​Few songs drop that become instant classics. Is there a specific formula? A specific type of artist? The truth is, no one knows. But you know it when you hear it. Very few artists achieve consensus that a track is a hit, and everyone agrees. That elusive "Summer Jam." Recently there's been this narrative floating around that the internet killed the "Summer Jam" because audiences consume so much content that agreeing on a single anthem has become impossible. However, J. Friday, LAW Rose, and Steph Simon just proved that theory wrong with the release of their new single, "Perfect Time."

LAW Rose sets the tone immediately with a soulful vocal performance that pulls you straight into the record. He might also deliver one of the track's most easily misquoted lines: while some listeners hear "turn off the lights on Pine" or "turn right on Pine," the actual lyric is, "Turn at the lights on Pine", which is also a slick interpolation of Common’s classic "The Light." Rose’s vocals take you back to Sunday morning church services where people didn't just sing the lyrics, they saaaang them. His vocal runs and pitch demonstrate his talent as a performer, which carries directly into the music video as shots of the city skyline flash by like childhood memories. That soulful delivery gives the record a warm, family-reunion cookout feel, evoking the vibe of a Sunday cruise, with Rose delivering his performance while riding a three-wheeled motorcycle.

J. Friday has repped the Town proudly for years, even rocking cowboy aesthetic long before Pharrell made it high fashion at Paris Fashion Week. The 918 star boasts an extensive catalog alongside several Oklahoma greats, many of whom he's outlasted in his career. Friday’s country roots are on full display in the music video: decked out in a cowboy hat and boots, he rides a horse straight down the streets of Tulsa. His verse sets the tone with a country swag that would make any country boyz on the rise, proud. Recently, the emergence of country line dance tracks has ignited a new spark in Friday, who has since dropped records like "Country Boy Walk" and "Im From Oklahoma," proving he has plenty of steps of his own. His coming-of-age lyrics depict an era of no cell phones, late-night lock-ins, and raw Tulsa street life. He caps his verse with some deeply vulnerable bars, "Northside baby, crazy, wasn’t supposed to make it, 2 strokes, I bounced back, I had to shake it", which tags LAW Rose back in for a soulful, heartfelt bridge. Friday proves once again that he understands exactly what turns a good song into a great one.

The final amigo on this track is Steph Simon. You might remember his previous collaboration with J. Friday on "Upside", their spin on The Gap Band's hit single "Oops Upside Your Head." Simerly this go around, Simon leans into his Tulsa roots with his signature style, using his verse to describe how that 918 upbringing helped take him to MoTown and then to Harvard. His delivery is nostalgic and shines a light on things true Tulsans know, like having that natural intuition of knowing when to leave before trouble starts, while sprinkling references to IYKYK fashion brands and businesses throughout. When it comes to articulating Tulsa pride on a track, few rappers are as skilled as Simon. There's a standout moment in the music video during his verse where the camera zooms out to his protégé, Royce1k, who finishes Simon's line: "Me and Friday ghetto legends like Fat Pat and Hawk." There’s no better measure of an artist's impact than how many people they inspire, and Simon has done that continuously, especially through his leadership role with World Culture Music and TMC Records, which he nods to by comparing himself to Mr. Clark from Eastside High. Simon's sharpest skill remains his ability to weave clever bars into a seamless flow that you might miss on first listen, like "Let's change the willl, I'll buy a vowel", proving once again why his arrival is always right on time.

What makes "Perfect Time" work so well is that it feels like an undeniable hit. It's the kind of record barbershops can bump on rotation, radios can put on repeat, and families can play dominoes to at the summer cookout. The fact that it doesn't feel manufactured or forced gives it room to soar above tracks that rely strictly on a catchy beat or a star feature, this track is genuine energy that carries right over into the music video. The visual captures the spirit of the iconic cookout scene in Poetic Justice before the chaos started: fun, organic, and completely effortless. For J. Friday, LAW Rose, and Steph Simon, the timing couldn't be better.

Checkout "Perfect Time" for yourself and let us know what you think.

Some people may be asking who will win this year's NBA championship. What if I told you it's a team that's already putting numbers on the board and looking to dominate? You might be asking who. Let me send you the link right now to a champion-tier album called DSF by Thedarkskinrapper and ripfrancis.

Just looking at the album cover, you can tell this is going to be a basketball-themed project. What immediately catches the eye are two cartoon characters sitting in a Detroit Pistons locker room rocking Pistons jerseys. Closer inspection reveals the artists' names etched onto the lockers, while the tracklist rests on a sign next to Thedarkskinrapper's character on the floor. Even "Hooper" the Pistons' iconic horse mascot stands in the background with his arms folded. Meanwhile, the lettering on the classic NBA logo is flipped to read "DSF," a slick nod to the project title (and I'm guessing, short for "Dark Skin Francis"). One notable detail missing, however, is the third Larry O'Brien trophy from Detroit’s championship run. But getting into the album stats, the album clocks in at 8 tracks spanning just over 16 minutes. With the shortest, "Paul George" being just 1 minute and 26 seconds. Also, there is only 1 feature on the album. Now that that's over, let’s dive straight into the music.

The title of the opening track, "28-3" reads more like a score than a song title, which could also be a nod to former Patriots quarterback Tom Brady's legendary Super Bowl 51 comeback against the Atlanta Falcons. The track opens with familiar sports commentary that hype-checks the project, prepping us for the musical spectacle to come. When the somber beat drops, it sets up the iso play for Thedarkskinrapper to work. His laid-back, lulling delivery flows effortlessly from bar to bar, creating space for him to get to his spot and execute what can only be described as poetry in motion, a phrase I found myself coming back to continuously. Thedarkskinrapper is clearly just warming up on this record, but he still manages to sink a few quotable lines: "Check the score up on this shit, I ain’t going tit for tat." What makes the track even more compelling are the sports announcers running through the background, adding a textured layer of nostalgia that captures iconic moments, much like this tape aims to do for its listeners.

