Everyone loves a remix. It’s like having a second opportunity to hear your favorite artist spit another verse. Who wouldn’t want to hear it? But even more a recent trend has been that the remixed single builds onto the original so that it sometimes becomes more of a series or an episodic collection of tracks that are well-known in an artists’s catalog. Kendrick Lamar’s The Heart series is one example of this, the latest being The Heart 5. Big K.R.I.T has his My Sub series, now on part 5 with his single Big K.R.I.T. "Ballad Of The Bass (My Sub V) . Even Jay-Z got did it with his Dead Presidents series and ththe list goes on. And for those familiar with Keeng Cut’s catalog know about the Screw Cool series, the latest release being Screw Cool 3 where he proves that you can evolve as an artist without sacrificing yourself. Let's take a look back at this dope series of tracks.

Keeng Cut is an artist from Tulsa. His unique style, flow, and stage performance brought a breath of fresh air to the Oklahoma hip-hop scene. Crowned the ‘Flavor Keeng’, his fashion sense matched with his extravagant raps have everyone biting the flavor. Whether rapping or singing Keeng Cut’s versatility has proved to be an asset, with his signature ad-lib “OOPS” it's clear that he is doing it his way.

It’s important to revisit the 1st Screw Cool track released in 2014. It was very player, very southern. The track has a soulful sample produced by fellow Tulsa artists and producer Rive Era. The record seemed to come at a transitional time in Keeng Cut’s career. Being formally known as Khampa Trillman, Keeng Cut was the next step in the evolution of the artist. On the track Keeng Cut had a 1st person perspective of how Tulsa is and once was. Reminiscing on how the old school players used to shine and bring out the fancy cars. On the track he also gives advice that the real players could feel. It’s the authority in his voice and the vivid raps that give you this feeling of authenticity. Keeng Cut has seen and lived it. Check out the video below:

It would be another 2 years before Keeng Cut would drop the surprised follow up track in the series “Screw Cool 2”. The 2nd track in the series featured a crooning Keeng Cut showing his versatility by way of rapping as well as by singing on the track. A notable difference on Screw Cool 2 is Keeng Cut rapping to a female companion and being someone she can console in. Undoubtedly still player. His gift of gab emerge in each bar making the track more like a conversation. When it comes to the production. The track seems a little more jazzier. Still very player but a lot smoother and intimate. A reach may be that this track was Keeng Cut experimenting with his new moniker Flavio Cutatore. Listen to Screw Cool 2 below:

And last but not least, we get to the latest track in the series, Screw Cool 3. This track comes 6 years after Screw Cool 2. Again this track is representative of a pivotal point in his career and potentially in light of an upcoming album. Produced by fellow artist and Houston producer George Young. The beat fits right in line with the smooth player-like feel that the series is known for. You can hear the subtlety of the organ’s keys, similar to the subtle bars that are tucked in the track. It’s easy to get lost in the vibe of the track and miss some these quotable bars by Keeng Cut. The important thing about the series is that each time there’s something new that is brought to the table. One added element is YungxHalloween's crying guitar that at times echoes as it blends into the beat. Keeng Cut’s keeps true to the essence of the song as he starts out with his signature “Ohhh, Ohhh, Opps, Opps, Opps", The song is still very much a trip thru Tulsa. This time his ideas have progressed as he speaks about his growth as a person. Now promoting health both mentally and physically. His dreams now manifested. One of his dreams being Screw Cool on the radio, It was not only a memorable point in his career, but it showed that staying down with Tulsa was the right path.
I asked Keeng Cut about the last line in the song where he says “C Jim is the reason that I made Screw Cool.”. This is what he had to say:

The Screw Cool series shines in Keeng Cut’s catalog. It’s important to Oklahoma hip-hop and each track is an archived moment in Keeng Cut’s career. Will there be more versions in the coming future? One can only hope. Until then like Keeng Cut says, “baby, I’m Screw Cool”.
Listen to Screw Cool 3 below:

Make sure to follow Keeng Cut on his social media:
Twitter: @keengcut
Instagram: @keengcut
YouTube: Keeng Cut TV
Spotify: Keeng Cut

