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Category: Digiwaxx Culture

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Megan Thee Stallion vs. Nicki Minaj Beef: Hip-Hop’s Dynamic Figures Weekend Battle

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What a Weekend?!!!!! The world of hip-hop has always been a stage for dynamic personalities, lyrical prowess, and occasional controversies. Megan Thee Stallion vs. Nicki Minaj beef is one such episode that grabbed headlines and ignited discussions within the rap community and social media world. In this article, we delve into the origins, key moments, and underlying power dynamics of this high-profile feud. Megan Thee Stallion and Nicki Minaj, both powerhouse women in the rap industry, found themselves at the center of a feud that captivated fans and media alike. The tension between the two artists seemed to emerge from a combination of industry competition, alleged behind-the-scenes disputes, and differing perspectives on female empowerment within the hip-hop scene. The beef gained momentum as fans observed the changing dynamics between Megan and Nicki, who had previously collaborated on the track like “Hot Girl Summer”. Speculations arose about a fallout, and misunderstanding on social media leading to heightened interest and scrutiny. Also, Megan’s latest track; “Hiss” seems to bring back the beef to the forefront!!!! The digital realm became a battleground for the feud, with both artists using social media platforms to express their sentiments. Subtle jabs, cryptic posts, and direct messages fueled the fire and provided fans with an inside look into the conflict. Fans played a significant role in amplifying the beef, taking sides and passionately defending their favorite artist. Social media debates and discussions further intensified the feud, turning it into a pop culture spectacle. Also, fans are leaning more towards Megan because of the recent track and Nicki’s fanbase; “The Barbs” have one again come in defense of their Queen. Megan Thee Stallion just released her track called; “Hiss” where it’s seemed as the shot for Nicki: “These hoes don’t be mad at Megan, these hoes mad at Megan’s Law I don’t really know what the problem is, but I guarantee y’all don’t want me to start Bitch, you a pussy (you a pussy), never finna check me (yeah) Every chance you get, bet your weak ass won’t address me (ho) Bitches swear they G, but the G must stand for goofy When the fuck did all the gangster niggas turn to groupies?” Nicki responds on her IG Live with a sample of her diss track called “BigFoot” stating: “Bad bitch she like six foot, I call her big foot, the bitch fell off I said, ‘Get up on your good foot.’” Some speculations that this beef could be off Megan’s friendship with Cardi B. whom she did a previous track called “W.A.P.” and their friendship grown since that time frame. Also, Minaj has a longtime issue with Cardi B. & a history of issues with those that are “cool” or in alliance with her (Cardi B). Besides Nicki, someone feels uncomfortable with Megan’s Bars, and that’s one Moniece Slaughter who took to X (Twitter) to express her insight: Despite the rules of “Rap Beef” or “Diss Tracks” changing over the years in the culture, Moniece poses an interesting question “Was Megan out of line for that bar?” Nicki dropped “Bigfoot” her response to “Hiss” track on Sunday at 6PM. A good amount of people took to social media, and were not pleased of Nicki’s response, but the Nicki posted on her X(Twitter) that she has four more tracks coming. Female rappers are often pitted against each other, perpetuating stereotypes and undermining their achievements. The hip-hop industry is highly competitive, and success is often measured in terms of chart performance, awards, and record sales. The feud highlighted the pressures artists face to maintain their status, with their “beef”becoming a symbol of the times within the culture. Both Megan Thee Stallion and Nicki Minaj are not only talented rappers but also symbols of empowerment for women of color. The beef raised questions about how intersectionality intersects with power dynamics in the hip-hop industry and the challenges faced by black women in navigating fame, success, and public scrutiny. Also, the changing of the guard amongst the artists. Conclusion: Megan Thee Stallion vs. Nicki Minaj beef provides a glimpse into the complexities of the hip-hop industry, where talent, competition, and societal expectations intertwine. As fans eagerly await resolution or further developments, the feud serves as a reminder of the ongoing nuances faced by women in the world of rap where the egos overweigh their need for a more supportive and inclusive environment within the music industry. As usual…. On the next #MyCreatives – Reemo Meerak, Correspondent/Contributor   Follow Me On Social Media: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ WEBSITE: ⁠ReemoMeerak.com⁠ For a Feature, Review, want me to do coverage, and a write-up on your event: [email protected]

