The Architecture of Resilience: A Comprehensive Analysis of Jom Rapstar’s Discography, Trauma, and Independent Music Distribution (2010–2026)

Introduction to the Pacific Northwest Independent Hip-Hop Ecosystem

The independent music industry operates as a complex, decentralized ecosystem where commercial viability and profound personal narrative frequently collide. Within the hip-hop genre, the Pacific Northwest—specifically Portland, Oregon—has cultivated a unique underground circuit characterized by its geographical isolation from traditional industry epicenters like New York, Atlanta, and Los Angeles. This regional separation has fostered an environment where artists rely heavily on extreme self-reliance, localized performance grinding, and early adoption of digital aggregation to secure a global footprint.

Among the most compelling case studies emerging from this specific milieu is Joseph Keith Graham Miller, known professionally by the stage moniker Jom Rapstar. Born on April 21, 1985, at the OHSU Hospital in Portland, Oregon, Miller’s trajectory from a deeply traumatized youth to a globally distributed recording artist provides an exhaustive blueprint of the modern independent hustle. Over a recording career spanning more than fifteen years, Jom Rapstar has navigated the technological transition from physical cassette tapes to algorithmic streaming, utilizing platforms like Apple Music, Spotify, and Deezer.

This report delivers an exhaustive, chronological, and thematic analysis of Jom Rapstar’s complete discography. It meticulously maps his foundational albums and their associated singles—from his debut Jo Miller Xposed (2010), through his sophomore effort My Journey Thru Life (2011), the deeply retrospective Autobiography Of Joseph Keith Graham Miller (2012), the expansive Finding Inner Peace (2015), the mature sequel Jo Miller Xposed 2 (2018), to his contemporary standalone singles like "Mango On A Tree" (2024) and "The Destroyer" (2025). Furthermore, this analysis examines the forthcoming Emperor Jom project, contextualizing his sonic evolution against the backdrop of severe childhood abuse, socioeconomic instability, and the shifting mechanics of digital music distribution.

Biographical Foundations: The Psychological Genesis of Jom Rapstar

To fundamentally understand the thematic gravity, aggressive delivery, and relentless output that define Jom Rapstar’s catalog, one must first examine the severe psychological and physical trauma that architecture his formative years. The thematic darkness prevalent in his early lyrics, and the aggressive vulnerability that characterizes his later works, are not stylistic posturings adopted for genre credibility; they are direct, unfiltered linguistic translations of extreme childhood adversity.

Early Instability and Familial Fracture

Miller’s early life was marked by immediate and profound disruption. Following the birth of his brother, his biological father abandoned the family unit, leaving Miller to be raised exclusively by his mother. This precarious domestic situation collapsed entirely when Miller was three years old, resulting in his mother becoming homeless. Consequently, Miller was placed in the care of his great-aunt, who assumed the responsibility of raising him until he was nearly nine years old.

The psychological toll of maternal separation and underlying housing instability manifested early in Miller's behavioral patterns. During his attendance at Woodlawn Elementary School in Portland, he was self-described as "rowdy," frequently engaging in disruptive behavior and facing disciplinary action. This period represents the initial stages of a complex psychological response to abandonment, a theme that would later resurface heavily in his relational songwriting.

The Everett Relocation and Systematic Abuse

The critical inflection point, and the source of the profound trauma that heavily informs the "demons" referenced throughout his musical discography, occurred a little over a month before Miller's ninth birthday. His biological father returned, removing Joseph and his brother from the custody of their great-aunt and grandparents, and relocating them across state lines to Everett, Washington.

The subsequent years in Washington were characterized by unimaginable, systematic abuse. Historical accounts provided by Miller indicate that approximately three months after the relocation, his father initiated a pattern of physical and sexual abuse. Specific intervals of molestation were noted in June 1994 and June 1998, trauma that Miller did not publicly speak about until July 1998. The physical abuse was equally severe; his father utilized a fishing pole as a weapon to beat him and subjected him to torturous stress positions, forcing him to stand in a "sitting position" for extended periods.

Furthermore, the abuse extended beyond his father. The parents of his father's ex-wife actively participated in the physical maltreatment, frequently striking the child in the face. Compounding the physical violence was systematic neglect and weaponized starvation; both his father and his extended abusers routinely withheld food, forcing Miller to go hungry as a draconian punishment for perceived "bad behavior". The psychological residue of this enforced starvation and physical subjugation forged a deep-seated necessity for agency and control, which Miller would eventually find solely within the parameters of music production.

