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

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

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

2023 marked a special year for Hip Hop. Universally recognized as the 50th anniversary of this multifaceted culture, it encompassed not just a unique style of visual arts, fashion, and dance, but also one of the world's most popular music genres. It's no surprise, then, that a wide range of film and television offering were released to celebrate and capitalize on the occasion. Perhaps the strongest representation of this came in the form of documentaries, aiming to shed light on some of the culture's most influential creators. Additionally, we saw the return of one of televisions best shows, along with several compelling podcasts that explored niche corners of Hip Hop History. Here, we’ll take some time to highlight some of the best Hip Hop-based film and TV projects of 2023. FIGHT THE POWER: HOW HIP HOP CHANGED THE WORLD Chuck D of Public Enemy explores Hip Hop’s political awakening over the last 50 years. With a host of rap stars and cultural commentators, he tracks Hip Hop’s socially conscious roots. From "The Message" to "Fight The Power," examining how Hip Hop has become "the Black CNN." Chuck D kicked off 2023 with a powerful four-part documentary series aiming to provide a political history and analysis of Hip Hop’s beginnings and future trajectory. What's particularly interesting is Chuck D's focus on Hip Hop's political leanings and consciousness, present since its start in the 1970s and continuing to be a voice of protest for the marginalized during turbulent times. The series also delves into the challenges the genre faced as it became a larger cultural and commercial force. Joining Chuck D is a who’s who of Hip Hop personalities including the likes of Eminem, Ice T, Fat Joe, Sway, MC Lyte, Monie Love, Melle Mel, LL Cool J and more. DIRECTOR: Yemi Bamiro WHERE TO WATCH: PBS MAY THE LORD WATCH: THE LITTLE BROTHER STORY May the Lord Watch is the definitive story of Little Brother, the North Carolina rap group comprised of rappers Phonte, Big Pooh, and (formerly) producer 9th Wonder. The film follows the rise, breakup, and reunion of the preeminent 2000s rap group. However, the heart of the documentary lies in the evolving relationship between members Phonte and Big Pooh. This bond began at Durham's HBCU, North Carolina Central University, strained during their parallel growth in the music industry, and ultimately resolved with an enduring friendship as the two reunited to create their 2019 album, May the Lord Watch. Using archival and interview footage, Little Brother (comprising Big Pooh and Phonte, with 9th Wonder formerly a member) has assembled a work that relays the definitive version of the group’s story. Viewers gain unique insights from their humble beginnings to their rise as one of the most acclaimed and beloved groups of the early 2000s. While founding member and original producer 9th Wonder is absent from the documentary for undisclosed reasons, the true cause of the rift remains unclear. Big Pooh and Phonte suggest some factors, including inflated egos and emotional immaturity, but ultimately acknowledge that it might be a private matter. Perhaps it’s just none of our business. Despite the ambiguity, May The Lord Watch: The Little Brother Story remains an inspirational and invigorating presentation. Its release directly on the Little Brother YouTube channel perfectly aligns with these artists' self-made spirit. DIRECTOR: Holland Randolph Gallagher WHERE TO WATCH: YouTube DEAR MAMA: THE SAGA OF AFENI & TUPAC SHAKUR A deeply personal five-part series, Dear Mama, defies the conventions of traditional documentary storytelling. It shares an illuminating saga of mother and son, Afeni and Tupac Shakur. The series takes an unique approach in handling its subjects. Throughout the five parts, Allen Hughes of the Hughes Brothers tells the stories of Tupac and his mother Afeni Shakur thorugh the interviews with them, their closest friends, and family. Tupac’s story has been told so many times, it’s hard to imagine myself watching yet another thing on Tupac and learning something new. However, Dear Mama more than makes a case for itself. The best idea is to tell their stories side by side. For me, the Afeni Shakur side was incredibly powerful. It informs us about her life and provides a reference point for Tupac's character and motivations. As for the Tupac we know as a pro-Black revolutionary, that was largely influenced by his mama and the Black Power movement that surrounded them. Sadly, both Afeni and Tupac are no longer here to speak for themselves. However, we gain valuable accounts and analysis from friends, family, politicians, and artists like Shock G, Mike Tyson and Jasmine Guy. The result is a poignant and powerful series that sheds light on the lives of two people who directly and indirectly impacted so many lives to this day. This one is a must watch! DIRECTOR: Allen Hughes WHERE TO WATCH: FX Networks LADIES FIRST: A HISTORY OF WOMEN IN HIP HOP Ladies First: A Story of Women in Hip Hop is a Netflix documentary that highlights the often-overlooked contributions and challenges faced by women artist in Hip Hop. Through insightful interviews with the women themselves and incisive social commentary from industry insiders, the film provides a powerful exploration of the role and impact of women in this influential genre. Netflix delivered one of the most well-made documentary series on Hip Hop in 2023 with Ladies First: A Story Of Women In Hip Hop. This series takes us on a journey, starting with Sha-Rock, the first woman MC, and continuing all the way through to present-day stars like Rapsody, Kash Doll, and Tierra Wack. The structure is commendable, taking the time to highlight significant moments from different eras such as MC Lyte's debut as the first woman to release a full length Hip Hop album and Sista Souljah’s battle with Bill Clinton in the early 90s. While men still greatly outnumber women artists in Hip Hop, this documentary does an excellent job of reminding viewers that women have been there from the beginning, offering significant contributions to both the music and the culture that continue to this day. DIRECTORS: Hannah Beachler, Dream Hampton, Raeshem Nijhon, Giselle Bailey, Carri Twigg WHERE TO WATCH: Netflix ALL UP IN THE BIZ Celebrity interviews and rare archival footage provide valuable insight into the life and legacy of hip-hop icon Biz Markie. All Up In The Biz, the latest film from documentary specialist Sacha Jenkins (Wu Tang Clan: Of Mics And Men, Fresh Dressed,) chronicles the life and times of hip-hop legend Biz Markie, who tragically passed away in 2021 from complications related to diabetes. Through a combination of past and present interviews, photos, and his music, the film meticulously details how important Biz Markie was to the world. Rap icons like Rakim, and Big Daddy Kane appear in the film, highlighting his pivotal role in their discovery and careers. Firsthand accounts from Dapper Dan, Doug E. Fresh, DMC, and Fat Joe further paint a full picture of Biz Markie's influence and the love he inspired. The film features wraparound reenactments featuring a Crank Yankers-styles puppet of Biz Markie in a hospital during his final months. While jarring at first, these scenes eventually resonate as Sacha Jenkins brilliantly captures Biz's warmth and spirit thought this unconventional medium. These reenactments provide a few more precious moments with a remarkable man who lived a beautiful life. DIRECTORS: Sacha Jenkins WHERE TO WATCH: Showtime | Paramount+ | Amazon THE CHOICE IS YOURS A story of rapper and artist Dres, part of the iconic 90's hip hop duo Black Sheep, chronicles his amazing journey from the top of the game to facing the challenges of civilian life and pursing his last chance at creative success. This documentary traces the rise of Hip Hop duo Dres and Mista Lawnge, collectively known as Black Sheep. What makes it interesting is its focus on Dres in the present day. Despite his enduring love and respect within the industry, his creative spirit years for more. He grapples with anormal life while harboring the urge to take one last artistic shot, especially as Black Sheep has faded from the limelight. Additionally, the film explores his years-long estrangement from Mista Lawnge after a failed attempt at a third Black Sheep album. Another compelling layer comes in Dres' personal quest to seek approval from the late J Dilla's mother to utilize some of his unreleased compositions for a new album. The film's deliberate pacing, bordering on a Dres' reality show at times, allows viewers to connect with him on a more personal level. This approach makes it understandable why peers like Posdnous, Jarobi and Mareen Yancey readily share stories and shower praise on him and Black Sheep. Ultimately, The Choice Is Yours offers a heartfelt exploration of history, legacy, longevity, purpose, and aging within the world of Hip Hop. DIRECTOR: Clark Slater WHERE TO WATCH: Paramount+ CYPHER Tierra Whack rose to fame rapping on a Pennsylvania street for a YouTube channel. Years later, while documenting her astronomical rise, questions arise about who is filming whom and whether being seen is a desirable and unavoidable part of fame. Cypher is a mockumentary-style film that aims to chronicle Tierra Whack's rise while casting a cautious lens on the entertainment industry and fame itself. It’s a unique blend of traditional serious documentary and fictional, found-footage horror/suspense narrative, aiming to satirize entertainment conspiracy theorist and their claims. This experimental approach mostly works, successfully showcasing the talented Tierra Whack while creating a spooky and voyeuristic atmosphere. DIRECTOR: Chris Moukarble WHERE TO WATCH: Hulu WU-TANG: AN AMERICAN SAGA SEASON 3 Following six months after the season two finale, we find RZA and the Wu-Tang Clan settled in a New Jersey mansion, far from the streets of Staten Island. Despite their recent album's massive success, Enter The Wu-Tang (36 Chambers), they're nowhere near finished. Season 3 of Wu-Tang: An American Saga sees the clan at its peak. Their debut album is a commercial and critical triumph, and most members have secured lucrative solo deals. As a viewer, the season was bittersweet. Watching the series come to life and showcase the potential of Hip Hop-based TV was exhilarating, but knowing it's over with so much more to tell about the Wu-Tang Clan was saddening. It wasn't a perfect ending, with some allegorical episodes about solo projects being more successful than others. Ultimately, though, I believe most appreciated the creative risk regardless of the outcome. Wu-Tang: An American Saga stands as a milestone for Hip Hop in other mediums, opening the door for similar shows based on real-life Hip Hop history. A biographical series about A Tribe Called Quest or Queen Latifah would be incredible. The door is open, and I don't see it closing anytime soon. DIRECTORS: Mario Van Peebles, Nefertite Nguvu, RZA, Matthew Ross, Janice Cooke, Eif Rivera WHERE TO WATCH: Hulu RAP SH!T SEASON 2 In the second season of Rap Sh!t, Shawna, Mia, and Chastity, continue their journey toward Hip Hop success as a group. However, their rising success is threatened when situations in their personal lives, and industry pressures threaten to derail them. Rap Sh!t returned for a second season, retaining the fun, drama, and exceptional production value that captivated audiences in its first outing. Our main trio embarks on a tour, navigating industry politics, financial hardships, and personal difficulties. This season builds upon the show's foundation, deepening our connection to the characters. The series' social media-infused presentation effectively creates a setting that mirrors our own time. It offers insightful commentary on social media, mental health, relationships, business, para social relationships with celebrities, morality, and crime, making it some of the best writing currently on television. despite packing impressive depth int its 30-mnute episodes, the show never feels overwhelming. Unfortunately, HBO Max canceled the series, leaving its cliffhanger ending unresolved. While some attribute this to the SAG-AFTRA strike and lack of promotion, viewership might not have been strong enough even prior to those factors. Perhaps it didn't spark the same level of discourse as Issa Rae's other project, Insecure. Regardless of the