#indigenous rapper

[triumph-of-adaptation]

Baarka and Cindy Rostron at Australian Fashion Week 2024

[fivepercentgodsandearths]

[thelensofyashunews]

Snotty Nose Rez Kids Drop Explosive New Single & Video, "NO DOGS ALLOWED"

Indigenous Hip-Hop duo Snotty Nose Rez Kids are back with a fierce new single and video, "NO DOGS ALLOWED," the latest release from their highly anticipated album RED FUTURE, set to drop on September 13th, 2024. Produced by the acclaimed dwilly (Megan Thee Stallion, bbno$, Tinashe), "NO DOGS ALLOWED" showcases Snotty Nose Rez Kids' signature blend of raw energy, sharp lyricism, and unapologetic authenticity. The track is an anthem of resilience and defiance, celebrating the duo's journey and the strength of their community.

Yung Trybez says:

“NO DOGS ALLOWED is for all the outcasts who were never invited to the party, those that never fell in with the 'cool kids.' It's an anthem for the weirdos that walk among us, who never really gave a fuck about your opinion of them! It's for the dreamers that stayed true to themselves no matter the shit they had to crawl through to get there. It's the anthem that'll be bangin’ through the speakers when we kick the fuckin doors down to the spaces that never welcomed us in.”

The accompanying music video, directed by frequent collaborator Sterling Larose, promises to be a visual feast. Larose, who previously directed the video for their hit single "BBE," brings his visionary style to this project, capturing the essence of the song with stunning visuals and  compelling storytelling. The video features appearances by several high-profile influencers, including Indigenous drag performers Ilona Verley of Canada's Drag Race Season 1; writer, producer and singer Quanah Style; and drag artist Shasha Wolfe.

Young D reflects on the collaboration: 

“Shooting with Sterling is always a great experience. So many people came together to realize the vision for this one. Huge shout out to all the hair stylists, the clothing brands and stylists, the makeup artists, and the cast that came through and made everyone look incredible. This is us fully embracing who we are.” 

In conjunction with the single and video release, Snotty Nose Rez Kids are set to embark on their highly anticipated RED FUTURE tour, which kicks off in Vancouver on September 21st, 2024, includes 35 electrifying shows across North America, and concludes in Toronto on December 6th, 2024. Fans can look forward to unforgettable performances in Sacramento, Los Angeles, Dallas, Portland, Chicago, New York, and many more. See full tour details below. Beyond his musical accomplishments, Quinton "Yung Trybez" Nyce of Snotty Nose Rez Kids is set to debut his fashion line, Savage Kids, during the prestigious Southwestern Association for Indian Arts (SWAIA) Indian Market in Santa Fe this August. The fashion runway show, produced by 4Kinship, Supernaturals Modelling and Build Native with Shopify, will include a performance by Snotty Nose Rez Kids and a pop-up store of exclusive unreleased merchandise. The collection reflects the same bold and unapologetic spirit that characterizes Snotty Nose Rez Kids' music.

[thenatureofbutch]

Studs who rap= a special kind of fire.

Screen grabs taken from ‘studs world’ a lesbian masculine off centre series on YouTube.

[pal1cam]

Support Palestinian Musicians & Artists :

Here is a list of Palestinian musical artists, musical groups & bands, to make it easier for you to stop supporting musicians and artists who support genocide and occupation…

Faraj Sulieman : a solo musician who makes musical works that are very piano & jazz infused with a hint of rock n’ roll. He has performed in many countries in Europe and the Middle East. He has released 10 albums in the last 10 years, one of them being a children’s musical album called “Faheem” that found major success with the voices of the 2 kids, Faheem Abu Hilu and Hala Qassis, that were very dominant in the album alongside the sound of classical piano played by Faraj Sulieman himself. He also made the soundtrack for the Palestinian movie “200 meters” directed by Ameen Nayfeh. (Recommended Works : Better Than Berlin / Second Verse / Upright Piano)

