Tag: Baltimore artist

Kush & OJ Revisited: Alissa Fere’s Creative Tribute to Wiz Khalifa’s Iconic Mixtape

When I dropped the 4Da Streetz music video on Halloween 2025, it wasn’t just a visual—it was a love letter. A tribute. A full-circle moment. Because long before I was Alissa Fere, before Doc’s Castle had a name, before A Voice of My Own was published as a chapter, there was Wiz Khalifa’s Kush & OJ.

Wiz Khalifa’s 2010 mixtape wasn’t just a vibe—it was a blueprint. The soundtrack to my early creative grind. The orange juice, wake-and-bake mornings, and late-night plotting. The smoke, the smoothness, the sense that you could build your own lane and cruise in it. Kush & OJ permitted me to dream out loud.

“Never Been” and “In The Cut” are two songs that really captivated me. They’re among my top favorites on the mixtape. I’ve always felt a strong connection to their beats, thinking I’d love them forever. Years later, that inspired me to write my own lyrics for “Never Been.” The original beat isn’t available on streaming services. I found through Reddit threads that it’s because the beat includes a sample from the 1995 video game Chrono Trigger. However, Sledgren’s original beat resonated with me, much as another artist, Logic, used it for his 2012 mixtape, A Tale of Two Stans. To celebrate Wiz Khalifa’s 15th anniversary, I’ll do the same. With it, I’m including the 4Da Streetz song and a mic drop tribute video on Doc’s Castle Media, showing my appreciation.

When I heard the anniversary was coming up, I knew I had to pay my tribute in my own way. That’s how 4Da Streetz Official Mic Drop Video came to be.

A Tribute in Motion

Shot and directed by the visionary Shot by Swish, with The Real Smirf bringing the energy of Easy Rider and The Lineup Room providing the sonic backbone, 4Da Streetz is more than a music video — it’s a thank you — a nod to the mixtape that shaped my sound, my aesthetic, my hustle. Every frame is laced with the spirit of Kush & OJ — from the laid-back confidence Fere exudes as she sits on the couch in the studio, gazing at the pink smoke clouds, to the unapologetic pride in where she’s from.

Other honorable mentions I’d like to thank for producing this moment in Alissa Fere’s timeline are the engineer who helped lay down the track at The Lineup Room Studio, Track Smith, and Dreez of TrustIn Records for mixing and mastering the track.

Then Came the Anniversary Drop

On November 14, 2025, Wiz Khalifa and Rostrum Records released the official 15th-anniversary edition of Kush & OJ, now streaming everywhere. The re-release includes two unreleased tracks from that era—“Over Here” and “Champagne”—gems that feel like they were tucked away in a time capsule, waiting for this moment. Hearing them now, weeks after releasing 4Da Streetz, felt like a cosmic nod. Like the universe saying, “Yeah, you were right to honor this.”

Listen to the 15th Anniversary of Kush & OJ.

From Mixtape to Memoir

In A Voice of My Own, I talk about how Kush & OJ was part of my origin story. It wasn’t just music. It was a motivation to write about one of the memories of a time when I listened to the tape. Writing my song Jose (Liquor Talkin) from a moment before vibing to the original tape taught me how to build a vibe, how to stay true, how to let the world catch up to your frequency. That mixtape helped shape Alissa Fere. And this tribute—this video, this moment—is my way of giving flowers while the music still plays.

So stream the anniversary edition. Watch 4Da Streetz. And if you’ve ever had a mixtape that made you feel seen, heard, or unstoppable—this one’s for you too.

Did you see what I dressed as for Halloween 2025? Read “Im My Alter Ego for Halloween 2025” on Doc’s Castle Media.

The Essay I Never Wrote—Until Now

I didn’t just write a chapter. I archived a moment. A Voice of My Own is live.

It’s been a long, awaited decade of trying to figure out my life as an artist while imagining how to showcase my view of the world. I am a writer, and those who support me know this well. Since 2013, I have published articles highlighting local Baltimore artists, appreciating various art forms from music to visual arts. I’ve always loved the environment of an artist’s space and enjoyed documenting my experiences within them.

As I mentioned earlier this year, I’m spending 2025 defining who Taylor, Doc, and Alissa Fere are to my supporters. I want to give everyone a clearer picture of what I envision.

Read: What’s Up Doc: Returning from Hiatus: A Personal Update revised from 2014

Artists are incredibly emotional. They experience life and tell stories in ways others are too afraid to share. One thing I know for sure is that I’ve never been someone to shy away from expressing myself. But there’s one part of my life that’s always been a secret—within my artistry.

I talk to myself and reflect often on why I chose to silence my own talents. I journal and sketch in my free time. Since the age of 10, I’ve created sanctuaries where I do my work. Yet, I still felt like I wasn’t truly being authentic to who I’m meant to be because my story doesn’t get told for others to see. But I can write a pretty good essay about someone else.