On the next track, "24TheNight" Thedarkskinrapper wastes no time attacking the beat like a driving shooting guard attacking the rim, eventually catching fire like a shooter in a rhythm. His delivery sharpens over a smooth R&B sample floating in the background. The slowed-down, crooning sample sets picks for him to continue his streak of syllable crossovers and no-look metaphors: "Get Aaliyah with shorty, she rockin’ the boat, Throw it in water and see if it float." This track could almost be compared to an after game press conference with Thedarkskinrapper telling everyone just how dominant his musical dominance has been. Which only being into track 2, I couldn't say he's wrong.

Rashad McCants, the former Minnesota Timberwolves shooting guard, isn't the usual athlete you expect to inspire a song title but then again, nothing about Thedarkskinrapper is usual. "Minnesota/McCants" kicks off with a classic feel, pairing a nostalgic boom-bap hip-hop bounce with a soulful vocal sample. Thedarkskinrapper continues to execute at an elite level. Some may remember that McCants had to bounce back from media scrutiny surrounding his relationship with Khloé Kardashian, questions about his dedication, and millions lost to financial fraud, I don't think anyone questions Thedarkskinrapper's commitment to his craft even on the track he stays resilient, navigating the beat like a star point guard breaking down a defense with his handles. He boasts: "If you need your numbers up, call me quick to hit your quota, Talkin' shit and ballin' hard like shooting guards in Minnesota." Halfway through, the track hits a beat switch where he puts his versatility on full display as he drops more braggadocious lines: "Could've really put prices on niggas, but I'm baggin', Just throw on my mic hat, get too good on the beats with the smooth, got a young nigga feelin' like Mike Jac." This is a track that shines as a standout because of his delivery and versatility. Let me know if you can hear the same words I'm hearding.

An intriguing sonic battle takes place on Track 4, "Paul George" where Thedarkskinrapper's hard-hitting, fast-paced bars clash against a smooth, slower-tempo soulful sample. Instead of taking turns, the two overlap, creating collisions where Thedarkskinrapper draws the blocking foul, and other times where the beat draws the charge. The title itself adds another layer: Paul George played two standout seasons with the OKC Thunder before leaving for the LA Clippers, serving as the undisputed star during his time in Oklahoma. Similarly, Thedarkskinrapper briefly took his talents elsewhere relocating to Chicago before returning to OKC where he, like George, aims to be the main event. He spits: "Get a little, these niggas is cap, Hate to say it, they playing the backdrop, Type of nigga I practice a bad shot, Number one, you niggas is have-nots." This line serves as a sharp, painful callback to Damian Lillard's legendary 37-foot series-clinching buzzer-beater over George to eliminate the Thunder in Game 5, a play George famously dismissed to post-game press as a "bad shot."

Track 5, "R1P1" returns to the classic boom-bap production established on "Minnesota/McCants". The title stands for "Round 1, Pick 1", referred to as the first pick in the NBA draft. Thedarkskinrapper brings that exact high-stakes energy, rapping about the pressure that comes with carrying first-round expectations. His delivery reads like a training montage of a franchise player in the gym putting in work. Yet, he also proves he's a team player, dropping the line: "Get the team all aligned, niggas never moved divided." That bar tags in the project's first featured artist, Neph, who takes a commanding stance on the track like a power forward asserting dominance in the paint. Neph reflects on the highs and lows of the artist's hustle while showcasing his ability to switch flows and navigate the beat with an aggressive offensive mindframe: "Now I know that I'm awkward, Yo, these pictures I portray for you are more starving artists." Also check out the video below: 

"LEVERAGE" features production that sounds like it came straight out of 1980s Miami Vice soundtrack, with breezy, tropical-themed drums and warm brass creating a leisurely backdrop. Meanwhile, Thedarkskinrapper raps with the supreme confidence of the league's reigning MVP. Fittingly, he references the iconic number 23—a nod to LeBron James taking his talents to South Beach, as he asserts: "Any team that I’m on is the best fit." He continues this best in the league mentality throughout the verse, boasting, "Game on the line, my nigga, you see your boy eat in the 4th." His lone verse hits like a walk-off, no-look three-pointer, as if he knows he executed flawlessly as he leaves the track, and with nothing left to prove as an answering machine picks up to confirm he's already answered the call.

When people talk about a player being so fast, they blow right by you that’s the exact speed of "LIVE5". Thedarkskinrapper opens the track by locking in on defense, setting a firm line in the sand: "I’ll probably take a fine, I'll cross that line, I ain’t gone play wit ya." As every hoops fan knows, defense creates offense. Right after that bar, he catches a steal and sparks a one-man fast break, pouring in bar after bar. Before you even look up, he’s already 12-bars deep. The beat can only watch in awe as he breezes through, capping off the run with some heavy-hitting quotes: "Real nigga like me, know I’m asking a fee, If I’m being polite, I might ask for a G. Fuck it, max it out, I’m asking for 3" and "Actin’ like hoes, they’ll give you a scene." These bars pull spin moves around the laid-back piano and jazz horns, showcasing his court vision as he scores another standout track.

​It's only fitting that the album closes with "last dance" which may be a nod to the iconic sports documentary centering on Michael Jordan's final championship run with the 1997–98 Chicago Bulls. Thedarkskinrapper confirms this suspicion with his opening bar, "Committed to it all, like it's my last season," also in the bar, "Michael Jordan to the Hornets, never went and sold the team, champ level in this shit, I talk it and I show the ring." The track feels deeply reflective while simultaneously dropping hints about where his career is headed. Toward the end, he delivers a sobering realization: "Shit be up to you, you can only let yourself down." You have to wonder if that's the exact mantra he recites in the gym every night as he works toward greatness. Also, with Russell Westbrook recently announcing his retirement, if this is truly Russ's last dance, this track deserves a spot on his playlist.

