DJ Kawon's Boom Bap Alumni Proves Real Hip-Hop Never Left

DJ Kwan's Boom Bap Alumni Proves Real Hip-Hop Never Left

Hip-Hop is in a strange place. The culture that once celebrated originality, lyricism, DJing, storytelling, and community has become increasingly driven by algorithms, trends, and moments. Somewhere along the way, many people began repeating the same narrative:

"Boom Bap doesn't make money?" "Do people listen to music anymore?" "Boom Bap is old, and original rap is out dated."

Those statements have become damaging myths and opinions in modern Hip-Hop. The truth is Boom Bap isn't just a sound. Boom Bap is the foundation of Hip-Hop culture itself. Before the streaming era. Before playlists. Before viral dances and social media challenges. There was the beat, the rhyme, and the connection between people. Boom Bap became the language that introduced the world to Hip-Hop and helped establish the culture as a global movement. That foundation is exactly what DJ Kawon celebrates on his debut album, Boom Bap Alumni.

People know DJ Kawon as one-third of The Mic Council and as the creator of The Mixtape Show, a platform dedicated to preserving and celebrating Hip-Hop culture. For years, Kawon has helped amplify artists through interviews, conversations, and media coverage. Now he steps into a different role—not as a commentator on the culture, but as a contributor to it.

In 2025 DJ Kawon won an honor at the Heritage Hip-Hop Awards for his musical production. With Boom Bap Alumni, DJ Kawon transforms from platform builder to executive producer, curator, and cultural architect with his own project. What makes this project special is the way it connects artists across geographical borders while remaining rooted in Hip-Hop's core principles.

The album features emcees from Canada and the United States, bringing together voices from different regions, backgrounds, and experiences. Instead of chasing trends, Kawon focuses on creating chemistry. The result is an album that feels like a Hip-Hop summit meeting where every artist is invited because of skill, not popularity.

That philosophy is evident on the album's first single, Dirty Angels, (by Cold Camp) which introduces listeners to the collaborative spirit that fuels the entire project. Rather than creating records designed to fit neatly into a playlist category, DJ Kawon builds songs that feel like conversations between artists who share a respect for the craft.

Perhaps the most exciting example of this approach is the Boom Bap Alumni Posse Cut.

The posse cut is one of Hip-Hop's most important traditions, yet it has become increasingly rare in today's music landscape. Historically, posse cuts brought together multiple emcees with different styles, voices, and perspectives over a single instrumental. The goal wasn't simply to make a song—it was to create a competitive showcase where artists elevated one another.

For many Hip-Hop fans, posse cuts served as proving grounds where legends were born.

DJ Kawon revives that tradition on Boom Bap Alumni, creating a moment where lyricists stand shoulder-to-shoulder and remind listeners why the art of emceeing still matters.

Throughout the album, listeners will hear strategic pairings that make each record feel unique. Artists from different territories are matched together, creating marquee moments that celebrate diversity within Hip-Hop while maintaining a unified sound. Whether it's solo performances from artists like Notes 82, Acewonda, Tre-Dot, and Travisty The Lazy Emcee or collaborative records featuring multiple artists, Like Len Dor and The BadSeed, every song contributes to the larger vision. And that vision is clear.

Boom Bap Alumni is not trying to recreate the past. It is proving that the values that built Hip-Hop still have a place in its future. The drums knock. The music breathes. The rhymes matter. The listener is invited to pay attention to the words again. In an era where music is often consumed in fragments, DJ Kawon asks listeners to engage with complete songs, complete verses, and complete ideas. The jazzy textures, soulful undertones, and hard-hitting drums evoke the spirit of the early 1990s, but the voices are modern, current, and relevant. That balance is what makes Boom Bap Alumni important. This is not nostalgia. This is preservation. This is continuation. This is Hip-Hop remembering who it is.

As June approaches, Boom Bap Alumni stands as one of the most intriguing independent Hip-Hop releases on the calendar. More than an album, it is a reminder that culture survives when people choose to protect it. DJ Kawon has spent years giving artists a platform. Now he uses that same vision to create one. If Boom Bap Alumni accomplishes anything, it proves that Boom Bap was never dead. It shows us all that the people who love Hip-Hop simply never stopped listening to it. Awaiting memories of what was while celebrating the newness of times past building the culture one brick, one rhyme and one sound, at a time.