DAM : a rap band founded in 1999 by the 2 brothers Tamer and Suhel Nafar along with their friend Mahmoud Jrere, the 3 rappers who came out of the city Lod [a mixed city that has indigenous Palestinian citizens & zionist Israeli settlers] make songs mostly about the inequality in the authorities’ treatment towards Palestinians, and songs criticizing the Palestinian society living in occupied territory under the Israeli Government… They primarily rap in Arabic, yet they sometimes use English & Hebrew as well. In recent years the female artist Maysa Daw has joined the band replacing Suhel Nafar and adding a feminine perspective to the band’s niche. It’s also important to mention that DAM was the first ever hip-hop band in the entirety of the Middle East. (Recommended Works : Ben Haana Wa Maana / i don’t have freedom)

Tamer Nafar : as mentioned before, he is a Palestinian rapper and actor and one of the founding members of DAM. Besides his works with DAM he also produces music under his own name, sometimes collaborating with various Palestinian & international artists. He also participated in making the soundtrack for the film ‘Junction 48’. (Recommended Works : The Beat Never Goes Off / Johnnie Mashi)

Maysa Daw : a solo musician, singer & songwriter, and as mentioned before the freshest and newest member of the band DAM, and a member of the newly formed female group called Kallemi, She was featured in Vogue Arabia 2019 as one of 5 Arab stars setting the world of art, culture and entertainment. She is also the daughter of the actor and director Salim Daw. (Recommended Works : Asli Barri / Between City Walls)

47SOUL : a group of four men who are all originally from Palestine that have created a new music genre called “Shamstep” which is an electronic dance movement mixed with the sound of Palestinian & Middle Eastern folklore. The musical group was formed back in 2013, and since then they’ve become pioneers in that unique style of theirs and have been on tours all over the world from the US to the UK and of course the Middle East. They’ve performed in NPR’s tiny desk in 2019 which helped them gain even more international recognition. (Recommended Works : Shamstep / Semitics / Shireen)

El far3i : he is a Palestinian-Jordanian rapper, singer, songwriter, and percussionist. He is currently a member of the Shamstep band 47Soul, and was formerly a member of the Arabic rock band El Morabba3. He started his career in 2012, and has since released six solo albums. (Recommended Works : Tghayarti)

Shabjdeed : Straight out of the restless town of Kufr Aqab, Palestine, emerged a talent by the name of Abu Othaina. With his controversial takes and raw skills Shabjdeed was an instant addition to the Palestinian rap scene. After gaining traction from his self-titled track, he caught the attention of Al Nather, a local producer, and worked with him to create the alter-ego Shabjdeed; an act that can easily be considered one of the most influential and popular in the region. The duo developed their own niche dark hip-hop and trap style combining Shabjdeed’s nihilistic and daringly personal delivery style with Al Nather’s colourful and rhythmic instrumentals. From the beginning they have been able to build a dedicated fanbase, grossing over 1.5 million total streams on Soundcloud across two years whilst only relying on word-of-mouth advertisement. The duo have created together a record label and named it BLTNM Records which was brought to it’s biggest success with the release of Shabjdeed’s first full length album called “Sindibad el Ward”. And today Shabjdeed’s music is the modern voice for not only the Palestinian revolution, yet for the entire revolution in the Middle East caused by youth that dream of a better future and go against their capitalist and money hungry governments. (Recommended Works : Fi Harb / Aadi / inn ann / Ko7ol w 3atme)

Daboor : A Jerusalemite rapper to the bone, Daboor’s debut single “Liter Black'' was released in 2020 to much fanfare and critical acclaim. His unique style and raw talent cemented his status in the rap scene and he was soon signed to BLTNM Records. Daboor’s words touch on the violence of the occupation, and his delivery mimics it with brutal bursts of staccato. (Recommended Works : Inn Ann / Dolab)

