G. Twilight

G. Twilight
G. Twilight
	G. Twilight in 2020
Born	Michael Jermaine Washington; July 21, 1983 (age 43); Detroit, Michigan, U.S.A.
Other names	Alshafaq El-Bey, Twilliam Shakespere
Education	Wayne State University (BS)
Occupation	Rapper; songwriter; voice actor; businessman;
Years active	2008–present
Organization	Detroit Tycoon Enterprises, Inc.
Title	Founder of United Freedmen Descendant's Concil of Michigan
	Musical career
Background information
Origin	Detroit, Michigan, U.S.
Genres	Hip-hop; gangsta rap; Mafioso rap; trap; Detroit trap; PimpHop; pop; hardcore hip-hop; chipmunk soul; horrorcore; Conscious hip-hop; Political hip-hop; R&B; Jazz;
Labels	The Infamoud D-Town Records Inc.; Detroit Tycoon Enterprises, Inc.; CushTube LLC; Wordsworth Books & Narrations;
Website	gtwilight.com

Michael Washington (born July 21, 1983), professionally known as “Gangster Twilight” or simply "G. Twilight”, “Alshafaq El-Bey” and “Twilliam Shakespeare” is an American rapper, songwriter, music producer, voice actor, author/narrator of erotic fiction stories, entrepreneur, former drug dealer, former procurer and convicted felon from the Westside of Detroit, Michigan. His unique approach combines elements of hip-hop, R&B and jazz creating a sound that is both innovative and deeply rooted in classic influences of American Freedmen culture.

He began his musical career in 2008 with the help of Morris "Mo Master" Porter (a renown music producer, disc jockey and recording engineer) and James Emanuel Lewis (a former affiliate of the "Young Boys Incorporated" street gang and a local Detroit drug dealer). Despite remaining independent, he has racked up an extensive body of work with other rappers and singers on various singles and mixtape projects.

Early Life and Education

Michael Washington was raised, without a present father, near the Schoolcraft and Wyoming Avenue intersection in the Glendale Gardens subdivision of Detroit, Michigan. His mother, who was highly educated, sent him to various Catholic, Lutheran and Baptist private school until the end of his fourth grade year. After his mother lost her management job with AT&T, she enrolled him into Ernest J. Dossin Elementary School near the Schoolcraft and Greenfield Road intersection. According to his lyrics on his cover of Nipsey Hussel's "Status Symbol", this would be the beginning of the end for young Michael. His social and behavioral issues escalated as he was snatched from his usual upper working class/middle class school and was now being funneled through the infamous school-to-prison pipeline of the inner city public school system. Being the new kid at school, as well as an only child with no family support other than his mother, Michael faced a great deal of scrutiny, intimidation and pressure from bullies who thought he was "soft", which lead to several physical altercations. Often, when Michael would win a fist fight at Dossin he would later be jumped by the loser's brothers or cousins who knew that Michael was all alone and had no backing from a strong family.

Many of Michael's would-be intimidators at Dossin Elementary had crack addicted mothers, mothers on A.F.D.C. and/or receiving rental assistance through Detroit Housing Commission and had absent fathers due to incarceration, drug-related murder or drug addiction. This harsh environment was a sharp contrast to Michael's previous environment and was very difficult for him adjust and navigate through. Part of Michael's adaptation to his new surroundings was unlearning the virtuous and biblical teachings that he'd been taught by his mother and the Christian controlled schools he'd attended prior to Dossin Elementary.

After attending Dossin for two years, Michael moved on to the seventh grade at Cadillac Middle School, but after performing poorly academically, Michael's mother removed him from Cadillac and enrolled him at Commonwealth Community Development Academy, a charter school near the Schoolcraft and Wyoming Avenue intersection. Michael had less confrontations here due to Commonwealth Academy's close proximity to his childhood home and neighborhood. However, other problems faced were the open-air drug trades of the drug house across the street from his school, prostitutes soliciting johns in broad daylight within close proximity to the school, junkies begging for money to support their habits during Michael's walks to and from school, and even an attempted murder/suicide standoff between a neighborhood man, his girlfriend and Detroit Police's S.W.A.T. team. Michael attended Commonwealth for the seventh and eighth grades.

In his teenage years he attended Detroit Community High School located on second floor of the St. Suzanne/Our Lady Gate of Heaven Parish, between Grandville and Westwood Street, on Chicago Avenue, near Evergreen Road. After many more physical altercations with angry and disenfranchised youths from Joy Road, as well as other delinquent behaviors, his mother transferred him to Northern High School on Clairmount and Woodward Avenue in Detroit's NorthEnd neighborhood in the eleventh grade. Michael had no problems at Northern High and made friends easily because of a friend named Je'Barren Patterson, who'd already been in attendance since freshman year. Northern High is also where Michael would meet his future rap contemporary Calvin "Network Rico" Kirkland.