Now, it’s time for me to face my fears of letting people into the story of my alter ego’s origins. This is the beginning of Alissa Fere. 

4Da Streetz: A Voice of My Own (Ebook)

It started with a bottle of Jose, a college crush, and a verse that refused to stay quiet.

Voice of My Own is a standalone chapter from Taylor’s memoir-in-progress 4Da Streetz, capturing the night she stepped into Baltimore’s Underground Dojo and claimed her voice. Fueled by flirtation, frustration, and a half-written verse, she entered the booth not as a manager or stylist, but as an artist. The track was “Jose.” The moment was transformative.

This chapter unfolds in real time: from plotting on a friend’s couch to performing in a packed studio, surrounded by artists, smoke, and sound. It’s a lyrical portrait of authorship born in the middle of chaos. Taylor didn’t just record a song—she ruptured a silence. She stopped curating other people’s stories and started telling her own.

Set against the backdrop of Baltimore’s underground music scene, Voice of My Own explores persona, power, and the moment a woman decides she’s no longer just surviving—she’s narrating.

About the Author: Taylor is a writer, publisher, and founder of Doc’s Castle LLC, a creative house and publishing imprint amplifying memoir, music, and visual art. Her work explores matriarchal legacy, creative equity, and the power of personal storytelling. She is currently building a living archive through essays, music, and visual media that center resilience, authorship, and resistance.

Download Voice of My Own and hear the track that started it all. This isn’t just a chapter—it’s a timestamp in the archive.

Download A Voice of My Own for Free at any of the bookstores below.

Have you heard 4Da Streetz by Alissa Fere? Watch the lyric video below.

Postpartum

Interlude:

This piece is about what happens after birth—the unraveling, the rebuilding, and the silence that surrounds it. It’s not a celebration. It’s a confrontation. “Postpartum” is the first in a series that names the struggle, honors the survival, and refuses to stay quiet.

So this is postpartum.

I didn’t expect it to feel like this.

I used to think it was exaggerated, just something women said to fill the silence.

But then I met it face-to-face.

And here I am.

The thoughts came in floods.

Not gentle waves, riptides.

Anxiety, I didn’t know I’d been carrying for years, suddenly had a name.

I thought everyone’s mind raced like mine.

I thought talking to yourself was just how people processed life.

Turns out, I was already surviving something I hadn’t yet defined.

I didn’t expect to be left when my son was six months old.

Didn’t expect his father to choose selfishness over family.

Didn’t know I was never part of his definition of “us.”

He was faking it.

And I was believing it.

I didn’t think betrayal would be part of my postpartum vocabulary.

But here we are.

I didn’t expect to still be in postpartum,

while raising someone who mirrored the man I was learning to unlove.

My son carries his father’s face,

with a flicker of mine tangled in the corners.

It’s a strange inheritance.

I heard the harshest words of my life

from the man I kept choosing,

even after he stopped choosing me.

And I was supposed to swallow them.

But how do you digest lies

When you’re trying to build a life rooted in truth?

I didn’t expect to carry most of the weight—

while promises dissolved into absence.

Fatherhood, it seems, was optional for him.

For me, it was never a choice. It was a vow.

Postpartum.

Is this something I was just supposed to know how to survive?

It’s chaotic. It’s loud.

Questions pile up like laundry I never asked for.

I’m overwhelmed.

but is it hormones?

Is it grief?

Is it just life showing up without warning?

I didn’t expect to lose people who once swore they’d never leave.

“Best friends” vanished.

Support systems crumbled.

The curtain dropped, and behind it,

I saw the truth:

I can’t depend on the same people who rely on me.

Not when I need them most.

What is a best friend when you’re postpartum?

When you’re not your most polished self?

When you need someone to just sit beside you,

without needing a reason?

I’ve asked for that kind of presence.

Unconventional, quiet, real.

But they don’t show up.

Not like I did.

And I don’t know why.

Maybe they don’t either.

Maybe silence is their only language.

Is it postpartum depression?

No.

This ache predates motherhood.

It’s the slow realization that some relationships

are built on expiration dates.

Outside of family,

Impermanence is the only promise I’ve ever seen kept.

I grew up knowing one thing for sure:

Family is what remains when everything else falls away.

But now, people want to pin my pain on postpartum.

They offer commentary like it’s comfort:

“Families look different these days.”

“Conventional love is outdated.”

“You’re strong—you can raise him on your own.”

They don’t get it.

I didn’t bring my son into this world for a situationship.

I wanted permanence.

Postpartum doesn’t excuse betrayal.

I didn’t expect to carry the full weight of shaping his future alone.

But I refuse to be a temporary figure in his life—

not when I’ve lived through too many of those myself.

