Nicki Minaj, shown at the American Music Awards in January, testified Thursday in a Philadelphia court on behalf of boyfriend Meek Mill. (Kevin Winter / Getty Images) By Christie D'ZurillaContact Reporter With Meek Mill facing an irritated judge and the serious possibility that he'll spend more time behind bars on a probation violation, girlfriend Nicki Minaj has taken the stand on his behalf. And she's making it personal. "She's not going to be the one sleeping alone if he goes to jail. I am," rapper Minaj told the judge in a Philadelphia court Thursday, referencing Mill's parole officer. "He's not perfect, but I can't believe how much he's changed." Change would be a good thing for hip-hop artist Mill, 28, real name Robert Williams. His current trouble goes all the way back to a 2008 conviction on drug-dealing and gun charges. He was sentenced to 11 to 23 months in prison, served only a few and was paroled in 2009 on five years' probation. It's that last part that's been hard for him: He's violated his parole a number of times, and in 2014 his probation was revoked, leading to about four months back in prison, getting out on Dec. 2, 2014. Now he's accused of submitting a suspicious urine sample and repeatedly changing his court-approved travel schedule. His attorney, Frank DeSimone, told the judge Thursday that Minaj "would not marry a criminal or a bum," TMZ reported. He also said his client had told him the night before how much he respected the judge. "He wouldn't be who he is if you sent him to the state penitentiary in 2009. He wouldn't be Meek Mill," DeSimone told Common Pleas Judge Genece Brinkley. "He doesn't have a lot of structure. He can be irresponsible," said Minaj, the 33-year-old "Bang Bang" performer who was sworn in under her birth name, Onika Maraj, and didn't mention any wedding plans. "Since I've come in his life, I think I've been working on that a little bit. ... He's just getting accustomed to being an adult." The AP said Brinkley warned DeSimone as the hearing ended: "He is thumbing his nose at me," she said, "and I haven't been convinced otherwise." But wait, back up a second to the part where Minaj didn't say she and Mill were planning to marry. Didn't he just give her another hulking diamond this week? Aren't they, like ... ? "He and I are not engaged," Minaj told Billboard in an interview published Thursday. "But he said he would like to give me three rings before we get married." Ring No. 1 arrived in April, sparking a round of engagement rumors just four months after he was released from prison and the couple started dating. The second one came for her birthday on Tuesday, apparently: She published shots of another enormous rock on Instagram on Wednesday. "Now this is what I'm talking about baby," she wrote. "Lol. Love u ... @meekmill ~ RANG finga whr da rock iiizzzzzzzz."
Having played against Michael Jordan for a good portion of his career, Milwaukee Bucks head coach Jason Kidd is well aware of the former Chicago Bulls star's legendary abilities. So when talking about Golden State Warriors guard Stephen Curry on Saturday night, Kidd was not being facetious when he compared the reigning MVP to Jordan. "He's this generation's Jordan." Kidd told reporters. "We all wanted to be like Mike, and children today will grow up seeing Steph." Do note that Kidd is not saying that Curry is a similar player to Jordan. He is mainly comparing Curry to Jordan on a generational level, which is quite true. Jordan captured the imagination of a generation of fans during his playing career and now Curry is doing the same. Due to his build, stature and how he actually plays the game, Curry has become one of the league's most popular and marketable players. He was the lead vote getter in last year's All-Star game and Curry's jersey is number one in sales. And like Kidd says, children are not only proudly wearing Curry merchandise, they are also beginning to play like him, too. Curry may not have the "Be like Mike" marketing campaign like Jordan did but he doesn't need that. His play is already making an impact on a generation of youth. This is Stephen Curry's world, we're just living in it.
When you reached tracks five and eight on Erykah Badu’s critically-acclaimed mixtape, But You Caint Use My Phone, you probably heard a familiar voice that many attributed to Drake. But with a little bit of clarification, Ms. Badu swiftly confirmed that it wasn’t the Toronto native blaring out of your speakers or earphones. It was an artist named Aubrey Davis who goes by the stage name ItsRoutine. While you’re wondering whether or not Drizzy is aware that he has a sound-alike out there, no need to fret because Badu shared a tidbit on the situation. In an interview with Pitchfork, the “Phone Down” singer revealed that she notified the Toronto native of her plans. “I talk to Drake once a week,” she said. “He’s my friend, and I told him about ItsRoutine, and he laughed and made a joke that he didn’t want these guys taking up his tea time.” On the OVO leader’s track “Days in the East,” he referenced one night where he shared a cup of tea with Badu. The Dallas native and Drake have an extensive relationship, with him serving as inspiration for her latest soundscape. After the release of the 29-year-old’s catchy and remix-worthy song “Hotline Bling,” Badu did a rendition of her own and concocted But You Caint Use My Phone in the process. He’s an inspiration to me. Sonically he’s in a place where I want to be,” she said in an interview with The Fader. “It’s halfway between where I was and halfway to where I am now. If I want to come out and do something, I will try and raise myself to his bar or channel myself to his frequency.”
