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As a writer and someone who actually appreciates being invited and placed on a VIP list, I always try to arrive relatively on time. As I arrived at Slush at 7:08 PM EST (red carpet started at 7) and made my way downstairs for the festivities before the screening, I was reminded of the rules of engagement when an event takes place in Atlanta. Rule number one, when invited to an event in Atlanta, is that what is considered "on time" is roughly ninety minutes past when the event is supposed to start. This is a well-known art form in these parts, almost a non-verbal pidgin that ATLiens and transports understand without being told. Culturally for us as Blacks in Atlanta, there has always been a beautifully woven, yet still complex, juxtaposition between our inherent spiritual nature and the allure of the streets, and the sensibilities that accompany both in our consciousness. The BMF Season Finale screening was a red carpet affair event off Edgewood Avenue at Slush Restaurant & Bar  - roughly a mile from the home the legendary and incomparable  Dr. Martin Luther King Jr. was raised in. This historic district has always embodied that duality of this consciousness. The 50 Cent -executive-produced BMF (Black Mafia Family) on Hulu is an overall recount of the life and rise of the leader of the largest trafficking syndicate in American History, one Demetrius “Big Meech” Flenory. The show stars his real-life son Demetrius “Lil Meech” Flenory, Jr. playing his father. Synergy PR Services hosted the event and ushered us early media birds downstairs to the bar and lounge area for appetizers, libations, and music. With only about twenty of us in the room I was the first to sit at the bar. This was not a strategic move by any means I just happened to know the bartender, who i had worked alongside some years ago and had not seen since then. The first hour came and went without much fanfare (or people for that matter). The bar acquired some more patrons, and around 8pm, actor Russell Hornsby, who plays Meech’s dad Charles Flenory came down the stairs and straight to the bar to catch up with someone who appeared to be a friend or worked behind the scenes on the series. Most likely both, but the room immediately became energized with his arrival as people arose from the pre-game comatose to shake his hand, snap a pic for the gram, and galavant with the first star arrival. Hornsby was gracious and obliged the crowd and even made jokes with fans and media in between impromptu photo ops. He would prove to be the life of the party later with some hilarious but well timed dance moves before the screening began. Fifteen minutes after Hornsby’s arrival, actress Michole White, who plays the role Lucille Flenory, Meech’s mom and wife to Charles played by Hornsby arrived. In typical ATL fashion the room was practically full  by 8:30. Walter, the owner of Slush, was super hospitable and dapper in a almost powder blue suit and matching hat with a brim crisp enough to be used as fatality weapon on Mortal Kombat. He dimmed the lights, the full cast was now in tow and it was LED light, iPhone camera, action. Although I have not been an avid watcher of the series, I could see some of the intangible things from this cast that has made this series a success and culture piece. These characters have chemistry on screen because they have created a familial bond that is present when the cameras are not rolling. They all worked the room seamlessly, enjoyably, often interrupting and interacting with each other to the delight of onlookers such as myself. Walter came around at 9pm and very politely relieved all of us bar patrons of our chairs to make more room for a now completely full room. The star of the show and real life son of Big Meech - Lil’ Meech - arrived around this time in true star of the show fashion but obliged the fans and media the same as his fellow cast mates. Lil’ Meech did have one security/associate with him and he was rocking a diamond encrusted BMF chain. It was just a piece of jewelry but it reminded of my time in Medellín visiting with my dear friend Obi, who astutely alerted me that some of Pablo’s people were still alive and well around the town. The cast was summoned to the upstairs portion of Slush to prepare for the viewing. The roughly 150 ppl in the room made their way up the steps and followed the cast, although we were not supposed to. I have always been fascinated how through some strange deluded osmosis, when people get around stars, they start acting and behaving as if they are one as well. The crowd had matriculated to a club like vibe in size by the time it was actually time to watch the finale. This made the task of hearing the dialogue from the show arduous and problematic at times. I was well positioned to see and hear what was an action packed and scene stealing event that a season finale is supposed to be for a popular TV series. As the show and season concluded, it appeared the party was just beginning. I walked up to Deja (who had invited me) and asked her if there were any more interviews or Q&A for the cast after. She said no, and I said I was about to make my departure. I’m fortunate enough to have partied in this city when the real Big Meech was  the man in town and sat this one out. I stepped back out on Edgewood and the corner hustlers had dissipated and had been replaced with intoxicated patrons running in and out of bars on the strip. I wondered what Dr. King would think if he was still here; would he see his corners as prosperous or a dream deferred? I may have to wait for next season before I have that conflicting train of thought again.