After graduation from Northern High School. Michael attended Central Michigan University for one year before being put on academic probation. Michael then moved back to Detroit and attended Wayne County Community College District. After moving back to Detroit, Michael began to learn the basics of music production with the third edition of Fruity Loops (now FL Studio). After several unsuccessful attempts to find employment, Michael began to pirate CD's and DVD's and would sell them at the community college, in front of Subways, McDonald's and Popeyes Chicken restaurants and at Northland Mall for profit as an attempt to support himself. This lead to him being given the "Twilight" moniker in 2007 as a joke by a customer. The customer, who was a fan of the Twilight novel series written by Stephenie Meyer, hounded Michael about getting her a bootleg copy of the film, though it had not been released into theaters yet. The customer said that "until he got her the Twilight movie that 'Twilight' would be his name". Other friends and associates overheard her calling Michael this and began to do it also. Until he finally accepted it himself and put a "G." in front of it.

Shortly after returning home from Central Michigan University he'd befriended James Emanuel Lewis (who he refers to as "Jamie" in his music), who was also attending the community college. The two met as a result of taking the "BUS 150" (Introduction to Business) course, taught by attorney Gary L. Ciampa. Though Jamie was enrolled in college, he was a former affiliate of the Young Boys Inc. drug gang and had previously been a habitual drug offender. It was through Jamie that G. Twilight would eventually buy ounces of marijuana to distribute in addition to his illegal copies of music and films to supplement his income. After saving up funds from his small illicit business, G. Twilight bought a fixer-upper house on Schoolcraft and Freeland Street, near Hubble Road, at a discounted price due to the 2008 market crash.

During this time G. Twilight also befriended Mark Anthone Pitts, a known hitman and stick-up kid who briefly acted as an enforcer for Jamie, before being sent to Bellamy Creek Correctional Facility in Ionia, Michigan on his first armed robbery case. Mark would be paroled from Bellamy Creek in 2013, but in March of 2017, Pitts was sentenced to five years in federal prison for robbing a jewelry store in Springfield, Missouri.

Eventually, after realizing that the money from pirating movies and music would not be enough to help with the renovations of his newly acquired property, G. Twilight began engaging in heavier criminal activity. He moved into the Chapel Court Apartments to be closer to Jamie's newly acquired home that doubled as a drug house on the 19000th block of Bentler Avenue near Seven Mile Road. There on Bentler, G. Twilight would meet Lonnie Chaney (who he refers to as "Fred" and "Fat Rat" in his music), a childhood friend of Jamie's and strong-arm who'd, after completing his parole conditions, stepped in to fill the void as Jamie's lead enforcer.

Lonnie, i.e. "Fat Rat", who'd previously been arrested and sentenced to 152 months in Federal prison for drug and firearm offenses after traveling from Detroit to Huntington, West Virginia, to distribute crack cocaine, was the quintessential street tough and took a liking to the then 24-year-old G. Twilight, due to them both being born under the "Cancer" zodiac sign. This fondness for G. Twilight, as well as his secret animosity towards Jamie, would eventually lead to "Fat Rat" introducing G. Twilight to Jamie's main cocaine and heroin supplier, allowing him to cut Jamie out as the "middle man".

These criminal affiliations led to G. Twilight's 2009 arrest and felonious conviction for manufacturing, creating, and delivering of a Schedule II narcotic for which the he spent a year on probation with Oakland County Parole/Probation Office due to him being a first time offender.

While on probation, G. Twilight avoided the drug trade and began writing and recording songs that ultimately became his first three mixtapes. However, finding employment in the wake of the 2008 mortgage crash, now as a convicted felon, was unbelievably difficult. In the process of writing songs and being unemployed, his initial criminal inclinations did not dwindle and he began procuring funds from strippers, escorts and professional shoplifters to stay afloat. Unknown to most that encountered him G. Twilight had remained a virgin due to his penecostal upbringing and disdain for his father, Elester Roy Hollingsworth, who was a womanizing philanderer and used his virginity as leverage to convince prostitutes to pay him with the possibility of the opportunity to be his first. This tactic earned G. Twilight the moniker "Virgin Izm", given to him by one of his ladies of leisure. He remained a procurer for approximately two years before giving up the street life completely to pursue music, business and re-enroll into college. Within a few years he would earned a Bachelor's Degree in Business Management from Mike Ilitch's School of Business from Wayne State University.

Controversy

Dry Snitching: In 2013, he released a mixtape called "Another Detroit Gangster Story" that features a track entitled "Once Upona Time On Seven Mile" produced by Mr K.A., in which he dissed his former mentor and friend James Emanuel Lewis. In the song G. Twilight gives a basic breakdown on how their relationship devolved from a mentorship and friendship into a full-blown rivalry within Detroit's underworld. The rapper's lyrics frequently face this criticism because they detail real-life criminal activities and names from the Detroit underworld, while some suggest that his lyrics are a form of historical storytelling rather than an intent to cooperate with authorities, especially given G. Twilight’s branding as a storyteller of the Detroit underworld in projects like "Another Detroit Gangster Story" "Trappin' At The Victory Motel" and "The Detroit Cocaine 80's".

