"I'm the kind of man who likes to know who's loopin, these beats, Bambi." This is exactly what listeners want to know. Just who is making these crazy beats? The culprit would be DJ Noname.. Who in only a short time has become one of my favorite producers and has been on a crazy run dropping EPs with the top tier artists in the town. He's become what some would call an album crate archeologists how he is able to dig through samples uncovering masterpieces that are so soulful and so filling .He made 'Snackin With Flavor' that proved his culinary skills to whip up one of the best projects of the year. I say one of the best because his EPs appear multiple times for this category of musical bliss. This time is no different, as he drops an EP with Bambi titled "Your Money's No Good Here".
Starting off with Track 2. Corner Cafe, right out the gate Bambi blacks out. It's bar after bar that hits you, leaving no time for your mind to recover. "B got the juice, niggas barely got the broth." This is just one example of why people call her Bambi Bars. Corner Cafe truly showcases her mastery of lyrical skill and her versatility as she jumps from flow to flow effortlessly. What I like most about this track is how she shows her femininity but on the same track is able to get aggressive. It's a reason why people call her Queen B. The queen spits from her thrown looking down on all the peasants. The queen ends the track so playful, like she this was just the warm up. Damn this was just her warm up. A queen shows her superior again as this track was recorded in just one take, on her her first try.
1,2,3,4. 1,2,3,4. Some would think this is the count for track 2 called Samba. But for those who have heard it know that this is how Bambi lines up targets as she kills each topic. She shows that she has a well cultured flow that dances around the beat. Speaking of beat, the beat is so somber that it leaves room for Bambi to use her voice as a drum that percusses after each bar. Some would say this is the technical structure of Samba which is "polyrhythmic". I called it Bambi Bars!
Queen B threw me for a curve ball because the title lends me to think that this is going to be ultra braggadocio high tempo Bambi, But surprisingly it's a more layed back and chill. It's as if the royal Italian silk robe hugs her curbs as the crown sits comfortable. She lounge's on the track being fed grapes and being fanned by half-clothed men. But don't get it twisted, she still is spittin', "Journey can be a struggle and no one drew a map for me .X's on the spot of invisible ink."
"Feeling like I hit the lotto and still clocked in".
How do you end an album with a Queen MC? You use a sample from another queen. The last track IJWYTKHIF samples Patti Labelle's "Love, Need And Want You", which is a fitting way for Bambi to express herself on this last track. Of which she doesn't waste any time letting you know. Bar after bar she starts with the word "Feelin". while giving examples how this feels more like a carefree feeling which is accented with the beat. The beat feels so West Coast influenced, it stands out in that way as possibly a single. But still enjoyable none the less.
If I had to give my feeling about this project, it's the drink before you go home. A short escape to your favorite bar that has beautiful women dancing, and the drinks flowing. Would the World's Most Interesting Man be there? Probably not. But if Bambi is on the stage spittin you'll stay for longer than that first drink. Don't be surprised if the bartender tells you, "YOUR MONEY'S GOOD HERE!".
In 2020 there has not been much to celebrate. That would be a lie. You alive. It's not quite YOLO. But it is live life to the fullest. One of the best things that has come out of 2020 was my interview with The Juice Radio Show. It's a local radio show in Tulsa that is apart of the Bobby Eaton radio broadcast. What's so great about it is that it's totally grassroots. OR out the mud. No waiting for major sponsors. No waiting for big radio studios. Just the DIY spirit and the support of the TOWN. That's what makes it so special. So when I got the call about Tulsa Lines doing an interview. I jumped at the opportunity to be apart of the show and see it's greatness up close and in person.
Listen to the interview below:
Also here's the YouTube version.
Thanks again to The Juice Radio Show for the opportunity. It was amazing to see the next generation of artists and media in their element. It kind of let me know that Tulsa will be OK. Make sure to listen to the Juice Radio Show every Thursday.
To watch the full episode go to:
Also make sure to follow them on Instagram: @thejuiceradioshowtulsa
In Hip-Hop the main topic that comes up is haters. Rappers glorify the hate. Because if you don't have haters, then you aren't successful. Look at artists like 50 Cent and Tekashi 6ix9ine who built whole careers off hate and trolling. You gotta admit that hate sells. Ask 50 Cent who again profited off hate by selling "G-U-Not" shirts because he saw an opportunity to capitalize off hate. But when did I become a hater? I would say the exact moment is when I saw a post on the ï»¿@Fireinlittleafricaï»¿ page.
