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Today I received a tweet from World Star Hip-Hop offering me their promotional services. Now, this is a common occurrence for my peers in the music world (especially rap) but the rest of y’all might not be familiar and I decided to use this experience as a teaching tool.

I responded to WSHH by asking if they would promote the perseverance of our culture and positivity to the youth. I was just fuckin’ with them; if you know anything about World Star you know that’s NOT what they do. But surprisingly they said they were down! Here’s the catch (and most of y’all will probably see this coming):


$300 for one post, $600 for a medium box, $900 for the top box, $500 for a banner, $200 for an ad- PER DAY. Pretty damn expensive, but they can easily advertise those prices. According to Alexa Internet, Inc., a company that provides data on web traffic, World Star averages over 3.6 million visitors per day. So let’s do the math on that.

Let’s say you’re a young, aspiring rapper who just finished shooting the video to the hottest song you’ve made and have self-released the song on iTunes. If you spent $900 on the top box on WSHH, would you see a return on your investment? Meaning, would that purchase make you at least $900 back? It’s possible. All you would need is 900 out of World Star’s millions of visitors to see your video on the site, and like it so much they run straight to iTunes and spend $0.99 on your single. If 1,800 people do that, you’ve doubled your money. If 100,000 people (still less than just 1/3rd of WSHH’s daily viewers) buy the song, you’ll be ballin’ as soon as that iTunes check comes in and you would most likely skyrocket into being one of the hottest rappers in the underground (at least, during that month).

On the flip-side, let’s say that out of those million of viewers, only 450 decide to buy your single after watching the video. Well, you’ll have made half your money back, which ain’t bad, and most likely many hundreds more will have at least seen your video, even if they don’t buy the song. But what if thousands of people see your video that day, and none of them really like it? What if, all of a sudden, Jay-Z decides to drop a free album on the day you bought your space on World Star and all of a sudden nobody gives a shit about anything else going on in hip-hop for the next 24 hours? Then your shot at instant internet fame has missed and you’re $900 poorer than you were before- which in the case of most rappers means you’re either flat broke or all of a sudden you owe somebody money. Maybe that’s your grandma, who believed in her grandson’s dreams enough to give you 9 bills? Aww. Most likely though, the weed man will want his 900 back and he’s pissed he invested in your shitty song.

My point is the average up-and-coming musician doesn’t usually have $900 laying around, or even $200 for a simple ad, and your success is not guaranteed. More than that, it’s actually quite unlikely, even with World Star’s huge numbers of daily viewers. How many of you have bought a song or album immediately after hearing the artist for the first time? How many of you even click on links to new music by unknown artists? In most cases, it will take a while of seeing someone around, hearing other people talk about them, and actually becoming familiar with an artist before a consumer decides to buy their music (and even then, they’ll probably just download it for free). This was less the case in previous years, where even just producing your own music was a rare feat and enough to get someone’s attention, but with the prominence of the internet and the complete over-saturation of the music industry, it’s harder for new, independent artists to break out.

World Star is not the only outlet available to artists, though. There’s radio, TV, magazines, blogs, and live performances. Unfortunately, just like World Star, the outlets with the biggest audiences tend to charge artists for their services- shit, even the outlets with barely any audience will try to get over on artists. This is detrimental to these media outlets themselves. The message is, that instead of valuing an artist’s talent, creativity, and message, the only thing that an artists has of value to these companies is their money. That’s been nothing new in the mainstream, where major labels have often paid for airplay and print space. But when independent/underground media sources are playing the same game, how can struggling independent artists compete with a major label promotional budget?

When talent is sacrificed for money or commercial value, you start seeing a lot of WACK SHIT. Even the wackest of the wack can become a hit if it’s played enough times by enough people. If a label can afford World Star ads, KMEL spins, music video rotation on MTV, and the cover of The Source, enough people are going to hear their music and eventually accept it. On the other end, the content and integrity of these media outlets are sorely compromised. Instead of seeking out dope, original, new music to showcase, they are simply waiting for the next customer and will promote something even if it sucks. Even if you got booed of the stage at your last gig at some dive bar, you can open up for Wu-Tang if you buy and resell presage tickets for the promoter. You can get your shitty, poorly-mixed song played on the radio 50 times a day, if you drop off a fat loaf of bread for the program director. You can get a 5-page cover story in a magazine even if you’ve only been rapping for a month, if the editor gets a few racks. And World Star Hip Hop will promote drug use and violence, as well as my positive message to the youth- as long as they’re getting paid for it.

