The God Emcee Rakim Starts Financial Technology Company Notes

The God Emcee Rakim has started a new financial technology company powered by Artificial intelligence, called “Notes.” Known for his lyrical mastery and showmanship in his performances, Rakim is now using his celebrity to give back to creatives who may not have the resources to fund their projects. The fintech company aims to provide funding and financial literacy for creatives so they can make and sustain their work.  The press release  from  company  states, “This innovative financial technology and AI-powered platform merges ‘music, money, and knowledge’ to address the unique challenges faced by independent urban music artists and creators, redefining access to capital to fund their creative projects, while providing financial literacy, and entrepreneurial and music business education to build sustainable careers. ” “Notes is designed to empower these creatives with financial independence while retaining control over their careers in an industry often marked by exploitation.” The Notes company provides membership-focused access, connections to loan and credit providers for access to capital, AI-powered financial literacy and entrepreneurial education content, and an exclusive “Ask RA” feature, an AI voice assistant and agent in the iconic voice of RAKIM purpose-built for independent urban music artists and creators. “Independent urban music artists and creators often struggle to gain financial stability despite their market impact,” RAKIM says. “With Notes, we’re building a community- and lifestyle-driven platform that combines cultural connection, technology, and empowerment to give them the tools they need to thrive.” The platform is poised to expand its offerings, introducing business banking and debit cards, P2P payment services, cryptocurrency solutions, and other features to drive deeper engagement and long-term user value. Independent urban music artists and creators can join the waitlist to be notified when Notes is available for early access at www.notestechnology.com.

#rewindreview: Lupe Fiasco ‘Samurai’ 2024

  Lupe Fiasco has never seemed to be the one to get looped into a box. In fact I personally believe that to his detriment he has had moments where in order for him not to “seem” nostalgic, he has used his music as a contrarian vehicle. One thing can’t be denied and that is his talent for rapping but better still when he is provided certain music he shines emphatically. ‘Samurai’ is a short release that can almost be a possible “EP” but this thirty minute release is one of the most satisfying projects I’ve heard from Lupe Fiasco in his catalog. Lupe will either give you an epic, close to two hour album or a short EP, but the difference in ‘Samurai’ is it feels like a combination of both. Soundtrakk is Lupe’s muse because when these two get in a zone it is grand. The production provided by Soundtrakk is more straightforward HOP music and doesn’t play into current tropes and frequencies. It is a laid back sound but this is ok and makes songs like ‘Palaces’ matter more to listeners as they can truly understand the stages of life and death. ‘No.1 Headband’ is a Spring season banger and although I’m twenty-five years removed from High School, the track takes me back to those days. From start to finish ‘Samurai’ is an audio treat and added more to the incredible year for Hip-Hop veterans who released albums. This one is often overlooked because Lupe Fiasco might not have the same celebrity he had previously but for fans of his album ‘The Cool’ there is no way not to dig ‘Samurai.’ What did you think of the album? Singles include: ‘Samurai,’ ‘Cake,’ ‘No.1 Headband’ & ‘Palaces’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Intelligent Hoodlum a.k.a Tragedy ‘Saga Of A Hoodlum’ 1993

  Those that know me often hear me say I was not the biggest fan of HOP music between late 1991 thru 1993. I often call this the “shout rap era” where there was a lot of dark baggy clothes with the “east coast stomp” movement and overcompensating cursing in rhymes. Over the years I believe this happened out of necessity for a lot of East Coast acts to counter the very real rugged sound coming from the “gangsta rap” of the West Coast. Some of the “shout rap” album releases made it thru the era but many were suspended in time and often don’t age well. Intelligent Hoodlum was a bit of a young prodigy out of Queensbridge New York, under the guidance of the legendary Marley Marl, who also produced his debut album. The M.C. had the 10 year old me looking at the rapper as an inspiration with songs like ‘Black & Proud’ and ‘Arrest The President.’ I was extremely caught off guard years later when I realized he was Tragedy Khadafi whose content seemed like a complete 180 degrees from who I was introduced to. The reason for my shock was because I missed this album and transitional era of Intelligent Hoodlum. At the time of this release, there was no cable T.V. in my home which would be how I stayed up on HOP music and although I heard the singles Grand Groove (bonus mix) and ‘Street Life (return of the life mix), they sounded in line with what I would expect from the rapper. Years later I would hear this album and understand how Tragedy Khadafi was born. ‘Saga Of A Hoodlum’ is either the effects of pressure from the music industry or who Intelligent Hoodlum was all along. Then of course those two thing could be true at the same time. Knowledge is still born on this album but much of it falls under the “shout rap era” of just sounding extremely dangerous on record with rough beats as the backdrop. The music is not exactly the problem as K-Def and Marley Marl handle the majority of the production. Tracks like ‘At Large’ and ‘Role Model’ are undeniable heaters but then the first single off this album which was in line with the soundtrack to Mario Van Peebles’ movie ‘The Posse’ provides knowledge on the “Black Cowboy,” but doesn’t age well as a song. Features are minimal but there is a very young Havoc verse for posterity purposes. ‘Saga Of A Hoodlum’ is often forgotten when talking about albums from the mid-1990’s and although not perfect it is a very important piece to a rappers journey. What did you think of the album? Singles include: ‘The Posse (shoot em’ up),’ ‘Grand Groove’ & ‘Street Life’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: One Be Lo ‘S.O.N.O.G.R.A.M.’ 2005

