Culture Archives - Page 4 of 18

#rewindreview: Ali Shaheed Muhammad ‘Shaheedullah And Stereotypes’ 2004

Posted on June 24, 2025 by

My expectation for a solo album from Ali Shaheed Muhammad, the third member of A Tribe Called Quest, was it would be a compilation record, with a myriad of different artist. Instead the solo debut ‘Shaheedullah And Stereotypes’ is “Ali’s” moment to get on the mic and rap as well as “try” to sing. It’s been twenty years since this album dropped which flew a bit under the radar. After solo albums from Q-Tip and Phife Dawg, and a reunion tour happening with no new “Tribe” record in sight, Ali took to the studio and created a very hefty album with some surprising creatives. I always thought growing up that Ali was the man behind the beats for A Tribe Called Quest but as it turns out the main person was Q-Tip so on ‘Shaheedullah And Stereotypes’ he takes the main floor for production along with Houston T.X.’s own Chris “Daddy” Dave. The two put together an album that initially was a bit of a “head scratcher” but over time this album has aged well and let’s just say with today’s current events, the content seem prophetic. Ali Shaheed Muhammad enlist rappers such as Chip-Fu from the Fu Schnickens and Kay who also has been a veteran staple in the Houston Hip-Hop music scene. This album is not all HOP music and gives Ali a chance to satisfy the short lived Lucy Pearl era with some soul, R&B and dance music. On this release the legendary Stokley Williams of Mint Condition assists along with an up and coming Sy Smith, and Wallace Gary. On paper this album seems to have a lot going on but as it has aged, it also is very clear that these names mentioned were a tight nit group that put this album together and made it feel like a moment for “Tribe’s” third member. For me personally this album was special because of it’s hefty connection to HUEston. With A Tribe Called Quest being one of my favorite groups and arguably the greatest group in HOP music, it was inspiring to see a legend like “Ali” recognize and work with the talent that is often overlooked and underappreciated in this city. What did you think of the album? Singles include: ‘Elevated Orange’ & ‘Banga’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Punk Barbarians ‘Sex, Props & Cream’ 1996

Posted on June 17, 2025June 17, 2025 by

In the 1990’s HOP music was at it’s strongest point because it was building on the decade before with rappers and the music discovering it’s potential. Labels were taking chances, media was exposing acts and listeners were hungry for the next new thing. With all of that innovation the genre also witnessed a lot of acts that were “one and done.” This was usually caused by those acts never being that good or the consolidation of media and record labels by 1997. Here we have Punk Barbarians who debuted in 1996 from the Long Island area of New York. They consisted of four rappers Sunny Cheeba, Bam Bam, Doozer and Renegade (a.k.a. Shine On). My initial introduction to them was a song called ‘Bubblin’ which I remembered seeing the video but never got into the song. ‘Blast Off’ I happen to catch one the few times it was played on Rap City and I was loving this track, to which I didn’t realize this was the same group with the ‘Bubblin’ song. Fast forward at least seven years, I find this album to give it a listen and I was blown away by at least the beats. ‘Sex, Props & Cream’ is an album that highlights those elements which seem to drive HOP music at that time and arguably still today. The subtext of this album is “the drama in between” which is what the group claims to deal with on the record. What listeners will hear from the group is a lot of free flowing ideas, mixed with a bit of comedic presence, but not much in substance for content. The music provided by Poisoned Ivy is the highlight and glue that keeps this album afloat. Ironically the ‘Bubblin’ track they released as a single is a different version than what’s on the album, which had they used I might have been in support much earlier. If one is a fan of the swing bass and heavy thump the mid-1990’s provided, they will be or were satisfied by this release. To this day I still don’t understand the meaning of the groups name which just adds to the macabre nature of their “one and done” moment in HOP music. I do however appreciate this album and it’s always a fun listen whenever I return to it. What did you think of the album? Singles include: ‘Blast Off,’ ‘Bubblin’ & ‘Hooptie Car’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Digiwaxx Showcase Brings Emerging Talent to the Rooftop Stage in Midtown Manhattan