ALBEE AL FOR 2024?!!!!! – EXCLUSIVE

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  In the realm of music, artists often use their creative prowess to explore and comment on various aspects of life, society, and the environments they are from. Albee Al, a renowned Hip Hop artist, has recently released a compelling album titled “Albee For President”. This musical endeavor serves as a platform for Albee Al to express his views on his Jersey City raising, stories of surviving jail, and societal dynamics he embraces daily. In this article, we delve into the essence of the album, exploring its themes, tracks, and the artist’s unique approach to conveying political commentary through music. Also, check out the exclusive in-person interview at his listening event:   The Album’s Title and Concept: “Albee For President” immediately captures attention with its bold and intriguing title. While it might not imply a literal run for office, the album signifies Albee Al’s desire to contribute to the masses of the Hip Hop culture with his art. The title serves as a metaphor for an artist taking a stand and using their influence to address pressing issues, as well as of his lyrical template that has him as one of the most watch artist projectively for 2024. The album encompasses a diverse range of themes that reflect Albee Al’s perspective. From systemic inequalities to the struggles of marginalized communities, each track serves as a lyrical canvas where the artist paints a vivid picture of the world as he sees it. Albee Al’s ability to blend a narrative and paint the picture with social commentary creates a compelling narrative that resonates with listeners. Key Tracks: **”Who Ya Big Homie”**: This track sets the tone for the entire album, and that “Boom-Bap” feel we needed!!! Also, featuring Mozzy with powerful lyrics that call for the energy that’s derived from his Jersey City roots. The gritty quality of the song makes it a standout piece that captures the essence of the album. **”Press Conference”**: In this track, which is the first track of the album in the beginning. Albee Al amplifies the voices of those often unheard. Addressing the challenges faced by urban communities, he sheds light on the realities that many face on a daily basis. **“El Presidente”**: Albee Al takes more of the uptempo approach, as well as most definitely a well produced music video!!! At the listening party in The Cult Lab, this track was one of the choice options to drink, and it definitely was a #ReemoApproved Musical Style and Production: Beyond its lyrical content, “Albee For President” showcases Albee Al’s musical versatility. The album seamlessly blends various styles of rap creating a dynamic listening experience. The production quality enhances the impact of the messages conveyed, with carefully crafted beats complementing the weighty themes. “Albee For President” stands as a testament to the power of music as a medium for social and diverse commentary. Albee Al’s ability to intertwine meaningful lyrics with captivating and vigorous energy creates an album that not only entertains but also challenges listeners to reflect on the world around them. In an era where artists are increasingly using their platforms to address societal issues, “Albee For President” is a noteworthy addition that adds depth to the musical landscape while encouraging dialogue on pressing matters. As per usual, ON TO THE NEXT #MyCreatives Follow Me On Social Media: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ WEBSITE: ⁠ReemoMeerak.com⁠ For a Feature, Review, want me to do coverage, and a write-up on your event: [email protected]  

#rewindreview: Walkin’ Large ‘Riverside Pictures’ 1995

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The internet has allowed for more acceptance of international HOP music in the last 25 years but before that it was much harder for the same music to be heard or let alone respected. Walkin’ Large was an act from Capetown, South Africa and linked with producer Roe Beardie in Germany to create a bumping album, fresh for the year of 1995. ‘Riverside Pictures’ is the debut album from Walkin’ Large who consist of rapper Ono and D.J. Ara. I first heard this group listening to college radio in 1997 with a track called ‘Listen To This’ featuring Black Thought. Of course I had no real idea of who they were until I purchased a used copy of a compilation album called ‘International Griots.’ The group had two songs on ‘International Griots’ and one featured Jeru the Damaja called ‘When I Flow.’ Upon hearing the broken English accent of Ono, I realized this was the same group from ‘Listen To This’ and it was apparent that the influence of “truskool hip-hop” was with Walkin’ Large. I didn’t get to hear this album until 2017 but what is here is curated for the listener who loved and appreciated the sound of mid-1990’s HOP music. Walkin’ Large will remind you of Digable Planets with a bit more hardcore sound but that is mainly due to Ono’s aggressive delivery at times. D.J. Ara provides the cuts and ‘No Time For Weakness’ is one of the D.J.’s finest moments on this record. ‘Riverside Pictures’ is more about the vibes and atmosphere the music was created in. Lyrically there will not be an impressive amount of quotes but this album feels like a journey to another land in another time. What did you think of the album? Singles include: ‘Reachin’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: The Roots ‘Rising Down’ 2008