But what was so special about this post? Well in particular it put front and center the fact that I wasn't invited. It made it clear that their was no spot for Tulsa Lines. Those seats were reserved for major publications and journalists from Complex, TheSource, and DJ Booth.
For those who aren't familiar with the Fire in Little Africa project, it was this collaborative effort to bring the best artists in the state together to create a legendary project. If you've ever saw the Revenge of The Dreamers 3 Documentary, than it's that, plus a 100 years of pain from a city all bottled into one project. So yea this was major. For me in particular, it was about the artists that I've interviewed, or wrote about. or posted on social media, who are now getting their just due. But I wasn't invited to the celebration. Tulsa Lines wasn't there.
So how the bleep... did I not get invited? How did I not get to witness history? My mind immediately had two options. Play the cool route and support. OR Go against the project publicly. I guess you can imagine which route I took. But I still remember some of those early conversations. Conversations about Tulsa Lines needing to state it's argument for deserving a seat at the table. My pride said look at my track record. What more is it to prove? The answer was a lot more. The real answer was Tulsa Lines hasn't proved shit. And that's the truth.
But who's fault is that? Is it mine for not fighting to be apart of history? Or is it Fire in Little Africa's for not seeing the value in having local press there?
"You either die a hero, or you live long enough to see yourself become the villain." These words sum up Bash The Rappa's career. At his highest of highs, he was the underdog on the come up from a town that supported him and peers that both admired and envied him. But what happens when you start winning too much? America loves underdogs and they love a winner, but what America doesn't like is someone who wins too much. America doesn't like to see David turn into Goliath. That's when you become the villain. And for Bash The Rappa the price of his success was his transition from the hometown hero to now the villain. But how did he become the villain? This is a question Bash The Rappa sets out to explore in his new video "Letter To The Town".
"All that fake support,
This song is refreshing. In a way it humanizes Bash The Rappa. Not to say that he's never put his feelings on a track. But this feels like a different side to Bash The Rappa that is not often publicized and is mostly seen on the B-side of his projects. This track is important because many people think that to be a villain means to not also feel, to be numb to it all. But just like in the movies, when you see their origins story, you see get a glimpse into why the character is the way they are. But unlike the movies, the outcome can last longer than the 2 hour screening or as Bash raps, "It's really deeper than a song nigga"..
When it comes to bringing this video to life it's only one videographer that could pull it off. And King Spencer delivered. The video starts out from an interview from a No Plugins interview where the question is asked why he's seen as the supervillian. And one of his replies being "It's crazy cause I paved a way." This is when you realize that Bash The Rappa really is a trailblazer. The flashbacks to older videos showcase the time and the effort that he's put into his craft all while reppin' Tulsa. This video was as humbling for Bash The Rappa as it was for the haters who saw Bash The Rappa as the villain. He's apart of the town culture and the scene but it's taken time for people to learn how to support it's own. Even so, some people would ask that for an artist that has accomplished so much and looks like he is well on his way. What he possibly need from the town? His simple reply would be, "I don't need much, I just need 'em to believe".
Make sure you watch Bash The Rappa's new video "Letter to the Town" below:
And I was never the perfect ki-d,
The church has always been a staple in the black community. For generations it has been a place of not only worship, but has also been a place of family, community, values, and overall a place that prepared you for living a Holy life. And anyone who has lived on the northside of Tulsa knows that church is a way of life. Especially on a Sunday. Sunday is The Lord's day, and in north Tulsa this means churches are filled with family and friends who are all coming to hear The Word. The church is more than just a building, It's sacred land. One church that's a symbol of northside churches is the Praise Center Family Church located between North Peoria and MLK right on Apache. It's here that local rapper Steph Simon chooses to shoot a scene from his video Silver n' Gold which features fellow artist and churchgoer Dialtone. The two actually went to church together and have a long time friendship and have numerous collaborations together. But it's 45 seconds into the video that you hear Steph Simon disrespect this sacred land as he raps, "starring at the baddest bitches off in the serv-ices".