In the annals of hip-hop history, few names resonate with as much reverence and awe as Steve Sola, affectionately known as "The Mix King." With a career spanning decades, Sola has carved out a legendary status in the music industry, leaving an indelible mark on the genre's evolution. From the gritty streets of New York City to the global stage, Sola's journey into music production began as a passion project that would soon redefine the sound of hip-hop. His early collaborations with Nas on iconic tracks like "Street Dreams" laid the foundation for what would become a storied career, marked by innovation and excellence. Methodically crafting sonic landscapes that captured the essence of urban life, Sola's work on albums such as Method Man's "Judgement Day" and Mobb Deep's "Infamy" solidified his reputation as a master of his craft. With an unparalleled ear for detail and an instinctual understanding of rhythm, he breathed life into each track, infusing them with a raw energy that resonated with audiences worldwide. But perhaps Sola's crowning achievement came with his collaboration with the late, great Notorious B.I.G. Working alongside the rap icon on his posthumous album "Duets : The Final chapter” Sola showcased his ability to seamlessly blend old-school sensibilities with modern production techniques, creating a timeless sound that paid homage to Biggie's legacy while pushing the boundaries of the genre. Beyond his work with rap's elite, Sola's influence extends far and wide, touching the lives of countless artists and producers who have been inspired by his trailblazing approach to production. From his innovative use of sampling to his meticulous attention to detail in the mixing process, he has set the standard for excellence in hip-hop production. Despite his accolades and achievements, Sola remains grounded, always attributing his success to a deep-seated love for the music and an unwavering dedication to his craft. For him, it's not about the fame or recognition; it's about the art of creation and the ability to connect with audiences on a profound level through music. As hip-hop continues to evolve and shape the cultural landscape, Steve Sola's legacy stands as a testament to the enduring power of creativity and innovation. His work has not only defined an era but continues to inspire generations of artists to push the boundaries of what's possible in the world of hip-hop production. In the ever-changing landscape of rap, one thing remains constant: the undeniable influence of "The Mix King," Steve Sola.

Celebrating the 29th anniversary of Mobb Deep's "The Infamous" is a testament to its enduring influence on hip-hop. From its gritty storytelling to its raw production, the album continues to captivate audiences decades after its release. "The Infamous" not only solidified Mobb Deep's status as one of hip-hop's most iconic duos but also left an indelible mark on the genre as a whole. The album's dark and atmospheric beats, courtesy of Havoc's production, provided the perfect backdrop for Prodigy and Havoc's vivid lyricism, painting a stark picture of life in the streets of Queensbridge, New York. Songs like "Shook Ones, Pt. II" and "Survival of the Fittest" have become anthems of resilience and authenticity, showcasing Mobb Deep's ability to capture the harsh realities of urban life with unflinching honesty. The album's themes of survival, loyalty, and street wisdom resonate with listeners across generations, making it a timeless classic. "The Infamous" remains a cornerstone of East Coast hip-hop, influencing countless artists and serving as a blueprint for gritty, street-oriented rap. Its impact can still be felt in today's rap landscape, where authenticity and storytelling continue to reign supreme. As we celebrate 29 years of "The Infamous," we pay homage to Mobb Deep's legacy and the lasting imprint they've left on hip-hop culture. Their music continues to inspire and resonate, proving that true artistry knows no bounds of time or space.

