Friday, June 28, 2019

Marcel P. Black #RapRecap #22 (6/21/19 in New Orleans, Louisiana)


This show was an important show for me for 2 reasons:

1. Alfred is my brother. I could end there, but I'm serious. One day we are gonna do a podcast, and talk about all our crazy tour stories over the last 2 years. Like how we got ran up on by some Danny Trejo lookin' cholo's in Denver and I had to talk that talk so we can pass through their hood, or when I almost died climbing up a hill in Knoxville, Tennessee. Then there was that one time we did a show in Memphis where the promoter paid us by Dominoes Pizza and allowing us to sleep in the venue we performed in, in one of the toughest hoods in the city. We know things about each other that we will take to the grave, and as much as I love him as a brother, I am just as much a fan of his music and grind. 

Though I'm nearly 8 years older, I was a late bloomer finding myself as I entered my self in the NoLa Hip-Hop scene at age 25, while he was 17. I was probably on the same bill as him on like one of his 3rd shows ever. I'm not sure how we became friends, but we've been thuggin' on this underground grind for 10 years, talking at least every other day. We've been there for each other, we've gotten into it, squashed it, and got it back together, lent each other money when broke, helped each other get shows in different cities/states, and we've toured together every year since 2012. So when he asked me to do his homecoming show I was honored. We are each others' support system in this ugly fucking game of underground/indie rap, and we've leaned on each other for guidance and love when it felt like people hated us the most. 

*wipes #ThugTear 


2. Another reason why I wanted to do this show so bad is because I have a bone to pick with the New Orleans Hip-Hop scene. The calendar year of 2018 was the first time in 9 years where I didn't do a show there. 0 people booked me there. Granted GrassRoots Nola is now defunct and alot of the heads who were there in the early to mid 2010's are no longer active, there are several artists and promoters who put on shows who know EXACTLY who I am, and what I do, and that I am so much better and more accomplished than I was back in the gap. Maybe they don't wanna pay me since the price of the brick went up, maybe there's some resentment because my career surpassed what they feel a underground conscious rapper from Baton Rouge was supposed to be doing? I don't know. 

I just know I went from getting radio play heavy in NoLa, doing several interviews on different NoLa radio stations, opening for Mobb Deep, KRS One, Jay Electronica, & Common in NoLa, to not getting a fucking call or response about me doing ANYTHING in NoLa didn't sit right with me. So since I've leveled the fuck up, lost weight, entered an era where I'm performing better than I've ever been, I feel like I had something to prove to the New Orleans Hip-Hop scene. 

Plus there was a nigga who used to hate on me back in the G that I knew was gonna be there, and I wanted to give him this work.

Good memory & petulance are first cousins. And I'm large as an elephant.



Because I've been bringing Alfred to BR as long as we've been thuggin', he has a fanbase there too. so when it was time to catch that slab, KP Soul, Joe Austin, and Mark Dub Part Man/Part Thug wanted to catch that slab too. And my dog Coop met us there. After Jr. Jr. gave me hell finding his apartment that he never game me the address too, we hop in the Rap Dad Minivan and slide to NoLa. 
Pull up to the venue, I'm let in the side door by Rapbaum, the DJ for the night. There I see Steph from Nebraska, and his artist M Shah. We chop it up about who is and isn't a conscious rapper as I set up my merch table, until it's time to get something to eat. I order a beef hotdog & fries at the bar, then go to the green room to smash that bih as I catch up with Alfred. 

After more chit chat, the crowd rolls in, and the night gets started with Al's childhood friend doing 1 song and an acapella. Next up is M Shah, who has a good first showing in Louisiana. I go back to my merch table to charge my phone as the next act is up, the host for the night tells me I'm next. He asks do I want an intermission in between songs, I tell him no, bring me straight up. He looks mad surprised. I'm dead ass.

I'm not here to play with none of these Nawlin's niggas tonight. Ya heard me?


I'm introduced and brought out on stage, I tell Rapbaum that I'ma do my acapella first. I begin and stop after 4 bars. To be honest, I'm not sure why I stopped. I didn't forget the words, and I didn't necessarily stop on purpose. I was so tense I think I my body told me to start that bih over to make sure I wasn't gonna go so hard that I had a bad show. As a conscious artist I have to get them on my side early to make sure they are fully converted by the end of my set. 

