Entertainment
Freddy Will Gives a Breakdown of His Music
Published
2 years agoon

This article consists of two parts. We chronicle the creative method of a Grammy-nominated independent recording artist. Some know him. Many don’t. Freddy Will said he is a Mande. He dropped his first joint in 2006. As for his cultural environment, he is from Sierra Leone and raps in Krio and American English while combining old school Hip Hop with Afrobeat, Calypso, Soca, Rock, and Classical. Perhaps that’s why he describes himself as an Afropolitan who records and performs crossover Hip Hop.
We checked to verify the “City Boy” artist’s claims. Our investigation revealed that he had lived his life in stages. The first was when he was born in Brookfields Freetown, Sierra Leone, to a high school principal and a nurse. They became UN diplomats and Gospel preachers. Freddy entered his second phase when his parents moved to Liberia. There he received a Catholic education. At the same time, he was active in Church with his parents, learning to sing, compose, and play musical instruments.
This preacher’s son told us a friend introduced him to Hip Hop, but a civil war ensued. After some clashes with rebel militants, he entered the third phase of his life by returning to Sierra Leone. The gist of this part of his story is that he was separated from his family. They emigrated to the United States while he stayed with his father’s parents and relatives in Sierra Leone. He attended three secondary schools, Christ the King College, Methodist Boys High School, and Ansarul Muslim Secondary School.
We are sure there is a story. It could have something to do with the civil war. After running with the national soldiers, the preacher’s son graduated from high school. The Islamic school explains his reverence for Islam. Hip Hop was very unpopular in Sierra Leone in the early 1990s. Freddy Will’s conservative relatives opposed his adherence to the music culture. He was later one of many refugees who immigrated to The Gambia as the Sierra Leone civil war escalated. This was the fourth phase in his life journey.
In The Gambia, a teenager Freddy Will spent most of his time writing music and screenplays. He compiled volumes of handwritten Rhyme Books. Freddy briefly moved to Senegal to reconnect with an uncle before emigrating to the States to join his parents, grandparents, and siblings. His father is from the Loko people of Sierra Leone. His maternal grandmother was an African American of Guyanese descent. While his father’s parents lived in Sierra Leone, his mother’s parents lived in the United States.
We learned that Mande is an ethnic people from which various groups descend. They are Susu, Loko, Mandingo, Gio, Bambara, Vai, Gbandi, Mende, Kissi, and many more. Freddy is Mande, as his father is from the Loko people, while his mother is from the Mandingo people. However, his mother’s background also includes African American and Guyanese on her mother’s side. Her father’s lineage stretches back to Mali, Senegal, and Guinea. He was a Sheikh with a peculiar birthright among his people.
In Freddy Will’s mind, he became an Afropolitan after naturalizing in the United States and entering his sixth phase with emigration to Canada. During the fifth phase, he put his music career on hold to pursue other opportunities like his post-secondary education. In Toronto, he returned to music, recording Hip Hop albums, a mixtape, and an EP, and released them independently. He later came in his seventh phase when he moved from Canada to Europe. His emigration gives his Afropolitical perspective.
We also note that he transitioned from rapping to literary writing between his sixth and seventh phases. We focus on his sixth phase, when he recorded and released his albums in Toronto. Freddy has published a book series in Europe and released two albums there. When asked about his transition, he gave three reasons. One was his age. He was in his mid-thirties. Another reason he gave was his influence on the fans. He didn’t want to make music with an adverse impact; the last was to “follow his dream.”
Q: Why do you refer to yourself as an Afropolitan?
Freddy Will: “The best way to describe where I belong is to say I’m an Afropolitan. I feel loyal to all the countries I’ve lived in. Yes, I’m a proud American, but in a way, I’m also Liberian, Gambian, Senegalese, Canadian, Belgian, and even German. It’s a kind of psychological connection. Life has given me a transnational identity with my roots in Sierra Leone.”
Q: Very well. What do you say to those who only want you to represent Sierra Leone?
Freddy Will: “Oh, make no mistake, Afropolitans get criticized. Considering how the system works, everyone won’t get that being an Afropolitan is not an aspiration. Life happens. You keep relocating from country to country. You move around the diaspora. Of course, I’m a Sierra Leonean at heart. We call Sierra Leone ‘the land that we love.’ I sprout from deep roots in Gbendembu. It’s my heritage. Whether people realize it or not, everything I do, every failure or accomplishment, represents Salone.