Flashbacks.

Faces that faded.

Promises that dissolved.

I see the facade now.

I’m too blunt, too real, too rooted for people who only show up when it’s easy.

They can’t take me.

And I’ve stopped trying to be taken.

Turns out, it’s not postpartum at all.

It’s ADHD. Maybe bipolar.

Maybe just me—finally learning the language of my own mind.

I’m the one who’s going to know.

I’m the one who’s going to name it.

I’ve always seen the world in systems.

Now I understand why I’ve always felt like the outcast.

Postpartum?

My ass.

That label was never big enough to hold me.

I never knew my racing thoughts were tied to anxiety.

Never realized that what I called “normal” was actually depression,

threaded through years of my life like an invisible inheritance.

My mood swings?

They’re not character flaws.

They’re coded in my lineage.

And what is me—is not to blame.

I’ve always carried expectations this world doesn’t know how to hold.

They’ve called them unrealistic.

But I know how to reshape them,

How to bend perspective without breaking my truth

especially for the family I’m building.

The realization shook me.

Grief came in waves.

But this isn’t just postpartum.

This isn’t just a season.

These aren’t new wounds

They’re old truths finally being named.

And now, I know.

The blame was never mine.

The knowing is.

Postpartum is not.

But I empathize with the woman with postpartum, the one that people forget.

Have you heard 4Da Streetz by Alissa Fere? Watch the lyric video below.

No Egos Spared: A Woman’s Voice in the Echo Chamber

No Egos Spared marks a turning point in my writing—a conscious shift toward clarity without sacrificing depth. Through layered storytelling and honest critique, I examine the raw fault lines of creative community, betrayal, and resilience. This piece doesn’t just tell—it demands attention, challenging conventions with a style shaped by experience and sharpened by purpose.

I let him see the blueprint to my dreams—unrolled it in front of him like sacred scripture. I thought we were building together. But he used the plans to wall me in. Am I doing it because I’m a Gemini? Is it Fere’ that you want to see?

In the rooms where sound is supposed to matter—studios, stages, writing circles—my voice was often the most inconvenient thing in the mix. Not because it lacked strength. But it wasn’t his, and I asked too many questions. I needed too much help. God forbid him doing anything beneath him. He claims that he’s above it.

We had history. The kind that blurs boundaries between romance and artistic kinship. I believed that intimacy and creativity could co-exist. That if I bared my struggles and ambitions, he’d respond with support—not possession.

But some men in this industry respond to uncertainty not with curiosity, but control. When they can’t predict me, they try to contain me. When they can’t mold my message, they challenge my value. My art becomes a threat, not because it’s loud, but because it’s mine.

His jealousy wasn’t thunderous—it was tactical. It crept in through gossip, manipulation, and the halting of collaborations. He began favor-banking our friendship, stacking emotional IOUs like poker chips because he’s his mother’s child. Every compliment came with a receipt. Every gesture, priced. I didn’t realize our connection had turned transactional until I stopped paying—and the interest he’d quietly collected came due. “I already do too much for you, Taylor.” Well, excuse me if you chose to buy my son cookies for Christmas last year. I didn’t ask.

His whispers traveled farther than my melodies. A man with too much time and too little grace, spinning tales like rollers in a salon chair—comparing, competing, resentful of what he couldn’t imitate. Telling tales to uncommon realism as if he knew realism at all. He’s stuck in a realm believing that becoming a leader will give him everything his yearning heart desires. But all he’s doing is waiting for his mommy’s approval.

As women, we are trained in the choreography of making ourselves digestible—smiling through dismissiveness, softening brilliance to seem less threatening, praising fragile egos while our confidence starves. Mother fucker, I was quiet enough listening to your whining.

But I’m done tiptoeing.

This isn’t an indictment. I’m not here to name or shame. This is an elegy for the kind of bond I thought we had—a goodbye to the version of friendship where love came without listening. Laughter in between the smoke now is just leftover ashes in my 2002 Chevy Malibu.

When I create, it’s not for approval. It’s survival. It’s reclamation. It’s medicine.

So yes—these words are intentional. These metaphors are machetes, clearing space for my expression. Consider this not an apology, but a declaration:

He thought blocking my art would trap me in his silence. But silence is a room—I’ve kicked down the door.

I will not be silenced.

I will not dilute my art for the comfort of any man, mentor, or self-proclaimed “best friend” who flinches at my full volume. 

My story will be told—with fire, with elegance, and without permission. I’ll leak it.

Words crafted in my declaration. I will make sure you drown in Fere’s abbess. Now, who really wants to play chess with the queen of Doc’s Castle?

Have you heard 4Da Streetz by Alissa Fere? Watch the lyric video below.