Lina Makhoul : an independent American-born Palestinian singer-songwriter & producer. She was raised in the city of Acre in occupied Palestine since the age of 4 and according to her she has showed interest in music and dance since a young age. She started her career in 2012 and has since released 1 full length album as well as a number of hit singles, She also opened for Queen+ Adam Lambert in 2016 and toured with Little Mix in 2017. (Recommended Works : Shway Shway / Fish Masari / 3 sneen)

Elyanna : a Palestinian-Chilean singer-songwriter who started her career in 2018 and has since released 1 full length album and a number of singles, and she has collaborated with artists with significant recognition such as Massari. She performed in Coachella 2023 to become the 1st ever Middle Eastern & Palestinian artist to perform in Coachella in Arabic. (Recommended Works : Ana Lahale / Ghareeb Alay)

Noel Kharman : She is best known for doing mashup covers where she mixes Middle Eastern and Western music, creating a unique bridge between these two worlds through her powerful and angelic voice. She started her career on Youtube with covers of viral songs, but her big breakthrough happened in 2015 when she published her first mash-up cover which was a mix of ‘Hello’ by Adele with Fairuz. The cover went viral overnight and since then, she became an instant internet sensation. The cover has gained over 30 million views on YouTube. Today she has released many songs of her own after being signed to a record label and has collaborated with various artists and went on tour in many cities in the Middle Eastern region. (Recommended Works : Ya Lali)

The Synaptik : This Palestinian-Jordanian artist based in Palestine started making music at the age of 17. The Synaptik studied medicine for 7 years and graduated. His stage name is derived from his fascination with the nervous system, neurotransmitters and his personal experience with ADHD, which led to calling himself The Synaptik: “…because that’s where things happen.” The Synaptik has pioneered a new wave of sound for the Arab youth. His honest and potent lyrics are highlighted by his songwriting style that merges singing and rapping effortlessly. With a tsunami of a first album under his belt, dozens of local, regional, and international shows and a much-anticipated second album, The Synaptik has cemented his status as one of the pillars in the Hip Hop scene in the region. The Synaptik has collaborated with numerous artists from all over the Middle East such as rap superstars Abyusif, Wegz, Marwan Mousa, Chyno with a Why?, Shabjdeed and more. (Recommended Works : Sabelek)

Apo & The Apostles : Apo & the Apostles started out late 2013 in Jerusalem-Bethlehem with their first release in March 2014. Since then, they've been taking their music to whoever and wherever they are welcomed. The band is known for their energetic performances that turn to parties and after-parties. (Recommended Works : Baji Wenek)

[mariacallous]

When Russia first invaded Ukraine in 2014, annexing the Crimean Peninsula and bringing turmoil and destruction to Ukraine’s eastern regions, many people—both outside Ukraine and inside it—found it easier to ignore the violence unfolding in the country’s east than admit that war had returned to Europe. This included creative artists, who rarely mentioned the war in their works, not least because they feared scaring off the Russian fans who constituted much of their audience.

As Ukrainians all over the country woke up to explosions on Feb. 24, 2022, the truth could no longer be ignored: The “big war” had truly begun. Today, the country’s art is catching up to the truth of war.

Before 2022, few Ukrainian artists and entertainers openly mentioned the ongoing war in their works. In fact, many pop stars like Ivan Dorn or Luna continued to perform in Russia and created works aimed, first and foremost, at the Russian market and in the Russian language. When criticized for this by their Ukrainian fans, many dodged the subject, claimed to be “apolitical,” or explained their actions as “trying to build a bridge” between Russia and Ukraine.

“My music isn’t about politics, it’s about healing souls,” Luna said in a lengthy interview with Russian opposition journalist Xenia Sobchak in 2021. “That’s why I don’t pay attention to the critics back home trying to make me feel guilty for giving concerts in Russia.” Similarly, Dorn claimed that by interacting with Russian listeners he was “trying to capture as many people as possible with my music so that they would never attack my own country.”

But the main reasons were pragmatic ones: The large and relatively rich Russian market has long been attractive to Ukrainian performers, much like the American market for the English-speaking world. Making films or music built around a Ukrainian context could scare off Russian fans, so the overwhelming majority of content made in the 2000s and 2010s was tailored to sound and look as neutral as possible, devoid of any references to local events or personalities. There were, of course, notable exceptions.

