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Can Rapsody’s New Album; “Please Don’t Cry” have Grammy Nods in 2025?

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In this day, and age of Hip-Hop, we’ve come to the terms of either we accept Hip-Hop Artists giving us fluff for the music, or we truly respect the volume of authenticity, and talent within a project. For Rapsody; a very lyrical and talented Hip Hop artist from North Carolina has really come into her own stardom with her latest project; “Please Don’t Cry”. The project has the most complete, highly diverse in terms of beats productions, and ov erall music that has ever been in a Hip-Hop album in a very long time. Also, she has definitely went on a verge of giving us 22 (YES, 22!!!!) tracks of fantastic music to a point where you the listener will have no choice, but to respect who Rapsody is. During this review, I will express the GOOD, BAD, & #ReemoApproved. Also, you will take a look at the exclusive interview that I did with Rapsody, and truly watch, as well as her our converstion that the Hip Hop Culture would definitely love to admire, be inspired, and share amongst the Hip-Hop Community. The Good: I must say as a fan and contributor within the Hip Hop Culture. I was highly impressed of the 22 Track Album with No Skips (Yes, I’ve said it….NO SKIPS!!!!) and on a 3 day span listened to the album 5 times. Also, the features are legendary; Eryka Badu (3:AM), HitBoy (Asteroids), Niko Brim (Raw, Niko’s Interlude), Alex Isley (Loose Rocks), and last but not least the incomparable, sensational, and highly talented; Phylicia Rashad on the track, as well as throughout the album speaking to the artist. The productions on the album are phenomenal, and the beat selections for the album blend perfectly. If you are a fan of her music, she definitely did not disappoint. The Bad: Added more pressure to the playing field, and landscape of Hip Hop. The #ReemoApproved: Honestly, made me an omega stan of her. I really see the magnitude, and value of the album as like Nispey Hussle’s “Victory Lap” , Kendrick Lemar’s “Damn”, Jay-Z’s Hard Knock Life: Volume 2, or Dare I say what DMX did in 1998 combined with “It’s Dark and Hell Is Hot” along with “Flesh Of my Flesh, Blood Of My Blood” in retrospect of it sparking their STARDOM within their careers. #TrustTheReemo on this one #MyCreatives this album is definitely the one for 2024. As per usual #MyCreatives, ON TO THE NEXT!!!!! Follow Me on Social Media: IG: https://www.instagram.com/reemomeerak_/ X(Twitter): https://twitter.com/reemomeerak_ Tik Tok: https://www.tiktok.com/@reemomeerak_ LinkedIN: https://www.linkedin.com/in/kareemreemomeeraktyson Subscibe to The Podcast; Reemo Meerak: The C.U.T.S. https://www.youtube.com/@TheCUTS_ Subcribe To My Vlog Channel; Reemo Meerak: ReemTV: https://www.youtube.com/channel/UCzeBLMMZerckVQ9LJa93oZw For Interviews, Cover your event, write a review, or Features: [email protected] Shop The Merch: https://reemomeerakbrand.myshopify.com

#rewindreview: B.U.K.A. Entertainment presents ‘Bringing It Home: Volume One’ 2001

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There was a moment when the HOP music compilation was a thing and extremely effective. An album that would introduce or expose a myriad of rappers to new audiences. Soundtracks were a great example of this, in particular ‘High School High, ‘The Show,’ ‘Rhyme & Reason’ and ‘Soul In The Hole’ were mainly HOP music but had more known acts attached to those albums. When ‘Lyricists Lounge Vol.1’ released it set a strong precedent in providing unknown rappers a space to be heard on a smaller label but larger platform. After that release many compilations were provided and were successful in their own right like the ‘Supperappin’ series, ‘Beats & Lyrics’ by D.J. Kool EQ, D.J. Spinna’s ‘Beyond Real’ compilations and more. Needless to say these albums caused mass stimulus to my brain and I was on the lookout for any compilations adjacent to them at the time. With Rawkus records giving me an introduction to D.J. Hi-Tek by way of Black Star and hearing Lone Catalysts on a couple of mixtapes, I became aware of a “Mid-West” movement that could have easily gone unnoticed outside of the region had it not been for those acts. There was another compilation called ‘Mission Control…’ that highlighted those same acts along with a group Mood that took me down the Ohio path, which lead to me discovering ‘Bringing It Home Volume One.’ This album highlights many of the acts who were connected to Lone Catalysts and their label B.U.K.A. which stood for (Brothers United Keeping It Afficial). An extremely independent label that once again gave space for more unknown acts to be heard. On this album a few names were familiar like Verbal Kent and Usef Dinero but even for an “underground Hip-hop head” at the time these were all new acts. The songs that truly stand out on this album really do like the B.J. Bigby heater ‘Surrender,’ K-Mos ‘High Noon,’ Afaliah Afelyone ‘In/Exhale’ and Usef Dinero’s ‘Misc.’ The problem is a majority of the record has tracks from artist that just don’t stand up to the best offerings here, and with nineteen tracks and album art that is not to enthusiastic it doesn’t create the best replay value. As a collector of the independent Hip-Hop music scene at the time it’s not a bad album to own and displays the street and traditional sounding HOP music of that era. What did you think of the album? 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 @