After I stop, and gather my thoughts, I walk to another spot on the stage and tell them, "I'm probably the only artist born in the 80's, and this is gonna be the angry Black rap portion of the night," and the crowd kinda looks puzzled. I start the verse again, pausing every 4 bars to let what I'm saying set in. I remember this from playing basketball. Sometimes we get so hype that we try to do everything at once instead of let the game come to us. Just do what we do in practice and be confident that all that hard work paid off.

And boy did it.

By the time I finished the acapella the conversion had began and I had them eating out my hands. Alfred's childhood friend and in house producer CZA has also produced for me, at least 3 joints, but he's never seen me perform any of his songs we've done together. So I open with a record he produced called "Bad Man," only to see the mf was not there. 


I punched the crowd in the mouth with my aggressive Black ass soulful style and they were there for it all. Next was "Black God Fresh," and I can say I think it kinda caught them by surprise lol. I went from being really aggressive to doing a song that was more fun and "swagged out" where I'm kinda dancing a li'l bit, all while still kickin' that Black shit. 

Now it's time for the "backpack section" of the night, and I teach the crowd the "too many wack rappers, not enough emcees" chant, which they got into. "Principles & Standards" comes on, the chant hits hard before the verse begins. I run through the verses with ease, ending with the "real emcees don't rap over vocals" call & response, and it goes over very well. I next put "Henry Clay" into context, also informing the crowd that it was produced by New Orleans production legend Prospek. Verses executed proper, hands in the air during the hook, all call & reponses hit home.

Now it's time to go political with "Hallelujah." I explain why the song is controversial, how it's gotten shows canceled, but how it's still my most popular song to date. After being given permission to slander ya'll puss ass POTUS, I proceed to go ALL THE WAY IN, and it hits hard. I once again preach about the atrocities that this administration is engaging in as it pertains to marginalized peoples, Puerto Ricans, and asylum seekers, damn near catching the full Holy Ghost, and the crowd is my Amen corner. I transition into "#FreeBLKPPL," and now I'm starting to feel "good." Flawlessly executed, feeling like everything I'm saying is hitting home to the crowd.

Normally I end with either "Cry Freedom" or "Stare & Whisper" as I open the doors the the church for altar call on the last song, but this time I opted to do "1Luv," my first "hit" record from back in 2010-2011 when me & Alfred was really first doing alot of shows together. It's also a song where I shout out New Orleans on the hook, so I was like "why not?"

Kids, listen. It's cool to go back into your catalog, but make sure you rehearse the song first, lol.

Mane, so I get the first verse off, and it goes well. There were alot of artists & people in the crowd that were around in both BR & NoLa when this song was buzzing for me, so it went well for me off rip. Then the 2nd verse begins. I get like the 4th bar and draw a blank. Luckily I see Truth Universal in the crowd saying the words with me to get me back on track. I shake the rest of the verse back, dividing the crowd in two having the left side repeat "1Luv," and then the right side do the same during the hook. 

I have this theory about "muscle memory" and performing. The more you perform certain songs, your body kinda takes over and you begin to move in auto pilot. You don't worry where you're gonna step, take a breath, how you're gonna move your hands, none of that. Well, I've maybe performed this song 4 times in the last 4 years. Muscle memory was not on my side mane.

Bout half way through the last first verse I felt the gotdamn phlegm in the back of my throat building up, and since I don't know breathing points on this song like I would one of my other closers, I had know idea where to swallow. I had to options, skip a bar to swallow, or choke and start coughing on stage. And Black don't choke, so I picked a half a bar to gulp that bih down, and all the sudden my vocals felt clear af lol. Thank God I'm a dope crowd controller, because the hooks and the ending went well. This is not how I wanted to end this set in which I was operating at such a high level, but it is what it is. 

And the end of the day the mf's seen what time it was, and the nigga who was hatin' on me back in the G got ran up out the room. 

Job done.

Alfred comes up after me and destroys it. He's on a completely different level as me at this point in our career. I'm the underground king who is God in mad B markets, and he travels the major cites in and out the country performing in front of thousands. And and we're still brothers who support each other, like we did on the road to those struggle shows years ago.

And my Fila outfit was lit as fuck.


VENUE: 5/5. 0 complaints. 

CROWD: 5/5. I feel like I was treated with the respect I should be treated with, because I carried myself as a seasoned vet, and they responded as such. Joe said one white lady was a offended due to my #FDT chants to the point she left. If so, that lady is prolly racist, and can go kiss a baboon's ass fur.

SOUND: 5/5. Radric Davis. The clone even.