Have you heard "Dirty Angels" yet? Watch the official video and tell us if Boom Bap still represents the heart of Hip-Hop culture. Subscribe to Heritage Hip-Hop for more exclusive album reviews, artist interviews, and coverage of the independent artists keeping the culture alive.

Dirty Angels by DJ Kawon featuring Cold Camp:

https://www.youtube.com/watch?v=0xsFXNQFd1g

Boom Bap Alumni will be released on Mad Good Records. 6/28/2026

Media Links:

Instagram:

DJ Kawon: https://www.instagram.com/kawonjmedia/

Madgood Records Bandcamp Page:

https://madgoodrecords.bandcamp.com/music

#BoomBapAlumni #DJKwan #BoomBap #HipHopCulture #UndergroundHipHop #RealHipHop #IndependentHipHop #GoldenEraHipHop #HipHopCommunity #BoomBapRap #LyricismLives #HipHopBlog #HipHopMedia #TheMixtapeShow #TheMicCouncil #HipHopHistory #HipHopNews #ConsciousHipHop #HipHopWorldwide #CanadianHipHop #EastCoastHipHop #IndependentMusic #PosseCut #BoomBapForever #HeritageHipHop

Why SEO and GEO Are the New Music Discovery Tools Independent Artists Need Now

Streaming Is Not Enough: Why Artists Need SEO and GEO to Be Found

For years, artists were told that streaming would change everything.

They were told, “Put your music on Spotify, Apple Music, Tidal, YouTube, and every other platform, and the people will find you.” That sounded good. It sounded fair. It sounded like the music industry had finally opened the door for everybody. But here is the truth: being available is not the same thing as being discovered.

That is the lesson independent artists must learn right now. Streaming gave artists access to the marketplace, but it did not guarantee visibility. It gave artists distribution, but it did not guarantee discovery. It gave artists numbers, but it did not always give them fans. In today’s music industry, the next battle is not just about who has the best song. It is about who can be found when people search.

That is where SEO and GEO come in. SEO means Search Engine Optimization. It is how artists make themselves easier to find on Google, YouTube, and other search platforms.

GEO means Generative Engine Optimization. It is how artists make themselves easier to find through AI tools like ChatGPT, Perplexity, Google AI Overviews, and other answer-based search engines. In simple terms, SEO helps search engines find you. GEO helps AI explain you. And in the new music industry, both matter.

The Problem: Streaming’s Broken Promise

Streaming was sold as the great equalizer. The promise was simple: more music, more access, more opportunity. On paper, that sounds beautiful. Any artist can upload music. Any fan can listen. Any song can travel around the world. But in real life, the system does not work equally for everyone. Streaming platforms are crowded. Millions of songs are fighting for attention. Every week, new music drops into a digital ocean. Most of it sinks before people even know it exists. Why? Because algorithms usually serve what is already moving.

If an artist already has attention, the system gives them more attention. If a song already has momentum, the platform may push it harder. But if an artist is unknown, independent, or not connected to the right playlist system, they can disappear quickly.

This is the problem. Streaming did not remove the gatekeepers. It created new ones.

Instead of radio programmers and label executives being the only gatekeepers, now artists must also deal with playlist curators, algorithms, platform rules, paid promotion systems, and data they do not fully control.

Playlist placement is one of the biggest examples. Many artists believe getting on a playlist will change their career. Sometimes it helps. But playlist access is often based on relationships, influence, marketing budgets, or platform systems that most independent artists do not understand. That means an artist can have good music and still remain invisible. Now let’s talk about another mistake: confusing streams with fans.

A stream is not always a supporter. A stream is a play. A fan is a person.

A fan knows your name. A fan searches for you. A fan buys a ticket. A fan shares your video. A fan tells somebody else about you. A fan cares when you drop again.

An artist can have thousands of streams and still have no real audience. That sounds harsh, but it is true. Streaming numbers can make an artist look active, but they do not always prove that people are emotionally connected to the music. Then there is the viral moment myth.

Many artists are chasing the one clip, one challenge, one playlist, or one post that will “change everything.” But going viral is not the same thing as building a career. A viral moment can give attention, but attention without structure fades. If people hear your song but cannot find your story, your website, your interview, your video, your message, or your next move, that moment disappears. That is why streaming alone is not enough.