reasons, I highly recommend watching the series despite the lack of closure, as HBO Max can still choose to the remove the episodes at any time. Overall, Rap Sh!t remains a highlight of 2023 television and represents a significant contribution to the world of Hip Hop / Rap. DIRECTORS: Ava Berkofsky, Lawrence Lamont, Ami Aniobi, Calmatic WHERE TO WATCH: Max | HBO HIP HOP TREASURES Hip Hop Treasures, a captivating documentary series hosted by LL Cool J and Ice-T, delves into the cultural phenomenon of Hip Hop. The show follows a team of field collectors and museum curators on a nationwide quest to gather artifacts for the upcoming Universal Hip Hop Museum (UHHM) in the Bronx, New York, slated to open in 2024. Limited to a single season, this series explores Hip Hop history with the goal of curating the UHHM located in its birthplace, the Bronx. Throughout the season, field curators like DJ Cipha Sounds travel the country, acquiring artifacts that will eventually be displayed in the museum. The "magic" truly happens when the curators meet the artifact owners, not only securing the items but also learning and sharing their rich histories. Witnessing Biz Markie's wife, Tara Hall, discussing her husband and revealing the rhyme book containing the iconic "Just a Friend" is heartwarming. Similarly, watching Yo Yo's charismatic persuasion in acquiring Coolio's prized lowrider bike for the museum brings a smile. The A&E-style presentation, complete with engaging editing and music between segments, evokes a feeling akin to a Hip Hop version of Pawn Stars. Overall, Hip Hop Treasures represents a valuable expansion of the types of TV content exploring Hip Hop culture. DIRECTORS: Pulse Films, Rock The Bells WHERE TO WATCH: A&E In conclusion, 2023 was a solid year but it could have been better considering it was the year where the “Hip Hop 50” branding was everywhere. Ultimately it’s up to the culture to tell it’s own stories via film and TV. Looking for corporations and media conglomerates to do it just doesn’t work because you can’t rely on consistent support unless it’s something in it for them. As far as what we can expect in 2024 it’s mostly up in the air, but there are some Hip Hop offerings to watch immediately out the gate such as Peacock’s Kings From Queens: The Run DMC Story, and Netflix’s Champion. Stay on the look out for reviews of these and any upcoming Hip Hop films and series we think are worth watching. WORDS BY MONK https://linktr.ee/monkeyblood | https://linktr.ee/2for5hiphop

WEEKLY RECOMMENDED RELEASE RADAR FOR HIP HOP / RAP MUSIC. Subscribe to the website or send an email to crownthement@gmail.com to sift through 100s of releases cataloged each week (not featured on this page.) RESEARCH CURATION 'N DESIGN BY JAMEKA

Below you’ll find a selection of hip-hop projects from the first quarter of 2023 that sparked my personal engagement with the genre on various levels. These works transcended mere enjoyment, prompting me to re-evaluate my own artistic interpretations and grapple with broader social and cultural themes. The featured projects hail from diverse geographical perspectives, encompassing the lyrical prowess of New York artists like donSMITH, Leeky Bandz, and Malz Monday, the soulful inflections of New Orleans through Ferris Blusa, Hxndrx, and Lil Iceberg, the sun-drenched realities of Californian artists Mani Draper and ICECOLDBISHOP, the smooth rhymes of Georgia's Silky Southern, and the introspective lyricism of North Carolina's Sincere Hunte. This exploration is grounded in appreciation rather than critical analysis. It acknowledges the multifaceted nature of artistic appreciation, which extends beyond the confines of verbal discourse. The projects' potency manifests not only through lyrical articulation but also through their capacity to evoke movement, inspire creative expression, and stimulate self-reflection. Ultimately, these works contribute to the ongoing cultural discourse surrounding Hip Hop / Rap, challenging the superficiality of "perceived timelines" and the rapid churn of media trends. They invite us to engage with music as a dynamic force, asking not how many "good" songs a project contains but rather how it makes us move, think, and feel. Does it trigger introspective inquiries into our own artistic practices? Does it resonate with broader societal currents? By fostering such contemplation, these projects propel us beyond the limitations of fleeting trends and engage us in a meaningful dialog with the genre itself. While the projects highlighted below represent a curated selection, the accompanying playlists, Q! - ‘23 and CROWN VIEWS 002, offer an additional comprehensive panorama of Q1's rich tapestry of Hip Hop / Rap sounds. I encourage you to delve into these playlists and discover your own sonic treasures within this ever-evolving art form. Q! - ‘23 - Spotify playlist with 140 songs highlighted from the first quarter of 2023. https://open.spotify.com/playlist/1jWt3dAnzieARRPtQbUbTy?si=d59bde0981fb4e72 CROWN VIEWS 002 - consists of about 100 music videos from the first quarter of 2023. The visual playlist is compiled of an array of videos from various artists, directors, producers, etc in different regions, sub-genres of Hip Hop / Rap. https://www.youtube.com/playlist?list=PLBYGFutPdmTkNYDWDDFDMLv8HMjybnZ3f FULL EDITORIAL: https://www.crownthement.com/post/crown-views-002 33 Mani Draper x Steven King Mani Draper's music is a constant ascent, each release building on the last while hinting at new artistic peaks. This is especially true for 33; here his mastery of wordplay seamlessly blends poetry and Hip Hop, creating a soundscape that's both introspective and infectious. 33, is a guidebook for finding balance and embracing personal growth. Motivational snippets weave through tracks, with themes of self-alignment, evolution, and appreciating one's blessings. 33 radiates positive energy and gratitude, a testament to Mani's own journey and source or inspiration for listeners. Fellow Bay Area artists C Plus and Iamsu! add their own verses to the mix, their styles effortlessly complementing Mani's flow. Track's like "WWND" and others shimmer with luxurious soul and carefully chosen lyrics. It's a celebration of hustle and independence, urging listener to chase their dreams on their own terms. 33 is a rich tapestry of love, confidence, vulnerability, and raw Hip Hop / Rap. An audio experience where introspection meets celebration, and where self-discovery guides the way. City/State: Richmond, CA Released: March 3rd, 2023 See Also: Every Blue Moon by Mani Draper x Kevin Allen, Communion: Book 2 by Mani Draper, Coordinates (Deluxe) by Brookfield Duece + Flowers by Passwurdz No More Free Game donSMITH x Leeky Bandz donSMITH and Leeky Bandz latest project, No More Free Game, is an immersive experience that transcends mere music. It's woven from lyrics, hooks, melodies, and a soundscape that makes you feel like you're privy to some of the flyest contemporary Hip Hop / Rap being made. The album's title hangs heavy in the air, prompting introspection as it intersects with the content. Interwoven clips of Meta World Peace add another layer of intrigue, his words briefly touching on various topics, creating the illusion that donSMITH and Leeky Bandz are in direct conversation with him - this metaphorical connection adds depth and complexity. Throughout, a delicate balance of energies reigns. Gratitude and bravado dance, generosity and boundaries coexist. donSMITH and Leeky Bandz' distinct vocal textures and deliveries complement each other, each adding their unique perspective to the album's overarching themes, even when their stories differ. No More Free Game is more than a collection of tracks; it's an allegorical journey, a sonic exploration of identity, growth, and intricacies of navigating the world. An album that rewards repeated listens, unveiling new layers of meaning with each spin. City/State: Harlem, NY Released: March 10th, 2023 See Also: In Loving Memory by donSMITH (2022,) The Album Of JOB (Deluxe) by Leeky Bandz + LET ME SPEAK by Leeky Bandz Keys Open Doors Keaze x World Be Free There's something special about Keaze and World Be Free's collaboration, Keys Open Doors. It's an album that lingers, drawing you back even months after your first listen. It's a conscious journey, packed with thought-provoking content and beautiful production. The intro itself, "Reintroductions" throws down the gauntlet with a powerful KRS-One clip - reminding us that knowledge comes from lived experience, not just textbooks. It's a call to action for both the artists and listeners, urging us to walk the walk before we talk to the talk. Similar gems are scattered throughout the album. On "Numbers Man," Nipsey Hussle speaks wisdom about investing and building something lasting - echoing the album's message of responsible action over fleeting materialism. Beyond these impactful interludes, Keaze and World Be Free create a rich variety of sounds and themes. Authentic lyrics tackle vital topics like community building, guiding youth, and celebrating the beauty in Blackness. Keys Open Doors resonates on multiple levels - it's a hopeful vision of unlocking possibilities with acknowledgement of the complexities of true freedom. City/State: NY Released: January 5th, 2023 See Also: From Niggas To Gods, Pt. 2 by World Be Free Look Both Ways  Malz Monday Malz Monday's music walks a familiar path - one shadowed by a melancholic haze. Not a crashing darkness rather a gentle mist born from weathered experiences. This introspective energy infuses, Look Both Ways, where Malz masterfully paints the universal struggles of the human condition. Beneath the surface of this pensive soundscape, flickers of light emerge. His lyrics visit valleys of hardship, ultimately reaching plateaus of peace and acceptance. Additionally, released January '23, the album resonated with the mood of the winter season. Look Both Ways meets listeners in the midst of reflection, amidst memories, anxieties, and desires for change. The music embraces this solemn atmosphere, while the lyrics offer solace and strength, finding the lessons and gratitude simultaneously. Look Both Ways serves as a poignant message; a call to awareness, a reminder to navigate life's challenges with caution and purpose - ultimately - to keep moving forward and embrace whatever lies ahead and beyond. City/State: Ossining, NY Released: February 20th, 2023 See Also: Where There's Smoke by Malz Monday GENERATIONAL CURSE ICECOLDBISHOP ICECOLDBISHOP's debut album, GENERATIONAL CURSE, doesn't shy away from the rawness that once defined "gangsta rap." It channels the spirit of those who laid the tracks; unapologetically presenting real-life struggles and contradictions with an aim to spark change or thought. GENERATIONAL CURSE is not a throwback; it's a contemporary evolution that infuses classic West Coast Hip Hop / Rap with ICECOLDBISHOP's own creative fire. The album pulsates with the energy of Los Angeles, both it's beauty and harsh realities. The soundscapes, lyrics, and vernacular all pay homage to the legends who came before, yet reshaped with a modern edge. Each track evokes questions and stirs emotions. Who else crafts music with such raw texture and potent velocity? GENERATIONAL CURSE is a statement, a challenge, and an example of the enduring power of West Coast Hip Hop / Rap. City/State: South Central L.A., CA Released: March 24th, 2023 City Blues Lil Iceberg City Blues grabs attention instantly with it's vibrant artwork. The colored pencil and marker scene of bustling New Orleans - two-stories, balconies, palms against the sky, gators and diamonds - is a stunning prelude to the music within... although, the true marvel of City Blues lies in Lil Iceberg's unmistakable artistic identity. His influences, namely No Limit Records, Hot Boys and New Orleans bounce, are evident but not simply mimicked. Lil Iceberg channels their energy and spirit, crafting a sound distinctly his own. He's not just influenced; he's a descendant, carrying their legacy forward with a present-day twist. The infectious beats urge you to move and get lost in the moment. And while not everyone enjoys some of the realities in raps, Lil Iceberg delivers his stories and reality in ways that are almost impossible to resist. The production plays a key role, driving the energy even higher. City Blues is a captivating journey with an infectious soundscape, distinct voice and clear connection to his musical heritage make Lil Iceberg an artist to keep your eyes - and ears - on. City/State: New Orleans, LA Released: March 24th, 2023 ROADMAN Sincere Hunte “I have found both freedom and safety in my madness; the freedom of loneliness and the safety from being understood, for those who understand us enslave something in us.” - Kahlil Gibran, The Madman Sincere Hunte reads / recites at the end of “ROCHAMBEAU” It’s an interesting album that caught my attention because there are so many aspects of it that were like charting uncharted waters. It was illuminating in the sense that it goes from an underground/punk feel that meets Hip Hop in the South to moments of dance like, “CARRIED AWAY (4U).” It works well for Sincere Hunte because the various fusion of sounds absolves any soundscape expectations. Even with, “DJ GIRL” it starts off sounding like a song that is almost a modern Beach Boys track with a feature from $avy. There’s a lot sonically to keep the listener entertained and wanting to know more about the artistry and the mind that created this body of work. FULL REVIEW City/State: NC / TN Released: February 17th, 2023 The Son's Shine Silky Southern Caught my attention initially off the album art; a young, brace-faced, 3rd eye beamin’, elated eyes, tendrils of hair falling into face and distorted trees in the background. Embodiment of a Sun ray, a son from the Sun + this is how he shines. The Son’s Shine, a somewhat alteration of Black Boy Joy. Part of the brigade of Southern acts that are highlighting / paying homage to traditional Hip Hop with sometimes an acquired evolution of seasoning. Playful delivery and production that often still align with a traditional Hip Hop influence. Feels like a sunny spring day. Pollen, bird, worms, mosquitos, humidity, tall trees. Down to Earth, vulnerable and real while still fun. It’s a good balance of content, sounds ‘n flows. Could’ve been created in some dark moments — there are places within The Son’s Shine that feel more like manifestations in order to motivate oneself to continue on their path. At the heart of it, The Son's Shine is a celebration of life that also acknowledges life's complexities. City/State: GA Released: January 9th, 2023 See Also: Strange Places by Wulf Morpheus, JOINTS by MARCO PLUS x The Smokers Club, Mr. Smo by SMO 2nd Kings Hxndrx We been blessed another day so what you conquerin’ ? / I’m out here rockin’ that’s for real, so what you rockin’ with / I’m really stylin’ in the field / Out here movin’ spiritual and confident - I wrote this for the conquerin” 2nd Kings serves as a reminder of the expression of one’s Soul and Spiritual nature that represents light and can still grab Hip Hop / Rap by the reigns. Every word is a nutrient and every song is nourishment. There’s not any bragging or making the listener feel as though they’re less than because they don’t quite have the same life, amenities and resources as the artist they’re listening to. This is for the people, the spiritually minded and guided or those who seek to be in alignment with those frequencies and vulnerabilities. FULL REVIEW City/State: New Orleans, LA Released: March 2nd, 2023 See Also: An Appointed Time by Hxndrx I Hope This Finds You Well Ferris Blusa This album found me in a time where a good group of underground and independent Hip Hop just wasn't hittin' for me like I wanted it to. Everyone was talkin' about similar things, supposedly living similar lives, having the same artwork and very similar production/soundscape. I Hope This Finds You Well, shines bright, proving that exceptional Hip Hop thrives in the South. Gone are the tired stereotypes; this album delivers raw talent and lyrical artistry without subscribing to the typical tropes of modern rap. While grounded in his New Orleans roots, I Hope This Finds You Well transcends regional boundaries. The album's strength lies is Blusa' artistry; his deliberate pace, thoughtful bar setup, and disregard for fleeting trends paint a picture of a confident artist in his own lane. Each track feels intentional, avoiding overhyped aesthetics and lyrical cliches. Raw emotion, clever wordplay and genuine storytelling are sure to resonate with those who find value in those aspects of Hip Hop / Rap. City/State: New Orleans, LA Released: March 24th, 2023 See Also: Forever Is Not For Everybody by Ferris Blusa ADDITIONAL RECS I Wish You Well by WayneFowler DOGZTON TO HOOTYORK by BoriRock Church Ain’t Safe by Shootergang Kony Flowers Before The Grave by Huey Briss x Walt Mansa Bride of Bucky by D’Barbie x E MOZZY FEAR by Swooty Mac Last Night in Houston by Wes Denzel Moonrock & Mimosas by Goldie Rebel Pain In Full by Gaine$ DIMENSIONS N DEMOS by Ron Obasi GONE 4 THE WINTER by DXPE Madden by Dan Nicholson Experienced by Regular Repty Born in it (Really) by Chippass FIVE FINGER DISCOUNT EP by Mackbo Dead Poets by Eto x Futurewave F.I.R.E. by Starz Coleman x godBLESSbeatz Tag Team Championships by Ryan Milla Family Business by Organized Krime MEDIA by LOKIHASDIED 21 Gun Salute by Lil 2 Dow In The Meantime by Will Hill WHO I AM by Wu Me Against Them by Young Drummer Boy As It Is In Heaven by FUNERAL Ant Bell x DeevoDaGenius Thug Child by Young Jr Back on Dexter: A Gangsta Grillz Mixtape by Kash Doll x DJ Drama Mourning Due by Nappy Nina LET’S DO A DRILL 2 by Asian Doll DIY by Bocha x Corey G The Price Jus Went Up by 2 Eleven FOD Presents J Money: Baby Money by J Money Even God Has A Sense Of Humor by Maxo Flygirl Era by Kemarilyn Chanel DNT TALE by DNTWATCHTV Abolished Uncertainties by Jae Skeese Ways of Knowing by Navy Blue x Budgie FREE FOOD PROGRAM by AJ McQueen Evolution Of Existence: Love & Power by Brandon Isaac Bear Vs Pitbulls by Starz Coleman FOR ACCESS TO ALL RELEASES FROM QUARTER 1 - 2023 email: crownthement@gmail.com WORDS CURATION 'N DESIGN BY JAMEKA S/O ALL THE ARTISTS WHO MADE THE LIST, DIDN'T MAKE THE LIST, ETC, THANK YOU FOR BEING COURAGEIOUS WITH YOUR HE(ART.)

PHOTOS BY ABRANISAACC There's a war going on outside, no man is safe from. You can run but you can't hide forever. In these streets that we done took. - Prodigy, Survival Of The Fittest Over the past several years, underground hip-hop's cultural stage has been hijacked by a new brand of emcees and producers reminiscent of the sounds of Mobb Deep's mid to late nineties run. Concentrated within up-state New York, in large part thanks to Buffalo's Griselda roster, this new rap renaissance has not only transformed the underground scene but has made a significant dent in the mainstream hip-hop circuits as well. Of the many hundreds of emcees who have stepped inside this stylistic endeavour, I argue that Griselda-affiliate Elcamino is not only the purest manifestation of the renaissance in question but is arguably one of the greatest rappers of all time. 'Me and my brother man? We like that street shit. We come from that Mobb Deep shit.' - King Ralph [brother of Elcamino.] Word choice is perhaps the most undervalued asset to a rapper’s arsenal. Unlike speed, charisma, subject matter, rhyme scheme, or flow, all of which introduce themselves as visible and tangible components - capable of measuring a rapper's skillset, word choice is often a less flashy - often invisible power that an emcee can draw from. Prodigy and Havoc, the duo that comprised Mobb Deep, are certainly not known for their technical prowess, their speed in delivery, or even subject matter that spoke to contemporary issues of the day. Despite this, emcees like Prodigy are still labelled as some of the greatest rappers of all time, and to those whom the emcee resonated with most, Prodigy is often considered the perfect rapper. I think many people who consider themselves fans of Mobb Deep, would be hard pressed to codify what exactly made them great. My argument is word choice. Word choice is not synonymous with a large vocabulary. Quite the opposite. Sometimes less is more. Furthermore, the ability to be direct and communicate meaning with one swipe, is often more appreciated than communication which requires work deciphering the text on behalf of the audience. Great screenwriters are often very good at this skill. Martin Scorsese and Nicholas Pileggi who wrote Goodfellas together, had the ability to paint a vivid and believable picture of New York City crime life with simple, yet punching word choice. When a gangster spoke, the words that came out of their mouth, despite how menacing they may be on paper, were delivered as a veiled threat. The audience understood that the reality was far grimmer and bleaker than what the screen had told them. Film critic Roger Ebert wrote for the Chicago Sun-Times the following after seeing Goodfellas for the first time: 'The screenplay by Pileggi and Scorsese distills those memories into a fiction that sometimes plays like a documentary, that contains so much information and feeling about the Mafia that finally it creates the same claustrophobic feeling Hill's wife talks about: The feeling that the mob world is the real world.' This is the power of word choice. It's the power of good writing. Not in flashy writing, but in powerful writing. When Mobb Deep released The Infamous in 1995 on Loud Records, the feeling was the same. You believed their existence. The apocalyptic landscape that the two emcees painted for Queensbridge New York, felt like a movie. There was a war going on outside, and you were knee deep in the trenches for 66 minutes. When Prodigy spits 'you can put your whole army, against my team and... I guarantee you it will be your very last time breathing.' You not only believe him, but part of you understands that the severity of his message is veiled by a particular humility that comes from respect and confidence. Elcamino is cut from this same cloth. Though he has shown he is capable of flaunting more technically savvy ideas, the emcee has willingly sacrificed these elements to deliver on word choice, potency and above all, mood. As when word choice is at its best, mood becomes the by-product. On the song, "Camino Season," the emcee describes expanding his turf by claiming nonchalantly, "I kidnapped your earth." On the song "Field Trips," he raps "these ni**as brought a knife to a gun fight." A simple reflection on a common refrain that tells you all you need to know about the circumstance being detailed. These hard and poetic descriptions are common-place among Camino's writing. The words he uses matter. His word choice is where he excels, much like Mobb Deep before him. Labeled as some 'laid back, don't fuck with me rap,' by Dead End Hip-Hop's Kinge, Camino carries forward the styles of Mobb Deep to tell an ever-so-slightly different story. Unlike Prodigy and Havoc who told the story of Queensbridge crime life, Camino speaks on Buffalo's crime life to much the same effect. However, although stylistic similarities exist, the differences are important. From an outsider, Buffalo feels less apocalyptic and more desolate. Empty, broken promises, far removed, yet still experiencing the same struggles that New York City in the 1990s felt. In an interview with Toronto's Daniel Son, he recollected experiencing up-state New York in the 2010s, and how it resembled the stories he had heard of New York City in the 1990s. 