Doeman

It sounds strange to most people to read that a Houston rapper is bringing back gangsta rap, because for so long that subgenre defined our city’s rap scene. But on his new album, “O.B.E. (Outer Body Experience),” Houston’s Doeman does just that. Not to diminish any rapper in Houston big or small, but it’s the narrative from his heritage that makes things feel fresh and new, where he gives the listener a whole new story from the hood. In a way that I haven’t heard in at least a decade, the rapper goes hard in the paint, speaking straight from the streets while plucking poignant lyrics about growing up Latin in the United States and the dissolutions of everyone who came up from almost nothing. The way in which he spits with a mixture of vigor, hate, and even hints of despair, you immediately champion whatever cause he’s behind while he keeps things real on every track.

Though he kicks things off with the short lived and spacy track, “O,” he doesn’t take long to go deep on the following track, “U.F.W.” The young rapper immediately spits with intensity while he drops dark lyrics like “wanna put a rope around our necks and choke us up.” The polarization of the real world of dirty cops and their use of drugs to manipulate those on the lower spectrum of of the economic scale quickly becomes the narrative that’s hard to ignore. I mean, he follows this with the quick rhymed and heavy bass of “No Limit ‘91,” and though he lightens the mood lyrically, he still keeps it real while his quick flow holds your interest with each passing beat.

The next track drops an old school beat and some sick samples while Doeman gets a little softer in approach on “Waddup Luv?.” Doeman might be attempting to drop a love song, but the track doesn’t dimenish the power of the rapper’s vocal prowess. Two tracks later he’s back at it while spitting atop violent themes of a police state on “American Me.” The barrio vibe of drugs and your selected fam are all over the track where he spits like his life depends on it. This continues a couple of songs later when he drops the larger than life sounding song, “F.W.M.N.” You immediately realize with Doeman’s intensity, that he’s one of the few rappers going who seems to feel every note he drops on a mic. A lifetime of being held down by a society that doesn’t care if you live or die comes through all over the song where he almost greets haters with an attitude that cannot be faked.

Things stay on point with the insanely fast rhymed nature of “The Genocide,” complete with a fresh backing tack and a beat that sticks with you for days after you hear it. Instead of false swagger and an attempt to prop up branding, Doeman stays true to his roots and calls shout outs to his youth and everyone in-between while lamenting the falsehoods in today’s rap world. He calls out to the world on “Hip Hop,” while closing out with the dark sounding and ethereal vibes of “E.” There were two bonus tracks as well on my copy with “Tha Man” and “Son of Jesus;” but I like the finality of how the album sounds with “E” as the closer.


All in all, Doeman proves that you can’t fake who you are, where you’re from, and who you represent. In twelve tracks he takes back hip hop from the pop leanings it’s been swimming in to bring it all back to the streets in the most real way possible. The way that Geto Boys painted fifth ward and the way that Bun B painted Port Arthur, Doeman does the same without lifting from either. He creates vocal brushstrokes that craft an image that even a white kid from the suburbs can see where he’s coming from while giving a narrative that is seldom heard from in today’s hip hop scene. Keep your eyes out for this guy, cause’ when your skills are as legit as this and you’re this real, it’s only a matter of time before you become bigger than the city you rep in your tracks. - Free Press Houston

10. Doeman — “Tha Man”

Doeman, hailing from Texas, put on a solid performance of “Tha Man” at this year’s Fresh Picks show.

Proving himself to be both a true lyricist and entertaining at the same time, this 20-year-old is certainly one to watch over the next year. - Elite Daily

Doeman is a good rapper.

That’s not a sentence that is implicitly connected to race but it is one that will probably — at least for the predictable future in America, and definitely for the duration of this article — be inextricably tied to it. Because Doeman is Mexican American.