Posted on June 13, 2025June 13, 2025 by

Zaecinco rocks the crowd at Digiwaxx New Music Wednesday showcase. Digiwaxx hosted a vibrant showcase spotlighting emerging talent at The Penthouse, a sleek rooftop venue in Midtown Manhattan, on Wednesday night, June 11th. The event was a collaborative effort with DWI of Damatrix Studios and Terrell Blair of Military Grind Entertainment, hosted by Bee Ex with DJ Epidemik on the turntables, and sponsered by Don Londres Tequilla. Among the standout performers was Zaecinco, who energized the crowd with catchy tracks like “Rock Star Shit” and “Rain,” delivering an engaging and interactive set that helped set the tone for the evening. Yah-Sin, a Wu-Tang Clan affiliate, followed with razor-sharp bars and a commanding stage presence that captivated the audience. Femme fatale Miranda Writes kept the momentum going with a confident performance of her rising single “That Girl,” met with an enthusiastic response from the crowd. Other highlights included hip-hop act Benny Milano, who delivered seductive performances of “Freak 2” and “Chedda,” and BkSyren, who moved the audience with “City of Syrens,” a heartfelt ballad dedicated to the urban experience. Producer-emcee duo SignalCoast offered a refreshing change of pace with their enigmatic style and introspective verses. Veteran emcee Agallah the Don riled up the crowd with high-energy performances from his latest album Black Rich Port 2, including “Fuegito” and “Nuyorican Flex.” During his set, he introduced his protégé M-Tundra, whose poignant verses focused on unity within hip-hop culture. Emcee X-YLE brought raw intensity to the stage with the track “Run it Up,” while Naaybaybee turned the energy up another notch with her infectious track “Litty Again.” KLD Wave followed with a spirited verse that showcased his lyrical arsenal, adding another layer of dynamic wordplay to the night. The showcase came to a memorable close with crooners Stevie K and Tee Xscape, who ended the evening on a high note, leaving the rooftop crowd buzzing with excitement. With the city skyline glowing behind them and a hungry crowd soaking in every beat, the Digiwaxx rooftop showcase was more than just a night of performances—it was a statement. From gritty lyricism to smooth melodies, each artist brought a unique flavor to the stage, reaffirming that New York’s underground scene is not only alive but evolving. As the night came to a close, it was clear: this wasn’t just a showcase, it was a launchpad. If you weren’t in the room, you missed a piece of the future. But don’t worry—Digiwaxx is just getting started!

#rewindreview: Kool Keith ‘Sex Style’ 1997

Posted on June 10, 2025 by

This Bronx M.C. has had one of the most interesting careers in HOP music that he has been in complete control of. From Ultramagnetic M.C.’s to a spaced out horrorcore act as Dr. Octagon, Kool Keith created a lane for an acquired listener, while paving a path for the “alias” within the existing character, music acts already portray. ‘Sex Style’ is the debut solo album for “Kool Keith” and if one is not familiar with the rapper EVERYTHING about this album, from it’s cover art to the content will feel confusing or cheap. How do I know this, because I was that outsider at one point. I would constantly see this album in stores and look past it as around this time the era of “bad cover art” (certain record labels shall remain nameless) was in full effect along with horrible rappers on those albums. Kool Keith’s name I knew of in passing but did not KNOW him like that. At the time a college radio show I listened to was playing tracks like ‘Sly We Fly,’ ‘Lovely Lady’ and ‘Plastic World.’ These songs all seemed strange and I could not wrap my head around their purpose. Ironically around this time is when “Keith” was appearing on different projects and it was almost destined for me to delve into his back catalog up to this point. I finally get around to ‘Sex Style’ and between understanding the Kool Keith brand and hearing those songs I initially heard on college radio, I can appreciate the album for what it is. The record is an “anti-underground Hip-Hop” album that plays (or jokes depending one’s point of view) on the over sexualized corner of HOP music. In the many personas of Kool Keith we get the pimp that controls all the prostitutes of the industry (rappers) and has them doing the wildest acts while also getting songs of comedic filth that goes against the grain of any “truskool” HOP music listener. Kool Keith has always been about disruption and destroying barriers within HOP music while also being one of the most abstract acts in the genre. ‘Sex Style’ creates the sound of Kool Keith and his many personas from the Kut Master Kurt and T.R. Love production but beware when “soundbombing” this album while driving in your car or in your residence. What did you think of the album? Singles include: ‘Don’t Crush It,’ ‘Wanna Be A Star,’ & ‘Plastic World’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Boogie Down Productions ‘Sex & Violence’ 1992

