NWO Sparrow: Building an Unfiltered Voice in Modern Media

A passionate enthusiast of music, hip hop, and entertainment culture, NWO Sparrow organized events for both young and adult creatives and independents while pursuing journalism and establishing an independent media empire. During the pandemic, he dedicated one hour every Tuesday to produce a news broadcast with his team on NWO News, targeting both independent and mainstream media. Aspiring to become a household name and the next Voice of New York, he has interviewed both local and prominent figures such as French Montana, Rey Mysterio, Skitz Kraven, and Natalia Neidhart. At Rawrrzone, we have had the privilege of collaborating with him creatively and in media, and we are proud to feature him as our January Rawrrzone Spotlight for 2026.

1) The question we all want to know is, when you started NWO during the pandemic did you think this is where your journey would take you? 

When I started NWO during the pandemic, there was no master plan beyond going live on Roku and Facebook Watch and showing up consistently. I never imagined it would grow into what it is today. Even now, I’m still surprised by the emails, the outreach, and the trust brands and publicists place in me to be part of their rollouts. At the beginning, I was just focused on building something I like and I found entertaining. I definitely did not see this path coming when I first hit record. I'm thankful for it all no doubt , but it was never the plan.

2) You brand yourself as a major voice in NYC , how has New York culture shaped your writing and your approach to media?

Growing up in New York, nobody is impressed by celebrities or elites, and I’m no different. It teaches you to see things for what they really are, not through rose colored lenses. That perspective has shaped how I write and approach the media. Sometimes that honesty can work against you, but more often than not, it’s been my greatest advantage. I don’t act a certain way just because I’m from NYC , I move from the reality of being here. This is how it actually is.

3) What inspired you to blend hip-hop, WWE, sports, and culture into your storytelling?

To be completely honest, I applied to cover WWE and forgot all about it. Months later, when I got the call saying I was selected, I was shocked. That moment made it clear I couldn’t take the opportunity lightly. Pro wrestling is something I am a huge lifelong fan of but it was never something I planned to add to my catalog. It happened organically. Once it did, I made a commitment to show up prepared, respect the culture of its media , and earn my credibility in that space.

3)  You write with an “edge” and bring raw voices to culture stories — how do you maintain authenticity while covering so many topics?

4) How do you feel about the evolution of NWO from the Broadcast on Youtube to starting the Panic Room? What should we expect to see through 2026? 

I started NWO News in the corner of a room. As the brand grew, so did the demand, and I realized I needed a proper headquarters. When I opened NWO Studio, it hit me that I had a blank canvas , a space where I could build and create without limits. I could have just kept running NWO News, but I didn’t want to miss the chance to expand. NWO Studio is a grown man’s creative space, and who knows , another show might come from it too. For 2026, the plan is simple , stick to my core productions and deliver even more for the audience.

5)  You’re active on video, written, and social platforms — which format do you feel gives you the most creative freedom, and why?

Writing platforms definitely give me the most freedom. I’m a better writer than I am a talker, and writing lets me shape my ideas exactly how I want.

6) You write with an “edge” and bring raw voices to culture stories — how do you maintain authenticity while covering so many topics?

i just say how i feel about whatever topic , if you say how you feel and you dont try to trend chase , clout chase , or people please and just say how YOU feel , it will always be authentic , it will always be honest of you and you can never be caught up in a "gotcha moment" . We in a time where people think keeping it real means keeping up with the algorithm, then they look back on shit they post or write years later and feel bad . I know how i feel , i know what i think , may that change later through time and wisdom? maybe but i can still stand on what i say and said.

7)  What’s one misconception people have about being a journalist in today’s digital media landscape?

A lot of people think being a journalist is easy or just about clout base performance. It’s not. Anyone can start a blog or post stories online, but the real work is becoming a credible voice , someone who preserves culture, moves the needle, and covers topics that are often gatekept or ignored. That’s where the challenge lies. At a certain level, journalism isn’t about chasing clout; it’s about building credibility and that line is thin, which is why so many misunderstand the role.

8) Who do you feel the NYC media game is overlooking as far as talent? 

I think NYC is missing authenticity and realism right now. Too many people are focused on building a brand or landing one big interview, rather than really covering the culture. Media has shifted from a background profession to full-on spotlight, and in 2026, some media personalities are more famous than the talent they’re supposed to be promoting. A lot of work out there is lazy , people want to be seen or be part of something without understanding it. Real journalists who know the craft, the culture, and the talent are often overlooked. Authentic voices get lost in the shuffle, and that’s a problem.

9) You’re known for having strong opinions on artistry and culture. When you put together your personal Top Artist list, what matters more to you—impact, consistency, lyricism, or momentum? And how does that compare to how you think XXL selects their Freshman list every year?