Why the Label is Applied "Dry snitching" in hip-hop refers to providing incriminating information about others through song lyrics or public statements without being a formal informant. G. Twilight's music is often viewed through this lens due to:

Specific Names and Events: His tracks often recount the history of Detroit’s most notorious drug organizations and figures, as well as his own personal history. For instance, the song "Eddie Money" specifically reference Big Ed Hanserd and the Best Friends gang.
Detailing Federal Cases: Some of his songs, such as "Little Man Curry" narrate the details of federal racketeering and tax evasion cases, even identifying who reportedly acted as a Confidential Informant: Richard Wershe Jr. a/k/a "White Boy Rick". Ironically, in this song G. Twilight highlights the "street karma" that Wershe ultimately received a life sentence despite his cooperation, while the men he informed on served their time and moved on. Critics have argued that by naming names and detailing specific legal cases, G. Twilight is effectively acting as a public record reporter for federal investigations.
Exposure: Opponents of his lyrics believe that airing these details in a song—even if the information is technically public record—violates "street code" by re-exposing individuals to past or present law enforcement scrutiny.

Artistic Perspective

Supporters and the artist himself have argued that this is not snitching, but rather:

Urban History: Documenting the "Machiavellian theory" of the streets to preserve the history of his city.
Social Commentary: Using the harsh realities of the ghetto to reflect on survival and the consequences of the drug trade.
No one has ever been criminaly implicated and imprisoned based on his lyrics.

While the term "dry snitching" usually refers to providing enough detail for authorities to identify someone without making a formal statement, G. Twilight presents these lyrics as an honest account of his own "bad breaks" and "dumb choices" rather than an attempt to implicate others in active investigations.

Machiavellian: His music often explores dark, theatrical, and sociopolitical themes and aligns with connotations of power, strategy, and moral ambiguity.

Lyrical Themes: His songs frequently touch upon the dynamics of power, manipulation, and the cold calculations of leadership. He uses metaphors that mirror Machiavellian political philosophy—the idea that the "ends justify the means" and the necessity of maintaining a façade.

Theatrical Persona: G. Twilight adopts a persona that is often perceived as calculated and detached. This unrehearsed but highly curated aesthetic suggests a strategic approach to performance, using mystery and intellect to influence the audience's perception.

Atmospheric Sound: The music he vocalizes over often utilizes dark minor keys, brooding arrangements, and an industrial or gothic edge. This creates a "shadowy" atmosphere that fans and critics sometimes describe as "calculating" or "cunning," fitting the common use of the word "Machiavellian" in art. While not explicitly evil, the music is certainly Machiavellian in its fascination with how power is wielded and the various masks people wear to obtain it.

Connection to the Black Manosphere and PimpHop

Some of G. Twilight’s lyrics are explicitly influenced by "Black Manosphere" themes, and are often categorized as misogynistic by critics of that ideology. The Detroit-based rapper has openly stated that several of his projects were inspired by prominent Black Manosphere figures.

Categorization as Misogyny: Because the Black Manosphere often emphasizes traditional patriarchy and critical views of modern women, many listeners and social critics consider music rooted in this ideology to be inherently misogynistic. Some listeners may also find his focus on "trap queens" and pole dancers—as seen in the YouTube vlog for "The Diamond Monroe Song"—as reinforcement of traditional misogynistic tropes that are common in street-oriented rap.

Direct Influence: His 2016 mixtape, "My Ghetto Love Stories: Cancer Loves Taurus," was specifically inspired by YouTubers such as "Kevin Samuels", "Oshay Duke Jackson", "Six The Goddis", and "D’Nieka Marie".

Thematic Content: His lyrics often explore relationship dynamics from a "red pill" and "black pill" perspective, focusing on "cautionary tales" about urban life, Black culture, and gender roles.

Glorifying Exploitation: Twilight has a song called "Iceberg Slim's Burden" which is colloquialy refered to as "The Iceberg Slim Song". Like Iceberg Slim (Robert Beck), G. Twilight uses the "pimp" persona as a literary and lyrical device to explore themes of survival, power, and the disenfranchisement of himself as a Black American male. Slim's work (e.g., Pimp, Naked Soul) has been accused of romanticizing the abuse of women.

Gendered Power Dynamics: The "pimp" archetype is fundamentally rooted in the exertion of control over women, which many critics define as inherently misogynistic.