​101 years ago one of the worst attacks in the U.S. took place. And for so long it was written out of history. Especially the place where it occurred. Tulsa, Oklahoma. If you’ve ever picked up an Oklahoma History book then you know that the pages are filled with stories about the Trail Of Tears, The Land Run, and other stories of how Oklahoma came to be. But not one story was told about one of the richest black communities in the world. The Wakanda before it was even thought of. The major difference being that this place was real. Black Wall Street. Written out of history books and labeled as critical race theory. The powers that be are again trying to white out the history of Black Wall Street. But history isn’t just learned in a book. For centuries people have used music to teach and remember the past. So just when the powers that be want to white out Black Wall Street an artist by the name of Dangerous Rob is using his pen to write it back in with his new single “For Black Wall Street” that features Playya 100 and Malachi.

Dangerous Rob is a veteran in the game that has performed with some of the biggest artists such as Melle Mel, LLC Cool J, Doug E. Fresh, Ice T, NWA, Too Short. And the list goes on and on. In 2006, Dangerous Rob was added as part of the Dogg Pound Next Generation. He has also delved into the business side of music and manages his own label F.R.E.E.D.A.M. Records and still produces different acts in the city of Tulsa. 


That Tulsa sound comes out as soon as the track starts. It's an energetic bounce to the track that grabs your ears. The beat has so much complex instrumentation that then simplifies during the verses to leave room for the ear to experience the complex wordplay of the MCs. You might get this sound confused with that West Coast bounce popularized by Dr. Dre. But those who know. I mean really know. Are well informed that this is that Tulsa sound that the GAP Band made famous. A group from Greenwood, Archer, and Pine. Black Wall Street. 

 
Make sure to follow Dangerous Rob on his social media:

Instagram: @dangerousrob918
Twitter: @fattwoo
Spotify: Dangerous Rob
YouTube: dangerousrob74

Throughout the years rappers have wanted to be basketball players. And just like rappers, basketball players have wanted to be rappers. Both rapping and basketball are very competitive, so it's no wonder why both would be appealing to one another. 24K Astall is one baller turned rapper who is here to run up the score with his new hit single "Run It Back" that features the talented Alexis Renee.

24K Astall is an artist from Tulsa, Oklahoma by the way of Oklmugee, Oklahoma. He is respected by his peers as a major player in the game that has a wide repertoire of rapping skill, business acumen, and stage presence that has helped him get on some of the biggest stages in Oklahoma. His last album 24K Everything is available for streaming on all digital platforms. 

Alexis Renee leads off the track by rapping the chorus. “Run it Back up like this bitches ain’t cut like that. They even cut like this.” This is her 2nd collaboration with 24k Astall, the first being 150. With this track they prove again that they have bring a certain energy and feed off each other each time they collab. One can only hope for another in the future.

Just like the single’s artwork shows, 24k Astall is the home team and the star player on the track. He paces his way from bar to bar as to make sure that he doesn't let up any of the 2 mins and 50 seconds. Staying with the basketball theme 24K Astall has some dope basketball references tucked in the verse. “Postman. I deliver.” If you remember Karl Malone then you know his nickname was postman and that he is the 7th player on the NBA’s all-time scoring list. And just like Karl Malone 24K Astall delivers on the track. Another line “We ain’t talkin’ Nike when I’m talkin’ bout a check." it's clear that the metaphors are on par for this track. It's also important to note his presence on the track. It's a reflection of his experience in the game. It's a result of the 10,000 hours of the practice he put in. This is another reason why the bars seem easy no matter how intricate they are. He flat out shines on this track. 

When it comes to 24K Astall's track "Run It Back", there’s some easy layup bars and there are also some highly skilled bars, which both are needed in the game. The track is a good win for 24K Astall and it will be interesting to see if he adds this track to an album or EP. So make sure you go run up track and see why 24K Astall is the star player.