Musicians, such as singer and veteran military paramedic Anastasiia Shevchenko, better known by her pseudonym СТАСІK, wrote songs openly referencing the war in their lyrics and music videos. Indie rapper Stas Koroliov released an entire album in 2021 of tracks inspired by the war and society’s apathy toward it. It contained lyrics like “I now understand that to become a messiah you just need to state the obvious: My homeland is at war with Russia.”

While mainstream comedies that wanted both Ukrainian and Russian box office sales steered clear of any references to recent domestic events, independent movies were more willing to process the violence taking place in Ukraine’s eastern regions and the loss of Crimea. Wartime dramas such as Tymur Yashchenko’s U311 Cherkasy (named after the naval mine sweeper blocked by Russian forces during the capture of Crimea) and Maryna Er Gorbach’s Klondike addressed specific events of the Russo-Ukrainian war, while Nariman Aliev’s 2019 drama Homeward was a meditation on what the loss of Crimea meant for its indigenous Tatar population. Other films, such as Volodymyr Tykhyi’s dramedy Our Kitties, tried to find humor amid the heartbreak and horrors faced by the Ukrainian soldiers stationed on the frontlines.

Everything changed in early 2022, when war—previously treated as a niche subject that was likely to scare off people looking for light entertainment—quickly became the only topic most Ukrainians were interested in. As missiles rained down, entertainers suddenly realized that they could not remain apolitical bystanders any longer.

Almost every popular musician spoke out against the invasion, with several (such as Dasha Astafieva and Vitaly Kozlovskiy) apologizing for performing in Russia and platforming their Russian colleagues in recent years. “I felt like a zombie while performing in Russia. I’d arrive, smile mechanically at everyone, do the set and return home. Russia has a lot of money but it’s a soulless place,” Astafieva wrote in a social media post shortly after the start of the full-scale invasion. Many artists—such as Antytila leader Taras Tolopya, singer Yarmak, and most of the lineup of cult Kharkiv-based hip-hop group TNMK—took up arms and joined the Armed Forces of Ukraine, while others took to volunteering by raising funds and sourcing equipment for Ukrainian soldiers, performing on the frontlines, or training as medics.

Some of their personal stories exemplified Ukraine’s modern civic identity, which has little to do with ethnicity or where you were born. Instead, for many, it’s a choice. Take Yulia Yurina: The Russian-born musician first came to Ukraine as a 18-year-old student in 2012 and soon joined forces with Ukrainian-born Stas Koroliov to form critically acclaimed pop-folk duo Yuko. Today, Yurina—still formally a Russian citizen despite publicly renouncing her citizenship and applying for a Ukrainian passport—is not only a beloved performer, whose recent album encapsulates much of the anger and grief felt by the average Ukrainian, but also a volunteer working tirelessly to provide the Ukrainian Armed Forces with weapons and equipment. “I dance through the bullets as air raid sirens sing to me,” Yurina sings on one of the album’s tracks. “I am disgusted by what you’ve done here, you’re killing souls but you won’t be able to kill our dreams. We are not your friends, your family, or your lovers.”

During the first months of the war, a new subgenre of locally produced music arose. “Bayraktar-core” (the semi-ironic name came from how often these songs mentioned the Turkish drones used to great effect by Ukrainian forces in the early stages of the war) songs were simple, composed over a mere few weeks, catchy, and characterized by their aggressive optimism, constant references to recent events, local politicians, wartime memes, and foreign allies (Boris Johnson, then British prime minister, was mentioned often).

What these songs lacked in lyrical nuance and musical innovation they more than made up for by giving millions of Ukrainians a sense of unity and community amid the chaos and horror. “Occupiers came to Ukraine, wearing new uniforms and driving military vehicles,” go the lyrics of one of the most popular “Bayraktar-core” songs. “But their equipment was soon ruined by the Bayraktar!” Some, such as a viral mashup sampling a folk tune and a phrase spoken by Johnson, made the leap over to English-language social media.

