Saturday, February 28, 2015

A THUGGA Discusses ILLUMINATI and his new SIngle Baddie Queen




It almost never pays to be first. Anyone who’s been a true pioneer or innovator usually gets their respect—sometimes years after making their mark—but it’s almost always those who follow in their footsteps that truly reaps the benefits. While this happens in most professions and art forms, it’s especially prevalent in the modern world of music, where new styles emerge in the darkest corners of the web only to eventually be refined and dumbed down for the masses.
One of the defining examples of this has been Charles Hamilton, who had the Internet on smash back in 2008 with The Hamiltonization Process, a web-focused strategy that found the New York rapper dropping eight mixtapes in the span of a few months. At the time, Charles told Okayplayer that he didn’t see anyone doing what he was doing; while he was speaking more about his freedom to do whatever he felt like doing musically, a big part of it was the ability to get people talking about your music without relying on traditional major label support, radio spins, or a properly buzzing single.
Any of your favorite rappers who blew up over the last few years–Danny BrownKendrick LamarChance the RapperYoung Thug, and others–capitalized on the internet buzz they got from mixtapes. It’s not far off from what 50 Cent and G-Unit did before Eminem got wind of their movement, or what any ’90s rapper did on a local level, but the internet gave Charles an edge that earlier rappers didn’t have.
Charles Hamilton connected with his fans in a more personal, direct way than those coming up before him. While rap artists always played up the notion of keeping it real and staying connected to the streets, a megastar walking through a club is still a megastar walking through the club. Charles Hamilton was running his own blog, chatting with fans online, inviting website visitors to join Twitter, responding to emails, and establishing a connection that no amount of radio promo or buzzing street singles could provide. Today, it may seem obvious, but that widespread social media savvy wasn’t in existence six or seven years ago. Charles was at the forefront.
Back then, technology didn’t make it easy for artists. SoundCloud and Bandcamp were just getting started. There was MySpace, but it wasn’t the tool that a Twitter or Facebook is today. We’re talking .zip files and zSHARE links being distributed to a constantly changing rotation of hip-hop blogs.

Thursday, February 26, 2015

First Power Rangers Now Dragon Ball Z

Is This FINALLY the Live Action Dragon Ball Z We Deserve? Light of Hope EP1!

Dragon Ball Z is the globally renowned and admired anime television series created by the talented Akira Toriyama. Since first airing on April 26, 1989, the show has spawned generations of fans spanning multiple age gaps. The show follows the adventures of our hero Goku as he defends Earth against hordes of evil villains, along with his faithful Z Warriors.

Ever since the show invaded the international TV screens, fans have been crying out for a live action film that would do the series justice. I for one would love to see the epic Freiza saga on screen, and finally it seemed like we had gotten our first taste in Dragon Ball Evolution... but the less said about that the better.

Last year, however, new hope emerged. A teaser trailer dropped online by the Non-Profit organization Robot Underdog, and it was amazing! Their storyline was going to be an adaptation of "The History of Trunks," and with the help of a popular indiegogo campaign the teams aim was to use the pilot episode(s) and all of their relevant materials as a pitch to FOX to be picked up for the rest of the web series or potentially larger projects.
Finally... we have that pilot and it's AMAZING!

In a world where Goku and the other Z Warriors are dead, Gohan and Trunks must fight against the unstoppable Androids #17 and #18 in a bid to save as many human lives as possible.
Robot Underdog has managed to perfectly convey an apocalyptic Dragon Ball Z world on screen, and just look at how staggeringly perfect those special effects are. When Gohan turns super saiyan, it feels as if it's real... all those failed attempts of my youth may not be in vain!

 In true Dragon Ball style, we even get a 'Next time on DRAGON BALL Z' closer, giving us an insight into the relationship between mentor Gohan and his young prodigy, Trunks, who seems to be taking after his father, Vegeta.

The casting is spot on and the fight scenes are choreographed to perfection. But that's still not the best part... if you were wondering what the future holds for this webseries, know that it is in the best hands possible. In true MoviePilot style, it is made by FANS for the FANS.

Dragon Ball Z: Light of Hope is a non-profit, live-action Dragon Ball Z web series. It’s made by fans, and is not affiliated with or endorsed by the official license holders.

Our goal is to bring the Dragon Ball world to life in a way that's never been done before, while staying true to the characters and story. We want to use this episode as leverage to make more episodes for this web series and other projects. So please help us out by sharing, commenting and liking! The more support we have, the more likely we are to do more Dragon Ball Z. We want to keep making DBZ content, and that’s only possible with your help!