MERCH: 3.5/5. I didn't sell as much as I thought I would, so I was kinda disappointed. But the folk who did shop with me all told me they really connected with me. I feel I made new fans, so I guess it evens out.

Next Show: 6.29.19 in Jackson, Mississippi.

Thursday, June 27, 2019

Marcel P. Black #RapRecap #21 (6/8/19 in Pensacola, Florida)


If you go back to #RapRecap #7, you'll read how the homie Stess The Emcee punched me in the chest with a truth bomb that changed everything. Coming back to Pensacola and kickin' some ass on stage was all the way on my mind, and I've worked really hard over the last few months both on stage and in the gym to make sure my set was as tight as it possibly could be. Plus I haven't done the Bars > BS concert series since October of 2017, and it was a must I come back strong. Rocking with my PCola fam Jamal Steele, Johnny Panic, and Big Lo is always fun, add the legendary Cesar Comanche to the mix and we're in for a night with elite level of live emceeing.


This blog won't be as long as the others. Wasn't alot of of drama in this story, it was strictly business. Sean Elliot and I get to the hotel in Pensacola around 1pm, and it's super duper trash. I stayed here before, and knew it was gonna be trash, but Pensacola is a vacation destination because of it's beaches, so the hotels are always high af in the spring & summer. This hotel was one of the few in the whole city under $100. Niggas was tryinna be economical, so mf's had to bite the bullet. 

After checking in we chill in the room watching BET's marathon of all things Tupac related, before heading to the venue to set up for the night. We get to the venue right around 8:30pm, and greet all the homies, as I introduce Sean to everyone. Sean and I set our merch up next to the homie Mallz from NC, the brother who's currently touring with Cesar this summer. 

The venue, Chizuko, is a bar owned by two lesbian women, that doesn't sell hard liquor, but they got delicious vegan food. I hadn't eaten since like 1:30pm, and this diabetic hunger hit different, so I order the vegan BBQ chicken wrap, and mane was that bih delicious.


As soon as I finish eating, they start the show, at 9:20pm. The host, King Hale, is not playing about this show running on time, and I'm here for it all. I hattttttteeee shows in which they don't start till damn near 11pm and end at 2am. 

Ain't nobody got time for that. 


Johnny Panic goes up first, kills it. I really like his new music, alot. Mallz from NC goes up 2nd, and though I've been friends with him on social media for a few years, I've never met him in real life, and honestly wasn't too familiar with his music. Dude is a seasoned vet, and rocked a solid set how seasoned veterans rock. Teasey was next up with a lot of dope energy, and a hype man that had a cracking up because he was so into it. The hometown hero Big Lo kills his shit like he consistenly does in socks and Adidas slides, and of course he comes out his shirt by the 4th song like Jodeci in '94. Lemme get down to 350, I'm pullin' a whole Rick Ross fat dude with no shirt act. Accept I never was a CO and I don't have seizures or tattoos. Or Wingstops or Rally's. Or a Maybach.

You know what?


Jamal Steele is next, and he's really become one of the most improved and lowkey one of my favorite performers on the circuit. He's a church boy like me and still Black as ever, and never sacrifices either, and it makes for really engaging and powerful music sans profanity or any other silly rap nigga shit. He performs his heart out every time, and I dig it.


Intentionally, I'm a backbacker. I'm a fan of deep ass rappity rap rap, I listen to mostly boom bap ass underground rap in the Rap Dad Minivan when I ride. I love that type of Hip-Hop, I support it, and really try to keep that culture alive as a facilitator and a fan. As an artist I try to keep that intent in anytype of art I create, even if it's outside of what "real traditional underground Hip-Hop" sounds like. I knew with the other artists on the bill, there was gonna be a lot of boom bap/soul samples going on, but I decided to be a little different, as always. 

The fact that I'm an underground conscious rapper who keep it backpack over country rap tunes, trap beats, any kinda sounding beat you can think of makes me special, as an emcee and performer. So after I hit em with my "daddy sang gospel" intro acapella, I came with "Black God Fresh," a song about about getting money, wearing Polo, mental health, the epidemic of white people calling the police on Black people for simply existing, my love for strip clubs, and how the God is a Black woman. All over a country rap tunes beat made for the club/radio. And it goes well. To keep in this tradition, I come with "Boss," another down south ass banger about organizing gangs to go to war with the laws that are a war with us. My conscious ass got the whole venue screaming "BOSS MOTHERFUCKA!!!!" at the end of each hook.