So where does that leave us? Well, for the most part, those of us who really love the culture of hip-hop are fucked. But we pretty much already knew that. Hey, if spending thousands of dollars on World Star placement works for you, more power to you- go for it. But fortunately, there are other avenues and outlets that exist for underground artists to be heard. Community and internet radio, small blogs, social media, and most importantly, the people themselves. We may not be able to compete with the monster that the music industry has become, but we can still push on, get our music heard, and hopefully make a lil’ scratch for ourselves.

The biggest point I wish to convey to  you is that success in music can be and usually is PAID FOR. WSHH is just one example but just about every major media outlet and many independent ones function the same way. So the next time you can’t stop hearing about the latest hit smash from a new artist, ask whether that artist found success because he’s talented, or because he paid for it.

This song was written when I was living in Oakland, California. I lived a lovely, diverse corner of East Oakland where the sun was always shining and it was a perfect break from living in the fast-paced, foggy city of San Francisco. Mornings I would rise, open my blinds to the sun, observe the scenery outside of my house, roll a Backwood, and bump beats. When Ill Sugi sent me this beat it matched the vibe perfectly and this song is special to me because it captures that time in my life.

Ill Sugi is the homie from Tokyo, Japan who is a big listener of Bay Area hip-hop. He’s been sending me beats for years and when he came out to San Francisco to visit we decided to start working on an album. This song will not be on there, but keep an eye out for more info on our project, "Universal Language" coming very soon.


Here in Oakland, Calfiornia
By way of San Francisco
All the way to Japan
Does it relate with you?
I dunno…

Verse 1:
Sun beams through my window, pot holes in my street tho
Pothead got the backwoods rolled
Bailed to the sto’ for one mo
Early morn weather warm it’s all good maaaayne
25 years of life, not 25 years to life
It’s more to life than war and strife
But y’all don’t get it do ya?
The weed smoke drifted through the air like the whisper of a rumor
The aroma meant creative content comin’ closer
To reality, being made as we speak
Levels get tweaked, this is the peak
Of a perfect moment indeed
Just look inside my heart and write down what I see
Third eye vision, clear and pristine
Shakin’ up my neighbors house with the beat
Mybad- (laughs) ayee-
I turn it down then back up again, cuz…

It’s a drought on real shit lately
Feel like the whole world gone crazy
Change the world so the world won’t change me
It’s been a drought on real shit lately
It’s a drought on real shit lately
Feel like the whole world gone crazy
Change the world so the world won’t change me
It’s been a drought…

Verse 2:
I find the inspiration, in daily struggle and temptation
Negative bank statements, bummy dressin’ tummy achin’
Fare inspector evading at the train station
Runnin’ late hopin’ I make it
Making mixtapes hopin’ I make it
The whole city hopin’ I make it
I know the songs dope when I make it
Kinda like life, what I make it
Fake shit is makeshift and shape-shifts into the same shit
That been created to make man complacent
And bad bitches obey him
AKA enslavement, here on inner city pavement
Mental plantations, cotton pickin’
Instagrammin’ twit-pickin’ food
Forgot about the starving children, oops
Turn off the boob tube, come a little closer to the truth
I’ll give it to you from the booth


Verse 3:
Educated motivated light skinned black man
Used to get picked on, white boy with a tan
Now I let the sun warm my skin
Absorbing vitamin D through my melanin
Manifesting the vision of a ancient Egyptian
But this is just East Oakland
And I’m just drivin’ around with my schedule wide open
Hopin’ I get into something before something gets into me
My phone rings like it’s meant to be
To spend the afternoon with a queen, yes sirree
She attracted to my realness
And when we getting down together thats when we really building
Why lay with a woman who’s unfit to have your children?
Think about it young brothers
Ima give it to you straight like none other

Like none other, look

Love ya woman, feed ya kids
That’s the fly shit
Readin’ books, exercise
That’s the fly shit
Payin’ rent, paying bills
Thats’ the fly shit, thats the fly shit, yeah that’s the fly shit
Being loyal to your friends
That’s the fly shit
Stayin’ out of jail
Havin’ fun and livin’ life
Thats the fly shit, thats the fly shit, yeah that’s the fly shit

Dregs One on the track
That’s the fly shit
Ill Sugi on the beat
That’s the fly shit
Frisco’s in the house
That’s the fly shit
Tokyo’s in the house
That’s the fly shit, what