Hip-hop and basketball are two worlds that have always bled into one another—from NBA star Damian Lillard dropping rap songs to Master P playing in the NBA. DSF is a pure representation of that crossover, where beats and buckets combine to create art that both cultures can be proud of. The sports-centric concept is reinforced across the entire album through commentary snippets, pre-game interview clips, and Thedarkskinrapper’s relentless barrage of sports bars, not to mention the visual easter eggs packed into the cover art and tracklist. Each track feels like a clutch regular-season moment building toward a championship run. My only real critique comes during a few brief moments where Thedarkskinrapper's voice dips into a faint volume where you know a bar is there, but can't quite catch every word. It's like calling a travel on a speedy NBA guard who's he moving so fast you can't tell if it's a travel or just a slick gather step. Either way, when you sit down with DSF, you're getting a cohesive project with high replay value, combined with an all-star lyricist bringing top-tier metaphors and a Mamba Mentality. DSF is the kind of project that leaves you asking: "Where were you when DSF dropped?"​

Checkout Thedarkskinrapper and ripfrancis new album DSF below and let us know what you think!
​
- DSF on Spotify here.
- DSF on Apple Music here.
- DSF on YouTube here.
- DSF on SoundCloud here.

Also make sure you follow them both on Instagram:

The darkskinrapper's Instagram: @thedarkskinrapper
ripfrancis Instagram: @ripfrancis_

I have to admit, I wasn't ready for the next track on the album, "Freaky Feathers." The title alone should have given me a clue: the birds get dirty too, as ThunderWof. takes the concept of the "birds and the bees" to the next level. Speaking of levels, dj noname.'s production here reminds me of '90s Nintendo games when you reach the boss stage and that intense, high-stakes music kicks in. ThunderWof.'s repeated echoes of "Baby" ring in your ears like the minions you have to fight through while the boss watches from the shadows. The bars get seriously provocative, like when he drops, “Use my mouth as a baby carriage.” And he doesn't stop there; he seamlessly weaves the avian theme into the bedroom antics with lines like, “One leg up, ya just like flamingo,” and, “Baby, shake your feather like a cockatoo.” The song has playful, flirty undertones that set the stage for his experimental language (“choking,” “spitting”), leaving you wondering if ThunderWof. is operating on a whole different level of freaky. ​

Not every track on an album can be a high point, and that’s where I land with “The Eulogy.” The beat carries an early ’90s Native Tongues vibe, reminiscent of A Tribe Called Quest or De La Soul. Where the song falls short, however, is in the vocal performance. It’s a track that demands a vocalist with a broader range to lay down richer melodic undertones. As it stands, it feels more like a reference track that could have found firmer footing with a stronger singer. 

That said, Michael Jackson oddly came to mind when listening to ThunderWof.’s serenading delivery—couple that with a direct nod to New Edition’s "Mr. Telephone Man," and it makes for an intriguing moment. ThunderWof. calls out to a lady named Antoinette, whom it sounds like he's lost touch with: “I'm crying to my flying friends.” But just when you think you have the track figured out, your ears perk up as the codeine haze sets in and a chopped & screwed version of ThunderWof. takes over: “August 10th, damn what a day , I woke up in love, fell asleep in heartbreak.” This is proof that birds really do fly south for the winter. Even deep within this slowed-down monologue, ThunderWof. continues to drop avian wordplay. One line that particularly stuck with me: “Every melody sounds like a memory.” Ultimately, even if “The Eulogy” experiences a turbulent takeoff, it lands beautifully through its use of imagery and culture. 

“2 Minute Drill”, no, this isn’t the “7 Minute Drill” that was later deleted by J. Cole, but it carries all the tension that makes an artist wonder how the industry will react once it drops. The beat has a dark, "Shook Ones" feel that ThunderWof. jumps on, proceeding to rap in a way that taunts any challenger while declaring it's Turley/North Tulsa versus everybody, as if it were tatted on his chest. But not to be taken too seriously, he drops a hilarious line about being mistaken for country star Shaboozey. I love the different elements at play here, like the call-and-response conversation he has with himself addressing rumors and answering questions head-on. Then comes a dope transition into a "Turley" chant, backed by heavy-hitting bars and topped off with this unapologetic 4-bar declaration: “I’m a Northsider, 59er, early Turley resider, I won’t stop loving Turley till my heart retires.” It’s a beautifully executed song, especially given its ominous feel. It's also probably safe to say that ThunderWof. is the only rapper operating at the unique cross-section of sports bars and bird bars. ​

To say I liked The Birds and The Beats would be an understatement. It's a remarkably cohesive concept album that hits every mark of a great record, driven by amazing composition from dj noname. and top-tier lyrical skill from ThunderWolf. The project actually had me Googling birds. More importantly, the bars were witty, he didn't just simply name birds, he seamlessly intertwined avian themes directly into the lyrics and imagery. Fun fact: There are supposedly 18 different birds referenced across the project, and I challenge you to find them all. One eye opening for me is that I might have even discovered a newfound passion for birdwatching. After listening to this tape, I'll probably find myself staring at the powerlines wondering what kind of bird is sitting up there or identifying the one waking me up on Saturday mornings. Either way, spin The Birds and The Beats for yourself and let me know what you think! The tape is exclusively available on BandCamp here.

Also make sure you follow both dj noname. and ThunderWof. on Instagram:

dj noname. Instagram: @nosamyrag
ThunderWof. Instagram: @apache_thunderwof_18

Also watch all the videos for "Show Off.", "UPS is Hiring", "No Big Dawgs", and "2 Minute Drill" on ThunderWof.'s YouTube channel: @ThunderWof.

Pass The Aux! It's one of the dopest events in Oklahoma, that brings together not only artists from across the state, but even some traveling from as far as Atlanta for the unique opportunity to play their music in front of industry tastemakers, multi-platinum producers, and, of course, their competition. What's the competition? "26 artists locked in, playing their music in a battle royale style competition hosted by The OAKA and presented by The Criterion, which brought out hip-hop and R&B artists all battling to take home the coveted "King of The Aux" title. 