The video continued to play, I could see my friend's eyes widen, she even shifted her weight uncomfortably, and that's when I had to stop the video. Knowing her bias of not liking local artist I knew that showing this video alone would prevent her from liking it. I spoke about the bias Tulsans have toward local artists in my very first post All Tulsa Rappers Sound the Same. But another reason I chose this video was that it featured one of our best. We're talking Steph Simon. A rapper with a message and the talent and lyrical skill to put Tulsa on the map. My third reason for choosing this video was that I knew that my friend had a very deep connection to church. So it surprised me that she seemed so uncomfortable with the video. But it was not until I stopped the video that she revealed what exactly was wrong. "Ohh my God. Did he just cuss in front of a church?". I was astonished. Was this the only thing she had remembered from the whole video? Had she not heard the beginning bars that actually featured Steph Simon talking reciting Luke 6:38. Had she not heard the clever line that he had flipped about gangsta's not dying? Had she not heard right after those 45 seconds in the very next bar?
The pastor always told me. I was made in his imagin-'in.
On and on as the song played there are so many more lines that further communicate the message of the actual song. Judging from her body language and everything that came out of her mouth, she had completely turned her ears off and had become no longer open to hearing the message in the song. Even with the familiarity of the sample of Kirk Franklin and The Family's "Silver and Gold" was not enough to keep her engaged. But was there too much a difference between the message in this song and the one in Kirk Franklin's?, "I'd rather have Jesus than silver and gold".
I want to put this disclaimer out before I go any further into this conversation by using a line from Kendrick Lamar's song The Heart Pt 2.
And Lord knows that I know better, but I ain't perfect
Meaning that I apologize if something I say offends or is incorrectly stated in this piece. I am writing this in order to open a dialogue. I am not a spiritual advisor and in no way should my explanation of biblical text be used for anything other than entertainment purposes. Please do your own research and/or talk to a spiritual advisor who can assist you along your spiritual journey.
Shocked! That is the only way to describe it. Not only had she not heard the song's message, More shockingly is that I had heard her curse just 10 mins before playing the actual video. I've even heard her use the Lord's name in vein when she was really mad. Is that too not a sin? I had to ask about this hypocrisy. I was more surprised about her explanation that her sin wasn't as worse as this sin. I had to think on that a little more. The sin of cursing on church grounds was worse than the sin of cursing at home or at a friend's house. Again I don't know The Bible by heart, but one common thing I've always heard is that a sin is a sin. Period. No matter how small or how large. "Romans 3:23 For everyone has sinned; we all fall short of God’s glorious standard." My interpretation of this is that we as a people are not grouped into our sins, where one group who may have cursed like a sailor is separated from another group who has stolen. And in our case these groups would be further dissected into people who've cursed on church grounds and those who have never cursed on church grounds. From my knowledge this dissection and classification of a sin doesn't exist. What matters most is what's in a person's heart. Steph Simon said even goes onto say that since he's made in his image, then God understands why I'm not perfect and why at times I'm conflicted. But again he's not perfect.
But I'm trying G....
Once again I tried to explain to her the message in the song. This time a particular line that I said,, "But this is the song the strippers play before they go to work." Which took the conversation down another rabbit hole. She immediately went into her spill about how some women wear revealing clothes when they come to church. The tight skirts and shirts that show cleavage, and in her mind is distracting people from getting the word. I casually reminded her that men are going to be men. Although wrong, no matter what a woman wears, some men are going to look at women. But that wasn't the message in the song. I went onto explain that if a stripper is at rock bottom. We're talking life or death and she walks in a church as she is. Maybe a little provocative, and more revealing than the other women. Would saving her be less important than in that moment judging her for what she has on as not being appropriate? Surprisingly, her answer was that the women in this life or death situation should know better. She should know the rules of church!!! I've always heard come as you are. And in a moment of crisis that may be not the most appropriate dress attire. Even Lyfe Jennings talks about this in his song "Stick Up Kid".
When church done became a fuckin' fashion show
Kanye West talked about it in his song Jesus Walks where in the video a stripper walked in as she was, in search for Jesus. So is it really come as you are? Or is it something else? It would be interesting to examine The Bible's explanation of appropriate attire and see just how to the 'T' many people follow the dress code. Are their violations worse than if a stripper came in? Or is it even about saving souls at that point? All I know is what Steph Simon ended with.