Y. ROME IS ON THE CUSP OF GREATNESS Y. Rome has had an outstanding 2015 and his 2016 is looking even more promising. He has been all over the place this year making a sighting at Summer Jam, performing in front of COMPLEX,XXL, & Fader magazies, dropping a smash single "Oh My Oh My" feat Republic Records artist Charles Hamilton, and setting many shows a blaze at A3C music festival and conference.
But before this year ends he has blessed his fans with a new ep called 'THIS IS ME NOW" or "TIMN' for short. Y. Rome brings the heat with this EP with singles like "Kurnin Dope" and "Since You Wanna Play" Feat K Zeus. The production is top notch including some fire from in house producer Steven Nieves (AKA Kal El Beat) on tracks like Amazing and Superheroes...This EP has a industry feel and the simple but dark cover lets the audience know that its about to get serious...peep the tracklist below check the tape below and let us know if you think Y.Rome is gonna be the future of Hip Hop.
Drake made the comments at the third-annual “Drake Night." Adele said earlier this month that she’d like to do an official remix to Drake’s “Hotline Bling.” The Canadian rapper-singer said he’s game. “I’d do anything with Adele,” Drake said to the media in Toronto Wednesday (November 25), per etalk. "I’d literally go to Adele’s house right now and do laundry for her.” Drake made the statement at the third-annual Toronto Raptors "Drake Night.” He is the NBA team’s global ambassador. Drake also said that his dancing in the video for “Hotline Bling,” which Adele says she’s danced to, came naturally. "That was all impromptu,” he said. “I just took a chance on being myself, being confident, being comfortable. The fact the world is having fun with it is amazing.”
Travis Scott joins singer for North American dates, while the Weeknd and Big Sean tagged for European shows By Daniel Kreps November 23, 2015
Although Rihanna hasn't revealed the details surrounding her impending LP Anti, the singer has already plotted a long world tour in support of her new album. The Anti World Tour kicks off February 26th at San Diego, California's Viejas Arena and will spend three months circling North America before the first leg closes out May 7th at Oakland's Oracle Arena. The following month, Rihanna will embark on a two-month trek through Europe. SIDEBAR Rihanna (L) and artist Roy Nachum Rihanna Cover Artist on How He Crafted 'Anti' Imagery » Travis Scott will serve as Rihanna's opening act throughout the North American leg, while the Weeknd and Big Sean will accompany her on the European tour. Anti World Tour tickets go on sale to American Express card members and Tidal subscribers on November 30th, with a general on-sale date for all shows scheduled for December 3rd. Anti is the culmination of a long recording process for Rihanna; after releasing four albums in four years between 2009 and 2012, it's been three years since Unapologetic arrived in November 2012. Rihanna hasn't been completely dormant: In the past year, she's released three singles – "FourFiveSeconds," "Bitch Better Have My Money," and "American Oxygen" – but it's unclear whether those tracks will appear on the Kanye West-executive produced LP. "To me it's never done until it's done. Until the final moment," Rihanna told NME in a September interview. "I have so many songs I love – and they're so different – that it's hard to actually put them all on the same album." The singer also revealed she had worked with Charli XCX on some songs that could potentially make the final tracklist. Recently, Rihanna revealed her Roy Nachum-creared album cover and the album title for her upcoming LP at a Los Angeles event. Anti's impending arrival was trumpeted in mysterious Samsung ads during the American Music Awards; when the album does arrive, it will likely spend a period of exclusivity on both the Tidal streaming service and Samsung mobile devices before public consumption.