Streaming platforms also keep most of the valuable relationship data inside their own systems. Artists can see numbers, locations, and trends, but they do not truly own the listener relationship. If the platform changes the algorithm, the artist suffers.

If the playlist removes the song, the artist suffers. If the account gets hacked, restricted, or buried, the artist suffers. That is not ownership. That is dependence.

The Shift: How People Actually Find Music Now

Music discovery has changed. Once upon a time, radio broke records. Then music television helped break artists. Then mixtapes, blogs, magazines, DJs, and street teams helped build movements. Today, discovery is everywhere.

A person may find a new artist through a YouTube video, a TikTok clip, a podcast interview, a blog post, a Reddit thread, a Google search, an Instagram reel, or an AI recommendation. That means the new radio is not one place anymore.

The new radio is search.

Think about how people look for music today. They do not always search by artist name. Sometimes they search by mood. They type things like:

“Best motivational rap songs for the gym.”

“New boom bap artists from New Jersey.”

“Underground female rappers with bars.”

“Hip-Hop songs about depression and healing.”

“Artists that sound like 90s East Coast rap.”

“Independent rappers from Newark.”

Notice something important. Those searches are not always looking for a famous artist. They are looking for a feeling, a sound, a place, a story, or a category. That creates an opportunity. If your music fits one of those searches but your name does not appear anywhere outside of streaming platforms, the search engine may never connect you to the fan looking for you. That is why artists must stop thinking only like musicians and start thinking like searchable brands. Google, YouTube, and AI tools are becoming part of the discovery process. People ask questions and expect answers. If the answer does not include you, you are invisible in that space.

This is the new rule:

Whoever controls the search result controls the first impression.

When someone searches your artist name, what comes up?

When someone searches your genre and city, do you appear?

When someone searches your sound, does your content show up?

When an AI tool is asked to recommend artists like you, does it know you exist?

These are no longer extra questions. These are career questions.

SEO for Artists: Being Found Before You Are Famous

Most artists have a major weakness. They only exist on streaming platforms.

That is dangerous. If the only place people can find you is Spotify, Apple Music, or Tidal, then you do not have a full digital identity. You have a music listing. There is a difference.

A streaming profile tells people your songs exist. A digital identity tells people who you are. SEO helps build that identity.

For artists, SEO means using the right words, titles, descriptions, tags, bios, and website content so search engines can understand you. Search engines need clues. They need to know your name, your genre, your location, your sound, your story, your releases, your interviews, your videos, and your brand. For example, if you are an independent Hip-Hop artist from Newark, New Jersey, who makes soulful boom bap music about survival, fatherhood, and street wisdom, that language needs to appear in more than one place.

It should be on your website. It should be in your YouTube descriptions. It should be in your press release. It should be in your artist bio. It should be in your blog interviews.

It should be in your podcast appearances. It should be in your social media bios.

The goal is consistency. If every platform describes you differently, search engines get confused. If your content is clear and consistent, search engines have a better chance of understanding who you are. YouTube SEO may be one of the most powerful tools independent artists have right now.

Why?

Because YouTube is both a video platform and a search engine.

People search YouTube for songs, interviews, freestyles, music videos, live performances, reactions, reviews, and documentaries. That means every video title, description, tag, thumbnail, and caption matters. An artist should not upload a video with a lazy title like:

“New Song Out Now.”

That tells the search engine almost nothing.

A stronger title would be:

“New Jersey Boom Bap Artist Drops Soulful Street Anthem About Survival.”

Now the search engine has information. The viewer has context. The artist has a better chance of being discovered by people searching for that type of music. Blogs, interviews, and press releases also matter because they create a digital paper trail.

A digital paper trail is the collection of searchable content that proves you exist. When blogs write about you, when podcasts interview you, when websites review your project, and when your own site publishes updates, search engines have more material to index.

That means your career becomes easier to find. This is why press still matters.

Not because artists need fake hype. Press matters because searchable proof matters.

GEO for Artists: Getting Found by AI

Now let’s move to the next level.

SEO helps Google and YouTube find you.

GEO helps AI tools understand and recommend you.

GEO stands for Generative Engine Optimization. That sounds complicated, but the idea is simple.

When someone asks an AI tool a question, the AI gives an answer. That answer is usually built from information found across the web.

So if someone asks:

“Who are some independent Hip-Hop artists from New Jersey making real lyrical music?”