Go listen to "Run It Back" by 24K Astall below:

​Follow 24K Astall on all his social media:

Twitter: @24k_astall
Instagram: @24kastall
Spotify: 24K Astall
YouTube: 24K Astall

The lights dim as a sold out crowd sit quietly facing the jazz quintet and a microphone that was center stage awaiting the main act. The one and only 1st Verse. The room had such a jazzy feel, The bar just to the back of the room filled with patrons, the waitresses navigating their way through the packed room from the tables and back to the bar. The seating was very personal. Very intimate. As you would expect everyone was dressed for the occasion. The only thing missing was the momentary light from a match and the resulting clouds of smoke, but in these times the No Smoking signs make this no longer apart of the experience. It's now replaced with by illuminating cellphone screens and smart watches. But outside the artists circled near a row of parked cars, pass around the ceremonial jazz cabbage. Smiles, handshakes, and introductions ensue as the smoke dances against the midnight sky. The venue is called LowDown, and is very important to the Fire In Little Africa project because it was where the first video  "Shining" was shot. This was another installment of the series of shows titled Jazz In Little Africa. This time headlined by the legendary 1st Verse.

PSA: if want a music journalist to come to your show. Put them on the guest list. There are a lot of great publications that always are good go to to help get your the word about your show out there. That includes IndyPot, 20onDaTown, Woklahoma, ASLUT, and Oaka, Root Tulsa, Black Wallstreet Times. ok.1, Etc. 

As 1st Verse walked into the venue the band jammed, friends and fans embraced. Accompanying 1st Verse was a line of featured artists all featured not only on the guest lists but most importantly as artists that were there to support him on stage. The artists settled along the back wall of the venue as 1st Verse went backstage. If there’s nothing else he's gonna give you a show. His years of performing on virtually every stage in Tulsa has helped him to develop a familiarity and a comfort level with the stage. His performance was like an old friend as he talked to the crowd between songs. He's a true Master of Ceremonies. His words cut like a well sharpened knife, and again his confidence in his mastery allows him to smile after he delivers a lethal verbal assaults. The syllabalistic assault of Verse is so crazy that he could say, "sufferin succotash". And the crowd would snap their fingers in amazement of how he even fit it into the verse. That cat was in his pocket. 

This night wasn't only about 1st Verse though. This was a night to celebrate and the relationships that he has built along the way. Some of these artists came all the way from Oklahoma City to be apart of the show. Do you know how hard that is to do? But that's a testament to how much weight that 1st Verse's name carries. He started the show off and like the star player, setting the tone with his song "Greatest Feeling" off his collaboration project with dj noname.called 1st Name. And like the star he tagged in artists to accompany him on stage as if it was a WWE tag team match. Guests artists included; Tra3Qwan, K.O, Mr. Burns, Young DV, KeezyKuts, Pade, and Bettyman. Everybody that was on stage seemed to be at optimal bars. It goes to show that anytime that you're on a track with 1st Verse that you tend to step your bars up. Sometimes though you even step outside of what is expected. Mr. burns a lyrical assailant in his own right, surprisingly on this night lent his vocals as he performed the track “Pixel Fade” which is off 1st Verse's EP Throwed Lenses. A project that was produced by Oklahoma legend John Moreland. This night highlighted just how expansive 1st Verse's catalog is.

It was important to highlight the band. As they brought so so much to the atmosphere and the overall sound of the performance. 1st Verse is no stranger to performing with a live band. His Verse And The Vapors shows is just one example of his love for performances with live bands and the added musicality it offers to the performance. And it was important to highlight their talents. 1st Verse left some room for the band on the second verse of VSXOasis. He let the band get some. Led by Chris Combsy on the guitar, Bobby Moffett Jr. on the piano, bass player (unknown) , Josh Raymer on drums, saxophone (unknown). The was band was out of sight.

​I asked 1st Verse. What do you feel like you brought to the Jazz in Little Africa show?