#rewindreview: Quanstar & Poe Mack ‘Big Boy Barred Up’ 2023

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  Quanstar is a friend of QUANTUM LEAP RADIO and remains so due to the solid music he continues to provide us. On this sonic trip he teams up with producer/M.C. Poe Mack who has worked with the likes of Cesar Comanche and others on the current “underwater” HOP music scene. The two keep ‘Big Boy Barred Up’ simple with only twelve tracks and two features while Poe Mack ensures Quanstar is provided a musical backdrop that can’t be described as “retro.” Quanstar is comfortable in his lane of providing lyricism that doesn’t aim to compete with the youth, instead relating to ears that can appreciate “grown man raps.” ‘Act Like Bosses’ speaks to the new age of “wannabees” who get so inspired by negative aspects of rap music that they begin to believe they are in fact built for those aspects. Something that as of this date of writing can be applied to very well known figures in HOP music. ‘Plugged In’ is also a stand out track, as an examination of the effect social media has on human’s thinking they are so smart we end up falling for anything, even our own lies to one selves. ‘Big Boy Barred Up’ is an excellent introduction to Quanstar and Poe Mack if one has never heard either of their offerings of music. More importantly another example of how HOP music will continue to produce for all those still interested in this ever aging genre. What did you think of the album? 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 @

#RewindReview: SWURVHITTZ & Budda Early ‘As We Continue On’ EP 2023

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  In the next collaboration with Bronx born and bred D.J. SWURVHITTZ and Budda Early, an appetizer is served for those who never heard of them and a possible holdover for a future release. ‘As We Continue On’ is a follow up to 2021’s ‘Religion’ EP but lacks the grounded effort that record had. This release feels more like an experiment or possible cutting room floor tracks but also is a glimpse into how New York is sounding currently. SWURVHITTZ provides beats that have minor to no sampling but lean heavy into bass and high hat drum kits. Budda Early displays lyrics that are not too deep and will grab the attention of fans of Maino or those still liking the Dipset era. ‘As We Continue On’ is an exercise in the two’s chemistry and working on what could be created next. They also offer an olive branch to that “next chapter” with the track ‘Food For Thought’ which only features J Dillenger, an unknown rapper who had the most profound track on the release. Take about fifteen minutes and dig in to continued vibes of underground HOP music from the place it all started from. What did you think of the album? 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 @

#rewindreview: Mickey Blue ‘A Long Time Coming’ 2023

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  This is another benefit of QUANTUM LEAP RADIO and the rap music acts we get introduced to. Mickey Blue is a beatmaker who has taken that dynamic first seen on Marley Marl’s ‘In Control Vol.1,’ and procured multiple M.C.’s to rhyme over the producer’s beats. Often this can feel like a compilation album but over the years the idea of some of the best beatmakers in HOP music, getting fan’s favorites to collaborate, has always been like a buffet of one’s favorite foods or a kid in a candy store. On ‘A Long Time Coming’ Mickey Blue has a myriad of rappers, with some more known in today’s under ground like M-Dot, Jay Royale, Spit Gemz and veterans like Copywrite and Ill Bill. Mickey Blue makes a strong case that this will be HOP music to the core with no additives or preservatives as the beats here are straight hardcore HOP music, ripe for anyone still claiming “Hip-Hop is dead” or the genre is “too soft.” Tone Spliff contributes to the subconscious familiarity of what makes rap music Hip-Hop by providing the cuts and scratches on the album. The issue here is the mood doesn’t really change throughout the album with the exception of the single ‘Twenty Ninety Four’ and ‘Don’t Blink.’ It’s definitely not a summertime album and by the second half of the release it starts to feel like a soundtrack for Halloween. Many will have no problem with this and I believe Mickey Blue knows his audience, which is why the album maintains it’s theme. For those needing confirmation that HOP music is still dirty and raw the time has come. What did you think of the album? Singles include: ‘Twenty Ninety Four’ 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 @

