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The Rap World's Obsession With Snitching Is Ruining The Atlanta Scene
Music

The Rap World’s Obsession With Snitching Is Ruining The Atlanta Scene

by jummy84 September 3, 2025
written by jummy84

Young Thug’s rise in pop culture stemmed from the “post-verbal” brilliance of his indecipherable yet captivating delivery; he has now plummeted to a low point in his career, thanks to crystal-clear audio clips that seemingly expose him going against his own word. Since being released from jail on a plea deal last year, Thug has repeatedly derided Gunna, his onetime friend and YSL trial codefendant, as a “rat” for his 2022 Alford Plea deal. But, after online sleuths uncovered a two-hour 2015 interrogation where he told cops that his friend Jimmy “Peewee Roscoe” Winfrey gave drugs to Lil Wayne, he’s facing the same “snitch” allegations from rap fans on social media, as well as from other rappers in Atlanta. 

For the past week, Thug’s been the target of rap media figures like DJ Akademiks and Wack 100, who’ve been discussing the audio clips and his street credibility in hours-long livestreams. It will be difficult for Thug and the Atlanta rap scene at large to regain its former standing in the music world, and it’s hard not to feel like the damage is self-inflicted. If Thug had come home from prison and refrained from mentioning Gunna, these clips may have never been released by fan pages like X account @Gunnaupdates.

It’s unclear how the videos surfaced online. When Rolling Stone sent an X direct message to the @Gunnaupdates account, which posted some of the first clips of the footage, they replied that “a few fans have been sitting on these for a while now,” and noted that they are available via a public records request. Days later, they claimed, “Every blog gets [the clips] from here first, but I can’t give my sources.” Via email, a representative for the Cobb County Sheriff’s Office confirmed that individuals can obtain public records, such as jail calls, through an Open Records Request. Last year, some of Thug’s jail calls with his girlfriend, Mariah The Scientist, also appeared online.

It was initially unclear how Thug felt about Gunna after his Alford Plea, where he affirmed to Judge Glenda J. Kendrick that YSL was a gang that “must end.” One of Thug’s associates, YSL Mondo, told Rolling Stone in January 2023 that there were elements of the case that Thug was “disappointed about,” but declined to specify. Soon after Gunna came home, artists like Lil Baby and Meek Mill, as well as Thug’s sister Dolly, unfollowed him on Instagram. In September of 2023, Thug’s father said he loved Gunna, who, in his estimation, “hasn’t done anything whatsoever that can hurt us on this case.” After Thug’s release, the YSL labelhead told GQ, “I know everybody wonders” about their relationship, then said, “I don’t know” where they stand. 

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However, Thug’s true feelings were soon revealed. Last November, he posted to X, “Gunna stop acting like we friends on the internet, I don’t know u my guy.” In July, he posted, “If u a rapper and a rat, u just gotta go gospel twin.” During the Diddy trial, he derided Kid Cudi as a “rat” for testifying about Combs allegedly blowing up his car. Fans went from wondering when his Uy Scuti album was dropping to pondering why he’s so obsessed with snitching. In August, a track leaked from Lil Baby’s upcoming project, where Thug raps, “Only reason I fucked with you Gunna, it was cause of Troup,” referring to Keith “King” Troup, a late figure in the Atlanta hip-hop scene who united him with Gunna. 

The recently released footage further culled the depths of his ire for Gunna. In one clip, he asked label executives to drop his Business Is Business album the same day as Gunna’s The Last Wun album to “torment” him, adding, “I literally don’t hate nobody in the entire world but him, I literally hate him, I swear to God.” During an extended phone call with 21 Savage, he admitted that at one point he thought about keeping things civil with Gunna publicly, but he didn’t want to contradict Lil Baby and Durk’s previous distancing from Gunna. Elsewhere in the conversation, Thug said that his lawyer Brian Steel told him Gunna’s plea made their defense more difficult; it was previously reported that his Alford Plea would only affect other defendants if Gunna testified, which he didn’t. Thug also claimed that Gunna offered to write a statement for Steel stating he was “tricked” into the Alford Plea, then didn’t “answer the phone” when called to do so. Steel declined to comment on Thug’s claims.