  
Thanks again to 1st Verse for inviting us to the show. Make sure you follow him on all his social media:

Instagram: @1stthingsverse
Twitter: @1stThingsVerse
Spotify: 1st Verse

A year later, after the May 27th release of one of the most anticipated albums to come out of Oklahoma. At arguably the time when the most eyes were on a city that was still devastated and plagued by the social unbalances. Fire In Little Africa (also known shorthand as FILA) set out to be the fruits to the labor of the seeds that had been sewn far earlier than the artists that worked together to bring Fire In Little Africa to life. This was to be the descendants get back, as rapped on the track 4 by artist Earl Hazard, “This is how revenge seeds react.” But was the reaction enough to get the whole town behind them? What about the whole state? What about the whole world? I think the answer is no!.
 
Tulsa has always been a divisive city. There’s groups inside of groups, inside of clicks, inside of friends, inside of families. You get the jest of it. To be well received by the city you must be apart of something. But what about when you take so many artists from the same city and sprinkle in artists even from the state? You would think there would be enough cross-sections and intersections in social circles that everyone should’ve been bumping Fire In Little Africa. But it wasn’t. Throughout the year there were so many people who said they never heard of the project. They haven’t even heard of the artists. But either someone’s lying. Or the truth is something no one wants to talk about. That being. Tulsa doesn’t support Tulsa. In the words of Lil Flip. “You can ask David Banner”. His performance at the Legacy Festival proved that Tulsa don’t like Tulsa. ​

But how can people not know about Fire In Little Africa? They literally were signed to Motown. One of the most prestigious record labels. They put out the Jackson 5 for God’s sake. FILA also had Beyoncé's publist Yvette Noel-Schure to help promote the album. I don’t think you just understood what I just wrote. Beyoncé's publicist was FILA’s publicist. Formation’s publicist was FILA’s publicist. Lemonade’s publicist was FILA’s publicist. The artist who can be referenced as just “B.” was FILA’s publicist. Do I need to say more? And I would say that she did her job. Throughout all last year some of the most well respected publications in the music industry featured FILA artists. From Complex, to Rolling Stone, djbooth, to Billboard. There were articles sprinkled throughout the internet. But what about the Tulsa? Did Tulsa know? My question is. How couldn’t have Tulsa known? The Root Tulsa, TulsaPeople, KTUL News Channel 8, The Oklahoman, The Black Wall Street Times, and the Tulsa Wolrd are just a few of the local publications and news outlets that have featured the Fire In Little Africa project. There was even a time where the Fire In Little Africa project was featured in the New Releases section of both Apple Music and TIDAL. So how couldn’t you know. So like in the words of Doughboy, “Either they don't know, don't show, or don't care about what's going on in the hood.”.
 
With all this press. All this industry and this machine behind them. Why is this not the hugest album in Oklahoma history and beyond? Where’s the world tour? Where’s the rows of Bentleys and spin-off individual projects just like in the Wu-Tang Hulu series? The rap game's level of sucess is the money, chains, weed, girls, fly cars and big mansions. That hasn't happened yet. That’s because everything that’s gold, doesn’t always glitter. But this isn’t the first time that a classic album wasn’t given it’s just due. Jay-Z’s first album Reasonable Doubt wasn’t well received by the critics when it first dropped. I have to think though that there has to be some invisible strings being pulled. Because if a rapper from Fayetteville, North Carolina can find his own lane in the rap game, than surely a collective of artists from Tulsa, Oklahoma can do the same. But how did he introduce his group to the world?

J. Cole’s “Revenge” documentary set the hip-hop world on fire. You literally got to see artists introduce themselves to the world and own their moment right before your eyes. One standout was Buddy. An artist from Compton that stole the show and didn’t wait to be invited into a recording session. He just jumped in any and every session he could. I know. I’ve went on about the documentary. It’s a set up. Fire In Little Africa took this same approach when creating the album. They created a documentary that captured the feeling of what it was like to be in those recording sessions. And at the very height of Covid. A Pandemic. The Lockdown. These all happened during the recordings of Fire In Little Africa. And all these artists have done what they’ve been doing their whole careers. Risk it all for a chance. For an opportunity. They risked their master's for the opportunity to be famous and to show that North Tulsa Got Something To Say.
 