The cast need a massive shout out for their magnificent performances. I mean look how perfectly creepy the two androids look!? Below are their names and places you can keep up to date with their careers.

                  Tyler Tackett as Android 17
                  Amy Johnston as Android 18
                  Anton Bex as Gohan
                  Jack Wald as Trunks
                  Ruthann Thompson as Bulma

Directed by Donnie McMillin, produced by Rita McMillin, and written by Derek Padula, this webseries looks to have a bright future! If you'd like to help in supporting this project, be sure to head over to their website and donate.
Keep up to date with the project via their official Facebook page and Instagram.

Kanye West’s “All Day” Proves His Album Won’t Be All Lullabies and Starbucks Single

It’s tucked for everybody. “Know Yourself” had a good week-and-a-half run. But Yeezus just rose again. "All Day," the snippet that tormented many a Kanye Stan for the last six months, is finally here in full and it gloriously lives up to the hype. So much so that we task you with telling us another highlight of the 2015 BRIT Awards outside of Madonna being literally dragged off stage. You can't because all anyone remembers is Ye mobbing on stage with a massive squad that included a guy with a fucking flame thrower. Hearing a new Kanye song is always a blessing, but "All Day" is different. "All Day" is one of the most important songs Kanye's ever released. After he musically inverted himself with Yeezus, and isolated many, he needed to draw back in the masses of people who believed he ceded the throne to the kid from Toronto. 

The track was first teased during an interview with GQ in July 2014, in which Ye said he made a song so good that his next album "has to be balanced against it." It was something, he said, that "can be in the club like 'Don't Like' or 'Niggas in Paris.'" The thirst for the heater was so real that fans took a leaked snippet and made full-on fake versions of the song.

So when rumors arose at the end of December that he was going to drop a new song, we assumed Kanye was going to release "All Day" to help us bring in the New Year. Instead we got a lullaby (albeit a damned beautiful one) to his daughter. OK, we thought, Kanye’s putting family first, that’s dope. Then "FourFive Seconds" dropped and panic really set in. Everyone who was feeling the bluegrass, Starbucks-ready Rihanna single was pointing fingers at those of us who feared the track was portending what the entirety of Ye’s seventh LP would sound like. The man said it himself last week on the Breakfast Club: his job is to innovate, a position he feels he upheld with the intentionally left-veering McCartney tracks.

The cloudy forecast began to brighten two weeks ago when Ye played "Wolves" at his fashion show and then performed it with Sia and Vic Mensa at "SNL 40." A moody, pulsating track with a killer verse from Vic Mensa and Sia on the outro, "Wolves" showed that his album would a) have drums and b) not be filled with tame pop radio cuts. But as dope as it was, neither of the Chicago rappers actually spit on it. It's a track that plays like 808s meets Yeezus. That's a dope cocktail of sounds, but where are the bars, Sway?

All of that brings us back to "All Day," the Great Trap Hope. When the snippet leaked I saw a few people bemoan how “of the now” it sounded. Post 808s, and especially post Yeezus, we expect Kanye to constantly chart new territory. But guess what? It is unequivocally fun as fuck, and dare I say crucial, when he decides to battle with those running radio (read: Drake) and just blacks the fuck out. It was just as fun when he and Hova went full Lex Luger on "HAM" and you all lamed so hard they almost canceled the album. But in the wake of experiments like Yeezus, it seems the streets are ready to accept an easily acceptable banger. Something people can drunkenly rap at 2 a.m. And just like "HAM"'s baroque twist, of course Kanye can't ever prohibit himself completely. "All Day" has the drums, yes, but it's got a flair of Yeezus too to elevate it beyond the rap hits banging out of every car right now.  

Do I want a whole album of Kanye rapping over shit French Montana could glide over? No. But I don’t mind a rare lapse. From the McCartney tracks and the snippet's unceremonious leak, we the Ye Stans feared "All Day" was a thing of the past, a mythological track we probably never even were supposed to hear or know of, made sessions ago that's since been left in the dust. So imagine how quickly cynicism turned into genuine Christmas-morning surprise when the gawd stormed the BRIT Awards stage with the most fire (literally) stage setup of all time and the snippet's familiar chant blared. 