Posted on June 3, 2025 by

Around the age of twenty I began to go back and dig into the Boogie Down Production catalog. I was always a fan of the singles that were released and KRS-One as a rapper but by the year 2000 certain HOP music sounded outdated, or so I thought. Finding the BDP ‘Live Hardcore Worldwide’ release, sparked my motivation to go down the rabbits hole to which I eventually got to ‘Sex & Violence.’ Upon my initial listens back then I didn’t think it held much weight, especially among the previous albums. Like music should do though, ‘Sex & Violence’ appreciated over time. This is due to it’s very raw approach but also the sound was the biggest it had been for a Boogie Down Production album. Pal Joey, Kenny Parker, D-Square, Prince Paul and KRS-One himself, provided music that could compete with a new hardcore era of HOP music in the early 1990’s. More importantly the songs on this album were like a time capsule for anyone who forgot or did not live through 1992. From the conversation of Mike Tyson’s assault case, to the Gulf War, “KRS” pinned some incredible songs with parallels to reality. ‘Drug Dealer,’ posing a question or solution to the ever growing street pharmacist about how to invest in the community if you are going to sell to that community. ‘Questions & Answers’ is one of KRS’ most creatively executed songs as he interviews himself on why his music takes the stance it does. Nas who has been known to look up to ‘Tha Teacha,’ took a page from this album with his track ‘Destroy & Rebuild,’ attacking his rap antagonist as on ‘Sex & Violence’ ‘Build & Destroy’ is KRS-One’s response to X Clan’s criticism about his ideology and being “pro-black.’ enough. The album as I initially stated is one that can not simply be glossed over as I might have done on my first listens. It deserves more credit and to be understood as a real examination of an era. Over the last decade narratives have been made about the song ’13 & Good’ which were not present when this album was released and years after it’s release; causing the song to get lost in context possibly due to a generation who was not there or have an agenda against KRS-One. The track clearly does not promote predatory actions toward minors but instead the issue of adult establishments, at that time allowing for minors to frequent these venues and the consequences that were attached with it. Another form of storytelling from ‘Tha Teacha’ in congruent with tracks like ‘Loves Gonna Getcha.’ With this being the last Boogie Down Productions album and KRS-One’s first solo outing coming the next year, ‘Sex & Violence’ almost gets lost in the overall discography. It is however one of the most conscious rap albums in the genre from the cover artwork to the content. What did you think about the album? Singles include: ’13 & Good,’ ‘Duck Down’ & ‘We In There’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Elzhi ‘Seven Times Down Eight Times Up’ 2020

Posted on May 27, 2025 by

This Detroit rapper is often forgotten when talking about the best M.C.’s from that city. It could be due to his content not being about negativity all these years. It could be to the fact that he actually raps. It could be due to the amount of music he has(n’t) put out over the years. Regardless of the reason, on ‘Seven Times Down Eight Times Up,’ Elzhi gives one of his most consistent musical offerings yet. This album only features two acts in the vocalist Monica Blaire and rapper Fes Roc. All beats are provided by JR Swiftz who gives Elzhi the right production that fits and reminds listeners of the wheelhouse Elzhi comes from, that include producers like Waajeed and Jay Dee a.k.a. J-Dilla. All while not allowing the production to out shine Elzhi which makes for a “good combination” and satisfying listen. Elzhi has been an urban legend throughout the years due to his talent but lack of albums released; even with this record often forgotten due to it being released during the Pandemic. Although he has had critical acclaim for previous “mixtapes” in the past, ‘Seven Times Down Eight Times Up’ is the album release I have expected from the former Slum Village member all these years. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Digiwaxx New Wednesday Showcases New Heat from Ron Browz, KenTheMan, INasX and Mya