Fire In Little Africa dove into every imaginable medium. From music with the release of the project on streaming as well as on vinyl. Included in this is a podcast and radio that interviewed the artists and the behind-the-scenes people of the Fire In Little Africa project. There was also fashion. The Fire In Little Africa essentially had seasons of fashionable wear that were quality and marketed as urban wear. Also there was art and photography. Paintings and art shows curated by Fire In Little Africa front man and No Parking Studios CEO Dialtone captured the moments on every canvas. There was education. A curriculum created to teach the next generation what Black Wall Street was and in between the pages, a blueprint to create the next one. Last but not least was uncle Charlie. Charlie Wilson was a major marketing tool that caught the eyes and ears of people who recognized a familiar voice. A Tulsa voice.
 
So why isn’t Fire In Little Africa soaring to the measures of the bar that was set so high? I don’t know if we can fully answer that question. As much as we like to think that streaming has killed the gatekeepers. There’s someone obviously not letting Oklahoma artists in. With the expectation being Gang51E June who has seen his popularity grow in the Pandemic. The artists. That’s the real people affected. The people who gambled so much. This was their big break. I think there lies the problem. Some of the artists took a break. They saw being signed as a label as a reason to slow up on dropping music. When in fact it should have been the reason to push their foot on the pedal and drop more music than ever before. Something that the algorithms could latch onto and continually play. This was the time to get their business straight. That means their merch. Their website. Their social media should be a tool, an advertisement, not a place to rant. A place to offer a product which is their music. FILA was really a time to be a student. That means going to the label and seeing how the marketing department works. Or when your on video sets asking the cameraman about how the do certain shots. It was a time to network with other artists on the label and see how they navigated the game. 

Not all the artists took a break. There were a few artists that put their foot on the pedal and consistently dropped music or saw this as an opportunity to promote their brand and pivot. I even saw some videographers step up their game and it was because they were soaking up game on all those video shoots. But not dropping music because you’re an artist and you drop when you want to is the wrong idea when so many eyes are on your brand. Because in the end either you do this. Or you do this.

Are the numbers in FILA’s favors? Oklahoma is a well-known country, jazz, and funk. So how does hip-hop stack up when looking at music in Oklahoma? A quick Google search revealed that the most popular music genre in Oklahoma is… Metal?? (According to WideOpenCountry.com). And according to Grizzlyrose the most famous contemporary artist in Oklahoma is Drake. DRAAAAKKKEEEEE??? There are so many different versions of what the truth is. Looking at the numbers on Spotify (Warning! This is not an official number). The streams should have been astronomical. The reach of the publications stated earlier and the press run that FILA went on. The numbers just don’t add up.

 The silver lining is that streaming is that it has the potential to break a record at any time. FILA could be one TikTok or reshare from blowing up. But for now it hasn’t lived up to it’s potential. This is no slight to the artists or the music. The music is all there. The project is historical. It’s a piece of art. But like art. Sometimes it takes time for someone to wipe off the dust and see the beauty in it. Until then, I just hope that the artists keep working. Keep making music. Keep pushing their brand. FILA shouldn’t be the pinnacle of their career. It should be a resume footnote and a negotiating leverage when they do go into see these major labels. They should be able to take all the knowledge they learned from working with a major label and apply it to their future projects. Until then I’ll keep banging Fire In Little Africa. And to tell the homies to KEEP ON SHININ'

​Make sure you go stream the album below: 

​The Hope. Also known as Gang51E June. If you’re really a day one fan then you really know it is pronounced GangTie June. But day one fan or not, what isn’t to be confused is his position as the hottest artist in the state. It’s undeniable that he has the crown. His popularity has only grown during the Pandemic as seen on his YouTube page that shows the millions of views that grow each day, which he was able to create with the help of fellow Tulsa native vidographer King Spencer. Believe me these numbers don’t lie. In an age of artists buying streams Gang51E June has true support and a following that truly shows up to shows as well as supports his albums on social. As soon as the mention of an album drop the social media exploded with reposts of the artist from 51.Now that Gang51E June has truly solidified himself as the hottest artist in the state he’s out to prove that it ain’t over yet. Gang51E June is back with his latest project “This 2 Shall Pass”.