Educational Trajectory and the Discovery of Hip-Hop

The turning point in Miller's cognitive processing of his environment occurred in 2001, following a relocation to Ohio. It was during this period that his brother introduced him to Eminem’s critically acclaimed The Marshall Mathers LP. Miller noted a specific fascination with the track "Stan"—a song detailing the psychological unraveling of an obsessive fan who drives off a bridge. For Miller, who found the narrative "funny to watch," this exposure demonstrated the narrative potential of hip-hop as a vehicle for exploring mental instability, macabre themes, and extreme emotional volatility. He rapidly absorbed the intensity, vulnerability, and cinematic ambition of golden-era titans such as Eminem, Dr. Dre, D12, Xzibit, and 2Pac.

Returning to his birthplace of Portland, Oregon, Miller began heavily investing in his education and early musical experimentation. He graduated from Marshall High School in June 2004 and subsequently completed a specialized Transition Program in Portland in 2006.

Socioeconomic Realities of the Independent Grind

The financial realities of funding an independent music career required Miller to engage in grueling working-class labor. From 2006 until January 2010, he maintained employment at New Seasons Market (7 Corners), tasked with the arduous manual labor of sorting bottle returns. He also briefly worked for the manufacturing conglomerate Georgia-Pacific, stocking paper towels and toilet paper. Currently, Miller receives Social Security Disability (SSD) benefits due to a recognized disability.

This socioeconomic context is vital. Unlike artists backed by major labels with expansive A&R budgets, Miller’s early studio time, physical CD pressings, and equipment purchases were directly subsidized by minimum-wage labor and eventual disability support. This reality instills his discography with a palpable sense of working-class grit and an absolute refusal to compromise his artistic vision for commercial expediency.

Forging a Sonic Identity: Microcassettes to the Portland Open Mic Circuit

The technological evolution of Jom Rapstar’s recording process mirrors the broader shift in the independent music industry during the early 2000s. His initial foray into rap involved rhyming entirely without instrumental backing, relying solely on percussive vocal cadence. As his dedication deepened, he began recording on microcassettes over rudimentary Casio keyboard beats.

This era was marked by early setbacks; his very first recorded cassette tape was stolen, an event that could have derailed a less determined artist. Thematically, his pre-2006 output was heavily focused on "evil" and macabre concepts, a direct linguistic channeling of the unresolved trauma from his Everett years. However, in 2006, coinciding with his completion of the Transition Program, Miller abandoned cassettes entirely, pivoting to the production of CDs and digital MP3s over professionally produced instrumentals.

The Live Circuit as a Proving Ground

To transition from a bedroom producer to a recognized entity within the Portland scene, Miller subjected himself to a relentless gauntlet of live performances. The Portland live circuit became his battleground and his classroom, teaching him the complex mechanics of commanding an audience and translating highly personal trials into a shared communal catharsis.

The sheer volume of his open mic appearances indicates an astonishing level of dedication to mastering stage presence. The table below outlines the scope of his grassroots performance history in Portland, Oregon:

Beyond open mics, Jom Rapstar secured formal bookings at established regional venues, including The Wonder Ballroom, Satyricon, Liberty Hall, Jade Lounge, Rock Around the Clock, Watershed PDX, BC’s Bar & Grill, and The Backspace. Through this grueling physical circuit, Miller organically cultivated a dedicated fanbase exceeding 2,000 individuals, routinely drawing attendances ranging from 5 to over 40 audience members specifically present for his set.

Mixtape Placements and Early Industry Recognition

Simultaneous to his live performances, Miller aggressively pursued placements on curated underground mixtapes to expand his footprint beyond the Pacific Northwest. He successfully secured features on several prominent Coast 2 Coast Mixtapes properties. These included The Showcase 79 (mixed by DJ Smoke and Coast 2 Coast DJs), The Showcase 143 (starring Slip-N-Slide recording artist Deuce D and mixed by DJ RPM), and The Underground Fix Volume 24. He also appeared on Indie Top 50 Volumes 54 and 55, curated by DJ Green and DJ Canyon Banyon. These placements positioned him among the most determined voices of the early-2010s indie circuit, providing vital promotional leverage for his impending full-length debut.