When I put my list together, I don’t look at it as impact versus consistency or lyricism versus momentum. I start with the theme of the year. In music, especially in hip-hop, every year carries a different focus. Some years are single-driven. Others are video-driven, image-driven, performance-driven, or even content-creation-driven. The culture shifts yearly, and my list reflects that shift instead of forcing artists into one fixed standard.

For 2026, I’m approaching it differently by focusing on top songs and bringing in other voices from media. It won’t be based solely on my perspective. I don’t pretend to know every artist or every scene, and I think acknowledging that actually helps the culture. Inviting other credible voices into the process allows the list to be broader, more accurate, and more reflective of what’s really happening across the landscape.

In 2025, the theme was motion. I paid attention to artists who were actively working and evolving, not just repeating the same copy-and-paste formula year after year. Growth mattered. If an artist was only releasing singles in 2023 but stepped it up in 2024 with two or three videos, stronger visuals, or new creative approaches, that showed progression. That kind of movement counted. Distinct motion and visible growth are what earned artists a spot on the 2025 list.

That’s where my approach differs from how XXL typically selects their Freshman list. Their process often leans toward buzz, visibility, and who is breaking through at a specific moment. My lists are less about hype and more about trajectory. I’m looking at how artists are building, how they’re adapting to the moment, and whether they’re pushing themselves forward creatively. For me, the list is about documenting growth within the culture, not just spotlighting who’s loudest at the time.

10) We’ve seen heavy backlash around XXL picks—fans saying certain artists are “industry plants,” others saying real talent gets overlooked. As someone who understands both the culture and the business, how do you think artists should handle that backlash when they make lists like that or get left off? Does the criticism matter, or does it come with the territory?

When I put my list together, I don’t look at it as impact versus consistency or lyricism versus momentum. I start with the theme of the year. In music, especially in hip-hop, every year carries a different focus. Some years are single-driven. Others are video-driven, image-driven, performance-driven, or even content-creation-driven. The culture shifts yearly, and my list reflects that shift instead of forcing artists into one fixed standard.

For 2026, I’m approaching it differently by focusing on top songs and bringing in other voices from media. It won’t be based solely on my perspective. I don’t pretend to know every artist or every scene, and I think acknowledging that actually helps the culture. Inviting other credible voices into the process allows the list to be broader, more accurate, and more reflective of what’s really happening across the landscape.

In 2025, the theme was motion. I paid attention to artists who were actively working and evolving, not just repeating the same copy-and-paste formula year after year. Growth mattered. If an artist was only releasing singles in 2023 but stepped it up in 2024 with two or three videos, stronger visuals, or new creative approaches, that showed progression. That kind of movement counted. Distinct motion and visible growth are what earned artists a spot on the 2025 list.

That’s where my approach differs from how XXL typically selects their Freshman list. Their process often leans toward buzz, visibility, and who is breaking through at a specific moment. My lists are less about hype and more about trajectory. I’m looking at how artists are building, how they’re adapting to the moment, and whether they’re pushing themselves forward creatively. For me, the list is about documenting growth within the culture, not just spotlighting who’s loudest at the time.

11) How does it feel to have mainstream media looking out for you? Do you see yourself being a radio host down the line for either Hot 97 or Power 105? 

Being considered by mainstream outlets wasn’t a goal of mine until it actually happened. But let’s be real , radio isn’t the “mainstream” it once was. Today, mainstream media lives in social platforms and podcasts. Right now, I have creative freedom and untampered commentary. If I ever chose to move into traditional radio, it would have to allow me to keep my voice and be authentically me. I’ve gotten this far by staying true to myself, and I’m not willing to trade that for a paycheck or a radio badge.

12)  What’s a goal you haven’t achieved yet that you’re most excited about pursuing next?

One goal I’m most excited to tackle next is converting my Meta audience over to YouTube. It’s been a challenge, especially with YouTube payouts increasing, and looking back, I probably should have started there first. But it’s a move I’m ready to make, and I’m excited for the growth it could bring.

13) Name three interviews or experiences that made you realize you were on the right path as a journalist?

Three experiences really made me realize I was on the right path as a journalist. Landing the WrestleMania 40 gig completely shifted my perspective , I thought, okay, I must be doing something right. Being invited to the BET Awards in 2022 was huge, especially getting on camera, which was a great moment. And getting the opportunity to work with Complex Magazine was the ultimate confirmation that going all-in with media was the right decision.

14) When its all said and done what do you want to be remembered for? 

I can’t answer what I want to be remembered for just yet , there’s still so much more work to do. My focus is on building, creating, and delivering my best  while I’m still in the middle of the journey.

15) Whats next? 

As for what’s next? I leave that up to God and time , let’s see where it takes me.