The biggest winner was the festival. It keeps growing. It keeps getting bigger. And 1 day Steph Simon will have that Ferris Wheel he's been wanting. It all started with a VISION! 

Thanks for reading! Let us know if you have any losers or winners that didn’t make the list!!
​

Facts! Can be defined as; A thing that is known or proved to be true. So that means there’s no confusion when it comes to what is, and what isn’t. No matter if it comes from the source or it comes from a third-party. The facts are the facts. T3REZZY is out to show the world that everything he says, he stands on. And it’s with the release of his new single “All Facfs Freestyle Pt. 2” that T3REZZY is setting the record straight.

T3REZZY (also known as T3) is an artist from Tulsa, Oklahoma. He’s also invested in his craft and has went all in by dropping music and music videos, though he’s yet to put out a full length project. He’s using this to his advantage by putting out hit singles in order to create a buzz in the streets and gain new followers to his already rapidly growing fanbase. T3REZZY is an artist look out for.

For there to be an All Facts Pt 2. There obviously had to be a part 1 which you can find the video here (Click here to see All Facts)!. The difference between these tracks starts with the production. Part. 1 has more of a West Coast vibe. Also the verse is a little more aggressive and in your face. But on Part 2 has a totally different feel. The track is produced by 2Peece, a highly respected producer from Tulsa who has placements with some of the biggest artists in the game as well as placements with major brands. 2Peece delivers a beat that is similar to the Detroit Drill music that has helped create a new sound. This sound is what T3REZZY excels on.

T3REZZY has flow on the track that is laid back, showing his confidence in himself as an artist but not arrogant. There is still a hunger in each bar that culminates into some really dope quotable lines. “In these Off-White sneaks but the checks Nike” & “I remember missing meals, now we gettin seconds” are just two examples of the numerous quotable lines that are sprinkled throughout the track. There’s no question that T3REZZY is spittin’ All Facts. The song takes you deep into the mind of a hustler. Just steady on the grind. No breaks. That’s why this track not a freestyle in the sense that it’s unwritten flow, it’s more of a continuous stream of thought, that hustlers mentality, and also that’s why T3REZZY says at the beginning of the track, “2Peece I don’t need no hook for this one.” Because this one is for the hustlers. Also on the track is featured artist Kari2Dope. He goes in immediately after T3REZZY finishes his verse like a relay race. Both artists racing on the same team to get to the money. His delivery is upbeat and catchy, making him the anchor to the track just like in a relay. It’s a nice switchup from T3REZZY’s verse. It also showcases his skill and musical ability as you hear his voice ride the melody of the beat. “Two chains on me now, man this is some light shit, you can turn the lights off, and see this lit hit.” 

What’s undeniable about this track is that it’s a go. It’s a dope beat. It’s dope bars. It has that right bounce. But most importantly it’s ALL FACTS! This track shows T3REZZY progression as an artist and is just a small taste of what we can expect from him and the new music coming soon. So until that full project drops we’ll be banging All Facts Pt.2. Listen to the track and let us know what you think!

Make sure to follow T3REZZY on all his social media:

Facebook: T3REEZY
Instagram: @T3REZZY
Twitter: @BIGT3REZZY
Spotify: T3REEZY
YouTube:T3REEZY Tha Don

Thanks to Shyheim Nwadiei for inviting us out to a dope event. I look forward to the next North Wind Masquade. 

Make sure to follow him on all social media:

Make Instagram:
Instagram: @northsidenwadiei
Twitter: @northsideshyguy
SoundCloud: I Am Shyheim
Spotify: Shyheim Nwadiei 

Guerrilla Warfare. If your familiar with the term, then you know that it is all about non-military civilians who take up arms to fight against larger traditional military. OTS J Huncho named his first album Guerrilla Warfare, and it was all too fitting. The way he seemed to come out of nowhere and drop a tape that spread like wildfire. It was very much like a militia that he was creating, as his fanbase and supporters grew, so did his legend. The one who is determined to put The Hills on the map. And he’s looking to again use his Guerrilla Warfare tactics with the second installment called “Guerrilla Warfare 2”.