Rihanna Anti World Tour – U.S. Dates February 26 - San Diego, CA @ Viejas Arena February 28 - San Jose, CA @ SAP Center March 1 - Phoenix, AZ @ Talking Stick Resort Arena March 4 - Austin, TX @ Frank Erwin Center March 5 - Houston, TX @ Toyota Center March 6 - Dallas, TX @ American Airlines Center March 8 - New Orleans, LA @ Smoothie King Center March 9 - Atlanta, GA @ Philips Arena March 12 - Jacksonville @ Jacksonville Arena March 13 - Tampa, FL @ Amalie Arena March 15 - Miami, FL @ American Airlines Arena March 18 - Nashville, TN @ Bridgestone Arena March 19 - Cincinnati, OH @ U.S. Bank Arena March 20 - Charlotte, NC @ The Time Warner Cable Arena March 22 - Washington, DC @ Verizon Center March 23 - Buffalo, NY @ First Niagara Center March 24 - Auburn Hills, MI @ Palace of Auburn Hills March 26 - Hartford, CT @ XL Center March 27 - Brooklyn, NY @ Barclays Center April 2 - Newark, NJ @ Prudential Center April 3 - Philadelphia, PA @ Wells Fargo April 5 - Quebec City, QC @ Centre Videotron April 6 - Montreal, QC @ Bell Centre April 9 - Baltimore, MD @ Royal Farms Arena April 10 - Boston, MA @ TD Garden April 13 - Toronto, ON @ Air Canada Center April 15 - Chicago, IL @ United Center April 18 - Winnipeg, MS @ MTS Centre April 20 - Edmonton, AB @ Rexall Place April 21 - Calgary, AB @ Scotiabank Saddledome April 23 - Vancouver, BC @ Rogers Arena April 24 - Seattle, WA @ KeyArena April 27 - Salt Lake City, UT @ Vivint Smart Home Arena April 29 - Las Vegas, NV @ Mandalay Bay May 3 - Los Angeles, CA @ Forum May 7 - Oakland, CA @ Oracle Arena Rihanna Anti World Tour – European Dates June 11 - Amsterdam, Holland @ Amsterdam Arena June 14 - Coventry, United Kingdom @ Ricoh Arena June 16 - Cardiff, United Kingdom @ Cardiff Stadium June 18 - Sunderland, United Kingdom @ Stadium Of Light June 21 - Dublin, Ireland @ Aviva Stadium June 24 - London, United Kingdom @ Wembley Stadium June 27 - Glasgow, United Kingdom @ Hampden Park June 29 - Manchester, United Kingdom @ Emirates Old Park July 4 - Stockholm, Sweden @ Tele2 Arena July 7 - Copenhagen, Denmark @ Refshale Island July 9 - Hamburg, Germany @ Volkspark Stadion July 13 - Milan, Italy @ San Siro July 15 - Nice, France @ Allianz Stadium July 17 - Frankfurt, Germany @ Commerzbank Arena July 19 - Lyon, France @ Grande Stade July 23 - Lille, France @ Stade Lille July 26 - Prague, Czech Republic @ Synotip Arena July 28 - Cologne, Germany @ Rhein Energie Stadion July 30 - Paris, France @ Stade de France August 2 - Berlin, Germany @ Olympiastadion August 5 - Warsaw, Poland @ PGE Narodowy August 7 - Munich, Germany @ Olympiastadion August 10 - Vienna, Austria @ Ernst Happel Stadium August 12 - Zurich, Switzerland @ Letzigrund Stadion
IT’S NOT “PINK LAVALAMP,” BUT CHARLES HAMILTON’S “BLACK BOX” EP IS HIS FUTURE
We would sit under the crescent moon and dim streetlights, our voices echoing down the neighborhood, entering windows belonging to real adults with real jobs and tormented by real life. The cheap brown liquor kept our souls warm, our ambition kept us sane, we were the dreamers with empty wallets that believed in the art we created and nothing more. Art would take us from the jobs we loathed into the visions we saw the few hours we slept. It was a special time, when the dreams outweighed desperation, when our confidence conquered logic, a time I’m reminded of when playing Charles Hamilton’s The Pink Lavalamp. He was just like us, an outcast with a bit of arrogance wanting nothing more than to create and be rewarded for pouring his soul into the craft. He put so much of himself into the music it was almost like hearing a pulse, the faintest heartbeat, a true representation of someone that had nothing else. The sample of Graham Central Station used in the introduction of the project told you everything you needed to know about him, that music was life. Charles had a lot of mixtapes, most I liked, but no project resonated quite like The Pink Lavalamp. In one album he encompassed all the traits that made him unique. There was lyricism, storytelling, metaphors, similes, introspection, the kind of music you make with one hand in heaven and a foot in hell. No demons were hidden, no skeletons locked away, the honesty made him into a figure of transparency. Not a brand or persona but the man struggling with suicide, depression, addiction, women, money, family and life as an artist starving. The title was perfect, pink representing his favorite color, lava lamps only glow in the dark and his music was illuminated by the darkness of his reality. I believe it was the brutal honesty that people attached themselves to, rapping from the heart, fragments of a soul in the