"If I can't reach them in the flesh.I'll reach them with the words."
If you were wondering. No we didn't finish the video. One of the worst things about this whole experience is that she didn't get to fully experience the song. This song has so much to offer. It has so much to unpackaged. It's a disservice to not even mention Dialtone's verse. His verse expresses the conflict that we all have on our life paths. Raising a child and teaching them values but at the same time knowing that the pursuit of money can often times conflict with these values. We didn't even talk about the line about chains that have Jesus's face on them being snatched. Thievery is one of the most talked about sins from The Bible. Maybe taken out of context is the idea that a thief should have his hand cut off if caught stealing. But still Dialtone's verse was so jam packed with symbolism's that it's a discredit to not even get into the meanings and the depth in his verse. And all because of a curse word.
Again. We never finished this video. I appreciated the dialogue we had. But looking back I couldn't empathize with her position. My eyes and ears heard something totally different from what she did. Here was Steph Simon realizing he's not perfect, but he's seeking balance. And many call that perfection. I see a person having a conversation with God. And to me God can speak any language and he can communicate effectively to any person. So I can't fault Steph Simon for coming as he is and having a conversation with God. Nor can I fault Dialtone for expressing the conflict he has in his verse. The act of this conversation is what should be celebrated, and not the sin of cursing in front of a church. Because church is not a physical location. It's not a land. It is a people. And it's the people's conversations with God that are worth more than all the Silver n' Gold.
Please everyone watch Steph Simon's video "Silver n' Gold" ft. Dialtone and be open to the message:
"Feel a way we riot. Feel a way we hittin' Kapernicks."
In these 2 bars the word "feel" gives each bar power. Because to feel, is to be alive. Toree T. is an artist from Tulsa that is bringing that feeling back to hip-hop. Every bar. Every syllable. But most importantly every song has a message that listeners feel. Of course she's a dope emcee that can at any moment flex her lyrical muscles, but that wouldn't be what's needed in music right now. Especially when people need music that will make them feel what's really going in the world, Toree T. decided she couldn't be silent, she would tell the story the best way she knew how. Let's get to know Toree. T.:
1. What got you into rapping? My dad, sister and I were messing around rapping one day and came up with something pretty dope. In that moment, I realized my ability to stay on beat and my strong voice, especially for a 6 year old. Shortly after, I ended up performing in a talent show and it was crazy how great the feedback was. I fell in love with being on stage, and from there is when I realized rapping was a passion.
2, How would you define Toree T.? I would define Toree T. as an ascending woman that aspires to be a light to everyone that encounters her energy. A classy creative, a voice that speaks for many, and an uplifter that encourages people to walk boldly and confidently in their truths.
3. If someone never heard your music before what one song would you suggest they listen to? I’d suggest they listen to “Real Onez” because I feel like most people can relate, or “Mine” for more of a r&b/hip hop type vibe. Major s/o to WeThatSound and Dmusiq on producing/mixing and mastering the track and my girl Elona for killing it on the vocals.
4. What is #ToreeTTuesdays? On Tuesday’s I post content with a visual/message behind it. Toree T. Tuesday’s won’t be limited to just rapping a verse, there’s no telling what you’ll get on a Tuesday but best believe it’ll be something to look forward to!
5. What's next for Toree T. in 2020? Really just continuing to create, growing my fan base, getting performances lined back up, and I’m also working on a project. The creating never stops, make sure to stay tuned. Check me out on all streaming platforms, as well as toreetmusic.com to stay updated on the latest content.
Thanks again to Toree T. for taking time out of her day for the interview. Make sure you follow her social media and lookout for #ToreeTTuesdays and all her upcoming projects.
J. Cole burst on to the scene at a time when hip-hop was evolving. Some would say the last class to see CD sales and the end of the bling bling era. J. Cole came in at a time when Kanye single had made it cool to talk about more than being the hardest rapper in the room. This was the time when we started to see rappers able to express themselves on a more emotional and intellectual level. And if you know anything about J. Cole's music than you know he's one of the best at rapping about growth, family, social injustices, and most importantly uplifting women. But it was a surprise was when J. Cole got a lot of backlash from the recent release of this song "Snow on the Bluff".