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Many are noting Thug’s hypocrisy in his public frustration with Gunna. While arguing with Atlanta rapper Ralo on X, he posted that he made an “honest mistake” in implicating Roscoe in drug dealing, while Gunna similarly rapped, “Lawyers and the D.A. did some sneaky shit, I fell for it” on his single, “Bread & Butter.” Thug was upset at Gunna’s plea deal, but recently posted on X that he told his brother Unfoonk to take a plea deal right after Gunna because he “ain’t wanna put my mama through that again.” 

The reductive street code has blackballed Gunna in the rap game, with Offset and Roddy Ricch being the sole rapper collaborators on his two post-release albums. In 2021, the last full year before the YSL indictment, he featured on seven songs with other artists. Since his release, he’s done just three features, with Toosii being the only rapper. 

During his jail call with Thug, 21 Savage expressed that while he didn’t like Gunna’s plea, he wouldn’t go public about it because he didn’t want Atlanta to look bad — it’s happened anyway. Thug’s calls are likely to further shake up a scene that was already cratering. He called Quality Control CEO Pierre “P” Thomas a “rat,” and called Gucci Mane “soft” for being cool with him. He told Lil Durk, Atlanta-based before his incarceration, to “shut that cap ass shit up” after he shouted him out online but didn’t clear a verse. He opined that the Migos catalog is “making no munyun,” called producer Wheezy “stupid and retarded,” and talked down on Kendrick Lamar for not giving him a verse for his Business Is Business album, implying he needed to collaborate with him to widen his fanbase; Kendrick’s recent world tour says otherwise.

Last week, Ralo took to social media to call Thug a divisive figure who had previously talked down on Rich Homie Quan and YFN Lucci to peers in a similar manner. In 2016, he began clashing with Future for reasons that were unclear before they squashed things. Today, he posted to X, “Bashing me only goin fuck that rap community up more, I’m the [glue] to this fake ass game.” He might be better served by taking his own advice before dissing so many of his fellow rappers on publicly retrievable jail calls.

During a 2012 Reddit AMA, Thug revealed a pragmatic approach to his career: “I make a product for a certain audience and I’m good at it. Supply and demand, simple economics. I don’t do this because I love the attention, I do this because I have a certain skill set that now allows me to get paid without the threat of doing federal time.”

However, over the past decade or so, street rap has sought to become “bigger and better” for consumers. It wasn’t enough for artists to merely depict the streets. Black death is a rising commodity, and fans eager for the most potent hit of vicarious awe want artists to give them a frontline glimpse of nihilism. That encourages too many artists to portray the most ignorant images they can to rap fans and media personalities who’ve collectively cultivated a fandom of rap as a criminal racket. Talented artists are being goaded to risk their freedom, embodying a lifestyle that terrorizes communities and corrupts young minds to devalue human life — and if the worst happens, they’ll be called fools for giving onlookers what they ask for.

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In the eyes of many fans, discussions about musical quality have given way to conversations about who snitched; pondering an artist’s potential has been replaced by RICO speculation. Even though artists make their fortune as musicians, they flex that their adherence to the street code supercedes any desire to grow beyond petty street politics. That‘s led to an artist like Thug wanting to be perceived as a gangster more than a savvy businessman, even with a precarious 15-year probation over his head.

Gangster rap and all its variants have flown way too close to the sun. Thug and Gunna could’ve come out of the YSL trial together as a stronger-than-ever unit. But instead, the justice system, public perception, and ego drove a wedge through one of Atlanta’s last great rap movements. During his call with Thug, 21 noted that the city doesn’t feel the same after so much death and incarceration; more infighting isn’t the remedy. We don’t need Thug or any of his peers to be the most street artist in the world, because we don’t need the streets. Hopefully, the Atlanta rap scene can realize that and prioritize the music before it’s too late. 

September 3, 2025 0 comments
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Five Year-Old Cancer Patient's Rap Song With NBA YoungBoy Goes Viral
Music

Five Year-Old Cancer Patient’s Rap Song With NBA YoungBoy Goes Viral

by jummy84 September 3, 2025
written by jummy84

YoungBoy Never Broke Again helped make a terminally ill child’s dream come true by collaborating with him on his first official musical release, which has since gone viral amid a groundswell of support.

Keontae McKinnon, a five-year-old boy and avid Hip-Hop fan from San Antonio, TX, battling Stage 4 cancer, requested that he record and release a rap song as his last wish in light of his worsening medical condition.