#CONTEST: I’m performing a set w/ my brother Patience at BPos' release party next week. We'll be performing some new material with DJ Yelir on the 1s & 2s. I want to give away the chance for some fans to join us free on the guest list & possibly even kick it before the show starts. Find out the details on http://FACEBOOK.COM/DREGSONE415

Underground Classics: Mac Dre “Thizzelle Washington”


  1. Intro ft. Yukmouth
  2. Monday Thru Sunday
  3. Stuart Littles
  4. Help Me ft. Freako & Rydah J. Klyde
  5. The Mac Named Dre
  6. Dam I Used To Know That (interlude)
  7. Boss Tycoon ft. Yukmouth
  8. 4 Myself ft. Dubee & Devious
  9. Cutthoat ft. PSD & Dubee
  10. Han Solo ft. Syko
  11. Rap Life ft. Sleep Dank
  12. Thizzelle Dance ft. Chuck Beez
  13. Soom Lama (Interlude)
  14. Big Breaded ft. Luni Coleone
  15. Dollalalalala Lotsa Paypa ft. KC Bobcat & Sauce
  16. Miss You


That question was guaranteed to set off almost any dance party in the Bay Area during the last decade. When Mac Dre’s Thizzelle Washington album dropped in 2002, followed by the highly-popular Treal T.V. DVD in 2003, his music and personality spread contagiously. The sound on this project was a slight departure from MD’s trademark Bay Area gangsta style. Dropping rhymes since 1989, it was no secret that Dre was all about the party life, but the Thizz movement took that in a new direction- and the whole Bay soon followed.

Everywhere I went during that time, I heard people slapping Mac Dre. Whether it was cars passing by, other kids in high school, house parties- everybody was on it. The sound was different, fun, and got people moving. It also changed the culture of the Bay, which went onto influence the whole world through the so-called Hyphy Movement. But before the movement, Dre really brought hyphy to the public- the REAL hyphy. As I remember the term (and maybe Keak Da Sneak can back me up on this), someone who was acting hyphy was highly intoxicated, feeling themselves, and ready to trip and get active at a moment’s notice. Basically when someone hyphy walked in the building, you could predict it wouldn’t be long before a fight (or worse) broke out. This seems fitting for Dre’s Thizzelle Washington album, where his character is something like a cat who loves to have fun and party, but is also real gangsta who’s serious about his money.

At first, thizz (or ecstasy, for you squares out there) seemed like an unlikely drug of choice for a Bay Area thug. I mostly associated it with white and Asian kids in the rave scene. I can recall Mac Dre rapping about thizz since the Rapper Gone Bad album in 1999, but by the time Thizzelle Washington came out, it seemed he had made a whole entire lifestyle around the drug- which is pretty obvious if you listen to the album. From the beats, to the raps, and even the shitty vocal mix, it sounds like Dre and his folks pretty much just popped a few pills and partied in the studio.

Ecstasy and music go quite well together, as the drug brings the user’s emotional and physical feeling to new levels of pleasure and relaxation. But sometimes that emotion can get heavy, especially when you’re coming down off the high. In the context of this album, that makes sense- Dre goes from the fun-loving ladies man to the gorilla pimpin’ street hustler to the OG vet who’s been on both sides of the gun and the penitentiary. Some of the songs are deep and reflective of the vicious cutthoat lifestyle, like “Help Me” featuring Rydah J. Klyde of the Mob Figaz and Pittsburg project legend King Freako (RIP). Songs like “Stuart Littles” and “Han Solo” give the listener a little insight into the mind of Mac Dre where he expresses some of the things he deals with when the party’s over and he’s left to his own thoughts. But- just like a thizzelle high- Dre bounces all over the album through the ups and downs.

There’s two songs that define this album and Dre’s whole movement at the time. One is “Thizzelle Dance,” where Dre and Chuck Beez took a weird beat from Portand producer Syko and created a party hit that paid tribute to thizz and one of many unique dance moves Dre was known to create. The other track that was guaranteed to get the party crackin’ (and still does to this day) was “Boss Tycoon” featuring Yukmouth of The Luniz. Over another Syko beat, these two Bay Area vets not only ripped this track lyrically but they showed many people that there were players in the rap game who enjoyed the same type of success as some these cats on MTV and BET, even without the same exposure. As an independent artist, it says a lot that Dre was able to get radio play and CD sales all over the West Coast and beyond from these two hits- even though many people still slept on these joints until after Dre’s death.