'When you go do shows up there? It's a whole different type of new energy. When you go to those shows you're gonna see more guns than you ever seen in your life. I guarantee it. Just inside the little club or the little bar that you're in. Shit is grimy out there. Shit is not lovely out there. When I hear OGs talk about the stories from the 90s and how the shows were in the 90s? How it was grimy? Early 2000s? And how shit got soft? And now shit is getting back to that grimy shit. When I go to Buffalo, when I go to Rochester, I come back and tell these stories; like 'Yo, this guy was holding me down in the bathroom. I thought he was going to rob me. Next thing I know he's a big fan but he got those big fucking guns sticking out. Shit is real out there. That's the real proving grounds.' Street rap in Buffalo is therefore capable of tapping into the same mood, the same energy, and the same power that 90s New York street rap had. And although the city communicates these experiences through a number of different (and well-varied) perspectives, Elcamino, with his commitment and focus, is perhaps the closest hip-hop has gotten to Mobb Deep's iconic and signature aesthetic. Although the Mobb Deep comparisons are truthfully appropriate, it's unfair to Camino to solely rely on these comparisons when attempting to communicate his greatness. What Camino has done, is far more unique than other adopters of the style have managed to pull off. Unlike Mobb Deep, Camino has the ability to harmonize his mean-mugged thuggish persona seamlessly into songs and deliver a more soulful interpretation of street life than Mobb Deep was ever able to do. His ability to sing, and sing well, is an underappreciated element of the rapper's toolkit, but has largely made Camino into what he is today. Some of Camino's best work, songs like "Goon Ballad," "James Brown" and "Soul Brother" come to mind as particular exercises in this craft - that stand out as some of my favourites among his catalog. Most of the time, however, Camino blends his verses with these more melodic and harmonized hooks within one song. A track like "Hustle Like Me" produced by 38 Spesh, is an exemplary track; lasting just two minutes and twenty-seven seconds, where Camino ties the knot on his verse by singing lines like: I break it down fast and I'm back on the ave. You ain't fucking with me ni**a. You got a little trap but it don't get no cash. I'm always out first and I take it in last. You don't hustle like me ni**a.' I never go back, so I keep me a bag. Cause I ain't ever have all the shit that I have. You ain't struggle like me ni**a.' There was a certain feeling the listener got when they heard Nate Dogg harmonize and sing lines that felt like they had no business coming out of a soul singers’ mouth. Unlike singers before him, Nate Dogg would sing with the vocabulary of a gangster rapper and make the sentences sound even harder than they could have in verse. Camino, in many ways, is an extension of this same train of thought. Yet instead of occupying the persona of a west-coast, low-riding, gang banger, Camino authentically portrays that of an east coast street hustler - who has seen the glory, as well as the destruction that the lifestyle causes and is here to report back on his life's findings. The mix between the Prodigy-esque rap verses, and the east coast thuggish Nate Dogg-like hooks, makes Camino one of the most interesting and promising rappers to date. The last aspect to appreciate, is something that the new renaissance movement has capitalized on increasingly well. Unlike rappers of the past, who would drop an album once every year, maybe once every two years, today's modern underground rapper seemingly lives in the studio. Elcamino, since 2017, has dropped over twenty projects to his name. This does not include previous work with his group "Local Residents" or solo work put out under the name "Meechy Elcamino" before his style was truly defined. These twenty-plus projects are near perfect. Camino's production choices are absolutely stellar, with full albums produced from greats such as 38 Spesh, Camoflauge Monk, DJ Shay, Bozack Morris, TrickyTrippz, Oh Jay and more. Due to his ability to sing and craft fitting hooks, his feature discography is also outstanding, often contributing hooks to hip-hop giants such as Benny the Butcher, Conway the Machine, Grafh, Flee Lord, 38 Spesh, and plenty others. Camino not only stands amongst the best in terms of style and musical excellence, but his production choice, his consistency, and the sheer magnitude of his catalog must be recognized and appreciated. Unlike Mobb Deep who performed at their peak for three full albums in the 1990s, Camino has delivered that quality for over twenty projects; all of which have been released on vinyl, and have been given the proper album treatment. These are not throwaways, and these are not loosies left to be forgotten. Although Elcamino has released projects under a myriad of labels in the past, including Air Vinyl, GoodFelons, Duape!, Tuff Kong Records, GGBR, Griselda and De Rap Winkel, the emcee is continuing to elevate his status in the game. In August of 2022, Elcamino was handed his chains from Benny the Butcher on stage as he was inducted into Benny's Black Soprano Family. Although he has held close ties and affiliation with Griselda in the past, and his debut Elcamino 1 was released on Griselda Records, this will be the first time that Camino finds himself at home in a group / roster like setting. The upcoming Black Soprano Family album, Long Live DJ Shay will feature verses from Camino throughout and is expected to be released September 9 of 2022. Don't let Camino fool you. He's one of the smartest people - young people - I know. He knows how to play the drums. He can sing. Like he can SING! He could be an R&B singer. He's just talented. Do not sleep on Elcamino. He's going to be a star. A huge star. That's my ni**a. - Lucky Seven [Drumwork] In light of the new project from Black Soprano Family, and as a companion to this piece, I have included below a curated selection of songs from Elcamino's discography. Although his library is vast and well worth a full deep dive, this will hopefully prove to be a catching gateway into the emcee's music. CREDITS Photos by abranisaacc https://www.instagram.com/abranisaacc/ Prodigy. "Survival of the Fittest." Off of Mobb Deep's The Infamous. Loud Records. 1995 https://www.youtube.com/watch?v=hIq4UTgqDAc King Ralph. 'The Renaissance Show.' Season 1, Episode 1. Interview by Alex Kuchma. https://www.youtube.com/watch?v=4lgOFnNg9Zk& Roger Ebert. Review of Goodfellas. September 2 1990. https://www.rogerebert.com/reviews/goodfellas-1990 Camino has showcased technical ability on several songs. 'Buffalo's Finest' and 'On Fire' are two good examples. Elcamino. "Camino Season." From Sacred Psalms by Elcamino and 38 Spesh. 2020. https://elcaminoairvinyls.bandcamp.com/ Elcamino. "Field Trips." From Stashbox Chronicles by DJ Nugz. 2019. https://djnugz.bandcamp.com/album/stashbox-chronicles Kenneth B Kinge, 'Elcamino & 38 Spesh - Martyr's Prayer' on the Dead End Hip-Hop Podcast Network. Released May 2021. https://open.spotify.com/episode/1VjSXOuN5mZJSDfHyKWeaT?si=1bcf2383318948a1 Daniel Son, interview with Alex Kuchma for The Underground Vault. 2019. https://www.youtube.com/watch?v=bkOJ-2bcqc8 Lucky Seven. 'The Renaissance Show: Season 1, Episode 4.' Interview with Alex Kuchma. Released October 16 2021. https://www.youtube.com/watch?v=_ahXM4jGlmw&

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. CREDS #1 - https://www.instagram.com/p/CXCgWl4MmtV/ #2 - Starz & G4 Jag by Lex https://www.instagram.com/p/CYF3tKesRfC/ #3 - Lord Mobb by New Vegas Films or Dough Networkz (?) https://www.instagram.com/p/CYA89sjOHd-/ #4 Starz & BadLungz https://www.instagram.com/p/Cbkds5BL99V/

The rap collective plays an important role in the landscape of modern underground hip-hop. With Griselda at the top; families across the nation have spawned to add fuel to the fire that the Buffalo giants ignited. In today's climate, belonging to a well-respected collective, carries weight. The identity adds legitimacy and confidence for the unfamiliar rap head. Much like the best crews in the genre's history; these collectives have sustained quality control. In the past, crews such as DITC or Cella Dwellaz have occupied a space in hip-hop closely tied to the streets. Although acts like Fat Joe or Big L received some mainstream attention at various points in their career, the brand that they stood for remained strictly underground and strictly for the heads. In much the same way, are the stories that follow. This article will highlight the stories of three important collectives in the scene. The Umbrella, Da Cloth and Brown Bag Money. Understanding these stories will provide a foundation for understanding how modern underground hip-hop operates as a whole. Although there are plenty of crews not represented in this piece, the three covered have certainly maintained prime real estate in the weekly release schedule for the past several years. Following each story, is a curated playlist which will serve as an entry point into the artists covered. A special thank you to those who agreed to be interviewed for this piece, including Pro Dillinger, Allah Preme, Substance810, Rigz, M.A.V., as well as both Daniel Son and Asun Eastwood who shared their stories last year during an interview for a separate article. The Umbrella: One of the more unique collectives in the modern era is that of The Umbrella. Appearing in circles as a masterly curated supergroup of buzzing emcees and producers; the crew's ethos and structure is not alike anything else we have in the contemporary rap space. Now consisting of ten emcees, and an onslaught of producers - The Umbrella's origins date back four years ago with online conversations between New York's Pro Dillinger and Snotty Dinero. Pro Dillinger: I didn't really have an idea that the underground was going through a resurgence in a sense. I didn't know. But I knew there was something happening there. So, I kind of just started deep diving. I was getting in - trying to find the producers - following the people that were in the comments that looked like they were doing something - following other rappers and stuff like that. And in doing my research, leading up to my first underground release - I encountered Snotty under a comment. What caught my attention initially was his name. Like 'that's a dope fucking name... like 'snotty.' It made me want to see who the fuck this dude was. Right? So, I checked his profile and saw he's a rapper. I clicked the link on his bio and that was it. I was amazed. He had just came out of jail and he released 'Columbian Snow Talk' and I was really into the project. Frequent conversations between Dillinger and Snotty quickly materialized into something greater than the sum of their parts. Out of an apparent necessity for resources, spawned the idea of a common collective. One that could lower budgets - and surround the two artists with likeminded talent - who could push - inspire - and motivate. Pro Dillinger: [Snotty and I] were going to go at it - try to find our way in the underground, just me and him. But we had no resources. We were both still getting beats from YouTube and shit like that and the few people we did know. Cause Snotty was making his own artwork, I'm buying artwork from people - and we're getting beats from other people we don't even know. One night we were having a conversation. Regular shit. Me and Snotty would call each other every night and just chop it up. Like plan and plot and shit. And one day I said to him 'Wouldn't it be dope if we didn't need to reach out to anyone? If we had all of our shit in house? and he was like 'Yeah.' And I said to him 'Like under the same umbrella.' And he was like 'Yo cuzz, that's it! The Umbrella!' In a conversation with Umbrella member Allah Preme, he noted the origins and claimed that it was the 'Gunbrella' symbol that the crew had adopted that gave The Umbrella an identity within hip-hop conversations. Allah Preme: The Umbrella is founded by Snotty and Pro Dillinger. They had created the Umbrella as a way for us to have resources. So, we would have producers under The Umbrella, graphic artists, other rappers, so that we wouldn't have to reach out for no features for nobody. We just wanted to create a network of resources that everyone could have at their disposal. That's what The Umbrella really was. It wasn't no rap group. It wasn't even a collective yet. It was just a band of dudes who came together and pooled their resources together. As time start going along - we start acquiring new members and the Gunbrella Symbol was made. And this is what changed it. Cause now this was a symbol that everyone could identify. Like 'Oh that's them dudes These guys run together!' And the people kind of made The Umbrella what it is now. We really didn't see it like this in the beginning. The people made it this. Today, The Umbrella goes strong. In 2020, Insomniac Magazine wrote that The Umbrella is the "ultimate collective of MCs, producers, and artists set to dominate the Hip Hop scene." That statement, today, holds true. With emcees Pro Dillinger, Josiah The Gift, Mickey Diamond, Snotty, Substance810, Jay Royale, Allah Preme, Big Trip, John Creasy and Mvck Nyce; the crew has established a discography totaling well over 100 releases. Each gaining traction in the underground hip-hop landscape. In May, the collective reached new heights. Despite geographic separation within their roster; the crew held their first live performance as a single identity at Chelsea Music Hall in New York City. The show, hosted by ID Rich and Shaolin Luciano was an opportunity for artists to collaborate, build rapport, and break bread. Speaking of the event, Umbrella emcee Substance810 claimed: Substance810: The comradery was off the charts. It was dope. Meeting everybody in person. It