King Kyle Lee, a local artist and leader of the Anti Bullying Gang, helped make McKinnon’s hope turn into a reality, bringing a make-shift recording studio to the young wordsmith’s hospital room to lay down vocals for his track.

However, little did McKinnon know that his song would also feature an appearance from his favorite rapper, YoungBoy Never Broke Again. McKinnon, who raps under the name NBATAE, even received a call from NBA YoungBoy himself, who complimented him on his rap name while giving him words of encouragement and support.

In a clip shared on social media, Lee played a recording of the Baton Rouge native sending McKinnon his regards, with McKinnon visibly excited by YoungBoy’s message.

“What’s happening soldier, it’s YoungBoy,” he told McKinnon. “How you feeling over there, fatt? I hope you’re holding up, man. Stay strong. And I like your rap name. It’s cool.”

Paras Griffin/Getty Images

The song, “Keontae’s Final Wish,” finds NBATAE rhyming over a revamped version of The Notorious B.I.G.’s “Victory” instrumental, delivering lyrics expressing his gratitude for his family and his refusal to give up on life, despite his deteriorating health.

“Mommy praying hard/ Daddy right by my side,” the East Side representative says at the beginning of the song before launching into a verse packed with nods to his perseverance.

“Keontae in the ring, gotta lion in his chest/ Facing big battles, so I never take a rest/ Stage 4, nah, that don’t define the kid/ Fire in his soul from the life that he lives,” he raps with swaggering confidence.

NBATAE

YouTube

Shouting out his brothers, sister, and grandmother, NBATAE remains stoic, conveying his relentless attitude and the sacrifices made by his loved ones with each word spat.

“They all working hard for me/ I love them, my family/ Every single time, they’ll not give up on me/ Not at all, you not gon’ give up on me.”

In the accompanying music video, NBATAE, clad in a San Antonio Spurs jersey and shades, is wheeled around his neighborhood while surrounded by a throng of supporters, immediate and extended family.

NBATAE

YouTube

“Keontae’s Final Wish” has quickly become a viral sensation, with McKinnon’s charisma, strength, and talent captivating social media users and earning him fans across the country and beyond.

Currently available on streaming platforms, and racking up radio spins, “Keontae’s Final Wish” is a reminder that Hip-Hop is at its best when it comes from the heart and resonates at the core.

Listen to “Keontae’s Final Wish” by NBATAE below.

September 3, 2025 0 comments
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Vote Now for Your Favorite Rap Albums of All Time
Music

Vote Now for Your Favorite Rap Albums of All Time

by jummy84 August 25, 2025
written by jummy84

What are your favorite rap albums of all time? Tell us below. To make sure your vote is counted, please submit it by Sunday, September 7 at 11:59 p.m. ET. Check back for the results in the coming weeks. Thanks for participating—and thanks for reading.

If you’re unable to see the survey below, you can also take it here.

August 25, 2025 0 comments
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Atlanta Rap Producer Turbo on Gunna, Wizkid and Country Music
Music

Atlanta Rap Producer Turbo on Gunna, Wizkid and Country Music

by jummy84 August 24, 2025
written by jummy84

There are a handful of hip-hop producers you can argue have served as architects for the sound of modern rap. Turbo, sometimes known as Turbo the Great, would undoubtedly be on the Mount Rushmore of present-day rap hitmakers. With production credits on some of this generation’s biggest hits — Gunna‘s “Drip Too Hard” and Travis Scott’s “Yosemite” to name a couple — Turbo, real name Chandler A. Great, is among the most prolific producers to come out of Atlanta. He’s furnished the hip-hop Mecca with an endless bag of hits featuring his distinct, melodic take on trap that by now feels like a signature for a whole city.

Most recently, Turbo lent production work on Gunna’s new album, The Last Wun, which debuted at the top of the hip-hop charts last week, as well as Offset‘s new album, Kiari, which dropped Friday. In the past year, he’s formed a budding creative relationship with Wizkid, whom he plans to feature on his upcoming album. As a producer, Turbo is most adept at creating cinematic beats capable of engulfing you in a world of his own creation.