The controversy spread like wildfire on Twitter with many users wanting to "cancel" J. Cole with many critical of his lyrics mainly for the fact that he was in a way talking down on a woman. This comes at a very important time when voices are needed to be heard and some took this song as J. Cole wanting to silence those voices, mainly women. Anyone that has heard this song and knows J. Cole's music knows that the accusations and criticality of the lyrics are unwarranted. Songs like J, Cole's "Change Clothes" is the epitome of J. Cole immortalizing women by turning what is thought of as a woman's task into something that he wants to do to show that he cares and lifts up his woman. But one song can turn the world against you.
This song is a response to female rapper Noname, an who has been known to use her platform to fight out against injustices against not only her race but more importantly against black women. Her recent tweets seem to take aim at her peers for not speaking out and using their platforms to bring awareness to the injustices going on against black men and black women. Since having been deleted is the May 29th tweet from Noname.
But getting into the song "Snow on tha Bluff" I see a healthy criticism. J. Cole comes from a humbling position asking for knowledge from someone who is more knowledgeable about organizing and leading the people. Even going as far as to ask for patience for his ignorance and suggesting a different tone and approach than what Noname had used.
"If I could make one more suggestion respectfully
I think what J. Cole is getting to is that sometimes the people with the knowledge don't want to give up the knowledge. They would rather sit on top of the hill and look down on the people who don't know it and are ignorant to the facts, while also not looking back to pull the very people they are talking about helping out of it. I do agree though that most conscious rappers had gone silent during these current times. It was like they had taken a vow of silence. But Lil Baby was an artist who surprised everyone with the release of his socially conscious single "The Bigger Picture". But for the J. Cole's and Kendrick's of the world. The one's who were expected to rise up and have a lot to say. It was disappointing that there was radio silence. Noname put it into a little more harsher words than I. On May 29th she tweeted:
"Poor black folks all over the country are putting their bodies on the line in protest for our collective safety, and ya'll favorite top-selling rappers not even willing to put a tweet up.
J. Cole ultimately defends this by saying that he doesn't have the same tools that she has. He thinks that his college degree gets him unrealistically put on a platform as a smart leader. And that it's Noname who is the true leader (which she talks about herself in her song). But I can't give him this out. He has spoken about this topic in depth with songs like "Neighbors" and "Brackets". This is his topic. This is his lane. He should've spoken out like the numerous times on his other tracks. Though many point to times that he has taken action such as marching in Charlotte, NC to protest against George Floyd's death. They say actions speak louder than words. But I think for a person who has millions of followers on social media. Words speak just as loud as Actions. And they should be used together. But it doesn't end there.
Noname dropped her own song called "Song 33" which was a response to J. Cole's song. On this track Noname points out the hypocrisy of J. Cole coming for her when their are more important things that they should be using their platform to speak out against, not a diss track or a fake rap beef. She shits on J. Cole's excuse of not leading because of ignorance and that she's more equipped to lead in these matters, that's where she takes a quick jab by saying, "Yo, but little did I know all my readin' would be a bother," As she has been seen reading revolutionary books like "Blood in my Eye", by political prisoner George Jackson. She proved that she wouldn't back down. She stood tall and went toe-to-toe with him. She went the hardest on J. Cole on her 2nd verse where she flat out asks why write about her with way more important things going on. But she also went off on this track.
But niggas in the back quiet as a church mouse
She even continues to give despite the beef.
So who's right? Is it J. Cole for calling out Noname in response to her tweets about conscious rappers not taking a stand? OR is it Noname who's right for standing by her tweets and further stating how J. Cole should be talking about things more inline with the movement. Or does it even matter who's right and who's wrong? The most important thing that can't get drowned out is the message that black lives are being taken at the hands of the people who they are sworn to protect. But maybe we're tired of hearing that song.
Checkout both songs below and let us know which song you like the best:
When you look at some of the greatest revolutionaries of all time. Malcolm X, George Jackson. Huey P. Newton, Tupac, and so many others that came before them, there is a common theme amongst them. Before they found their way to consciousness they had been on a path that was totally opposite of what they had come to be known and treasured for. From being convicts, to drug dealers, to thieves, their former lifestyles was necessary in shaping their future. This in turn made them of the people and allowed to still have the respect and talk to people that were still living that lifestyle in order to steer them in the right direction. Lil Baby much like the great leaders mentioned earlier has come out with a uncharacteristic song (called "The Bigger Picture") with a message that he hopes will also steer his people to the promised land.
