Hip-Hop history has been filled with powerful women.
Though they are extremely under-represented in the Hip-
Hop atmosphere, female rappers have had a trail-blaz-
ing impact on the scene. With the rise of the post-based
underground a whole new rap sub-genre was generat-
ed. This new ‘underground’ lacked a female presence.
La Goony Chonga and Bootychaaain (as well as oth-
er innovators Kreayshawn and Amber London) provided
this female spark in the underground. From 2013 until
the present date, the Gwallah Gang, Bootychaaain and
La Goony Chonga, have paved the way for the next gen-
eration of female talent. Through their eclectic style and
boundary pushing music, these two creative dynamo’s
have become pioneers in the underground. Their influ-
ence is often understated and underrated but the Gwallah
Girls are certified stars in the underground world.
The female MC, the Femme-C, or simply the Female artist, has
been heavily under-represented throughout Hip-Hop history.
Despite this, there have been a handful of iconic female rappers
that broke through the barriers. Icons such as : Eve, Foxy Brown
and Lil Kim were the flag bearers for the Femme-C movement of
the late 90’s and early 2000’s. These female acts enjoyed con-
tinued commercial success. Holistically, Women are still heavily
under-represented throughout Hip-Hop history. This under-rep-
resentation became glaringly obvious with the emergence of
the post-Lil B internet underground. With a whole generation
of people, worldwide, becoming rappers overnight. The lack
of new female artists was alarming. Kreayshawn, who directed
music videos for Lil B, became a viral sensation with the hit ‘Gu-
cci Gucci’ can be considered the first female to breakthrough
on the underground scene. Amber London was the first lady of
the Raider Klan and her hit ‘Low MF Key’ cemented her status
as a queen of the ‘unda’. Soon after the rise of Amber London
and the Raider Klan, a dynamic duo would begin to establish
themselves. This duo was none other than Bootychaaain and La
Goony Chonga AKA the Gwallah Gang. When La Goony Chon-
ga and Bootychaaain officially cliqued up, Amber London was a
stoic part of the Raider movement and Kreayshawn had stopped
making music. This left a lane wide open for the duo who would
initially christen themselves as the Snobmobb. Their fans would
become known as the Slutmobb. With their effervescent ener-
gy, eccentric aesthetic and based-world swag, Snobmobb AKA
Gwallah Gang would breakthrough into the underground world.
Their constant artistic progression has cemented Gwallah Gang
as pioneers in the rap scene. In this modern day boom of female
rappers, Gwallag Gang were putting in work and laying the blue-
print long before the mainstream were craving female acts. This
edition of LO-FI: The Magazine will tell the story of the Gwallah
Gang and explain how they are one of the rap game’s biggest
trend-setters.
2013/14: THE SNOBMOBB FOUNDATION
Gwallah Gang have their origins bound in the annals of under-
ground history. La Goony Chonga emerged on the scene as
Twiggy Rasta Masta. Hailing from Dade County, Miami, the 305
songstress was a prominent figure of the burgeoning Floridian
underground scene. After a series of features and singles, La
Goony Chonga released her debut project ‘Santeria Pussy’. This
debut effort is as raw and raunchy as music can get. Utilising a
Three 6 Mafia inspired triplet flow and a varying array of beats,
La Goony Chonga set the tone for her career and her aesthet-
ic with her lustful rhymes. Like many artists first project, ‘San-
teria Pussy’ is an extremely raw project. Despite the rawness,
this mixtape does contain some gems. The tracks: ‘IDPWFB’,
‘Squaded Up Shawty’, ‘Drippin Wet’ and ‘Mermaid Lair’ illustrate
her skills and willingness to experiment with different sound-
scapes. ‘Santeria Pussy’ is an example of an artist attempting
to find their feet. LGC’s potential was on display from this initial
project. Bootychaaain emerged on the scene as a videographer
and a Raider Klan affiliate. Once the Snobmobb was officially
formed her star would begin to glisten.
The first official release from Snobmobb was a freestyle al-
bum entitled ‘Slutz Have Feelings 2’. As the title suggests ‘Slutz
Have Feelings’ is just as abrasive as La Goony Chonga’s ‘San-
teria Pussy’. ‘Slutz Have Feelings 2’ can be personified as Lil
B fused with prime, Slip-N-Slide Records, Trina. The based
stream-of-consciousness fused with the sexual empowerment
of Trina. The debut Snobmobb tape is stream of consciousness
focused on sex, drugs and tricking on men. The songs have no
particular structure. The waved-out beats pair admirably with the
based free-form of the rhymes. ‘Slutz Have Feelings 2’ is not for
the light hearted. This mixtape is for certified based family only.
Snobmobb’s debut project is living proof that Bootychaaain and
La Goony Chonga were entrenched in underground culture.
Their based ethos and infectious female energy immediately
differentiated them in an underground that was booming at the
time. ‘Slutz Have Feelings 2’ established the duo as a confident,
vivacious and based collective whose raunchy aesthetic had
superstar potential. ‘FanMeWitMyRaxxx’ and ‘Bootychaaain Da
Song’ are essential listens from this project.
The release of ‘Slutz Have Feelings 2’ established LGC and
Bootychaaain as based, sex-fuelled duo booming with potential.
The Snobmobb would double down on this trick-heavy, raunchy
aesthetic with the release of ‘FUCK YEAH! $5 MILLION’. The
sophomore effort was a 7 track offering. This EP is still laden
with Based flows, waved out beats and rhymes of deviant acts.
Standout tracks from the tape are: ‘I Am Onna Wave’, ‘Swervin’,
‘Go’ and ‘Trippy Cup’. A visual for ‘Trippy Cup’ was released
which displayed the eclectic stylings of the Snobmobb. Al-
though the duo were in the early stages of their careers, it was
evident that the duo were fearless in the pursuit of their artistic
dreams and visions. Whether it was in their music, outfits or their
social media, they embodied the Snobmobb lifestyle. The man-
ner in which they acted and dressed during this era was several
years ahead of its time. Their strong aesthetic coupled with their
relentless portrayal of it and their heavy-based music laid the
platform for the continued success of Bootychaaain and La Goo-
ny Chonga. During this era, they not only laid the platform for
themselves but for the future wave of female rappers. Entering
2014, Snobmobb AKA Gwallah Gang were two projects deep
and beginning to gain momentum in the underground scene.
They would continue to build upon this momentum throughout
the year of 2014.
Midway through 2014, In June, Gwallah Gang would release
the LP ‘Trikksquad Monopoly’. ‘Trikksquad Monopoly’ is the hall-
mark of the Snobmobb era. This LP was a more concerted ef-
fort than their previous ‘freestyle’ EPs. It was this album which
burst Snobmobb to the wider underground scene. ‘Trikksquad
Monopoly’ follows the general theme of their previous record-
ing efforts. Heavy based flows, filled with the bible of ‘tricking’
dominate the varying soundscapes. These soundscapes range
from brazen Lex Luger-esque frenzies, Vice City-like vibes, to