really felt natural. It's not every time that you meet people that you've never met before and it feels natural and organic from the jump. And it just felt that way from everyone - that is as far as the people I hadn't met prior. It was just a dope ass night. We had only agreed that we were going to do it like a month before the show. We put it all together and it was successful. [...] It was just a fire ass night. I know in my mind it was just the one to kick it off. We have so much more coming it's going to be crazy. Pro Dillinger: We got to meet each other. Live in the flesh. Stay at each others houses, host each other, shit like that. That was - for me - the best part - having the whole Umbrella in my driveway bro. Drinking beers, cracking jokes, smoking weed. It's like when you go to a BBQ or a family reunion and see all your cousins. Like you didn't miss anything - you didn't skip a beat. That's how I felt. It was good to just see all of the guys just kick it. And when we got to the show, it was amazing. There was a moment where I was standing there with my wife and we're just talking, socializing with people, and I look down the block towards the venue and the whole block is filled up with just people. It's just mad people catching a vibe, enjoying the vibe. I was like 'Holy shit, I can't believe we did this.' The event was live, energetic, and triumphant. Despite the show being cut short during Pro Dillinger's final set, he took it to the streets, and rocked for fans outside of the venue for an impromptu performance that Substance recalled as 'legendary'. This was hip-hop in its most raw and primal state, and the fans took notice. Pro Dillinger remembers: Pro Dillinger: I feel like that was - not only an important moment for The Umbrella, that was just an important moment in our space of artistry. I feel like that was something that needed to happen for a number of reasons. I feel like the way it came together - was so last minute - that it's amazing that we were able to produce a product of that quality in that short span of time. There was some hiccups, and there were some things that could have went a little better but at the end of the day - it was a moment. I know it definitely was a good moment for me. As even though my set got cut short, I was able to recover and capture another moment after the show. I really experienced something special with the people who came to support us. It was good for everyone involved. What's next for The Umbrella? With an ever-impressive list of releases out in 2022, the collective has been actively discussing the potential of an Umbrella crew album. Despite no release date in mind, everyone seemingly agrees; it's going to happen. Roadblocks in the way are contained only to the logistics of constructing a project with over a dozen individuals. Allah Preme: When it comes to the Umbrella collective. Me personally, I've put out two compilations; I put out one called 'Govament Cheeze,' and I put out another one called 'Stealth Assassins.' Where I kind of just put out my favourite tracks from everyone and put them on. As far as The Umbrella collective album, yes. The Umbrella collective album is going to happen. It's talked about all the time. More than people know. It's just we are trying to really establish the work that we've been doing - and establishing ourselves so that when the time does come, first and foremost everyone is ready. And it's hard. We are a big crew. It's not that no one wants to do it, the challenge is just getting this many people on the same page. Pro Dillinger: We talk about it all the time man. My biggest thing, and everyone else's biggest thing is... we don't want to rush it. We don't want to make it to the point where we're offering our supporters false hope. Like 'The Umbrella album is getting this close to getting done...blah blah blah' you know what I'm saying? Then on top of that; we don't want to record it through emails. We want to all be in the same spot recording it. It has to happen organically, or it's just not going to happen. At some point - we're going to have an Umbrella album. But we don't want to rush it. We don't want to cheat the people. We don't want to give the people just a compilation album. As we could have easily done that. We all have songs together. So, we could just take a bunch of songs that we have together and slap them together on one project and give them that, but it wouldn't be the sauce, you know what I'm saying? It would just be something to pacify. And that's not what I want to do. I don't want to pacify anybody. Fuck that. I want all my guys in a lab. We got to lock in for five to seven days. Nobody go to work. Nobody call their girl. We just gotta work. That's how I envision The Umbrella album. Nothing forced. Put a beat on. Whoever gets on this beat gets on this beat. Whoever doesn't, get on the next one. Shit like that man. No distractions, just come in here and do business. Over the years, The Umbrella has formed a singular identity in the underground. What once began as an opportunity to pool resources, has turned into one of the most respected names in the scene; commanding respect for all that carry the name. If you're new to The Umbrella, there's no bad place to start. That said, below is a playlist crafted from joints within the collective. If you care about underground rap, and find yourself unfamiliar with the brand, then listen intently. Da Cloth: A favourite among heads of the underground; Da Cloth has put their stamp on the landscape over the last handful of years. Consistently providing us with a cohesive array of mood setting albums - their quality control and production choices are something to be marveled. Consisting of emcees; M.A.V. (Maverick Montana), Rigz, Mooch, iLLanoise, Times Change, Symph and Rob Gates - Da Cloth have cemented their legacy in the scene. Unlike The Umbrella, Da Cloth's regional identity is important. Hailing from Rochester, New York, the crew has painted a portrait of the city that has defined the region's identity within the culture. The origins of Da Cloth date back to 2012. While Rigz and M.A.V. have familial ties, the two were well acquainted with the others who all occupied spaces within the local Rochester music scene. Originally consisting of M.A.V., Rigz, iLLanoise and Symph, the collective bonded over shared principles and a vision for each other's craft. M.A.V.: We started doing some music together. That was me, Rigz, Symph and iLLanoise. We started featuring each other on each other’s music and one day after some thought had been put into it, it was like 'Listen, we can really make some noise together. Like everyone's going to continue to make some noise by themselves, that's a given. For the most part, that's something we have all continued to do. But together, I feel like we can be a force to be reckoned with. And I'm not even sure who truly initiated that conversation, but I know that was the root of it. We're pretty tough individually, but together this could really turn into something. At that time there were only four of us. Rigz: The vision was always the same from my perspective. I can't really speak for everybody else but as far as my vantage point? I always seen our collective strength, but it started with our individual strength. What I see in Gates is different from what I see in MAV. What I see in Mooch is different from what I see in Times. So forth and so on. So collectively when I bring that vision together, we all are different, but we all stand for integrity. Like different things outside of the music? We felt wasn't relevant. And when it comes to the artistic side? I felt like our creativity, the way we flow, the way we approach a beat? It's just something fresh and something that isn't really out. So, my vision has always been the same with Da Cloth as far as just getting it out there to the point where it can be acknowledged, and hopefully it can influence something else to continue on and push it forward. The first addition to Da Cloth came quickly after its formation. By early 2013, Times Change had been added to the roster. As a battle emcee in the area, Times had begun a working relationship with M.A.V. after appearing on an early tape titled Angels and Demons. After impressing the rest of the crew, it became a no brainer to syndicate his talents with the group. Rigz: He was brought in, honestly off the strength of M.A.V. - M.A.V. put him on the map as far as me. I was aware of him as he was in the battle circuit, and he was cooking dudes here, but I hadn't really heard any projects from him per say. But M.A.V. had him featured on one of his tapes. I think it was called 'Angels and Demons.' The original one before he did the ones with Hobgoblin, he did one way back. But he featured him on there and I was like 'who the fuck is this?' The way he was showing up on the records was like toe to toe with us. It was a no brainer for me once he brought it to the table. Like yeah, we should fuck with him. His caliber as far as his pen game is ridiculous. And when I met him as a person we gelled. So that's how that happened. But M.A.V. was definitely the one that brought him to my attention. Everyone else in the crew already knew of him. 2014 saw two new members added to Da Cloth. This would be the last alteration of the roster, permanently solidifying the core talent of the crew. Childhood friend of Rigz; Mooch was added to the crew at this time along with Rob Gates. In Rigz' view, this made sense; as Mooch was always present in the conversation, despite not formally being inducted into the collective. Gates on the other hand - was inducted due to his skillsets as an emcee and the fact that his authenticity resembled that of the other members. Rigz: Mooch was always in but he was in off the strength of me. Because I was working with him prior to anyone else. So regardless if he was pulled in or not, he was involved as he was involved with me. So it would have been like a Method Man and Redman thing if he didn't get pulled in. Like he's always going to get standing because of me - period. But the original four was me, iLLanoise, Symph and M.A.V. Then the next was Times. Times was the fifth member. Then Mooch and Gates came in at the exact same time. But like I said, I had been working with Mooch the whole time. Rigz: When I heard Gates, I became a fan of Gates instantly. Because the authenticity on the record, his energy, then who he was... he's the epitome of a diamond in the rough. You know what I mean? He was a star as soon as I seen him. When we met, we had a lot of the same characteristics that we get from the pavement. Everything else was just solid after that. Despite much of their early catalog being unavailable online, the sonic template that the emcees adopted was very much akin to their current sound. Blessed with production from the likes of Eto, and other Rochester natives; Da Cloth's sound is distinct. Eerie and chilling hip-hop with hard drums and potent lyrics that reek of authenticity and street realism. When it comes to the space they occupy in the underground scene, Da Cloth makes some of the most cinematically grimy records out. M.A.V.: Listen, the sound that we do now, is still of the same cloth as 2011-2012. That sound has been part of the Rochester sound for lord knows how long. It's just based on the producers that we used. A lot of other artists started using those producers after hearing what we were doing with them. Those would be guys like Truth the Producer, Fifth, Eto. Eto has been making beats - and Truth and Fifth, those guys have been making beats for eons. I'm talking about early 2000s. Maybe even sooner when it comes to Eto. But even the sound that you hear Eto doing? That's been the sounds for a long time. Like before you heard Beat Butcher anywhere else, you heard him on Eto's music. That sound is like probably more Rochester than anywhere else. Rigz: [The sound] was extremely similar. It just evolved as the producers that we worked with evolved. Everything we stood for evolved. Life evolved. It just grew. But we dropped stuff from 2012-2013-2014. I think 2011 was the earliest. But none of that stuff is on the internet. We're probably going to do some re-releases next year. Just to give a history background of the stuff we did prior. But it's always been the same. Just evolved. In recent years, Da Cloth have grown to new heights; actively collaborating with some of the most sought-after artists in the scene. 