Posted on May 22, 2025May 22, 2025 by

Digiwaxx turned up the volume yesterday afternoon with its signature New Music Wednesday, bringing DJs, tastemakers, and artists together for a hybrid experience full of exclusive music and authentic conversation. Hosted in-person at The Penthouse, a rooftop hotspot in Hell’s Kitchen, and streamed virtually to a national DJ audience, this week’s edition was a true celebration of what’s next in hip-hop and R&B. Taking center stage on the rooftop was Harlem’s own Ron Browz, the legendary producer behind tracks like Nas’s “Ether” and his own club anthem “Pop Champagne.” Browz used the occasion to preview music from his highly anticipated upcoming project, Ether Gang Vol. 1—a compilation that channels his classic sound while introducing a new wave of talent. Joining him were two featured artists on the project: Mak, a gritty lyricist from Brooklyn, and Izo, a rising voice representing Harlem. The exclusive music playback revealed tracks rooted in real-life experiences—pain, perseverance, and pride. Their verses brought the streets to the skyline, painting vivid pictures of the challenges and victories that define their respective boroughs. It was clear these aren’t just features—they’re statements. The virtual segment was just as compelling. KenTheMan, the Houston rapper known for her quick wit and fearless bars, came through with a sneak peek of new material that continues to push the boundaries of Southern hip-hop. Following her was INasX, a female R&B singer with a moody, melodic sound that blends soul, pop, and emotional depth. Her music stood out for its honesty and originality—proving she’s an artist to watch. Rounding out the afternoon was Grammy-winning icon Mýa, who debuted her new single “Face to Face.” With sultry production and emotionally rich vocals, the track reflects her maturity as an artist and her ability to remain relevant across generations. True to Digiwaxx’s mission, New Music Wednesday wasn’t just a listening session—it was a space where artists shared their stories, DJs gave real-time feedback, and genuine connections were made. From the rooftops of Manhattan to digital stages across the country, the event captured the pulse of the culture. With Ron Browz’s Ether Gang Vol. 1 setting the tone and standout contributions from Mak, Izo, KenTheMan, INasX, and Mýa, this week’s showcase proved once again: the future of music is in good hands—and it’s being curated right here.

#rewindreview: Sir Menelik a.k.a. Scaramanga ‘Seven Eyes, Seven Horns’ 1998

Posted on May 20, 2025 by

The entity known as Sir Menelik was an understudy of The Great Kool Keith. With that comes the propensity for stream of thought rhyming and multiple personalities when releasing music. ‘Seven Eyes, Seven Horns’ is Sir Menelik’s debut album but under the moniker of “Scaramanga,” a character loosely based on the James Bond villain that owned his own island and “the man with the golden gun.” My interest for this album peaked after numerous features he had with Kool Keith and 12″ inch singles that were released through Rawkus records. Listeners should expect that with “Scaramanga” one will hear the talent of polysyllabic rhyming but if trying to hone in on the meaning of these lyrics, you might be decoding them for years. The title of the album is steeped in the idea of perfect power and perfect vision as God would see it on earth. If one can cut through the abstract lyrics on this album they might be able to hear how Scaramanga describes his vision of lyrical perfection and insight as well. Again a challenge that can only be offered… Sir Menelik was often known to be more “sci-fi” in his content but under “Scaramanga” this album leans into the “streets” and “underworld” aspect one might compare to Raekwon’s ‘Only Built For Cuban Linx’ album or Nas’ “Escobar” era. What makes the album work is the combination of beats provided by Showbiz, Godfather Don, Scholarwise and Scaramanga’s delivery. Tracks like ‘Special EFX,’ ‘Alphabetic Hammer,’ ‘Shallah Magnetic’ and the title track are a reminder of how the independent, underground sound was at it’s best in the late 1990’s. My issue with this album, even still to this day, was more about the sequencing of songs, mainly toward the end of the project. ‘Death Letter’ has the original and remix added and the original’s production doesn’t hold up with the songs surrounding it while the remix might be better but should have been the last track on the album as a “bonus.” With all the time that has past this album gets better simply because of how rare it is and also how unabashed it was in it’s approach. What did you think of the album? Singles include: ‘Special EFX’ & ‘Mind I.C. Mine’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Sach ‘Seven Days To Engineer’ EP 1998