This is the follow up project to his album “Preaching from the Projects” that was released in 2020. What’s interesting is that the new album has 19 tracks. A heavy dose in an age of streaming and EPs but then again it’s been two years since Gang51E June has dropped a project. He’s been busy linking with other artists and a nationwide tour with Kevin Gates. He’s reached that next level of fame that reaches far beyond Tulsa. This may leave many thinking has Gang51E June forgot about Tulsa. An answer that comes apparent very quickly.

The album starts out with “The Call”, a skit that replays the memory of Gang51E June losing his brother, the sounds of the thunder, foreshadow to a dark moment in his life and sets the stage for the rest of the album. This leads into the first song off the album “Souljaz Cry”, which is a reflective track about his life and the curse that comes from the lifestyle combined with this low tempo down beat feel he still reminds everyone that “We on Gangsta Time”. The next track up is “Static Rain” which has it’s first featured artist Birdy, accompanying also is a video that just like the song, takes the listeners on a journey. The track is an outlet to get off his feelings from all the things that have been going on in his life. Like he’s expressing the price fame especially in the line, “I would go and buy me a new 51 chain but I just bought my granny a new tombstone.”.

“Homicide Man” is the 4th track on the album and from the very beginning Gang51E June speaks to his relationship with his father. He seems to be asking if his father’s absence is the reason why he chose this life, or was he just destined for it. One of the best standout lines comes from this track. “These niggas act like they some coaches, they keep throwin’ subs”. The video shows a father son playing ball in the front driveway and eventually transitions to Gang51E June as the kid who witnesses his father in a shootout, Checkout the video below.

Next we have “Cold Shoulder” which is a song about blocking out the bullshit and all the rumors, and above all to not forget the mission. Before the track ends there is a skit about his family that he's giving the cold shoulder to, and is a lead into track 6 “Family Feud”. From Jay-Z we know that no one wins when the family feuds. In this track Gang51E June raps about the family differences that has divided him from his loved ones and the love that hasn’t been the same since his granny died. A standout line comes from the monologue where he says ”The most beautifulest flowers have the sharpest thorns”. Is Gang51E June really in Tulsa? The next skit answers this question as a pair of McClain students can’t wait to tell him just how much gossip and tabloid headlines surround an artist who is at the top.

“Ain’t nobody comin to see no Otis”. Which happens to be the 7th track and possibly one of the best on the album. The production is this old-time blues inspired feel combined with a hard hitting 808 bass. Gang51E June talks that talk. It’s him reminding niggas that I’m the one on the throne and it’s my time now. “If Cutty miss when he slidin, I’m sweepin’ behind him like he was forgettin his ….. Chores.” There is even a line about David Ruffin. This is his rap track. The bars hit hard, the metaphors keep you on your toes, and the bravado and tone in his voice would make hip-hop heads bob their heads in the barbershops and say. “Now that’s how you supposed to rap.”

​But that ain’t all. Gang51E June ain’t gonna leave the ladies out, which is what track 8, "Anita" come in. He takes a moment to serenade the ladies and if you know Gang51E June’s audience then you know the ladies love him. And they love the gangsta love he talks about in tracks like this.

The midpoint of the album features Gang51E June’s biggest artist feature to-date. The one and only Kevin Gates. The two cooked up a track on Kevin Gate’s Khaza Tour on a track called “4Reign Gangsta”. This is one of those standout tracks on the album and Gang51E June shines along with one of the biggest artists in the industry. The even two released the video to the single where The Hope again shined.

The 10th track is really the definition of his music. "Reality Advocate". That’s what Gang51E June is and what his music communicates. Reality. After all the news cameras left after the centennial of the Tulsa Race Massacre passed Gang51E June is still in the city shining light on the reality of the aftermath and current state of the north side, and It’s with a soulful sample that he describes as Ghetto Gospel. 