Adding clarity to a debate that has just gotten louder and louder Yes, obviously. Obviously she can. She can make whatever music she wants, regardless of where she was born, but she was once a little girl growing up in Houston, Texas — I imagine that line dancing and honky tonks aren’t a foreign concept for her. People are really feeling big feelings about her new Cowboy Carter record, though, so it’s worth digging into a little further. I’d argue that not only is Beyoncé allowed to make country music, but that, as a test case, “Texas Hold ‘Em” fits better into the country canon than anything Florida Georgia Line ever put out. First, it’s worth dismissing the obvious lines of attack on the album — that Country music is white music, and Beyoncé is an R&B singer and should stick to the genre that made her famous. Country music is not white music — just like every other type of music we think of as American (jazz, hip-hop, the blues, funk, soul, R&B, rock & roll), it started in the Black community. The physical instrument of the banjo, for example, was created by enslaved people in the Caribbean hundreds of years before it was popularized (in white culture) in what we now call bluegrass and country music. (If you’re really interested in this, go read Rhiannon Giddens’s article in The Guardian; she’s a true scholar on this subject. She’s also the person playing viola and banjo on “Texas Hold ‘Em.”) And artists move between genres all the time! We can call Bey’s move here the “Reverse Taylor Swift,” in fact, the transition from pop/r&b to country. There’s more than a little “stick to sports” energy here, and it’s kinda gross. The backlash that André 3000 received from the hip-hop community for his (sort of?) jazz album doesn’t apply in Beyoncé’s case, either — Dre hasn’t made a single solo rap album (the genre that made him famous), but Beyoncé has many important albums in R&B land. To the degree we can say artists have to earn the right to try something new, she’s completely and totally earned that right. “Texas Hold ‘Em” is a dance song, right? It has spawned waves of choreographies on TikTok and Instagram. It has gotten legions of people to turn on country radio who never would have dreamed of doing so before. It’s “Get Low” with a banjo. And country music has a long history of dance music! Remember “Chattahoochee” by Alan Jackson? Way down yonder on the Chattahoochee/ it gets hotter than a hoochie coochie … I learned how to swim and I learned who I was/ a lot about livin’ and a little ‘bout love”? That song (1992) had a whole entire line dance that went with it. I vividly remember my cousin practicing this dance with her friends; in fact, go find a white Southern woman between the ages of 40 and 50 right now. She can still do that dance. It’s engrained in her muscle memory, and it’ll come out every bit as fast as The Macarena, the Soulja Boy, or the Electric Slide will in other communities. Now, “Chattahoochee” has a dance that goes with it, but the song’s lyrics do not explicitly talk about dancing like “Texas Hold ‘Em” does. A better comparison might be “Boot Scootin’ Boogie” (1991) by Brooks & Dunn, which, by the way, also had an accompanying dance. This song hits at all the same motifs as Beyoncé — dive bars, beers, smoke, gambling, romance — and the lyrics are about dancing: Out in the country past the city limits sign Where there’s a honky tonk near the County line The joint starts jumpin’ every night when the sun goes down They got whiskey, women, music, and smoke It’s where all the cowboy folk go to boot scootin’ boogie And though “Boot Scootin’ Boogie” was made by a country duo, the song is very much based on the blues. The verses are a 12-bar blues riff, and the “boot scootin’ boogie” vocal line that ends each chorus is a standard blues motif as well. So that’s two songs by the countriest of mulleted country artists, songs in the