I'm nice like that.

Now we enter the boom bap section of the night with "Principles & Standards." If you read the last time I was in PCola I kept fucking up on this song, because it was the first time I performed it, and I kept apologizing. Fuck all that, never again. I was so locked in on this record I wanted to execute it flawlessly. I think I damn near did, also showing that you can be Southern/country as a mother fucker and still be Hip-Hop to the core. 

Getchu somebody that can do both.

The crowd enjoyed both the "too many wack rappers/not enough emcees chant" in the beginning, as well as the "real emcees dont rap over vocals" mantra that we live by. I wish Stess was here to see this. I run into "Henry Clay," execute flawlessy, then go into "Hallelujah" with no pause, ending the song preaching my ass off about how Trump is a terrible fucking piece of shit human being, and what's happening with Puerto Rico being left for dolo post hurricane as well as what's happening at the border with asylum seekers is a crime against humanity. Had the whole crowd saying "Fuck Donald Trump," "Peace To Puerto Rico," "No Human Is Illegal," and my new favorite, "Fuck That Wall."

From there I flow into "#FreeBLKPPL," aiming to articulate the fears & pain of being a Black man tryinna survive the everyday struggle that is being Black in America. I say this, because this is what was going through my mind as I aimed to look each and every person in the venue who I could see in the eye in hopes of making them feel where I'm coming from.

Not saying it worked, but noone booed me, so that's that. 

Nah, fuck that, it worked. 

As always, we end in church, this time with "Stare & Whisper," complete with prayer hands, hand claps, and people acting as witnesses, waiving their hands side to side. 

Got mad props off the stage, with the biggest compliment coming from Big Lo saying that I look so much better on stage with the weight loss and he can see the work I'm putting in the gym and how it's impacting my live show in a positive way. 

Consider myself redeemed.


VENUE: 5/5. 0 complaints, a great time as always.

CROWD: 4/5. Lighter than normaly, but still great. This is a venue owned by two lesbian women that server vegan food during Pride Month, lowkey the most open minded people that I'm gonna get to rap my Black ass conscious raps outchea, period. 

SOUND: 5/5. Crisp af, no complaints.

MERCH: 3/5. I didn't sell as much as I normally do. I don't know why, but hey, it is what it is. 

Next Show: 6/21/19 in New Orleans, Louisiana.

Wednesday, June 19, 2019

#BlackThoughtsRadio Podcast S2:E12 "Do I Need A Manager?"

In this episode, I try to answer the questions so many young artists ask, "Do I Need A Manager?"
In 3 points I discuss:

1. What does a manager do?
2, What should I look for in a manager?
3. Who should I not get as a manager?
Twitter: @marcelpblack
Facebook: Marcel P. Black
Instagram: @marcelpblack

Tuesday, June 18, 2019

Marcel P. Black #RapRecap #20 (6/7/19 in Mobile, Alabama)


It was summer of 2013, the first time I went to Mobile, Alabama to rap with Alfred Banks and DJ Strategy. Alfred had been booked for a showcase in Mobile called Elements, promoted by Poet Tree's own Seth Maness. Thing is, Seth didn't book me, he only booked Alfred for a 45 minute set, but Alfred gave me 15 minutes to open up for him. This is what we did back then. I getta city, bring him, get him some time, he get a city, bring me, give me some time. We literally did this until the promoters would like us enough to give us our own sets, whether we were together or not.

Now rappers, I don't necessarily suggest you do this, even though I did it. It's kinda bad ettiquite to be sneaking on sets, and can sometimes mess up the flow of the show, and maybe turn some people away who came to see the person your opening for. And then the promotional aspect of it, it's really not fair to the person who's doing the booking. But Seth didn't trip. He enjoyed what I did so much he started bookin me in Mobile at least twice a year. I headlined my own Elements a few times, opened for Dee-1, and was even able to bring Locksmith's tour to Mobile because of Seth in May of 2018. 

I remember about 18 months ago, Mr. 88 gave me a call and told me Seth was terminally ill with cancer, and he and some of the guys were doing a surprise benefit to help him and his family with medical bills and other expenses. I immdediately called Alfred, and we rocked it. Less than a month later I returned to rock with Locksmith for his "Louder Than Words" tour. That was the last time I saw Seth. He had lost a lot of weight, but still had the biggest smile in the room.

