yeah, I think that you're putting a lot of paint where it ain't right now. That's the whole mission. Like, I say I know, I ain't the only one. So to be able to, like, give Phoenix something to be proud of, and rally around is always gonna be my goal, because, like, sometimes people do need to take a walk in my life. Because sometimes people just need a quick kick in the ass—like, hey, you're allowed to do cool shit. Just because they don't think we're necessarily cool. You could still do cool things and do it your way. Were there particular moments when making  AKATA that made you proud? Where you were like, yeah, I'm aligned, I'm on the right track, were there particular moments within creation? I think it was... actually it was "Eazy Chair (For My Elders),"  the last track on a project. And I finished that second verse just, it felt so perfect, because the last two lines on there, like fully encapsulate, not just the meaning of that song, but like, just in general, the whole... ultimately, what I was going for. I'm Black American, and I'm proud of who I am. And I love Black people worldwide. Simple as that. I like how concisely I did it. I feel like it all just came together perfectly. I am very proud of that project as a whole. I would be, too. Were there any moments that challenged where you were at with it? Just kind of like what I was talking about in the beginning, towards the end, when I was realizing that I was done. It was like a couple of weeks straight. I just kept trying to make beats and like songs sort of project, and I was like, maybe it doesn't need it . The last one I made for the project and the newest one was "SLUR,"  which is the opening track. And the whole intention was that I kind of wanted to sound like a radio freestyle and intro to some degree, like Premo made the beat or something. It's kind of sporadic and loud and has a bunch of cuts, drops, and shit. But I feel like that's America in general. It is very sporadic and chaotic and loud and shit. A mosaic of such. I like that! Okay, will you have anything else you want to add or say about your project—what you got coming next, where people can find you? Yeah, yeah. So, you know, shoutout 602, 'til I die - Phoenix stand up. AKATA, that mothafucka is out everywhere you listen to music. It might be on Hulk Share at this point, I don't know. Everyone can find me on all my social medias under OldManRa on Twitter is gonna be an underscore ( @oldman_ra ). And then on Instagram, there'll be a period ( @oldman.ra ). So, OLDMANRA. OLDMANRA. Yeah, I can't, I can't say too much. But I will say there's another HALAL BOYS  project coming very soon. It will possibly be out by the time the interview is out. But either way, I'm excited for that work. And that's the one I feel comfortable talking about. ALL PHOTOS BY EDWIN / Ninety8Views AKATA: https://linktr.ee/good_lord?lt_utm_source=lt_share_link#366094978 Black Blues Brothers: https://lordramusic.bandcamp.com/album/black-blues-brothers Kufi Conversations: https://jefesgoods.bandcamp.com/album/kufi-conversations INNERVIEW, EDITS + LAYOUT BY JAMEKA Originally aired via SWISS ARMY RADIO [04.26.2024]

WEEKLY RECOMMENDED RELEASE RADAR FOR HIP HOP / RAP MUSIC. Send an email to crownthement@gmail.com  to inquire access to 100s of releases cataloged each week (not featured on this page.)  Connect on other platforms with CROWNTHEM ENT.   https://linktr.ee/CrownThem JUNE 30TH, 2024 Welcome back! Below you'll find the final visual playlist and recommended releases for Q2 / first half of 2024. As always — WV - 040  - visual playlist that hosts 60 new music videos, cyphers ( there’s a really good one based out of Nashville ,) beating making sessions, etc. from the contemporary Hip Hop / Rap realms. FT’D: Scottie Le’Jour, Daylan Gideon x BassRob, 100GrandRoyce x Dame Grease, pat junior, WIL$ON, FORRESTT, Sham1016 x Mark Lux, Nuke Franklin, ZooDeVille, Campana x A’sean x Dave Shanae, Nick Grant, Robb Bank$, Sideshow, Stalley, LOS KEMET, Joey Fatts, Rapsody x Baby Tate, Lupe Fiasco + many others. QUARRY 001  - all the gems found while mining for contemporary Hip Hop / Rap  - a mix of 30 songs from the independent 'n underground. RECOMMENDED RELEASES: Last Laugh: The Prelude by