exact same lane Beyoncé is using, one of which is pulling directly from the blues tradition that predates them all. Even Beyoncé’s lyrics fit within this country tradition. Right away, she tells us to “park your Lexus/ throw your keys up…” which toys with the country music convention of songs about summertime and Chevy trucks in a hilarious tongue-in-cheek way. I know anyone who knows anything about music is familiar with that motif, but seriously. Go back and click on the links above to “Chattahoochee” and “Boot Scootin’ Boogie” — listen to how both songs start. (Spoiler: it’s with engines revving.) Then, there’s the repeated metaphor in “Texas Hold ‘Em” — playing cards. This ain’t Texas/ Ain’t no “hold ‘em”/ so lay your cards down, down, down, down… Kenny Rogers uses the same metaphor in his most famous lyric, “The Gambler,” a song you know even if you don’t know you know it. You’ve got to know when to hold ’em, know when to fold ‘em Know when to walk away, and know when to run You never count your money when you’re sittin’ at the table There’ll be time enough for countin’ when the dealin’s done Both tunes are playing with ideas around holding back and letting go. Rogers’s song is the story of a man on a train who is getting life lessons from a gambling man — since he is on the train, we can assume he’s in the “know when to run” cycle of his gambling lifestyle. Beyoncé’s refers to a relationship, using the “ain’t no hold ‘em/ lay your cards down, down…” line to lay down an ultimatum to another person, since “putting your cards on the table” is another way to say “telling the whole truth, no bullshit.” With no holding back. And of course, since Bey made a dance song, there’s the double meaning of letting go on the dance floor and allowing the music (and the other person) to sweep them off their feet. Even the feel of the two songs is similar, though “The Gambler” may well have been improved with a 4-on-the-floor beat, a detail that makes “Texas Hold ‘Em” a true dance song as well as a true country song. So: not only is Beyoncé allowed to make a country album, not only does she not need anyone’s permission, but the first single from Cowboy Carter (note: that’s her actual last name, and also the last name of June Carter, famously of the Carter Family band and Johnny Cash’s wife of 35 years) fits perfectly in context with country music history.

New York City, April 19, 2024 - Hip-hop enthusiasts rejoice as rap icon Nas and legendary producer DJ Premier unleash their latest single, Define My Name, igniting excitement for their long-awaited collaborative album set to drop soon. Define My Name is a potent fusion of Nas's lyrical prowess and DJ Premier's masterful production, delivering a hard-hitting track that pays homage to the essence of authentic hip-hop. With Nas's trademark flow seamlessly weaving through Premier's iconic beats, the single captivates listeners with its raw energy and introspective lyricism. Fans have been eagerly awaiting news of a collaboration between Nas and DJ Premier, two titans of the genre whose previous collaborations have left an indelible mark on the hip-hop landscape. The release of Define My Name not only meets but exceeds expectations, setting the stage for what promises to be an unforgettable album. The announcement of the collaborative album comes after years of anticipation from fans who have longed to see these two icons join forces once again. As anticipation continues to build, listeners can expect a project that stays true to the essence of hip-hop while pushing boundaries and showcasing the evolution of the genre. With Define My Name serving as a tantalizing taste of what's to come, fans can rest assured that Nas and DJ Premier are gearing up to deliver an album that will solidify their status as legends in the world of hip-hop. Stay tuned for further updates as the duo redefines modern rap's sound.