On the other hand, life goes on. Every Afropolitan feels thankful to the diasporas where we’ve lived. Each one adds something to our experience and character. Our awareness shifts from one culture to another. There’s also that downside where we often don’t fit in as newcomers after living in a different country. Sometimes the only hope is to go back to our roots so we grasp our culture. You know what I mean? That’s why I identify as an Afropolitan. It’s the best way to understand people who live like we do.”
Q: Speaking about roots, we learned that your grandfather was a Sheikh with connections to Mali, Senegal, and Guinea, and your grandmother was African American with ties to Guyana. You straddle Africa, the Caribbean, and the United States.
Freddy Will: “Yes. There were a lot of mixed marriages. My mother’s father, Alhaji Sheikh Abdul Gardrie, was a Mandingo. These are the people who founded the Mali Empire. When you trace his lineage, it goes from Senegal to Mali and from Guinea to Sierra Leone. I’m still determining the Yoruba part, but it’s there. Even my last name, Kanu, is primarily Nigerian. I’m figuring out how this Nigerian last name ended up in Sierra Leone. But that’s on my father’s side. The Yoruba is on my mom’s side.
Our family, we even have relatives in Canada now. The Kanu lives there too. Plus, Canada plays a significant role in Sierra Leone’s history. Yes, my mother’s mom was African American. I don’t remember exactly, but they say my grandma’s mom was Guyanese, and her dad was African American. On my father’s side, we’re from a place called Gbendembu. The Loko and the Mandingo are sub-groups of the Mande ethnic group. Some are Muslims, while others are Christians. I’m all that culture in my lineage.”
Q: Tell us about your music. How would you describe it?
Freddy Will: “My music expresses cultural, religious, political, and social experiences. Sometimes it’s a celebration, and other times it’s a howling. At the core, it’s Hip Hop. This genre has shaped many aspects of me. I rap in most of the music. Although, on the production end, the sound could be more assorted. I’d describe my music as a crossover Hip Hop.”
Q: How were you introduced to music?
Freddy Will: “Before he became a born-again Christian, my father used to play music in the house. Back in Liberia, he had an entertainment system. It had a record player. He had many records. My parents threw parties, if I remember correctly. Our neighbors did the same thing. Liberia was a very musical place when I was growing up. Every birthday came with a party, with lots of music and dancing. When my parents converted to born-again Christianity, the music changed to Gospel but still music.”
Q: Were you in the Church choir?
Freddy Will: “No. I’ve always been an outcast. I don’t fit in, so I do my thing. That was the same case in the Church. The choir was there, but I couldn’t get in. I’d watched them sing. I watched them practice, but they didn’t let me join. For me, the answer was always no. Although when I lived in Bo, they had a youth group at our Church. I wasn’t a full member, but once, they let me participate in a convention where we sang on stage and acted in a play from the Bible. It was nice. I was never in the choir.”
Q: You didn’t like Church.
Freddy Will: “I wouldn’t say that. I wasn’t in the groups. I could sit in the audience. The Church in Bo was the best of them. They let me attend or participate in group meetings. I wasn’t a full-fledged member, but I affiliated. As I said, that one time when they had that big convention when all the other Churches met in Bo, and they sent singing groups to represent them, my Church let me participate. I was the kid who hung around watching. During those years, it was all about me wishing and hoping.”
Q: How did you learn how to compose music?
Freddy Will: “I taught myself. I was already rapping before moving to Sierra Leone. I hung around the youth meetings and choir at the new Church, watching them practice. Then I studied the formats in hymn books. I’d ask the guitar or piano player to show me a thing or two every chance I got. Then I’d beatbox the rest. I created the music in my mind. Once my friends put me onto Gangsta rap, I started lip-syncing over instrumentals. As time went on, I started to hear songs in my mind. Randomly, a new song would come to me.”