Le$, Dj Mr Rogers | Houston, TX Strapped by UFO Fev x Fredro Starr | Harlem, NY MARY MACK by BVNGS | NY Waking Up & Choosing Violence by YUNGMORPHEUS, Alexander Spit | Los Angeles, CA Across The Tracks by Boldy James x Conductor Williams | Detroit, MI SOLACE by MARCO PLUS | Atlanta, GA Dichotomy by pHoenix Pagliacci | Toronto, ON Cyberpunk Rhapsody by Noveliss, Hir-O | Detroit, MI In Loving Memory by Don Trip x Pif | Memphis, TN Forgotten Chvpter by J. Arrr x Greeneryy | Wilson, NC 4 Different Wrays by Wray | Los Angeles, CA The Fly Griot by Slank | Louisville, KY The Sun Don’t Chill by K.J. | Atlanta, GA The Exodus by Jay Exodus | Buffalo, NY Poetry & Motion 2 by Panamera P | Chicago, IL Jacinto’s Praying Mantis by Vinnie Paz | Italy / PA Bay Bay Kids by Ricky Davaine x DXPE | Memphis,TN We Got Food At The House by Fred E.T. | Atlanta, GA VINTAGE NOSTALGIA by Malik Elijah | Boston, MA / MD SANCTIONED VOL. 1 by PRICE x Kota the Friend | Los Angeles, CA DAWG 2 by Young Flexico | Richmond, VA Saucefather 2 by Sauce Walka | Houston, TX Service Merchandise by Previous Industries | Los Angeles, CA the people we became by nobigdyl. | Mufreesboro, TN .WAV GAWD by Eyeree | Costa Mesa, CA JUNE 23RD, 2024 Back again with some new music videos and recommended projects from last week! WV - 039 , hosts 32 music videos, live performances and etc from the likes of: KANE!, Mvsua x Bluntana, Dom Mooney x Stix, Fred E.T., Big Jade, Osbe Chill, UFO Fev x Fredro Starr, MAVI, Draft Day, DaBoii, Juelz Santana x Jadakiss + more. QUARRY 001 - all the gems found while mining for contemporary Hip Hop / Rap - a mix of 30 songs from the independent 'n underground. Some of the tracks are from 2018 and some from 2 weeks ago. Most of the tracks (originally) were only found on Bandcamp or artist sites. The idea is to highlight the great music that isn't necessarily found on major streaming sites that has been in recent/current rotation. RECOMMENDED RELEASES: Stifled Creativity  by Da Beatminerz | Bushwick, NY Break The Stereo   by Muja x Dub Sonata | New York, NY Unsexy   by Michael Christmas | Boston, MA HELL OF A LIFE   by LOOK DAMIEN! | Washington D.C. Jimbo’s World  by Dun Dealy x Chef Bogey | Boston, MA Medium Raw  by Maze Overlay x Observe Since 98 | Phoenix, AZ SKIP 2 MY LOOT   by SWANKS | Tacoma, WA Diary of a Hustler  by K Carbon | Memphis, TN JUKE IV: FLU GAME  by Roy Kinsey x Theisy | Chicago, IL No Gus No Glory III  by G4 | New Orleans, LA Yellow Tape Road  by Nyck Caution | Brooklyn, NY Soul Cycle  by pushsoul | Brooklyn, NY / CA JustDueRight  by TrigNO | Columbus, OH Wolves in The Woodz  by Wulf Morpheus | Atlanta, GA montisona   by chester watson x elaquent | St. Louis, MO the PHaRoaOh’S return 2: NUBIA  by CJ Fly x NasteeLuvzYou | Brooklyn, NY Shot Clock EP  by Kail Problems x Marley B. x DJ Hoppa | Los Angeles, CA COCOTASO  by LIFEOFTHOM  x Stoic | Washington Heights, NY Beats To Skate To, Vol. 3   by Cultura | All Over The World BEGINNING OF 4EVER   by Six One Tribe | Nashville, TN Expensive Cloth  by Kaleo Jacobs | Lynn, MA ZING-DAYA  by BoriRock x Whoa1.0 | Boston, MA $ide Bet$: Play #1  by All Hail Y.T. x Swab | DE In The Field  by Pr0fit Diner0 | The Bronx, NY 100 Sources of Income   by Berner x DRODi | San Francisco, CA / Houston, TX JUNE 16TH, 2024 Better late than never! My apologies, last week was quite hectic and I had to take a little more time than usual to sit with the music. As always — WV - 038 , ft’ing Lord Ra, Ron Obasi, Jamaar Milton x Sol Messiah, AHMIR, KiiDWithTheCam x boredom., DNTWATCHTV, ZooDeVille., Coyote, Dun Dealy x Chef Bogey, Gritfall, donSMITH, Shadow The Great,  JNX, Wakai, Daniel Son x Futurewave, Michael Prince, Bishop Snow x DBOY 223, Mach-Hommy x Conductor Williams, JasonMartin x DJ Quik x Meet The Whoop s + many more! Additionally, after sifting through 120+ releases from last week I’ve highlighted 25 below. RECOMMENDED RELEASES: CHUPACABRA by DJ Quik x JasonMartin x Problem | Los Angeles, CA The Aloof Icon by SH4MEL x Cedar Law$ | MA Enigma With An Attitude by Ty Farris | Detroit, MI Off Top Volume 8 by Top Shelf Premium | NY FATHER$ FEATURES (The DAD TAPE) by Coke Bumaye | Jackson, MS Final B.O.S (The Chronicle of Lil Jimi) by Chris Crack | Chicago, IL