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  ‘Rising Down’ is the eighth full length album for The Roots who by 2008 had proven that as a collective, a fan base would always be present for anything they do. Their celebrity had grown by hit songs they made, touring they had done and collaborations with everyone from Dave Chappelle to Jay-Z and everyone in between. This album seemed to be something different just from the cover art and as it contrasted to the first single off this record ‘Rising Up.’ The song was very upbeat and fit the true Roots sound while being assisted by the R&B vocals of Chrisette Michelle and continuing a Roots tradition of putting on upcoming rappers who would be bigger stars, with Wale. The album begins with an “eye-catching” audio clip of Black Thought and ?uestlove arguing over the direction of the group at some period during The Roots career. The album title and album art start to make sense but will this be the start of the last album for The Roots? The title track welcomes listeners back to a Roots experience with Mos Def and Styles P., while ‘Get Busy’ goes a bit more hardcore in it’s music approach with Dice Raw and Peedi Peedi a.k.a. Peedi Crack. This project is showing a darker side of The Roots but at this point it is looking upward in terms of songs. The Hip-Hop archive appreciates the ‘@15′ track where fans get to hear the legend Black Thought at the age of fifteen showing why his “10,000 hours” have brought him to the legendary M.C. he is currently; which is then followed by him displaying that on ’75 Bars (Black’s reconstruction).’ This album seemed to be on track as their best since ‘Things Fall Apart’ but then a couple songs bring that “Metacritic” score down a bit. ‘I Will Not Apologize’ and ‘I Can’t Help It’ are not up to par with the music The Roots are known for or can do. These songs started to feel like the album was going in a ‘Phrenology’ direction but the group picks up the “loose ball” and from ‘Singing Man’ until the end of the album, fans get to hear the real Roots. As a bonus to the very personal and dark ideas of this album, it closes out with another audio clip of the group as they are discussing very real matters only for their rental vehicle to be wrecked causing all tension to be quelled by laughter. This is the most ?uestlove way to end a dark album on a light note. What did you think of the album? Singles include: ‘Rising Up’ ‘Get Busy’ & ’75 Bars (Black’s reconstruction)’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: Black Moon ‘Rise Of Da Moon’ 2019

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  2019 was a heavy year for HOP music releases with some veterans making comeback albums. Often forgotten is the return of Black Moon who had not released an album as a group since 2002’s ‘Total Eclipse.’ ‘Rise Of Da Moon’ is as “Duck Down crew” as it can get in the later years of rapping. No one is missing as Buckshot, 5 Ft. Accelerator and D.J. Evil Dee present the dynamic first seen on their debut album ‘Enta Da Stage,’ with all music provided by The Beatminerz. ‘Creep Wit Me’ sets the tone of the album as Buckshot offers his low and rough voice while “5 Footer” adds his high pitched energy to a Beatminerz track worthy of those late night sounds fans come to know from the group. The two emcees feed off of each other like this throughout the album and as far as 5 Ft. Accelerator, fans get to feel he’s presence much more on this album. Features are kept to a minimum and only include Smif-N-Wessun, Method Man and Rockness Monsta. This also makes the album much more streamlined but makes it a challenge for Black Moon to keep the listeners attention span for fifty minutes. As a whole the album could have been shortened by a few songs as there isn’t enough diverse content. The majority of the album is either about their return to the music, boisterous claims of street credibility or how nice their skills are on the microphone. As a Black Moon fan one can appreciate these angles but after such a long hiatus it would have served the album to delve into more ideas. The strength of this release is how the music doesn’t divert too far from who Black Moon is. This is beats and rhymes, the attributes that created the rise of Black Moon. What did you think of the album? Singles include: ‘Creep Wit Me’ & ‘Black Moon Rise’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

Katt Williams Unleashes Controversial Critique on Comedians and Entertainment Industry