Seth transitioned earlier this Spring. Seth was a loving family man, and a warrior for Hip-Hop culture at large, specifically in the Gulf region. He is the reason why I can call Mob-Town a "home city," he is the reason I have so many friends and fans in Mobile, it is because of him I've brought nearly 10 different artists from Mobile to BR over the last 5 years. He's been an invaluable part of me establishing myself as a "regional artist," for that I will be forever greatful. Rest well my friend.


I pick up Sean Elliot from his crib in Central, and he wasn't quite ready to go yet. While he's inside gathering the last of his belongings, I see a cop harrassing this white dude in the parking lot. I got my camera on record if something go down, especially if he sees my big Black ass there watching the whole thing with the car running and comes to question. After about 15 minutes of questionsing, the cop leaves, Sean comes out, and we slab. 

Sean is a 2 time #FadeToFlowSundaysAlumni and is a very talented producer, and a capable rapper. Fairly new to rapping and performing, one of his strongest assets is cool ass easy to get along with personality, and his incredible work ethic. He listens and pays attention well, and it's working for him. I wanted to take him on the road with me to get a look at what it is on the road with me, performing with a higher level of talent than what he has been accostumed to at the showcases and open mics in Baton Rouge where most of the artists are still up & coming and honing their craft. The fact that Sean is cool as a motherfucker made this 2.5 hour trip an easy ride. 


Upon arriving to Mobile, Sean and I check in to the hotel, then go get food. Chill for a li'l bit, then head over to the venue to set up our merch tables. We've been all the other acts there, but meet the manager for our stage who assists us in setting up. From there, we wait. And wait. And wait. Fresh off of work, Eterniti Everlasting arrives, and tells us we get a free meal and a few free drinks.


I'm sober for the time being, but I'm all the way here for a free meal. I go order a chicken wrap & fries, and watch game 4 of the finals. As I'm eating, Dolla Black arrives, as well as These Weed Raps. All is well, the only problem is, the audience is slow arriving. After waiting, and eating, we find out that everyone is at the Mystikal concert across town. 


Oh well, the show must go on, #CultureOverEverything. Right?


The show finally begins with Eterniti and his man's (I forgot your name dawg, but I know you went to SU, go Jags... lol), accompanied by DJ Money Mic to break the ice. Dope. Then we begin with Sean Elliot. I can see the nerves with Sean a bit, being his first Alabama show, the furthest he's been away from home to rap, and maybe anticipating that the playing field was a bit more competitive than what he's used to back in BR. He does well in the beginning, stumbling a few times on a song he hasn't performed in a long time, but shook back in a major way with his two biggest singles to date, "Big Boy" & "Cool 2." He really made a good impression with the last two records, being that Alabama is with all of the country rap tunes/slim playa ass rap, and that's what Sean does best.

Next was Dolla Black, who I feel is one of the regions best kept secrets. But not for long, if I have anything to do with it. Ya'll have seen me talk about him in several different #CultureOverEverything shows I've put on in this year, and when I say as much as he's little bro (no relation), I'm a legit fan of his, and sometimes I get mad at him because he doesn't even know how good he is. He runs through his set blazing hot, till bout half way through he gets a little winded. He literally said, "Damn I know Marcel gonna do a write up talkin' bout 'My little Ju brother Dolla Black done gained 10 lbs since our show in Birmingham, now look at him,' smh."

Well you got damn right I'm writing about it lol. You know me so well. 

While he's talking the DJ runs down stairs to go use the restroom. Niggas done had a FULL INTERMISSION during his set lmao.

All is well though, because he's that damn good. Before he finishes his set, the people in the audience say they want him to come back. This is also his first time in Mobile, I'm proud to be able to walk him through the door. Because he's that damn good.

So the stage we're on is on the second floor. Before the These Are Weed Raps begins, TeeJaeSoHigh opens up the window and yell's at everyone to bring they "MOTHERFUCKIN ASSES INSIDE AND COME SEE THIS MOTHERFUCKIN SHOW!!!"

TeeJae is one of the most talented crazy negroes outchea on the scene, and along with his partner in rhyme Fat Bastard James, they always put together a dope show. They go back and forth with natural chemistry, and are really becoming seasoned performers as they are making a good name for themselves in the region. They both do solo songs, and then go into their group songs, they rock TF out in front of the home crowd.


My time to go up. I begin myself with a tribute to brother Seth before I start rapping, much akin to what I wrote up top, just alot shorter. 

Next, shit get's weird.