A familiar Producer tag “Pipe that shit up TNT” the famous South Carolina producer TNTXD that helped shape Rod Wave’s sound contributed to track 11 “Cursed Generation”. The track is about showing empathy for his father because he realizes there are generations of absent love that had a dominoe effect and eventually lead him to the streets. Next up is the track “What N****z Do”. This is one of the go to tracks off the album. The jazz inspired production by producer BandPlay puts an up tempo saxophone front stage capturing the history of Tulsa music. Jazz music has deep roots in Tulsa and is still a part of the Tulsa music scene. Also on this track are clever bars like, “I feel like a hanger how I hold the T”. It’s a line that’s nestled so deep in the rhythmic pattern of the verse that you might miss it if you're not listening closely. 

"Past Callin". Is pretty self-explanatory, but don’t dismiss the track. This is more of an easy listen and one of the shorter songs off the album. "No Auto Tune" is one of those tracks where Gang51E June takes the gloves off to let you know that without the auto tune he’s just as deadly on the track. The beat has this creepin bounce to it. And Gang51 June walks down on the track. 

You know you making it big when you make an interlude. But more importantly you’re putting together a cohesive and intentional project that goes through different highs and lows. "Lilana’s Interlude" is the glue that holds the end of the album together and keeps the listener’s ear. Another easy listen and vibe for the ladies. 

When it comes to being an artist it’s your job to inspire. Gang51E June does this for the city but also pays homage to the legends. “The Hate I Gave You” which is inspired by Tupac’s motto and T.H.U.G.L.I.F.E. is an example of just that. You can hear the familiar Tupac chorus “Shawty wanna be a thug” that is used to complement Gang51E June’s deep lyrics. It shows that the T.H.U.G.L.I.F.E. isn’t limited to a city or state. It’s something that occurs everyday and it’s real

​Next is the title track “This 2 Shall Pass” which is a skit that Gang51E June speaks to a friend about his trials and tribulations that comes with the fame. And at this time when he thinks he can finally excel bullets ring out and the next track starts. 

"Wockin’ On A Wire”, a slower paced track where Gang51E June expresses the feeling of being on cough syrup and the escape it provides from the pain. “Dlow got 18 on the yard like he was Peyton Manning.” The track also features popular Alabama rapper NoCap. The last track on the album is “A Father’s Ballad”. Not gonna lie the hip-hop fan in me wanted one more rap track, but this is a concept album so I understand the direction he decided to go with this one. It’s a ghetto love ballad to his daughter and protecting that love with his life. This track is proper ending to an album that lived up to the hype and was worth the wait. ​​

There you have it, our review on Gang51E June’s new album “This 2 Shall Pass”. There are some important things to point out. First Gang51E June is still the hottest in the state. Just look at social media, as well as the respect he gets from his peers, and most importantly the fanbase that he has created and cultivated. Secondly, the album is that next level of progression that you would expect from an artist that’s got the juice. The album has big name features as well as super producers that help shape the album and show that this isn’t an up-and-coming artist that is rapping in the closet. This album has a quality sound. The skits also reflect the next evolution of being an artist that is able to put together a cohesive project. Last but not least. Gang51E June delivers. He shines no matter what artist is featured and he shows off that he has bars while at the same time still being able to cater to the ladies. This is an album that is well rounded and something you gotta listen to. So Go listen to the album and let us know what you think!

Listen to the album here!

Thanks for reading!

Make sure you follow Gang51E June on all his social media below:

Instagram: gang51ejune
​Twitter: @Gang51eJune
YouTube: Gang51E June
Spotify: Gang51E June

Today's price is definitely a lot higher. The sounds of dj noname. are no exception. Many emcees have drooled over the opportunity to rap on a dj noname. beat. A lot people can play tracks but not too many  can have a verzus fight. Especially when the opponent is dj noname. His catalog can literally go toe-to-toe with any producer in the game. Yet he still has that humility that keeps him grounded and a student of the game. But every now and then you hear dj noname. TALK THAT TALK!.

And now that the slap that was heard all around the world is over now it's time to get to the keys that have touched every border. That's what dj noname. has been doing with his art. And we have been blessed enough to get a taste of just how pure that dj noname. sound is. If you had the chance to watch our talk with dj noname. then you know what I mean. It was only right that we called it The Interview. 