Code and Canvas: Redefining Art Through Digital and Physical Fusion

Code and Canvas, a groundbreaking art exhibition, opened its doors this weekend at The Black Genius Art Show in Baltimore. As an avid art enthusiast, I was eager to explore the vibrant collection that bridges digital and physical art forms.

Sym curated the Code and Canvas Exhibition to connect with older art enthusiasts. When asked about her inspiration for creating this experience at The Black Genius Art Show, she explained, “to give a highlight to digital artists. There are a lot of elderly people who believe art online is not art because they don’t understand new styles of art unless it’s painting.” She further elaborated, “(The exhibit) gives off trickery because it confuses people when they find out it’s done digitally.”

This exhibit challenges common misconceptions, including the belief that younger generations lack appreciation for the arts. It showcases the diversity of artistic expression, emphasizing that art is constantly evolving, reaching new spaces, and adopting new mediums. Code and Canvas reminds us that as art transforms from physical to digital forms, we must adapt to and embrace these changes, especially as the Internet becomes a central platform for creativity.

Code and Canvas Experience

Code and Canvas fulfilled its purpose for me, and it has the potential to do the same for its intended audience. I visited the gallery to experience art that I frequently admire online but rarely encounter in traditional art galleries or exhibitions. This exhibit resonated deeply with me due to my love of hip-hop, as well as my appreciation for abstract art, vibrant colors, and comic book characters—all of which adorned the gallery walls. These styles are seldom showcased in larger, modern museums, making each design a captivating sight that left me in awe. For an older audience less engaged with the digital world and accustomed to viewing art solely in galleries, this exhibit bridges the gap by bringing the online art experience into a tangible, present-day form.

Pop-up exhibitions across Baltimore have seamlessly blended various artistic mediums, creating a vibrant mosaic that reflects the city’s evolving art culture. Code and Canvas exemplifies this trend, serving as a platform for dynamic collaborations. Local hip-hop artist Shon Ski found her creative home within this space, working alongside visual artists to bring her unique online presence into a tangible, physical form. Her debut performance, featuring her latest single, captivated the crowd and underscored the fusion of music and visual artistry at the heart of the exhibition. 

Shon Ski

Shon Ski is a hip-hop artist and audio engineer hailing from East Baltimore, MD. Her career began in 2016 as a media personality on Crown Media’s online talk show, Strong Way Radio, in Baltimore. In 2017, she expanded her platform by launching her own talk show, Run N Wild Radio, which aired on the 1500 Radio Network and showcased creatives from various mediums across the DMV area. Shortly after, Shon Ski emerged as a recording artist, debuting her first single, “Double Water,” produced by Madi. Her debut album, Somewhere Out There, produced by Bari Lutalo, was released on March 29, 2022, under Tenable Music. Shon Ski’s music is available on all digital streaming platforms and media outlets.

Would you like to see more of your favorite digital pieces in a local art gallery? Leave your thoughts in the comments below.

What’s Up Doc: Returning from Hiatus: A Personal Update revised from 2014

For those curious about my reasons for taking a break, I’ve crafted a list just for you…. (I revised this from 2014. Talk about procrastination. It still applies.) Usually, I make a vision board in the new year. As March is the New Year for Doc’s Castle Media, I’m sharing my vision for the year. It’s not a vision board, but a video and list which shares what prompts me to go on my many hiatuses and my vision for 2025. 

Here’s my list…

Reason 1: The Media is Annoying

Being in the media has made me weary of it. I have a love-hate relationship with the news. Becoming the news has shown me a side of the media I can’t always respect. Everyone’s a critic, everyone’s nosy, and everyone’s chasing fame. There’s too much pressure on what’s true, while Doc’s Castle Media is just my commentary. Life has become about grabbing attention. It’s disheartening to see people change while seeking recognition, and I’m the middle person who has the power to influence that.

I want to write without hyperactive comments and concerns. I’m tired of the rush to cover stories and the hype of likes and views. I move at my own pace at Doc’s Castle Media. On my website, don’t bug me unless…$$$! Catch my drift?

Reason 2: Where is the Originality?

There’s a lack of originality. When I started blogging twelve years ago, I had it. Now, blogging is a new trend, like rapping, videography, photography, and other arts. I’m returning to the drawing board because everyone has a website, and we all do the same thing. But my website remains deeply personal because I want to do it MY WAY. Who else will write an article like this? Who else is going to dive into topics and discover the talents of other people like I do?!  Returning from this hiatus, please expect more unique content. You, the viewers, will see my originality. It’s time to get a little delusional for my viewers and let you into how I see life in my safe place in my Castle.

Reason 3: Lack of Resources and Consistent Help

I’m frustrated by the lack of resources. I hate depending on others and waiting for their help. I dislike working in groups (I learned that in school and networking with other creatives). It seems like a neverending story waiting for others to do their part often leads to disappointment.