Posted on May 13, 2025 by

During the “file sharing era” I came across many hard to find or never officially released albums. For me that was the purpose of those days, to not simply pilfer off of rapper’s works but to find those gems that might have been lost but now found and digitized, to last forever. The Nonce was a west coast group who in my opinion never got the attention they deserved. Even with a cultural hit song called ‘Mixtapes” and an incredible debut album that song was attached to with ‘World Ultimate,’ Sach & Yusef Afloat were still limited to an “underground” fanbase. This meant if you were not in the general vicinity of the group, one might have missed releases they had. In 1998 Sach put out an EP ‘Seven Days To Engineer’ which by my own account seems to have been a slight “testing of the waters” on how he would a approach a solo release. This EP is about twenty minutes long and has a “demo tape” feel to it as songs don’t sound properly mixed with vocals often not matching the volume level of the music. What is enjoyable about this release is the obscure and often improvisational jazz style of beats that Sach really gets to display here. It would be another 4 years and an unfortunate passing of Yusef Afloat for audiences to get a proper presentation of the sound of Sach but for those who might have got this street tape or took advantage of the “file sharing era,” we were prepared to hear the continuation and genesis of a sound that took seven days to engineer. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Inside the Breakdancing Community: An Electrifying Night at Red Bull BC ONE CYPHER