The AI tool has to decide which artists to mention.

Here is the key question:

Will it mention you?

If your music only lives on a streaming platform, probably not.

AI tools do not simply listen to your songs and magically understand your career. They rely heavily on text, websites, articles, structured information, and trusted sources.

If an AI tool cannot find clear information about you, it cannot explain you.

And if it cannot explain you, it probably will not recommend you.

That is why every artist needs strong, factual, structured language across the internet.

Your bio should clearly answer:

Who are you?

Where are you from?

What genre do you represent?

What does your music sound like?

What themes do you cover?

What projects have you released?

What makes you different?

Who have you worked with?

Where can people find your official content?

This matters because AI search is not just looking for names. It is looking for meaning.

An artist name by itself is not enough.

You need context.

For example, the phrase “Jersey rapper” is helpful.

But this is stronger:

“An independent Newark, New Jersey Hip-Hop artist known for lyrical storytelling, soulful production, and music that speaks to survival, family, community, and personal growth.”

That sentence gives AI and search engines something to work with.

GEO is about becoming understandable.

The goal is not just to appear online.

The goal is to become a source that AI tools can cite, summarize, and trust.

That means artists need websites, bios, blogs, press kits, interviews, reviews, YouTube descriptions, and articles that all tell the same story.

If AI cannot describe you, you do not exist in AI search.

That may sound extreme, but it is the reality of the new discovery system.

What Artists Must Do Right Now

So what should artists do?

First, build and own a website.

Your website is your home base. Social media is rented land. Streaming platforms are rented land. Your website is where your official story should live.

Your website should include your bio, music, videos, press links, photos, contact information, tour dates, merchandise, and release updates.

Second, write a real artist bio.

Do not just say, “I am different” or “I make music for everybody.”

That is too general.

Say who you are clearly. Say where you are from. Say what kind of music you make. Say what people should feel when they hear it.

Third, optimize YouTube.

Every music video, freestyle, interview, short, and performance should have a strong title and description.

Artists should include their name, song title, location, genre, mood, and keywords that match how fans search.

Fourth, create content around every release.

A song drop should not be one post and a link.

A release should have a strategy.

Before the song drops, create content explaining the story behind it.

On release day, publish the video, description, blog, and social posts.

After release day, keep building with interviews, behind-the-scenes clips, lyric breakdowns, performance footage, and fan reactions.

Every release is an SEO event.

Fifth, claim and optimize every platform profile.

Artists should update Spotify for Artists, Apple Music for Artists, YouTube Studio, Instagram, TikTok, Facebook, X, Bandsintown, Songkick, Genius, Musixmatch, and any other platform connected to their music identity.

If the artist performs locally, teaches, hosts events, or runs a business connected to music, a Google Business Profile may also help.

Sixth, get mentioned on legitimate websites.

Blogs, podcasts, magazines, event pages, and digital publications help build authority. These mentions are called citations.

A citation is when another trusted source mentions your name and connects it to your work.

The more quality citations you have, the easier it becomes for search engines and AI tools to verify that you are real.

Seventh, think like a media company.

This may be the hardest lesson for artists.

Today, making the music is only part of the job.

Artists must also tell the story, document the process, educate the audience, build the brand, and create searchable content.

That does not mean every artist has to become a full-time influencer.

It means every artist needs a content strategy.

The music is the product.

The story is the bridge.

The search result is the doorway.

How Heritage Hip-Hop Helps Artists Get Found

This is why Heritage Hip-Hop is more than a media platform.

Heritage Hip-Hop helps artists build the digital presence they need to be discovered in the new music industry. We help artists understand how SEO and GEO work, how to tell their story in searchable language, and how to build strategic rollouts that go beyond just posting a streaming link.

We aid artists with SEO and GEO discovery by helping them create stronger artist bios, better YouTube titles and descriptions, optimized blog features, keyword-rich press language, and content strategies that support their music before and after release day.

A song should not just drop.

A song should be introduced, explained, positioned, searched, shared, and remembered.

That is the difference between simply releasing music and building a searchable legacy.

If you are an artist, producer, manager, label, or creative brand trying to be found by new fans, Heritage Hip-Hop can help you build the strategy around your sound.