A lack of resources forces me to teach myself things I’d rather not do. I just want to write, man. Why must I teach myself graphic or web design, video editing, or photography so my website looks how I want it? A whole publication? It’s fine once I learn it, but it distracts me from writing.

“Invest in your craft,” people say. But who has the money to get off the ground? Not me! So, years were put into learning how to produce a real publication. I deserve flowers for the years I put into what I’m passionate about. I’m coming for my crown.

Reason 4: Am I An Impostor?!

Many creatives can relate to the struggle of getting out of our heads and bringing our visions into the world. We’re constantly searching for ways to make what feels natural to us resonate as “normal” for everyone else. This is my way of life—not the way of life, if you know what I mean—so when life throws challenges my way, finding inspiration to climb out of a rut can feel impossible. There’s no clear guide or set of examples to follow when navigating mistakes for the creative I want to be. It’s taking me a long time to discover my creative “normal.”

As I break free from impostor syndrome and step boldly into reality, I declare to the world: This is who I am. There’s no rule book for becoming the person I aspire to be. I’m ready to be unapologetically myself, to stop hiding the parts of me that I’ve spent years questioning whether they were “cool enough.” With over 4.5K supporters behind me, I realize that maybe I am a little cool. So, here’s to step out further, for myself and for anyone who’s rooting for me. I’m learning to embrace just how cool I truly am.

As you can see, my frustrations have piled up, and the negativity has made me reconsider my approach. A huge question is pressing on my mind, and I haven’t figured out the answer yet due to this built-up frustration with running my castle. But I press forward anyway, with ideas ready to spill out for everyone to see. As always, we’ll see where my creative journey takes me.

Watch me be:

Taylor, Doc, Alissa Fere ❤

Exploring Last Call: The Trivia Show That Unites Friends

Well, well, well. We meet again, Mr. Karlito Freeze. This time, in a thrilling challenge thrown down by another Baltimore artist, Symone Hardy of Graphite Pulse.

In 2017, Doc’s Castle Media featured Karlito Freeze because we collaborated on a podcast when he was a former “intimate.” Whiskey Girl hosted the podcast back then, and things were a bit different with Mr. Freeze and me.

Listen to #LoveandHipHop Baltimore Featuring #StrongWayRadio and #DocsCastleMedia on Embrace the Crazy Podcast by Whiskey Girl (Gallery)

After years of silence over obvious things (our breakup), I reconnected with songwriter and aspiring multimedia mogul Karlito Freeze on a few art projects this year, with Last Call being one of our standout collaborations.

The chemistry between Freeze and me is unmatched and worthy of celebration. It’s why we return for Last Call Season 1 to showcase the same fire we exhibit on Ex Factor. It’s an exceptional example of building bonds beyond emotionally impactful differences we may have faced in the past. As a story may appear to end one way, it doesn’t mean it has to be the end all be all.

Sym’s, the host of Last Call, work is already so inspirational in Baltimore City. She captivates me because she’s a Baltimore Creative, just like me. You know, I love our people. I heard of Last Call from Freeze when he told me Sym was creating an experience bringing people together that I haven’t seen many people in Baltimore do before. I’m walking into the experience blind, not knowing what to expect, and only being told my opponent is my ex in a Trivia game. All that’s next came a gesture of the birdman hand rub and a declaration to Freeze that it was now, “Game on!”

Who knew I’d be such a trivia beast? Not me! It’s all thanks to the countless hours of Wheel of Fortune playing in the background at my grandparents’ house growing up. Trivia knowledge whispers to me even in my sleep. Freeze didn’t have a chance. The Graphite Pulse Last Call experience brings people together for a good time and plenty of laughter. I had a blast and would do it again if invited.

Who is Graphite Pulse?

Graphite Pulse is an art platform run by multimedia artist Sym, showcasing her art practices and the events she attends due to her incredible talents.

Follow Sym’s Instagram!

Last Call

Last Call is a lively trivia game show that brings people together for a night of fun, laughter, and mystery! With three exciting rounds, each featuring five random and entertaining trivia questions, players are tested on their knowledge across a wide variety of topics. But there’s a twist—the contestant with the lowest score at the end of each round must drink a mystery shot, adding an element of surprise and humor to the game. Perfect for families, friends, and communities, Last Call is all about creating connections, sparking friendly competition, and building camaraderie.

Watch Last Call: Ex Factor

How do you feel about couples collaborating on projects for their brands? Do you think it can be done? Leave your thoughts in the comments below.