Ghostface celebrates Set the Tone album and his birthday in New York City

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  Ghostface Killah celebrated his birthday and premiered his new album Set the Tone (Guns & Roses), at the same damn time last night at Republic Records in New York City. Media and influencers previewed the album just hours before it was released to the public on digital streaming platforms. The LP features a cast of Hip Hop’s elite including Kanye West, Jarule, Nas, Fat Joe,  Busta Rhymes and Remy Ma. The album has a feature on every track except for the skits and outro. The evening was highlighted by the sounds of DJ Scram Jones, who played a heavy 90’s NYC set, with artists like Nas, Mobb Deep, and Jay Z to the crowds preference. The audience enjoyed Belaire champagne, appetizers, and Ghostface’s gourmet coffee “Killah Kofee.” Some artists who came to support Ghostface included “Simon Says,” emcee Pharoahe Monch, who shared with me that he’s working on a new album titled External Affairs which will drop later this summer. Rock the Bells personality and emcee Torae, Saturday Night Live’s  Kenan Thompson, reggae singer Serani, and rappers Jim Jones, NEMS, and Large Professor. Ghost performed some tracks off the album including the up tempo Kanye West featured “ No Face,”  “ 6 Minutes,” featuring Jim Jones and Sheek Louch and ” Pair of Hammers,” with  Method Man. The crowd was later treated to a super hype freestyle from Wu alum Cappadonna,  a Serani performance of “ No Games,” and Jim Jones  jump shot gesture as Scram Jones played his iconic ” Ballin.”  Set the Tone is well-rounded with a blend of R&B and soul features on “Locked In,” & ” Skate Odyssey,” a boom bap moment with “Kilo In the Safe,” and reggae-influenced tracks like ” Shots,” and “Champion Sound.” His storytelling is unparalleled and on tracks like “Cape Fear,” and “Scar Tissue,” he showcases these narration talents. And like his Wallabee collection, he’s got  various styles to chose from. On his born day, Ghost owned the night,  and Hip Hop was better for it! You can find Set the Tone on all streaming platforms. Written By David Lopez Video Credit: Damatrixstudio  

#rewindreview: Teflon ‘2 Sides To Every Story’ 2023

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  Teflon, the unofficial third member of M.O.P. took full advantage of the time we all “sat down” during the Pandemic, to plot a comeback. The rapper appeared on many features for M.O.P. and the Gang Starr family in the 1990’s and also put out an album of his own then. ‘2 Sides To Every Story’ is surprisingly solid and that is with all due respect. Teflon always seemed like he was a good “off the bench” player in the nineties but never had that release to show he could hold down an album. This release should not be overlooked for those wanting the simple formula of hard beats and hardcore rhymes. What makes the album so cohesive is D.J. Premier and Jazimoto produce the whole album and do a great job of blending their two styles to make it seem like it was Teflon and one producer. Teflon’s voice also play’s a critical role in why this album is good, as he has always had a unique high pitch tone and a way to play with the ups and downs of his delivery, and in 2023 he did not seem to lose that edge too much. The album also keeps features to a minimum and those bare minimum’s fit right in which is M.O.P., Benny The Butcher and I-Fresh on the hook for ‘Baby.’ The album starts off high energy on ‘Out The Gate’ and keeps that pace throughout the record. ‘Life In The Feds’ is one of the most memorable tracks as Teflon delivers his version Kool G. Raps’ ‘Ryker’s Island,’ that plays more like an audible ‘Scared Straight’ special as opposed to glamorizing the situation. ‘2 Sides To Every Story’ for me falls in line with the numerous veteran acts who in the last 8 years have evolved the idea that HOP music can only be created the best in ones prime. What did you think of the album? Singles include: ‘No Fake Love, ‘ ‘Life In The Feds’ & ‘Contraband’ 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 @

Drake vs Kendrick: Who’s Ahead on the Score Card?