We help artists prepare for the new discovery era by focusing on:

Searchable artist identitySEO and GEO music discoveryStrategic music rolloutsYouTube title and description optimizationBlog and press feature positioningArtist bios and EPK languageKeyword-rich release campaignsDigital storytelling that helps fans and search engines understand who you are

The goal is simple: help the right people find your music.

Because talent matters.

But in this era, being findable matters too.

The Big Picture

The artists who break in this new era will not only be talented.

They will be findable. That is the shift. In the streaming era, artists were told to upload music everywhere. In the search era, artists must make sure the internet understands who they are. SEO and GEO are not marketing extras anymore. They are career infrastructure. Infrastructure means the foundation. It is what everything else is built on.

A house without a foundation cannot stand. A music career without discoverability cannot grow. Independent artists have a special opportunity right now. Major labels have money, but independent artists can move faster. They can build their websites, update their bios, create content, get interviews, publish blogs, optimize YouTube, and shape their own digital identity before the industry fully catches up to AI search. The streaming era rewarded artists who had access to distribution. The search era will reward artists who have presence, strategy, and ownership.

So here is today’s lesson:

Do not just ask, “Is my music online?”

Ask, “Can people find me?”

Ask, “Can search engines understand me?”

Ask, “Can AI explain me?”

Ask, “Does my digital presence tell the truth about who I am?”

Because in the new music industry, discovery belongs to the artists who build more than songs. It belongs to the artists who build searchable legacies.

Work With Heritage Hip-Hop

If you are ready to stop just dropping music and start building discovery around your music, Heritage Hip-Hop can help. We work with artists, producers, managers, and creative brands who want to improve their SEO, GEO, YouTube presence, blog visibility, and rollout strategy. Your music deserves more than a link. It deserves a plan. Contact Heritage Hip-Hop today to build a searchable rollout strategy for your next release.

#MusicSEO #GEO #MusicMarketing #IndependentArtists #MusicDiscovery #ArtistDevelopment #YouTubeSEO #AISEO #HipHopMarketing #HeritageHipHop

The Bad Seed & Shade Cobain Flip Hip-Hop History Into Current Classic Material on Flip Wilson 2

Flip Wilson drops 6/6/2026

Hip-Hop has always lived in the balance between memory and movement. The culture honors the past, but it can never survive by being trapped inside it. That is where The Bad Seed and Shade Cobain step in with Flip Wilson 2, a project that does not just borrow from Hip-Hop history — it challenges it, salutes it, bends it, and brings it back outside with new clothes on.

This is the second time The Bad Seed and Shade Cobain have taken known Hip-Hop beats, classic energy, and familiar moments from well-known entities and turned them into something fresh. But let’s be clear: this is not karaoke rap. This is not nostalgia farming. This is not “let me rap over your favorite beat and call it new.”

This is a flip.

And in Hip-Hop, a flip is different.

A remix usually takes an existing song and gives it a new version. Maybe a new beat. Maybe a new guest verse. Maybe a club version, radio version, or street version. The original song is still the foundation, and the remix lives in conversation with it.

An interpolation is when an artist replays or reworks a familiar melody, lyric, rhythm, or musical phrase without directly using the original recording. It gives you the memory of the song, but it is rebuilt in a new form.

But a flip is something more dangerous.

A flip is when you take the feeling, the memory, the attitude, or the DNA of something known and make it live again through your own voice. A flip is not just copying the past. A flip asks, “What would this sound like if it belonged to me?” It is Hip-Hop’s version of crate-digging with imagination. It is part tribute, part reinvention, part challenge.

That is what Flip Wilson 2 is built on.

On this project, The Bad Seed and Shade Cobain expand the palate. The first Flip Wilson proved the concept. Flip Wilson 2 sharpens it. This time, West Coast music gets pulled into the lab. The Chronic energy is present. Classic 90s memories are upgraded. Jay-Z’s street-cinema classic “Streets Is Watching” gets reimagined into “The Streets Is Toxic,” a title that already tells you the mission: take something familiar and make it speak to today’s climate.

That is the power of this project. It does not sound like artists trying to recreate 1993, 1996, or 1998. It sounds like artists who studied those eras, respected the architecture, and then built a new house on top of the foundation.