 The lead single "Lions Den (Intro)" is the epitome of OTS J Huncho. When you hear an OTS J Huncho song what your gonna notice immediately is him. That’s because as soon as the beat drops OTS J Huncho starts rapping. He doesn’t play around with the beat. It’s go time as soon as that bass hits but often times even before the beat drops, he’s going in. Also, an OTS J Huncho song is gonna have bars, metaphors, and similes, all coming at you fast and direct. At times I found myself going back and relistening to a track and catching a metaphor that I might have missed. “I done called more plays than Tom Brady and Tyler Perry combined.” This track is OTS J Huncho. He gonna talk his shit and say it with his chest out. He even put out a video that you can checkout below.  

One thing to note about the second track “Elihah Landrum” is that the title is the name of an actual person who is a basketball standout from Central high school that has committed to playing at SMU. The track starts out with a snippet from Floyd Mayweather’s HBO All Access for his fight against Pacquiao. And it’s easy to draw the comparison between the two. Both have a crazy work ethic. OTS J Huncho himself has put out track after track along side with an EP and now Guerilla Warefare 2. Both are also talking shit and backing it up. “One of these lame niggas wifein my head hunter, can’t lie I was mad as the fuck, she cut me off and shit for probably like a month, but she doubled bad cause ain’t shit like the Hunch”. That’s a hell of a statement to make. There’s also has a video that was filmed at the Skyline Mansion which used to be a leader of the KKK’s residence. If Tate Brady wasn’t rolling over in his grave before. He sure is now. Cause OTS J Huncho is posted with his crew all on the front porch. Take a look for yourself.

The next track is “85 South Show”. Which is also the name of a popular show that features comedians from Atlanta. OTS J Huncho even mentions the cast in the song. “Ima a young fly nigga like DC, playing with bitches like Los, and these niggas round here wanna be me, and my brother roll off a chico, that’s a bean if your ass didn’t know.” Not only is the flow crazy. The familiar sample of Drake’s Controlla can he heard playing in the background. This is a song you can cruise to, but at the same time you still get bars. OTS J Huncho is still rapping his ass off on the track. It’s like he never takes a track off. 

​If you're from Tulsa or just watch a lot of TV then you know that unfortunately Tulsa has a high murder rate. This is one of the reasons the TV show The First 48 chose Tulsa as a filming destination. And looking at the title of track 4 “Home of First 48” OTS J Huncho knows all too well the problems going on in the town. “If from the home of the first 48 where they play with extensions way more than beauticians.” It’s lines like these that tell of just how much gun violence is a part of Tulsa. Even with all the violence surrounding OTS J Huncho his talent is helping him grow into an artist that can help change the Tulsa narrative. “The only time a bitch played me was on the Aux”. The track ends with 4 bars from Big Tike’s culturally impactful single “Drank Up in My Cup”.

You probably didn’t know OTS J Huncho was into classical music. Just listening to the beat the familiar samples Beethoven’s “Für Elise” hits your ear. OTS J Huncho must be a classical music historian. OK we’re joking. We’re not sure if OTS J Huncho is a classical music lover, but what isn’t a joke is how OTS J Huncho has repps for The Hills especially on the track "Shhh (G Hills Legend)". “They had them jokes and shit about The Hills but ain’t said shit since the Huncho done popped out. Niggas is bitches”. And it’s true. There hasn’t been a rapper that has represented from The Hills like him. Of course, there have been artists that have mentioned it and dappled with being from both The Hills and north Tulsa. But there hasn’t been an artist who took The Hills and put it on their back like OTS J Huncho is. The track shows his unapologetic bars and a flow that shows that he can back up every line. It’s like going up against a top athlete and they’re up. And to add insult to injury they talk shit too. Checkout out the video and see what I’m talking about.