I can't lie like I don't rap about killing and dope,
From the opening of the track no one would think that this is a Lil Baby track. Not because this is not a topic he speaks on, but the message is usually drowned out with bars about selling drugs and buying expensive cars. Drowned out is the message that black people have been disproportionately harassed and killed by law enforcement. This song was different in that it put the topic front and center. Impressively Lil Baby didn't shy away from the fact that his prior songs weren't directing his people in the best direction but at the same time not a lot of the artists that you would've expected to step up did. Artists like J. Cole and Kendric Lamar who have been known to speak on a more conscious level had been quiet. Lil Baby in this moment choose to stand up and use his platform the best way he knew he could. To help the world see the bigger picture. AND IT WORKED!
One of the most compelling elements of the track is the beat, is it's gritty, uptempo. and heavily trap influenced production show the mastery of producers Noah Pettigrew & Section 8. The beat creates an restless feel. A feeling that you can't wait. There's no brakes. No asking. No more waiting. The only that matters is for a change to happen NOW. Even more power was the opening of George Floyd ending in the worst words you can ever hear. "I CAN'T BREATHE".
Lil Baby's melodic auto-tune voice comes at you rapidly in a machine-gun like tone piecing the beat. His lyrics are an insight into first hand experiences that has happened to countless people who listen to his music. "They trainin' officers to kill us, then shootin' protestors with these rubber bullets. They regular people, I know that they feel it. These scars too deep to heal us. What happened to COVID? Nobody remember. " Lines like these shows a side of Lil Baby that people aren't normally used to. Maybe it's a side that people around him know about, but to the public, this is a side he hasn't shown. But to be honest hip-hop and more importantly the world needed to hear this. Throughout this song Lil Baby is highlighting the very things that has resulted in too many lives being gone. Too many names and faces on t-shirts. Too many mothers and fathers gone. How much it too much? 1.
The Bigger Picture was a gamble for Lil Baby because this isn't what he's known for. But at the same time it isn't because he's always made music for the people. And right now this is exactly what the people needed. This isn't to say that Lil Baby has by any means did as much for the cause as Malcolm X or even Tupac. But maybe this is the spark that we need to help unite the people just like a Tupac would've.
Checkout Lil Baby's new video "The Bigger Picture" below:
The doc knows best. There's a reason why when doctors talk that people listen. Whether it's for health, wealth, or wisdom, having a doctor around puts everyone at ease. From Dr. Vivien Thomas to Dr. Dre, the greats have always left their marks on history. So when Tulsa and Oklahoma City was in need of a project to help solidly the Oklahoma hip-hop scene and showcase the two cities ability to work together and create a cohesive hip-hop project, the universe yelled, "Is there a doctor in the house?". Dr. View was the doctor to answer this call with his project called "(IN)VISIBLE MAN", which can only be described as so Tulsa, so Oklahoma City, so Oklahoma, but most importantly so Hip-Hop! Let's sit sit down and get to know the doc they call Dr. View.
1) What's one album that you believe has the best production? I can’t just pick one, and I think that speaks to the sounds that you hear on (IN)VISIBLE MAN, but here are a few: Kanye’s My Beautiful Dark Twisted Fantasy, The Dream’s LoveHate, Big KRIT’s Return of 4Eva, Rick Ross’ Teflon Don and Roy Ayers’ Vibrations.
2) Many people don't know that you really have your P.H.D. can you speak about your educational background and why you wanted to get a P.H.D.? Yeah, I have a PhD in Higher Education Administration. I’m a first generation college graduate that worked at the university level for almost 7 years. It was important to finish because there is a very low percentage of Black people that have terminal degrees. But I knew I had to complete the degree on my own terms, which my dissertation was in the form of a hip hop album. Fast forward, the education still remains in my music. You’re gonna get dope production, classic bars and some soul that will edify you. That’s the formula.