form of a song, the man behind the microphone felt like a friend and not a stranger. There’s something special about music made out of desperation, it’s like the most beautiful rose that blooms from the concrete. It’s far from perfect, thorns that will prick your fingers if held too tightly, but still a marvelous sight to behold. A few weeks ago 40, the in-house producer for OVO, was tweeting about Drake during the ghostwriting debacle, how rap has never seen a rapper speak as openly and honestly about their life as Drake. I laughed at the thought of Drake as the apex of rapper honesty. There’s countless emcees worth being named, but Charles was one of the first that came to mind. In all his songs about former lovers, I don’t think Drake has anything poignant and poetic as “Come Back To You.” Drake speaks so much about family but has nothing with the amount of heart and passion as “I’ll Be Around.” Has he ever recorded a suicide note like “Latte”? I’ve always gravitated toward the personal, these are just a few songs that really made me into a fan of Charles. I sought his music when feeling overwhelmed by the world, someone else that was going through the storm of life but turning the emotions into art. Unfortunately, Charles’ issues were deeper than I could imagine. He was suffering, despite tragedies inspiring the masterpieces that created his cult following, issues that simply couldn’t be buried by success would swallow him before reaching the pinnacle of his potential. His rise and fall happened swiftly, from being a promising XXL Freshmen signed to Interscope to dropped and hated. The internet loves hard and hates harder, there’s no in-between. Hollywood has made us suckers for a good comeback story, hip-hop has taught us to never underestimate the underdog, Charles Hamilton’s return embodies both. After some turbulent years he made his grand reappearance as an artist signed to Republic Records and even scored a single on the show and soundtrack for Empire that featured Rita Ora. The hard drugs were absent, his mental health greatly improved, he was officially back. My feelings toward his resurgence was mixed, I was happy for his health but wondered how the music would sound. The question was answered last week when I checked out his forthcoming project, The Black Box EP. This will be his first proper offering through his recent label deal. The EP is a new sound for Charles, most noticeably apparent by the lack of vocal samples, a trademark of his former work. The six songs are polished but still has a Charles feel to them. He is direct as ever, unafraid to mention the punch in the face, J. Dilla, and a few other problematic situations that slowly lead to his downfall. There’s a song, “Man’s World,” where he speaks on racism and being black in America that immediately stood out. “Down The Line” is another strong record that will definitely give Starchasers what they been missing. Overall, the EP sounds like an artist regaining his footing, which comes with a lot of trial and error. The hooks are bad, a majority of them fall flat, but despite the rough edges it was good to once again hear the rapper that made me download a bunch of mixtapes with a cartoon hedgehog return from his lower points. There will always be someone that wants Jay to be the rapper on Reasonable Doubt, for Eminem to be the druggy madman on the Slim Shady LP, for Lil Wayne to return to his mixtape days. It’s an attachment to the familiar that craves the best of their work again and again. It doesn’t work that way though, for any of us. You’ll never be who you were yesterday, artists can never make an album like the one before. It goes against natural progression. There’s a part of me that wants Charles to be that artist who made The Pink Lavalamp, but that’s not who he is anymore. We aren’t the same kids that stood in the street lights howling at the moon. So for the old fans intrigued by the new Charles Hamilton, expect some change. And for new listeners first encountering him though Black Box, I highly recommend going back to The Pink Lavalamp. That time in Hamilton’s life is gone, but we can listen to it forever.
Who says Lightning can't strike twice... Mill Vll & Vina Love had the internet buzzing when they collabed and gave us "Best Of Me" a remix of Hov & Mya. Now the dynamic duo seems to be following up with another banger remix in "Tell Me"...The kid from the Bronx is like a young Lebron entering the league honestly the sky is the limit and Vina Love is def a Diva in the making ... Check the vid and track out on youtube and soundcloud respectively
Drake is on top of the world right now, but he's not infallible.