Jiondé is an Oklahoma City artist with multiple projects under his belt, including Pressing Forward and Bittersweet. Through his ability to craft musical time capsules, it's clear that music is a deep-rooted passion, one that runs in the family. He happens to be the cousin of fellow Oklahoma City artist 2ndChancesimpkins, whom listeners may remember from his hit single "Raunchy." Jiondé builds on that musical legacy with a distinct catalog that blends raw introspection with heavy-hitting club bangers. But you may be asking, how exactly did he pull off the win for "King of The Aux"? To answer that, let’s dive into his latest project, INTIMATE ENEMIES, and see why he earned the crown.

The 9-track project proves that quality triumphs over quantity. Clocking in at just under 22 minutes, INTIMATE ENEMIES covers a wide spectrum of topics while showing off sharp craftsmanship and meticulous attention to detail. The album cover, of a bouquet of flowers in a vase set against a muted gray background, is a striking image. Perhaps it represents an artist ready to offer his growth to the world. Or maybe an artist that's blooming in a world that was meant to mute his colors. Either way, the music blooms in the listener's ear much like those very flowers.

On the opening track, "WAKE N BAKE," Jiondé sets the tone by putting all his cards on the table, instantly flexing his versatility and songwriting chops. He seamlessly switches his flow multiple times, weaving syllable-packed bars into a serenading chorus. What makes the track so intriguing is his use of a clever metaphor: framing his lover as his essential morning smoke session. Another highlight is the chant-like four-bar refrain that locks in the groove: "She the truth, yeah, yeah, yeah."

The second track, "KEISHAS AND TAMICAS," grabs you with an intriguing title, because let's be real, we all know a few Keishas and Tamicas. Almost immediately, the hard-hitting bass catches your attention, evoking the nostalgia of a school lunch table where kids beatboxed and banged pens on desk surfaces. That percussion lays the foundation for Jiondé to drop some heavy, introspective lines: "And some people just like weather, only good for a season." His delivery carries shades of early Lupe Fiasco and at times conscious, at times deeply contemplative, but always distinctly his own. Jiondé pairs his unique perspective with the natural flair of a seasoned wordsmith. Another bar that demands a rewind is when he spits, "And I got the kind of flow that make an ex want a redo." I found myself pulling the track back multiple times to catch every word, and is a hallmark of great songwriting, best captured when he reflects, "Because love don't happen easily, it comes with a cost, You gambled your mind, and your soul's what you lost, Everybody got a debt to pay."

Just when you think you know Jiondé, and just when you try to box the project in as "another conscious album", he throws a complete curveball with "ASSXIETY." The track is a total 180 from "KEISHAS AND TAMICAS," shifting instantly from righteousness to ratchetness while showcasing the messy duality of the human experience. Jiondé kicks off the song by pointing out the root cause of his condition: Instagram. We all know the unprovoked ass that pops up on the feed, and Jiondé may have finally coined the definitive term for the phenomenon. The chorus carries a playful, animated energy that sets a fun, unserious tone for the track. Even the track's title, which is a witty play on the word "anxiety," lives up to its name as Jiondé drops vividly descriptive bars charting the symptoms of his self-diagnosis. Lines like "I see her ass, even in my dreams, I love a baddie from OKC,", "Her cake got me lost like a coked-up fiend," and "Her ass in charge, authority, It claps and sings like 'Do-Re-Mi'" lets you know that Jiondé is fully aware of his affliction and more than willing to face it head-on.

You know the sample the second you hear it. Listen closely to "PERFECT HARMONY," and you'll find yourself humming Alicia Keys' "You Don't Know My Name", which sets the perfect stage as Jiondé spits his best game to woo a woman he just met: "I got visions of our vibe in perfect harmony." The track features a powerful chorus where every syllable hits right in sync with the hard-striking 808s, leading into a catchy bridge that ties the whole song together. It even invites the listener into a moment of call-and-response: "Nigga don't you know, that you too broke to be chasing ass?" While the track hits, I would've loved to see Jiondé dive deeper into the pursuit by grounding his lines in richer metaphors and vivid imagery rather than leaning into a delivery that occasionally feels a bit too straightforward and nonchalant for someone trying to win over a dream girl. Still, those direct lines yield some wins, like when he drops: "Let your man know it's the small things, the small things. Not the gift, but what the card say." That’s exactly what someone being pursued wants to hear. But ultimately, since it is a shorter track, I just left wanting a few more of those stand-out, memorable lines.

When it comes to "CROSSFADED," this is another track that didn't quite land for me, though listeners should still give it a spin to judge for themselves. I could see the vision, but I caught myself wanting deeper lyricism and richer imagery. By the end of the first verse, the competing sounds felt a bit overstimulating. While the track has the foundation to be a smooth vibe, a few lines felt a forced, like when he raps, "Girl, you keep it classy, so yeah, I call you Sexy Blue." It’s not a dealbreaker, but it’s an area for growth when crafting tracks with this kind of sonic direction. It's also a cut where bringing in a female vocalist could have added a welcome layer of dynamic range. But give it a listen and let me know your thoughts.

There’s an immediate moment of redemption, and it arrives with "PRETTY EYES." The track had me feeling like Will Smith in Bad Boys: "Now that's how you're supposed to rap! From now on, you rap like that!" In just the first 40 seconds, Jiondé revives my enthusiasm for the project with a deliberate flow that commands your attention. His rhythmic bars hit like bold, internal declarations and percussive sound, imitate the hard-hitting snare, as he effortlessly navigates each bar. One line stuck out, is the tongue-twister, inception-like bar: "Hurt people hurt people, hurt people is me." You have to sit with that line for a second before it fully hits, it's a meticulously crafted bar that could easily get overlooked because of the smooth, hypnotic delivery. This also brings back the vivid imagery in lines like, "Girl, just get away, because the pain was so great, I got more than a scrape, I got cuts to the ground, now I'm laying with the snakes." This is the level of writing I knew Jiondé was capable of and missed on the prior two tracks. Because as we know in this game, there are no days off, and for an artist, there's certainly no tracks off.