The second half of the album starts with the track “Return of The Apes (Interlude)”, it feels like that intro part to a TV show where they recap the whole season in under a minute, but in this case it’s OTS J Huncho’s life that he is recapping from a first-person perspective. The song is noticeably shorter at only 1 minute and 37 seconds. But within this short one verse track, OTS J Huncho says a lot, and the track shares some similarities with the previous track which is that OTS J Huncho reps The Hills hard. “Make sure them niggas respect The Hills like they respect the north.” The song is truly a snapshot that dives into different situations he’s went through to get to this point, from talking about someone snitching on his father, to low times when he slept on artist/producer SolRay’s couch, to now being the man in the town. This track you get your bang for your buck he spits all these bars before the beat even drops. While the sample is looping your kept anticipating the drop which makes you listen to what he had to say that much more. This was genius.

"Calvins Story Pt. 2" is one of my favorite tracks on the album. It showcases OTS J Huncho’s pen and storytelling ability. The track is a sequel and continues where Calvins Story Pt. 1 left off. Like forreal the track picks up perfectly, I found myself going back and listen to both tracks back-to-back and seeing how the storyline is so well written, almost like an episodic TV show. He paints such a vivid picture that makes you actually feel like you’re apart of the story. Like you can see the robbery. You can see the cop getting shot. You’re fully invested in the story. I’m personally hoping and looking forward to hearing part 3 to the Calvins Story saga. 

​Track 8 is "Scoring Moore The Maya". From its title it seems to be a basketball reference to famous WNBA player Maya Moore. This may also be why he puts so many bars referencing sports athletes in the track, he midest well be scoring more than Maya Moore. ”I heard that you got up in front of that court, and turned into Paul Pierce and was telling the truth.” BARRRSSS!!! He could’ve stopped the track after that. Also, something to note about this track is that it’s the first track where another featured artist appears. Sabree Carter, is a rapper who also appears on Guerrilla Warfare 1 on track “Boosie in 09”. She is in pocket and her rhythmic voice chop up the beat nicely. "Really stepped on some niggas in Vans, couple niggas that treat me like Stan, put on that shit call me Miss Dapper Dan."

The first thing you notice about “Ricky Tan” is one, the title being from the villain in Rush Hour 2. The second thing you notice is the Ne-Yo “So Sick” sample. Which seems out of place for a hip-hop track. But that’s until the beat drops and you go. “Good one. I see what you did there”. Here’s just one of the lines that caught my attention “Brodie Bro got 2k’s he ain’t even got no console.” The third thing you notice on here is that Phil Sosa is featured on the track. The West and The Hills they go hand and hand so this collab makes sense. Phil Sosa spits some dope bars, but if you know his music then you know that already. “Ima blow this bitch until I hurt my shoulder blade, Glock on me, catch a nigga slippin like a rollerblade”. This track was great move for both artists. Both artists get introduced to each other’s fanbase and in the end everyone wins. Who knows. There may even be a video for this one too. 

What a ride. We are finally down to the last track on the album, which is called “Crenshaw and Slausen Freestyle (Outro).” From the title alone, you can’t half step on Nipsey Hussle’s turf. Also, it’s the last track! Usually, the last track wraps up the theme to an album and can be seen as the end of the story. I feel like this track goes a different direction. In that it makes sure there are doubts left. OTS J Huncho can rap. Simple and plain. But the track is far from simple. The track starts with another familiar sample being Childish Gambino’s song "Redbone". But it’s OTS J Huncho’s complex bars makes so that he even tells you what he means so that it doesn’t go over your head. “Smoke exotic, That shit boxed, they ain’t boxin, They gonna box him, That mean drop him”. The song tells the world who OTS J Huncho is so that they can’t tell the story. It Was Written…

Guerrilla Warfare 2! It’s one of the best albums to come out of Tulsa this year. It’s the sequel that is just as strong as the 1st installment. I did want him to put "SharkLotto Freestyle" on here, but I can’t complain because there are so many great songs on this album. The album uses familiar samples to draw in the audience. But at the same time, I think the thing about an OTS J Huncho song is that you look forward to hearing him rapping more than you look forward to hearing the beat. Which is a trait that breakout artists and mainstream artists have. Guerrilla Warfare 2 gives the fans what they want. Bars, delivery, bravado, and of course one reppin for The Hills. So give Guerrilla Warfare 2 a listen and let us know what you think.  