“Pound Cake / Paris Morton Music 2” Who did it: Jay Z Andre:There’s been a tenuous cold war happening between these two for some time. They end up on each other’s records where they throw subtle shots at each other over the course of their 16s. This time, Jigga got the better of Drizzy with lines like “I had Benzes ‘fore you had braces…” and “The homies said, ‘Hov’ it ain’t many of us / I told ‘em less is more niggas, there’s plenty of us.” Was Jay doing that thing where he subliminally disses the emcee he’s on a track with? Of course. We’re talking about Hov’ right? Ural: Who would have thought that Hov and Drizzy would finally get together again on wax after that catastrophe that was “Off That” from The Blueprint 3? Having Nothing Was The Same end with “Pound Cake / Paris Morton Music 2” was the proverbial icing on the cake with two of Hip Hop’s biggest pop culture icons together. While Drake spit enough bars to keep up with Jigga Man, Roc Nation’s head managed to keep the conversation around him with this line: “I've done made more millionaires than the lotto did/Dame made millions, Biggs made millions/Ye made millions/ Just made millions/ Lyor made millions/ Cam made millions/ Beans' a tell you if he wasn't in his feelins.” Yikes.
“Champion” Who did it: Nas Andre: This little paid attention to track off Nicki Minaj’s Pink Friday:... Roman Reloaded was underwhelming even with the additions of Jeezy, Drake and Nas. Everyone seemed to mail it in except Nasir, though, who proceeded to body the record with lines like “I saw my first two million dollars, I was 23 / I’m barely a man, yet, I had some killers under me.” Ural: Having Jeezy, Drake and Nas on Pink Friday… Roman Reloaded track “Champion” could have possibly been the next “Monster.” However, Nasir Jones managed to school everyone with relatively ease with Drizzy coming off with the weakest verse. Meanwhile Nicki and Jeezy would probably tie for the second best.
“Hell Yeah F*ckin’ Right” Who did it: Lil Wayne Andre: “HYFR” had the utterly cringe worthy yet ridiculously catchy and meme worthy chorus, “Do you love this shit? Are you high right now? Do you ever get nervous?” But what it mostly had was a particularly salient Lil Wayne delivering some of the best bars he’d delivered in a while, knocking Drizzy back on his heels. These two had been going back and forth on each other’s records for a while now with wins on both side. This one goes to Wayne if not only for the line, “My nuts hang like ain’t no curfew, bitch, if you wave then I will surf you..” Ural: It’s safe to say the video for “HYFR” will be probably become more iconic in the future than Drake’s actual verse. This was totally Weezy’s party with his catchy as hook and verse like Andre mentioned above.
“Unforgettable” Who did it: Jeezy Andre: “When I say fo’ life you say fo’ever,” croons Jeezy and right there in the opening bars Jeezy shows a newly minted Drake what it’s like to bodied on his own record. There’s an indelible charm to Jeezy that Drake just doesn’t quite know how to capture yet, and while he was relatively green (you can tell because they gave Jeezy some chorus duty, which is something that would never happen now) he just gets lost under the current of Jeezy’s grizzly tenor. Ural: Thank Me Later was a large disappointment in terms of large major label debuts. “Unforgettable”s sample of Aaliyah’s “At Your Best (You Are Love) should have lit a fire under Drizzy’s back considering his love for the late great singer. But, Jeezy takes the cake without much effort. From the looks of things, Drake was going through the lyrical motions. Thankfully, he fared better for what could be considered his only true classic Take Care.
“Blessings (Extended Version)” Who did it: Kanye West, Big Sean Andre: Look, this one isn’t his fault. The original version just had he and Big Sean so Champagne Papi wasn’t stressed. Then, suddenly, Kanye comes out of nowhere to remind everyone why he’s one of the greatest of all time. HIs stream of consciousness is so mature at this point that he conveys exactly what he means to with no real fuss. Yeah, Drake killed the hook, but Kanye’s verse made the extended version one of the most sought after tracks of the year. This isn’t to say that Big Sean’s verse wasn’t murder, either. This might be one of the best verses of his career, and there’s no doubt they both came correct because of Drizzy’s presence on the track. Ural: Drake’s hook for “Blessed” was a lot higher profile than his actual verse because Kanye’s verse is arguably his best this year besides the guest verse to Tyler, The Creator’s “Smuckers.”