"#CultureOverEverything" is a song that I like performing, but then again I don't. It's the only track I have with stabs and adlibs on it, and it's too close to rapping over vocals for me. This ironically, this has kinda kept me from memorizing it 100%, so I'm never fully satisfied with the execution of the verses.

With all this going through my head as I'm rapping, I didn't realize I was so close to the tip of the stage. Mid verse, I take another step, and fall off the damn stage!


But, because I'm such a real emcee, I DID NOT MISS A BAR!!! Ironically this is the best I've ever executed the verse lmao. Thank God this wasn't no high stage. I was able to catch my balance and put my arm around Dolla Black and somewhat play it off, but still mane, shit lol. I get back on stage, and rock the hook, and the crowd is into it like a MF, lowkey tryinna hide the nervous energy from damn near witnessing a 400 pound, 6'4 nigga damn near bust his ass while rapping. By the time the second verse begins, I'm too discombobulated to remember it, so I cut it and go to the next record. My daddy used to say, "You gotta know when to let well enough alone."



Now I have no more room for error. I go into "Principles & Standards" leading with a new chant, "Too many wack rappers, not enough emcees," and it goes well. Really well. They especially loved the "Real Emcees Dont Rap Over Vocals," chant. From there I went into "Henry Clay," and that bih was flawless. 

I introduce "Black God Fresh" to Mobile and it's well recieved. Now it's time for "Hallelujah" before I rocked it, I tell the story of the first time I performed it in Mobile in October of 2017, and when I said "Fuck Donald Trump," the white people cheered, the Black people looked at me like "nigga u finna get us lynched." It goes over well this time, as it always does everywhere else.

I preach to the audience about how Trump is a piece of shit, and before I go into "FreeBLKPPL" I hear some loud ass talkin' outside. It's that wild ass nigga Teejai outside, the same person who fussed at niggas outside to come inside earlier, is now outside keeping up racket. So I stick my head out the window and tell HIM to bring his BLACK ASS INSIDE, and he yells back he went outside to smoke a cigarette. I bullshit-you-not, by the time I began the song, that nigga was back upstairs with 3 new paying customers lol. This nigga fast as he is wild lmao.

Teej, you're alright with me brother.


Now it's time for "Stare & Whisper." we went all the way to church with this one. The lawd was praised. After the set, we took group pics on stage, and talked to the homies and the people in the audience. Didn't sell much, but got a lot of love. Broke the tables down, headed back to the room.

Before I go, I gotta shout out my friend and biggest support in Mobile, Curtis. The look on Curtis'
face as I fell off the stage is priceless. 


Crowd: 3.5/5: Light, but live af. We coulda had a packed show, but niggas wanted to support an extremely talented serial woman beater sexual abuser.

Venue: 4/5: No real complaints.

Sound: 4/5: ^^^^

Merch: 2/5: Didn't sell much, when I normally do really well. 

Next Show: 6.8.19 in Pensacola, Florida

Monday, June 3, 2019

Marcel P. Black #RapRecap #19 ( 5.25.19 in Tulsa, Oklahoma)


Once again, my focus is on my anxiety as a facilitator, not a rapper. We check out of the hotel in OKC, get gas, a light bite, and head to Tulsa. My wife Jessyca & don't really agree on too many artists to listen to on long drives (I like underground ass backpack rap, and she likes Beyonce and Jazmine Sullivan), so we always watch reruns of either Paternity Court or Judge faith as we swang in the slab. The mess & foolishness of it all keeps us alert lol. We get to Tulsa to the hotel and see that I done came up on a lick with Priceline paying $65 on a 4 star hotel. Get to the room, take a nap. Upon waking, I call all my guys traveling from OKC from the night before as well as Paid In AmeriKKKa who are en route from at Atlanta only to find they are all in the Town checked in their rooms, relaxing.


For the last few years the city of Tulsa has done a Hip-Hop 918 concert in the park downtown. This event is an all ages free affair for the people, featuring local emcees as well as Hip-Hop legends. Jess and I parked and went to the park about an hour before our show to get some food. Upon arrival, we were able to catch Tulsa's own Hip-Hop legend and creator of World Culture Music Festival. Steph Simon, performing in front of a crowd of thousands. The show was hosted by none other than Big Daddy Kane, and had performances from Slick Rick, MC Lyte, & Roxanne Shante. 