There’s plenty of other bangers on this album, and most of the production could still be considered unique and creative in 2014. As I mentioned earlier, it’s pretty clear that Dre handled a lot of production and recording in-house with his homies around. The song “Rap Life” with Sleep Dank might be the weirdest beat ever anyone’s ever rapped on. Their lyrics are tight but the song is damn near unlistenable- those fools must have been thizzin’ hard when they made that one. Also there are two interludes on this album that pretty much make no sense, and as I said earlier the mix is pretty shitty. But all that, even the low quality of the mix, gives the album it’s own unique feel.

The success of Thizzelle Washington allowed Mac Dre to build momentum towards what might have been the most successful phase of his long career. That was cut short in 2004 when Dre was gunned down in Kansas City, MO. His death was a huge blow to the Bay Area community and hip-hop period. For a long time, I tried to make sense of the murder of one of my heroes. Although I can’t judge whether he deserved it or not, he definitely died a gangster’s death, and always rapped about his cutthoat lifestyle catching up to him one day. His death was a huge blow to the Bay, as he was poised to take his success even further on a nationwide scale and bring our whole region along. However, after he died, new people started paying attention to his and the rest of the Bay’s music, which allowed cats like E-40, Keak, and Mistah FAB to pick up the ball and run with it.

But did the Bay drop the ball? Before he died, Mac Dre started his own label, Thizz Entertainment, which he used as a vehicle to put out his music and DVDs, but also for his peers to get their music heard. With a whole mob of rappers and fans supporting him, Dre had a Thizz Nation (aka The Nation of Thizzlam) behind him that was apart of his movement. After his death, it seemed like Thizz was ready to keep the torch lit and continue Dre’s vision. This slowly deteriorated, as fans became oversaturated with mixtapes and albums. All of a sudden, dozens of previously-unknown artists (some that had never even known Dre) were reppin’ Thizz. As the “Official Mac Dre Thizz Nation” logo was stamped on hundreds of subpar projects (many with recycled songs that had been heard before) the fans started to lose interest. One wondered how much of the money generated from the “Official Thizz Nation” projects and products went to Dre’s mother and children.

The biggest shame is that there has never been a full-length, all-new album released posthumously by Mac Dre. The Game Is Thick Vol. 2 was released just 13 days before his death. This was a strange coincidence to me- the original The Game Is Thick album was released by The Mac, Mac Dre’s rhyming mentor who was also murdered in 1990. Both of them were unable to live long enough to demonstrate their full potential. After 10 years of bootleg-quality Mac Dre albums, I’d still like to see the release of an official album with unheard material. Until then Ima bump all the classics faithfully. Everytime I hear Thizzelle Washington I’m reminded of the time when everyone wanted to be Mac Dre and there wasn’t a better rapper in the world.

Rest in Peace Mac Dre, we love Furl!

Artist Spotlight: Wake Self

Peace family, here is the first edition of my Artist Spotlight, where I put my folks on to certain musicians that I feel deserve to be heard. In these days of watered-down media, it’s important that we take spreading good music iin our own hands and support underground cats on the come-up!

For me, how technically skilled an artist is less important than how much substance and depth is in their content. But when an artist has skills and substance, that’s a perfect combo. The homie Wake Self is one of those artists. Along with his partner Def-I, he’s been one of the main artists holding it down in the underrepresented New Mexico hip-hop scene. I met him in 2012 through L*Roneous when we toured through Albuquerque and Santa Fe and not only is he a dope MC but he’s a cool cat all around- it shows through his music. Drawing on his Native American ancestry, his Albuquerque community, and his own life experience, he covers many complex subjects in his raps over beats and rhyme patterns that are just as complex.

Check out his latest album, Good Things Come to Those Who Wake, which is available on iTunes. His previous release, The Healing Process, is up for free download.

Underground Classics: Conceit “Wasted Talent”

Peace family, thanks for checking out the first segment of “Underground Classics,” a new series for my blog where I highlight OG albums, mixtapes, and compilations that are mostly unknown by the masses but had a big influence on ya boy. Most of what I highlight here will be Bay Area/NorCal rap tapes but I’ll include under joints from other regions and maybe even some other genres. Basically, this is music that deserves to be heard.