“Fuckin’ Problems” Who did it: Kendrick Lamar Andre: Kendrick Lamar murdered this song. His “Bitch, you know you want this dick!” line is as aggressive and rappity-rap as he gets most times. No one on that track was ready. Ural: Ironically, “Fuckin’ Problems” is one of OVO’s few collaborations where he took an active role in production through his Champagne Papi alias. Verse wise, K Dot made everyone else's verse, even the core artist A$AP Rocky, damn near unnoticeable. Guess Drake was another casualty of Lamar’s lyricism.
Erykah Badu has shared a new song called "HOTLINE BLING BUT U CAINT USE MY PHONE MIX" from her forthcoming mixtape BUT U CAINT USE MY PHONE. It's a remix of Drake's song "Hotline Bling" that was co-written by Seven Benjamin, her son with André 3000. Listen to it above. An interlude in the song says: "You've reached the Erykah Badu hotline. If you're calling for Erykah, press 1. If you're calling to wish her a happy birthday, Kwanzaa, MLK, Black History Month, Juneteenth, or Hanukkah, press 2. If you're calling because you just saw her on BET, MTV, or any of the social media outlets and you're checking to make sure you're still in good standing, press 3. If you're calling to beg for some shit in general, press 4. If you're calling to beg for the shit but this is that pre-call before the actual begging, press 5. If you've already made the pre-call and this is the actual call to beg, press 6...." and it only gets better from there. On Drake’s “Days in the East,” we learned that he and Erykah Badu had a heart-to-heart over a cup of tea. “Remember one night I went to Erykah Badu house/ She made tea for me/ We talked about love and what life could really be for me,” Drake says. “She said, when that sh– is real, you just know.”
BY ZACH FRYDENLUND Tyga released his new video for the song "Stimulated" this morning, and it leaves you with more questions than answers. The clip stars Tyga's now-public girlfriend, Kylie Jenner, with the two escaping to a secluded beach house to make out and fondle, while Tyga recites his lyrics: "They say she young, I should've waited, she a big girl dawg, when she stimulated." Yup, that's Tyga bragging that he "stimulates" Jenner, while admitting that he didn't wait to do so. And, as if that weren't already flagrant enough, it turns out that "Stimulated" prominently samples the melody of a Robert Miles song called "Children." Not only is Tyga trying to justify his obvious ongoing sexual relationship with Jenner, who just turned 18 this month, but he's now parading around the fact that he can make out with her in public and won't go to jail for it. The timing of the video is also odd. Jenner is 18 now, but was this video quickly shot and edited in the past two weeks, or was she was still 17 during this? They're now both consenting adults and can do whatever they please, but that doesn't change the past, nor hide the fact that this is all disturbing. Do remember, back in February, Tyga adamantly denied that Kylie was his girlfriend. While it was easy to see through that, the fact that he feels deserving enough to make such a quick u-turn from "just friends" to groping Kylie in a video while he raps about the media getting on him for dating an underage girl is insane. Do better, T-Rawww.
Jeezy will be developing his very own new luxury champagne brand. The new project will be called “Project Gold Bottles,” which inspired Jeezy’s recently released song “Gold Bottles,” off his forthcoming album Church in the Streets. The new champagne brand is expected to be released in 2016. Jeezy previously partnered up with Ken Austin, the founder Tequila Avion, as the tequila brand’s multicultural advisor and will continue that role.
“I have long loved high-end tequila and champagne and this love has inspired me to create a rich, full bodied champagne that represents my passion. I am fortunate to have a partner like Ken whose entrepreneurial track record includes my favorite ultra-premium tequila,” said Jeezy. “Ken has a deep understanding of the drinks space and several luxury categories that I know will be invaluable to growing this business. I look forward to bringing a luxury champagne to my fellow artists and fans in the near future.” The ATL veteran’s forthcoming album will drop Nov. 13. He already released the tracks “God,” followed by “Pastor Young’s Letter” and then “Church in These Streets” off the LP. Every Sunday, Jeezy will be releasing new music as part of his #SundayService campaign. While the Thug Motivation 101 rapper supply fans with new tunes, he’s also been very vocal about the presidential race. In a recent interview he expressed his views on Donald Trump and if he’s fit hold down the white house. “I don’t think he’s capable of being the commander-in-chief. He has the ego, but he doesn’t have the charisma,” said Jeezy. “Sometimes other things outweigh money…I don’t think he’s a leader. I think he’s a great businessman, but I don’t think he’s a leader.”