the synth wizardry of F1LTHY and the infectious energy of New
Orleans Bounce. ‘Trikksquad Monopoly’ spawned several un-
derground hits and lowkey gems: ‘ON DA JOB’, ‘Diamond Cutz’,
‘GTGRGC’, ‘HML’, ‘TRANZZ’, and ‘STAXXX’. As is the case with
Gwallah Gang’s early work, ‘Trikksquad Monopoly’ is best lis-
tened to with an open mind. The flows are experimental and the
lyrics are abrasive. Once you catch the Snobmobb vibe there’s
no turning back. The abrasive and experimental nature of their
music is essentially a byproduct of the 2013/14 underground
environment. These years can be considered the peak of the
experimental post-based underground. Gwallah Gang’s first
few projects personify the underground at the time. Packed to
the brim with swag, aesthetic and boundary-pushing content.
‘Trikksquad Monopoly’ raised Snobmobb’s stature. Their glow
would be witnessed in the years that followed.
2015/16: FROM TRICKIN’
TO TREAD, THE GWALLAH
TAKEOVER
2015 was a year of evolution for the Gwallah Gang. This was
the year Bootychaaain and La Goony Chonga would leave their
imprint on the underground scene. 2K15 is the year that the dy-
namic duo would establish themselves as pioneers in the game.
Snobmobb’s initial trio of projects and music videos put Boo-
tychaaain and La Goony Chonga on the map as a rare female
force in the underground. A handful of classic songs and a bar-
rier breaking, in your face aesthetic laid the platform for their
upcoming ascension. The duo’s first release of 2015 was the
EP ‘SKRRRICTLY 4 DA SLUTZ’. This project was the birth of the
now historic partnership between Gwallah Gang and Philadel-
phia based producer collective, Working On Dying. ‘SKRRRICT-
LY 4 DA SLUTZ’ flashes the chemistry Gwallah Gang and WOD
share. The artistic progression of La Goony Chonga and Booty-
chaaain is evident throughout the EP. ‘Make It Last’ and ‘Riskee’
are all-time classics in their respective solo discographies. This
EP sees the duo drop the abrasive heavy-based flow for a more
melodic style. A change which was necessary to mesh with the
Tangerine Dream inspired sounds of the WOD producers. This
flow switch up allowed them to catch the pocket of the various
beats. ‘SKRRRICTLY 4 DA SLUTZ’ marks the first step in the
evolution of the Snobmobb. With each successive project their
legend was on the rise.
Snobmobb music would close out 2015 with the release of
‘Better Off a Shone’. ‘Better Off a Shone’ is easily the best Gwal-
lah Gang project. Hosted by Working On Dying’s Loosieman,
‘Better Off a Shone’ is an 8 track EP littered with trunk-knocking
bangers. This EP features beats from 808 Mafia and could be
one of the most slept-on projects to come out of 2015. Booty-
chaaain’s effortless swag and legendary ad-libs are the perfect
compliment for La Goony Chonga’s trickin’ triplets. This yin and
yang of styles creates magic on the collaborative tracks: ‘Appar-
ently’, ‘Do Wat I Do’, ‘RII HERE’, ‘Self’ and ‘Lotto Money’ (Which
was played during SADAK’s show at Mercedes Benz Fashion
Week). Bankroll Chonga flexes her solo muscle on the Oogie
Mane produced ‘Cash on My Hip’ and the 808 Mafia produced
‘IGSMM’. Bootychaaain champions the track ‘Entrance’ which
was produced by 808 Mafia. As a total package, the 8 track EP
was one of the hardest to release in 2015. ‘Better Off a Shone’
lives on as a slept on underground gem. The transformation from
their based bravado, as portrayed on their first three projects, to
the cash out confidence exhibited on ‘Better Off a Shone’ shows
that Gwallah Gang were about to shoot off into the stratosphere.
Outside of collaborative projects, La Goony Chonga and Boo-
tychaaain would progress as solo acts throughout 2015. They
would also pioneer a brand new wave in the underground com-
munity.
Throughout 2015, La Goony Chonga and Bootychaaain kept
the Snobmobb wave strong by releasing various solo works.
Some of these solo tracks have become cult classics. This ability
to release solo songs and projects illustrates the solidarity of the
bond between the Gwallah Gang duo. Music groups and move-
ments are often rife with envy and jealousy. The fact that LGC
and Bootychaaain could simultaneously work on group and solo
projects shows that this envy is absent from their kinship. Boo-
tychaaain released the classic singles ‘Milkshake’ and ‘Aunty
Okaaay’ during this time period. ‘Milkshake’ would be remixed
by an upstart Playboi Carti which brought a whole wave of atten-
tion to the Gwallah Girls. The mean girl anthem, ‘Milkshake’, is
considered an undisputed classic amongst underground fans.
La Goony Chonga would release a sequel to her debut project
in October 2015. ‘Santeria Pussy 2’ was the official sequel to the
based onslaught that was entitled ‘Santeria Pussy’. Her soph-
omore effort delves further into her trick-heavy universe. ‘Yucc
Mouf’, ‘Cardi B’ and ‘Side Hoe’ are the perfect tracks to get you
engrossed in the sex-fuelled world of La Goony Chonga. The
trick-heavy triplet’s return on ‘Santeria Pussy 2’. The solo singles
from Bootychaaain and the solo project from La Goony Chonga
shows the maturation and evolution form the early Snobmobb
era. These solo efforts also demonstrate the solidarity of the
bond that the Gwallah Girls share. Progression is the word which
best describes the output of Gwallah Gang in 2015. In their solo
and collaborative work, the duo showed an immense amount of
progression in their recording craft. They hadn’t switched styles,
they simply evolved as artists. As 2015 came to a close, LGC
and Bootychaaain would help pioneer a wave which would take
over the underground. ‘Shyne’ season was about to commence.
As 2015 closed and 2016 began, Gwallah Gang played a pivot-
al role in the ‘Tread’ movement. Pioneered by Working on Dying,
Gwallah Gang and Goth Money, the ‘Tread’ movement person-
ifies the frenetic nature of the WOD soundscapes during late
2015 and throughout 2016. The ‘Tread’ term was coined by Boo-
tychaaain and thus a brand new sub-genre was born. Together,
WOD and Gwallah Gang would collaborate on several strip club
bangers. The ‘Tread’ era produced the classic singles: ‘Cash on
Me’ (La Goony Chonga), ‘Spendin’ (La Goony Chonga), ‘They
on Me’ (Bootychaaain), ‘Juice’ (Bootychaaain), ‘Yellow Raincoat’
(Bootychaaain), ‘Gwallah Girl Anthem’ (Bootychaaain) and ‘Lil
Ho’ (Bootychaaain). These hard hitting singles established the
‘Tread’ wave. The high BPM beats meshed perfectly with the
evolved proficiency of the Gwallah Gang. The ‘Tread’ beats
brought the best out of the Gwallah Girls and the Gwallah Girls
brought the best out of the ‘Tread’ beats. ‘Tread’ also birthed
La Goony Chonga’s own sub-genre ‘Treggaeton’. ‘Buena Y
Guapa’ was the first ‘Treggaeton’ song to be released. ‘Treg-
gaeton’ is essentially LGC rapping in Spanish over the ‘Tread’
sounds, an adaptation of Reggaeton. This bilingual dimension
put La Goony Chonga in a lane of her own. She was one of the
first, if not the first prominent underground figure to start rap-
ping in another language. Embracing her Cuban roots has paid
off for La Goony Chonga, as this bilingual element opened up
a brand new lane for her career. Her music has evolved past
‘Tread’ and ‘Treggaeton’ but it was during this era in which she
established a lane which changed her career forever. The early