Posted on May 12, 2025 by

#MYCreatives stepping into the vibrant world of breakdancing for the first time, I found myself immersed in an electrifying atmosphere at the Red Bull BC ONE CYPHER in Chelsea, NYC. The Racket NYC Lounge was pulsating with energy as dancers from all corners of the breakdancing community gathered to showcase their skills in this iconic Dance Battle Competition. The night was a revelation, highlighting the raw talent and passion that fuels the Hip Hop events scene. As beats reverberated (Courtesy of DJ FLEG) through the venue and the crowd cheered with enthusiasm, each performance told a unique story, drawing me deeper into the captivating realm of street dance culture. Join me as I relive the unforgettable moments and vibrant spirit of this exhilarating night at the epicenter of breakdancing. Electrifying Atmosphere at Red Bull BC ONE The Red Bull BC ONE CYPHER in Chelsea, NYC was an explosion of sights and sounds. From the moment you walked into the Racket NYC Lounge, the atmosphere was palpable. A mix of anticipation and excitement filled the air, setting the stage for what promised to be an unforgettable night. This section delves into the initial impressions of the venue and the dynamic energy of the crowd. First Impressions of the Venue Walking into the Racket NYC Lounge was like entering an alternate universe where breakdancing reigned supreme. The venue exuded a raw and gritty vibe, perfectly complementing the street dance culture. The dim lighting and vibrant graffiti art on the walls added to the underground feel. Every corner of the space was buzzing with anticipation. As I found my spot, I couldn’t help but soak in every detail. The stage was set at the center, ensuring that all eyes were on the dancers. It was clear from the get-go that this wasn’t just any dance competition; it was a celebration of Hip Hop at its finest. The layout allowed for an intimate experience, letting the audience get up close and personal with the performers. It was easy to see why the Red Bull BC ONE events are revered in the breakdancing community and among Hip Hop enthusiasts. The Energy of the Crowd The crowd at the Red Bull BC ONE CYPHER was nothing short of electric. Enthusiasts from all over had gathered, each bringing their unique energy. The atmosphere was infectious, with cheers and chants echoing off the walls. As the night progressed, the energy only intensified. Each battle was met with roars of support, turning the lounge into a cauldron of enthusiasm. It was more than just spectators watching a dance battle; it was a community coming together to celebrate artistry. The diversity of the audience was striking. From seasoned breakdancers to curious first-timers, the melting pot of backgrounds added to the richness of the experience. It was a testament to how street dance can unify people from different walks of life. Breakdancing Battles Unleashed What truly set the night apart was the ferocity of the battles. Each dancer brought their A-game to the Red Bull BC ONE CYPHER, showcasing an array of jaw-dropping moves and unique styles. This section highlights the most memorable moments and standout performances that made the competition unforgettable. Shocking Upset: NEBZ def MANA — Not discrediting Nebz (Who’s absolutely the goods on the dance floor) I’m going off of first look basis, and just going into it a competitor in MANA, whom to my understanding was in the Olympics (I could be right or wrong on that) despite of pedigree and accolade…Nebz still brought it to the dance floor and got the victory. Top Matches: Swazi vs Kid Break — Most Intense!!!! Kid Break vs Pop — 2nd Most Intense!!! Nebz vs Lineage — REAL TALK Much Respect to the Youngin’ for non-stop bringing the action, and Nebz for showing love as a vet!!! Michiko vs BGal Niki V: Honestly the victory could’ve went either way Nebz vs MANA — Could’ve went either way, regardless of Upset victory Women’s Final Four: B Girl Magic vs KRAZY went there!!!!! Michiko vs BGal NIKI V — WAS a BATTLE to the END!!! Men’s Final Four: Kid Break vs Swazi (Kid Break def. SWAZI) Gravity vs NEBZ (Gravity def. NEBZ) MENS FINAL: Kid Break vs Gravity: No lie, I feel Gravity should’ve flipped his rounds because Kid Break from 1–3 was just flat out going ape sh__ and quite frankly was making it difficult for the judges not to decide unanimously the new young King Of NYC!!!! WOMEN’S FINAL: Krazy vs BGirl Niki V: YES, BGirl Niki V was giving a fighting chance, as well as staying the course as she did to reach the Finals….but the night just outright belonged to her opponent. KRAZY no questions throughout the BGirl Bracket literally left no rounds behind. Thus, reasoning of her to become the 2025 Champion. Final Results: Men’s CHAMP (B-Boy): Kid Break Women’s CHAMP (B-Girl): KRAZY Standout Performer and Styles Several performances stood out, each bringing something unique to the table. The diversity in styles was a testament to the richness of the breakdancing culture. From traditional power moves to innovative new styles, the variety was astounding. One dancer captivated the audience with a blend of classical and modern techniques, seamlessly transitioning between the two. Their fluidity and control were unmatched, setting a high bar for the rest of the night. Another standout was a group that incorporated storytelling into their routine. They used their performance to convey a powerful message, proving that breakdancing is not just about moves but also about expression. The innovation and creativity on display were truly inspiring. TOP Performers: First off, OMEGA S/o & #ReemoAproved to DJ FLEG….his selection and mixes were bar none TOP NOTCH, as well as really made the event feel complete with the level of what the competitors brought for the event….now onto the Performers!!!!! NEBZ: He made the Final Four for a reason, SWAG, MOVES, DETERMINATION, TECHNIQUE, and just flat out PERFORMER!!! SWAZI: REAL TALK A Potential TOP 5’er of his class to me and just off the first time ever seeing him. LEGIT undeniable T-A-L-E-N-T, showmanship and a half. Honestly, if not facing Kid Break in

Category: Culture