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A lot has happened over the weekend with Drake and Kendrick Lamar, and if rapping was boxing, both heavyweights have shown up to compete for the belt. After finally responding to Drake’s “ Drop and Give Me 50,” with the cryptic “Euphoria,” K. Dot followed up days later with “6:16 in LA,” keeping the pressure on Drake’s neck. Over an Al Green sample, Kendrick alludes to Drake having moles in his camp that are feeding him info, “ Are you finally ready to play have-you-ever? Let’s see, have you ever thought that OVO is working’ for me?… Fake bully, I hate bullies, you must be a terrible person. Everyone inside your team is whispering that you deserve it.” Kendrick honed in on the OVO team’s disloyalty and their dislike for their cash cow. K. Dot’s pressure did not last long as Drake’s “Family Matters,” dropped fourteen hours later. The track is accompanied by a video where the same minivan Kendrick’s mom drove, and he featured on the cover of good kid, m.A.A.d city album was crushed to pieces. And Drake is seen eating at the restaurant Kendrick recently brought attention to on “ Euphoria,” in Toronto, New Ho King, trolling Kendrick. The track is sonically pleasing as Drake changes rap patterns over three different fire beats from Boi-1da, Tay Keith, and Mark Ronson.  In my opinion, this is the best complete and radio-friendly song that came off the battle series this weekend. With allegations that Kendrick is abusive to the mother of his children Whitney Alford, and that one of his children may be fathered by K. Dot’s general manager Dave Free. He even adds that J Cole is losing sleep over battling K Dot but he’s stepping up to the challenge. And  he takes a shot at Rick Ross, “body after body, Ricky reading me my Miranda rights,” an assertion to Ross’s former employment in law enforcement. Drake is taunting and showcasing his dominance over K Dot and the rap universe over this 7-minute-plus track. Drake’s response did not get much time to settle. An hour later Kendrick responds with “ Meet the Grahams,”  over eerie piano chords, he recites a toxic letter to Drake, his parents, his son Adonis, and a mystery eleven-year-old daughter. The track  is  straightforward and  disrespectful  as he questions Drake’s existence and expresses that K . Dot would be a better father figure to Drake’s son than him. As Kendrick reads, “ Dear Adonis I’m sorry that that man is your father, let me be honest takes a man to be a man, your dad is not responsive I look at him and wish your grandpa would a wore a condom I’m sorry that you got to grow up and then stand behind him.” The song  has its moments of providing shock value and describes Drake as a man with several vices including gambling and pill popping.  However, Kendrick has to lose  some points if he is wrong about Drake having a hidden daughter. It shows a level of desperation or bad intel. Drake has denied hiding his daughter on an Instagram story. Less than 24 hours later, Kendrick dropped his 4th song this week “ Not Like Us, “ where he claims Drake and his OVO camp are pedophiles. One of the OVO artists Baka Not Nice, was charged with prostitution and human trafficking in 2014, the charges were later dropped. In addition, K. Dot accuses Drake of using artists from Atlanta like 21 Savage and Future for credibility and that he was not a colleague but more of a “colonizer.” This was definitely a moment for K. Dot Fans, with the personal and comedic content such as “‘scream OV HO.” With Kendrick’s output of four tracks in a week gave him advantage, but Drake has the better song with “Family Matters,”  and Kendrick may have reached with the accusations of hidden children. I had Kendrick in the lead because of all the music he’s put out the last week, as he keeps  applying the pressure, but the fact that Drake is holding his own is a win within itself, as Kendrick is more revered for his lyricism in the court of Hip Hop popular opinion. With the release of  “The Heart Part 6,” Sunday night, reactions  began to shift to Drake being up in this battle. On the song, he talks about setting Kendrick up with false information to trick him to thinking he had a daughter, and about Kendrick being sexually abused as kid.  He also reveals that the mother of children is not following him on Instagram, but is following the manager Dave Free, adding to the idea that Kendrick and her are on the outs, and her and Free may be romantically involved. At the moment it feels like Kendrick won lots of the mini battles with his heavy onslaught of content over the last week.  But Drake is currently winning the bigger contest, the one of truth. And Hip Hop fans are getting the best of this war of words.   Written By David Lopez