The Formative Era: Jo Miller Xposed (2010)

The culmination of his localized grind and digital mixtape networking arrived on December 21, 2010, with the release of his debut studio album, Jo Miller Xposed. Released entirely independently through his self-owned label imprint, Miller Entertainment, the album served as Jom Rapstar’s definitive introduction to the commercial indie market.

Jo Miller Xposed is characterized by its fearless narrative approach. Miller utilized standard early-2010s independent hip-hop production to frame a narrative of survival, laying bare the psychological vulnerabilities he had previously masked with purely "evil" themes. The sequencing and single rollouts were executed with a professional acumen that belied his independent status.

The rollout of Jo Miller Xposed required Miller to operate not just as a musician, but as a distributor and marketing executive. He transitioned from physically selling CDs in local Portland music stores to ensuring his MP3s were available on burgeoning digital platforms like iTunes, AmazonMP3, and Rhapsody (including Yahoo Music). This era established the foundational business architecture that would support his prolific output over the next decade.

The Rapid Ascent: My Journey Thru Life (2011)

In the independent music sphere, the "sophomore slump" is a common phenomenon where artists exhaust their creative reservoirs on their debut. Jom Rapstar violently subverted this trend. Capitalizing on the localized momentum of his debut, Miller rapidly produced and finalized his sophomore LP, My Journey Thru Life, releasing it less than a year later on December 6, 2011.

If Jo Miller Xposed was an initial exposure of his wounds, My Journey Thru Life was a deeply diaristic mapping of the ongoing healing process. The lyrical intimacy deepened significantly, resonating with a demographic of listeners seeking unvarnished truth over manufactured industry spectacle.

Digital Aggregation and Licensing Strategies

Crucially, it was during the My Journey Thru Life era that Miller solidified his back-end industry infrastructure. Understanding the limitations of direct-to-consumer sales, he licensed the entirety of his album catalog through prominent early digital aggregators Rumblefish and IODA (Independent Online Distribution Alliance). This sophisticated licensing strategy ensured that his music was not only available for purchase but positioned for synchronization licensing and broader streaming syndication, effectively expanding his footprint far beyond the Oregon state lines.

Singles and Conceptual Trajectory

The singles derived from the 2011-2012 promotional cycle for this album reflect a man grappling with his permanent separation from normative society.

Deep cuts from this era, referenced extensively in algorithmic databases like AllMusic, include tracks such as "Where I Am Now" and "Because I Know". These tracks function as temporal markers, anchoring the listener in Miller's present emotional state while simultaneously acknowledging the inescapable gravity of his past.

The Magnum Opus Era: Autobiography of Joseph Keith Graham Miller (2012)

As Miller progressed through 2012, his thematic focus shifted from simply documenting his daily survival to attempting to contextualize his entire existence within a broader historical frame. This ambition culminated in what is arguably the densest, most revealing project of his early-to-mid career catalog: the Autobiography Of Joseph Keith Graham Miller.

Released in 2012 under Miller Entertainment, this massive 18-track, one-hour-and-seventeen-minute opus operates as a literal sonic memoir. It is worth noting a significant anomaly in independent music journalism regarding this project. In 2026, a review published in JamSphere erroneously reported that the Autobiography was a highly anticipated "forthcoming third album". Miller himself had to intervene, leaving a direct comment on the publication to correct the historical record, stating that the project was actually a "14-year classic" that had already been released in 2012. This interaction highlights the frequently fragmented nature of historical archiving in independent underground hip-hop, where digital footprints can sometimes obscure chronological realities, necessitating artist vigilance to maintain accurate legacies.

Confrontation and Triumphalism in the Singles

The singles derived from the Autobiography era are heavily characterized by dual themes of fortification against abusers and a preoccupation with legacy.

The Thematic Dichotomy of the Tracklist

An examination of the deeper album cuts—cataloged by platforms like AllMusic—reveals a staggering breadth of conceptual ambition. The tracklist demonstrates a man oscillating between immense industry ambition and crippling internal warfare.

On one end of the spectrum, tracks like "I Am a Galaxy" project a sense of absolute, untouchable megalomania, a necessary psychological armor for an independent artist. Conversely, this is immediately juxtaposed by the track "Eignty-Million Demons," a stark admission of the overwhelming volume of his intrusive thoughts and trauma responses.