Artistic View: G. Twilight frames his narratives as truth-based stories and cautionary tales. This suggests his intent may be to document the harsh realities of the lifestyle rather than to glorify the mistreatment of women. His work is often compared to the literature of Donald Goines, an author known for gritty, uncompromising depictions of urban life that is also criticized for his bleak and sometimes dehumanizing portrayals of female characters.

Alignment With the Delineation Movement

Many of G. Twilight’s political lyrics are deeply rooted in the "A.D.O.S." (i.e. "American Descendants of Slavery") movement, focusing on lineage, historical trauma, and the specific identity of Black Americans whose ancestors were enslaved in the United States. His two most explicitly pre-2024 Freedmen oriented political tracks, "I’m ADOS Are You ADOS?" and "American Descendant of Slaves" highlight several core themes and were both meant to be indirect replies to "Akata", a 2020 single by Nigerian-American rapper Ikey (born Ikemefuna Orji-obioha).

The term "Akata" is a Yoruba word often used as a derogatory term for people from the African Diaspora who live outside of Africa, but mainly directed at Black Americans or, sometimes, American-born Nigerians. The word literally translates to "bush animal" or "wild cat". Ikey, who is of Nigerian descent but based in the D.M.V. (D.C., Maryland, Virginia) area, frequently explores themes of cultural identity and the immigrant experience.

The term "Akata" is widely considered divisive and is frequently used as a derogatory ethnic slur. While its usage is complex, it often serves as a point of tension between African immigrants (particularly Nigerians) and Black Americans. The word is often used to imply that Black Americans or Western-born Africans are "uncultured," "wild," or disconnected from their heritage. In some traditional West African immigrant households, parents may use the term when warning their children against marrying or befriending an "Akata," further entrenching social divisions.

Use of the term is often cited as a contributing factor to the rise of movements like A.D.O.S., Soulaan and F.B.A. (Foundational Black Americans). These groups frequently point to such rhetoric as evidence of "Afrophobia" or a lack of respect from African and Caribbean immigrants toward the specific history and culture of Black Americans.

Critics of G. Twilight's "delineation songs" consider them to be divisive because they explicitly emphasizes a distinct ethnic identity for Black Americans who can trace their lineage to chattel slavery in the United States. The divisiveness stems from the song's focus on lineage-based identity, which some critics argue creates a schism within the broader Black community. The songs are undeniably divisive because they challenge the traditional "Big Tent" approach to Black identity, and while many see this as an essential pursuit of justice, others view the resulting exclusion of immigrants as a form of xenophobia. The key concept highlighted are as follows:

Reaction to "Othering": Proponents of A.D.O.S., F.B.A. and Soulaan argue that when immigrants use terms like Akata, they are intentionally "othering" Black Americans and distancing themselves from the domestic struggle against systemic racism in the United States.

Intra-group Friction: By asking "Are you A.D.O.S.?", G. Twilight draws a hard line in the sand between Black Americans with American slave lineage and Black immigrants (such as those from Africa or the Caribbean). This distinction is seen by some as undermining Pan-African solidarity.

Identity Specification: The songs as well as the movement seek to move away from the broad umbrella term of flat Blackness i.e. "African-Americans"—which the rapper and others within his demographic feel have been diluted by recent immigration—to emphasize a distinct lineage tied specifically to American chattel slavery.

Political Framing: The lyrics from these songs and the movement itself are often criticized for their "lineage-first" political demands, which some activists believe are used to gatekeep resources like reparations or to discourage voting for specific political parties unless their narrow platform is met. By prioritizing "American-ness" and lineage-based claims to reparations, the message can be perceived as placing the needs of one group of Black people above others based strictly on their arrival date in the country.

Resource & Political Competition: Tensions are often fueled by the belief that immigrants receive preferential treatment or "leech" off the Civil Rights progress made by "native-born" Black Americans. Groups like A.D.O.S. use this as a basis to advocate for reparations exclusively for those of American slave lineage.

Zero-Sum Resource Logic: The lyrics and rhetoric often suggest that affirmative action and other social programs intended for Black Americans are being "diluted" or "usurped" by Black immigrants, which has been labeled by some as exclusionary or harmful to overall Black political power.

Arguments for Xenophobia: Critics of these songs and the A.D.O.S. movement often label its rhetoric as xenophobic because it can be exclusionary toward Black immigrants. They argue that by emphasizing multi-generation, American-born status over shared racial experiences, the movement fosters hostility toward non-native Black populations.

Lineage vs. Global Identity: He draws a distinction between current Black American culture and African origins, rapping, "I don't deny my African roots, but that was a long time ago. Created a brand new culture... you ain't get the memo?".

Generational Struggle: The lyrics bridge the gap between past and present suffering, noting that while his ancestors were "in chains and whipped," he now spends money on "chains and whips," questioning what his community has become.

The "Criminal" Label: He contextualizes modern criminality through a historical lens, stating, "Some of us Black men, we accept the title of 'criminal' / Cause once upon a time escaping slavery made us criminals".