I swear I can hear someone in the background yell "OK Drums!" as the drums come in on "IMMA DIE A MAN", which kicks off with a smooth Neo-Soul vibe. It's calm and intimate, yet Jiondé brings a commanding presence that makes his declarations about love feel set in stone. The chorus echoes these sentiments, exploring a side of romance rarely addressed in rap: love through forgiveness, love through restraint (like ignoring the urge to text a bad bitch), and love expressed every time he puts pen to paper. Words hold the power to spark wars and break hearts, and Jiondé proves the inverse is just as true, that words can be an act of love. The verses are equally packed with substance, featuring standout lines that anchor his thesis, such as "Real niggas are in high demand" and "I wanna spend quality time with every flaw and every blemish." A deeper listen to the second verse reveals even more vivid storytelling, with gems like, "Damn, I know your pain, my brother, Still no need for rage this summer." And just before that sits a clever line I caught on my second play-through: "I'm Shai Gil, I'm smooth with the mic", is subtle, flex bar to OKC Thunder superstar. As you can tell from the sheer volume of quotes I jotted down, that I really like this track. It's sonically rich with high replay value, capped off by a vulnerable moment at the end where his voice softens right alongside the fading beat.

When we get to "CALL LOG," the title alone hints that you're in for some history, and you'd be right. Jiondé takes us on a nostalgic journey, recounting memories of meeting a lady at a local staple, Braum's, before bringing us back to the present day to only a trail of past calls which is all that's left of someone who doesn't ring anymore. This is one of those moments where I would've loved to see Jiondé delegate rather than carry the full weight, by bringing in a featured vocalist who could have driven the emotional core home with a bit vocal range to communicate this heavy passion. In the second verse, I wanted more emphasis on bars and perhaps a few delivery changes. At times, he gets slightly boxed in by his own rhyme scheme and could've let the story guide the rhythm of the track more. "need me, squeaky, creeping, cheating, repeat, be me", this is where loosening the pattern or switching to a more traditional scheme might have let the storytelling dictate the rhythm. Still, the ending helps land the concept beautifully with a voicemail from a the woman in his call log, "This is my form of closure." Overall, it's a solid, high-concept track—with just a few tweaks needed to make it really hit with the way it intended to. I’d love to hear your take on this one. Drop a comment and let me know.

The project's closing track, "LIL LOVEBIRDS," could easily be retitled "I Love the '90s." The record transports you straight back to the golden era, where the heavy boom-bap bounce had everyone’s head bobbing, from the production style, down to Jiondé’s pocket and cadence.  Jiondé’s drops what can best be described as feel-good raps: "This feels like mama's banana pudding with the Cool Whip." The track has some great lines, one that really proves that Jiondé is a true student of the game, is when he raps, "I be thinking about life after I'm dead sometimes." It's a slick nod to Biggie’s classic album Life After Death, which was a 90s classic album. If sounds had colors, this track would paint in the vibrant red, green, black, and yellow palettes that defined '90s hip-hop fashion and culture. The chorus sets the vibe with an easily repeatable "Straight up!" another troupe used to convey the sounds of the 90s era. LIL LOVEBIRDS is packed with vivid imagery, best highlighted when he spits: "When I get my moment, you can't pay me to choke, I'm the sickest, bitch, my pen is painted GOAT." I think this track stands as one of the absolute strongest tracks on the tape and has the potential to be a Jiondé's breakout radio hit. Drop your thoughts below!

So there you have it, INTIMATE ENEMIES, a sonically rich project powered by clear standouts like "KEISHAS AND TAMICAS," "ASSXIETY," "IMMA DIE A MAN," and "LIL LOVEBIRDS." While tracks like "CROSSFADED" and "PERFECT HARMONY" leave room for growth, they simply show the potential of an artist who still has so much more to give. Overall, the project comes together as a cohesive, compelling piece of art. One day, we might have to ask Jiondé about his intentional use of all-caps throughout the tracklist and album title. In typography, all-caps is often interpreted as shouting. While in certain linguistic contexts, it's cap or lying. Here, neither feels true, it reads like an emphasis. Whatever the reason, one thing is certain. We hear Jiondé loud and clear. This is why he's "King Of The Aux".​

I think that the album is dope and I would encourage you listen to INTIMATE ENEMIES. for yourself. Plus it's streaming everywhere!

Make sure you follow Jiondé on social media:

Instagram: @jiondae_
YouTube: Jiondé
Spotify: Jiondé
​Apple Music: Jiondé

What more do you want? I think that’s one of the questions that I ask. A lot of the people who don’t like the album have this reoccurring criticism that it's not introspective enough, but I think from the very first song "Make Them Cry". Drake shows you how introspective he, and he even speaks on the harsh reality that no matter how deep he digs, they’ll always tell him to dig deeper, which I would say anyone who has listened to his music knows that he's always been introspective. But this one record talks about the things that he's going through in life, like his father battling cancer, or also realizing his uncle's bad decisions and with that the realization now that he’s in this place in his life that he can understand some of those choices. That's life. That's introspection.