Shade Cobain’s vision is the engine here. He understands that Boom Bap is not supposed to be dusty museum music. Boom Bap is feeling. Boom Bap is drums. Boom Bap is voice. Boom Bap is attitude. Boom Bap is the moment when the beat makes the MC stand up straighter. On Flip Wilson 2, the sound is reimagined into current classic material — yesterday’s spirit with today’s seasoning.

That matters because Hip-Hop has been asking the wrong question for too long. Everybody asks, “Can you still rap?” But the better question is, “Can you make the listener feel something again?”

The Bad Seed can.

One question we ask on the Heritage Hip-Hop Podcast is: What is the perfect beat? Meaning, if the artist who originally released that beat never had it, and you had it first, would that be your single?

That question is bigger than a fun debate. It is really about ownership of energy. Every MC has heard a beat and thought, “I would have destroyed that.” Every rapper has a rhythm in their head connected to a record they wish came their way first. The Bad Seed and Shade Cobain took that conversation and created a market for it.

They give the MC the beats they wish they could have had.

But they do not just reuse the same beat and lean on the listener’s memory. They bring modern seasoning. They update the drums, the swing, the texture, the pressure, and the feel. The result is not a cover. It is not a lazy remake. It is an MC walking into Hip-Hop history, touching the wall, and saying, “Respect due — but I got something to add.”

That is why Flip Wilson 2 works.

The voices of Honey Dinero, Cuzz Cuzzo, and Mook Sinatra help expand the world of the album. They bring different textures, different tones, and different approaches, making the project feel less like a gimmick and more like a full cultural exercise. The Bad Seed is not standing alone inside nostalgia. He is building a space where different voices can speak through familiar energy and make it new again.

The first single makes that point loud.

Taking the energy of “It Takes Two” by the late Rob Base and DJ EZ Rock in the wake of Rob Base’s passing is not just a musical choice. It is a dedication. It is Hip-Hop giving flowers through movement. “It Takes Two” was never just a record. It was motion. It was party. It was call-and-response. It was the type of song that made people who did not even know all the words still feel like they belonged in the room.

That energy has been missing.

Too much of today’s music feels isolated, cold, and disposable. The Rob Base and DJ EZ Rock spirit was about connection. It was about the room moving together. It was about Hip-Hop as celebration, not just confession or competition. By flipping that energy, The Bad Seed and Shade Cobain breathe new life into a feeling the culture still needs.

That is what separates Flip Wilson 2 from simple nostalgia.

Nostalgia says, “Remember this?”

A flip says, “You remember this? Good. Now watch what we do with it.”

And that is the difference.

Flip Wilson 2 is not asking for permission to exist. It is not begging older heads to approve it or younger listeners to understand every reference. It stands in the middle and says Hip-Hop can be historic and current at the same time. It can be Boom Bap without being trapped in the past. It can respect the West Coast, New York, club classics, street classics, and golden era memories while still sounding alive right now.

The Bad Seed and Shade Cobain are proving something important: the past does not have to be repeated to be honored. Sometimes it has to be flipped.

And when the flip is done right, the listener does not just hear the old record. They hear why it mattered.

Flip Wilson 2 will be available on Bandcamp on June 6, 2026, and fans who pre-order the album receive an extra song with the project. For independent Hip-Hop supporters, Boom Bap believers, crate-diggers, lyric lovers, and people who still care about the craft, this is one to tap into.

Because Hip-Hop does not die when the memories get old.

Hip-Hop dies when nobody is brave enough to make those memories new again.

The Bad Seed and Shade Cobain are not letting that happen.

They flipped it.

And Flip Wilson 2 sounds like the culture remembering itself in real time.

The Pre Order Link:

https://thebadseed6.bandcamp.com/album/flip-wilson-ii

Outta Site (Music Video):

https://www.youtube.com/watch?v=1Tv8_-HMg0k

#TheBadSeed #ShadeCobain #FlipWilson2 #FlipWilsonII #BoomBap #BoomBapHipHop #UndergroundHipHop #IndependentHipHop #BandcampHipHop #HipHopAlbumPreview #NewHipHopMusic #RealHipHop #LyricismMatters #HipHopCulture #HeritageHipHop #WestCoastHipHop #EastCoastHipHop #RobBase #DJEZRock #ItTakesTwo #TheChronic #StreetsIsWatching #StreetsIsToxic #HoneyDinero #CuzzCuzzo #MookSinatra #HipHopHeads #90sHipHop #ClassicHipHop #CurrentClassic