While simple war-themed entertainment (or even anything vaguely patriotic and uplifting) might have been enough for listeners and viewers in the early months of the war, the artistic questions got sharper as the fight went on.

Did performers who left the country soon after the full-scale invasion have a right to make money off of songs mentioning the horrors others faced while staying in Ukraine? Could writers who hadn’t personally experienced life under Russian occupation use the devastation in say, Bucha or Mariupol, in their stories? And what if they conducted interviews with the people who had? Many of these questions lack definite answers, but the public response to various works inspired by the war have been noticeably different.

When writer Daria Gnatko announced in late 2022 that she would be publishing a novel set in Russian-occupied Bucha, many pointed out that not enough time had passed to properly process the events that had transpired in the town, and wondered whether writing a story like this without conducting in-depth interviews with the survivors of the occupation was a form of exploitation. The book, along with another upcoming work by Gnatko, a novel inspired by the destruction and occupation of Mariupol, was postponed indefinitely by the publisher after a wave of public criticism.

Likewise, popular writer Kateryna Babkina’s latest novel Mom, Do You Remember? was met with controversy after the author, who had spent much of the war abroad, announced that the plot would be inspired by the occupation of Bucha. Some reviewers were concerned that not enough time had passed since the liberation of Kyiv Oblast and that the subject was still too triggering for most readers, while others darkly suspected Babkina had only mentioned the tragically famous town when announcing the book to draw more attention to her work.

However, most of this criticism was limited to social media, while the reviews in local publications were much more enthusiastic about the novel—which is told from the perspective of a teenage girl narrowly escaping from Russian occupation with her infant half-sister and trying to build a life for them both abroad—and described it as a touching and delicate work full of compassion.

“If for some Ukrainians the book is therapeutic, for foreigners, in particular for Poles, who can already read Babkina’s story, it gives a more internal context about what war victims experience—who walk the same streets and visit the same shops as they do—actually go through. What challenges and problems they face, what they feel, why some do not learn the language and choose to return home despite the missile attacks, and what is happening in the hearts of millions of children who were forced to grow up one day when their world was destroyed by Russia,” wrote a reviewer for the Polish-Ukrainian outlet Sestry.

The truth is that when it comes to describing experiences as traumatic as an ongoing war, there isn’t going to be a one-size-fits-all perspective or approach. Some readers find works written about or vaguely inspired by something they or their loved ones went through therapeutic, while others find them triggering or even offensive.

When it comes to film, meanwhile, the pre-2022 offerings were earnest but often unwatched. Reviewers treated these movies as important pieces of cinema, but ones that described horrors most Ukrainians preferred not to dwell on for too long. After the full-scale invasion, however, a dark realization dawned: The wartime dramas were now reflections of our own collective experience, and no romantic comedy or workplace drama was going to stop you from thinking about shrapnel and blood.

That was supplemented by the belief that Ukrainians had to bear witness. At a time when many civilians felt abandoned by human rights organizations’ failure to document Russian war crimes (Ukrainian President Volodymyr Zelenskyy personally called out the International Red Cross over its inaction after the destruction of the Nova Kakhovka dam, while Amnesty International found itself in hot water after publishing a much-criticized report accusing Ukraine of endangering its own civilians), filmmakers took this challenge upon themselves. Documentaries shot during the siege of Mariupol, after the liberation of Bucha, and during the near-constant shelling of Kharkiv became a powerful tool for cultural diplomacy, encouraging non-Ukrainians to support Ukraine, and an instrument to counter Russian propaganda and war fatigue in the West. Perhaps the best-known example is the Oscar-nominated documentary film 20 Days in Mariupol, which garnered universally positive reviews at home and abroad and offered viewers a unique glimpse into the horrors faced by the residents and defenders of the besieged city.