The Grammy-winning producer is currently working on a solo record featuring a smattering of artists that listeners expecting familiar Atlanta rap staples might find surprising. In addition to flirting with more Afrobeats-influenced sounds, Turbo says he’s been collaborating with a handful of country artists and writers ever since his work on “Whisky Whisky” with Moneybagg Yo and Morgan Wallen last year. The still-untitled album doesn’t have an official release date yet, but Turbo says fans can expect a body of work that offers a full display of his creative passions. Turbo spoke with Rolling Stone about his relationship with Gunna, working with Offset, and why this next album is going to feel like a movie.

What’s the story behind your upcoming solo album?
I mean, it’s been going on. I think my sound has been so distinct over the years. I think it’s time for me to put out my own project with a bunch of different artists, some of the guys that people don’t know me for, and to just expand my sound, put my flagpole into the ground of this music thing that we’re doing.

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You’ve produced for some of the biggest names, especially in the Atlanta scene, but who are some of the more unexpected names that you’ve been working with?
Wizkid. We’ve been doing a lot of stuff with Wizkid lately. Some fire all the way, completely different. Not even for him. I don’t even think it’s Afro. It’s its own thing, its own genre. So I’m excited about that. Wyclef, been doing some stuff with Wyclef lately. Who else? Of course Gunna, Swae Lee, Don Toliver, a bunch of people.

How did you and Wizkid connect?
Through Gunna, actually. When he, I guess he moved to LA. I don’t know. He was just in LA for a month, and him and Gunna connected and we all got into the studio just feeling each other out and just seeing what we could come up with. But I realized him and his guys were so cool. They just like us. So we started hanging out together and just started doing our own music, and I had a bunch of experimental beats that I really couldn’t play for anybody else just in my catalog. I played him something, and just from his reaction, I think he was just surprised that I had this type of music just sitting on the drive. And from that point, it was like two weeks we was going to the studio every day and he’s like, “No, play me this, play me this. No, I don’t want to hear anything Afro. Play me your stuff.” And he’s just super creative and we just caught a vibe.

What do you think the kind of bridge is between that culture and what you guys got going on?
I think it’s all the same. I think we’re just now starting to figure out that it’s all the same, all the way down to our mannerisms and what we do inside the studio. I met some of his friends and it seemed like I knew those guys for forever, and we were sitting there talking in a little group just in the studio, outside of the studio room for hours just talking about where he’s from in Nigeria and where we are from, and I didn’t know that he lived in Atlanta for a long period of time. So just connecting on all that type of stuff. And I think we both just realized that we’re very similar in culture and just in musical taste. And then from that point on, it’s just meeting your brother and doing music.

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Thinking about where you guys come from in Atlanta, you’ve been in the scene for so long now. How do you think the city’s sound has evolved since you first started?
I think it’s completely changed, especially with some of the stuff that I’m hearing now that’s coming from the younger guys. It’s really energetic. And I think in the beginning, especially when I came in, it was just a different type of sound just coming from how we grew up or just the Atlanta trap era. We still kind of had that embedded in our sound when we first started. Now I hear some of the newer guys and it’s super energetic, super festively, crazy drums. It’s just exciting.

Thinking back about that time that you were coming up, it seems like a lot of people are also revisiting that 2010s Futuristic Atlanta sound.
Yeah. I don’t think it could ever be recreated, bro. It could never be recreated. It was just such a time all the way down to how we talked, how we dressed, Mohawks, having Mohawks with the design on the side of your head. It was a real lifestyle thing that bled into the music, so I can appreciate it and it’s nostalgic, but I think it’ll just never feel the same because it was just something that was new, it was fresh, it was Atlanta. This was our life. So I mean, I see it, but you know.

Speaking of the 2010s, do you remember how you and Gunna first connected?
Yeah. We’re from the same neighborhood, so we were always brushing shoulders because we always had mutual friends, or we went to the same clubs when we were kids. It was this club called The Palace on Old National that Gunna and his best friend Nechie used to go to every single Friday and Saturday. So even if I missed a couple of weekends, whenever I would come, I would see them and they would be doing what they was doing and I’d be doing what I was doing. But we always had mutual friends, so it was never like a, “Hey, Turbo, this is Gunna. Gunna, this is Turbo.” It was just like, Hey, what’s up? Whoop, whoop, whoop, whoop, whoop. And it kind of bled from there.