This is the Kanye that we all need periodic injections of, the one who gave Chief Keef an alley-oop with a verse so mean-mug and unforgiving that it still rings off in clubs. And it’s with yesterday's epic performance that the hype for the seventh album goes way way way up. Between this, "Wolves," "Only One," and "FourFive Seconds" (incidentally all ranked in degrees of flames from greatest to lowest) Ye confirms everything he’s been touting about the album since his fall 2013 press tour. If Yeezus was his Nebraska, this is going to be his Born in the USA, and to do that, he's going to need to have something for everyone.

I want to vibe to Vic Mensa’s intergalactic verse on “Wolves” then head to the spot and hang from a chandelier rapping bars like “shopping for the winter and it’s just May, nigga.” Folksy acoustic songs with the princess of pop and a fucking Beatle are cool. But a track that allows Kanye to mob out on stage with pyrotechnics? Much doper. As far into the future as Kanye goes, it's always nice when he briefly returns to the present.

Koga YOKAI'S All Star Sessions Album Review

Music is an art form and like food many people have different taste. When I went into this album review of Koga Yokai's ALL STAR SESSION I didn't know what to expect. Koga Yokai aka Calvin Lane has been rapping for five years and is the leader of the EAST TRIBE YOKI CLAN. I just like saying that on some Naruto shyt. Im from the YOKI CLAN lol. Anyway like trying new foods, or different foods you never really know what its gonna taste like until you taste it. Likewise with this album I kept an open mind and just zoned out...

Whats the verdict? ALL STAR SESSION SOUNDS PRETTY DAMN DOPE... The production is A1 imagine young soulful Kanye West, with the sampling pedigree of Charles Hamilton and the smooth crooning of the best soul and r&b songs.
(speaking of Charles Hamilton...Koga and Mr.HaMileTen) Then with that imagery mix some pure and bashful honesty about putting your all into a relationship with the best intentions and watching it fall apart because of various reasons such as, infidelity,immaturity, and different passions and boom you have the recipe for ALL STAR SESSIONS. 

All Star Sessions is an abstract and mature way of dealing with that situation and not being spiteful but reflective on what could have been. The tape is so smooth you really can sit and listen to the whole tape especially if you got your headphones in and your at a computer or just looking for something to bump at night before you catch some ZZZ's, its actually very soothing which goes back to Koga's A1 production, rhyme schemes, and slightly distorted and reverbed hooks.

My favorite tracks from the tape are EVOL, Morning, Dope, Get Doe, & Holding Hands...Listen for yourself tho and let me know what your feelings are about ALL STAR SESSIONS by KOGA YOKAI.


IZAIAH New Music 23 (Jordan Year is for The Winners)

Izaiah AKA Clinton AKA THE MUSICAL BEAST had taken a hiatus in the past from music and I personally wasn't sure what the future had in store for my lil bro, but I'm glad that with his 23rd birthday recently passing he's come back and I must say he's a lot more focused and polished than ever. 

As mention on his new track 23 is reserved for the winners. According to Izaiah this is a new beginning a resurrection or rebirth if you will. Representing LAST BREED RECODS listen to IZAIAH's 23.

Wednesday, February 25, 2015

Drake Is, Indisputably, A Hip-Hop Legend

If there's nothing I hate more in my life and profession, it's any sort of conversation that resembles a weekday morning CNN segment. Is Putin a menace? Where's the plane? Should Biden run for president? Autism-something-or-other? Is Drake a legend? Fine, Drake is a legend. It pains me to say. Now, leave me alone.
While I'm a fan of barbershop discourse and shit-shooting in general, this particular brand of rap debate is polarized and oppressively dumb. "Legend," as applied to artists, and "classic," as applied to their artwork, reduce potentially rich and interesting discussions of music to infuriating simplicity; I can't listen or speak for 10 minutes about Drake without some polarized simpleton steering the conversation into a pundit's ditch, so hung up on the implications of affiliating one way or the other. When Drake opened his latest mixtape, If You're Reading This It's Too Late, with a simply diabolic boast—"If I die, I'm a legend​"—he's feeding his trolls and detractors; one can only hope that they choke on it.

If you're going to drag your friends and family into pointless conversations about Drake, let's at least be nuanced and fruitful and honest with ourselves; essentially, Drake invented the fuego emoji, such is his track record of hits and reserve of credibility among my generation of hip-hop heads. Some of you will balk at my describing Drake fans as any degree of hip-hop head, a sure sign that you grew up on either Guru or DMX, the Walkman or the Discman, and with a poor disposition in either case. I hate to break it to you, but listen: There is hip-hop scholarship and rigorous listening beyond the fall of G-Unit.