#rewindreview: Showbiz & A.G. ‘Runaway Slave’ 1992

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  Growing up my interest in HOP music came from the benefit of cable television. This didn’t mean that I grew up in a rich home by any means but that cable was cheap enough to have during certain times in those years. A period that was missed for me was late 1992 thru about 1994, so I missed a lot of singles that might have only been shown on Rap City or Yo! MTV Raps. One single that I caught before that cable bill was overdue and it was gone again was ‘Soul Clap’ from Showbiz & A.G. For those alive or paying attention at that time, know that the single was heavy and stayed in rotation. It was the introduction to the duo and left a lasting impression on ears for years to come. This single was also one of my first CD purchases as the ‘Soul Clap/Party Groove’ maxi single I bought used at the original Soundwaves records store here in #HUEston, after returning a ‘Boys II Men’ album I got for Christmas one year. ‘Soul Clap’ and ‘Fat Pockets (remix)’ was the only songs I was familiar with from ‘Runaway Slave’ at the time. It wasn’t until about 2002 when I finally got around to this album and from then it grew on me. 1992 is not one I put in my “favorite years” of HOP music list so when I initially heard this album it sounded “suspended in time” but Showbiz’s beats were crazy and stick to one’s auditory canal like barnacle on boats. A.G.’s rough rhymes mixed with these beats just gave an energy that can’t be denied. ‘Silence The Lambs,’ ’40 Acres And My Props’ and ‘He Say, She Say’ all have this jazzy but dangerous feel to the songs. ‘Runaway Slave’ also provides interludes to each song with members of D.I.T.C. (Diggin’ In The Crates) while also introducing the world to Big L. The album is a time capsule to a world where rap music was more genuine in why it was being created which can be theorized as to why the music holds up after thirty years. Equipment had to be bought, music had to be listened to, time and money had to be scheduled for recording, and M.C.’s had to be ready when these other stars were aligned to make a mark. All this was not done with a click of a button but instead digging in crates to create a unique soul in HOP music. What did you think of the album? Singles include: ‘Soul Clap,’ ‘Fat Pockets’ & ‘Bounce Ta This’ 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 @

Who Are The Best Independent Hip Hop Artists Of New York From 2021 until 2Q 2024?!!!!