Q: Who writes and composes your songs?
Freddy Will: “I wasn’t kidding when I said I never fit in anywhere. Okay, maybe I exaggerated a tiny bit. But no, I didn’t get the mentor or the protégé. Most times, when someone showed, they were there to defeat me. I had to write my lyrics. A beatmaker or producer would back me up on the production end. The song comes to my mind, and I’d beatbox the rhythm to myself while writing the lyrics. Then I’d find a producer and hint at a rhythm for the song. Then they’d hit me with whatever they’ve got.”
Q: Take us through your creative process.
Freddy Will: “I watched the choir practice. I’d studied the lyrics in hymn books. Then I taught myself to use the same format. On the rapping side, I learned how to lip sync a few popular songs like ‘Around the Way Girl’ by L. L. Cool J, ‘OPP’ by Naughty by Nature, ‘Down with The King’ by RUN DMC, and ‘Lord Knows’ by Tupac Shakur. Once I could freestyle the lip-synced lyrics, I started to rap them over their instrumental. Shortly after that, I made up my raps and spat them to the instrumental with the hook.
This was between the early to mid-90s. By the mid to late 90s, I was writing lyrics. Now the music comes to me like a download. I hear the song (in my mind) and replicate it. Sometimes I produce it exactly, and other times it turns out differently. Perhaps I was sleeping and dreaming when a song came, and I wrote it down and made a reference recording. Or, I’d listened to a beat, and the song came instantly. At the very least, I’d have written the lyrics if I couldn’t remember the melody or the rhythm.
The chorus or the hook comes first, then the verses. Depending on the producer or engineer, the song could be whatever. With an excellent producer, I’d hint at a drumline, harmony, or baseline, and he’ll take it from there. A beat-making producer might already have a beat where I’d match my hook and verses to his rhythm and adjust. Then I’d take that to the studio. It all depends on the situation. I can rap to any beat and do several genres. It’s a typical format that most artists use to create songs.”
Q: Does that explain the crossover claim you make?
Freddy Will: “The crossover is between two or more genres on the same song. I’d go with Funk, Soul, R&B, Gospel, Reggae, Calypso, Soca, Africana, Classical, Dancehall, Rock, or Country music. Africana music splits into branches like Sukus, Gumbay, Zouk, and Afrobeat. When you bring all that to Hip Hop, you end up with the Afropolitan sound. It’s crossover. That’s like what Afrobeat is in some cases. It’s a work in progress. I’m still looking to make that perfect crossover but blending genres is it.
As I’ve said earlier, the songs come to my mind. I could be cleaning the kitchen, walking, or sleeping. The rhythm comes, I beatbox it, then the rap lyrics start to flow. I’d have a new song if I could find a pen and pad quick enough to write it down and a recorder to freestyle a reference recording. Later, I’ll rewrite and edit it. On the production side, I’d either make the beat or choose a beatmaker’s beat. When everything felt right, I’d go to a studio and record what I’d been working on the last few weeks or so.”
Q: Can you name six of your crossover songs?
Freddy Will: “Yes. ‘City Boy,’ ‘Maria,’ ‘Providence,’ ‘Girl from Happy Hill,’ ‘Pickin,’ and ‘While I’m Still Young.’ I started making crossovers when it was unpopular. People used to criticize it. When I first recorded ‘City Boy,’ many people didn’t get it. The term is a popular slogan now; everyone’s making some crossover. It became a trend years later. I’m not saying they got it from me. I’m saying I was heading in the right direction with that.”
Q: Nice! Tell the fans about your first release.
Freddy Will: “’Stay True.’ We released it off of an independent label in Toronto. I said we because I was with a music producer and his team. It had been almost a decade since I’d rapped or performed professionally. A stroke of luck found me out there, recording my debut album. It was like a dream. He was the producer. I loved his sound. It was perfect for my style. That’s when we recorded ‘Animal,’ ‘So Hard,’ ‘Somebody…’”
Q: We’ve seen rappers who freestyle a song instantly. They have such an intense work ethic that they can write and record several pieces in one go. Are you one of them?
Freddy Will: “I’ve written and recorded two to three songs on the same day and performed them on the same night. I’ve created dope pieces that way. Lately, I don’t prefer that method anymore. As I said, songs come to me. Someone can invite me to a studio, an engineer plays a beat, and they ask me to get in the booth. I would. Typically, the message will not be positive when I spit off the top of my head or write a song within minutes in the studio. That’s where you’d hear all sorts of profanities and shit.
Once I’m peer-pressured to make a quick song, the lyrics go in the stereotypical direction. You’ll get the streets – being inebriated, debauchery, wealthy, or violent situations. When I take my time to write, I’m more thought-provoking. I prefer working on a song for a few days or weeks before recording it. Once we record, that’s it. Once we release it, that’s it. I get songs, write them, and record them at the studio. I could bring two or three to a session and record them simultaneously.” …TO BE CONTINUED.
This article contains branded content provided by a third party. The views expressed in this article are solely those of the content creator or sponsor and do not necessarily reflect the opinions or editorial stance of Popular Hustle.