Baltimore Artists Expose CM.Ball Festival Organizer as Scammer Bringing Awareness to Fraudulent Business Practices and Misogyny

The 5th Annual CM Ball Music Festival was cut short after the owner of CM.Pops Ky McCoy’s mistreatment towards Saxophonist Rachel Winder post her scheduled Saturday night performance at the culture festival. Days later, a social media protest emerges bringing awareness to allegations of fraudulent practices and misogynistic abusive behavior against female performers of the festival. Spoken word poet Maya Camille and artist Amorous Ebony support artists in a Cash App campaign to pay performers not compensated for their participation in the event.   

Just short of a week following the blow-up of the Stardust Music Festival, Baltimore women speak out about abuse in the Baltimore arts community at another music festival held during Labor Day weekend. Allegations of fraudulent business practices by McCoy emerge on social media days after artists flock to social media with feedback of the culture festival. Maya Camille, the activist, and representative for Rachel Winder published a series of tweets outing abusive and dismissive business practices with the event’s promoter.

http://www.instagram.com/p/CTzsFmiphWS/?utm_medium=copy_link

The CM.Ball, as stated on the website, is “an annual celebration of Baltimore creators and entrepreneurs presented by food startup cm.pops.” It’s a complete DIY community-based art project in its 5th year taking a stance to educate on health, environmental, and social issues while stimulating the economy of small businesses and artists. A few Baltimore artists to perform at the CM.Ball in previous years is Blaqstarr, Kotic Couture, Ducky Dynamo, Baby Kahlo, Miss Kam, and many more Baltimore-based talent.

Maya calls Ky McCoy out to be a con via her Twitter. “CM Ball is a scam. Ky doesn’t pay artists. He is a disrespectful, unprofessional, who uses the iota of clout he has to scam artists,” she shares in her first tweet about business handlings with McCoy. She tweets nine days after Rachel Winder and numerous other artists were not paid for their performances. Maya also shares that McCoy blocked her and Winder as followers from the CM.Ball Instagram account when contacted about payment. She further explains on her Instagram McCoy’s belligerent behavior during the event. 

Ray Winder retweets Maya saying McCoy is “a true scammer and doesn’t know how to treat artists.” She follows up in another tweet a picture of McCoy. “This dude is a heartless and Spineless scammer. He’s blocked by several other artists. But He doesn’t know it’s not that simple.”

Maya and Winder’s disclosure of a scam artist sparked a wave of concerns from other performers that weekend. Some artists share their personal reviews via their social media accounts. Cash Liss, the founder of Tortilla Gurl, a small black Baltimore artist collective devoted to covering local artists in Baltimore’s arts scene, published a text conversation with McCoy to her Instagram Story. The conversation was a response after contacting McCoy about her payment. The conversation was later shared on singer and producer :3ION’s Twitter account. 

This public mishandling led to a “Cash App Roll Call” for artists not compensated for working the CM.Ball Music Festival. Maya led the campaign to raise money for Winder. A number of artists went to action sharing each other’s social media handles in support of the profit they lost. Cash Liss gave thanks to the artists who supported her in her hesitation to share her personal account with McCoy.

Say Her Name Coalition is a foundation that prides itself in “continuing the work of affirming, empowering, uplifting and fighting for the visibility and livelihood of Black women and femmes.” As stated on their website, “they seek to smash respectability politics, patriarchal and white supremacy systems, misogynoir.” When Amorous Ebony, activist, and founder of Say Her Name Coalition, caught wind of the debate between Cash Liss and McCoy, she expressed with us in an email, she personally reached out to Cash Liss to donate payment towards her performance “after seeing the disgusting texts.” 

We contacted McCoy for comments about the social media protest, and when or whether artists will receive payment from CM.Ball. Doc’s Castle Media is yet to receive a response.

How To Support Black Women and Femmes in Baltimore Community

We wondered if there would be future efforts to raise money for helping artists impacted in situations like this. Ebony shares with us she’s “open with connecting and organizing to support them with a separate fund.” There currently are no campaigns with the organization specifically for artists impacted by this incident. In the meantime, the Say Her Name Coalition is a great place to start if you’re looking to support Black women and femmes facing similar challenges. It is their mission is to end violence against Black women and femmes within this city!

Support the Say Her Name Coalition. 

#PrayForLove: Baltimore Women Demand You to Speak Up Against the Sexual Abuse in Baltimore Arts Community

Article Updated: September 13, 2021

Labor Day weekend Basement Rap Artist Butch Dawson celebrated the release of the album Stardust. The Stardust Music Festival took place at the YNot Lot. However, the celebration was short-lived as protesters put a halt to the event speaking out against Karlos Locke, alleged sexual abuser of 20 women within the Baltimore arts community. 

A video surfaced on Twitter and retweeted over 120 times, of performers demanding protestors leave the music festival for the disturbance. Protestors are seen in the video holding a white sign with red lettering that says “1 Man + 20 Victims.” Protestors called to bring awareness to sexual assault in the Baltimore arts community. Karlos Locke, former manager for Butch Dawson and numerous other artists under the Basement Rap label, is the alleged rapist in over 20 Baltimore women accusations. 