  One Be Lo, One half of Binary Star and the “One Man Army” made a statement twenty years ago with ‘S.O.N.O.G.R.A.M.’ The title stands for “Sounds of Nashid Originate Good Rhymes And Music,” a mission One Be Lo whose real name Nahshid Sulaiman, has been on since entering the music game. As a former convicted felon for armed robbery, One Be Lo has always seemed to counter his past mistakes with very stern messages of choosing another route. Utilizing his voice and platform as a way to explain the challenges and causes of why so many black youth are faced with hard choices and minimal options for success. On his second solo album since the disbandment of his former group Binary Star, One Be Lo creates a sort of epic album that never glorifies ignorant activities while still providing a strong sense of street knowledge and guidance. On the song ‘Oggie’ One Be Lo discusses the reality of consequences after a life changing decision versus rappers using that same decision as just fodder for songs. ‘Decepticons’ which was probably the biggest and most impactful track off this album when it was released, is an ear opening track about politics of the mind, street and country as the hook sums up the fact that “some things change, some things stay the same.” The album features production mainly by One Be Lo and Decompoze with Chic Masters and Majestik Legend on a few others. One can walk away from this album knowing that in the spirit of Public Enemy, The Coup or Dead Prez, One Be Lo and many others throughout the history of HOP music have always understood that “Edutainment” is necessary for the minds listening to this art form. That assignment can never be deterred by the likes of propaganda and those who are sent out to start narratives to downplay artist in service of a greater cause. What did you think of the album? Singles include: ‘Rocketship,’ ‘Decepticons’ & ‘Sleepwalking’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: D.J. Unknown ‘Prisoners Of Gravity’ 2023

  The compilation release lives on and so those does the “D.J.” Releases like “D.J. Unknown’s ‘Prisoners Of Gravity’ were a normal thing in the late 1990’s and 2000’s but ironically became less produced in a time when access is much simpler for humans. Maybe due to everyone controlling their exposure through the internet and not needing these compilations for awareness is the reason but the fun of these albums still live on. D.J. Unknown is from Toronto, Canada and one thing about HOP music in other countries is the appreciation for what is often taken for granted in the states. ‘Prisoners Of Gravity’ introduces a lot of underground acts with a few known veterans of the underground like Raz Fresco, Mega Ran, Prem Rock and Phoenix Pagliacci. Production and scratches is strictly handled by D.J. Unknown with fourteen tracks featuring a different act. There are solid tracks on here but the issue with the release is it feels extremely monotonous with a very “grey” tone. One should not expect energy motivation but more sitting back lounging on a raining day. Respect is still given for D.J. Unknown to appreciate the foundational elements of HOP music and provide his version of the music. 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 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following —-> linktr.ee/QLEAPRADIO