an APPLE a day by Donte Thomas | Portland, OR Max 'Pagne Goes To New York by Reaper Mook | Long Beach, CA The Hood Meets The Ocean by Astral Trap | WA Survival à la Mode by Old Grape God | Portland, OR i think i might be happy, pt. 2 by Robb Bank$ | FL High Tides by Jordan Webb | Nashville, TN VIGNETTES VOL. 4 by Alexander Spit | Los Angeles, CA All Said And Done (A.S.A.D.) by Asad III x Burnin’ Giraph | Los Angeles, CA People Like Me by Daisha McBride | Nashville, TN Revenge of the Time by Sozi | New Orleans, LA Project Summer by Joel Q | Chicago, IL all these crying birds by deem spencer | Queens, NY F.U.N. T.O.Y. by Sideshow | Los Angeles, CA Cake EP by Jovanni | Wichita, KS MORE SUEDE (BS2.5) by IAMGAWD x Clypto | Chicago, IL More To The Story by Tennishu | Richmond, VA We’ll Be Home Soon by Dom Mooney x Stix | Dallas, TX BLACC KENZOU by Da Flyy Hooligan x Malek Winter | UK The Expanse by maticulous | NY NEWSLETTER: https://shoutout.wix.com/so/95P0ib1pA?languageTag=en JUNE 8TH, 2024 Peace ‘n welcome back! The first release week of June ‘24 was far from disappointing. WV - 037 , hosts 50 music videos from the last couple weeks – ft’ing artists from the likes of: Tully C, Blake Anthony, KeMarilyn Chanel, NFO Cyphers x Chicago, Lord Juco, O Dawg, Mark Lux, weSSmont SSkeme, Starz Coleman, Slim Guerilla, Pretty Savage, Tafia, Robb BAnk$ x SpaceGhostPurrp  + many others. ALSO… here’s a visual playlist from “A Night In The Garden”  w/ performance footage of Memphis artists Bishop Osei, Dero + DXPE . As always, here are 25 highlighted projects out of the 120+ cataloged this week. RECOMMENDED RELEASES: Let Me Talk My Sh*t Too   by Asun Eastwood x Wizdome Bunitall  | Toronto, ON Abandoned Saints  by Spanish Ran  | The Bronx, NY OVERWORKED, UNDERPAID!  by donSMITH | Harlem, NY second hand crack smoke  by Qu’ality  | New York, NY Forever On That  by Rucci  | Los Angeles, CA THE YELLOW GUARD MXNIF3ST0   by marrice anthony x Michal Blvck  | Wichita, KS Rich II  by Homeboy Sandman  | Brooklyn, NY ILL LIFE GEMS   by Smoke Bonito x Nightwalker  | Chicago, IL STOP SMOKING REGGIE.  by BlkSknn x OldMilk  | Seattle, WA Sleight of Hand  by Mondo Slade  | Cleveland, OH MINI MART   by Slick Devious  | Portland, OR Safe Travels 2  by Monroe Flow  | Atlanta, GA PARDON MY SLEEZE  by Willyynova  | Chicago, IL SHERM$MOKE  by BLOOD $MOKE BODY x SHERMAN  | Minneapolis, MN Emocean  by Jaywop  | Tacoma, WA EMPOWERTRIP   by QThree x groundskeepr  | Philadelphia, PA Nobody Planning To Leave   by Curly Castro x PremRock x Controller 7  | New York, NY Stuck In A Loop   by Dreego  | Antioch, CA RORSCHACH GRIM   by Grim Moses  | Phoenix, AZ VOICES IN MY HEAD  by Illien Rosewell  | Norfolk, VA Contracts   by Lord Khalil x SINBAD x Cudimitsu  | Long Beach, CA HOME   by Danny Ali | San Francisco, CA Diary of a Bored KiiD . by KiiD Wit The Cam x boredom.  | Atlanta, GA Open Letters  by VJ  | CA Sounds of the Ghetto 2  by Kie4real  | Oakland, CA

WEEKLY RECOMMENDED RELEASE RADAR FOR HIP HOP / RAP MUSIC. Send an email to crownthement@gmail.com to inquire access to 100s of releases cataloged each week (not featured on this page.) Connect on other platforms with CROWNTHEM ENT.  https://linktr.ee/CrownThem MAY RECOMMEND RELEASES | NEW MUSIC | NEW ALBUMS | 2024

Bbyafricka has been steadily building her sound since 2018 (and quite possibly before then too.) Her early releases like Brain Damage (2018,) laid the foundation, while projects like BIGAFRICKA (2021) showcased her unique style. In 2021, she also dropped Freak of the Nile featuring a star-studded lineup with Lil Yachty, Hook, Quadie Diesel, ZelooperZ and others. She continued to experiment in 2022 with The Art of Geekin and most recently impressed with The Rapture. Bbyafricka first caught my ear in 2021 with her project BIGAFRICKA. Tracks like “POP IT” and “FREDDY KRUGER” showcased a unique style that rewards close listening. Bbyafricka’s flow is infectious, her delivery captivating and the production on her tracks is dissimilar to anything else out there. It’s a sound that’s both challenging and strangely beautiful, setting her apart from a deluge of derivatives. The Rapture feels like the next step in her artistic journey, and I can only imagine her fanbase and reputation continuing to grow. The Rapture offers a pleasant surprise and a deeper dive into her artistry. It’s always exciting to hear women enter genres/subgenres where men have historically dominated, adding their own unique flavor – not by imitation, but by creating music steeped in their own experiences, shaped by their land, culture, and the people around them. The Rapture is a strong testament to that. Notable tracks: “Baton Rouge” “Ain’t No Hoe” “Rx” Released: January 1, 2024 Region/City: Inglewood, CA WWW.CROWNTHEMENT.COM WORDS 'N DESIGN BY JAMEKA