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  Was this for CLOUT, GLORY, or TRUTH?!!! In a recent interview on Shannon Sharpe’s; Club Shay Shay, that sent shockwaves through the comedy, entertainment world and the internet for 2024!!!, renowned comedian/actor Katt Williams didn’t hold back as he unleashed a scathing critique on fellow comedians and the entertainment industry. Known for his unfiltered and bold statements, Williams took the opportunity to address what he sees as significant challenges within the comedy landscape and the broader entertainment business. During the interview, Katt Williams touched on various aspects of the entertainment industry, offering a candid and unapologetic perspective. He critiqued not only the art of comedy but also the inner workings of an industry that has both propelled and hindered countless careers. Williams, known for his unique style and fearless approach to comedy, provided insights into the motivations behind his critique. Drawing from his own experiences, he shed light on what he perceives as systemic issues, discussing the challenges faced by comedians trying to navigate an industry that can be both cutthroat and unforgiving. He named dropped the likes of Steve Harvey, Rickey Smiley, Cedric The Entertainer, Faizon Love, Aries Spears, and Kevin Hart as those that either stole jokes, lackluster talent, or in some shape or form were “Plants” to the industry.   Not going to lie here, I was rather amazed what transpired throughout the whole interview, as well as some keen and unique facts about him and his background. Overall, must give tremendous props to Shannon on his composure and demeanor. YES, a good amount of people would want him to control the interview as “conventional” as possible, but I don’t think we would have a potential interview like we all seen to kickoff this YEAR. Honestly, if such was a “Mission On Hand”, then Katt Williams was direct hit on his targets.   Here’s a clip of the interview:   The INTERNET went on INFERNO MODE as many were on the side of Katt Williams, and some comedians and Entertainers were sharing their humbling and honorable stories of interactions with him. Also, defending of his character, and skillset. Then, comes the rebuttals, or we like to call the “Clapbacks” Some of them were “MID” at best, and some were spot on from a different perspective. Like Ludacris’ Freestyle wasn’t really needed, I get it but, BRUHHHHH you already have yours and thensome from the movies:     Kevin Hart kinda had some “Pewn Pewns” with his rugers, but the Plastic Cup Boyz had the better jokes during the New York Knicks vs 76ERS game via ESPN:     Aries Spears had a different outlook, but honestly with the way of society today…I really doubt the message is “CLEAR”:     Conclusion In the aftermath of the interview, the comedy community and entertainment industry have responded with a mix of support, critique, and contemplation. Some comedians rallied behind Williams, applauding his courage to speak out, while others offered counterpoints, defending the industry’s structure and citing their own positive experiences. As is customary in the digital age, social media played a significant role in amplifying the impact of Williams’ statements. Twitter, Instagram, and other platforms exploded with discussions, memes, and a spectrum of opinions. The interview quickly became a focal point for fans and industry insiders alike to engage in a lively debate about the state of comedy, and entertainment, as well as it’s reach of engagement across the internet, and YouTube at 30 Million Views in 4 days (Original Release: January 3rd, 2024). Katt Williams’ recent interview has undoubtedly shaken the foundations of the internet, and cast the light on him for 2024 thus far. Whether you agree or disagree with his viewpoints, the conversation he started is one that demands attention and introspection. As the comedy community grapples with the comments, it’s clear that the reverberations of Williams’ words will continue to be felt for some time. Most definitely leave a comment below, and as per usual….. ON TO THE NEXT #MyCreatives. Follow Me On Social Media: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ WEBSITE: ⁠ReemoMeerak.com⁠ For a Feature, Review, want me to do coverage, and a write-up on your event: [email protected]        

#rewindreview: Joell Ortiz & Kxxg Crooked ‘Rise & Fall Of Slaughterhouse’ 2022

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  As a full disclaimer, I was never a Slaughterhouse listener. Not that any of the M.C.’s were not talented but during their initial run the music was not what I wanted to hear, on top of the fact original member Joe Budden I was not a fan of. His voice was always annoying to me and anytime his name was coming up outside of music, he was having issues with people I was actually fans of musically. Myself notwithstanding, Slaughterhouse had a solid fanbase and that audience was waiting on a follow up album from the group called ‘Glasshouse.’ Unfortunately for the audience the album never came to fruition due to the group’s label situation at Eminem’s Shady Records and the “retirement” of Joe Budden. Enter this album which provides a bit of closure for the Slaughterhouse fans as it’s title literally points out. Joell Ortiz and Crooked I a.k.a Kxxg Crooked break down the “rise and fall of Slaughterhouse” in a forty-five minute record that for me was surprisingly entertaining. The two had already made an EP called ‘H.A.R.D.’ as they continued to keep the gears from not being rusty but obviously were lacking the likes of their two other Slaughterhouse members. For me the only other person needed for either of Joel and Crooked’s releases was Royce Da 5’9,” who had also been seeing a renewed interest in the albums and music he was releasing. ‘Rise & Fall Of Slaughterhouse’ can be a bit awkward as eighty percent of the album is describing the disappointment Joel and Crooked have with the break up of the group and more specifically their disappointment with Joe Budden. What makes the album work for me is although the theme is obvious the music is more of what I would want to hear from the crew which was provided by The Heatmakerz, D.J. Pain 1, Hesami, D.J. Silk and a touching song ‘Look Mama’ produced by Fong Sai U. ‘Rise & Fall Of Slaughterhouse’ can feel like the the “b-team” crying about not getting as much playtime but this might be due to HOP music never really hearing an album themed with the tragedy due to the demise of a group. Joell Ortiz and Kxxg Crooked make for a solid duo, while Royce Da 5’9″ continues to elevate his solo career; and ironically I am a fan of “media Joe” Budden but still have not been sold on his previous music as of the time of this typing. Don’t take my thoughts about this group as an outsider listening in but see if as a fan one can understand the rise and fall of this “super group.” What did you think of the album? Singles include: ‘Vacancy,’ ‘Backstage,’ ‘Smoke’ & ‘Look Mama’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#ReemoApproved 2023 Review Recap: AllStar JR Brings Organized Crime 2 DELUXE to NYC!!!