bilingual era spawned the hits: ‘Tengo Dinero’ (which was fea-
tured on Alexander Wang’s NYFW Show), ‘Buena Y Guapa’ and
‘Yo Se’. Gwallah Gang was undoubtedly one of the pioneers of
the ‘Tread’ movement. This era may have ended on contentious
terms but Gwallah Gang continued their grind to continue their
shine. Throughout 2015/16, La Goony Chonga and Bootychaaa-
in were entrenched as the dominant women on the underground
scene. They were continuing to pave the way for the oncoming
wave of female talent. From late 2016 to this present day, the
Gwallah Gang have continued their exponential growth as solo
artists. Despite the lack of a collaborative project, Gwallah Gang
is stronger than ever.
“The
transformation from
their based bravado, as por-
trayed on their first three proj-
ects, to the cash out confi-
dence exhibited on ‘Better Off
a Shone’ shows that Gwallah
Gang were about to shoot off
into the stratosphere”
2017- 2019: THE SOLO ‘SHYNE’
The last official Gwallah Gang release was entitled ‘Fiend’ and
released during early 2017. Since this release, the Gwallah Girls
have continued to grow exponentially as solo artists. The Gwal-
lah Gang connection is still strong, The duo are just trekking
different paths at this time. Currently, Bootychaaain is teasing
the release of her debut tape by releasing a series of tantalising
singles. ‘Kris Jenner’, ‘Citation’, ‘Icky’, ‘Hot Grease’, ‘Line Forma-
tion’ and various features have whet the appetite of every Boo-
tychaaain fan. These singles have left fans clamouring for her to
unlock her vault of unreleased classics. In today’s rap environ-
ment, Bootychaaain seems to be finally be recognised as one
of the founding women in underground culture. Bootychaaain
and Black Kray (who she has been dating since 2013/14) have
become everyone’s ‘relationship goals’. Recently Bootychaaa-
in and Kray toured Europe, New Zealand and were featured in
an in-depth video interview with Underground Underdogs. This
world tour and in-depth interview shows that the couples inde-
pendent grind is paying off. Upcoming female artists Baby Sosa
and Hook appear to be following in her footsteps as innovative
female artists. As of 2019, Bootychaaain is rightly entrenched
as an icon in the rap game. When Bootychaaain decides to un-
lock the vault and release ‘Evilchaaain’, or whatever she decides
to name her debut solo project, Bootychaaain’s star will shine
brighter than ever. The labels have been calling. Bootychaaain
remains committed to the independent grind.
Once La Goony Chonga started rapping in Spanish, creating a
hybrid of Reggaeton and Trap she opened a brand new lane in
the rap game. The bilingual badasses’ star has skyrocketed ever
since she added the second language to her recording arsenal.
In 2019, La Goony Chonga has obtained icon status amongst
the hispanic and underground communities for her classic ma-
terial. Two recent visits to Spain culminated in TV appearances,
live shows and a slot at the prestigious Primavera festival. These
trips to Spain also allowed La Goony Chonga to strengthen her
connections with artists such as : La Zowi, Tomasa Del Real and
Bea Pelea. The singles: ‘Tira Tira’ (featuring Sickboyrari), ‘Pussy
Poppin’ (featuring La Zowi), ‘Krazy Gloo’ and ‘Claro Que Si’ fu-
elled her success as a bilingual superstar. ‘Tira Tira’ was fea-
tured in Frank Ocean’s ‘blonded radio’ playlist on Apple Music.
Her Reggaeton music has opened La Goony to an audience well
outside her underground origins. Her album ‘DIMEN5ION’ which
is exclusively produced by J Hawk Productions features Brooke
Candy, Bootychaaain, Sickboyrari and Rue Maneli has just re-
leased. The singles ‘Duro 2005’ and ‘No Queres Lio’ are smash
hits waiting to happen. In terms of projects, LGC dropped the
Spanish album ‘Dinero’ in collaboration with Freak City LA and
the English EP ‘Free Bankroll Chonga’. Simply put, La Goony
Chonga has been on her grind. She recently gave birth to her
firstborn son ‘Mazi’. The music video for her song ‘No Effort’ was
released during her pregnancy. Long before Cardi B did the
same thing. Goony and her partner Rue Maneli are another dy-
namic duo in the underground. Ever since the end of the ‘Tread’
era, Bootychaaain and La Goony Chonga have forged their own
paths in the music game. Both of them are shining brighter than
ever before. When they reunite for new music or a new project,
the Gwallah Gang wave will be jurassic. The duo’s talent and
work ethic is illustrated by the solo success they have enjoyed
throughout this current era. Gwallah Gang is stronger than ever.
They are undoubtedly pioneers in the underground rap game.
The extended Gwallah Gang family ranges from Goth Mon-
ey, Rue Maneli to legendary Miami-based nail tech Krocaine.
Together this extended family of creatives form a substantial
wave in the creative community. As separate entities they hold
their own. Together they form like Voltron. This family merges
together to assist each other in their respective fields. Whether
its Bootychaaain shooting a music video for Black Kray, Kray
dropping a feature verse or Krocaine breaking the internet for
her nail tech on La Goony Chonga. Each creative entity recip-
rocates their progress with eachother. The extended Gwallah
Gang family adds another dimension to the La Goony Chonga
and Bootychaaain story. Through their artistic proficiency they
were able to form a stable of creatives that can co-exist and
assist one another throughout their respective creative journeys.
Together Gwallah Gang, Goth Money, Rue Maneli and Krocaine
form one of the most unique and legendary waves in the creative
community.
Throughout their careers, Gwallah Gang have constantly broke
boundaries in the rap world. When they entered the rap game
as Snobmobb, they filled the void of female energy in the un-
derground. Through their outlandish aesthetic, stream-of-con-
sciousness based verses and jaw dropping style, LGC and
Bootychaaain set trends for every female who was hip to the
underground scene. Early 2013/14 Snobmobb laid the platform
for the next wave of female artists. In 2019 we are entering a
new golden-age of female artistry. A golden-age which we have
had to wait far too long for. With the emergence of Cardi B,
Megan Thee Stallion and Rico Nasty in the mainstream. Hook,
Baby Sosa and Killavesi making waves in the underground, the
female artists of today are trying to take charge in an industry
that has made it near impossible for them to succeed in years
prior. Before these new artists could break through and make
their own waves: Gwallah Gang, Kreayshawn and Amber Lon-
don broke the archaic barriers of the post based underground.
As the years have passed Bootychaaain and La Goony Chonga
have matured and progressed from the rawest artists into some
of the most proficient in today’s scene. A true testament to the
prodigious artistic talent of the duo. From the tricking bible of
the Snobmobb era to the confident swag of the Gwallah Gang
era and their respective solo success, the Gwallah Girls have
always had the juice. As they continue to enscript their own leg-
acy upon the rap game, Bootychaaain and La Goony Chonga
should rightfully be remembered as pioneers in the rap game.