You may like
-
From $300-a-Month Seamstress to Tang Heritage Luxury Icon—The Rise of Hua Ziyan
-
Daniel Hartnett Is Making Hip-Hop Beats More Accessible Than Ever
-
From Playing Small to Reigning Supreme: How Melody Sheard Empowers Single Women
-
Vienna’s Elite Gather for ‘Spy Capital 2’ Red Carpet Premiere
-
Media Executive Barrett Dungy Goes Big with One Culture Media Group Launch
-
Selene Makes Her Industry Debut with Mythology-Inspired Album ‘SELENE’
Business
Daniel Hartnett Is Making Hip-Hop Beats More Accessible Than Ever
Published
2 weeks agoon
July 1, 2025
When Daniel Hartnett first heard the term “corporate thief” in a Michael Moore documentary during the 2007-2008 financial crisis, he had no idea it would become the foundation of his music career. What started as a casual YouTube channel name has become something much bigger—a go-to spot where struggling hip-hop artists can actually find affordable beats without getting ripped off.
Hartnett’s path to hip-hop production wasn’t conventional. Growing up in Ireland, his mother encouraged him to explore various instruments, from the tin whistle and accordion to keyboards and guitar. At 13, he formed a grunge band with friends, teaching himself guitar and developing what he didn’t yet realize was a natural musical ear.
“I was all about grunge and barely gave any other genre a chance,” Hartnett recalls. Everything changed when his college friend Mike handed him a laptop loaded with FL Studio and introduced him to Kid Cudi’s debut mixtape, “A Kid Named Cudi.”
That single moment completely shifted his musical world. Cudi’s vulnerable, honest approach to hip-hop hit different—it felt genuine in a way that resonated with people his age. Combined with Kanye West’s “808s & Heartbreak,” these influences began reshaping how Hartnett thought about making music.
The switch from acoustic performer to beat maker wasn’t planned. Before long, he was uploading type beats like mainstream rappers, along with trap beats and pop instrumentals, to YouTube under the alias “The Corporatethief Beats.” He’s always been fascinated by stories of white-collar crime—documentaries like American Greed or films like Wall Street really influenced his branding. That’s why you’ll find beat packs and mixtapes on his site with names like Greed I$ Good, Money Never Sleeps, and Anacott Steel.
What gives Hartnett an edge in today’s crowded beat-making world is something many producers don’t have—he can actually play instruments. While most rely entirely on software, his years of playing everything from tin whistle to guitar taught him how melody and harmony actually work.
“Having a musical ear gives me a definite edge,” he explains. “Many beginner producers struggle to tell when a note is off or when two sounds clash. That intuitive understanding has saved me countless hours in the studio.”
His creative process always starts with a concept. Whether it’s a specific mood, an artist he wants to channel, or just a moment he’s trying to capture, Hartnett needs that spark before he can stay focused and inspired.
After teaching himself the basics, Hartnett decided to get serious about his craft. He studied Music Technology at Galway Technical Institute, then moved to Dublin for the Academy of Sound, where he learned proper studio techniques with Logic Pro, Pro Tools, and actual analog equipment. By 2015, he had a four-year Higher Diploma and the technical chops to back up his natural talent.