WEEKLY RECOMMENDED RELEASE RADAR FOR HIP HOP / RAP MUSIC. Send an email to crownthement@gmail.com to inquire access to 100s of releases cataloged each week (not featured on this page.) Connect on other platforms with CROWNTHEM ENT.  https://linktr.ee/CrownThem APRIL RECOMMEND RELEASES | NEW MUSIC | NEW ALBUMS | 2024

Let's start with this last album, Neighborhood Diamonds. I want to know what your creative process was behind this one, because it seemed like you had to up some of your skills to get this one done? BRYCE: Yeah, 100%. It actually started last year, well before quarantine hit. I was on the "Independence Tour," my self-funded tour, first tour, ever. I had a 5 city tour going on, then the final stop was supposed to be my birthday, March 13th in L.A. [That] was supposed to be that last one. That was the height of the COVID stuff, height of all the chaos/uncertainty, and that's when my show was supposed to happen. After that got cancelled, it was like a couple of weeks or so just figuring out "what is next?" I started creatively just trying to find different stuff. It started with just tuning into different Zoom lives about music business, stuff like that to just keep my brain occupied. Then, from there I kinda like for a month, I started just pickin' up a camera and kinda learning photography. For a month, just to learn it, taking different kinds of pictures and understand how the camera works, all of that stuff. From there, having that confidence to learn led to me having the confidence to learn Pro Tools. Once I got into Pro Tools, it obviously led to me recording more and just to be more creative. Express myself. After I started doing that, I had producers that were sending me beats, and honestly, that's how it all started. I took that approach, and after a couple months of me recording I was like, "okay, I'm going to make a project," Neighborhood Diamonds. I was in the process of branding that more thoroughly. I thought it was only right to call the project this. It kinda just spiraled from there. Did you take them pictures of the various people that were part of your project? (referring to his info graphics that he posted on social media.) BRYCE: No, so those pictures that you saw from that, was pictures that they already had and sent 'em to me. I posted some of the stuff earlier in the year that I took pictures of, cuz’ really I was just takin' pictures of stuff in my neighborhood, stuff in my apartment. Like nothing of any real directing just kinda learnin' how the camera works, that's really it. Tryna get the best picture. I didn't really post anything, it just helped me learn and experience how photography works. I feel that, kinda keepin' a grip of all the circuits of runnin' your own personal thing. BRYCE: It's like you said, and it was quarantine. It kinda just added another layer of independence for me. Being able to control as much of my art and the creative process as possible. That confidence from photography spilled over into the music and learnin' how to record and mix myself. So, I feel like that just gave me another level of freedom. That's dope, do you think you'll continue mixin' your stuff from here on out? BRYCE: Absolutely, absolutely. I still wanna go record with the people I normally record with because sometimes it's better to not be hands on with that part of it, just because I like to get an outside perspective. In terms of me being able to not wait for anybody, I have ideas. And knowing I can record it and if I really want to , mix it and put it out - I'mma continue to get better with that. It's everything for me. At some point, as I learn more, I want to get to [a] point where