Gwallah Gang was doing all that ‘trick’, ‘cash out’ talk before
your favourite rapper knew what it was.
In conclusion, Gwallah Gang are true pioneers in the rap world.
La Goony Chonga and Bootychaaain have put in constant work
to become the artists they are today. Their humble based begin-
nings laid the platform for their shine in the present day. After
the release of a plethora of group tapes, solo projects and sin-
gles, Gwallah Gang sits atop the family tree of new age female
rappers. Bootychaaain and La Goony Chonga may be walking
different paths at the moment but the spirit of the Gwallah Gang
lives on. They still have style that’ll break your neck, still reppin’
the 5th dimension, and they’re still cashing out $5,000,000. Their
music is a rare blend of being fashion show ready yet fit for the
most ratchet of house parties. Gwallah Gang are a unique entity
in a rap world which remains oversaturated with clones. Their
legacy will live on through the next wave of up and coming fe-
male artists. Whether you love them or you hate them, you can’t
dispute the fact that Bootychaaain and La Goony Chonga are
certified legends. The $5 Million vision has been fulfilled.
“Ever since the end of the
‘Tread’ era, Bootychaaa-
in and La Goony Chon-
ga have forged their own
paths in the music game.
Both of them are shining
brighter than ever before”
THE RAP TEE OG:
KICKIN’ IT WITH PLATINUM PLUS
Whether you know him as FSalv, PlatinumPlus or by
any other of his aliases there is no escaping the fact
that the man now known as Platinum Plus was an orig-
inator of the Rap Tee revival. With his tasteful re-imag-
ination of the sought after Rap Tee aesthetic and his
own unique designs, Platinum Plus could be one of the
clothing games best kept secrets. Despite his low-key
stature, Platinum Plus has curated his own loyal fol-
lowing and designed collections for Hip-Hop legends
such as Cash Money’s Juvenile. Operating both as a
screen-printing service and clothing brand, Platinum
Plus seems poised to continue building into one of the
culture’s best sources for rare garments. We had the
honor of chopping it up with Platinum Plus via e-mail
to gain some insight into the Platinum Plus universe.
First off let’s start off with the basics, When was Plat-
inum Plus founded? And How would you describe the
‘Platinum Plus’ vision?
I honestly don’t know when I founded Platinum Plus ex-
actly. I have been designing for about 7-8 years now un-
der that and a few names before and even after Platinum
Plus. But I registered Platinum Plus in Fall 2017.
The vision has always been about the supporters, not the
brand or me.
When it comes to the revival of Rap Tees you were one
of the first to bring this wave back. What are some of
your favourite designs that you have created?
I love all my old shit cause it got me to where I am but
I also don’t like looking back at it cause I’m like damn I
really didn’t know what I was doing haha. From the begin-
ning up until this point I feel each design/print gets better
cause I’m always improving. The Keef and Thug tees I
just put out are some of my favorites. Then classic ones I
made like the Screw/Feel My Pain, Clipse/Snow Movers,
Three Six, DeNiro, Nate Dogg, some of my favorite simple
designs.
The Rap Tee wave, as with most things that become
popular, has become oversaturated with lackluster de-
signs from major companies such as Urban Outfitters.
What are your thoughts on the state of the vintage
wear game? Also how do you continue to differentiate
yourself when your niche has become overrun by cor-
porate greed?
Fuck Urban Outfitters. They tried to ride a wave and the
designs were booty. But to me that makes it easy to pick
out the cornballs who just buy into popular waves.
Its expected that these big company’s are going to steal
stuff like that. It pisses me off more when 1000 brands
pop up on IG selling cut and paste designs with horrible
fonts and shit.
I think people have the idea of a bootleg fucked up.
The whole idea of a traditional “bootleg rap tee” was a
guy slinging them out of a trunk for 10 or 15 bucks. Now
people make it almost like some designer piece and tax
heavy.
I recently put my own tag in the Keef tees I just dropped
but I hate it, I try to capture that real bootleg, when they
were printed on Screen Stars or Hanes. Im trying to stick
to woven labels and stay true to the old bootleg blanks.
My goal is to do someones concert merch and get clear-
ance to sell that shit out of a trunk in the parking lot. If
you’re an artist reading this, lets make it happen.
You also provide a screenprinting service and have
commissioned your designs to other creatives/brands
such as Cruwelf and DBruze. What have been your fa-
vourite collaborations and why?
Hands down my favorite design collection has been the
Juvenile tour. We sat for a couple days straight just cre-
ating designs that really embodied Juveniles work like G
Code/Solja Rags/400 Degreez era Juve. It was cool as
hell to see the final product and see him wearing the de-
signs. Same with Future, but the Juvenile stuff was just
crazy. Then we did some design for S.U.C. dedicated to
Screw which was so legendary.
It’s a different feeling knowing that legends that have
been in the game for so long appreciate your work.
Shout out to my guy Nellz for making all that happen. A
true behind the scenes legend.
Then I do a lot of work for a couple really cool peo-
ple ive met through the years. My guy WNAV from Puerto
Rico, cool ass guy and hes been linking with a couple big
names like Bad Bunny, J Balvin, and Mike Towers, getting
them in some of the work we put together.
Platinum Plus embodies a tasteful way to revive and
recreate Rap culture from bygone eras. What/Who
would you list as your biggest influences from the
golden age?
Big L is one of my bigger influences, i.e. the name ‘Plati-
num Plus’. Just his whole, ‘quiet but kill you with the work’
persona.
I’m just a kid from a small town like anyone else, I grew
up idolizing rappers me and my friends would put each
other onto. I remember sitting on a ride on the boardwalk
in the early 2000s and hearing Stunt 101 for the first time
that shit changed my life forever.
In a world where gimmicks and general over-exag-
geration take precedence over substance, Platinum
Plus keeps a classic approach to pushin’ tees. In Lay-
man’s terms you let your creative work do the talking.
Do you believe this approach helps you find a target
audience? And does it assist you in curating a loyal
fanbase?
Its cliché as hell but I wouldn’t be where I am without the
support I get from people. Its so consistent too that I know
peoples names in the orders cause they support every
drop. The loyalty is unreal.
I think people see that though, they see a market where
who’s wearing it takes precedence over the quality of the
piece. Those brands will fizzle out. I’ve seen it happen too
many times. This sudden rise to popularity followed by a
quick crash and burn. Platinum Plus will continue to push
off loyalty alone.
I am forever grateful.
What is the design process behind a Platinum Plus
creation?
Nothing more than what I am into at the moment. I’ll be
into a song, album, movie, actor, rapper, etc. and then
theres my inspiration to create.