  1. Freestyle Olympics Intro
  2. Max Kane
  3. I Will Go
  4. Scissors & Glue
  5. Frisco City Nightlife ft. Daggawon, Hazard
  6. Cartoon Network
  7. Price of Dedication ft. Wordsmith
  8. Sleep Kids
  9. I Ain’t Bitter
  10. Apple Cobbler
  11. Lady
  12. Scrilla & Scratch
  13. Official Knock ft. Boac
  14. Old School ft. Memo (Mo Classics)
  15. It’s All Strange ft. Fantastik, Rush
  16. In A Minute ft. Topr
  17. Shakes
  18. Common Courtesy ft. Topr
  19. Tomorrow Never Dies ft. Spank Pops
  20. Flying High
  21. We Are @ War
  22. Not The 1ne
  23. California Daydream ft. Evolutionaries
  24. Crackalicious ft. Eddie K, Z-Man
  25. Wasted Freestyle

I couldn’t think of a better joint to pull out of archives then the Wasted Talent mixtape by my homie Conceit. Before I get into the actual music, let me give some background on this dude. In high school all I wanted to do was party, write graffiti, and freestyle. So when Telli Prego told me about this cat named Topr who was not only a dope MC but a graff writer who was down with LORDS crew, I was definitely interested. All my hobbies came together one night at this art gallery in the Mission District, where they let my underage ass drink 40s; some of the illest writers in Bay Area graff had art on display; and Topr rocked an unbelievable freestyle that pretty much made him legendary in my young mind. So you can imagine I was lightweight jealous when, a few weeks later, Telli had hit a house party that I wasn’t able to attend and ended up in a freestyle cypher with Conceit, who was supposedly down with Topr. Coincidentally, not too long after that I bought a Bay Area rap DVD with interviews, music videos, and a freestyle from Conceit and Eddie K. I was like, “Oh shit! Telli freestyled with that dude!” Not too long after that, I saw Conceit in person for the first time.

Hearing they were having another art show on 16th and Capp, I made it a priority to be there and not miss out on any graff, rap, or heavy drinking. Posted outside with my 40 and a stogie, I saw a group of older, hooded, Giants cap-wearing Frisconians, led by a dude I recognized as Conceit. He gave me a nod on his way in, and I eventually followed them upstairs and watched one of my first local hip-hop performances. I was loving what I heard, Frisco’d out rhymes with a little more boom-bap than you normally hear in the regular Bay mobb sound. But when Conceit performed his song “I Will Go,” which is about his own journey as a youth in love with rap to an adult still trying to make it in the game, it was like I was the only one there and he was speaking right to me.

Eventually me and Conceit would meet, party, freestyle, and kick it. His crowd was way older, and I remember some of his folks tripping on us lil’ kids still in high school that would somehow get into the bar and follow them to the house party. But Conceit was always cool when we were around. He always showed love and took an interest in my crew’s music. I could definitely tell he grew up as a city kid just like me; he was the type of cat that runs into people he knows everywhere he went. I guess we were similar like that, ‘cause I’d always run into him- on Haight, on the bus, in the Avenues. When Wasted Talent came out, I copped it from Tower Records and instantly fell in love with it. A few months later when we dropped the first Gas Mask Colony album, I bumped into Conceit and he instantly bought a copy off me. Eventually, we would record a few songs together, and I’ve ended up working with many of the other rappers, DJs, and producers that are on his mixtape.

Anyways, now to the actual music. Wasted Talent seems to be a perfect musical summary of who Conceit was as a person during that time. Not only do you hear his skills in writing and freestyling, but he picked a diverse selection of beats that I feel like any hip-hop head could vibe to. Plus Max Kane (of the legendary FourOneFunk DJ collective) really did his thing blending all the tracks together. Listening to that mixtape really helped give me a sense of how to honestly express myself through music. The subject matter touches on Conceit’s battles with alcoholism and sleep deprivation, golden age hip-hop nostalgia, politics and society, and of course kickin’ it and partying throughout the SFC. But it’s the topic of fake fame and frustration with the music industry that’s most true to the story of Conceit.