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You had to be there, to understand the moment. AllStar JR “Organized Crime 2 Deluxe” Release was a Two-night event on that tilt of a wave. Also, the preview to his documentary was spot on of whom the artist is and has become after his trials and tribulations in LIFE. All in all, an artist that’s well deserving of his name, and his continuing success within the Hip Hop Culture. I had an interview with the Detroit native via THE C.U.T.S. PODCAST on Night 1, and we had a well detailed conversation about his career, growth as an artist, as well as why he only cares for his craft, and music he creates:   Organized Crime 2 was released in 1Q of January 2023, and now he’s released a Deluxe Version of the album that dropped in 2Q (April 2023, and OUT NOW!!!). You can catch the Recap of the event on my YouTube Channel, as well as on my Instagram. Very dope to meet an artist like him for a first time in back to back days. On To The Next #MyCreatives  #ReemoApproved  Follow Me On Social Media: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ WEBSITE: ⁠ReemoMeerak.com⁠ Merch Store: https://reemomeerakbrand.myshopify.com/ For a feature, want me to do coverage, and a write-up on your event: [email protected] 

#Reemoapproved 2023 Review Recap: New York Music Month Conference 2023

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Despite recently joining the Digiwaxx brand in 4Q 2023. I will admit this year was unique, and ascending for the #ReemoMeerakBrand, as well as for the contributions in media with interviews and events attended. All in all, want to show the readers, and viewers what took place, as well as captivating stories I’ve reviewed: New York Music Month Conference 2023 (June 2023) Great Conference Panel event.  Lots of well known, and potent figures and executives in the music industry expressing their expertise and knowledge of the business. Giving the creatives a litany of information to assist with their music career, and have their brand flourish. Also, the catering (Courtesy of NYU) was on point and well needed during the lengthy panel discussions. The main theme or rather push of discussion amongst the panels were the changes in DIVERSITY of the music industry, as well as the changes of roles with women and people of LGBTQIA+.  Technology, especially of the METAverse and A.I. were of heavy talks, as well as the ever changing trends of social media. Even, social media influencer/music artist; Chinese Kitty explained about how one of her major tracks went viral, and broke down the steps of how things occurred. The Branding Panel with Jesse Kirshbaum, Jennifer Frommer, Mike Ladman, & Travis Montage was huge because they broke down of what huge name brands are looking for, how they are using multiple brands to collab for a figure, and of the landscape in which branding has become. Jennifer Frommer, spoke a good amount of the panel with stories of Lil’ Nas X campaigns with YSL Beauty, Taco Bell, and of her process of putting quality campaigns together. The highlight of the conference, which was the end of it with; 50 Years Of Hip Hop Culture, Creation and Commerce PANEL. Torrae Carr was the Moderator with panelist; Kim Osorio (BET), Datwon Thomas (Vibe), Ebro Darden (Apple Music/Hot97) were having a great discussion about the Hip Hop Culture and where it has gone. Also, all three panelists agreed that hip hop is in a good space, but there’s more room to tweak things and make it greater. 50 Years Of Culture, Creation and Commerce PANEL Torres Carr – Songwriter/Recording Artist, Internal Affairs Datwon Thomas: Editor-In Chief (VIBE) Ebro Darden: Global Editorial, Head of Hip Hop and R&B Apple Music  Kim Osorio; Executive Producer – BET, VH1   Speakers:  Jem Aswad – EXECUTIVE Editor of Variety Ian Holder – Senior Vice President of Sony Music Publishing  Richard James Burgess, President & CEO Of AZIM (American Association of Independent Music)  Mitch Glazer – Chairman, and CEO of Recording Industry Association of America  Jen Lyon – Artistic Director/ Owner of MeanRed Productions  Chinese Kitty – Hip Hop Artist Doug E. Fresh – Legendary Hip Hop Artist / Activist  Adrian Perry – Partner, Co-Chair, Entertainment & Media Group – Covington & Burling LLP  Lynn Gonzalez – Entertainment Lawyer Erika Stallings – Senior Counsel; Epic Games/Bandcamp  Judy Tint – Attorney/ Clinical Associate Professor of Music Business, NYU Nari Matsuura – Partner, And Co-Leader Music Economics, and Valuation Services Practice, Citrin Cooperman  Andreea Gleason – Chief Executive Officer of TuneCORE Chrissy Nkemere – Former Co-Chair of D&I, Current Chair of Education at Women In Music Jillian Hervey – Lion Babe ; Music Artist Jesse Kirshbaum – Nue Agency Jennifer Frommer – Head Of Brand Partnerships of Columbia Records Mike Ladman – Head Of Music; Droga5 Travis Montage – Co-Founder and CEO; Group Black / Crater Drew De Leon – Owner of Digilouge Dhruv Chopra – Founder/CEO of Elsewhere David Castillo – Owner/Head Buyer of Saint Vitus  Ali McCloud – Vice President, Live Music Partnerships – DICE Nick Bodor – Co-Owner, Baker Falls, Cake Shop, Bruar Falls, The Library Bar     All in all, despite the duration of the event can agree it was a #ReemoApproved. I was able to network with new faces, obtained some vital information regarding of the business conducted in the music industry, and the food with drinks kept me engaged. Only thing that bothered me was not enough music artists attended the event. I feel the more artists the better the value of the industry can increase.  Hopefully, NYMMC makes that a push for next year.  On to the NEXT #MyCreatives  Follow Me On Social Media: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ WEBSITE: ⁠ReemoMeerak.com⁠ Merch Store: https://reemomeerakbrand.myshopify.com/ For a feature, want me to do coverage, and a write-up on your event: [email protected]      