These days, 99% of his beats happen in Logic Pro—he just loves how it works. When he’s engineering for bands, though, he switches to Pro Tools since that’s what most professional studios expect. Having both skills means he can work on whatever project comes his way.
Here’s where Hartnett saw a real problem: independent artists were getting screwed by beat licensing. Basic leases cost $50-$100, often with confusing contracts and multiple pricing tiers that didn’t make sense. Artists would buy a beat, then discover they needed to pay more for different usage rights.
His answer was Rap Beat Packs—bundles with anywhere from 10 to 150 beats covering trap, boom bap, drill, and pop. Every beat comes with unlimited licensing for one price. No fine print, no upsells, no surprises.
“Producers these days tend to overcomplicate things with five or six different license tiers,” Hartnett notes. “I’ve tried to make everything simple, clear, and affordable for serious artists.”
Beyond making beats, Hartnett has become something of a teacher. His “Rap Lyricist’s Handbook” runs over 250 pages, packed with real advice on writing, recording, and marketing music. It includes QR codes for bonus content and works more like a reference guide than something you’d read straight through.
His website has become the place artists go when they need help—beat packs, production tools, marketing courses, ebooks, and blog posts that actually explain how to get your music heard. It’s designed for artists who want to build real careers, not just chase viral moments.
Hartnett has worked with artists like Kid Berg, Sam May, and Ricky T, plus collaborated with producers like Lazy Rida Beats. His dream team? Kanye West, Kid Cudi, and Drake—the three artists who basically shaped his entire approach to music.
His advice for aspiring creatives gets straight to the point: learn to market yourself, ignore sketchy promo deals, and don’t be ashamed of having a day job. Most importantly, stop obsessing over numbers that don’t matter.
“Stop obsessing over likes, views, and vanity metrics,” Hartnett says. “Focus on making genuine connections and building a fanbase that actually cares about your music. That’s how real growth happens.”
While the hip-hop world keeps changing, Hartnett stays focused on what matters—making quality beats and helping independent artists succeed. He doesn’t get caught up in who’s-the-greatest debates or industry drama.
His real message to struggling artists? “Stay grounded. This industry will test you, especially if you’re selling beats online. Just keep showing up, stay focused, and always keep learning.”
For more information about The Corporatethief Beats and available resources, visit the official website or follow on YouTube and X/Twitter.
Entertainment
Vienna’s Elite Gather for ‘Spy Capital 2’ Red Carpet Premiere
Published
3 weeks agoon
June 30, 2025
Vienna proved once again why it’s called the world’s spy capital when it hosted the glittering premiere of “Spy Capital 2” this summer. The Artis International Cinema became ground zero for what turned into one of the city’s most exclusive entertainment events, drawing an impressive crowd of 220 guests from the worlds of film, politics, and international diplomacy.
The Austrian capital’s reputation as an espionage hub made it the perfect backdrop for this provocative sequel in the critically acclaimed docu-drama series. The premiere transformed what could have been a routine film screening into a high-stakes social event that perfectly captured the intrigue and sophistication associated with Vienna’s shadowy international reputation.