(Big Daddy Kane)
(Roxanne Shante)

We were able to see Kane do "Smooth Operator" while we were waiting in line forever to order our food from a food truch, and man did all the older Black women cut up. Next he brought our Roxanne Shante, who did little to no rapping of her own songs. She mostly told the DJ to play all 70's & 80's hits and danced in way that only ya 55 y/o old auntie can dance. By the time we finally got our food and ate, it was time to head over to the venue to get set up for the night.


We finally get to the venue, I set my merch table up. This record store is really a record store with a nice li'l stage and speaker set up. Sole Lab sets up and gets to rocking immediately. If anyone knows me, you know I run a tight ass show. It's my stage that I was able to pick some of the talent for, and I am hosting and performing, but I wasn't given to the autonomy to run it how I normally do. I'm not complaining, it just is what it is. However, #CultureOverEverything as a concert series is well respected across the country because people know how serious I am about putting on high quality Hip-Hop events. But this stage is just one of many in a weekend full of stages, so I gotta go with the flow. I was not really given the info to communicate with all of the other artists who I didn't choose, so as the show is about to start I don't even know what the Tulsa people look like, so IDK if they are there or not. And all my guys are en route to the venue, like 20 mins before the show is supposed to start. 

My nerves are bad as fuck.

Next I see my homie Lashae pull up, and she introduces me to Janira, who has been assigned to help me manaage the stage. Clutch af. I have her round up all the Tulsa artists. This is where shit gets interesting.


The first artist is supposed to go up at 9:50pm. It's clear that sis is extremely popular in the city, but young and inexperienced as it pertains to shows. Sister girl doesn't have her music on a flash drive to give to Sole Lab, and she didn't know who the DJ was to email it to him. Mike T asks for the wifi so she can email it to him, and it doesn't work. She emails it from another account, and it works, but the wifi is so shotty it literally started downloading, and never downloaded. She asks mic to go to youtube and get her music, and he was like "nah." So she storms off and leaves. I'm not sure what's going on while all this is happening, so about 10:15pm I call her to the stage to perform, and she doesn't come. 


So I launch in "#CultureOverEverything." IMO it was very sloppy, but I got the crowd to say the chant and stay in the room, so I guess it was aight. I was able to shake back with "Principles & Standards," with the crowd agreeing with me that "Real Emcees Dont Rap Over Vocals." Now I see the next act come in, and buddy is from Houston. He's actually rocking out pretty well, till he gets to one song where he raps over vocals.


Am I on Punk'd?

Is there really a rapper rapping ove vocals on MY #CULTUREOVEREVERYTHING STAGE!?!?!?!?!?!?!

Buttttttt, the show is poppin', and honestly, the dude can rap, and I just think he didn't have the proper show track. 


Next up is a a local R&B singer, who was actually pretty talented. He had alot of female fans in the crowd, one particular non-melanated female who looked like she was ready to yeah with the yeah post performance. Next thing I know HE STARTS SINGING OVER VOCALS.


Whatever, the crowd is still packed, and it's a good set.

Next up is another young lady from Tulsa that told us that her set was gonna be different, and it was. She can really rap, she's a good performer, no rapping over vocals, but her music was really raunchy. In the era of City Girls, Meg Thee Stallion, and Cardi B, she's gonna WIN. she a crowd full of ladies twerking, chanting her sexually liberated lyrics, going nuts. Unfortunately this worked against us.


If you know me, you know how I feel about Truth Universal. He is my rap uncle. My mentor, the first rapper to give me a shot when noone would. He's traveled the country, traveled the world, put New Orleans and by extension Louisiana underground/indie Hip-Hop on his back, and took us with him. When I couldn't get a show in BR, he'd book a show in BR and let me perform. Super important to my career, as I've met so many people because I was one of his pupils, and I've always tried to pay it forward. I was super excited to finally pay it back with this Oklahoma trip. The OKC trip was what it was, but I had a feeling that he would kill Tulsa based off the last show I had, and that this festival was such a big thing.


What had happened was, after the sister performed she took the WHOLE CROWD with her. Between that and the young lady who didn't get to perform allegedly slandering us and taking 50 people who she brought with us to another venue, my OG, the New Orleans God Emcee, got the lightest part of the night. 





Recently, someone told me I was the "New Truth Universal," and I can honestly say that was the best compliment I've gotten in a long time. Truth was visably annoyed, but still rocked his set how a pro is supposed to. After he finished, I apologizied to him, and he told me it wasn't my fault, that there was nothing I could do about it. This is what happens when you front load a show with popular locals who are just kinda there for their friends. Spinster didn't have a bar, so there's not a whole lot of things to keep people in bnilding if they don't know the artists. The local artists where young, not the kinda types who are intersted in finding new Hip-Hop, especially underground boom bap conscious raps from someone they never heard of before. 