Thirty years ago, in the heart of Queensbridge, an album was born that would forever change the landscape of hip-hop music. Nas' "illmatic" wasn't just a collection of tracks; it was a lyrical masterpiece that captured the raw essence of life in the inner city with unparalleled authenticity. As we celebrate three decades of "iIlmatic," its impact on the hip-hop world, Nas as an artist, and the group of producers who made the album possible shines brighter than ever. At its core, "Illmatic" was a reflection of Nas' upbringing in Queensbridge, a place where survival instincts were honed on the unforgiving streets. His lyrics were a potent blend of street knowledge, introspection, and vivid storytelling, painting a gritty yet poetic portrait of urban life. From the haunting introspection of "N.Y. State of Mind" to the soulful introspection of "Memory Lane (Sittin' in da Park)," each track was a testament to Nas' unparalleled lyrical prowess and his ability to capture the complexities of the human experience. But Nas wasn't alone in shaping the sound of "Illmatic." Behind the boards was a group of visionary producers who brought his words to life with their innovative beats and samples. From the legendary DJ Premier to the pioneering Large Professor, each producer brought their own unique style to the table, creating a sonic landscape that was as diverse and dynamic as the city itself. Together, they crafted a sound that was raw, gritty, and undeniably authentic, laying the foundation for the modern hip-hop sound. The impact of "illmatic" on the world of hip-hop cannot be overstated. It wasn't just an album; it was a cultural phenomenon that resonated with a generation of young people who saw themselves reflected in Nas' words. Its influence can be heard in the music of countless artists who followed in Nas' footsteps, from Jay-Z to Kendrick Lamar, who cite "iIlmatic" as a seminal influence on their work. As for Nas himself, "Illmatic" catapulted him to superstardom, earning him critical acclaim and cementing his place as one of the greatest MCs of all time. But more than that, it established him as a voice of his generation, a storyteller whose words had the power to inspire, provoke, and ignite change. Thirty years after its release, "Illmatic" remains as relevant and influential as ever, its legacy secure in the annals of hip-hop history. As we celebrate this milestone, we pay tribute not only to Nas and the producers who made the album possible but also to the enduring power of music to unite, inspire, and transcend.

What it sounds like: If Santana’s Abraxas had a hip-hop drummer, or an Erykah Badu album without the vocals. I know many people in the musical circles I inhabit won’t be familiar with Khruangbin (pronounced KRUNG-bin), a Black-white-Latina (drums/guitar/bass) trio from Houston. I certainly wasn’t until a couple weeks ago, but you better believe I am now. Laura Lee (“Leezy”) Ochoa, Mark Speer, and DJ Johnson are making some of the most groove-centric jams I’ve heard in a long time on A LA SALA, their 4th full-length album (released April 5, 2024). I have tried for a few days to think of the correct characterization for the musical style I’m hearing on this record, for those not familiar with Khruangbin’s work. It’s (mostly) instrumental. It’s not hip-hop (there are no bars), it’s not R&B, it’s not jam-band, it’s not rock, it’s not funk, though it is pretty funky in places. It’s just smooth. And it’s positively screaming out to be sampled. That was my first thought when hearing the record. (Actually, it was the second, after “wait — are there no lyrics on any of these songs?”) A quality producer could pull several beats from A LA SALA as-is and loop them, or they could chop the songs up and get dozens more. Honestly, I’d like to challenge any producers who read this, or MCs that are so inspired, to listen to this project and drop a “Khruangbin x _____” EP. It could be something really special. Even if you aren’t in the market for some killer samples, definitely give this record a listen. Put it on while you’re driving, or on the subway, or cleaning the kitchen, or cutting the grass, or dancing in la sala. It won’t disappoint.