I don't gotta record with anybody. Just myself, I can do it myself. That's the goal, for real. I been thinkin' bout that a lot and what I'm doing with CROWNTHEM. I want it to be a print magazine so I'm out here tryna figure out how I can print, bind and ship it myself. And truly, that's what I wanted to talk about next - your rebrand. Watching you rebrand has been inspirational as fuck. Your rebrand started about 2017 or somethin'? BRYCE: Spot on, it was right when I moved from Oakland to L.A., 2017. What was the motivation and purpose behind your rebrand? BRYCE: It really was that moment when I took that leap of faith to move to L.A. I knew it was time for a whole transition. I kinda lived my life in a way where I broke it down by chapters and me moving to L.A. was a start to a whole new chapter. I just wanted to have a clean slate. As you noted, I was "Int'l Haysus" before I left. Then [when] I went to L.A. is when I did the rebrand of "BRYCE Savoy," my name, and who I am. I'm still growin' and learnin' myself, but that was the pinnacle of just me knowin' who I am fully and steppin' into that. That came the name change and from there it is so much easier. Previously, every year up until that point, it was always me tryin' to build this persona in a sense. You know, somethin' kinda outside of myself but it never panned out the way I wanted it to. Don't get me wrong, I had some good moments and learned a lot, but it wasn't until I went with my name that everything started to click. I found my purpose. We started "The Black Neighborhood" right around the same time. It was just a full circle moment, and I felt like the best way to kind of express that was to rebrand everything and say, "this is how I'm goin' to approach it from here on out, this is what people will know me as or know me for." So, just makin' that decision and takin' that leap of faith. It's been impressive to see, because there was a moment I couldn't find your previous music just because I couldn't remember what your name used to be. Your rebrand is strong and all the different avenues you're takin' with it; "The Black Neighborhood," "#ForeverOaklandFridays," scholarships for the students that are heading to college here soon… BRYCE: Yep, yep, so we still in the process of going into the final round here in the next few weeks, then we going to be givin' out 2 scholarships to incoming freshmen, HS seniors (now.) After putting 10,000 hours into this, I started doin' the music back in 2003. 18 years later you just learn and learn and learn, and then you finally get to a point where you figure it all out and just go from there. That's where I'm at now - knowing what I want to do, and knowing how to approach that. Really being adamant and disciplined about it. Your brand and music expresses all that for sure. It's real cool to see BRYCE. So movin' to L.A. has really helped you elevate in all those ways? BRYCE: 1000%. Just the simple fact of getting' away from my comfort zone, you know. Being from and growin' up in Oakland and The Bay Area, you can get complacent at a certain point just because your people here, you're comfortable, you know pretty much how to navigate and all these things. So, going to a place like L.A. that’s obviously a hub for entertainment allowed me to grow in a way that I wouldn't been able to if I stayed in Oakland. Just the simple fact that everybody is going out there to chase some kind of dream or whatever it is, because of that people are trying to network and connect. You may build with somebody, you might not. But the fact that you had the opportunity to do that, and everyone is just less than 1 degree of separation to getting' to where you want to be - it was just so important to me. Also, I have a lot of family out there. Like my father, he's been livin' out there for 20+ years. So, I knew even on a personal level, at some point, if I really want to grow and become that man that God created me to be, then I would have to be closer to him and move over there and spend time with him. All of those things came to me when I found my purpose, all of those things just made a lot more sense of what the next steps were to me. Bein' out there 3 years later, it's workin' out exactly how [I] envisioned it and even better. So good to hear, that's alignment bruh, for real. So, movin' out there, has your Hip Hop community changed? Are you able to connect your Hip Hop communities from Oakland to L.A.? BRYCE: Absolutely. It's grown, you know. 