2019 saw the first of the Big Ghost Ltd collaborations as Rigz and Mooch teamed up with the Japanese producer to release their album The Only Way Out which got a vinyl pressing through De Rap Winkel. In 2020, Rob Gates and M.A.V. dropped The Dark Side of Nature also entirely produced by Big Ghost. Rigz, earlier this year took a step even further with the record Gold, a record produced by the legendary Soul Assassin himself DJ Muggs. Toronto producer Futurewave, whom has worked with the likes of Rome Streetz, Boldy James and others has also laced Da Cloth with excellence, producing full length projects for both Mooch as well as Rigz respectively. These production credits have not only won over fans, but have proven to elevate Da Cloth to the pillars of culture; with many of their solo projects actively engaging the rap community upon their release. At this point, their legacy is cemented. To date; Da Cloth has released a handful of crew albums. These include their 2015 debut with the XXL inspired Salute the Few, 2017's Broad Day Kidnaps, the DJ Kay Slay hosted Fixtape in 2018, and the follow up joint Da Fixtape in 2020. In 2022, they are hard working on a new joint effort which is bound to drop by the years end. Speaking with Rigz and M.A.V., the two noted not only that the project is near completion, but hinted at a producer list chalked full of Rochester talent. Rigz: It's 98% done. It's called Cloth New York. And it'll definitely be out this year. The tape is basically us putting our flag in the dirt a little deeper. It's us representing our part of New York. It's going to be nice. It's going to be fun. I'm not going to sit here and say 'Yeah it's the best! It's all that!' I'm not here to do that. I want ya'll to hear it and give ya'll opinion. But I’m certain ya'll are gonna enjoy it. It's fun. Just a good joint. M.A.V.: The artwork is being created as you speak. That's a project that's been in the works probably immediately after the first one. Immediately after 'Da Fixtape.' It's sounding good. I actually listened to some of it a couple of weeks back. It's sounding good. We're just trying to make sure that the art work is what it needs to be. And it's definitely a scale up from what 'Da Fixtape' was. And I truly truly enjoy my contributions and hearing what some of my brothers did when it came to 'Da Fixtape.' So yeah, we got one brewing for you guys already. M.A.V.: If you pay attention to the very first 'Fixtape.' On the 'Fixtape' we kept everything predominantly Rochester. So, I know we got some heavy production from Chupra on there. I know there's some Fifth production on there. I think we actually went outside of Rochester for some production on it as well. Cause some production on it for me - listening to it - from the control room - I'm familiar with the production but I can't quite put my finger on - like who could this be? A lot of times I'm listening to that project, and when we're getting ready to go into post-production mode - I just close my eyes and listen so I don't really have any distractions. But we definitely have a heavy element of Rochester production on there. Maybe some Riley Dennis on there. There may even be some Eto on there. I'm really really not positive. Stay tuned for the upcoming joint record from Da Cloth. In the meantime, like the others on this list; take a few out of your day to bump a playlist made for those who slept on the crew. Da Cloth has become a powerhouse. They have some of the most unique voices in the underground scene and are certainly worthy of your attention. Brown Bag Money (BBM): Like Da Cloth has done for Rochester, Brown Bag Money has very much defined what Toronto hip-hop has become over the past several years. Beginning as a high school click in the early 2010s, BBM has experienced multiple iterations of its roster since the inception. However, at present, BBM contains some of Toronto's most sought after and skilled emcees and producers, including; Daniel Son, Futurewave, Asun Eastwood, Saipher Soze, Family Gang Black (formerly Black Nazi) and Snackz. In its earliest days, BBM was founded by Daniel Son and friends as a way to identify themselves as they hustled within the parameters of the city. Though Daniel Son was already involved in writing music, the crew and the name had little to no association with hip-hop music. Speaking with Daniel Son, he noted: Daniel Son: I started that shit back in the days. Me and my friends all had Blackberries. We're all doing our thing. Hustling. Getting our little money. And we would always type through BBM. I just flipped it' like Brown Bag Money. Cause that's what we were doing at the time. Hustling. So, I started that back in the days. It wasn't even some rap shit. Just me and my friends doing our little shit, getting our little money. By 2013, things had changed. Though still fronted by Daniel Son, BBM had a real solidified roster, and had already begun crafting music as a unit. In April of that year, the mixtape Grand Theft Audio 1 was released via DatPiff. Surprisingly obscured to this day, the tape was a glimpse at what BBM had to offer, and an early look at Daniel Son as an emcee. A look at the credits on DatPiff reveals a nearly completely different roster from that of what we know now, including: C Will, Skuddy Rankz, Juvey Don, IC Cash (Cory Cash), as well as the only consistent member in that of Daniel Son. Over time, the roster took on alterations. As others began to shift their priorities away from rapping, Daniel Son kept the brand and continued to add members who stylistically complimented the sounds that the emcee was already curating. Fans of Daniel Son may recognize The Rumbar. Often referenced in his lyrics, The Rumbar was a basement apartment that became the catalyst for many relationships to form in the Toronto hip-hop scene. Not only was the location a breeding ground for community bonding, but it was the spot where multiple early BBM related projects were recorded and produced. Daniel Son: So my dude Blizz. He's on a couple joints. He's on Remo [Gaggi]. He's on 'Divizion Rivals' as well. He had a spot. I rented a room there. It had all the studio equipment - cause he's a big reggae artist. He's got joints with Sizzla, a big reggae artist out of Canada. He went to Jamaica for a month, he's like 'Yo, I'm going to need you to learn all the recording equipment." I mean I've been recording my own shit for how long? Right? I just wasn't familiar with the program Logic. He's like 'I'm going to need you to learn this for when I get back so you can record me." So in that month that he was in Jamaica? We pretty much recorded 'Divizion Rivals,' we pretty much recorded that. I was just learning and working on his setup. And that shit became 'The Rumbar.' I don't know if you ever heard me mention The Rumbar in any of my tracks. But yeah, that was like the hangout spot. Finn and Blizz were friends since they were little kids. It was just a big coincidence. I moved over there, and everybody that was hanging out over there was like an older generation of people I already knew. So I was hanging around Soze, and Soze's older cousin Crisco was hanging around those guys. So, it all just came full circle. I moved in there, recorded so much music. 'Divizion Rivals.' 'Gunner's Tape.' 'Remo Gaggi.' 'Moonshine Mix 1.' 'Moonshine Mix 2.' I think 'Moonshine Mix 2' was the last project I recorded there before I moved out. But yeah, I was there for like five years just living in The Rumbar man. Crazy place. A lot of people in the basement smoking. Listening to reggae. Drinking rum. I'm trying to record, my dude Blizz is over there cutting hair. Sometimes you'd have like 20 people there waiting for haircuts and I'm in the corner recording. I have to tell people 'Yo yo my friends, please keep it down I gotta do these records and shit.' And then they'd be like 'oh I didn't even know you rapped.' So, I would play them the joints, they would fuck with them so it was cool. It was like a whole little community down there. How many times me and Finn recorded in The Rumbar till like 3-4 in the morning? Just me and Finn. Everyone else has gone to sleep. Me and Finn are just down there just recording. The fucking water heater would turn on. We'd have to wait 30 minutes for the water heater to turn off and start recording again. I knew Finn before then but that's when me and Finn really started linking, was in The Rumbar. Ironically the day that I moved in - there was a raptors game too. So, Finn was talking up to The Rumbar as I was moving in. Literally I saw him the first day I moved in there. Yeah man, history ever since. These sessions at The Rumbar were monumental in the development of the Brown Bag Money collective identity. By the time Daniel Son left the complex, a new roster was in full effect. By 2018, Futurewave had replaced Giallo Point as the go-to producer for the crew's art and had even become a legitimate part of the BBM team. Asun Eastwood, who had been steadily building a discography in the Toronto scene, also had become a full-fledged member that year. More importantly, it was Asun Eastwood who brought in the remaining members of the crew with past relationships with both Black Nazi (now Family Gang Black) as well as Snackz. In an interview with Asun Eastwood, he recalled his early connections with Daniel Son as follows: Asun Eastwood: So, when I saw Daniel Son... I ended up seeing someone with a cover that had like the CN Tower. I was like 'What? There's another Canadian?' I thought I was the only Canadian dude in this realm. So, I was like 'What the fuck? Who's this?' And Instagram and social media allows you to go and research. Easily. That's how the FBI be fucking us up anyway [laughs]. So might as well get real FBIish with this shit and see who these people are. So, I saw Daniel Son and I hit him up. 'Yo you're dope. You’re around the way and you do this?' then he told me his age. I'm like 'Yo you're real young and you're into this?' Then I started seeing that he's been on shit. Like he's been really doing this since 2012-13 something like that. And I was like 'Yo, you've really been there for this new era.' Like he had a joint on the new Eto shit and I liked Eto. Like 'this guys really in it.' So I just asked him; 'Let me get a feature!' That was the Nimbus joint. And from there, when it came out, I was like 'Yo, let me come check you.' And I had to pull up in my Jag, at that time I was pushing a Jag, and he was like 'Yo, what the fuck, who are you?' and I was like 'Who are you?' and it was just natural from that point. We started going to studios and linking up. And we're from the same spot. A lot of the energy was the same. We're degenerate. We like getting fucked up. Drinking. Talking shit. He introduced me to the Soze's. He introduced me to the Finn's. I brought Black [Nazi] and Snackz into the fold here. And other than just production - I knew some people out here. So, we're just joining up and kicking it. That turns into music, and it just became something. We started making projects. His name was buzzing after 'Remo Gaggi' with Giallo Point. That buzz, they were calling for him in the States. They were calling him in New York and New Jersey to do shows. I'm one of the guys who can travel, and he's like 'I'd love for you to come with me and get some stage time at the same time.' But it was for him. It was his show. He's buzzing. So, I'm just going for the ride but I am getting to see what this really is. Meeting Crimeapple early. Meeting Al.Divino early. Meeting Estee Nack early. We're shaking hands. Everyone. All the guys you see right there? We pretty much shook hands with all of them. Today, the members of BBM have all left their mark. Daniel Son has appeared on projects from 38 Spesh, Rome Streetz, Estee Nack, Buckwild, Al.Divino, Flee Lord, and plenty of others. Futurewave, the in-house BBM producer has produced full length joints for Rome Streetz, Mooch, Rigz, Al.Divino, Boldy James and a healthy cast of Canadian acts as well. Asun Eastwood, has material with Benny the Butcher and Conway the Machine, and Saipher Soze and Snackz are not too far behind. Though the crew has seemingly no immediate plans for a collective album, any look at the rosters discography will discover an ample amount of collaborations within the team. Interestingly, the original roster for BBM has not been forgotten. According to Daniel Son last year, a follow up to 2013's Grand Theft Audio is in the works; sporting the original cast of characters from that project. Daniel Son: But the original BBM was me, Skuddy Rankz. Cory Cash and my dude Juvey Don. And now I’m