Doeman, who has lived all of his 20 years on earth in southeast Houston, is not the only rapper who is Latino.1 But he’s more interesting than all2 of them because he avoids some very common Mexican Rapper Problems:

The Juan Gotti Problem: Juan Gotti is a semipopular rapper in Texas. He’s important, in that he was one of the first to pull together Mexican heritage and tangle it up with hip-hop. His main problem is he’s actually not very good at rapping. His songs are always stilted and brick-shaped and drone together after a few moments.

The Baby Bash Problem: Oh, man. Baby Bash is the ultimate cornball. He raps things like, “So fly, like a dove, fly, like a raven.” And I think he might’ve actually had a perm. And he always looked so shiny. He was very successful for a very short amount of time but was always zero percent cool.

The Chingo Bling Problem: This is maybe the most prevalent, most important, most interesting concern. Chingo Bling is talented and he is cool-looking, but he appears to see the world only through green-, white-, and red-colored sunglasses. He is so far tucked into the corner that he effectively ostracizes most other races.3 This is not necessarily a bad thing. He has maintained a successful career doing just that, and he has created some truly transcendent art, most perfectly “Menudo” and “Bersace,” parodies of YG’s “My N​-​-​-​-, My N​-​-​-​-” and Migos’ “Versace.” But it’s a thing that allows his influence to stretch only as far as his arms reach.



This is Doeman’s most recent video. It came out last week. It’s for a song called “Andele’,” which would (seem to) imply that his heritage is the crux of his rap identity, or at least the crux of this particular song. It’s not, though. It’s just a word that made for a fun, sing-able hook.

Within its four minutes, he disassembles all three Mexican Rapper Problems.

The Juan Gotti Problem? Nope. Doeman is the opposite. This point makes itself clear after 10 or so seconds of listening to him. When he raps, his words come rifling out, structured in magnetic and intricate sentences, dipped in just enough snarl and hubris to make them exciting. And when he decides to slow them down, like he did for the chorus of “Jodeci” this past summer, they’re somehow even more alluring. They grow into each other as he stretches them out into copper wire. He allows each one to stand on its own juuuuust long enough so that it nearly falls over, then stacks another one up behind it as support, propping it steady. It’s a strange version of intriguing, like watching a wobbling coin that never quite spins itself out.

The Baby Bash Problem? Nope. Doeman has cool hair and cool eyebrows and cool posture and a cool origin story (he’s from a family of fighters — his brother is a professional boxer, and Doeman was spying a similar career but was hit by a car while walking to a Golden Gloves tournament), and his face is a normal amount of shiny, not a salamander’s amount of shiny. Being cool is a vital rapper stat, particularly in this case. Because think of the five coolest people on earth — I’m going to guess that zero of the people you thought of are Mexican.

The Chingo Bling Problem? Nope. Doeman, a fifth-generation Mexican American, avoids this pitfall, too. Two specific parts to point out from the video and one specific part from the conversation we had about it:

1. In the opening moments, that’s Doeman’s real-life father driving the truck and dropping him off at work. During their interaction, you’ll notice he refers to Doeman as “mijo,” which is a Spanish portmanteau (mi + hijo) for “son,” and then refers to him as “son,” which is English for “mijo.” Doeman doesn’t speak Spanish. His parents do, but he does not. This is not uncommon. Many Latino parents push for their children to assimilate into American culture as quickly and thoroughly as possible, and generally that involves attempting to establish English as the primary language. There are a ton of complicated reasons why this happens, but mostly they all spiral back to the same thing: It just makes things easier. School, work, shopping, ordering food anywhere but a taqueria; all of it is easier if your first instinct is to speak English. Rap is, too.