'Cause I'm from Oakland so there's people who is doin' the same thing I'm doin' that live in L.A. from Oakland, so I have that network. There's people from Howard, my alma mater that live out there, so I have that network. Then people I kinda knew growin' up in L.A. in the summers and for holidays with my pops, so I have people from there. Just merging all of those networks and they overlap each other, so there's synergy in that. I'm able to build all of those communities, all of those different networks into one community. That's really what it's all about for me - building community wherever I'm at. Los Angeles, 100% allows me to do that. It looks like you're trying to expand "The Black Neighborhood" to other cities too. BRYCE: That's the plan, at this point it's wherever our founding members are at. A couple of us live in The Bay Area, Los Angeles and a couple other members live in New York. It's all about trying to build a community for our people whatever city we're livin' in. I'm really tryin' to man that more and it's a little challenging, because I went out there with the intentions to just go balls to the wall with the music and I've been doin' that. So sometimes it can be hard to balance both TBN and the music, although they're intertwined in terms of community service. I'm going to do a better job this year. I have people who want to help, it's just a matter of putting everything together. I can't imagine, that's a lot of community work and individual work at the same time. Which, they do go hand in hand, but yeah it really sounds like you carrying on that Oakland tradition - really out here For The People, for real. BRYCE: For me, you can't have one without the other. I can't serve my community without the music, and I obviously can't do the music without doin' the community work. I look at it like it's what I was put on the Earth to do. Coming back and forth from Oakland to L.A. is definitely tiresome, but shit, it's what I asked for. I love it, honestly. It's been a blessing for me. Whatchu lookin' forward to in the new year? Whatchu got planned? BRYCE: For the first couple months of the year, it's just continuing to push this body of work, Neighborhood Diamonds project. Getting it in as many peoples’ ears, eyes, faces as possible. This is my first full length project. I'm just doin' all that I can to make sure I have as much content as possible. I'm gearin' up and rampin' up to be able to drop as much visual content, content in general related to the project. From there, I don't know, I have some stuff in the works related to the project, but the great thing about how my life always works creatively, is that I'll have a plan goin' into the year, but things change and I'm able to transition and pivot in real time. I'm lookin' forward to that. I'm always recordin' and workin' on things, but what is also important to me is timing and what feels right. What will happen next creatively, I have a lot of things lined up. Iit's just a matter of what makes the most sense timing wise. Well I appreciate that, because today it doesn't seem like many artists sit with just one project and get the most out of it. I'm excited to see, even just you droppin' those infographics about who was on the album - really elongating the process, again and being thorough to get the most out of it. It's very beneficial, not a lot of people are getting everything they can outta each project they drop. BRYCE: Right, and it's dope to hear you say that. And several people within the span of the last month or so have commended me on my rollout and how I go about marketing. I've always looked at myself as a major artist, you know, whatever that kinda means to you. I always studied the game and seen what they're doin' and do the same shit, honestly, but just add my own flavor or spin on it. Lookin' at these bigger artists, mainstream artists with actual major label budgets, it allows me to kind of be creative- and what that would look like for me?