​And it's only right that we bring you a new tape "The Interview".

To download click here.

Thanks for watching and tuning in. Make sure to follow dj noname. on all of his social media below:

Instagram: @nosamyrag
Twitter: @nosamyrag
Spotify: dj nonmame.
Website: https://djno.name/

When it comes to crypto there’s a lot of people just jumping in looking to get rich quick, But few realize that getting rich also means that you are defensive as well as offensive. And a real coach will tell you that being defensive minded helps you manage your risk. But many ain’t been coached right! So look into getting a cold wallet to store your crypto. Most importantly do your own research! And if you have time listen to Pusha-T’s single “Diet Coke”.  

You ordered Diet Coke, that's a joke, right?

Make sure you check out Pusha T's video to Diet Coke below:

​It’s something about a phenomenal woman. Mayou Angelau told us about them in her famous poems. A phenomenal woman has the power to command a room. She knows herself. A phenomenal woman will get the respect from the president all the way down to the pimp. Just something about her that is undeniable, something special about her that makes you think differently when you approach her. And as Dejay Williams explains in his new single. it’s something “Everybody Knows”. So let’s sit back and listen to Dejay Williams explain just what a phenomenal woman is, and what sets her apart from every other female.

DeeJay Williams is a multi-talented artist and producer from Tulsa who also goes under the alias isoundlikeme. His last body of work was in 2020 “Grown Folx”, was a 6 track EP that featured a supporting cast of artists that kept it just that. Grown and sexy. Looking to make 2022 a year of dropping music, he’s ready to open the vault and show what he’s been working on and let the world know who is DeJay Williams.

The track opens up with a sample from Adele Given’s Def Comedy Jam performance she starts with, “Do I look like a fucking lady or what?”. Anyone that knows Adele Given’s standup routines knows she’s not afraid to say what’s on her mind no matter who might be listening, she continues with, “I like being a fucking lady, especially in the 90’s. We get to say what the fuck we want.”. This not-so-subtle introduction sets the stage for Dejay Williams to tell just what “Everybody Knows.”​

 ​The above line is just one of the ways Dejay is able to tell the truth about when you're with a phenomenal woman you can’t pull a fast one against her. She’s seen it all. And when it comes to getting at somebody, she knows the time and the place. But above all else she’s still such a fucking lady. Or as Dejay says at the end of the bridge, Boss Chick. Tameka Howard is the featured female vocalist on the track. Her words are a 1st person perspective of what a Boss Chick is. A woman who is determined and driven. A woman who can get the attention of any man. And last but not least, a Boss Bitch. Tameka sings every line with a conviction and a confidence, and don't forget sexiness, that leaves you wanting to meet this phenomenal woman.

One of the most interesting things about this track is the production. The keys bring a distinction and an attentiveness to the track while the bass chords pull against this attentiveness as to say “don’t forget I’m still about that life.”. The same thing Dejay raps about in verse 1. “Baby got class, still will whoop that ass, if anybody want it”. There are multiple lines like this that shows Dejay’s ability to paint a picture of what kind of woman he’s talking about. While at the same time effortlessly riding the beat, His timing is perfect as he is able to punctate at the right times with the beat. You can tell DeJay is not new to making music and that he knows about song structure and while at the same time being able to flow as if there are no boundaries or restrictions, which can often happen when trying to fit a rhyme into 16 bars. Also, he raps in a tone that signals that he himself has met this type of woman and has seen firsthand just how much of a fucking lady she is.

What sets a phenomenal woman apart? Is it her lips, the way she walks, the way you get lst in her eyes. Maybe it's the fact that she's independent and doesn't have any time to waste. Or that she's a Boss Chick! The answer is yes! She's all of these things and more! But most importantly like Dejay Williams says, "Everybody Knows". Just listen to his single featuring Tameka Howard and find out for yourself so you'll know her when you see her.

Make sure you follow DeJay Williams on social media:

Instagram: @isoundlikeme
Facebook: Derek Isoundlikeme Williams
Spotify: DeJay Williams
YouTube: DeJay Williams