There's no singularly, simply correct stance that's worth taking on Drake, an affable (if not goofy) Canadian who's made good music,great musicawesome musicbad music, and a baby handful of songs that are atrocious indeed. In 2009 he made a million off a game-changing mixtape, then he made that god-awful debut album intro "Fireworks" with Alicia Keys. His missteps are few and inconsequential; Drake's got more than 20 hit records to his credit, not counting his best guest verses and Young Money's posse cuts. As of the first quarter of 2015, Drake has more hit rap records than the Notorious B.I.G. or LL Cool J. He has more No. 1 records than Hov. Drake left potential Ja Rule status in the dust 2.5 albums ago.
For all you salty motherfuckers who serially struggle to come to grips with Drake's domination of mainstream hip-hop and indelible influence of pop music in general: I understand. For three years, 2007-2010, I fought the good fight against Lil Wayne's lazy, sedated nonsense; and, ultimately, I lost. My one residual act of vengeance is to point out that Tha Carter IV isn't as awful as Weezystans pretend that it is, if only because "John" is among the best songs that either Weezy or Rick Ross has ever made. (Please share your hopeless counterpoints with me in the comments.) 

The six years of consternation and angst that have dogged Drake's ascent hardly disqualify him from the hip-hop pantheon; if anything, the inexhaustible backlash proves his point. Even the haters won't let go of Drake's robes. It breaks my heart to watch the real-rap dweeb and boom-bap reactionaries wage hopeless war against Drake and his zombified alliance of preppies, yuppies, hipsters, and jocks who, in their monotony, can sound rather like the vapid, anti-literary bullies of De La Soul Is Dead: flip "Crooked Smile" and "i" on screwed 40 Shebib bass so we can dance to it. Drake is a despot, as his fans now freely admit; a tyrant who thrives by fluid iterations of cool and a knack for hooks and chants that could easily be repurposed as Sesame Street jingles, for children. It's not right, but it's OK. "6 God" is delightful regardless.

As I'm aging out of the target audience of most new rappers, I'm gradually at peace with the occasional struggle of understanding music that I don't like, made by artists who aren't built for me. Anyone who would call Drake a narcissist, on the one hand, but then mock and dismiss the prevailing taste of a generation should perhaps reevaluate their relation to art and other people. Don't be such a myopic bore. Free your mind. Stranger ascendances have happened, e.g., Gucci Mane is a legend, nearly in the full, spooky, mythological sense of that word.Busta Rhymes, Noreaga, Ma$e, E-40, Jacka, Boosie—all these guys are legends in their own right. Biz Markie is a fucking legend! Take Care is a classic. Make of these distinctions whatever you will.


Kanye West's recent unusual rollout of new music continued in London today with a performance where he finally debuted his long-awaited song, "All Day," during the 2015 Brit Awards, which are taking place right now. Rumors have been flying around about this song for months, with multiple fan-made versions floating around leaked snippets of the song that Kanye first talked about in his GQ interview this past summer.

With a fiery performance, Kanye performed the entire song with his crew on stage as people shot flames into the air. The intense song that Kanye fans have been waiting for also features an appearance from up-and-comer Allan Kingdom on the hook, who has worked with Plain Pat in the past. With a monstrous beat behind him, Kanye really didn't disappoint with "All Day," rapping at an intense pace throughout while name dropping the likes of Dikembe Mutombo and repping the Southside of Chicago.

Earlier this month, Kanye already debuted his song "Wolves" with Vic Mensa and Sia during his NYFW event and also revealed that it would be the first song on the album, though he has not released the official audio as of now. You can now watch the footage of the performance starting at the 1:46 mark of the video, as well as stream the ripped audio from the performance below.

Kanye West ALL DAY-LIVE by zsection

Monday, February 23, 2015

Hear Charles Hamiltons song that will be featured on Empire March 18th (Update)

We got the news that Charles Hamilton has signed a new deal with Republic Records and is planning his comeback. He’s readying a release for later this year, and his single “New York Raining” features Rita Ora and will be included in the finale of Empire on March 18. Last night at Sayers Club in Los Angeles, Charles debuted the song. Watch above.

Charles’ show served as a re-introduction of sorts. He thanked his fans who have been with him since the beginning, and he explained that he’s going to be changing some things. “I decided I’m not gonna talk about Sonic too much in the mainstream,” Charles said before diving into the music.