What’s it been like seeing his progression from those early tapes to this most recent record, The Last Wun?
Watching it firsthand is, how can I say it? I don’t know. I don’t even know if it’s a word to be able to describe it, because Gunna, I seen Gunna when he was full-blown in the street, and he always loved to rap, but he was full-blown in the street. So now to see where he’s at now, it’s almost kind of crazy to view, I guess. You know what I mean? And comparing it to what we used to talk about and what I used to see him do when we first got kind of clicked up to now it’s like a complete 180, completely, from mind to body, to I’m scared to go and get a Dunkin’ Donuts in front of him. You know what I’m saying? Because he like, “Man, what you doing? You eating donuts? We got to go to the gym.” You know what I mean?

But it is cool, because he’s holding everybody around him accountable for just health and wealth and just the future. So I would just say it’s a complete 180 from when we first met, and I think that’s the same thing with just how he’s approaching his music and how we all approaching the music is just thinking big, thinking superstar to a whole nother level where we just didn’t have that level of thinking in the beginning.

What do you think attracts you the most as a producer these days when it comes to the types of sounds that you’re interested in?
Something that’s just standing out, something that’s personal to whatever artist’s style or my style. I try my best to stay out of the box completely, or even if I get into the studio with an artist and they say, “Oh, I want something that sounds like Gunna.” You know what I mean? It’s like I immediately get turned off. So when I’m looking or when I’m working with newer artists, the things that stand out to me is if these people have their own style or if they’re confident in what they’re doing, and almost teaching me something that I might not know.

That’s been very exciting, or I get excited when I come across those type of kids that’s just unapologetic, they’re they self. They don’t give a fuck about a Turbo or whoever. It’s like, this is my sound and this is what I like, and I can just learn something from them and then create something even bigger. That’s really what I’ve been looking for. That’s what I get excited about. And I haven’t ran across it much in the musical space, more so in a fashion space, but that’s kind of what I’d be looking for, bro.

Gunna and Turbo

Seb Espino*

How do you approach the creative process? Do you start with a melody, or how does it work for you?
I start with a color really. You know what I mean? I honestly start with a color, and a lot of times what helps me find that color is whatever mood I’m in or whatever mood that whatever artist that I’m working with is in. And then I try to work backwards, because for me, with music, I see it in colors in an oddly type of way. It’s more so my music speaks to my senses more than it does to my ears solely. So that’s kind of like my process. And sometimes I’ll start with the drums. I remember being in the studio one night, had an hour left in the session, and was not really inspired that night. I just seen like a dark brown color in my mind, almost like a Cactus Jack type or beef and broccoli type of brown.

And I started with the drums, just crazy bass, 808, crazy sounding drums, and from that point, kept building and put a couple chords on top of it, and it was done. And that was the process for that night. And I think that song ended up being “Swing My Way” for Offset. So it’s like sometimes it starts with the melody, sometimes it starts with the drums, sometimes it starts with just a metronome. I’m just open to whatever my mind and my spirit is telling me at the time.

Do you have interests more broadly in arts and visual art or fashion or anything like that?
Yeah. Hell yeah. Visual arts, architecture all the way down to, I guess you could say landscaping. You know what I’m saying? Oddly enough, when people yards or their flowers are decorated in a certain way, I kind of pull from all of those type of visual things. As I’m getting older, I’m starting to have a love for just architecture and just seeing different buildings or the history of different things, and I haven’t all the way figured out how it bleeds into my music. Some way, somehow, I just find a way to do it. But I kind of have to get into that zone. I haven’t figured out how to put it to you in words.

Even thinking about some of your production, there’s sort of a cinematic quality to it as well.
Yeah. Yep. I mean, it’s just kind of what comes. Like I said, I get into a zone. I can’t really explain it. If you ever get a chance to just see me work, it’s like when I catch an idea, I get completely focused on that idea, and it’s almost, it’s so many things that’s just pouring into my mind and I’m trying to figure out how to do it, how to put it into my music. I can’t explain it, but it is something similar to what you’re saying. Just like I might see something, or I always have, like those guys on YouTube that make castles out of mud and shit. I’ll have that playing in the studio and just watch them and just make a soundtrack for that, I guess. And sometimes it’s cinematic, sometimes it’s just ghetto and it’s raw, but it is Turbo’s music.