Under brilliant sunshine, the day kicked off at noon with a red carpet ceremony that set the tone for everything that followed. Yingying Wang‘s live saxophone performance created an enchanting atmosphere as the cinematic aura began building around the venue. The guest list read like a who’s who of European society and international intelligence circles, with high-profile attendees including key cast and crew members, press representatives, dignitaries, and notable figures from film, fashion, politics, and diplomacy.
Luxembourg’s Ambassador Jean Graff and members of the historic Habsburg-Lothringen family were among the diplomatic contingent, lending an air of old-world elegance to the proceedings. What really caught attention was the rare public appearance of former BVT officer Egisto Ott, who typically keeps a low profile but showed up with his wife, posed for photos, and even did interviews—a significant departure from his usual discretion.


The carefully orchestrated timing continued as a select group of VIPs arrived at 12:15 after a pre-reception at the nearby Hyatt Hotel, seamlessly joining the formal red carpet presentation. Producer Dennis Dewall took the stage at 12:50 to thank sponsors before introducing the main players: director and intelligence historian Boris Volodarsky, security experts Ott and Gert R. Polli, profiler Suzanne Grieger-Langer, and actresses Silvia Schneder and Maria Tischenko.
The 80-minute screening started promptly at 1:00 p.m. and ended to enthusiastic applause at 2:20 p.m. But the real intrigue continued aboard the opulent Majestic Imperator Train de Luxe, where 120 select guests enjoyed an afterparty on the vintage-style train. The early evening celebration featured sparkling drinks, elegant hors d’oeuvres, and what many described as a unique opportunity for intimate conversations with the film’s cast and creators—the kind of access that money can’t usually buy.


The train setting proved perfect for the kind of discreet conversations that Vienna’s intelligence community has always favored. Guests found themselves discussing not just the film’s artistic merits, but the real-world implications of the story it tells. This atmosphere of sophisticated intrigue set the stage for deeper conversations about the film’s most compelling figure.
The most fascinating aspect of the premiere centered on Dennis Dewall‘s dual role as both producer and the actor portraying Jan Marsalek, the enigmatic former Wirecard COO who remains one of Europe’s most wanted fugitives. In interviews throughout the day, Dewall revealed the extraordinary lengths he went to understand his subject, including actually speaking with Marsalek himself during production.


“Marsalek isn’t a classic villain,” Dewall explained to the assembled press. “He’s a chameleon, a puppet master. I didn’t just want to show who he was—I wanted to explore why he became that way.” His approach to the character went far beyond typical method acting, incorporating real research and genuine risk-taking that few productions would attempt.
The film’s authenticity comes from real locations and high-level expert interviews. Dewall’s team went so far as to film at Marsalek’s former Munich villa, though the production faced significant obstacles along the way. The producer-actor revealed he’d had direct contact with Marsalek’s alleged confidant, Stanislav Petlinsky, and that chilling phone call from a Portuguese number—a moment that’s actually depicted in the film.


The movie delves deep into Marsalek’s complex persona using authentic intelligence analysis and interviews with experts including profiler Suzanne Grieger-Langer and former KGB recruiter Sergei Zhirnov. “We’re not glorifying him,” Dewall stressed. “We’re asking questions. This isn’t propaganda; it’s provocation. Art must provoke.”
This commitment to provocation came at a significant cost. What makes this project particularly bold is its complete independence—no public funding meant total artistic freedom, but also significant legal and political risks. The team encountered what Dewall cryptically called “interesting inquiries” along the way, facing resistance and scrutiny that underscored just how sensitive this subject matter remains.
“Marsalek is a metaphor of our times,” he noted during the premiere discussions. “He’s global, invisible, and networked—he’s not a relic. He’s a prototype.” The film serves as a cinematic investigation into power, manipulation, and disinformation, though Dewall insists the audience must draw its own conclusions. “We show the mirrors. You decide what you see.”