2. Notice the background characters? Almost all Mexican Americans, too. More specifically: Almost all young Mexican Americans; third-, fourth-, and fifth-generation kids with musical interests that tilt more toward Young Thug’s trap music than Gerardo Ortiz’s narcocorridos. We’re just now getting to the point where Latino teenagers have parents who were listening to rap and hip-hop in place of, say, Tejano music. So it’s a more organic connection to the music, which leads to a more organic sound, which leads to legitimacy. When Juan Gotti raps, you say, “That guy’s Mexican.” When Doeman raps, you say, “That guy’s Mexican?” That question mark makes a big difference. It’s complicated, saying that part of the reason a person is considered a good rapper is because he doesn’t sound Mexican, but it’s a version of a conversation that has been had in the young Latino community for years. It used to be derisive to describe someone as being “not Mexican enough.” Now, for some, it’s the inverse: Derision is being described as being “too Mexican.” Doeman directly addresses this in the song when he makes the claim, “I’m Pun and plus I’m SPM [South Park Mexican], they can’t believe I’m Mexican,” but also indirectly when he favorably compares himself to Mike Tyson (“I feel like Mike in the ’80s”), a Tupac character (“I’m Bishop from Juice”), Tupac in real life (“I’m ’Pac in his prime”), Nas (“I’m so ill with it; Illmatic”), a Wesley Snipes character (“Skin brown like Nino”), a Wood Harris character, and a Mekhi Phifer character (“Mama says you can be Ace or Mitch”).

♦♦♦

When Doeman and I met up for an interview, basically all the questions I asked him were about this, about legitimacy and his ties to his culture and why there are more than 33 million Mexicans in the United States and only, like, five of them know how to rap.

We were together for a little more than an hour. This is the only part of the interview that matters:

Me: What generation Mexican are you?

Him: I think fifth. I’m not sure.

Me: OK, here’s the thing: You grew up completely assimilated into, I guess “American culture” is the phrase. But you did so surrounded by other Latinos. The elementary and middle school where you went, those schools were almost exclusively Latino. They mirrored the neighborhood you grew up in, which was mostly second- and third-generation Mexicans, but also immigrants as well. But so you grew up there and all you’ve really ever known was American culture, specifically as it relates to the inner city, which is kind of a different way of saying “rap culture,” which is basically a branch of “black culture.” You and your friends, you all grew up like that.

Him: Yeah.

Me: OK, so because of that, how much pressure do you feel to talk about or represent “being Mexican” or “being Latino”? Because in the “Andele’” video, you do it only obliquely. It’s not the premise, which is what I was expecting when I saw the title, but it’s not a sidebar, either. Is that something you actively work at and think about?

Him: [Pause.] I don’t know. I just do it.

He just does it. And he does so without ever even considering that he’s doing it. - Grantland

Last up to the plate was Doeman of DYNA Music Group. The recently released The Gold Blooded LP also ranks as one of the best local projects that have dropped this year. With a confidence and swagger overload, Doeman portrays his persona without arrogance, something that is extremely difficult to accomplish.
A boxer by blood, he works the stage as if it were a ring, hitting you with lyrical combinations and haymakers that force you to stay alert or risk getting knocked out. There hasn't been a rapper with this type of lyrical arsenal in Houston for a very long time, perhaps ever.

One of my favorite tracks from the tape is "Actavis," an ode to the purple stuff. Although the majority of the project freshly veers away from the stereotypical Houston topics of drank, swangers and blunts, this one gets a pass because it just hits so hard and strong, reminding me of my marching-band drum-major days.

Maxo Kream wasn't onstage this night, although on the track he helps Doe with his lyrical domination. Propain showed up to assist his "lil bro" with "Jodeci" and "How Can I Lose," proclaiming his approval and love for Doeman's rapid success and growth.
He ended with "Cool Enough," a track where he thanks his brother and mother for the support, and elaborated on the hustle to overcome the stuggles. If anyone can do it...get outta the hood, buy his mom a house and a Benz, and do all the shit that everyone else just raps about, Doe is the one who convinces me he actually can.

"Rappin' for my family, now reppin' for my city. When I make it I'ma take the whole damn H with me!" he proclaims. You've got my vote, homie.

Certainly one of the best shows that Warehouse Live has ever seen. Live life fo' sho!