If you are a fan of Hip Hop we are sure you know who the Legend Haas G is, being a part of the hip hop pioneer group the UMC's. They kicked in the door for rap on the charts and rap has never looked back since then. when it comes to talent the Staten Island MC and Grammy-nominated producer is wired Godly with it. It's not every day a new artist on the scene has the confidence and tenacity to produce on their first effort as a recording artist maybe that's the Brooklyn in him always ready to bet on himself he crafted a sound for the UMC's that was distinct yet reflecting the times he laid a musical framework that others coming after could take a model of, he is a sampling genius as a producer that is overlooked when in fact Haas is with the best of them past and present, even with the success of the UMC's Hass G was destined for greater things his drive for greatness was just starting. Enter the new moniker Fantom Of The Beat as powerful as he was in the UMC's it's as Fantom of the Beat that Haas super powers are fully on display he is unbeatable as Fantom. Having grown up in the same building as Ghostfacekilla when the Wu member was taking a hit in the street credibility department he knew that his friend would lace him with a sound that reflected the streets when Ghostface added his hard-hitting rhythms to the beat of 'Apollo kids' The beat is clam yet gritty in your face but laid back it was Staten Island on full displayed and street credibility concerns went out the window because it was clear they came from Staten Island. One would think that such a story would be the climax of an artist turned producer career but for Fantom that was only the start he went on to work with mixtape 50 Cent who we today have on the mixtape Mount Rushmore. Fantom kicked on the door and announced he is a major player in the music world and when we was given the chance to work with Busta Rhymes he produced “Take it Off” for Busta Rhythms on the album E.LE (Extinction Level Event): The Final World Front this album is considered Busta best effort as an artist to date and also garnered Fantom a Grammy nomination for his work on the album and as great as this was he still had more to prove so on true Staten Island fashion he made an even bigger hit. 'Magic Stick' a song originally for 50 cent album but would be later passed to Lil Kim with a 50 cent verse that garnered the highest of hip hop success it ruled the charts an airwaves Fantom was in a Golden Bag with an infectious beat that transported you through time his legacy as a producer was cemented. When Hip Hop needs him most Fantom has always answered the call of his first love and in Twenty Twenty-four four Hip Hop has called him again but this time to be more than an artist and producer. He is charged with creating a paradigm shift in the music culture as one that has learned the lessons of the past and has a passion for the youth, he's teamed up with a starting lineup that dreams are made of his label Fantom Music. Rec has paired with Tarantino 1440 Ent. In an equal partnership to formed a new label bursting with talent that they will officially be launching soon. It's clear that Fantom of the Beat is here to stay and his legacy is alive and well and will be echoed through the ages as long as Hip Hop is here.

Paul Hendricks The longevity and influence of multiple Hip Hop eras might be synonymous with only a few special people. The hunger to constantly push one's boundaries in music takes a unique approach and dedication. Everyone doesn't have access to this room nor should they. But there are a select few that belong in the pantheon of Hip Hop lore. Paul Hendricks, also known as "Baby Paul" is one of those special people who has carved out his place as one of our most talented producers. Baby Paul's work has spanned over 3 decades since his inception in the early 90s as a member of the legendary production crew, "Da Beatminerz". His early contributions to the sound for all members of the Boot Camp Click, Busta Rhymes and the Flip Mode Squad, Naughty By Nature, Talib Kweli, and so many other legends, allowed him to be part of the signature boom bap sound of Hip Hop's golden era. Conversing with Baby Paul and hearing the back stories of some of his most prolific work reminds the listener of a producer's important role when collaborating with an artist. This was evident as Baby Paul navigated his approach to curating the banger, "Destroy and Rebuild" off of Nas' classic album, "Stillmatic". Baby Paul shared the process in which he took to create the beat but also his input in the overall approach to the song from a producer's perspective. Sharing stories where he's worked with rap legend AZ and the studio sessions during their time, was a breath of fresh air. From gold to platinum record credits as well as Grammy nom, Baby Paul has accomplished as much as any producer could ask for. Working with legendary artists and groups and outlasting the rigors of the industry, only shows this producer Titan as one of those. Baby Paul continues to curate innovative and fresh sounds with his most recent output, "Executive Decision" with his partner DJ Mr FX. The two juggernauts have put on a great sound performance with the new output and show no signs of slowing down. As Baby Paul adds Manager of Artists to his title, standing the test of time is an understatement, as Baby Paul's production sounds just as sharp as it did in the 90s.  Baby Paul is a living legend who continues to build on said legend while keeping his producer's ear sharp. https://share.stationhead.com/O3irS2lcGqG