#rewindreview: Rapsody ‘Please Don’t Cry’ 2024

  The latest album from Rapsody can be served as a litmus test for both her, her fans and so-called fans. Since 2019’s ‘Eve’ (one of the best Hip-Hop albums of that year), Rapsody’s name has often been used as a barometer when discussions on the state of women in HOP music is brought up. Now it was time for fans and so-called fans to show up when product is on the street. The challenge for listeners was to go into this album ready to experience life for Marlanna Evans rather than simply jam to songs from Rapsody. ‘Please Don’t Cry’ sounds therapeutic for Rapsody as she utilizes this release to address her conflicts, joys and complexities while also addressing rumors and outside thoughts about her. This is the first time since being a major act that she is without 9th Wonder but is serviced production from the likes of S1, Major Seven, Hit-Boy, Eric G and others, with the majority of production from BLK ODYSSY. Rapsody continues to showcase her talent even as she wax’s poetic about the aforementioned subjects and with the exception of the Lil’ Wayne featured ‘Raw,’ this album does not waste rhymes about how “dope she is.” One of the replay value challenges of this album is that it can feel like an audio book with the interludes and music. The other challenge with this record is possibly the way it is mixed. It feels very flat and even when it comes to “dense albums” such as Common’s ‘Like Water For Chocolate’ or Kendrick Lamar’s ‘To Pimp A Butterfly,’ having a strong mix will often be the determiner on how the public responds to the release over time. ‘Please Don’t Cry’ was a very anticipated record but seems to not have made the same impact one would have expected it to, in a very great year of HOP music in 2024. Essentially this is making a statement which is I’ve given you (the listener) everything and now it’s time to understand who Marlanna is. Rapsody can add another notch to her ever growing catalog of music that listener’s can always depend on as ‘Please Don’t Cry’ was her testimony but bore witness to many who could relate. What did you think of the album? Singles include: ‘Asteroids,’ ‘Stand Tall’ & ‘Back In My Bag’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Cam Gnarly ‘Northend Gnarly’ 2023

  It can be hard to give new artist a chance these days due to the repetitive nature of music, rhyme styles and content. Ever so often there are individuals who have a subtle understanding of what it takes to stand out, and although their influences might not be one’s cup of tea, the combination of those influences can create a solid artist. Enter Cam Gnarly, a San Bernardino rapper who takes pride in putting his locale on the map metaphorically with the album ‘Northend Gnarly.’ Cam Gnarly provides an audio tour of the feel of California and the youthfulness of a new generation. What keeps that youthful expression unique is not focusing on the negative which is almost a prerequisite to rap in this social media era. The rapper does not preach to ones ears but relies on the exercise of chanting and response to where songs like ‘More To Do’ and ‘That’s’ Life’ help provide a positive frequency for the inner soul. Cam Gnarly is assisted by Asend Beats, Du Noise, Skywalker and others providing production while vocal features are rightly limited to Rae, Gold Ro$e and Geebose. These names might be unfamiliar but get to know them as they all contributed to a feel good release ready for listening in any season of the year. What did you think of the album? Singles include: ‘Space & Opportunity,’ ‘I Don’t Play About You,’ ‘Blessed With Stressed With,’ ‘DINO USA’ & ‘More To Do’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Snoop Dogg ‘Missionary’ 2024

  The long awaited full album collaboration of Snoop Dogg and Dr. Dre, finally arrives thirty-one years later, in a year when HOP music’s veterans retained dominance. After year’s of speculation and request, the two finally locked in to a studio and provided ‘Missionary’ which is an off color sequel to Snoop Dogg’s debut album ‘Doggystyle.’ Dr. Dre enlist a new crop of production collaborators as well as a few old ones to give this album a sound that does not fall slave to current day standards while not getting lost in nostalgia. Snoop Dogg doesn’t miss a beat rhyming and sounds like he never stopped in his busy celebrity life to neglect the thing that got him that same life. Collaborations may seem like many but only a few share rapping duties on this album that include 50 Cent, Method Man, Eminem and Dr. Dre. Other collaborations are vocalist such as BJ The Chicago Kid, Cocoa Sarai and K.A.A.N. Where ‘Missionary’ gets confusing to the general public is it’s execution from two of not only Hip-Hop but the entertainment industries biggest names. There is an air of “playing it safe” on this album or better still the content and sound pertaining to the life of two megastars. This album is not dark and more upbeat with moments that do not alienate the “fair-weather” HOP music listener or the listener that only pays attention when names like “Snoop,” Eminem or 50 Cent is mentioned. This I believe is where the album gets it’s negative criticism. There will always be a level of expectation for the collaboration of “Snoop & Dre” so when the album enters territory that sounds geared toward a crowd that doesn’t care about Hip-Hop culture, it creates “eye-rolling” moments for actual HOP fans. This doesn’t happen often on ‘Missionary’ in my opinion and I think is unfair to the overall album. After the initial few tracks that establish the magic of Snoop Dogg and Dr. Dre’s return, ‘Missionary’ then ventures to moments with Tom Petty, Jelly Roll and Sting, with ‘Thank You’ in between that, which isn’t a bad song but suffers from basic hook. Although I’m not a fan, 50 Cent’s verse sounds like a garbled mess as he attempts to execute a double-time rhyme delivery while I was impressed that Eminem seemed to not out rap a song for a change. In all ‘Missionary’ is not a bad album but suffers from the success of previous records from Snoop Dogg and Dr. Dre that came before it. Personally I think that it still continues the argument that HOP music is not just a “young man’s sport,” which ironically is part of the evolution of the music to show just that. What did you think of the album? Singles include: ‘Gorgeous,’ ‘Outta Da Blue’ & ‘Fire’ 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: Torae & Marco Polo ‘Midnight Run’ 2023