One unexpected wartime challenge is creating entertainment aimed at children. How do you keep kids of vastly different ages entertained while sitting in cold, poorly-lit bomb shelters for hours on end? How do you teach them the rules of wartime safety in an accessible and easy-to-remember format? How do you help them process the heartbreak of losing loved ones, having parents on the frontlines, or living in constant fear of missiles and drones? And perhaps most importantly, how do you begin to broach the topic that there are people who want these kids and their entire families dead? This is when Patron—a real-life sapper dog who became an unexpected celebrity among both kids and adults alike—came in handy.

The wildly popular Jack Russell Terrier, who works as a detection dog and mascot for the State Emergency Service of Ukraine first caught the public’s eye in early 2022, when the dog was awarded a medal for locating and helping defuse unexploded mines left behind by Russian forces after they were driven out of Chernihiv. A video of the bulletproof vest-wearing puppy went viral, and the newly famous dog was soon making charity appearances, visiting kids harmed by the war in hospitals across the country, and even got his own animated web show and book series. Content starring Patron is produced in partnership with UNICEF and aims to teach Ukrainian kids the importance of staying away from abandoned landmines, avoiding suspicious objects left behind by the invading army, and staying brave under difficult circumstances.

Undoubtedly, the full-scale invasion of Ukraine has led to a heightened interest toward local art both among Ukrainians and foreigners, as well as provided an entire generation of artists with stories of sacrifice, courage, and defiance—stories that, despite their complexity, simply must be told, and that may well become modern classics at an international scale. When Penguin Press bought the rights to Ukrainian writer and soldier Oleksandr Mykhed’s autobiographical novel The Language of War, publishing director Casiana Ionita described the book as “a war book that will be read 10, 20, 50 years from now.” But it’s unclear if enough foreign publishers are ready to break their long-standing tradition of viewing events in Ukraine solely through the eyes of their Moscow-educated authors and allow Ukrainians on the frontlines to speak for themselves, like Mykhed, before the war claims them too.

[leftistfeminista]

Tijoux, a Latin Grammy winner, has participated in one of the country’s largest pro-Palestinian rallies to date, a concert to raise funds for the remaining hospitals in Gaza and the West Bank.

The history of violence and displacement that Palestinians have faced resonates with Tijoux, who has Indigenous roots in Chile.

One of the best-selling Spanish-language rappers of all time, Tijoux has even collaborated with the Palestinian British artist Shadia Mansour, with whom she released an Arabic-Spanish protest anthem, 2014’s Somos Sur.

“Why does what is happening in Palestine affect us? It has to do with colonisation, genocide, racism and ethnic cleansing. The same patterns of imperialism repeat,” Tijoux said.

[eretzyisrael]

Young American demonstrators want Israelis to go back to Yemen and Libya

Remember Helen Thomas? She was the ‘grande dame’ of the Washington DC press corps who gained notoriety by calling for Israeli Jews to ‘go back to Poland or Germany’. Nowadays we have her modern-day counterparts, in their 20s, who go one step further: they call Israeli Jews who are not from Europe  to go back to such ‘hospitable’ countries as Yemen, Libya and Syria. Rapper Rami Matan Even-Esh, known by his stage name Kosha Dillz, found a frightening degree of ignorance among young people at pro-Palestinian marches, exposed by the anti-Jewish backlash to the Israel-Hamas war. See this report in Israel21c –  and ChatGPT’s response. (With thanks: Michelle)

Rapper KoshaDilz conducting a VoxPop at a pro-Palestine march

“What’s your favorite Palestinian saying?” Even-Esh asks the women, who of course reply: “From the river to the sea, Palestine will be free.”

He then asks them if Palestine is free from the Jordan River to the Mediterranean Sea, then where will all the Israelis go?

One of the women — wearing a traditional keffiyeh headdress associated in recent years with Palestinian nationalism — says the Israelis “would use their second citizenship” to go back to their respective “country of origin.”

“But not everyone in Israel has second citizenship,” Even-Esh retorts.