**NOTE**
Overheard In the Crowd: "Have you seen Doeman? Is Doe here yet? Where is Doeman?" -- several lovely ladies as I walked around the venue. Teach me your ways, young pimp! - Houston Press

Next up was Doeman, another rapper of short stature and sharp tongue. I've had the opportunity to see this guy in action a few times, and his lyricism is surprisingly agile and enthralling. A former boxer, Doe walks around as if he is constantly in the ring, engaged and guarded, calm and cool as ice.
"How can I lose when I go this hard?!" is the basis of his collaboration with Propain, who hit the stage in the first of several surprise guests of the night. Deprived Young, Now Ambitious is the name of Doeman's mixtape; I expect lots of great things from this young man. - Houston Press

There's seemingly no middle ground for Latino rappers in Houston. Either they're adhering to the old guard schematics of car culture, two stepping inside street rhythms and concepts or flipping more straight forward punchline and metaphor based material. It's not that they've placed themselves in a box, they utterly refuse to have their microphone talents be treated as secondary talking points when referencing them. 19-year old Doeman, a kid straight from the infancy of Juice, Fresh and other coming of age tales -- is rather comfortable in his own skin as someone who's taken the small fabric of Houston rap and just woven it with swarming punchlines and personal bravado. his DYNA EP, the first under Propain's newly minted Forever Trill brand only lasts five tracks, bottom heavy in some areas and echoing thoughts of Toronto's take on R&B (a near ethereal mix of slow basslines, chops and samples) in others. His raps don't immediately jar you like a yelp from DoubleBe or rotate in high animation. Instead they climb through via pace, stitching together youth with a rather slick sense of humor ("I'm Benny Blanco with a hair part!"). "I only jam to myself, 2Pac & "Ether," he drawls out on the tape closer "Jodeci" featuring his guide Propain who appears on "How Can I Lose" as well but the EP's overall winner is Doe himself, a kid who understand importantly how hip-hop works without completely leaving his roots behind. Sort of like Pro himself, the same man who quickly will raise the name of flat out rap machines like Joe Budden but create branding around a rather perfectly super charged moniker with slabs and Houston's wide range of rap gospel. Here's his first disciple, a damn true believer at that. - Day & a Dream

Houston is, demographically, significantly more Hispanic and Latino than Black, and has the third largest Hispanic population in the United States. Despite the strength in numbers, Houston’s rap stars are traditionally Black, with Hispanic and Latino rappers constituting an even further underground sub-culture. In the wake of South Park Mexican’s (rightful) incarceration, there’s yet to be another Latino rapper who’s widely captured the region’s attentions the way SPM did in the 90’s and early 2000’s.
Doeman’s new single “Jodeci,” featuring Propain, is rap in the Neo-Houston mold. “Jodeci” is a dreamy, celebratory rap about how dope it is to be Doeman, and were it not for the music video, only perhaps a faint accent would give away Doeman’s ethnicity. For complicated, often valid, reasons of authenticity and cultural appropriation, rap is a genre obsessed with the color of rappers’ skin. Unlike Macklemore, whose music screams I’M A CRACKER, “Jodeci” has, aside from the light hue of Doeman’s skin in the video, no signifiers of being the product of a Latino. It feels somewhat reductive to classify Doeman as a “Latino rapper.” While that’s a statement of fact, it’s more correct to say that he’s a rapper who happens to be Latino.
If the SPM comparison feels unfair to Doeman, that’s because it is. Doeman and South Park Mexican are very different rappers in style, content, and delivery. Expecting any 19 year old rapper to ascend to the heights one-time regional hero SPM reached is unfair, regardless of ethnicity. Just as every White shooting guard is compared to Larry Bird, Doeman is going to receive misguided comparisons to the imprisoned former head of Dopehouse Records. Doeman deserves to be considered on the merit of his music, not because he’s a certain shade of brown.
Cultural and ethnic concerns aside, “Jodeci” is hardly the stuff of cataclysmic change. Doeman’s choppy, staccato flow is solid and practiced, but not particularly distinguished. For the choruses, Doeman uses the mostly boring, half-sung style that’s more Kirko Bangz than Z-Ro. Unfortunately for Doeman, his voice has the high-pitched quality that almost inevitably comes from being young and 5’3,” and the more experienced Propain outshines Doeman on the song. While Doeman mostly sounds like the Houston of Drake’s imagination, Propain’s thick Southern twang and rasping upward inflections sound like the Houston that keeps discerning listeners’ ears turned toward the Third Coast. “Jodeci” is filmed in the vein of an A$AP Clan function. Thankfully, Dwight Howard doesn’t photobomb the slow motion smoke session. - Passion of the Weiss