Second-Class Citizenship: He references the irony of his grandfather, Lawrence Lowell Washington Sr.'s fighting in WWII only to return to a country where he was still called "boy" and treated as a "second class citizen".

Arguments Against Xenophobia: Supporters of the song and the movement contend that it is not about hating others, but about justice and specificity. They argue that A.D.O.S. is a unique group with a specific claim to reparations for U.S.-based slavery and Jim Crow, and that distinguishing themselves is a necessary step for targeted political advocacy rather than an act of prejudice.

G. Twilight's alignment with the "American Descendants of Slavery" (A.D.O.S.) movement places him within a broader debate where the movement itself is frequently accused of xenophobia.

Critics and scholars argue that the A.D.O.S. movement's rhetoric often crosses the line into xenophobia due to several core tenets:

Anti-Immigrant Rhetoric: A.D.O.S. leaders have been criticized for using "anti-immigrant language" and "nativist attitudes" to distinguish between Black Americans descended from U.S. chattel slavery and more recent Black immigrants from Africa or the Caribbean.

Anti-Immigrant Rhetoric: A.D.O.S. leaders have been criticized for using "anti-immigrant language" and "nativist attitudes" to distinguish between Black Americans descended from U.S. chattel slavery and more recent Black immigrants from Africa or the Caribbean.

"Othering" of the Diaspora: The movement is accused of "othering" and demonizing Black immigrant communities by blaming them for the lack of resources and jobs intended for native-born Black Americans.

Rejection of Pan-Africanism: A.D.O.S. leaders Yvette Carnell and Antonio Moore (as well as Tariq Nasheed of F.B.A.) have explicitly stated that "Pan Africanism is dead," a stance that many see as a rejection of global Black solidarity in favor of a uniquely American, lineage-based identity.

Alignment with Right-Wing Nativism: Some critics, including the Institute of the Black World, note that A.D.O.S.'s positions on immigration often mirror those of white supremacist or far-right groups, which further fuels the "xenophobia" label.

After converting to Moorish Science and learning the etymology of the words "slave" and "Black", the rapper began to identify as "Soulaan", maintaining his delineation stance, but distancing himself from the "A.D.O.S." term. While critics of Soulaan, A.D.O.S. and F.B.A. argue these movements promote xenophobia and weaken global Black solidarity, the groups themselves maintain that they are simply defining their own ethnic identity in the face of perceived disrespect and cultural erasure.

Criticism of The Democratic Party

G. Twilight has criticized the Democratic Party primarily for what he perceives as a history of "broken promises" and a failure to deliver specific, tangible legislation that directly benefits the Black community despite their consistent electoral support. African-American voters overwhelmingly support the Democratic Party, with approximately 83% identifying as or leaning Democratic. The Black American demographic has been core component of the Democratic base since the Civil Rights movement. However, recent shifts show a slight increase in support for the Republican party or independent third party voting, particularly among younger Black voters.

G. Twilight's specific criticisms include:

Lack of Black-Specific Policy: He has argued (in his music and on social media) that the Democratic Party often focuses on broad, "universal" policies while avoiding legislation explicitly designed to address the unique socio-economic challenges faced by Black Americans.

The "Voter Bloc" Assumption: He has expressed frustration that the party "takes the Black vote for granted," assuming loyalty without needing to prove its value through new, impactful laws.

Historical Failure: In his commentary and lyrics, he often points to the enduring poverty and systemic issues in cities like Detroit as evidence that decades of Democratic leadership have failed to produce significant improvement for Black residents.

Symbolism over Substance: He criticizes the party for offering "symbolic gestures" (such as Juneteenth becoming a federal holiday) rather than substantive economic or legal reform, like reparations or targeted community investment.

In addition to critique of the party itself, G. Twilight has specifically criticized several high-profile Democratic politicians in the context of their historical legislative impact on the Black community.

His criticisms primarily center on:

Joe Biden: G. Twilight has criticized Biden for his role in writing the 1986, 1991 and 1994 Crime Bills, which he argues contributed to the rise of the prison-industrial complex and the "school-to-prison pipeline" for Black males in urban areas.

Bill Clinton: He has criticized the former president for signing the 1994 Crime Bill into law.

Barrack Obama: G. Twilight's critique of Obama is primarily centered on the perceived disconnection between Obama’s rhetoric and the material conditions of marginalized communities, particularly Black Americans. The rapper portrays Obama’s presidency as a period of "post-Black" politics that favored deracialization and neutrality over radical justice. He argues that this approach led to a "general deception" of Black Americans, as domestic and foreign policies often mirrored those of previous administrations.

Kamala Harris: In his 2024 single "Kamala Ain't Us," he voiced opposition to her, framing her political background as inconsistent with the interests of the community. G. Twilight had criticized her for what he sees as a "fluid and boundless" identity used for political gain, which he believes rejects the historical trauma and authentic needs of the African-American community in favor of a polished, technocratic image.