back working with those guys. We go to the studio every Friday. So, there's going to be like an original BBM member tape coming out soon. My dude Study Ranks? He's the nastiest out of everybody. Out of all the sick artists I know? This guy is the nastiest. He was always the nastiest. Since we were like 16. He's one of those dudes, just an example of cats that could be like the illest rappers but don't really rap. I have to be like 'Bro, we're going to the studio on Friday. Make sure you write something every day of the week.' and now he knows. He has the potential. There's nobody seeing him. I'm just trying to push that. Cause he deserves it. People are going to wild out once they hear that. Though the lead-up to Grand Theft Audio has yet to be released, fans ought to be excited for the prospects of the project. Brown Bag Money, today, has secured itself in the canons of Canadian hip-hop history. They have broken the mold, have become accepted by their New York peers, and have created some of the most authentic and vivid street rap to be released from the skrewface capital of the world. As with the others, I encourage a listen to the playlist below and for the hip-hop connoisseur to take the time out to familiarize yourself with the crew in question. Colombian Snow Talk by Snotty : https://therealsnotty.bandcamp.com/album/colombian-snow-talk Govament Cheeze by Allah Preme : https://allahpreme.bandcamp.com/album/allah-preme-presents-govament-cheeze "Stealth Assassins Compilation" by Allah Preme : https://allahpreme.bandcamp.com/album/stealth-assassins-compilation Da Fixtape by Da Cloth : https://www.youtube.com/watch?v=C0Da4WCKNmw God's Work by iLLanoise : https://illanoisemusic.bandcamp.com/album/gods-work Angelz & Demonz by M.A.V. : https://mavmusic3.bandcamp.com/album/angelz-and-demonz The Dark Side of Nature by M.A.V. x Rob Gates : https://bigghostlimited.bandcamp.com/album/the-dark-side-of-nature The Only Way Out by Rigz x Mooch : https://bigghostlimited.bandcamp.com/album/the-only-way-out Gold by Rigz x DJ Muggs : https://www.youtube.com/watch?v=I-T5_5ub09U Salute The Few by Da Cloth : https://www.youtube.com/watch?v=VUnSrsP0xqQ Broad Day Kidnaps by Da Cloth : https://nineorbetta.com/album/971751/broad-day-kidnaps The Fixtape by Da Cloth x DJ Kay Slay : https://www.datpiff.com/Da-Cloth-Presents-The-Fixtape-mixtape.785797.html Grand Theft Audio 1 by Brown Bag Money : https://www.datpiff.com/BROWN-BAG-MONEY-Grand-Theft-Audio-1-mixtape.473136.html Divizion Rivals by Daniel Son x Saipher Soze : https://www.datpiff.com/Saipher-Soze-Divizion-Rivals-mixtape.820617.html "Party Time" by Blizz ft. Sizzla : https://www.youtube.com/watch?v=VaBio-Am97M Moonshine Mix by Daniel Son : https://brownbagmoney.bandcamp.com/album/moonshine-mix Nimbus by Asun Eastwood : https://asuneastwood.bandcamp.com/album/nimbus

Toronto Hip-Hop: An Extension of Up-State New York Figure 1 L-R: Daniel Son, 6th Letter Futurewave, Daniel Son, Asun Eastwood, Lord Juco, Raz Fresco, Finn, DNTE, Falcon Outlaw, Sibbs Roc, Bozack Morris, Saipher Soze, Vic Grimes... If you have been tapped into the underground hip-hop release radar over the past few years; it's likely you are familiar with these names. Hailing from the city of Toronto, this cast of characters has contributed to the soundscapes of up-state New York's triumphing hip-hop enterprise in recent years. What's more impressive, is that unbeknownst to many, Toronto has finally achieved a long-lasting goal; for its artists to be recognized on an equal playing field with New York artists and be respected by hip-hop culture at large - detached from their Canadian identity. Contextualizing Toronto's Hip-Hop Community in Relation to New York: Ever since the inception of hip-hop in Toronto, the city has actively fought for acceptance in New York. Perhaps the earliest example of success in this regard is KRS One's introductory co-sign to Michie Mee and L.A. Luv's Elements of Style in 1987; a record which sported the instrumental pallet of the Boogie Down Production's own Scott La Rock,. Boogie Down Productions is proud to introduce Canada's greatest musically inclined - future rap representative of the rap industry on a whole. A major breakthrough for female emcees everywhere. Her name; Michie Mee. This is BDP reporting live from Canada! - KRS One, Elements of Style. Figure 2: Michie Mee & LA Luv - Elements of Style 12" In the 1990s, this effort for acceptance continued its prominence. Artists such as Citizen Kane, Da Grassroots, Da Circle, Crooks of the Round Table, Mathematik, Frankenstein, and others clearly embodied New York's signature boom-bap aesthetic and trips to the Big Apple were frequently made to seek record deals and career opportunities. The talents of these artists were undeniable. Arguably some of the best hip-hop to come out of the mid 90s featured Toronto emcees and producers. However, this fact was rarely known outside of the city of Toronto, the artist community, and the odd devoted hip-hop head that pursued independent music on a global front. Rarely were these Canadian artists successful in obtaining US-based record deals, or US-based collaborations. Even more rare, were instances of American artists paying Canadian talent for collaborations on their records. In the 2000s, though the efforts largely remained the same, the results did begin to change. Artists such as Kardinall Offishall - who began rapping in the 1990s, saw some commercial success and appeared on albums from Tony Touch, Clipse, DJ Green Lantern, Akon, among others. To a lesser extent, emcees such as K-Os, Belly (Ottawa), Saukrates and Choclair shared a similar fate; however, these artists acted as one-offs, and never allowed Toronto as a community to fully escape the trappings of a Canadian identity. The most successful Canadian rapper of all time; Drake, too has played his part in this story; transforming Toronto as a landmark within hip-hop's discourse but failing to create a meaningful path for other Toronto emcees to follow. His OVO movement is notable, as is his impact on many Toronto-based artists who have embraced Drake's signature musical aesthetics - however the fact remains that Toronto has not been accepted as equal to New York in any meaningful measure. Griselda, Up-State New York, and a new hip-hop renaissance: It's safe to say that readers will be familiar with Griselda's impact on the culture. Since 2015, the Flygod and extended family have been dominating underground hip-hop's weekly release schedule and have since changed the direction of the scene both sonically, as well incorporating business innovations largely non-existent pre-Griselda. Upon Griselda's 2018 signing with Shady Records, this reality was only exacerbated. Figure 3 Griselda. L-R: Benny the Butcher, Westside Gunn, Conway the Machine Griselda's rise saw many hip-hop acts within the up-state area come out of the woodworks and receive prominent fandom as well as financial security with their art. From 38 Spesh’s TRUST label, to Rochester’s Da Cloth, to Lord Mobb's; Eto and G4Jag, among others; these artists have thrived in the scene that Griselda has pushed and helped popularize. Despite the due-focus on up-state New York, the sounds of Griselda have far surpassed this geographic region. Artists such as Red Lotus Klan's SCVTTERBRVIN from the West Coast, New York City's Flee Lord, New Orlean's Jameel Na'im X, and a plethora of overseas producers such as Superior (Germany), Giallo Point (Britain) and Big Ghost LTD (Japan), all exist within the same sonic bubble and owe - at least some of their success - to Griselda's imprint. As previously mentioned, the impact of Griselda has amounted to more than simple stylistic innovations that have permeated throughout the scene. With Westside Gunn's heavy reliance on hype-beast culture and his insistence on treating physical product (both in the form of merch and physical media) as collectible art-pieces - the way of playing the game has drastically altered from the previous generation. By producing small runs - with the guarantee of selling out - Griselda has single handily made the purchase of a cassette, or vinyl record an investment with a near guarantee of market inflation if the consumer is lucky enough to secure an order before the inevitable sell-out. As the artists grow in popularity, these runs become larger and larger, while continuing to produce less than the market demands. The latest installment of Westside Gunn's Hitler Wears Hermes series (#8 Side B) was released earlier in 2022 with over 5,000 copies pressed, priced on average at over 100 dollars per unit, and sold out in under five minutes. This sort of dominance has created an atmosphere where Conway can confidently - and truthfully - claim, "I do your streaming numbers with the vinyl and the CD." Though others in the scene lack the demand that Griselda has curated, this model of high-priced, ultra-limited vinyl, has proven to work for others that fall into the same sonic template that Griselda has developed. For fans of Griselda's sound, participating in this subcultural economy is exciting and worthwhile - even if the products are not exclusively derived from Griselda's main roster. Those who associate with Griselda either through mutual connections - geographic proximity - or sonic template - have been able to follow Griselda's business models with similar - yet scaled down - success. The Modern Toronto Connection: Although Toronto is not the only Canadian city contributing sounds to this movement - it is by far the most dominant Canadian city on the scene. An artist such as Nicholas Craven in Montreal - may be arguably more prominent with production credits for Mach Hommy, Tha God Fahim, Your Old Droog, Ransom, among others - but he has unfortunately been the sole representative for his city within this new rap renaissance. Toronto on the other hand has - in a few short years - curated a scene of rappers, producers, and DJs so synonymous with Griselda's sound that the city has arguably become an extension of the up-state New York region. It makes sense. Toronto - a mere two-hour drive from Buffalo, is the closest metropolis city to the Griselda capital; with New York City being more than three times the distance away. Those that occupy the Niagara region such as G4 Jag and Jamal Gasol, are in fact even closer to the screwface capital. So how has Toronto broken from its past to be accepted as peers south of the border? It's pretty simple; it's Griselda. This is my opinion on the hustler mindset. Seeing early - [Griselda] dropping - and they weren't big yet - they'd drop 1000 [units] and they're selling out right away. Like that's not enough? So now, this genre also creates a lot of music. One project a year? That's nothing. You can't do that in our genre. Now you look at Griselda and it's like 'oh shit, these guys are collecting that bag.' And that math isn't hard to do, that there's money to be made. - Asun Eastwood, interview with author. It is important to recognize the diversity of Toronto's hip-hop scene; and the varying origin stories that occupy the community. Some artists, such as DNTE and Bozack Morris, have been long standing members of the Toronto hip-hop community - with DNTE (previously known as Al Sham) dropping his Street Visions album in 1999 with his partner KP, and Bozack Morris occupying Toronto's airwaves as a DJ for multiple decades. Raz Fresco, a younger cat on the scene, had signed a deal with New York's Duck Down Records in 2014 and appeared on Buckshot's Backpack Travels that same year. Daniel Son; arguably one of the most prominent in the scene today; began rapping in 2015 with his Brown Bag Money (BBM) click and quickly began collaborating and building relationships with artists such as Rome Streetz, Estee Nack, Al.Divino, among others. The Belizean born Asun Eastwood immigrated to Canada at a young age and began his run of releases in 2017 with projects such as Nimbus and Hollywood Briggs. And Lord Juco has occupied a distinct market with his soccer-themed run of projects with Californian Cousin Feo as the duo Death at the Derby. Despite this complexity, there is most certainly a strengthened community of hip-hop artists within Toronto. Nearly all these artists actively collaborate with one another - and have combined their skillsets to help one another grow and succeed in this hip-hop environment. This has become more evident with labels such as Gold Era which house a large collective of Toronto producers such as Sibbs Roc, Finn and Slang Hughes. A brief look at their