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  Have we forgot where the “Mecca” of Hip Hop started?!!! The answer to the question above is; The Bronx but for sake of using the word “Mecca” and of course the GARDEN is pivotal of letting you know you’re in NEW YORK!!! Apologies #MyCreatives, your Neighborhood #RugerSprayyyyyer was on the IR with a major injury (Since the Tierra Whack Listening Party), and God’s way of telling “Reemo Your Wildin’ Out….RELAX!!!” So during this time off, a rather interesting topic surfaced on an Independent Hip Hop Artist’s Social Media Page asking the question   “Who’s The Big 3 of Independent Scene?”. Derived from what occurred in Hip Hop which J.Cole mentions about the “Big 3” and it lead to a butterfly effect of massive “Diss Tracks”, and the Top Tier artists coming out with massive content, and songs all over the Hip Hop scene. Now juuuuuuu’already know to even compile a list like that would take some time, and serious effort from multiple people. I’m only one man here folks and ladies. I’m in my bed pondering what type of article could I make of this. Then, it hit me “Who Are The Current Top Independent Artists of NEW YORK?!!”, as well as “How many Years are we Covering?!!!”, “What’s The Criteria?!!” and ETC. This article will display of such, and truly hope the reader understands what’s taking place here. Also, no disrespect or dismissing of anyone who is an Independent Hip Hop Artist all over the world.   Main Focus: The list was derived from a Social Media post an independent artist posted asking “Who’s The Big 3 of the Independent Scene”. I was highly intrigued of how that would be achieved, and “Who would be on that type of pedigree?”. Honestly, too many independent artists in the world to compile down to “Top 3 artists”. So I figured, “Why not speak of the Top Independent Artists of New York?!!!!!”. I’ve pretty much covered or interviewed a vast majority within my media career, and encountered of their skill set improving over the years. The list is to highlight and give flowers to the artists who’ve made it possible and represented New York to the best of their talents and abilities. Each part of NY matters, as well as putting together a list of figures whom made it their mission and passion to display their skills. I wanted to meet the challenge of putting a list together, and did due diligence to be fair, and researched the artists (Some assistance from well hardworking Media Colleagues in the New York Hip Hop Media Space is noted as well). Overall this list is of an objective view, and things that occurred for the artists named on the list within the years of 2021 until now (2nd Quarter 2024).   CRITERIA Impact the Last 3 years Since Post Pandemic (2021 to 2nd Quarter 2024) Relevance (Known and Heard Throughout the STATE) Headline or Featured on Shows (Major Festivals, Concerts, or Events) Media Publication Appearances for Music “Hot Streak” (Major Platforms, Podcast, & ETC) Multiple Plays on Radio or Network Skills (Bars, Flow, Story, & Creativity) Consistency (Not just One Year Here & there) Performance Energy Potent Music Tracks that caught a big wave, and moved heavily amongst NY. Major Features or have Collab with Mainstream Hitters on Tracks Sales, Followers, Engagement, or Friendship have nothing do to with selection **** On label, but their consistent contributions within the NY Independent Scene *** Recently Independent amongst the timeline of 2021 until 2Q 2024 (Honorary Pick) – Despite signed or recently Independent, their impact alone for the state lead to their success, or for that matter empowered many.   TOP CURRENT HIP HOP INDEPENDENT ARTISTS of NEW YORK (No Particular Order) Torae Eddie Kaine NEMS**** GRAFH She-Real (Harlem) K-Goddess 38 Spesh Lazaris The Top Don GMim$ Debonaire D.CHAMBERZ SNS ICY GANG Arnstar Kony Brooks Bakeman Global D Dave Dyce Pesos Deveye  Rome Streetz Steph G Haddy Racks Fab Tha Don Iman Nunez Cash Cobain Zeddy Will M Dot Porter Flowboy Duece Toni Steelz Molly McCoy Genny Genn UFO Fev Ron Suno Neek Bucks Kyah Baby Warren Wint Billboard Baby Jakkah J.Dollaz Timeless Biz Joe West Zay The Profit Sig Tha Trig (Signature) Johnnie Floss Diany Dior Sunny So Fancy Rich P Solo Jones TDI Muzik X-YLE Sluggo Da Don Ricky Bats Billy B (Female Artist) Maiya Tha Don Stunna Dior Nani Blanco Decapo SwaveHMG Jae Skeese Math Hoffa Oun P Cortez Chow Lee J.Sos RTM Sway Leigh Paris Nik Moody BHCG (Group): Earn Dinero, Scrilla Scambino, Sugar Hill Prophet, Well Made Choice, Mack Wyatt, and Cane Green Miah Kenzo YNVS Conan Keen Streetz JUS PLAY Nino Man Frank Knight Euro Solomon Josh Jacobs Fergie Baby Chuck Platinum (HONORARY PICK) PHRESHER**** (HONORARY PICK) Lola Brooke**** (HONORARY PICK) Benny The Butcher**** (HONORARY PICK) Westside Gunn*** (HONORARY PICK) Conway*** (HONORARY PICK) Jim Jones **** (HONORARY PICK)   Conclusion: I did my best to compile of this list, as well as being from New York for a very long time. Also, with some assistance from a few of my colleagues in the Hip Hop Media space. Highlighting the artist felt as a right thing to do, as well as accepting the challenge of putting the list together, and to really show my appreciation to figures who really made valuable contributions on the strength of their own to putting together teams to assist their success. The “Independent” moniker is not to claim as stamp of approval within Hip Hop culture but more so to be taken as an achievement of the journeys the figures mentioned have endured within it. Nonetheless, some may feel New York is losing its “footing” in the culture, but make no mistake the artists are continuing their efforts to make their presence known. End all be all, what’s considered “LOST” only means there’s opportunities to GAIN it right back again!!! As per usual, “ON TO THE NEXT!!!” #MyCreatives Follow Me on Social Media: IG: https://www.instagram.com/reemomeerak_/ X(Twitter): https://twitter.com/reemomeerak_

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