These views significantly influenced his transition away from mainstream politics and toward the Sovereign Citizen movement, where he now advocates for individual autonomy and self-governance rather than reliance on any political party.

Creative Style

G. Twilight's vocals stand out for versatility, ranging from laid-back and confident to emotive and angry. Known for his signature Midwest drawled lyrics—which often use melodic rhyming, repetition, word play, laconic phrases, syncopation and alliteration—his music often addresses the lifestyle and culture of the Detroit, as well as Black social issues such as drugs, gun violence, the school-to-prison pipeline, mass incarceration, the welfare state, prostitution and overall instability of Detroit youth, much of which he does from a first-person viewpoint.

He often exudes an air of authority, intrigue, and even a touch of sensuality. He seamlessly blends classic vocal tones with contemporary melodic styles reminiscent of legends like Snoop Dogg, E-40, Tupac, Ice Cube, Notorious B.I.G., Rakim and Nas utilizing his voice as an instrument to shape the narrative of each song.

His work is considered emotionally intelligent because he draws from personal experiences with significant emotional depth, including his struggles with mental health and the environment of urban decay in the 1990's and early 2000's pre-gentrified Detroit. Through his music, he has been open about his struggles with Attention-Deficit/Hyperactivity Disorder and Oppositional Defiant Disorder. He explains that dealing with these issues and observing the environment around him drove him toward a street lifestyle.

G. Twilight's lyrical style is often compared to the literary work of Donald Goines, a crime novelist also from Detroit, but notes that his own stories are non-fiction. His music transcends genre boundaries, weaving together elements of hip-hop with urban street literature. Each song has the feel of a film scene within a larger, overarching narrative, often drawing inspiration from his life story. The storytelling approach done by G. Twilight adds depth and intrigue to his music, inviting listeners to immerse themselves into his creative world of illicit underworld drama.

Career

Begining his career in 2010, he wrote and recorded independent releases like "The Maserati Rick Song" with a jazz-influenced trap sound that features Breonna Lewis (Jamie's daughter). The song was featured in the film "Detroit Connection 3: Last Man Standing" a documentary inspired by the lives of Detroit kingpins Demetris Holloway and Richard "Maserati Rick" Carter.

In efforts to prove that he was more than a one-hit wonder, G. Twilight has released a hefty mixtape catalog with projects like "College Boy Turned TrapStar," "My Ghetto Love Stories: Cancer Loves Taurus," and "The Detroit Cocaine 80's". His "Detroit Cocaine 80's" mixtape contains narratives about Detroit's drug trade in the 1980's. The project demonstrated his ability to make these difficult topics rhyme and be impactful without relying on a typical verse/chorus structure.

His "My Ghetto Love Stories: Cancer Loves Taurus" mixtape, a four hour hip-hop project that features over fifty tracks blending elements of hip-hop and R&B for original raps, skits, and covers of popular songs centered on themes of betrayal, infidelity, astrological romance, struggle, and survival in Detroit's urban context. It drew from the artist's personal relationship arc—from infatuation to post-breakup reflection—the mixtape serves as cautionary tales for young African-American men against toxic patterns like manipulation, anti-Black male misandry and entitlement, emphasizing growth through raw honesty over polished narratives.

G. Twilight's 2020 mixtape "Bentler Ave Street Star," a twent-four track trap project chronicling personal trauma and street life on Detroit's westside, inspired by Dr. T. Hasan Johnson's Black male studies for therapeutic self-analysis. The mixtape critiques systemic racist policies like, then senator, Joe Biden's 1994 Crime Bill, framing gangsterism as a response to lifelong setbacks rather than innate predation, blending conscious themes with hustler narratives in tracks like "What'chu Know Bout That?" and "Life Is A Gamble."

G. Twilight's 2021 mixtape "OverTime In The Street" blends gritty Detroit rap lyrics on hustling, drug trade, and social issues like gentrification with EDM-trap style beats. Another mixtape, "Detroit, WestSide 1983," is a fusion of trap/gangsta rap and retrowave synth sounds evoking 1980's and creating a unique "retrowave trap" style.

With his "The Science Behind The Game" and "My Drug Infested Neighborhood" mixtapes, the artist fully explored conscious trap theme blending street narratives with critiques of the fraudulent war on drugs, economic desperation, police raids, community self-destruction, external drug influxes tied to the C.I.A.-backed Nicaraguan Contra rebels, social engineering, drug epidemics, and systemic asset forfeiture. Both mixtapes include original tracks and covers of hits. Song titles like "Social Engineering," "Weight House", "The Addicted Dealer," and covers of Jay-Z's "Dead Presidents", Fetty Wap's "Trap Queen" and Kanye's "Diamonds From Sierra Leone" underscoring notifications of inequality, echoing references to Reaganomics' role in urban decay and the "New Jim Crow" mass incarceration and CointelPro surveillance.