As Marvel gets ready for the DVD release of Avengers: Age of Ultron on Oct. 2, they've released the first of what will probably be quite a few deleted scenes from the film. It makes sense that they'd want to go ahead and get this one out there, though, because it helps explain one of the most out-of-place and complained about sequences in the film – that part where Thor goes to a cave with Erik Selvig and has some crazy visions inside a pool. Here's what Joss Whedon had to say about the scene on the Empire Podcast (via Comic Book Resources): "The original scene was that Thor went to speak to the Norn and how it would work was that he’d go in the pool and the Norn possess him, basically, and Erik Selvig asks all the questions, and the Norn, speaking through Thor, give the answers," Whedon said. "So Chris got to do something different, and he really threw himself into it, and he did a beautiful job, but it wasn’t well regarded by the test audiences and I feel it’s probably largely because it was a rough cut with no effects, but also because it’s something that in a Thor movie would work brilliantly, but in this movie is just a little too left of centre." Hopefully that alternate ending we heard about a couple months back makes it onto the DVD.
Lupe Fiasco Hints at Sequel to His Classic Album 'The Cool' Lupe Fiasco just dropped a pair of gloriously less-than-subtle hints at a forthcoming sequel to his 2007 classic album Lupe Fiasco's The Cool. "Be patient," Lupe tweeted on Sunday. "It's gonna be a while but we hard at work." Though Lupe's mentions quickly started to pile up with attempts at securing a confirmation on the tentatively titled The Cool 2, he quickly added that he would not be "taking any questions" regarding the possible album's status:
The original Cool successfully embodied the sonic diversity of Lupe's creative ethos, featuring (but never relying on) appearances as varied as Snoop Dogg and Fall Out Boy's Patrick Stump. Though often categorized as a "loose" concept album, its concept is never lost through the album's handful of semi-radio-friendly detours and narrative pauses. In short, The Cool is an obvious 00s classic and more than worthy of a comparable sequel: Prisoner
Im Beaming Remix
Though Lupe's tweets certainly don't imply a release date for this sequel in the near future, they definitely confirm that something is indeed happening in the world of Cool.
The Knicks look like they're headed nowhere fast next season. But could Carmelo Anthony, Kevin Durant, and Kobe Bryant end up on the team by this time next year? It's a long shot. But on ESPN First Take this morning, Stephen A. Smith suggested that it could happen. According to him, Carmelo has already started trying to recruit KD to come to New York City next summer when he becomes a free agent—and KD is reportedly considering it. Stephen A. also said that there are some NBA insiders who believe that, if the Lakers decide to part ways with Kobe after his current contract is up next summer, Kobe would also consider coming to NYC, especially if KD does. Don't get too excited, Knicks fans. There's no obviously no concrete evidence to prove that anything Stephen A. says here is true. But hey, it's fun to dream, right?
We’ve seen the rise of the viral rapper already. An artist releases a song that takes him or her from buzzing to Billboard’s Hot 100 and is presumed to be a success. And while plaques are cool, longevity is more important. Take Paterson, N.J.’s Fetty Wap—real name Willie Maxwell—who saw what it’s like to skyrocket to fame after the success of his 2014 summer anthem, “Trap Queen.” Alongside his label, RGF Productions, and crew, Remy Boyz 1738, the song’s SoundCloud numbers hit six figures within weeks of its release—without initial blog love, radio play, or industry support. But his squad saw firsthand how a song goes viral in the Tri-State area—first you hear it in the streets, and then enough people search for it online that by the time Hot 97 gets to it, it’s already inching its way up the charts. But what Fetty has done with the Tony Fadd and Brian “Peoples” Garcia-produced banger has broken records—and he’s gone on to show he’s no one-hit wonder, either. This week, Fetty has four songs in the Billboard Hot 100—”679” at No. 8, “Trap Queen” at No. 9, “My Way” at No. 11, and “Again” at No. 40. But the story of where it all began—on the streets of Paterson, N.J., with a few friends, a few studio sessions, and a free beat Fetty’s manager found online—hasn’t yet been told. We spoke to the 25-year-old new star along with RGF’s Monty, Nitt Da Gritt, Brian “Peoples” Garcia, and the song’s original producer, Tony Fadd, for the stories behind the biggest song of the last year.
