“Pink Slip From Rhymesayers” is not about Rhymesayers. 
It’s about the dudes out there who use art, money, and/or influence as a way to gain access to and manipulate admirers. 
The dudes who assume admiration implies consent. The dudes who don't see that manipulated admiration is muddy consent. 
That giant man-child’s ego is incapable of empathy. He is unwilling to consider how his actions are damaging to all those who encounter it.
"Pink Slip From Rhymesayers" is not about Rhymesayers.  
Rhymesayers is part of a system that benefits from manipulated admiration, and in the song, Rhymesayers represents the system itself. If you’ve navigated arts communities or the publishing world or academia or really just breathed air outside of your house, you’ve experienced this system. And if you like to watch movies, you’ve most likely been complicit with your dollars. 
Harvey Weinstein doesn't exist in isolation. He had many enablers.  I'd argue most of his enablers -- movie ticket purchasers -- didn’t actively know they were enabling him. But liking Silver Linings Playbook doesn’t make you a trash person. The Weinstein Company produced Paddington for god’s sake. Is nothing sacred? 
 You do have a choice here. To the best of your knowledge, you can support producers of art who align with your values 
Pink Slip From Rhymesayers is ruthless. I have a friend in Georgia named Ruth, and he did not help me make this song. Therefore, this song is Ruthless. 
This song is also ruthless in how it attempts to confront problematic language.  This song is plagiarized. “You are not cancelled. You are broken” is not my line. This song isn’t even a song. This song does not have a chorus. This song is a poem. This song is an impulse. This song is a reflex to the injustices in the system. This song is denouncing hero-worship in all of its incarnations.
This song is a call to action. This song is a crossroads. This song is an opportunity to go in a different direction. This song is a pivot point. This song is a step-back-3 that might be an air ball. This song could miss the mark. This song could fail. This song is a Hail Mary.  
I have to confront my record shelf. Why have I been supporting these artists?  This community?  Who did that community support?  Who did that community hurt?  Who did that community exclude?  Why was it such a big deal to get on the bill and open the show when these artists came to town?   
This song is an announcement saying that I am committed to supporting people in our community who’ve have been ignored and silenced.
This song is a contract.  Or rather, this song is the end of a contract.  This song is a pink slip. This song will change how I tour. This song will change how I do business.

Pink Slip From Rhymesayers

Don't Forget Me

Back on the Block feat. St.Larok & DJ Klassik prod. Miami Beat Wave

Last Night

Deep Voice Chorus

Bingo

Petco

100 Dimes

Runtz (feat. Harry Mars)

Yippee-Ki-Yay (feat. Mitchell Bailey)

Send For Me

Sippy

Rapper, singer-songwriter Warlok is on a mission to make his mark in the Hip-Hop game by staying true to his roots while embracing the evolving tastes of music. Whether it be Miami Bass, Dub Step, Drum and Bass, Hip-Hop or Electronica the overall sound is quintessentially Warlok. No matter what.
Warlok’s love of Hip-Hop started from a young age in his birthplace of North Bergen, New Jersey. At the age of 2 his Cuban immigrant parents moved to Miami, FL where he continued to live the beat of city through graffiti art and Hip-Hop, in particular his admiration of 1990's artists such as Beastie Boys, Snoop Dogg, Notorious B.I.G., Three 6 Mafia and UGK. Each of these rappers gave him a foundation, further stoked when he was introduced to Wu Tang Clan. The group’s diversity in lyrical styles but intense nature of rhyming, showcased in one of his favorite song “Protect ‘Ya Neck”, was the light bulb moment of his adolescent years. It was then that he realized that he needed to add his voice to Miami’s Hip-Hop landscape; Carlos Martinez became Warlok.
Upon entering South Miami High School, a breeding ground for developing Hip-Hop lyricism under pressure, Warlok began penning his own verses.Through his years at South Miami High School, Warlok learned that rapping is more than if you can spit a hot 16 bars, it’s about holding your ground which is the main reason to stay in the game. Word of mouth spread amongst his classmates as his friends bragged about Warlok’s battling skills urging him into rap cyphers against fellow classmate including Pitbull, Ghost Wridah and Dela Candela. From these cyphers, the combination of honest feedback with his street notoriety solidified his Hip-Hop clout. It was then that Warlok started to fine tune his sound. After graduation, Warlok began making songs and was featured on various mixtapes and street albums. 
Warlok describes his sound as more than typical Hip-Hop. Yes, he follows the formula but adds his own unmistakable twist of personality, aspirational at times but inherently relatable. Warlok embraces the grit of street life, no matter what streets he speaks of, with fervor and candor. The 808's are just an accompaniment, at times letting it speak to him which can mean more than his verses allowing it to evolve through experimentation giving the tracks more life. His progressing message is rooted in the desire to affect change through positivity, letting his verses take you through his journey one beat at a time. Whether listening to “Do You Think About Me”, “Phantom of the Dark” or “What You Selling” it’s clear that his drive to continue is constant, taking inspiration from everything making his art more genuine. His new project titled 1997 EP will prove this.
“I have skills, I have taken my time on purpose to come across as a full package” Warlok stated. Warlok is the kind of rapper to not second-guess nor pigeonhole sobe prepared for a surprise.
-Megan Silvera

Back on the Block feat. St.Larok & DJ Klassik prod. Miami Beat Wave

WARLOK