G. Twilight also shares a collaborative mixtape with Maserati Rick Jr., son of notorious 1980's drug kingpin Richard "Maserati Rick" Carter Sr. The mixtape is called "That Was Then, This Is Now". Twilight also features Carter Jr. on a single called "It's Deeper Than That".

In summer of 2023, G. Twilight began to use the alternate stage name "Twilliam Shakespeare" to write and record acapellas and narratives, when he narrated his first official erotic story called "The Airport Rendezvous". The name change and new persona, when doing erotic narrations (which is a homage to the renowned playwright William Shakespeare), allows the artist to express a different creative side and avoid creative clutter under his main stage name. His "Airport Rendezvous" story is first-person perspective about a young man meeting his internet crush in person for the first time. Though inspired by real life adult film actress, Mone Divine, the story is completely fictional.

Under this name, he records acappella narrations. The artist describes himself as a "whore whisperer" and says his stories will send "shivers". The stories are often written specifically for Black women about Black women (though he deviates from this occasionally).

The erotic climax of the story is the central event. The spoken word narrative builds toward and then narrates an explicit sexual encounter all the way to several explosive climaxes, featuring the persona of the adult film star. The narrator's climax in the story is the central event. The spoken word narrative builds toward and then narrates an explicit sexual encounter featuring the persona of the adult film star.

In addition to "The Airport Rendezvous," G. Twilight as "Twilliam Shakespeare" has released multiple spoken-word erotic audio stories through the CushTube LLC record label imprint (one of the many subsidiaries of Detroit Tycoon Enterprises, Inc). The majority of his work as "Twilliam Shakespeare" centers on erotic themes, and he has collaborated with other adult film stars as inspirations for some of his titles. His other releases include: "My Detroit Trap Queen" inspired by Diamond Monroe, "A Blues For Nina" inspired by Nina Elle, "My Realtor My Lover" inspired by Ayana Angel, "My Strip Club Crush" inspired by Yum Thee Boss, "Lustful Lenox Encounter" inspired by Kapri Styles, "Black Female Domination" inspired by GoGo FukMe and "The Sweetest Georgia Peach" inspired by Jada Stevens.

The story titles are explicitly named after the adult film star who served as the inspiration for Twilliam Shakespeare's erotic audio. This creative model uses the popularity of adult performers to market the work, offering female fans of the performers a narrative companion to the adult entertainment produced by the stars. The title of the audio story often makes the connection to the adult film star's multitude of explicit scenes, such as "My Detroit Trap Queen (An Erotic Story Inspired by Diamond Monroe)". This immediately establishes and invokes the imagery of Diamond Monroe's pornographic performance and her visual trademarks, such as the paw print tattoos on her thighs and buttocks, as the thematic focus. The story plots draw on the persona or type of scenes the performer is known for. The spoken-word story expands on these established themes, creating a fantasy narrative that is built around the "inspired by" celebrity model.

Using adult film stars is a key part of the marketing strategy for CushTube LLC and Twilliam Shakespeare because it connects the label's and artist's brands directly to the adult entertainment industry and its fan base, creating a distinct and recognizable persona. The partnership with adult film stars further emphasizes the erotic and adult-oriented nature of the content. The stories, while spoken-word, are built around themes and plots that appeal to the audience of the featured performer. The structure appears to center on a fictional and idealized version of the collaborating adult film star. The performer serves as the muse for a spoken-word erotic narrative, allowing the artist to capitalize on their public personas and women in their fan base.

By basing stories on popular adult film stars, Twilliam Shakespeare uses a well-known marketing strategy to attract the performer's female fanbase, offering them a new medium to engage with their favorite star. For fans, it provides a different form of content that expands upon the typical visual medium of adult entertainment, moving into a more narrative-driven, imaginative space. The story expositions are built to include the performer. For example, a story might imagine a chance encounter with the adult film star in a relatable location, like a strip club, grocery store or airport, as seen in the titles "My Strip Club Crush", "The Sweetest Georgia Peach" and "The Airport Rendezvous".

In early 2024, G. Twilight adopted another stage name, "Alshafaq El-Bey", after discovering Moorish Science. The discovery of Moorish Science and the teachings of Noble Drew Ali came about after his discovering "Queen Chief Elwin Warhorse Gillum", leader of the Chahta Indian Tribe and Queen of the Tchefuncta Nation (who advocates for Indigenous rights in Louisiana), author and film maker "Dane Calloway", author "Cush Dey" and Moorish historian and metaphysician "Aseer the Duke of Tiers". He began to shift his views on critical race theory upon learning that he as well as all descendants of "American Freedmen" have Aborigine American and Moorish ancestry.