webstore will see full album collaborations with Daniel Son, Asun Eastwood, Family Gang Black, Saipher Soze, Lord Juco as well as a plethora of peers originating from the United States. Figure 4: L-R: Finn, Futurewave, Sibbs Roc The collaborations with their United States brethren are important. Unlike previous generations of Toronto emcees, that found it difficult to seek mutual respect with their New York counterparts - this new community is often inseparable from upstate New York. Not only do you see New York artists featured on their track listings (a feat that remains achievable by simply buying guest verses from well-respected rappers), but credible New York artists as well as overseas producers will actively feature Toronto artists within their own creations. Daniel Son for example has been featured on 38 Spesh's 1994, Rome Streetz Street Pharmacy, Estee Nack and Superiors' BALADAS, Buckwild's Music is My Religion, Al.Divino's SUNRAW, and Flee Lord's Lucky 13 just to name a few. Futurewave; one of the scenes most active producers; has full length projects with a variety of well-respected heavyweights in the up-state New York community; including Mooch, Rigz, Rome Streetz, Al.Divino as well as the most recently released MR.TEN08 with Griselda's own Boldy James. This embracement of Toronto's hip-hop community is a new phenomenon. Sure, artists like Drake have achieved one-off success in mainstream hip-hop circuits, but Toronto's hip-hop scene as a whole has never been able to compete on equal footing within hip-hop culture until now. In addition to the artist support, fans have likewise embraced Toronto's talent in a major way. Through the adoption of Griselda's hype-beast model of merchandising, the Toronto hip-hop community has succeeded to ride the wave of Griselda's extended family. One look at Futurewave's WAV.GOD storefront will cement this reality. Futurewave's last major output with Rome Streetz Razors' Edge had multiple variants of vinyl, totalling over 1,000 units produced (between both the WAV.GOD online store as well as the German vinyl distributor Vinyl Digital), and sold out within a 24-hour period. These pieces of wax were priced between 60 to 150 dollars per unit, creating significant financial incentive for each album release. Perhaps the most interesting decision made by this artist community lies within their own constructed identity. Unlike generations that came before them, or the Canadian hip-hop community at large - the artists mentioned in this article rarely portray a distinctly Canadian identity. The themes in their music are generalized, rarely devoting song topics to Canadian topics of interest. Their social media bio's rarely mention Canada. Stylistically - although original - do mimic that of a New York sound. And they refrain from collaborating with those who do hold more transparent Canadian identities. In my encounters with hip-hop heads - often fans of these artists will be oblivious to the fact that they reside in Toronto, mistakenly believing that artists such as Daniel Son or Lord Juco are from New York. This dynamic has separated the scene in question from the Canadian hip-hop community more broadly. Canada has had a rich history of hip-hop with labels such as Battle Axe Records, URBNET, Hand'Solo Records, Peanuts and Corn, Side Road Records, Clothes Horse Records, etc. however these artists have acted as family and kin to one another and portray clearly and distinct Canadian identities. There is simply no mistaking an artist such as Moka Only's nationality. In an interview I conducted with Bozack Morris he claimed: Hip-hop is like this high school shit where people sit at the table and if you're not at the table - you might go to the same school - but if you're not at the same table - people don't acknowledge it. I think that's just what it is. It sucks because I know all those dudes. I know all the people that are in this kind of "Canadian-Toronto" ecosystem and I have seen how much they embrace each other. I don't really care to sit at their table. I just want to make the music that I make. [...] It's funny how when people talk about "Who's from Toronto?" they don't mention anyone in our scene. The quote on quote "Toronto" hip-hop, they aren't mentioning us. They aren't mentioning Daniel Son or Futurewave, and those motherfuckers are putting up numbers. They are eating off this shit more than a lot of these other motherfuckers that ARE getting the props. - Bozack Morris, interview with author. Figure 5: L-R: Lord Juco, Futurewave, Daniel Son Conclusion: Toronto is at a unique place in its own history regarding hip-hop culture. For the first time, Toronto hip-hop artists have successfully blended in with a dominant hip-hop culture. These are not one-off cases such as Drake, or the occasional appearance of Kardinall Offishall on a top 40 billboard hit. This is an onslaught of artists who have commanded respect and received it from hip-hop at large. They do not prioritize their region when forming their identity, and they represent a sound that is becoming more and more associated with upstate New York. I argue that the scene comprised of Buffalo, Rochester, and Niagara Falls, must also include Toronto as an active participant in the scenes sound and success in recent years. About The Author: Alex Kuchma is an award-winning oral historian focused on the history of hip-hop in Canada. With over ten years of experience as a music journalist, Kuchma has conducted nearly a thousand interviews with hip-hop artists and members of the broader hip-hop community. In 2021, Kuchma authored the dissertation 'It's Underground Shit Fool!': The DIY Ethos of the Vancouver Island Hip-Hop Community, 1980-2000. The dissertation examined the creative and innovative techniques that the hip-hop community on Vancouver Island practiced and how the community created a distinctly unique experience for which artists could thrive. His current work through the Faculty of Graduate Studies at York University examines Toronto's hip-hop community throughout the years and the social capital that individuals of the Toronto hip-hop community have garnered with New York state hip-hop scenes. Kuchma is currently working on a general audience book which will use oral histories to convey the story of Canada's participation in hip-hop culture. https://linktr.ee/AlexKuchma Photo Credits: Fig. 1: Daniel Son x 6th Letter photo by Lucas Espinola (https://www.instagram.com/lucas_espinola/) Fig. 2: Michie Mee x L.A. Luv (https://www.discogs.com/release/463959-Michie-Mee-and-L-A-Luv-Elements-Of-Style) Fig. 3: Benny The Butcher x Westside Gunn x Conway The Machine (Robert LeBlanc) Fig. 4: Finn x Futurewave x Sibbs Roc (https://www.instagram.com/p/CTushDyl6Fl/?utm_source=ig_web_copy_link) Fig. 5: Lord Juco x Futurewave x Daniel Son (https://www.instagram.com/p/CQ6xPyrrJYk/)

Dew, stained into the very infrastructure of the concrete pipelines. Lines that paint the city a web. Lines that however neutral, organise the inhabitants above. The underground becomes the heartland of the city. The grime, the hustle, the hardened shell - originates beneath the city streets. The subways not only move the people but encourage those people to participate in the city itself. For the homeless, the underground is shelter. As metaphor, the underground remains home to even more. Black markets, organized crime and subculture all root their identities in this imagined space. For most of the world, the underground represents death and decay. In the urban reality, the underground facilitates life, but of a variety not far removed from the cemetery's grim. For hip-hop, this underground has always been home. As the divisions between hip hop's corporate and the culture's grass roots grew - the very aura of hip-hop was dug deeper and deeper beneath the concrete slabs that made it. Before hip-hop had an identifiable 'underground,' the culture itself understood that it was this environment that spoke to them - over that of the sunlight above. When we started seeing the recordings, a lot of us in the Zulu Nation stayed away from that at first because people thought once it got into vinyl it was going to kill the culture. - Afrika Bambaataa. In Flemingdon Park, Toronto - these imaginations were realized. Although hardly a unique story, by the late 1980s, Flemingdon Park (or Flemmo as it is commonly referred) had incorporated hip-hop into its literal underground terrain. With underground pathways connecting building complex to building complex, through underground parking, and nearby subway routes - Flemmo had an underground that the youth felt particularly fashionable, alluring, and more importantly; hip-hop. There's no better example of this than the Loxy. The name given to an underground storage room for the duration of one summer, sometime near the turn of the decade - when hip-hop turned from Public Enemy to The Wu-Tang Clan and when African Medallions were being traded in for martial arts VHS tapes. The sheer obscurity of the space demands a sense of allurement - of myth. 'It was Johnny B's step-mother,' Chris Jackson remembers. She was the one who owned the joint. Deep in the basement of a Flemmo apartment complex was a regular storage room. However, to kids with access, this was an imagined hip-hop playground. A meeting spot for heads - a privatized community hub that catered to the hip-hop tradition. Furthermore, this was a space that felt, despite the opposing legalities, owned and operated by the hip-hop community - their own space, with their own name and identity attached to it. To many, this is just what kids do. But if we wish to understand how hip-hop was engaged, then we must admit, that we are speaking of the activities of the youth. 'They were the older kids,' Jackson remembers of Johnny B and his friends. They would bring boom boxes, cassette tapes of their favourite albums, food and drinks - all the ingredients for a good night. For Jackson and his friends; Fathead and Headquarters, they had an invite. The Loxy was basically an interpretation of what we thought New York hip-hop was, and what we wanted Flemingdon and Toronto hip-hop to be. [...] It was like a half door, so you had to scrouch down to get in. I was only there twice. But it was something that some of the older guys [would occupy]. We were all part of the hip hop scene in the city. In Flemmo. We had rap crews, and dance crews, and DJs. The older guys turned that room into The Loxy. They turned it into a space where they would just go hang out, play music, do some freestyle sessions. - Chris Jackson. Far too often a history is drawn from memories. Capstones of success within the timeline of a particular person, region, or industry are isolated and used exclusively to formulate a history. Yet remembering a highlight reel chooses to forget the mundane. The day to day lives that make a culture what it is. Hip-hop was, and still is, a youth movement. Although there's value in a macroscopic viewing of the culture, moments like the Loxy represent much of what hip-hop had been made of. Kids being kids; engaging in the culture that they love in the most authentic ways that they know how. The Loxy was shut down by the end of a summer. Johnny's step-mom discovered the enterprise and the operation was put to a halt. But Chris and his friends, Fathead and Headquarters, they continued. I'm sure in some capacity, so did the older kids that frequented the space. They found new ways to incorporate hip-hop into their lives. New spaces to occupy to build community, friendships, and art. For them, the Loxy was just a moment. For everyone else, it was forgotten. Underground subcultures, particularly of the New Yorkian variety, often take this shape. Hip-Hop, the Beats, the Fairies of Chauncey's 'Gay New York' - articulations of underground, sometimes literal, sometimes figurative, but always tinted with the identity of the culture itself. For the Loxy, this literal underground was not vandalized into a hip-hop aesthetic, but for the hours of the night that it was the Loxy, it was hip-hop through and through. From the music, to the clothing, to the dialect and to the mood - it was hip-hop. We don't want no trouble we just came to hang. Maybe sip a little something and shoot the breeze. Some of us high on life, others use the trees. No bloods no Crips, no guns no clips. Just a bunch of fellas running off at the lips. Cause hanging with your friends be the thing to do. Let me see if I can explain my gang to you. - Masta Ace, Me and My Gang https://alexkuchma.com/