Any words of advice to aspiring creatives looking to

pursue their own ventures?
Go at it wholeheartedly. I know a lot of people who have
passion for things that tell me they’re afraid to pursue it.
Do your research, practice, never stay stagnant. Never do
shit for free, most people will take advantage of anyone
starting out. If you can, find a mentor that has your interest
at heart. Don’t try to do too much in your field, meaning: if
you’re a photographer, if you’re good at portraits, stick to
it and perfect it.

Who’s in your music rotation at the moment?

Been listening to a lot of Keef lately. Thug’s album. Little
bit of Jeezy’s album. My music rotation is boring cause I
can get fixated on a song or two and listen to that shit for
a couple weeks straight.

What does the future hold for Platinum Plus?

Everything. Improvement in every aspect of the busi-
ness. Production, communication, consistency, quality. I
need some employees cause I’m burnt out haha.

Would you rather have the Rich Porter SAAB with the
Gold BBS’ or have a Range that look like laffy taffy?
You gotta be a certain type of person to pull off a laffy
taffy Range. Give me the SAAB on gold BBS’.

Any social media plugs/ shout outs?

Just follow me on IG. @platinumplusnewyork

What is your favourite Rap City freestyle of all-time?

I grew up on Wayne so everything he did at one point
was gold to me so all his freestyles. And Dipset, Juelz is
so underrated in my opinion.
THE DO GOOD MOVEMENT:
AN INTERVIEW WITH DOGOOD MICHAEL
Do Good is well on the way to becoming a force in
the creative community. Their positivity in an indus-
try that is seemingly fuelled by negativity, Do Good
takes the road less travelled when it comes to being
a clothing brand. The Do Good palette is an array of
clean, minimalist logo designs and screen-printed
graphics which promote the brand’s distinct ideals.
Established in 2015, Do Good is an OG of this new
era in the clothing industry. As we enter the new year
the brand is ready to blow up even bigger than before.
We exchanged e-mails with the brands CEO ‘DoGood-
Michael’ to gain some insight into who he is and his
clothing brand.
Start off with the basics, What is the vision of Do Good?
When was it founded? And Where are you based?
My name is Michael Johnson I’m from Springfield, Or-
egon and I founded Do Good officially in June of 2015.
There isn’t an exact vision to Do Good. When it first start-
ed I realized that the “underground” clothing industry,
actually the whole industry itself is extremely negative. I
wanted to create a platform that spreads positivity and
makes people happy. I make clothes for any demograph-
ic, from gangbangers to grandma’s. My vision/goal is to
eventually end up being a household brand such as Polo.
Like most things that excel in the design world, the
motif of Do Good is simple yet extremely effective.
Is there any story behind how you came up with the
name ‘Do Good’?
I was watching National Treasure one time and saw that
Benjamin Franklins pen name was “Silence Dogood”. And
I thought that was a cool name, then later it kind of stuck
in my mind that Do Good would be a good brand name &
since then it’s given me a sense of purpose. Do Good is
supposed to make people feel good
Do Good is very tapped into the culture. A lot of artists
such as: Starfoxlaflare, Father and Billie Eilish have
been rocking Do Good at some point in their careers.
How important have these cultural co-signs been to
building the Do Good movement?
The co-signs I had in 2015-2016 were definitely the most
important ones, it helped a bunch of new people see the
brand that probably never would’ve before. I’m not very
concerned about any co-signs at this point & am more
focused on how to organically grow the brand.
Throughout Do Good’s tenure you’ve dropped many
iconic designs, Some of which have been illegally re-
made, What are some of your favorite/ most success-
ful drops?
My favorite drops have always been the pieces that I’ve
printed myself. The DIY aspect of the brand has always
been the most fun, being able to draw something up your-
self, then print it on a shirt and sell it is one of the most
rewarding things I’ve felt.
What creatives are you rocking with today? Whether
it be other clothing brands, artists, rappers or produc-
ers.
I’ve been out of the loop for the past couple years so I’m
not too familiar with many of these new artists. I’ve always
been representing the underground though, only really
mess with a couple brands, Cruwelf, Lordknows, Peep-
game, Utmost. My friend Matt who goes by Manbaby is
insane with graphics & animations. Rappers/musicians
I’m rocking with; Big Baby Scumbag, Lil Xelly, Luckalean-
nn, Trip Dixon, Drippin so Pretty, Black Kray, of course
Bones, Injury Reserve, Ouija Macc, Starfox, Adamn Killa,
Wintertime, Zotiyac, KB Devaughn, Kevin Abstract, Young
Lungs, Boobie Lootavelli, Lucki, and LARRY JUNE.
What would be your advice to anyone out there look-
ing to pursue their own clothing brand?
Just do whatever you want, don’t make things that look
like other peoples work. Find inspiration things other than
just clothing. Make your brand have meaning & don’t be a
clone of someone else.
In today’s social media fueled world where it seems
that brands blow up one day and are gone the next,
Do Good has stood the test of time. What is the key to
longevity in such a fast moving industry?
Honestly I don’t know how I still have as many people
fucking with me as I do, I have been super inconsistent
the past two years and I’m just grateful to still be here.
The key to longevity in this industry is consistency & ded-
ication.
What can fans of Do Good look forward to in the fu-
ture?
A whole lot of growth & monthly drops. I have some col-
labs in the works & a few other tricks up my sleeve. 2020
is going to be a real good year for the brand.
Outside of Do Good and the clothing world, What are
some of your other interests/pursuits?
I love basketball, video games… I play a lot of 2k, ex-
ercise & nutrition is key to living a good life. I’m not very
good at it but balance is crucial when you’re your own
boss, I’m still learning how to live a somewhat normal life.
I’m interested in getting involved in the hemp industry, so
Do Good CBD products are to come.
Any shout outs/social media plugs?
Everyone who supports Do Good, likes, comments
& shares my posts. If it weren’t for the support I have I
wouldn’t be able to do this. Also all of the celebrities in the
past that have helped me with my brand.
And, finally, What does your brand ‘Do Good’ repre-
sent? In other words who is ‘Do Good’ for?
Positivity, Do Good is for anyone and everyone. I see so
much negativity in the industry & brands being put into a
box. I don’t want to be put into a box, I want everyone who
wants to do good to wear Do Good.
 CAM’RON

Instrumental Used: Scarface – My Block

Let’s kick things off with everybody’s favorite game-changers, Dipset. Arguably the most iconic freestyle for
reasons other than the rapping, Dipset show off why they are the swag champs of the early 2000’s. Jim Jones
kicks things off draped in Kansas City Chiefs gear with his verse off the Dipset track ‘Beautiful Noise’. His whole
role here is just to set the table for the young gun Juelz and the head honcho Killa’ Cam. Up next Juelz steps
up to the mic and rips it the only way he knows how to. Reppin the Dolphins for his NFL Jersey of choice, Juelz
floats effortlessly over the Scarface instrumental. “Welcome to New York City… No.. Welcome to Dipset City”.
After Juelz, we get blessed with the presence of Cam’Ron. Casually counting his money whilst freestyling, Killa
Cam puts on a transcendent display of flossin’. Add this money counting steeze, with the fact that Cam spits

BEST OF RAP CITY: THA BASEMENT

some of the craziest bars to bless the Rap City booth. GOAT status, nothing more nothing less. “4 mill from Def
Jam and I aint sell a record for ‘em”. Like Anfernee we do things the Hardaway, word to Killa Cam. An essential
Rap City watch.
Rap City freestyles are another anchor of 2000’s Rap culture. Rap City Big Tigger Report: The whole time he was just in awe of their swag. And he lowkey got clowned by Jim Jones Capo Status right at the

was a music video show which aired on BET from 1989 through to 2008. start.

Throughout its tenure, Rap City was the creme de la creme of Hip-Hop
content. From music videos of established artists to exclusive interviews LIL WAYNE
and freestyles with artists in the Rap City studio. Rap City provided Hip- Instrumental Used: Collie Buddz – Come Around
Although this whole freestyle is simply Lil Wayne’s ‘Live From
Hop fans with the type of content that every culture-head needed to get the 504’ off of the ‘Da Drought 3’ Mixtape, something about
their swag levels on point. Although Rap City was a staple of Hip-Hop from witnessing Wanye in his prime makes this such a special vid-
eo. We get started with Birdman blessing the mic with a red
its formative years right up until the mixtape/digital takeover, it’s most icon- rag (suwoop) and prime Weezy proceeds to go in. Birdman
lurks in the background kind of like someone who never pays
ic moments occurred during Big Tigger’s tenure hosting the show. From their artists would, but that’s a whole different story. Irregard-
1998-2005 Big Tigger held down the fort for Rap City: Tha Basement. As less of this freestyle being Lil Wayne’s ‘Live From the 504’
(Gillie Da Kidd diss and all), it’s a rare glimpse of seeing a
Rap’s commercial boom occurred during the late 90’s and early 2000’s so rapper in their prime in all aspects of the game. Thanks to
Jim Jones his swag was on point and his ability behind the
did Rap City’s boom. Tha Basement featured appearances from a who’s- mic (especially his wordplay) was hitting a crescendo during

who of artists. Several icons blessed the Rap City’s studio with freestyles the mid-late 2000’s era. This is a glimpse into the Wayne that
was constantly blessing the streets with mixtape after mix-
which have since become bastions of exactly how Hip-Hop was during its tape. In-studio vlog’s weren’t exactly a thing back in the day
so the mere experience of witnessing prime Wayne behind
initial boom. We here at LO-FI: The Magazine have broke down the best of the mic makes this a legendary Rap City moment. Wayne
had blessed the Rap City studio’s several times before but
the Rap City era for the old-school and the new-school. So grab somethin’ this moment shows him at his peak.
light and tap into the best of the Rap City era. Big Tigger Report: Sadly, Tigger had left Rap City at this stage.
If he was still around he would of said some wild shit off the top
of his head.
 KANYE WEST LUDACRIS FABOLOUS CASSIDY

Instrumental Used: Ludacris- Stand Up
Spitting over a beat he produced for Ludacris, Kanye
and Big Tigger connect for a rare Rap City freestyle. Us-
ing a combination of verses that would either show up on
later albums or were featured on the Freshmen Adjust-
ment mixtape series, Kanye does what Kanye does. He
definitely holds his own as we witness his College Dropout
swag in effect. Bookbag Kanye, ya feel me? Anyways a
Kanye appearance further cements Rap City’s legacy as
being the best of the best in regards to commercial Hip-
Hop. Whether you were a rising star or a well established
star, A visit to the Rap City basement was essential to your
promo run.
Instrumental Used: David Banner – Like a Pimp (featuring
Lil Flip)
Ludacris definitely deserves to be in the Rap City Hall of Fame.
Every Ludacris appearance on Rap City is more than stellar.
Whether he was dolo or flanked by his Disturbing Tha Peace
crew. This appearance right here might be his best. The near
spoken word flow brings back memories when Ludacris was
dominating the charts with anthems such as ‘Act A Fool’, ‘South-
ern Hospitality’ and ‘Stand Up’. His whole freestyle is essentially
a flex about his success and all he has left to take over is Rap
City. Easily the best display of host/ artist chemistry is illustrated
here as Big Tigger spits some rebuttal to Luda’s killer verse.
Maybe underrated as an artist due to his ‘sellout’ era, this Luda-
cris freestyle just shows how gnarly he was behind the mic. A
Instrumental Used: Mase – Breathe, Stretch, Shake
BK’s own shows his elite skills on Rap City. One of the
sharpest flowers from his era, F-A-B-O flows like the ocean
on Rap City. “Don’t get much slicker than Fab, I strap up
with the Eagles, throw bullets just as quick as McNabb”.
“I got cars like Michael got rings”. A Don Diva shoutout
appears too. Damn near every bar is quotable here. Pro-
ficient would be one word to describe Fab’s skills in the
booth. Street Fam whatup!
Big Tigger Report: “Hit you with something much stronger than a taser”.
Just as Fab said: Tigg you killin’ em!
Instrumental Used: The Notorious BIG – Dead Wrong
Another infamous Rap City occurrence. Cassidy rips the
mic so hard he claimed Kanye didn’t want to rap after
him. Whether it is true or not, Kanye may hold the record
for least words said by a guest in the Rap City booth. A
revered MC, Cassidy (Larsiny) shows us that the Rap City
platform was perfectly suited for his verbal assaults. Ev-
erytime he appeared on the show he killed it. He is defi-
nitely a contender for the Rap City Hall of Fame. Philadel-
phia stand up.
Big Tigger Report: Another one of those post-Tigger episodes. Pour
one out.

CLIPSE 504 BOYZ

Big Tigger Report: Big Tigger actually brought the freestyle heat here.
“From the Wild Wild Hunnids to the West Side, Big Tigger keep the ‘gat
on his left side”. Lowkey snapped harder than Kanye here.
hitmaker by trade, Luda showed us that he was still a proficient
MC on Rap City.
Big Tigger Report: You have to see it to believe it. On this Rap City right
here, Big Tigger established himself as the greatest freestyler of all time

G-UNIT

Instrumental Used: Philly’s Most Wanted: “Cross The
Border (Remix)”
Instrumental Used: 2Pac – Dying to Live Before the Star Trak movement became a star of the
Draped out in the timeless G-Unit tees, 50 Cent brings Young Buck and Lloyd Banks through to Rap City: Tha Base- Instagram world. Pharell and Chad Hugo were Grindin’
ment. Promoting the release of the group album ‘Beg For Mercy’, 50 kicks things off casually and sets the table for with the Thornton Brothers AKA the Clipse. Pusha T and
Young Back to black out. Buck starts off by spinning his G-Unit spinner chain. Buck then spits with his visceral South- Malice brought the movement to Rap City. They do what
ern energy and proved he belongs amongst two of New York’s elite spitters. After 50 drops some more bars we see the they do best on this edition of Rap City. Their coke in-
arrival of Lloyd Banks. “Them bullets is the size of Mutumbo’s pinky”. Lloyd Banks might be the Joe Johnson of Rap. fused hard-hitting street gospels shine bright in the booth.
Two ice cold killers in their respective fields. The same way Joe Johnson got buckets with little to no facial expression Pharell and Chad Hugo sit in the cut as their hired guns
is the same way Banks’ spits some of the coldest bars with a stone face. Nearly every time the G-Unit crew get behind spit fire. Icons of streetwear and the rap world, this ap-
the mic you are in store for nothin’ but lyrical intimidation. This freestyle right here is no different and it creates some pearance shows us the burgeoning days of the Star Trak
more Rap City goodness. Shout out Tony Yayo as well. movement. Furthermore, has Malice or Pusha T ever spit
a bad verse? Tap in now or don’t.
Big Tigger Report: He spat a couple bars off the dome. But he didn’t go over the top. Maybe he didn’t want to get incessantly trolled by 50 on
Instagram 20 years later. Wise move Big Tigg. Big Tigger Factor: “Jersey MLB.COM, Watch by Jacob”. Big Tigger
might be the greatest rapper to never drop an album.
Instrumental Used: Nas- Made You Look
A short and sweet freestyle. I simply put this on the list
because of the rare Curren$y appearance. Master P intro-
duces the ‘new No-Limit’ aka the 504 Boyz v2. Curren$y
and Krazy bless the Rap City microphone with their NOLA
twang. It’s not the best Rap City freestyle by any means
but Curren$y’s presence here is too rare. A humble re-
minder to stay on your grind at all times. Curren$y’s jour-
ney from industry to independestry began here with the
new No-Limit.
Big Tigger Report: The No-Limit Soldiers were tryna get this shit done
as fast as possible leaving no time for Big Tigger to flex his freestyle
proficiency.
 MOBB DEEP
Instrumental Used: Mobb Deep – Got it Twisted
RIP Prodigy for real. Alchemist is on the 1’s and 2’s for
this joint as Havoc brings the energy right from the first
bar. He really kills it in the grimiest of Mobb Deep ways.
After Havoc, Prodigy steps up to the mic and hits us with
the signature flow. Purveyors of the grimiest music from
their era, Mobb Deep brought the heat here on Rap City.
An essential watch for fans of the Mobb and furthermore
fans of the Golden-Age.
Big Tigger Factor: Havoc takes the reins right from the first second. No
Tigger in sight. Until the end when blesses us with another Tigg special.
JADAKISS
Instrumental Used: Sunshine Anderson – Heard it All Before
“I just want you to remember the God for ‘nicks the size of Play-
Station Memory Cards”. Kiss drops a whole minute of quotables
during this Rap City appearance. Much similar to Cassidy and
Fabolous, the Rap City booth is the perfect environment for Ja-
dakiss to stunt his true talents behind the microphone. Draped in
his trademark paper towel du-rag, Kiss blesses us with a display
of his proficiency. Had he spit another verse or another short
freestyle it could of had the potential to be the best Rap City
appearance. Regardless, Kiss was just saving his ammo for the
album. Rap City: Tha Basement was always a teaser not a main
course. The man with the greatest laugh known to man, did it
again on Rap City.
Big Tigger Report: “I got the FUBU on, they ain’t give me no Dirty Den-
im”. Tigger with a lazy flex. In contrast to Jadakiss’ lyrical bullets Tigger
doesn’t stack up as one of the greats. However don’t play with Tig, he’s
an undisputed legend.
STYLES P
Instrumental Used: Fabolous – You Make Me Better
D-Block, LOX reppin’ Styles P AKA SP Da Ghost does
his daily routine in the vaunted Rap City booth. “mad heart
under the Polo sign”. One of the flat-out most intimidating
rappers of yesteryear, Styles spits using his trademark
flow over the Fabolous instrumental. The LOX members
have always been the nicest in the freestyle/cypher game
and their Rap City track record fulfills this reputation. It’s
not much to be said but the fact that Styles did his thang
on Rap City. Nothing more, nothing less.
Big Tigger Report: Another Tigger-less episode. Sadly.
DMX & DRAG-ON
Instrumental: Nas – Made You Look
The Ruff Ryders Drag-On and DMX bless the Rap City
booth with their undeniable energy. Drag-On shows us
here that he really should of had next out of the Ruff Ry-
ders movement. “Whilst yall was gettin potty trained I was
gettin’ shotty trained”. In true Ruff Ryders fashion Drag-
On and DMX have the censors working overtime. Once
DMX touches the mic his transcendent energy is on dis-
play. His poignant delivery and unique vocal inflections
remind you of the undeniable beast he was in his prime.
Maybe the most underrated in comparison to his commer-
cial success DMX brought his unique energy to the Rap
City world.
Big Tigger Factor: Big Tigger sets the table with a lil’ freestyle. Light
work.
B.G.
Instrumental Used: Baby – What Happened to That
Boy (featuring Clipse)
Fresh off his exit from Cash Money, BG stops by the Rap
City booth to bring Chopper City to ‘Tha Basement’. In a
slick move they have him rap over a Birdman instrumen-
tal (similar to 50 Cent rapping over a Murder Inc. track).
WAHHNNN. BG uses this platform to oust Birdman (Baby)
and diss him for not paying him during the Cash Money
era. One of those rare instances where beef and shots
entered the Rap City environment, BG keeps it all the way
gutter right here. Chopper City in the Ghetto baby. FREE
B-Gizzle!
Big Tigger Report: How did Tigger not get a record deal? He might be
the GOAT at making shout outs mid freestyle.
LIL FLIP
Instrumentals Used: Scarface – Guess Who’s Back (featuring
Kanye West), Clipse – When The Last Time
The Ying-Yang twins said some funny shit at the start. But we are
really here for the freestyle king Lil Flip (1:51). Flip shows us why he
is the god of freestyling off of the top of the head. He’s the Screwed
Up Click ‘Freestyle King’ for a reason. In retrospect I wish Flip got
some more shine on the Rap City platform because he could truly
wreck shop on the mic. However to witness Flip in his freestyle prime
there are plenty of YouTube videos and Screw tapes available. If he
had just one decent appearance on Rap City Flip would of been a
shoe-in for the Rap City Hall of Fame. Potential scenarios out the
window, Flip is still a freestyle legend in our eyes.
Big Tigger Report: He spit like 5 lines and did better than the Ying Yang
Twins. Tigger still the GOAT.
MASE
Instrumental Used: Mase- Breathe, Stretch, Shake
Church Mase was still too nice behind the mic and this
freestyle is livin’ proof. “My money is tall even right be-
side Ewing”. If he is a pastor or Murda Mase, his flow is
still forever timeless. Harlem World till the world blow, you
heard? “How I’m livin’ big checks in the mail. You? Sec-
ond interview at Nextel.” Double Up one time for Mase
the God. Undoubtedly one of the swaggiest behind the
mic. His bouncy flow will live for eternity regardless of his
religious choices.
Big Tigger Report: Big Tigger sets the table here. He
didn’t snap. But he did his job. Salute
STATE PROPERTY
Instrumental Used: Mobb Deep – Burn
This right here might be the GOAT. Off rip Beans starts sending
shots at Jadakiss and the LOX. After Beanie unloads his clip his
State Property goons start lyrically murdering Kiss and the LOX.
Beanie Sigel proves he’s the GOAT of this goon shit. He was spitting
some serious venom throughout this freestyle. True Hip-Hop heads
will enjoy every second of this freestyle. Lyrical warfare in the flesh.
My only wish is that Oschino got a chance to spit, he had to stand
next to Freeway the whole time. The Beanie Sigel/ State Property
edition is easily the rawest Rap City in existence. Rappers have sent
slick shots on Rap City but Beanie and State Property were coming
at the LOX something fierce on this joint. Top 5 Rap City freestyles.
Book it into the Hall of Fame.
Big Tigger Report: I don’t think Tigger was expecting such a wild free-
style. The 215 came too crazy.
 MURPHY LEE
Instrumental Used: Young Gunz – Can’t Stop Won’t
Stop
Joe Budden is hosting this one (WTF?). Murphy Lee is
on this list because someone needs to rep the St. Luna-
tics. After all, this was the era in which they dominated
the mainstream. Nelly’s freestyle was too wack to throw
him on here. So tap into Murphy Lee as he lowkey rips
the Young Gunz instrumental. Shouts out to the Marshall
Faulk reference as well. As a kid I fucked with Murph Dirt
heavy and this freestyle proves that he was nice with it for
sure. Add the novelty of Joe Budden hosting and you get
a rare Rap City freestyle.
Big Tigger Report: Joe Budden!? Budden replaces the Tigg man here.
Does he send shots at Jay-Z? IDK but yeah Joe Budden is here for some
reason.
SHYNE
Instrumental Used: Queensbridge Finest- Da Bridge
2001
One of New York’s Penny Hardaway’s/ Derrick Rose’s,
AKA another New York artist that had ‘next’, slides through
to the Rap City basement. His baritone-like voice recites
the standard NY grimy rap. The type of rap that the Rap
City platform was built for. An essential watch if you want
to relive the far too short career of Shyne-Po. Bad Boyz for
life!? Shyne really coulda had next. No doubt. Sincerely
yours, Shyne Po. Shout out to the Mets fitted as well
Big Tigger Report: For some reason the beat cuts off when he’s free-
styling. Anyways Tigg does his thang thang. Freestyle king.
PROJECT PAT
Instrumental Used: Three 6 Mafia – Tear Da Club Up
‘97
Short but sweet, Project Pat brings the Memphis energy
to the booth. Utilising his unique flow Project Pat floats
over the Three 6 Mafia instrumental. A rare taste of that
Southern flavor on Rap City, Patta brought the phonk
right here. Holding that Hypnotize Minds chain during the
whole freestyle was a very rare flex as well. The flow that
would hypnotize the new generation, Project Pat shined
bright on Rap City.
Big Tigger Report: He didn’t hop in the booth here. Maybe that was for
the best as Project Pat murked the beat.
THREE 6 MAFIA
Instrumental Used: T.I. – 24’s
Lord Infamous, DJ Paul, Juicy J and Crunchy Black
pull to the Rap City basement to spread the Three 6 Ma-
fia wave. They keep the verses extremely short but the
highlights include Juicy J shouting his classic “shutda-
fuckkup”and Crunchy Black doing what Crunchy Black
does That is of course, spitting some remedial bars. It’s
all love though, Crunchy is a certified legend. Lord Infa-
mous (Rest in Peace) and DJ Paul do themselves justice
though. During Three 6’s mainstream push in the early
2000’s, this edition of Rap City shows the pioneers were a
big deal during their heyday.
Big Tigger Report: He wasn’t really on point here. But Juicy J saved
everything by screaming “shutdafuckkuppp”.
FOXY BROWN
Instrumental Used: P Diddy – Bad Boys For Life
“I think you tricks got Fox confused, I was a lil’ too gang-
sta’ for the Moulin Rouge”. I really don’t care if she did
or didn’t write her shit, prime Foxy Brown is one of the
most sauced up Femcees to grace the game. Def Jam’s
first broad was a standout star and her performance on
Rap City is nothing short of great. Ill Na-Na did the jerry
on here, super official. Unfortunately there was no flex-
ing of her mathematics skills like we heard on ‘Affirmative
Action’ but the bars were correct and everyone peeped
them light shots at Lil Kim. An underrated legend for sure,
you better show love to Foxy Brown.
Big Tigger Report: Nowhere to be seen. It’s a damn shame.
GUCCI MANE
Instrumental Used: Cassidy- Im a Hustla
So Icy, Big Cat La Flare AKA Gucci Mane was indepen-
dent on Rap City? Legend status. As mentioned in our
DVD article, Gucci could be one of the best freestyle art-
ists in rap history. His Down South flow may be harsh to
the untrained ear, but his cadence and lyrics are on point
when he drops freestyles. No-Pad, No-Pen shit for-real.
Peep the rare Trap House tee at the start too and the So
Icy chain. This that OG Gucci. “Gucci Mane La Flare new
artist of the year”. Not gonna lie, Gucci killed this.
Big Tigger Report: Mad Linx era of Rap City, No Big Tigger smh.
T.I.
Instrumental Used: YoungBloodz – Damn (Featuring
Lil Jon)
The video starts with DJ Vlad on the 1s and 2s. That’s
right DJ Vlad. Nothing but rareness. As much as I dislike
T.I. for using politics to oust Lil Flip during their beef,
there’s no denying he was too raw behind the mic. In this
edition of Rap City, T.I. sends some slick shots to Ludac-
ris: “These rappers really don’t deserve to beef, but keep
runnin’ ya teeth and imma come disturb ya peace.” Trap
Muzik T.I. went crazy, can’t even front. Another one of
those occurrences when beef spilt over into the Rap City
booth. The rap game was too crazy back then.
Big Tigger Report: “If you 18 I gotta see ID”. Big Tigger gotta have
consent you feel me?