- that's the approach I take with everything. Okay, "what is being done, what can I do differently, and also, how can I expand on those ideas. I know everything that's going on with technology and our attention spans has shortened, and I tried to fight that for the longest, but even for myself I know how it is. It's kinda been my purpose with this project, people may have seen it for the last few months but it's about how I can recreate content, give new info, visuals, audio, whatever related to the project I know it's going to keep circling back. Continue to expand the lifespan of the project. Which could be a challenging thing, because the platforms we use need things to be succinct that it's even hard to expand sometimes. BRYCE: That’s a great point. That’s the challenge, and beauty of it -that’s what I live for. How can I say so much with saying the least amount of things. Saying less than necessary is what I love doing now. When I met you, you were working with MuzicZoo. Ever since then I don’t know what happened, you left/moved what was the transition like from there? So I left MuzicZoo because I was gettin’ into my final year of the Masters at Mills College. I just had to focus on that and working on sections of my memoir. After that I moved down to Atlanta and got tired of seeing all these journalism opportunities for different magazines and Hip Hop platforms, applying to them and not having the portfolio that matched my expertise. So, I went back to pull up my old articles from MuzicZoo and the site wasn’t there anymore. I tried reaching out to him, but I know he’s busy with his real estate business. At that point I was just like, “wow, I just need to create my own portfolio,” so I can apply to these positions that I want to be in, and that’s how I started CROWNTHEM. Down in Atlanta, unemployed as fuck, trying to figure out what to do. Really was just a twitter account. Then I came up here to Memphis and was like, “let me just try and put all this into PDF form, some type of Hip Hop directory.” I had a few people reach out to me after the last issue and ask if I would be interested in CROWNTHEM being it’s own section in a larger magazine but I’m not sure about that, I want it to be mine. I don’t mind building with people who are on my level and on a similar vision. BRYCE: I know what you’re sayin’. That goes back to the whole idea of being independent and psychology behind it. The idea of being able to take something you’ve created and make it a tangible thing that everyone can relate to or everybody can latch onto. That’s the artistic and creative freedom that we’re all striving for, whether we know it or not. So yeah, you been and it’s crazy because when I first saw, I didn’t know it was you until you DM’d me. I didn’t know who I thought it was but I was like, “oh shit, this is someone who is tapped in, because I see postin’ bout someone in Oakland, then I see you postin’ bout someone that I know from Howard and ATL, my boy Pac. [November issue front cover Pacman ADV) Ohhh, that’s how you know him? BRYCE: Yeah, we went to Howard together. Oh okay, that makes sense now. BRYCE: Yeah so when I saw that I was like shit – I feel like whoever it is, is really tapped in to these indie artists, and not the indie artist with major budgets, but indie artists really putting it in from a grassroots perspective. Those are the ones that are going to win, because it’s only a matter of time before we rise to the top. And you already will have the connection/relationship that you built with us on a ground level. I commend you on that, that’s beautiful and everything looks professional… you obviously know what you’re doing. From a pure, objective perspective, it looks great. I appreciate that for real. BRYCE: Shit, I appreciate you. I know we had to have met at least 4 years ago. Bruh, it was like 6, it was 2015 I’m pretty sure. BRYCE: Facts, it was definitely 6. And it’s funny because I’m looking at where I was as an artist 6 years ago, and I feel from that time ‘til now you saw somethin’ then I didn’t probably even see in myself. To see where we both at now, is beautiful. It’s cool as fuck. It’s kinda like full circle, it’s like a lap. BRYCE: It’s been a full lap. www.brycesavoy.com