The success of the Vienna premiere has already set wheels in motion for the franchise’s future. The Spy Capital series isn’t slowing down, with a third installment focusing on AI, cryptocurrency, and information warfare already in development. There’s also a new spy thriller feature film based on “The Black Book of Sexpionage” set to begin production this year, promising international talent and a focus on covert operations in our digital age.
As Dewall put it during the premiere: “This story isn’t over. It’s playing out every day—in new suits, new countries, and under new names. And we’ll be there to tell it.”
For those wanting to catch up before the sequel drops, the original “Spy Capital: Vienna” is still streaming. German and Austrian viewers can watch it on Amazon Prime Video, while audiences in the US and UK can find it here.
The Vienna premiere proved that sometimes reality truly is stranger than fiction, especially when the cameras are rolling in the world’s unofficial spy capital. The event will be remembered not just for its star-studded elegance, but for sparking conversations that cut to the heart of today’s geopolitical intrigue.
Business
Media Executive Barrett Dungy Goes Big with One Culture Media Group Launch
Published
3 weeks agoon
June 29, 2025
Barrett Dungy has officially launched One Culture Media Group, a new multicultural content distribution company backed by the complete acquisition of Urban Home Entertainment’s film and television catalog.
The Atlanta-based venture, announced June 25th, now controls what the company claims is one of the world’s largest collections of multicultural film and television rights. The move puts Dungy at the center of diverse content distribution as streaming platforms actively seek authentic, culturally rich programming.
“One Culture Media Group isn’t just a company — it’s a movement,” said Dungy, who serves as President and CEO. “We’re proud to be home to a library that reflects the depth, complexity, and brilliance of multicultural stories. But more importantly, we’re building a business that changes lives.”
The acquisition of Urban Home Entertainment’s complete catalog represents a consolidation of decades worth of independent multicultural filmmaking. Urban Home Entertainment had built a reputation for championing diverse voices, making this acquisition particularly significant for creators who’ve worked with the company over the years.
What sets Dungy’s approach apart is his explicit focus on creator economics alongside representation. He’s not just talking about giving underrepresented voices a platform — he wants to help them build sustainable careers.
“I’ve seen firsthand how supporting independent filmmakers and producers can help them achieve not just creative success — but financial independence,” Dungy explained. That direct connection between creative opportunity and economic empowerment addresses a gap in how the industry typically discusses diverse content.
The timing works in favor of this type of venture. Streaming services continue expanding their libraries, and there’s growing consumer demand for authentic multicultural programming that goes beyond surface-level diversity initiatives. Netflix, Amazon Prime, Hulu, and other platforms are actively seeking content that resonates with specific communities while appealing to broader audiences.
This market shift creates opportunities for companies like One Culture Media Group. Instead of competing with major studios for blockbuster content, they can focus on serving underserved audiences with authentic stories that larger distributors might overlook.
Dungy brings industry credentials to support these ambitions. He describes One Culture Media Group as “a global collective of film and television professionals with over 40 years of combined experience.” That expertise matters when navigating complex licensing deals and international distribution partnerships.
The company’s mission extends beyond simple content distribution. “We are passionately dedicated to uncovering and sharing exceptional content that is replete with stories that highlight the human condition,” Dungy said. “Our mission is to empower filmmakers, producers and content creators from diverse backgrounds to tell their stories and shine their God-given talents on a global stage.”
Dungy’s industry recognition supports his ambitious plans. Media Play News Magazine recently named him one of their 2025 “Top 25 Indie Power Players,” acknowledging his growing influence in independent media distribution.
The strategic acquisition positions One Culture Media Group as what Dungy calls “a powerhouse in diverse content distribution.” The catalog includes culturally rich, independent storytelling that spans multiple communities and decades of filmmaking.
What makes this launch compelling is how it addresses both sides of the content equation. Independent filmmakers get access to professional distribution networks they might never reach independently, while streaming platforms get access to authentic content that can help them serve underrepresented audiences more effectively.
The company is committed to championing inclusive content from creators across all backgrounds, with the catalog now available for licensing and distribution across all major platforms. That immediate availability suggests Dungy secured distribution partnerships alongside completing the acquisition.
“We strive to utilize the full spectrum of human colors to inspire positive change in our world, with film and television as our canvas,” Dungy said, outlining his vision for the company’s broader cultural impact.
As part of his expanding media ventures, Dungy has also launched The Ruckus Comedy, a specialized label for stand-up comedy content that acquired Urban Home Entertainment’s complete comedy catalog, though One Culture Media Group remains his primary focus for multicultural film and television distribution.
The real test for One Culture Media Group will be execution — whether it can successfully connect its extensive catalog with the right distribution partners while genuinely supporting the creators behind the content. Many companies talk about empowering diverse voices, but few have the catalog depth and industry experience to deliver meaningful results.
For independent filmmakers who’ve struggled to reach broader audiences through traditional distribution channels, One Culture Media Group represents a potentially significant opportunity. The Urban Home Entertainment acquisition gives Dungy’s venture immediate scale and credibility in a market that’s ready for consolidation and professional management.