Friday, Doeman, the Latino spitfire who first came out our attention two years ago and became an even stronger force thanks to his alignment with Propain and an even more dedicated passion towards rap will release his Gold Blooded album.
"They'll never take this empire they have built for me," he raps on "Prelude to Gold Blooded," a potential album-opener where he admits to quitting his job all because of belief in himself and the dream he has. Proper, solid, tough. - Houston Press

That young man up there, that's Doeman. He is yet another talented local rapper hoping to rise above Houston's intimidating Talented Rapper scrum. He recently released a tape called The Understatement. The video is for a song from it. If you watch it, three things are obvious, each of which he expands on inside the mixtape:

1. He's a Latino Rapper: Obviously. But more than just that, he's a rapper who is Latino. His flow is natural and confident, a byproduct of being raised on classic hip-hop -- which, according to him, was the soundtrack his father opted for -- and in the austere but welcoming environment, the Southeast side of Houston.

It will prove to be a solid bargaining chip. There are only a handful of talented Latino rappers, fewer still who are young and immediately, mass-consumably cool-looking.

2. He's Fit: His slightly hunched shoulders hint at his affinity for boxing, which he mentions several times on The Understatement; the cover is actually a shot of him sitting on a stool in the corner of a ring between rounds.

Were he to shout it over and over again, it would grow tiresome quickly, but he always only mentions it in passing, which makes it an interesting aside. To wit, at the beginning of the second verse of a song called "All a Dream," one of three songs from the tape with original production, he spouts, "I promised mama a mansion, I promised daddy a Grammy, I promised Junior a title, I promised my girl a family."

It's a moving moment, and a clever bit of songwriting. It seems fair to assume that the further he moves into his career (this is his first tape), the more this type of showmanship will show up in songs.

3. He's At His Most Impressive When He Unleashes The Entirety of His Menace: Doe is good at rapping at a moderate clip, but his remarkable when he goes three-quarter speed, his high-frequency pitch turning flips around itself.

There are several parts on The Understatement where he does the same thing, and every time it's enjoyable. The best is when he goes yo-yo on an auspicious redo of A Tribe Called Quest's "Check the Rhime."

When asked about it, when asked how sincere his appreciation could possibly be for a band that recorded its first album before he was born, he responded, "I love Tribe. I grew up on them. My dad used to play them. There's a line in there where he [Phife Dawg] says something about being five feet tall; I'm only 5'3". I really felt that. I've loved them since then."

A couple of other notes about The Understatement that'll help:

**You can't download the tape. The only way to get it is to actually get it. If you send him a message on Twitter (@Doeman_), he will literally bring you one, a claim I suspected was false all the way up until he showed up at my house at 9 p.m. one a weeknight last week.

His rationale: "I heard a Big Krit interview where he talked about selling CDs. He said he'd be out there selling them and that even if they only sold 15, they sold them. I was feeling like, 'If they can download it, why would they come get it?" There are some videos on YouTube, but you can't download it. We pressed up 500. I think I gave away about 20. We sold almost all the rest."

**Throughout the tape, the refrain "Dyna in this" is shouted. Dyna is the name of the base surrounding Doe. It's slang for dynasty, and includes, among other things, a singer and a separate rapper named Tone.

The Understatement will not be the best tape Doeman ever makes; his youth and aggression and natural talent almost guarantee it. But it is solid footing for him to begin with, and that puts him ahead of a bunch of guys that have been around much longer. - Houston Press

YOUNG HOUSTON LEGEND DOEMAN RECENTLY WRAPPED A TEXAS TOUR THAT HIT FOUR MAJOR CITIES.