#rewindreview: Nems ‘Rise Of The Silverback’ 2023

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  The hustle that Nems has been on spans about twenty years from features with D12, to the battle rap scene but where the New York rapper hit his stride was his online videos. The videos find Nems going up to random people on the street and joking on who they look like while ending the joke with “don’t ever disrespect me.” It looks like the most New York attitude one could receive in that city but Nems has a way of making the joke work. Never to be lost in the fake world of social media, Nems is actually a very down to Earth person who still believes that rapping is the mission. ‘Rise Of The Silverback’ is just the release to not only remind people he isn’t just an online personality but that he will (by his own words) slap the sh!t out you, proverbially on record of course… This is a HOP album that truly takes listeners back to a time of the sound of New York rap while still not sounding like it comes from the 1980’s or 1990’s. Scram Jones produces the album and provided Nems with a diverse number of beats to ensure the music isn’t monotonous. There are a couple of moments that get “nervous” for one not wanting to hear current music in their HOP listening like on ‘Demon’ and ‘Blickey, but the good thing about ‘Rise Of The Silverback’ is it keeps focus for a solid thirty-five minute runtime. Nems clearly comes from the school of “hardcore hip-hop” and one might notice his aesthetic is similar to an early Fat Joe. He reminds me more of the Non-Phixion section of the HOP where ‘non-blacks” create music that represent their environment but still have an identity that doesn’t stray into making a caricature of Hip-Hop culture. “Hide your kids ya’ll..,” because Nems curses on this album like it’s the year 1993 which creates a subtle nostalgia to the record that also comes with features from Sheek Louch, Fat Joe, Gunplay, Ghostface Killah, Tish Hyman and Peedi Crack. With only thirteen tracks you would think these featured talents overshadow Nems but instead the “Fuc& Your Life” rapper’s presence is never forgotten. In time Nems will evolve his content more and that is present on the track ‘Keep On’ where we find the most introspective rhymes from Nems running down his hustle to get from “A to B.” ‘Rise Of The Silverback’ might not be for everyone but it does break a stereotype that battle rappers can’t create a solid rap record. What did you think of the album? Singles include: ‘Don’t Ever Disrespect Me,’ ‘Drip,’ ‘Blicky,’ & ‘Keep On’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

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