In 2006, Conceit’s song “Scissors and Glue” somehow won a G-Unit Youtube Video contest. I say somehow because I don’t think he expected to win and his style was way different than what you might expect from G-Unit. But he did his thing, and ended up winning a shopping spree at Guitar Center, a trip to NYC to open up for Talib Kweli, and a shot at dropping some music through G-Unit/Interscope Records. Unfortunately, it didn’t work out too well. From what I remember being told, his creative vision clashed with the cookie-cutter mainstream sound the folks at the record label were expecting, and Conceit returned to SF without the deal and a feeling of anger and bitterness towards the whole industry. I think that led to a lot of frustration for him, and he started to withdraw himself from the local scene up until the point where even his closest folks hadn’t heard from him and had no idea where he was. He would randomly drop a mixtape or 2 via MySpace, but nothing that really matched the impact of Wasted Talent. To this day, his highly-anticipated debut album still hasn’t been heard.

I can’t really blame Conceit for feeling so frustrated. I think I understand where he was coming from; he had been dedicated to hip-hop since a kid with the skills to back it up but never quite got the recognition he deserved. For his last shot at a big record deal to end on such a wack note must have been heartbreaking. I also think that he blamed himself and his struggle with drinking and the party scene for holding up his progress. Being in his 30s, he probably wanted to take some time to sort his life out. It just sucks that he completely disappeared and I lost that big homie/mentor figure that I would always see around the Sco. Last I heard he had left SF completely. Every now and then he would pop up on Facebook, but I think it’s been at least 2 years since he’s posted anything. I like to think that he’s still out there, living his life and taking care of his close family during the day, but every now and then gets drunk in the middle of the night and writes raps, makes beats, and checks up on the latest music from all his SF homies.

Maybe his ass will even read this, somehow. If so, we miss you, Conceit, I hope we’ve made you proud, and at 27 the song “I Will Go” resonates just as strong with me as it did when I was 17.


Today I’ve got some throwback footage of Big Rich, one of the rappers who made a big splash on the SF scene, along with his crew Fully Loaded. Now, Rich is semi-retired and focusing most of his time on his music school, Project Level. Me, the homie Jameel, and Patience caught up with Rich last year and here’s some of the conversation captured on camera.

This track is all about the other side of the World Cup. If you didn’t know, there have been protests and turmoil in Brazil because many of the country’s citizens are suffering in the middle of all these games. $16 billion was diverted from public funds by the Brazilian government and used to cover the costs of hosting the events. Over 250,000 people were displaced and their homes destroyed to build new soccer stadiums. Child prostitution is on the rise as youth in poverty are forced to sell themselves to tourists. The police have attacked and arrested peaceful, non-violent protestors. There’s definitely an ugly side to these games.

This has been on my mind lately, so I decided to write out and record my feelings about this issue. I don’t mean to be negative or stop anyone from enjoying the World Cup, but I feel like this stuff is just good for people to know about and consider when watching the games.

Houses get destroyed, they knockin down walls
Let them eat cake feed the kids soccer balls
16 billion in a nation of millions
That care more about the World Cup then helping the children
What we need is education
We what we need is preservation
Of the culture & tradition carried on by the natives
The goal ain’t to score points for big corporations
The players just livestock on a big plantation
Fans throw bananas from the stands
That land at the feet of displaced Africans
Kings & queens turned to beggars and peasants
Fightin for survival in the dirty favelas
The situation need to be solved urgently
That requires real love beyond capital currency
It’s been more holocausts since Nazi Germany
Ask the Palestinians what they goin through currently
It’s kinda like my own hood where the cops profile
And pull pistols out on a teenage child
The kids run wild sniffin glue in the streets
Selling off their innocence, foreigners from overseas
Paying to abuse pedophiles and predators
Rooting for their team to beat competitors
Countries colonized gon break the chains
And fight the colonizers, beat em at they own game
Here at home the crowds chant U S A
They believe in Obama they don’t believe in Ghana
I believe in healing to ease the trauma
And refuse to give FIFA a single solitary dollar
For overpriced products made with slave labor
No World Cup fever just World Cup anger

Produced and recorded by Brycon

Mixed and mastered by D-Wiz

Watch/share this video myself & Hungrie Ones recorded at Carnaval last weekend. Like I said, that event was the perfect display of Frisco culture & unity and the exact type of vibe I wanna present at Slim’s on June 7th!


Performances by:
Dregs One
Telli Prego, Heat & Big Vic
Legends Live Forever
Plus special surprise guests
Hosted by Equipto
Deejay Sean G & Children of the Funk.

Live art by JOKER ICP.KHY
Community speakers on evictions, police brutality, and community organizing
Proceeds going to POWER (People Organized to Win Employment Rights)

Doors open @ 8pm // show @ 9pm
Cop presale tickets at