What's in a name well if you are Imam T.H.U.G everything! his name has a powerful meaning Imam means Faith T.H.U.G - Truth, Hunger, Understanding, and Growth. It is a fitting declaration from the Queensbrige native having overcome challenges and setbacks He became a voice for those who somehow seem to have been forgotten by the system. He's no stranger to the music scene having introduced himself to Hip-hop fans on the 'War Report' by Capone N Noreaga the 16 bar dropped on “Driver’s Seat' was his announcement that he was a true Mc, lyrically sharp and ready to spar with the best of them. This was just the start of this QB legend's career as he was eager to make his mark on the music scene. He went on to be a part of the group with his friend Tragedy Khadafi (Intelligent Hoodlum) they would call themselves 'Iron Sheiks' Telling the stories of the 'thug' where they made underground hits such as Tony Touch freestyle which is still talked about this day today. The success he garnered from those efforts plus the tenacity that seems to me a natural part of the Queensbrige native never-say-die mentality ensured that when he partnered with Steve Sola for his solo project The Immortal Legend’ the album was centered around gratitude and reflection of trying times of past and present. Imam T.H.U.G showcases the true essence of a real MC. In 2024 Iman T.H.U.G. Is poised to team up with Steve Sola again to create music and if the snippets are anything to go by Hip fans are in for a music treat from an artist that embodies the core principles of Hip Hop. https://share.stationhead.com/9nefe3r5XQc

Renowned south Londoner RAF - Saperra has done his East Coast Hip Hop homework and the results are in as he presents his Ep "5 Deadly Venomz". The EP which is out March 8th (Today) on Mass Appeal Records the Nasir "Nas" Jones backed label, shows Raf giving a masterclass on bridging the gap between Punjabi Folk music and that gritty East Coast Hip hop sound. 5 Deadly Venomz starts on a euphoric high as soon as you hear nostalgic Grisela Drum works on the first track "Rolling Thunder" assisted by Griselda heavyweight Conway The Machine the track marks Conway's first South Asian outing. The Machine delivered big time bringing back that cool yet deadly flow he started the rap game with, the track showcases a beautiful union between the two artists. one could argue this should have been the lead track off the album but it's sure to garner much support during the summer as the track has that block feel where you want to blast it with the top down on a warm summer day. "Hood Harvest", arguably the strongest track on the EP, shows Raf in his acclaimed mixtape form, however, Dave East steals the show as the Harlem MC reminds fans and Hip-Hop critics that he is more than nice in the booth. This is one of East's strongest outings in recent years easily. The bars are hitting home, he sounds clear and confident with East declaring that not many can rock with him in the booth. After the effort on this track, no one can deny that East is one of the Hip Hop stars that deserves more flowers and room to shine. Any song coming after "Hood Harvest" had its work cut out for it and yet this is where the brilliance of Raf and his team shines through. The team has an expert ear for music placing the previously released "Ranjha" a cinematic track where Raf glows but most importantly pulls the attention back to him and away from the two featured artists who showed up in Brillant A Game form. "Venomz Boliyan" is a high-tempo track that showcases the UK connection but remains true to that East Coast Hip Hop and Folk Punjabi vibe just with the new school twist that Raf seems to be the master of. "Off Ends" concludes the EP - it embodies the perfect summer party where all you want to do is start the EP over because you are trying to get that feeling of fresh nostalgia. With each listen it's delivered to you at the highest level. The theme of the EP seems to be bridging the gap between cultures but most importantly Raf announcing to the world that Punjabi and Hip Hop were destined to meet. 5 Deadly Venomz has the right amount of nostalgia for you to feel like you've heard it before, but enough freshness for you to know it is something new, the EP is a brilliant 1st collaboration between Mass Appeal Records and Raf, and it is clear that attention to sound and track placement was key when crafting, this Ep.