  Torae has been a name that if one has been paying attention to HOP music for the last twenty years, has at least heard of in passing. He comes from that class of rappers like Skyzoo, Supastition, Saigon etc., that had no problem showcasing skill but who never quite crossed over to the “major league.” Marco Polo is in a similar situation as he has been making HOP music about the same time but the collaboration of both has seen better results for both. With Marco Polo’s unabashed Hip-Hop beats and Torae’s brazen talent to rap, the two return for their second album since 2009’s ‘Double Barrel’ with ‘Midnight Run.’ On this the listener will need to be able to appreciate the art of rapping and traditional HOP music as a back drop. Within a quick thirty minute span Torae and Marco Polo provide a soundtrack for hardcore Hip-Hop, ripe with lyrics that often metaphorically describe Torae’s passion as a “life sentence” on ‘Life Behind Bars.’ ‘Grey Sheep’ enlist veteran Dres of Black Sheep, to plant a flag for the rap fan and artist who have aged well within Hip-Hop’s lifespan, while ‘Days Of Your Lifetime’ serves as the “blue or red pill” rappers have the responsibility to provide to an audience. ‘Midnight Run’ is a simple album with no room for extra fat but is more for die hard fans. If a crossover audience wants to hear Torae they might have to look to bigger acts as my theory is he is apart of the “ghostwriter” community, and I think we have heard Torae’s pen on some recent veterans album,s but “what happens in fight club stays in fight club.” What did you think of the album? Singles include: ‘The Return’ & ‘Reloaded (intro)’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Reunited: Snoop Dogg’s  “Missionary,” Album Review

Snoop Dogg and Dr. Dre will forever be figuratively attached to the hip. The success of Dre’s epic 1992 LP(Long Play), The Chronic, showcased the then-young Snoop’s distinct and stylish flow, with stand out verses on “Nuthin’ But A “G” Thang,” and “F*ck Wit Dre Day.” The following year, Snoop’s debut Doggystyle helped solidify the West Coast’s emergence on the national hip-hop scene. Over 30 years later, Snoop’s Missionary LP,  is the closest fans will get to Dre’s signature stadium sound on an entire album. While this LP does not have the mystique of the long-anticipated and unreleased Detox, and has its moments of braggadocios commercialism, overall it’s sonically pleasing, and experiments with various genres while keeping Snoop’s signature sound intact. The thumping “Outta Da Blue” highlights Snoop and Dre exchanging bars over invigorating production. On “Hard Knocks,” Snoop describes his penchant for defying the odds and overcoming hurdles to reach the finish line and remain in the winner’s circle. The Tom Petty and Jelly Roll-assisted “Last Dance with Mary Jane,” presents a refreshing merger of country and hip-hop. While this might not be what hip-hop purists expected, it’s a delightful fusion. And “Another Part of Me,” featuring British rock star Sting, is a feel-good track that makes you appreciate the present, especially with Sting’s lyrics, “There’s no better time than today.”   Snoop and Dre together on an album is exactly what fans wanted and what hip-hop needed. It shows that some brotherly bonds are unbreakable, and the people you started your career with will always have an influence on you. If you’re fortunate enough, you can come back years later with a more worldly and mature perspective and do it all over again. The album title is a clever play on words, as Missionary refers to both a sexual position (a nod to Snoop’s Doggystyle) and the idea of a missionary—a charitable hero, whose mission is accomplished. And there you have it—mission accomplished, fellas! In a world of ever-changing sounds, Missionary reminds us that some musical bonds are timeless, and Dre and Snoop are still at the top of their game.   Words By David Lopez

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