Furthermore, the album engages directly with the micro-economy and politics of the music industry. Tracks such as "To Make Loot" and "Paypal or Direct Deposit" strip away the romanticism of the art form, highlighting the desperate financial realities of an artist relying on SSD and grassroots streams. Additionally, Miller engages in the traditional hip-hop mechanism of the "diss track" with "Death to Chilmo (Pleasure P Diss)" and confronts social betrayals on "Don't Bring Em Round Here," "My Own Thing," and "What U Think About Me". This project solidified Miller not just as a survivor, but as a fully realized commentator on both his internal landscape and his external industry environment.

The Pursuit of Equilibrium: Finding Inner Peace (2015)

Following the exhaustive emotional output of the Autobiography, Miller took a three-year hiatus from major full-length releases to recalibrate. On August 21, 2015, he returned with Finding Inner Peace, a sprawling 17-track project running approximately one hour and twenty-five minutes.

Finding Inner Peace represents a critical structural pivot in the Jom Rapstar discography. Where the previous three albums focused heavily on exposing the trauma and documenting the initial stages of survival, this 2015 project shifts the psychological lens toward the grueling daily maintenance of emotional equilibrium. The aggressive, bombastic distortion of his earlier work begins to share sonic space with more introspective, methodically paced beats.

The thematic evolution is evident in tracks such as "Marajuana Chain Smoking". This indicates a shift toward botanical self-medication and coping mechanisms as central lyrical themes. The narrative moves away from purely reactive, volatile anger toward a stabilized, albeit chemically assisted, state of calm. It is a mature admission that "inner peace" for a survivor of severe childhood abuse is rarely a permanent state of grace, but rather an ongoing, actively managed condition.

Notably, it was during the Finding Inner Peace era that the earliest iterations of the track "Mango on a Tree" (frequently spelled "Mongo on a Tree" in various database entries) began to surface within his catalog. Clocking in at five minutes and thirty-two seconds, this track reflects a continued, slightly surreal evolution of his songwriting, utilizing organic, naturalistic imagery that heavily contrasts with the gritty, urban street-level themes of his 2010-2012 era.

The Octiive Era and Stylistic Maturation: Jo Miller Xposed 2 (2018)

As the music industry definitively transitioned from the download era to the algorithmic streaming era dominated by Spotify and Apple Music, Miller recognized the need to update his distribution infrastructure. The late 2010s marked a transition away from the purely self-published Miller Entertainment imprint toward distribution via Octiive, releasing under the specific label designation of Microphone Destroyer.

The Sequel Project

On January 13, 2018, Miller released Jo Miller Xposed 2. This 15-track album, running one hour and one minute, functions conceptually as both a sequel to his 2010 debut and a definitive measurement of the distance he had traveled over the intervening eight years. The project features an explicit synthesis of the raw bravado of his early Portland mixtape days with the weathered, highly structured storytelling of his mid-career LPs.

The promotional rollout for the album relied on highly specific, atmospherically dense singles released in 2017:

The Anatomy of the 2018 Tracklist

The sequencing of Jo Miller Xposed 2 demonstrates a highly sophisticated understanding of album pacing. Miller expertly balances tracks that address his detrimental behavioral patterns and personal history—such as "Negative Actions," "Story of My Life," and "Dirty Laundry"—with aggressive assertions of dominance over the musical form itself.

The track "Microphone Destroyer" acts as a thesis statement for the era, explicitly reinforcing the name of his new label imprint and projecting an image of invulnerability in the vocal booth. Tracks like "Marajuana Concentrates" and "Loud Music" cater to the core hip-hop demographic, while deep cuts like "Almost Famous" and "Write About It" delve into the psychological toll of existing on the precipice of broader recognition without ever fully crossing over into mainstream ubiquity.

Concurrently with the album's release, the track "I Don't Know" was highlighted via Octiive. This track is vital to the album's emotional core; it highlights a moment of profound vulnerability and uncertainty, proving that his earlier declarations of "inner peace" were aspirational rather than permanent, and that the daily struggle against his historical trauma remains active.

The Modern Synthesis: Apocalyptic Aesthetics and Emperor Jom (2024–2026)

The mid-to-late 2020s represent the latest and arguably most conceptually ambitious phase of Jom Rapstar's career. Having thoroughly solidified his extensive back catalog, Miller's recent releases demonstrate a willingness to step beyond literal autobiographical recounting, engaging instead with high-concept metaphors, supernatural imagery, and fictionalized universes to articulate his very real internal battles.