David "Yungin" Kim is the future of music in more ways than one he represents the multicultural melting pot that we call the music industry and with the rise of the non-traditional music markets taking over  He represents the new trajectory of the music industry. With the rise of K-pop and the Asian market announcing itself as a new powerhouse hub for music consumption, one could say he’s in the right place at the right time to break down barriers that those before him thought were impossible. He leads the charge for engineers and producers coming out of the Asian market and announcing themselves here and ready to work. He has strong roots in the hip-hop community through his work with Hitboy ( the new generation Quincy Jones)  which was highlighted by his recent run with legendary Rapper Nas on his recent albums. David’s list of accomplishments is nothing short of what dreams are made of, with Nas being one of his favorite rappers and one of the first albums he bought being a Nas album to mixing and mastering six albums for Nas very few in the industry have had such a storybook career moment   And if the story couldn’t have gotten any better he knows ties in his work with hip hop to his homeland with a collab with a member of K-pop’s biggest group BTS that ensures that his name will be mentioned when we gather to celebrate the next 50 years of Hip Hop. Kim has connected himself to his homeland and is now set to be one of the loudest voices coming out of the Asian market when it comes to music, and if his recent works are anything to go by we are in for a magical treat as the music institute class topper shows why adversity maketh a man is a statement that describes him. HipHopTalks  asked fans to send in Questions that they wanted to ask David Kim and we selected ten fan submitted Questions to ask him : Q&A HHT: who are the engineers you looked up to when you first started out? DK: Young Guru, Noah “40” Shebib, and Fabian Marasciullo HHT:  What’s the last album you bought DK: Magic 2( maybe this has changed to magic 3) HHT: Out of all the projects you and Hit have worked on which two are your favorite and why? DK: King’s Disease and KD2. They were so personal to me. King’s Disease won Nas his first Grammy after 14 nominations and KD2 just hit different. Every song on there is powerful. HHT: How important is family to you? DK: Family is everything to me. I was fortunate enough to have grown up with a loving, close-knit family and it’s given me the confidence I require to take on the world. My wife is my rock and my brother is my best friend. My parents have taught me sacrifice and hard work. They migrated to a foreign country with only $600 in their pockets and somehow made it work. That implanted the “no excuses” mentality in me. HHT: what’s  one new trend in music you wish  would go away and one you wish would return to the  craft DK: I try to enjoy music as it changes and evolves, There not much I would change right now because I know that trends will keep repeating themselves. Just like real RnB is coming back, I hope that real lyricism becomes popular again. HHT:  Tell us about the Jhope and Cole collab how did you get involved in that project? (B) what was going through  your mind because these two are massive superstars and you had the task of presenting the perfect mix to the world DK: PDOGG, the producer of the song became a personal friend of mine through some previous work. He hit me up with this opportunity and I jumped on it because I’ve dreamt of working with Cole. When I got the session, I just went about my business and approached it like any other song. The cool thing about this session is that we jumped on Facetime on multiple occasions (PDOGG, J Hope, and I) and it was fun to go back and forth in my native tongue. Overall it was a super dope experience. HHT: You seem to be a lover of golf how did that come about,  and when is the surf club gonna start a tournament? DK: I got into golf 2 years ago right as the pandemic was ending. All my friends were playing and my pop had been an avid golfer for nearly 30 years, so I decided to pick up the sticks and try it out. I could say golf changed my life in the last 2 years. It let me be competitive again (I grew up playing every sport). It also let me get outside and get some air, which did wonders for my mental health. Golf is both the most frustrating and most exhilarating sport I’ve ever played. It’s just you out there, nobody to blame, nobody to hide behind. All your flaws and insecurities are exposed and you have to decide what to do with them. The Surf Club golf tournament has a nice ring to it, we gotta manifest that one HHT: How important is it for you to incorporate your culture into your work DK: My culture is something I’m learning every day. For such a long time I almost ignored my culture in order to assimilate into another but as I get older, I’m being tugged back to my roots. Lately, I’ve been working with a lot of Korean artists in the hopes that I can make a positive impact in my home country. HHT:  Do you have a wish list of artists you want to work with? (B) why do you want to work with them DK: I’ve been asked this question many times and it's tough to answer.. the list of people I’ve worked with so far has exceeded my expectations already, so I’m just excited to see what my future holds. HHT: What do you want your legacy to be when you decide to step away from the music industry? DK: I hope to make a positive impact on at least one person. Whether it’s being motivated by my work or being a mentor figure to somebody, I feel like if I could make the world a better place by even a little bit, my mission would be complete. The words that have guided David as he makes his name in the muisc is "You miss 100% of the shots you don't take.” by Wayne Gretzky and those are The words that he wants fans to remember is take a shot and see what happens .