From $300-a-Month Seamstress to Tang Heritage Luxury Icon—The Rise of Hua Ziyan

Daniel Hartnett Is Making Hip-Hop Beats More Accessible Than Ever

From Playing Small to Reigning Supreme: How Melody Sheard Empowers Single Women

Vienna’s Elite Gather for ‘Spy Capital 2’ Red Carpet Premiere

Media Executive Barrett Dungy Goes Big with One Culture Media Group Launch

Selene Makes Her Industry Debut with Mythology-Inspired Album ‘SELENE’

Caplin & Massiah Serve Up Genre-Blending Debut with ‘Chemistry’

Composer Wang Gang Bridges Cultures with “Memory of Xinjiang”

Rising Artist Erik Aronesty Is Already Breaking Every Rule He Can Find

Raybot Explores Existential Questions in Upcoming EP ‘Cosmic Purpose’

Katie Hamden Talks New EDM Single ‘NOBODY ELSE’

Boots & Bass Takes Center Stage for Country EDM Takeover at Medici Providence

Disintegration C.E. Aims to Fuel What Eric Robertson Calls Dance Music’s Creative Alchemy

Longtime Friends Timmy Brown and John Price Transform ‘Lil Bit’ into EDM Anthem

Sophia Amoruso Builds a New Legacy Through Strategic Investments and Education

Jason Luv Dominates Charts While Inspiring New Wave of Multi Career Artists

Harley West | Inside the Mind of a Social Media Star on the Rise

Raw Fishing | Franklin Seeber, Known As “Raww Fishing” Youtuber Story

Jordana Lajoie Transforms Montreal Roots into Hollywood Success Story

A New Hollywood Icon Emerges in Madelyn Cline

Who is Isaiah Silva – The Story Behind The Music

Tefi Valenzuela Pours Her Heart into New Song About Breaking Free

G FACE Releases His New Single “All up,” and It’s Fire

Gearshift to Stardom: Nikhael Neil’s Revolutionary Journey in the Automotive Industry

Kaia Ra | Perseverance That Built a Best-Selling Author

Holly Valentine | Social Media Influencer & Star Success Story

Tadgh Walsh – How This Young Entrepreneur is Making a Name for Himself

Kate Katzman | Breaking Into Hollywood and Embracing Change

King Lil G | West Coast Hip Hop Genius Rises to Face With Ease

Lil Ugly Baby XXX’s “Who?” – The Mixtape to Boost Your Playlist

Tefi Valenzuela Pours Her Heart into New Song About Breaking Free

Kate Katzman | Breaking Into Hollywood and Embracing Change

Holly Valentine | Social Media Influencer & Star Success Story

Kaia Ra | Perseverance That Built a Best-Selling Author

Lil Ugly Baby XXX’s “Who?” – The Mixtape to Boost Your Playlist

Samuel Chewning Explains How Fitness Should Be A Personal Journey

Trending
-
Business3 years ago
Jason Luv Dominates Charts While Inspiring New Wave of Multi Career Artists
-
Entertainment2 years ago
Harley West | Inside the Mind of a Social Media Star on the Rise
-
Culture3 years ago
Raw Fishing | Franklin Seeber, Known As “Raww Fishing” Youtuber Story
-
Culture2 years ago
Jordana Lajoie Transforms Montreal Roots into Hollywood Success Story
-
Culture1 year ago
A New Hollywood Icon Emerges in Madelyn Cline
-
Entertainment6 months ago
Who is Isaiah Silva – The Story Behind The Music
-
Entertainment2 years ago
Tefi Valenzuela Pours Her Heart into New Song About Breaking Free
-
Culture3 years ago
G FACE Releases His New Single “All up,” and It’s Fire