Also during this time, via films such as "They Cloned Tyrone", "Early Warning", the "Zeitgeist" documentary series and the book "Fruit from a Poisonous Tree" by former law professor Melvin Stamper, G. Twilight learned about things like the "three city empire" (which is comprised of Washington D.C., London and the Vatican), the hidden Freemasonic pledges of the Founding Fathers of the United States and the early evolution of modern religions. All of these things, in a addition to seeing friends, who identified as "U.S. Nationals", win court cases in the appeals court that had been lost in the 36th District Court, prompted G. Twilight to found a new genre of hip-hop that he refers to as "U.S. National Rap" or "Moorish Sovereign Rap" under the stage name Alshafaq El-Bey.

As Alshafaq El-Bey, G. Twilight wrote and recorded the "Cestui Que Vie Act 1666: Lost At Sea" album. The album's themes and title draw heavily from theories common in the sovereign citizen and Moorish sovereign movements. The phrase "Lost At Sea" in the album title references the act's provision for declaring a person missing and presumed dead "beyond the seas". According to Moorish Sovereign theory this claim declares all people in the United States legally dead and therefore lost at sea in an admiralty-law context.

Although Michael makes content under the stage names "Twilliam Shakespeare" and "Alshafaq El-Bey", "G. Twilight" is still the main performance identity he uses and inscribed "G. Twilight as" in small print on his Shakespeare and El-Bey projects.

Discography

Mixtapes

College Boy Turned TrapStar (2012)
First-Time Felon (2012)
Another Detroit Gangster Story (2012)
Detroit, MI 48219 (2015)
Trappin' At The Victory Motel (2015)
My Ghetto Love Stories: Cancer Loves Taurus (2016)
My Drug Infested Neighborhood (2016)
Meet Me At The Café (2017)
Plug'd In (2017)
Shoebox Money (2017)
The Science Behind The Game (2017)
Detroit World Order (2018)
313-720-4114 (2018)
Detroit City: ZONE 72 (2019)
Dirty Street Money (2019)
Cold Hard Cash (2019)
The Detroit Cocaine 80's (2019)
Bentler Ave Street Star (2020)
That Was Then... This Is Now [with Maserati Rick Jr.] (2020)
OverTime In The Street (2021)
Detroit, WestSide 1983 (2021)

Albums

FUD: Fear, Uncertainty, and Doubt (2022)
Cestui Que Vie Act 1666: Lost At Sea [as Alshafaq El-Bey] (2024)
Mens Rea: Dirty Moor Strategies of the Barbary Coast {Book I} [as Alshafaq El-Bey] (2026)

Singles

Keep It A Hunned feat. Tory Lanez (2017)
TrapStar Diaries (2018)
Money, Money, Money (2018)
Deeper Than That feat. Maserati Rick Jr. (2018)
My Bedroom: The Diamond Monroe Song (2021)
Doubt (2022)
Ball On Em’ (2022)
Cartier Clear (2022)
When Your Father Is Missing (2022)
You's A LowLife feat. Sticky Fingaz x Ejay Rook (2022)
The Airport Rendezvous: An Erotic Story Inspired by Mone Divine [as Twilliam Shakespeare] (2023)
My Detroit Trap Queen: An Erotic Story Inspired by Diamond Monroe [as Twilliam Shakespeare] (2023)
Like Demetrius Holloway (2023)
Underworld Degen feat. The Game (2023)
American Descendant of Slaves(2023)
Lost At Sea [as Alshafaq El-Bey] (2024)
DISCHARGE THAT SH**! [as Alshafaq El-Bey] (2024)
Ain't Gon' Use My Strawman [as Alshafaq El-Bey] (2024)
How To Cook Crack (2024)
Harsh Reality (2024)
These Wicked Streets (2024)
Kamala Ain't Us [as Alshafaq El-Bey](2026)
Another Detroit Gangster Story(2026)
No Rest For The Wicked (2026)
Blame It On Me(2026)
Dance Wit' The Devil (2026)
Sin No More(2026)
SpeedKnottin'(2026)
Knock U Fo’ Tha Bitch (2026)

Other ventures

During the COVID-19 pandemic of 2020, G. Twilight founded "BlackDimez.com", an x-rated tube site blog that pulled and embedded Black pornographic content from PornHub, XVideoes, xHamster, XNXX, YouPorn, YouJizz, RedTube, Live Jasmin, CamSoda, Tube8 and IXXX. The BlackDimez blog eventually evolved into CushTube LLC, a subsidiary of Detroit Tycoon Enterprises, Inc. and is an Afrocentric adult themed website, magazine and record label.

As of 2026, G. Twilight is in the process of writing urban fiction novel called "Ran Off On The Plug" and "Breaking And Entering" as well as founding a book publishing company called “Wordsworth Publishing” and a nonprofit organization called "United Freedmen Descendants Council of Michigan" that will seek crowdfunding for college bound students who are descendants of American chattel slavery like himself.

External links