I hate that the God caught the slim side of the show, but there was legit nothing I could do.

 (Paid In AmeriKKKA)

Next was Paid In AmeriKKKa, who had had been outside politickin' with folks before the show, so they was able to bring people back in to get a little crowd. They had the crowd buck to "Ain't Talkin' Bout Nothin'" single. 


(The Monastery)

If you've read my #RapRecaps, you know how I feel about The Monastery. They are my favorite group in this whole indie/underground circuit, stars in the making. The last #FadeTheFlowSundays they did in BR, Verse from Tulsa was there. He was so impressed he literally got on the Gram and told everyone to go see them. And they did not disappoint. Paco even knocked some damn speakers over while jumping off the damn stage lol. They didn't get the packed house effect either, but they put on a great set and gained fans.


The next part is tricky for me to write, because it involves a few friends. In the spirit of not being messy, I won't go there. But I will say during the last local act, a drunk dude was heckling the performer and asking for the microphone during his set, as he stood front in center. I felt my inner Ardmore nigga coming out, telling dude several times to chill, the last time with mad bass in my voice, damn near clapping out sylables. It wasn't till I stood up off the stool that he saw I was big AF tthat he shut his ass up. If he woulda kept up or reached for the mic while my guy was performing, he woulda got punched on in ther name of Hip-Hop.

Then, the perfomer stopped, slammed both mics down, and walked out the venue. 

Awkward AF. 

I quickly told Mike to run "Black God Fresh," because I was NOT gonna end my night like that. I did it, it went over decent, and ended with "Henry Clay," which prolly got me the best fan fare of the night. Thank GOD this show is over. My blood pressue was prolly through the roof lol.


Now the tornadao warning is in full effect and it's raining cats and dogs. Niggas ain't buy shit from me mane lol. While my wife broke down the merch table, I walk in the pouring rain bout half a mile to go get the van so wifey ain't gotta get wet. 

Because that's my nigga.

We settle up with Steph, chop light game, head to Phat Philly's for delicious cheese steaks, go to the hotel for sleep. For the most part, all my guys where good sports the whole weekend. It was cool that I got to bring my Louisiana friends and my Alabama & Georgia friends to my home state to get a peace of the Black Oklahoman culture, and they all enjoyed themselves despite not rapping in front of thousands. I feel blessed to be able to share resources and bring my friends with me, but honestly it maybe too early. I'm with all the smoke, as I'm all about the opportunity, but I don't wanna waste anyones time or money either.

Lesson learned.

*And lemme say this, I 10000% am appreciate of having my own stage, and Steph and I have already spoken about what we are gonna do next year. Steph is my guy, and is doing great things in the Tulsa community with and without the microphone. Don't think for one second that I'm tryinna diss him or WCMF, as it is a great event and I'm super pround of him being able to pull it off. I just wanted to hightlight my anxiety as a facilitator, tell you what was going through my mind and why. If you've ever put on a show, you know what I mean.*


Venue: 4.5/5. No complaints on the venue. The store employee was super accomadating and extremely kind and patient as we asked her to do a million things throughout the night. I didn't catch the owners name, but he was super cool as well. I'm taking off .5 because it wasn't no alchohol or BYOB allowed. 

Crowd: 3/5. When it was lit it was lit. when it wasn't it wasn't. That's all I got.

Sound: 4/5. Crisp af.

Merch: 0/5. Tulsa know they downbad for not shoppin' with a real nigga for shit lol.

Next Show: 6/7/19 in Mobile, Alabama.

Marcel P. Black Interview in Kazi Magazine


Get To Know Marcel P. Black Louisiana Hip-Hop’s Journeyman

"Louisiana artist Marcel P. Black has been grinding on the scene for years, getting close to a decade, if I’m being honest. Marcel does almost everything needs himself, promotion, touring, even in finishing this interview, this man still has a Blogspot that gets updated. With multiple projects in his discography and a hunger to still get after his, Marcel will be here for a long time. Truthfully this introduction could go on forever, Marcel does work for his community, is a family man all while pursuing and succeeding as an artist. I met Marcel last year at Columbus’ 2×2 Festival, but now coming off his EP release ‘4tha Cltr’ I had a chance to sit down with the Louisiana star and discuss everything."