But what about the bars? And then I think it comes to the bars, like a lot of people criticize Drake and kind of dismisses him for certain bars, mistakenly as surface level, but not realizing that these can be a technique to connect to deeper bars or more technical, more double entendre style, or even set ups for the larger couplet or quartet or of bars. "I swear I’m going looney over tune like that green martian." This one bar alone lets you know Drake's pen is still penning. That's not it though, The Internet is going crazy over all the bars in this album, but I also think that in itself is a marketing strategy. There’s this new marketing role called "clippers", these are Instagram pages, social media pages, and TikTok pages, that are incentivized to post content, sometimes 10 to 40 posts of the topic in order to go viral. Sometimes that's lyric breakdown, sometimes that's funny dances. But what makes this different is that not only do the content creator gets millions views, but they’re also monetarily incentivized to go viral so with each mill views on sites like Vyro and Clipify, and I believe that Iceman did use and benifit from this marketing strategy in order to kind of sidestep the normal music label promotion rollout. Especially since Drake is still in legal litigations against his label Universal. I think he had to come up with a more creative way, and since Drake is very much in tune with the social media age, this new style of clipping clippers is a way for him to not rely on the machine in order to push his album and market it without having to worry if the machine will do its thing, without having to rely on radio interviews and this big tour media circuit tour, which is what typically the artist's label sets up. An interesting perspective was also that Kendrick Lamar used the same strategy to push his albums and his singles, so this is essentially the new way of marketing. Sort of how influencers used to be the new marketing strategy, clippers are the new music marking strategy that even big named artists are using. And this makes sense, especially with the way that the Instagram algorithm has changed to suggest content that it thinks you would like more than the people you follow.

What you thinking? But let’s not forget the psychology behind this. The algorithm is what it thinks you like, the algorithm thinks you like Kendrick Lamar more, then it’s going to push Kendrick Lamar and reviews and more Drake hate. And in the same vein, if you like Drake more it will push more Drake music and more Kendrick Lamar hate. The psychology behind that like I said the algorithm is more Content based so it’s suggesting things it thinks you’re interested in it. Also the psychology of the content creators that know that hate gets more eyes and likes, meaning that making a video about something you hate or saying something in a very hateful way is more likely to stir up more emotion more comments, and more interaction than just, talking about things you like. This is sometimes called ragebaiting or click baiting for views. I've seen social media influences at times use ragebaiting to get views where in one since they totally bash Drake and all the music he’s made, but then a couple months down their feed you can see them saying they love his song or they even have one of his songs playing in the background, but as you follow these social media influencers you realize that it's not, that they’re not necessarily in the business to love or hate, they’re in the business to get views. and getting views sometimes mean using psychology, tricks that include ragebaiting and Click baiting. 

​Is this really your opinion? Big K.R.I.T. had a skit on his album Cadillactica called “Classic Interlude” where two men are talking about an album that just got released. The main guy asked the other guy has he heard this new album, and his friend says immediately that the album is a classic. But it's with this one friend's opinion that the main guy agrees. Until he then goes on to talk to a female friend where the same question comes up. This time he answers and says that the album is a classic, however she replies that she wasn't feeling it, and that it was wack. This causes him to again change his opinion and says you know what, you're right, it was wack! Sometimes we’re so quick to be in agreements that we don’t even haven't even formulated our own opinion, which then also causes us to not be confident enough to take a stance on a subject. Right or Wrong, people are more respected for taking a stance instead of being fickle. This kind of goes back to school and how we used to have to write book reports. You started with your thesis statement, and the rest of the report was were you added your supporting sentences or paragraphs to show that you actually have research to back up your theory. I say we do that with albums.

Lastly, it takes too much effort to get away from the album. Iceman has already lived rent-free in your head and your algorithm. Go outside and you’ll most likely hear it also. The radio and the clubs are playing the album. Social media is going crazy with it as background music. Even your favorite brunch spot probably has Drake on in rotation. To get away from the album you literally have to stay inside the house. Not impossible, but it’s probably a miserable experience. If it’s music, just let it be music. Use that energy for good.

My suggestion. Give the album a chance, go into a room where there are no distractions.  Don’t try to turn on your phone and record. Or have some reaction video. Don't even listen to the album with a friend. But do bring a blank piece of paper and ask yourself after every track. How do you feel? How did this music make you feel? Did you remember the hook? Was there a catchy part? What didn’t you like about a particular song? How is the arrangement of songs? if you can articulate those things, then I think you have an adequate opinion on whether you like it or not.

Let us know your thoughts on Iceman!

Steph Simon and The Rowlands are a band from North Tulsa that encapsulate what it means to not give up on your town. To stay here when so many left, or as he put it, “took water and made Pade Tea”. If you know Steph Simon he’s always promoted the people and shared the profits by buying local merch and supporting local vendors and most importantly, continuing to do events on Black Wall Street. This particular rehearsal was them gearing up for their next show on June 2nd. 

To be front row of a band rehearsal felt raw, like being at a Tiny Desk performance or an MTV Unplugged show. But there was also the improvisation of it, one example of this was when the band started to play "Sunny on the NS", but on 2 times the speed, I promise Steph Simon didn't miss a single syllable. The band also didn't miss a single note. That's what the creative process is, it's realizing that it doesn't have to be all business, because the creativity is created in experiences. Another experience we were treated to was hearing Steph Simon's new song “Local Markets”, which the band performed, this let me know that the set list was still being flushed out, as they tried new arrangements and practiced subtle cues that let each member know that the next song, or next sound, or what volume to play at. There were restarts. There were instruments being tuned. But that's life! That's LIVE! That's Unfiltered! That's Black Wall Street!

The people came. Drawn in by something you felt in your soul. Samples like, “It Never Rains in Sunny California”, or “Come & Talk to Me” took the crowd to a nostalgic place. But it was the switch to Simon’s original tracks that pulled everyone back to the present. As the crowd grew so did the band’s realization that this was more than a rehearsal, this was a popup show, so they did what any band would do. Give the people what they stopped for. A SHOW! You could see that having fun which came thru in the music. Simon on this day was surrounded by the ancestors because he was finding pockets and flows and even showing off a few dance moves. To hear Steph Simon live is to see a return on investment on any ticket price, any merch price, and album price, ten times over. He is gem to everything Tulsa. 