Make sure to follow OTS J Huncho on his social media:

Twitter: @OtsJHuncho
Instagram: @ots_jhuncho
YouTube: OTS J Huncho
Spotify: OTS J Huncho

These sentences are taken directly from the tracklist of Chris “The God MC” Cain’s new project called “Arrived: Now That I’m Here”. A 10-track album that is the follow up to his album “Arrived” that dropped in 2020. And if you have ever listened to a Chris “The God MC” Cain album that you that everything that he does when it comes to making music is intentional. Even when looking at the tracklist the titles from each song when put together, they read more like an ode, more poetry-like than individual titles. The songs tracklist is intentional and its details like these that will come out in the coming months. Whether it be in an interview or on social media, I expect that Chris “The God MC Cain” will share more of the details of the creative process that went into making the album and share hidden gems that the casual listener might not catch. Until then, we get to let our curiosity guide us on the journey that is called “Arrived: Now That I’m Here”.

The first track "Lettin Niggas Know That I’m Here” is just what it means. At 6 minutes in 38 seconds, it’s similar to when Lil Wayne dropped 10,000 bars. Well not quite that long. Though similar in the fact that there is no chorus. Just bars. It’s Chris “The God MC Cain” flexing his lyrical skills. It’s a reminder. Like let’s get this out the way. Every rapper needs that one track where they need to remind the game that they still can rap. And this track proves Chris “The God MC Cain” can rap. Rap. The piano keys create this lullaby-like heavenly atmosphere as Chris “The God MC” Cain tells vivid raps about his fairytale life. There’s heroes and villains. There's tales of danger, triumph, and adventure. His illustrative verses take you to his neighborhood and the places that meant most to him and everyone who grew up on the Eastside of Oklahoma City. Even with this song being so jam-packed, this is still only the beginning of the story.

Then I Woke Up Grateful Chris “The God MC” Cain is saying his grace. For all the things that didn’t go his way he still is grateful for the things that he has. And even though the Jay Electronica show got cancelled. He has continued to take his craft to newer heights. One thing to note is that this is the first track to feature an artist, a female artist named Cortney Lachelle’. She shows her versatility as she is able to deliver soulful vocals displaying a beautiful intonation and in the same verse able to switch up her style to straight bars and deliver them with a presence and bravado that matches Chris “The God MC” Cain’s. “I got some goals to reach, got some thangs to teach, I’m talkin breakin curses from the ones that come before me”.

On a Sunday Morning the church piano is the first thing you notice when pressing play on this track. Followed by the Serious K5ive tag. It takes you back to those Sundays and seeing the piano player play each note as if they were the lead singer in the choir. Hearing the preacher speak that sermon that you were too young to appreciate. This was Church Sundays. The ones your momma and grandma made you go to because you was in they house, and anyone livin in they house goes to church on Sundays. The song also tells of how when you are young you walk a thin line between good and evil. Or Saturday and Sunday. This is a record about the duality of life. "You gettin money that’s regular, I know some Christian rappers sound secular”.  This is a clever bar. But this song has so many quotable bars. He took us to church with this one. 

The first noticeable thing about track 6 It Had Me Feeling Down is the Brent Faiyaz Make It Out sped up sample that plays in the background. I remember Chris “The God MC” Cain posting the original song over Kobe highlights. It was beautiful. When listening to It Had Me Feeling Down it’s hard to ignore his tone and the way he raps. It sounds as If someone walking in their truth. And sometimes the truth is selfish. He expresses internalized feelings about making sure he is good with bars like: “Health is wealth gotta check the scale”. And in the same breath he shares the mic with the 2nd featured artist on the album Try On 10, as they both say in unison. “It ain’t hard to tell.” Troy On 10 brings some clever bars to the track, at times I would rewind and catch hidden bars tucked inside his short verse. For example, “They tryna hold us down like Omarion hook,” referencing the Bow Wow and Omarion song “Let Me Hold You”. The two seem like teammates passing the ball back and forth again and again running up the score and eventually running out the clock as Troy On 10 finishes the verse by professing "Tired of being down".