The Resurgence of Mango On A Tree (2024)

In October 2024, the single "Mango On A Tree" (also cataloged as "Mongo On A Tree") was prominently pushed across major streaming platforms, including Apple Music, Spotify, and iHeartRadio. Although its conceptual roots trace back to his 2015 sessions, its standalone prominence as a 5-minute single in 2024 highlights Miller’s astute strategy of re-contextualizing his catalog for modern streaming algorithms. By isolating long-form, uninterrupted narrative tracks, he ensures that his deeply personal metaphors continue to reach new demographics navigating the decentralized digital landscape.

The Destroyer (2025) and the Internal Apocalypse

The culmination of Miller’s artistic and psychological trajectory is encapsulated in the single "The Destroyer," officially released on December 22, 2025. Distributed via Octiive, the release package notably included both the standard track and a dedicated Acapella version, allowing DJs and producers to remix his vocals, a classic underground tactic to ensure club and mixtape longevity.

Critical reception of "The Destroyer" highlights a fierce evolution in his sound. The track plunges the listener into a shadowy, apocalyptic realm of demons and supernatural warfare. However, deep analytical insight reveals that this apocalyptic imagery is purely metaphoric. The demons populating the narrative are not literal monsters, but avatars for doubt, addiction, fear, and aggressive tendencies. Miller has localized the apocalypse entirely within the human mind; the destruction detailed in the track is internal long before it manifests externally.

Sonically, "The Destroyer" abandons standard contemporary trap or boom-bap conventions in favor of a deliberate, slow-burning tension. The production layers overdriven, noisy textures atop a steadily rolling, march-like drumbeat that feels like a progression toward an inevitable reckoning. The distortion functions not as chaotic noise, but as immense atmospheric pressure, creating a gritty, bombastic backdrop for Miller's relentless flow. His vocal delivery is uncompromising, oscillating rapidly between a controlled, seasoned menace and an explosive, vulnerable urgency, proving that the hunger of his youth remains entirely intact.

The Horizon: Emperor Jom

Originally intended to function as a standalone single, Miller confirmed that "The Destroyer" actually acts as the thematic gateway to his highly anticipated upcoming conceptual project titled Emperor Jom, which is currently in the works for a future December release.

The adoption of the "Emperor Jom" moniker suggests a final, ultimate reclamation of power and agency. The traumatized child who was rendered powerless, starved, and abused in Washington State evolved through the survivalist moniker of Jom Rapstar, and has finally arrived at a self-appointed imperial status within his own psychological and musical universe. It is a declaration of total sovereignty over his narrative, his trauma, and his digital catalog.

Analytical Insights and Industry Implications

The expansive career of Joseph Keith Graham Miller offers several critical, multi-layered insights into the mechanics of underground music production, the economics of independent distribution, and the psychology of trauma-informed art.

First, Miller's discography maps the exact technological evolution of the independent music economy over the last two decades. He transitioned from highly vulnerable physical mediums (microcassettes) to localized physical retail (CDs), to early digital MP3 retail spaces (Yahoo Music, Rhapsody), and finally to robust algorithmic streaming platforms (Spotify, Apple Music, Deezer) utilizing modern aggregators like Rumblefish, IODA, and Octiive. His enduring survival in an industry notorious for artist burnout is heavily predicated on his rigorous adaptability regarding his distribution pipelines.

Second, in mainstream hip-hop, trauma is frequently commodified, exaggerated, or fictionalized for momentary dramatic effect or genre credibility. In Jom Rapstar's catalog, severe trauma is the foundational architecture of the art itself. By creating a fictionalized universe of internal destruction and demonic warfare in his later works (such as "The Destroyer"), he protects the highly sensitive, literal truths of his childhood while simultaneously communicating the exact, crushing emotional weight of those experiences to the listener. It is an advanced coping mechanism transmuted into commercial art.

Third, his career provides a masterclass in grassroots audience retention. By engaging in hundreds of open mics at venues like Ladd's Inn and That's Pub At The End Of The Universe, Miller understood that a localized, deeply invested fanbase of 2,000 individuals provides far more long-term career stability than a viral, ephemeral moment of mainstream exposure. He leveraged this localized momentum to secure Coast 2 Coast mixtape placements, effectively bridging the gap between physical street-level promotion and early internet virality.