What happened that day was magical. I just hope you catch the next one and see what Steph Simon and the band bringing live music back to Black Wall Street.​​

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As an artist I’ve always wondered what famous people did with the art they didn't release to the world. What if Michael Jackson had a better album than Thriller? What if Lauren Hill had a better album than The Miseducation? Jay-Z doesn't write, instead everything comes off the top of the dome. Believe me he has too many great verses to just pick one. But what if he had a better verse that he forgot? These questions do linger, but luckily Steph Simon has answered this question with the release of his new project called "Lost Gems". 

Steph Simon is a hip-hop artist from Tulsa, Oklahoma that has continued to push the culture forward in ways that many would've considered crazy as an idea, he has always had the knack to make those ideas a reality. From throwing the biggest hip-hop festival in the Southwest called DreamLand Festival, to helping 50-plus artists be signed to the prestigious MoTown Records, to creating a hip-hop course curriculum that allows him to work with younger artist in high school and middle school. That's only scratching the surface of his community work. As an artist Steph Simon, has put out multiple projects that have defined the Tulsa sound and encapsulated its history. He's also appeared on numerous songs and has performed on almost every stage in Oklahoma. So, when an artist of this stature says that he has music that didn't make the anticipated album "All Roads Lead to DreamLand". I began to wonder what was he going to do with these unreleased tracks? That's where the album "The Lost Gems" was birthed.

The Lost Gems is a 10-track project that clocks in at only 29 minutes listening time. There are 7 credited featured artists in the project's tracklist. An interesting note about the track list is that out of all the featured artists, there is only 1 Oklahoma artist on the album, and that's Dolo Loco. Furthermore, there are no World Culture Music members featured on this project, which is really unusual, sort of similar to Benny The Butcher dropping an album without one single Griselda member on it. Is it a crime? No. But is it unusual? Yes. But to give context that this is more of a compilation of songs and not a true album gives us a little hope that there may be another World Culture Music album one day. (side note: "What Would Jim Do?" is no longer on streaming)

We also had the pleasure of going to the listening party for the project that was held at Silhouette Sneakers & Art, the same place that Steph shot the video for "Built Different". Let's sit with this a little. A listening party. What exactly is it, and what makes a successful listening party? The answers, in my opinion. First, not everybody is invited. It's not a place for socializing per say, it's a time to get the tastemakers in the room to have a truly transparent interaction with the art. The tastemakers include the bloggers, the newspapers, the podcasters, the publicists, the djs, the radio djs, the club djs, the radio program directors, A&Rs and other music executives. This isn't a time for you to have all the homies, every single rapper in the city, the social media influencer who posts funny videos, the streamer whose content is about gaming, the TikToker that does dances. The former is what will get your music played, and the latter might play you.

The experience is also supposed to be interactive. It should be a two-way interaction where the artist plays the song, but also gives space for feedback, which will also be data for the artist to maybe tweak the album or use for future releases. The listening party is as much for you as much as it is for the tastemakers. They get to listen to music early enough in the hopes that they can craft content for your up-coming releases. They also get to see trends happening real-time. Lastly, this helps tastemakers continue to build trust with their audiences by showing why they are tastemakers and the fact that they get into exclusive rooms and have these VIP experiences that the regular person wouldn't and put their necks out for why the listener should spend their time and money with an artist. It's a mutually beneficial relationship.

The Lost Gems Listening Party. Let's get into it. What made Steph Simon's The Lost Gems Listening Party so memorable is that he is great at storytelling and he's great at performing. Both of these strengths he leaned into by A, telling stories behind the tracks and how they were created, and B, by performing either a verse or a certain part of the song such as the hook acappella, this brung the words to life, and often was like relistening to the song through a different lens I noticed myself catching things I didn't in the first listen. Also this was my first listen to the album, I wanted to go in truely unbiased and be able to experience the album for the first time through a new purely objective perspective. Let's get to the album!

The Album Cover
Some might thing that album covers don't matter anymore, I can assure you that they mean more now than ever and Steph Simon has always been intentional with his. The photo for album cover for "The Lost Gems" is from the DreamLand fundraiser game from March 23, 2025 that was held at the Tulsa Driller's Stadium. This field is important not only to Simon, but to the community. A community that neighborhood kids would use to play games such as football or kickball in, the then empty field. But also, it is believed to be where the bodies of the Black Wall Street Massacre are buried. Now the field is built over by the minor league baseball team's stadium called, Tulsa Drillers Stadium. But on this day that same community reclaimed it for them as they competed in a kickball game with Steph Simon taking the mound as one of the teams' pitchers.

The Interaction
The interaction of the Listening Party started with of course the people, the free food, the free drinks. But also came with the music. dj noname. who set the vibe with a crazy setlist of curated music that only added to the anticipation of hearing the new album, dj noname. continues to be a name that is respected and one that is apart of the Tulsa sound from his musical family linage all the way to the music he is creating now. Another great interaction was the art installation of Simon's lyrics. This is the ultimate form of vulnerability and was basically like reading through his journal where there was the good, the great, and a few diss tracks that the world may never see. 

The 3rd track on the album is Fundamentals. The song is as good as the story behind it. Simon had been working on music with the famous West Coast producer Blaqthoven who's worked with every major West Coast hip-hop artist known such as Snoop Dogg and E-40, Kurrupt, even Talib Kweli. And uncle Charlie, yeah that's really his uncle, Charlie Wilson. So as Simon put it, he made a song with Blaqthoven that he wanted to get Das and Kurrupt on, but unfortunately this was the same time that the two were beefing, so it never happened. But God always has a funny way of laughing at your plan because he already had His plan in mind, that was put into motion when Simon did a show in OKC with Jabee and Mistah F.A.B, who is a bay era legend, the result, Fundamentals. What Steph Simon wrote down on paper as a goal had morphed into something that was better than he could've expected, also Simon told how he felt like he is the Mistah F.A.B. of Tulsa, so there were a lot of synergies in these two being on the record together.  