Doeman, who the Hive had the pleasure of interviewing this summer, kicked off his first line-up as the headlining act in Houston. A record attendance of over a thousand fans made it out– a true indicator of the artist’s growing popularity in the local culture circuit.

This visual, produced by Joey Flaco of Kill ‘Em Collective for DYNA Music Group, recaps the hype of the concerts. Featuring Doeman and the squad as they meet audiences in packed houses amid trill music and pulsing lights, the video perfectly captures that Stay Down swag. (I have to admit, I caught the vibe while watching – even from the relative tranquility of the coffee shop where I sat with my laptop.

Doeman’s performances were accompanied by Mélat, an Austin-based songbird, and Soul of Shariff, the versatile local artist who recently dropped the hit, Grapevine | The Album. Check out these two talented musicians, along with two other DYNA affiliates, Milky Wayv and Tony Badd, in the much anticipated Collective Soul show at the House of Blues on November 22nd. - Hive Society

Fresh off the July 2014 release of The Gold Blooded LP, Doeman is ready to bring his ambitious lyrics to the world. Joseph Gonzales, who hails from the southeast side of Houston, TX, is ready to bring his DYNA movement mainstream. The 20-year-old Latin rapper has already amassed hundreds of thousands of plays on Soundcloud and YouTube, a large social media presence and has rocked multiple stages. Doeman is actually set out to break the stereotype of “Latin rap,” and wants to show he can go with the best of them. In 2013, a car accident ended a promising career in the boxing ring and nearly cost him his life. Now he won’t settle for less and is focused on his craft. In 2012, Doeman started putting out mixtapes and gained a name for himself in the streets of Houston. He credits his grandfather and father for introducing him to music and hip hop early in life. They played artists like Sunny Ozuna, The Temptations and golden age hip-hop like Slick Rick while he was growing up. He has created DYNA Music Group, which stands for Deprived Young Now Ambitious.


Houston TREND: What was your first experience doing music? How did you get started, and how did you put your passion into motion?
I was always freestyling as a kid. In middle school everyone was like this kid can freestyle. And when I first got in the studio I was a freshman in high school. And me and a homie got in the studio and made like 5 or 6 songs and put them on a blank CD and wrote our names down on them in marker and sold them around high school, trying to get our name out. He wasn’t as much into it as I was, but I kept going.


Doeman2Houston TREND: Can you elaborate on the accident that shaped your life and how did it influence your music?
I was in a rush to get to my brother’s tournament and ran across the street, being young and impatient. I didn’t see the truck and I guess the truck didn’t see me and got hit at 35 miles per hour and ended up in the hospital. While I was in the hospital, I realized a lot of things. During my recovery I thought about music and that this is my chance. If I could make it through that, I can make it through anything and how I should put my whole life into my passion.


Houston TREND: What does DYNA stand for? What exactly does it mean to you?
It stands for Deprived Young Now Ambitious. That means if you feel you were deprived in some type of way, now you are capable or making your own way, and you’re not going to take no for an answer. I don’t care what odds are put against you, you’re destiny is in your own hands. I want people to have that ambition in their soul. When they hear my music, I want them to get inspired.


Houston TREND: Growing up in Houston, how does that influence your music?
I listened to a lot of Houston artists growing up of course. I feel like Houston culture and music does have an impact on my music, but I also feel I have my own sound. Growing up my dad played other music from other areas too. I feel that I have a style that doesn’t just fit into one category.


Doeman3

Houston TREND: What is your musical style? What are you bringing?
I’m bringing the attitude of hip hop in general. I’m bringing lyricism, every form of hip hop, and something different you’ve never heard. I’m going to be spitting fire on any track that you give me.