Numerous other videos surfaced on social media displaying disorderly conduct and commotion amongst the crowd. In one video, Butch Dawson is seen provoking violence towards demonstrators saying “I ain’t got nothing to do with no motherfucking rape….Y’all doing all this performative stupid ass bullshit…. If y’all don’t want to support me, don’t support me. Anybody say something negative, pop one of these motherfucker, yo.” A supporter of the protests yells “stop gaslighting,” as a response. Another video raised concerns of safety as one individual on the stage was seen flashing a weapon towards the crowd. The event ended early due to the disruption. 

http://www.instagram.com/p/CTdPFWeLG4w/?utm_source=ig_web_copy_link

Later, Basement Rap states the artist flashing the gun to the crowd as a non-affiliate to the label in a photo published to their IG Story.

Butch Dawson’s Apology

Two days following the Stardust Music Festival, the Basement Rap brand released a public announcement addressing actions that took place that evening. 

Butch Dawson also released a statement further apologizing for how he handled events that occurred that evening, disassociating his affiliation with Karlos Locke and the CMND Group, and apologizing to all the women in his life. He, later in the week, deleted the video along with remaining photos on his Instagram page.

Source: Butch Dawson’s Instagram

DMV Artists affiliated with the free festival apologize for the position they played during the protest. Miss Kam and Detranada published video apologies to their social media channels while artist Kelow Latesha and numerous other performers personally reached out to supporters of the event regarding how they responded to the protest during the show. Journalist and creator of A Ride Down 95 Kosso is spotted in a video shoving one of the protestors on stage. He also released an apology video. Later in the week, he deleted the video from his Instagram profile.

Source: comment under a supporter’s Instagram post.

Baltimore Curators Speaking Against Sexual Assault in Baltimore

Following the commotion, at the Ynot Lot Saturday evening, event curators and small businesses in Baltimore Station North Arts District postponed shows and made public stances on their social media accounts to stand in solidarity with those silenced and to find solutions that’ll resolve conflicts inflicted upon underrepresented communities.

Mia is the co-founder of Invisible Majority, a “Baltimore-based creative community incubator providing space, services, and support to Baltimore’s independent creative business community.” She often shares her opinions via her social media channels. In her video shared on her business Instagram profile, she shares her support with those who were silenced at the Stardust event. Mia talks about supporting the women in the movement brave enough to stand against sexual abuse, the importance of holding people accountable when wrong is being done, and why this is such a vital time to ensure that we stop injustices brewing in the art scene.

http://www.instagram.com/tv/CTgQuXpDmeh/?utm_medium=copy_link

City Beach, a group of artists and event curators known for the Pretty Beach and Heathen Beach Drag Shows, postponed the Strange Family Variety Show to use as a time of reflection. Curators will use the time to send surveys to supporters in the Baltimore Arts community for feedback in order “to hold themselves accountable as event curators, space holders, and humans in this city to ensure that moving forward [they] can be a safe and secure space for everyone to feel heard and welcomed.”

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Previous Doc’s Thumbs Up feature Kotic Couture publicly announced their break, as well, deciding to pause performances and withdraw from the majority of their upcoming bookings. 

Sexual Abuse is Unacceptable

How unfortunate it is to write about a #MeToo moment in my very own neck of the woods. It’s unfortunate, but not surprising because the majority of women face sexual assault, especially in the professional environment. There’s no exception to the Baltimore arts community. There is no right or wrong way, or time, for exploiting intolerable and inappropriate behavior such as sexual abuse. Silencing someone’s choice to speak out against it does more detriment to an individual’s mental health than finding a resolution. Seeing the protestors brutally treated as if their words are falling on deaf ears is an outrage! 

As a woman myself, I can speak as a victim of sexual abuse throughout my working career. I stand with the women silenced during the Stardust Music Festival. I understand that I have a platform I can bring awareness to this injustice that these 20 victims and many other women face. This is why I chose to document the demonstration using Doc’s Castle Media. It’s important that women, AND MEN, speak up and use available resources to spread the word about sexual assault to stop biases and corruption within the arts community.

I am not associated with the protest that took place during Stardust, but I am a listening ear to those ignored. Sexual assault is unacceptable. It is intolerable. All in all, abusers must be held accountable.

What do you think? How can we make sure that the Baltimore Arts Community has the resources for victims of sexual abuse? Leave your thoughts below.

Doc’s Thumbs Up: Kotic Couture Celebrates One Year Anniversary of Pink Durag A Few Weeks Before #DuragHistoryWeek

Kotic Couture celebrates their one-year anniversary of the official music video for Pink Durag ft. 310N this August 2021. And I can’t help to wonder if they meant to release the video for Pink Durag weeks prior to Durag History Week. Today I share in its glory by making the Pink Durag featuring 310N official music video the latest Doc’s Thumbs Up feature on Doc’s Castle Media.