So I Recorded Local Nigga seems like the Part 2 to his song “Hip Hop Genre Vs. Hip Hop Culture” where he spits “Oklahoma Rapper, he a local rapper, but in NY Jay a local rapper, in LA Snoop a local rapper, y’all local fans for these local rappers.”. No truer words have been rapped. There are similar bars on So I Recorded Local Nigga for example, “Ain’t no local nigga fuccin with me, It’s a local nigga in every city, Every rapper got a hometown, Every rapper local in his hometown.”. The song dives deeper into this hypothesis as Chris “The God MC” Cain focuses his bars directly on mainstream artists. Which are actually a jury of his peers, his summation being, that because I’m so close to my Oklahoma fans they don’t see why I'm not at that mainstream level. But there’s so much more to it that goes on behind the scenes that really isn’t explained to the everyday casual fan. In-between the radio play and worldwide tours there's a lot of hands being greased and a lot of artists not owning nothing. Not even their own likeness/name. And that's not the Chris "The God MC Cain" way. "But Chris MCain got hella radio play!"

I Felt Better Manifesting a Vibe and just like the title states it’s a vibe. Nia Monė sultry voice starts the track off giving that R&B vibe back when rappers had singers sing their hooks, she also collaborated with Chris "The God MC Cain" on The Omega Before the Alpha. Another interesting fact is that Nia Monė, Young BUD, and Troy on 10 are the only 3 featured artists to make both Arrived albums. Not an easy feat especially on this album which only has 4 credited featured artists. It’s amazing to see that the person that Chris “The God MC” Cain has dedicated so many bars is now a becoming a frequent artist he collabs with. Young BUD is home. And the two friends celebrate on I Felt Better Manifesting a Vibe. Young BUD speaks with a sense of knowledge and growth in life and also an appreciation for Chris “The God MC” keeping his name alive while he was gone. "You helped me get my shit straight, Put me on them mixtapes, When I was in that cage you was screamin' my release date".  It’s these moments that seem so surreal for Chris “The God MC” Cain. But they were really manifested.

We’re Both Artists Baby this is that ghetto love letter. Naw scratch that, this is that Black Love letter. But deeper than that. These are vows. Because Black Love was plotted against as soon as we arrived here in America. And if it was one artists that could describe what Black Love is, then money is on Chis "The God MC" Cain. He is expressive in his feelings for his wife that is masculine and most importantly is unwavering and fully committed'. Like in that scene on Sprung when Montel told Clyde, "I love hard. And when I love a woman she knows she's being loved."  And Chris "The God MC" Cain goes hard for his wife as heard with lines like, "When I’m selfish you get all of my attention and vice versa tho.” and "You the queen of the universe, get the ring around Saturn... And I'll Kill for you, You and the babies. I'll kill for y'all"  If that ain't loving hard then I don't know what is. This is Black Love.

Arrived: Now That I’m Here was an album and a full journey from one of hip-hops best. A true M.C. The album had these moments of nostalgia that made you feel apart of the journey. The album also played on his strengths. Intentional bars. Mastery of rhyming schemes, vocal timing, and presence. And last but certainly not least. It was hip-hop! This is the album we waited so long for. The result of it all was a timeless piece of art. Chris “The God MC” Cain had already Arrived. But it’s now the world gets to see how great he is Now That He’s Here!

Make sure to checkout Chris "The God MC" Cain his social media below: 

Instagram: @chris_the_god_mc_cain
Apple Music: Chris The God MC Cain
Spotify: Chris The God MC Cain
YouTube: Chris The God MC Cain
Twitter: @C_TheGodMC_Cain
Facebook: Chris "The God MC" Cain

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: