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Everyday Ain't The Same (Prod. by Todd Marshall)

Bobby Creekwater - People Up There

Blue Haze feat. Mani Coolin, Hardaway Smith & FreeAckrite (prod. David Bait)

lyrics
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\
Boy fat nigga gon talk bout sum, lil fat nigga bitch (Boy talk sum, Boy talk sum)
That lil fat boy not gone do nun (Like cmon now)
Y'all can't even mess with me, for-real
Y'all can't even talk, like how I would do this shit (On god, haha)
Hold up, lemme get in my zone real quick
Fatass nigga bitch, boy do sum boy (Hold up)


Walk, bitch, hold up
Really do talk bout this shit
Know, I step on shit
Putting yo bitch on VETEMENTS, bitch
Pa-Pa-Pants with the VETEMENTS, bitch
Te-Tear his ass up like his Vermont, bitch
Know I get in, what you talmbout?
Show me a band, lil nigga gon walk down
You a pussy, ion even wan' walk down
Get that TEC, bet them bullets he bite down
Bitch boy talmbout racks
These .23 shots finna bust through yo top now
Bo-Boy, go get yo racks up
How you gon pull up, boy go get yo racks in
You better go get you a raise then
Get a new job lil nigga you need it


Buddy gone fall to his muhfuckin feet
You 0-7 fat nigga defeated
Older than me, but I still got that bread on me, its funny how niggas be leeching
Pussy ass nigga still run from that fade with me
That nigga so bitch, he need it
Buddy gone fall to his muhfuckin feet
He built like Robotnik, fatass heathen
Aww, that nigga so pussy, can see it
He act straight bitch, I know he don't mean it
Go wash yo ass, you smell like sum feet'n
Get my boy Brax, to hop on the "remix"
Alright that lil boy done, he weeping
Send that boy to Jesus
They playin my shit through the speakers
We walk shit down, we ride inna Demon
Don't let this sweet shit fool ya
I go step, I ain't wanna do ya
Hop inna vet, this ain't no Supra
Big body nigga, he build like the Buddha
Knock off his top, we take off the "coola"
He talking that shit, but we step on his head that nigga don't know how we do shit
But that nigga still out here fuckin' with kids like nigga, fuck is you doin?


Huh, you broke lil bum bitch
You wanna flex you sum go get you a .50
Huh, this not for fun shit
I really mean that shit, I mean it really
I see ya, ill kill ya, ya dumb bitch
Get them bands lil nigga, go get that .50
Keep playing w me, we dumping
They want his head, they want that boy gone for the fullest


Walk, bitch, hold up
Really do talk bout this shit
Know, I step on shit
Putting yo bitch on VETEMENTS, bitch
Pa-Pa-Pants with the VETEMENTS, bitch
Te-Tear his ass up like his Vermont, bitch
Know I get in, what you talmbout?
Show me a band, lil nigga gon walk down
You a pussy, ion even wan' walk down
Get that TEC, bet them bullets he bite down
Bitch boy talmbout racks
These .23 shots finna bust through yo top now
Bo-Boy, go get yo racks up
How you gon pull up, boy go get yo racks in
You better go get you a raise then
Get a new job lil nigga you need it
Bitch you need it


Like, they, they don't even get it
Like, i've said this before (Grrr, grrr, grrr)
Like that boy, fat, broke, and is a joke boy (I'm sayin')
What did you done say?
Like, come up to my level, where yo racks at?
Like, come, come, with us
Stop talkin' with them kids boy, play wit someone ya own age boy
Broke ass bitch

bite down barboza [p. jswisha]

If knowledge is power then is power knowledge. I think we all know that’s not true. So can knowledge be power?

Entropy and Ecstasy

Colours Of The Culture presents 

NIKO IS - "2088" RAP PACK

mixed by Thanks Joey
art by Yous The Juice

www.coloursoftheculture.com
www.nikoismusic.com
@nikohigh
@joeycreates / IG: @thanksjoey
@yousthejuice




2088

artist: @SirCollins
title: 18 Likes
produced by: @TJayBeats

:) :) :)

Free Download

Sir Collins - 18 Likes (lol) [prod. T-Jay Beats]

One Life - @turnmeupjosh @Blackcobain

Pressure

04 Fly Union - Cashing In [Prod. By Jay Swifa]

Here are my favorite songs to listen to right now as of 1/16. Download them and Enjoy!!!

Earlly Mac ft. Jerreau (Fly Union)- Middle Name

There’s an old saying: “the only thing constant in life is change.” Cliche? Maybe. But there’s an undeniable, underlying truth to the idea. It’s a sentiment that Bobby Creekwater, born Antoine Rogers, knows well.

Four years ago, the Atlanta-grown rapper, known for his stark, even coveted perception and sophisticated, undiluted lyricism, was contemplating calling it quits. It’s a thought that undoubtedly has swam around in the mind of many artists, especially those whose outpourings, while great, innovative and inspiring, are widely overlooked. Finding himself in that category was disappointing. Even his moniker defies defeat. Derived from the creek that ran behind his grandmother’s house in Southwest Atlanta where he grew up,  because as he says, “the house was torn down, but the creek remains”—the idea of giving up his first love naturally left him unsettled.

“I was trying to figure out if I was still in love with music,” remembers Creek, who at 14 had already made up his mind that he wanted to be a rapper or nothing. “I always said the day that I fell out of love with it or started doing it for the wrong reason, would be the day that I turned in my resignation.”

His frustration with music was valid, if not anticipated. In 2000, he was signed to Steve Rifkind’s Loud Records with the high-energy, intelligent hip-hop group he formed in high school, Jatis. When Loud folded a year and a half later, Creek signed to Columbia, still eager to show of his above-average skills. However, that deal turned out to be short-lived because as Creek clarifies, “the label didn’t know what to do with us.” Jatis eventually disbanded, leaving Creek to forge his own musical path. So he spent the summer of 2004 locked in an Atlanta basement teaching himself how to produce. The result of that musical hibernation was a more focused, more skilled and more energized Creek.

Then in 2005, opportunity came knocking again, this time in the form of superstar rapper Eminem, who, impressed with Creek’s talent, signed him to Shady/Aftermath/Interscope. However, disappointment reared its head when Interscope fell victim to hard economic times, and thus, turned to its cash cows to help it get back into the black. Creek found himself taking a backseat as acts like 50 Cent and Eminem were called to duty. Even though he still hadn’t released an album, in 2009 he finally decided that enough was enough. He amicably split with the label and decided to go it on his own.

Since the split, he’s released a few standout projects, including The B.C. Era, The B.C. Era Deuce, Back to Briefcase with DJ Infamous and the exceptional EP, The Day It All Made $ense through his independent imprint, BGOV. Most recently, he released a mixtape Two, which he says was awesome from a musical standpoint but didn’t sell so well because he was “more concerned with the music.”

“It’s almost like I made it for myself,” he says of the project, “and if you just happened to stumble upon it and hear it then good for you.”

But during that time he also discovered a new passion—artist development.

“[I had a passion], for seeing something in its infant stages and watching it develop into something even I couldn’t fathom,” he says. “It began when I started writing for other artist. Then I started picking the production. In each situation my role would grow exponentially in a short amount of time because of my insight and experience. So within a matter of weeks I would go from [working with producer] Sean Garrett to [producer/ mogul] L.A. Reid.”

Slowly, he began to fall in love with music again, and in the way that everything changes but stays the same, Creek found himself bit by the recording bug, his creativity refusing to be silenced by politics or industry disappointments.

“I started to record and the records began to spill out as if I had never stopped,” he admits.

His new album, I Am From a Place is more personal than any of his previous records, more gritty, more raw. And in the tradition of great albums born from personal discovery and even heartache and pain, it’s arguably his best work to date.

“The creative process for I Am From a Place was a bit different because I didn’t live in the studio,” he says. “I would only record when I was inspired, which happened a lot. So I would record like, five songs at a time. Other than that it was business as usual.”

Led by the infectious single, “Rudeboi,” Creek, once again,  is ready for his moment. Only this time he’s more firmly in control of his concept of success, creativity and output than he’s ever been in his career. And that is a good thing for anyone with the ears to hear.

“I’m ecstatic about what I’m able to contribute at this point and time in my life to music as a whole,” he insists. “Because of my trials and errors, because of my mishaps and mistakes, and setbacks I’ve gained something that can never be taken away— knowledge. And with this knowledge I can bring balance to music. I can show the fans so many different sides of it, so many different perspectives, and open [people’s] minds to so many different ideas.”

At the end of the day, that’s a change worth waiting for.