In addition to the new Gunna project, you have some stuff on this new Offset record. What was the process working with him like?
With Offset, it was a challenge in the beginning because I think we weren’t used to working with each other, and I like to move stuff around in the Pro Tools session. Like if he raps one way, I might go and put what he thought was a hook into a verse and what he thought was a verse into a hook. And he wasn’t loving that at first, and we would kind of bump heads on what was the song and what wasn’t the song, or whatever. But I think after Swing My Way came out and him being so confident about that song and then me seeing what it did from the visual to how his fans reacted to it, we started to communicate way better just about music and just personally. So it was that, you know what I mean?

We had to kind of, I’ve worked with him before, but I haven’t worked with him now on the solo stuff. So we almost had to relearn each other. And honestly, the relationship is way better than before. It’s way closer. So we got a lot of stuff in the vault. I think I got two or three on this next album, and he’s dropping. Cool.

How important is that for you and the artist to build a genuine relationship?
It’s super important for me because that’s where all my success came from. A lot of the people that I have huge songs with were my friends, and we spend time together outside of the studio, or we spend a lot of time in the studio just talking about life and whatever, however, and that as a producer helps me to make the soundtrack for their life that they’re finna tour with or get synced to a movie or be able to do all of these radio shows with. It just kind of helps me understand it a little bit better. So I try to get to know whoever I’m working with before we start working together, because then it’ll last longer and it won’t be just cookie cutter.

Who are some of the artists you’ve worked with in the past that you’ve been able to build that with?
Moneybagg Yo. We just had “Whiskey Whiskey” come out with him and Morgan Wallen, that did really well, went gold in a month. That was super surprising to me. But it was one of those type of relationships where he’s from Memphis, I’m from Atlanta, but we usually connect through a mutual friend in L.A. a lot together. We’ll spend hours talking. We was just talking about mutual funds the other day, you know what I mean? And investing. And I was teaching him about some of the stuff that I do as far as with my investments or my brokerage accounts, and finding different ways to just pull from the resources we already have. And it’s like, I don’t know, man. It’s a real genuine conversation, a real genuine friend at that point. It’s not really about just send me some beats or whatever. So that’s the first person that pops into mind outside of somebody like Gunna. But yeah, Bagg for sure. Shout out to him.

Memphis is interesting with the country sound that they’ve got going right now
Yeah, I had a few country records come out in 2024, and that was my first introduction to working with country artists or really just the writer world that they got going on over there. But I was really thankful to be able to catch one with Morgan and for it to kind of be a crossover between a hip-hop and a country, and people actually resonated to it. So yeah, Nashville is different, but I love Nashville.

Have you been working with country artists lately?
Yeah, a lot of country writers. I had a song come out with Charlieonnafriday in 2024 called “When It Rains,” and that was a good song. That was something that was full country. I’ve worked with Breland and his writers a lot. We got a bunch of just crazy shit in the stash. And then I did a lot of stuff with Charlie Handsome for Post and Morgan, stuff that just hasn’t come out yet.

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What’s it like translating what you do, coming from the rap world, and working in that environment?
I think it’s more so like I’m adding value by my frequencies. They kind of have a way that they do things, but me coming from my world, it’s like we have a way of doing our own things. So I can honestly say I kind of was bringing frequency to those rooms, whether it was lower frequencies, because that’s what I’m used to in the hip-hop world, or just a certain sound that this person might’ve not have been thinking of because they’re so used to doing acoustic guitar or just real drums instead of programmed drums. Just that type of input. But honestly, I think it was more of a learning experience for me than anything else. I was learning how they do things and how people, they have the writers and the writers come up with the records, and just their process. That’s something completely different from the hip-hop world.

When you think about your project, what do you think about when you structure an album for yourself?
You know how some of the best movies in the world started from a book? I kind of want to put that into the perspective of my album. You know Turbo as the producer, but you don’t really know Turbo as or, okay, well, I’ll say you’ll know Turbo as the hip-hop producer or the trap producer, but you don’t know Turbo’s real broad span of music, because I haven’t done it with any of those type of artists yet. So with my album, I kind of want to open the listeners and all of my fans’ ears to how broad my music discography and just my mind goes with music and not just hip-hop trap rap. So that’s really my goal, to paint the picture. I feel like me and the stuff that I did from the Babys and the Gunnas and the Thugs and the YSL stuff was just the start. That was my book. And even still, that was a great fucking book, if you’re a book reader, you know what I mean? But everybody’s not a book reader. You’ll have to see the movie. And my album is basically the movie.

August 24, 2025 0 comments
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