3) What do you want people to get from (IN)VISIBLE MAN? I want people to understand that I see them. I understand their struggle of trying to make it in a world where they feel invisible, or no one really tries to grasp their stories or motivations for living. I want people to recognize that art imitates life and (IN)VISIBLE MAN is a direct correlation to the shit we endure everyday. This is the soundtrack of the times. It’s something for everyone. Lastly, I want everyone to know that the album consisted only Oklahoma artists and was a homage to Ralph Ellison, who wrote the iconic book, Invisible Man. I’m letting the world know that Oklahoma has been and will continue to be dope.
4) What's one song on the album you suggest everybody listen to? All of them. It’s not an album, it’s an experience. Each song is connected to the next. I want people to just press play, close their eyes for 45 minutes and go to a place. And allow the music to speak to them. I promise it will.
5) What's next for Dr. View in 2020? I’m one of the executive producers for Fire in Little Africa, which is a compilation album in commemoration of Black Wall Street. That project drops in February 2021, but I have a project with St. Domonick coming soon called 25 Lighters, a project with Thomas Who? coming soon called Dr. Who?, and my hip hop collective, The Space Program, is currently developing a project. Lastly, the Chopstars out in Houston (OG Ron C & DJ Candlestick) chopped and screwed (IN)VISIBLE MAN, and it sounds crazy.
Thanks again to Dr. View for taking time out of his busy day to talk with us. Definitely look out for his up-coming projects. But in the mean time make sure you go jam "(IN)VISIBLE MAN" now streaming everywhere!
This is the first single off the project called "93 Rockets | 88 Compton"
Vinson: "The prisons and the graveyards are full of boys who wore the crown."
Rap has always been a competitive sport. And like all sports everyone is looking to wear the crown. No matter how it happened or when it happened as Marlo put it so assertively, "Point is: they wore it." It's a respect that comes with it no matter how much you like or dislike the one who wears the crown. The sport of hip-hop is no exception. It's become a sport within itself where the winner takes all. And once you wear the crown you realize that there's always someone younger and hungrier looking to take it. The Tulsa hip-hop scene is an example of this. Tulsa has a rich history of royalty who wore the crown and have been celebrated during their time. But time is a funny thing, especially the past and the present. In a world of overthrows and takeovers the saying goes, " le mort saisit le vif" or "Long Live the King". Because many times the transfer of power comes at the demise of the former king, and makes way for the new king. But what would happen if both kings could exist? Both helping each other and championing the other? Now that would be an empire. That would be a land of kings. And with that Playya 1000, The Deeksta, and Steph Simon are proving it's possibe on their new record entitled "All Love".
Many might not know this, but this isn't the first time all three kings shared the mic. Steph Simon brought Playya 1000 and The Deeksta out on stage for the Hip-Hop 918 concert last year. And if you were there you got to see why Playya 1000 and The Deeksta are kings. The crowd both young and old alike shared this energy and excitement. It was truly feelin like a Sunday Morning!
I get to the bag,
To really analyze this record you have to start from it's foundation. And this is where The Deeksta continues to shine. His legendary production has always been a staple sound for not only the duo but Tulsa in general. As the soulful samples and G-Funk feel good percussion has been his production calling card. He's set the stage for Playya 1000 to create and come up with some of the dopest punchlines that still continue to amaze hip-hop enthusiasts alike. All Love shows just this the dynamic duo doing what they do best, and yet there's more to the story. It's when you hear Steph Simon spit on the track that you realize what the song's really about. This is two generations saluting each other both past and present. But it doesn't stop there either. The cameo of St. Domonick shows as a salute to the future of Tulsa hip-hop. And if anyone has heard St. Domonick spit, then you know Tulsa hip-hop is in good hands.
Verses used to go for the Gibbs price,
For an MC, having a verse after Playya 1000 would be a death sentence. But for an artist like Steph Simon this was an opportunity to showcase why time and time again that no challenge is too great. And yet this time it's a little different. This is a passing of the baton or better yet an alley-oop to the rim. The influence of Playya 1000 has trickled down to Steph Simon as he has become an artist who spits lines that you have to research. While his mastery of the double entendre is one of the reasons why he is respected across the board, and why he can be featured on a legends track. His flow not only crosses genres but generations of music as young and old alike play his music.
So if you still need a reason to listen to this track the thing to remember is that:
AT THE END OF THE DAY. IT's ALL LOVE!