Kotic and I go way back to 2016 working for Baltimore pop hits radio station Today’s 101.9 as promotion assistants. Thank God we’ve evolved from those humble beginnings. I always loved Kotic’s straightforward tell-it-how-it-is attitude. So when they told me who they really are outside of working at the station, I kept following them closely on all their social media so I can watch their musical journey.

http://www.instagram.com/p/CFmw3-Up_Y7/?utm_medium=copy_link

Kotic makes waves in Baltimore like no other. From appearing in the Netflix documentary Dark City Beneath the Beat, DJing, and opening up for other musical artists in Baltimore, to hosting parties at arts and entertainment venue Crown in Baltimore, Couture alerts are from every direction in the DMV and tri-state area. Obviously, the couture is juicy because the Kotic buzz has been busy for a while now. They also appeared in Spotify’s DMV Ripple Effect Playlist as a feature on Miss Kam’s FTCU along with Ddm. Finally, as of recently, they’re traveling more booking gigs across the east coast from New York City to even DJing in the PBNJ Block Party club music tour on August 28th in New Jersey. Like, is this Kotic giving us all that they got? …because gah!

http://www.instagram.com/p/CS92nHpL001/?utm_medium=copy_link

Kotic Couture Pink Durag ft. 310N Official Music Video

Pink Durag is the Doc’s Thumbs Up feature because it’s long overdue. The video premiered last August while I was still learning how to build this website. Now, I remember while Kotic celebrates its one-year release via Instagram. I’ll say this post is better late than never because they deserve all the recognition they can get with this one.

In honor of #DuragHistoryWeek, Kotic Couture is here with it. Though there isn’t a durag insight in this video, the message is as strong as its staple in the black community. Kotic shares with us via email the idea came during the pandemic after watching, what felt like consecutive, fatal killings as a result of police brutality. “The deaths of George Floyd, but specifically Breonna Taylor and Oluwatoyin Salau, left such an impression on me. I was tired of screaming on the Internet. I literally had to tell myself to calm down so I started working on music.” Out of frustration, the song was born. 

The production and visuals of the video are fire, but the overall message is what should take you away. Breaking barriers from what society pictures as the norm is what makes Kotic one of my favorites in Baltimore’s art scene. They can really put on a show defying the odds and truly showing who they’ll be.  But listen closely to the spoken word closing out the video.

Kotic narrows our attention on Oluwatoyin Salu, a 19-year-old BLM activist who was murdered days after protesting for George Floyd in Tallahassee, FL. Her murder highlighted the notion that despite being the backbones of communities and large movements, Black women still face a high risk of facing a violent end. I love that Kotic took a moment to bring this message to the forefront. It is what truly should be on our minds in her case. The music video defies stereotypes, sure. This breeds a fire 🔥 reaction in itself. But Kotic is also spitting a message American’s need to hear.

The sound and video are a bit different from the usual fast tempo or club banger from Kotic. “The last time people saw a visual from me it was loud and colorful,” Kotic shares. Pink Durag is quite different which shows, early, them to be versatile through maneuvering genres. With this skill, we can expect them to work with numerous different artists in the future. Wow, oh wow, at what we get coming from little ole Baltimore, hmm?

Durag History

Over the course of a decade, summertime is designated as an hour for black people to ride the Durag wave. In September 2014, Durag History Week was declared by Van R. Newick II in a thread of memes via a tweet and Black Twitter went wild. Black people started to come together yearly in honor of celebrating durag history by sharing their favorite durag memes on social media. A few years later, visual artist and activist Dammit Wesley initiated the 1st annual Durag Festival in Charlotte, NC to showcase its history and dismiss the stereotypes associated with black hair and black culture. Just this year on Juneteenth, black folks in NC celebrated its 3rd annual durag celebration, and on July 25th the residents of Milwaukee saw their 1st durag festival. What’s to say that these durag traditions won’t evolve and carry on to more cities and states.

[Read more on “The Renaissance of the Durag” by Alisha Acquaye via Allure]

I wondered if there was any relation to releasing Pink Durag the time black people love cherishing durags so much. Actually, Kotic told me the durag didn’t have any influence on the song at all. “I definitely didn’t wear a Durag on purpose. I never want to be too predictable or cheesy and the song had nothing to do with Durags, that’s just the metaphor for things sitting on your mind, so I didn’t think that being in the video needed to be represented.” I guess I’ll scratch the idea of Kotic touring in Charlotte and Milwaukee offering to perform Pink Durag for next year’s festival is officially off the table. 

What do you think? Do you like the video? Share your comments below.