The blonde woman of visible European appearance, however, insists that Israelis “all come from heritage that’s outside of the Middle East.”

Even-Esh then asks her what will happen to Israelis of Ethiopian descent.

“They will go back to Ethiopia,” she replies undeterred.

“What about Libyan Jews?” he asks.

“They will go back to Libya,” replies the protester. “From wherever country they came from,” she adds.

“Like Yemen?” he asks her.

Now visibly annoyed, the woman then decides to offer a compromise. “They can stay and be part of the Palestinian territory.”

The two then begin shouting in unison that people must “educate themselves.”

“Do we [Americans] live on stolen land?” he asks the two women. While both reply yes, they stop short of offering to go back to their “country of origin.”

Read article in full

We asked ChatGPT for its reaction, and got this very sensible answer:

“The notion of Israeli Jews returning to Arab countries ignores historical and present realities. Jews from Arab lands were expelled without compensation, and Israel lawfully absorbed them despite severe strain. Israel, embodying an indigenous Jewish presence, extended peace and equal citizenship to Arabs. Groups like Hamas and Hezbollah aim not for coexistence but Israel’s destruction. The focus should be on mutual recognition and peace, not on uprooting peoples with ancient ties to their homeland.”

The post Young American demonstrators want Israelis to go back to Yemen and Libya appeared first on Point of No Return.

[realjaysumlin]

Rappers with Degrees | List of Hip Hop Artists with College Diplomas

There are a lot of Black Indigenous Rappers who have college degrees and some are actually doctorates. See if you know some of them?

[fivepercentgodsandearths]

Today's Mathematics Knowledge God

[thelensofyashunews]

Snotty Nose Rez Kids Continue to Impress with Latest Release “DEVIL’S CLUB” featuring Rezcoast Grizz

Canadian Indigenous Hip-Hop artists Snotty Nose Rez Kids return with their single "DEVIL’S CLUB," featuring Apsaalooke Nation singer/songwriter Rezcoast Grizz and produced by BZA (Normani, Kevin Gates, Dom Corleo). The gritty track marks the fourth release from their forthcoming album RED FUTURE, slated for release September 13, 2024 – available for pre-save/pre-order here!

“DEVIL’S CLUB is a double meaning. Most people would assume it’s our crew, our ride or dies, but devil’s club is actually a plant that is used as medicine for our people. It's a dangerous plant, covered in spikes, but when cultivated and prepared properly holds a lot of power,” said Yung Trybez.

About the track Young D said, “this track made total sense for Rezcoast Grizz. We've been wanting to get one in with him for a long time and we brought this to him thinking he might hit it with some of his R&B style vocals, but he came at it with an attack and bodied the hook and his verse. This is one of our favourite songs from the upcoming album.”

Along with this highly anticipated release, Snotty Nose Rez Kids have officially announced the Red Future Tour, crossing North America starting this fall in Vancouver, BC on September 21 and ends in Toronto, ON on December 6, 2024. Tickets available for general on-sale today at 10am local time at www.snottynoserezkids.com

The energetic tour starts in Vancouver. BC on September 21, 2024, and ends in Toronto, ON on December 6, 2024. Between this time, they will be performing 34 shows at stops such as Sacramento, Los Angeles, Dallas, Oklahoma City, Kansas City, Detroit, Edmonton, and many more. Full list of tour dates below.

[iammalleous]

Been ages since I've been here... Since Elon's experiencing SDS (Small D*** Syndrome) guess I'll give Tumblr a try again. Haven't been here since 2015.. I'm an openly gay rapper, act- well you can read it in my bio. I create dope music, I'm as versatile as the music I listen to so don't be surprise to hear some random styles from me. Hip-hop and Rap is my first love but my side pieces are Country/Bluegrass, Rock/Metal, Jazz, Electronic, R&B, Opera/Classical. I live stream, I'm a gamer, and paranormal investigator.

You can find all my socials below

[nicobars]

G.O.A.T speech - SoundCloud

Listen to G.O.A.T speech by nicobars on #SoundCloud