Houston TREND: When you hit the stage, how do you get ready for a live performance?
I’ve been performing since I was 15. No one just comes out the best on stage. I’m still working on my performance. I read the crowd and see what they like and what they don’t like. I look up great performers and watch the way they perform. I don’t copy them, but I try and see how to move the crowd and work the stage. I feel like when you go out there you have to control the crowd. I’m not scared of any audience; I believe in my talent. I make them believe in my talent even if they haven’t heard of me. I do a lot of rehearsing and always pray with my team right before I hit the stage.


Houston TREND: How does being Latino affect your music, style, image and brand?
I feel like I am an artist first. I am proud to be Latino. I love who I am and love my culture. But, I feel that I am an artist that just happens to be Latino. And a lot of people don’t know that I really don’t even know that much Spanish. I feel hip hop really doesn’t have a color. People may try to put me in a box. I am in my own lane. I can compete with any artist, doesn’t really matter the color.


Houston TREND: What have you learned in the music industry so far?
There is no pity in this industry. They care if you deliver; especially the Houston market. Houston makes you have thick skin. The game has also taught me you can be hot one day and not the next. If you aren’t being consistent people with find something else that they like. You have to stay consistent, have quality and whatever you do separate yourself. It has taught me a lot about consistency and hard work.


Houston TREND: What does the Gold Blooded LP mean to you and what should it mean to others who listen?
Everything I’ve been working toward. Gold Blooded means we all came from kings. We are all kings and have gold in us and just have to let it show. You are a king and don’t let the world bring you down. You have to be strong. Life is about how you get up. I want to make people feel good about themselves and take pride in what they do. Thanks to my team we really got it accomplished. I’m really proud of it.


Houston TREND: How has your music progressed from your first mixtape?
I was never really thinking about branding when I first started. Now I have a brand and a team. We all put in work every day and really found a team that brings so much to the table. As far as lyrically and song making, I’ve gotten 100 times better. But that’s what you’re supposed to feel like. I feel like I am better and have a long way to go. From my first project to now, I feel like I have found my voice and found my lane.


Houston TREND: Where do you see your career going? What is your ultimate goal?
Winning a Grammy and going platinum. I want my mom to never work again. There’s really not anything else that matters to me. I’m in this to be one of the biggest artists in the world. I’m not going to stop until those things happen.


Doeman1Houston TREND: How are you working to reach outside of Houston and also outside of Texas?
My product speaks for itself. We’ve been through almost every major city here in Texas trying to spread the name. After we get Texas we’re definitely going to spread outside of the state. My team is going to do whatever it needs to do to work towards the goal of reaching a bigger audience.


Houston TREND: How do you feel about having your own station on Pandora?
I’m still overwhelmed by it. That was really my team and everybody working. You can’t be satisfied with just that. I want to get on XM radio. Even if the city doesn’t play me, I still have a way to get my music out. That was a blessing.


Houston TREND: What’s next?
I want to keep working on music and doing shows. I may be working towards dropping more music. Right now, the Gold Blooded LP is for sale on iTunes, Amazon, Spotify and Google Play. We want everyone to have that name in their ear. It’s all about the hustle and you can’t ever stop.


Houston TREND: Where do you see yourself in a year or two from now?
I feel like my music should be out of the state and I want to take a great jump. I want to keep putting out quality music that will get that accomplished.


Houston TREND: What is your work ethic like?
The level of thinking how many rappers are in the game and what can I do that they aren’t doing. What move can I make that they haven’t made. I feel that how you carry yourself is what you will become. Whatever you think you are, you will become. You have to put in the work. I have to work on my lyrics, being in the streets and getting my music out everywhere. I’m going to continue to work as hard as I have been and even harder.


Houston TREND: What is the best piece of advice that you have gotten so far from someone that motivates you?
One of my homies said a wise person once told him “Before I share a cake with snakes, I’d rather treat myself to crumbs.” I feel that if you are working and there’s no loyalty in your circle and they aren’t working towards the same vision as you, you have to leave them alone. Don’t let people hold you back from your vision. Who you’re with can be your downfall or your uprising. - Houston Trend