The song itself is a call back to getting back to the fundamentals of hip-hop, of which Simon has always been a student of. Simon raps about pushing back against the algorithm and getting back to making good music. Mistah F.A.B. is back to the fundamentals of bars and lyrics and regional sound. One of my favorite bars from the album is when Simon raps, "Probably catch me posted by that Mid-K, I think's that's why so many rappers out here dropping mid-tapes". It explains the fact that music back in the day had to be good, because in order to sell your music, people had to like it. Now all artists have to do is to come up with one catchy bar, or one hook, and you can get millions of streams from a TikTok. But chasing that one viral moment has come at the cost of good music and lots of horrible music. Or even worse, music that you only know that one viral part. You might as well create jingles if your goal is to go viral. Because to make real music that lasts, you need the Fundamentals!

If you're familiar with Simon's music than you know that the Black dollar has always been a part of his messaging and this tape was no exception. Big Fish is a track that promotes the black dollar circulating amongst the community and showing that everyone can eat, even a Big Fish in what others may consider a small pond. The featured artist AJ Snow talks about taking risks for a bigger profit as well as investing. Steph Simon's has always been a quarterback of the DIY movement, so when he mentions Jeff Blake, it was the perfect comparison, Blake was a an Black quarterback who played for the Cincinnati Bengals, and has the record 92-yard touchdown pass in a Pro Bowl game, while Simon has been throwing hail mary passes his whole career, and scoring more often than not. The last feature on the track is Jayson Cash another California artist who had a great line about realizing that his first time he flew out of LA was actually a connecting flight in OKC, the world is truly that small, especially to a Big Fish.

If you're from Tulsa, then you immediately recognize the early 2000s Tulsa sound that comes from the track T.A.N. the acronym stands for "Tulsa Ass Nigga". The song pays homage to that Tulsa era where artists had a certain draw in the way the said things, the shops that people used to shop at, such as Big T's, and the accessories that was work, such as hoop earrings or basket earrings, Jordans, and the iconic Herringbone chain. Also, the rodeo culture that people didn't run from, they ran to, many putting the rodeo culture in their music as well. Simon also chose not to have the track mixed and mastered as to stay true to that Tulsa sound, he noted the nasally Tulsa flow that he even incorporated into his verse. Not to mention the featured artist that is so Tulsa, Dolo Loco. He lets you know all that comes with being a T.A.N. "On Me". 

Nothing New is a track produced by long time Tulsa producer Papa. During the listening party Simon mentioned that he draws comparisons to LaRussell, but also he says he's like E-40 because at the point that he entered the rap game it was going through a pivotal shift, social media had yet to be created, so for him, his timeline gets lost with many people approaching him as a new independent artist without knowing that he's been grinding for years. He also mentions this as one of his favorite songs on the album which I can see why. It's real talk and real flexing, or as he says, "I ain't on these murals for no reason".

 You might remember Lil Wayne and Drake had a song called BB King, Simon's bodies the beat just as much with storytelling and metaphors that punch through each bar. "Line it up like a Keezy Kut". Simon continues to immortalize his homies in his bars and takes listeners on a journey through his lens. He just wants his blues like BB King. Also, I have to mention that you know you're important to the culture when rap juggernauts Jabee and Chris "The God Mc" Cain pull up. It was like 3 Kings, truly a moment for hip-hop!

Time For A Hard Truth...... The track Tell Me. I'm not the fan of. It's a love song that felt forced. The vocalist's performance on the track could have been stronger. It felt more like an in the shower performance than a man singing about love. The energy was so low and mundane. It's missing the passion. I think it's Steph's own vocal presence and lyrics that literally saves the track. I would like to see the singer either redo the vocals or bring in a stronger singer using this as a reference track.

Think of Some Ways is a track that signifies that Simon has figured out how to tie all of his entities into a self-sufficient machine rather than stand-alone businesses that he hustles continuously to keep going. His anchor begins with the DreamLand Festival that helps gather funds to help grow the other entities such as TMC Records and other school programming. It's also a realization that he is similar to the hip-hop pioneers like KRS One, that will open the doors for the kids to make millions even if that means he might not fully see the millions himself. He will help the kid in Monroe that will be able to see his vision through, that's legacy. And within that, like JAy-Z said, "I’m over charging niggas for what they did to the Cold Crush". This song is Rapanomics!

Gotta Eat is the last track on the album. Steph Simon sounds hungry on this track, the youngins would say he's rapping like the rents due. But he has already said the rent's paid. Simon mentioned the track was written while riding the Blue Line train in Santa Monica, it would be there that he would ride bikes on the beach. It was also on this train ride that Simon saw a naked man, and that's when he had the sobering thought that life ain’t bad. Also, it was on this hour-long train ride that he actually wrote the song to 4 different beats, before choosing this one produced by Blaqthoven. My interpretation of the production is that it's really busy, it's hard at times to track where to anchor your ear to because of the competing vocals, instruments, and tempos. As crazy as Kanye is, he's good at stripping beats down and finding places for emotion over drum patterns. I wanted more of that emotion to come through on this track. The lyrics are there; the emotions aren't.

To throw a listening party means that you have to have a few different elements. The right people, the right interactions, and the right equipment. I think Silhouette is a great place, but I did find that even sitting close to the speakers that it was at times hard to make out the lyrics. Bass is important, but it's more important during a listening party to be able to hear the lyrics. I think that could've been executed better.  There was lots of great activations. But also I would've liked to see a few more djs and radio personnel there. But this may just be a practice run before the real album drops. I think the Google form was genius, not only are you collecting feedback but you're also collecting another contact point that is outside of the social media machines. Direct to customer. That's the answer. The final goal is to get people to listen to the album, and from everyone I polled they did. The last goal is to get those people to create content to get people to listen to the album. That's what this is. So, mission accomplished. That's what makes a good listening party. 

I do suggest that you listen to The Lost Gems. It's a great album.  And it's streaming everywhere!

I also encourage you to fill out the form. 

​The Lost Gems Listening Party Form​