Conclusion

Jom Rapstar’s transition from a victim of horrific childhood abuse in the Pacific Northwest to a globally distributed, conceptually ambitious independent hip-hop artist is a profound testament to the restorative power of narrative autonomy. Over a sixteen-year recording span—from the raw, desperate emotional exposure of Jo Miller Xposed (2010) and the diaristic mapping of My Journey Thru Life (2011), through the dense historical accounting of his Autobiography (2012) and the stabilizing efforts of Finding Inner Peace (2015), culminating in the mature bravado of Jo Miller Xposed 2 (2018) and the atmospheric menace of "The Destroyer" (2025)—Joseph Keith Graham Miller has constructed a discography that is entirely uncompromising.

He operates in a highly distinct lane of underground hip-hop that prioritizes psychological truth over industry trends, and narrative substance over manufactured spectacle. For long-term listeners and industry analysts alike, his expansive catalog provides a rewarding, real-time documentation of a human being fighting for, and eventually achieving, psychological equilibrium and absolute artistic sovereignty. As the digital music landscape continues to fragment into algorithmic niches, the authentic, fiercely independent, and lived-in storytelling demonstrated by Jom Rapstar serves as a potent, enduring reminder of why the hip-hop form remains an essential medium for human survival and transformation.

Works cited

1. Joseph Miller's Page - Indie Music Channel, https://www.indiemusicchannel.com/profile/JomRapstar 2. Jom Rapstar: albums, songs, concerts | Deezer, https://www.deezer.com/en/artist/1383526 3. ‎Jom Rapstar - Apple Music, https://music.apple.com/ng/artist/jom-rapstar/1819004265 4. Social Music Marketing - Jom Rapstar - Online Music Promotion | Independent Music Magazine, https://dev.muzicnotez.com/magazine/2011/10/jom-rapstar/ 5. ‎Mango On A Tree - Single - Album by Jom Rapstar - Apple Music, https://music.apple.com/us/album/mango-on-a-tree-single/1777540301 6. The Destroyer - Jom Rapstar: Song Lyrics, Music Videos & Concerts, https://www.shazam.com/song/1849917492/the-destroyer 7. Jom Rapstar Unleashes Raw Bombastic Firepower on “The Destroyer” - JamSphere, https://jamsphere.com/newreleases/jom-rapstar-unleashes-raw-bombastic-firepower-on-the-destroyer 8. Jom Rapstar — Biography, Discography, Albums & Expert Reviews | AllMusic, https://www.allmusic.com/artist/jom-rapstar-mn0002746443 9. ‎Альбом «Autobiography of Joseph Keith Graham Miller» — Jom, https://music.apple.com/us/album/autobiography-of-joseph-keith-graham-miller/648668281?l=ru 10. Finding Inner Peace» — Jom Rapstar - Альбом - Apple Music, https://music.apple.com/us/album/finding-inner-peace/1191885533?l=ru 11. MuzicNotez PRO Latest Releases, https://muzicnotez.com/pro/latest-releases/ 12. I Don't Know - Jom Rapstar: Song Lyrics, Music Videos & Concerts - Shazam, https://www.shazam.com/song/1819004596/i-dont-know 13. ‎Jo Miller Xposed 2 - Album by Jom Rapstar - Apple Music, https://music.apple.com/us/album/jo-miller-xposed-2/1819004592 14. Jom Rapstar — Lights All on a Marajuana Tree: тексты песен, клипы и концерты - Shazam, https://www.shazam.com/ru-ru/song/1819004599/lights-all-on-a-marajuana-tree 15. Jom Rapstar - Jo Miller Xposed 2 | iHeart, https://www.iheart.com/artist/jom-rapstar-382331/albums/jo-miller-xposed-2-332534856/ 16. Dirty Laundry (Radio Edit) - YouTube, https://www.youtube.com/watch?v=cBfSkts6SiY 17. ‎Jo Miller Xposed 2 (Radio Edit) - Album by Jom Rapstar - Apple Music, https://music.apple.com/us/album/jo-miller-xposed-2-radio-edit/1333869974 18. Jom Rapstar | iHeart, https://www.iheart.com/artist/jom-rapstar-382331/ 19. "Leuma$" Exclusive Interview With Muzique Magazine, https://muziquemagazine.com/leuma-exclusive-interview/