THE START OF REMY BOYZ
Monty: I met Fetty about 10 years ago. We both liked to smoke weed and we’d just chill together. We just had this bond. I was rapping, but he really wasn’t making music back then. I influenced him to rap around 2010. At first, he was just finding himself. I used to go to the studios all the time so he’d just be with me. One time, he just wrote a verse and that’s when we started making songs. We were still running from studio to studio in the hood. Nitt Da Gritt: I met Fetty Wap in Paterson. I already knew Monty, so they was coming to get some loud from me. Monty was playing a verse I did, and Fetty was telling Monty, “Yo, who’s this? He killed that shit, dawg! That nigga nice as hell!” When I met him, they came and got some weed like, “I wanna be down with ya’ll!” I just was like, “Alright then!” Fetty felt my style, my swag, and my energy. I’ve just been rocking with him ever since. Monty: Nitt is Mr. Miyagi. He’s the Tom Brady of Real Good Fellas Productions. He’s the mastermind behind all of this. We do what we do, we’re in our zone, but he handles all the business and the other aspects. We were just working, staying in the studio, and we always just had a passion for music. Fetty kept making music—he’s real smart—so he found himself quick and knew what he wanted to do. That’s when he started singing and using the melodies. The first time he did that, it was crazy. We did this song “For the Moment,” we couldn’t believe it was us.
“FETTY WAS RAPPING AND THEN HE DID ONE OF THOSE SING-SONGY-AD-LIBS HE DOES. I WAS LIKE, ‘WHAT THE F**K WAS THAT?’ HE WAS LIKE, ‘OH YEAH, I DO
Fetty kept making music—
—BRIAN “PEOPLES” GARCIA
Brian “Peoples” Garcia: Nitt told me about Fetty, but Monty brought him to this studio I used to have in Hackensack, N.J. Fetty was rapping and then he did one of those sing-songy-ad-libs he does. I was like, “What the fuck was that?” He was like, “Oh yeah, I do singing too.” A couple weeks later, they came back and did two songs, and he was singing on both of them. One song, was “L.O.V.” and I think the other was “No Days Off.” Fetty Wap: I do everything myself. When I record, I tell my engineer how to structure my shit. I structure everything. That shit is all Fetty Wap. Nobody helps me write my shit. I don’t sing other people’s shit. You have to understand that I don’t make other people’s music. If it’s not me then it’s not going to sound right. I just keep it me until they get tired of it.
THE MAKING OF “TRAP QUEEN”
Fetty Wap: The inspiration behind the song was my ex-girlfriend at the time. She was a different kind of loyal. If you had to go jail, it was cool as long as you were going to jail together. I don’t think I’ve ever met anybody else like that. I first met her at her job, and the way that I introduced myself, she didn’t like it. I didn’t really do it in the most respectful way. I was like, “What do you want me to say? Do you want me to say ‘Hey, what’s up, hello’ to you? Does that sound better?” The next day I went back to her job, and she was my trap queen from then on. The song is a hood love story. My manager sent me the beat, and as I was listening to it, I knew. I kept listening to it. Even when I went to bed, I never stopped listening to it. Nitt Da Gritt: We were at Eastside Park smoking. He was like, “I got this song. It’s gonna take us out the hood. This is gonna be the one.” I’m on the phone as he’s playing it and I hear “Hey, what’s up, hello?!” I hung up the phone and told him to run that shit back. He named it, “What’s Up Hello” and I was like, “Nah, we’re gonna name it ‘Trap Queen.’” When that beat comes on, that shit grabs you automatically. You can’t deny it. Tony Fadd: Fetty got the “Trap Queen” beat from my website. I decided to make music and try to show it to U.S. artists, because hip-hop isn’t that big in my country. I’m from Belarus, a small country between Russia and Poland. The beat was available for free download. Usually I make beats in my home studio and then put them on my site. I can’t say that I felt like the beat was special after I made it. I really liked it, but I didn’t think anything about it. Brian “Peoples” Garcia: They brought me a USB filled with several songs. “Trap Queen” just happened to be in there. I was being nosey because I knew I was going to work on the track anyway, so I clicked on it. I realized that the song was hot and knew if I played around with it I would be able to make it better. Tony Fadd made the original beat, but I produced it. There’s a difference. In the credits, it says produced by Peoples, beat made by Tony Fadd. The beat was only a minute and a half at first. Originally, the song stopped at “The Remy Boyz or nothing’” part. When I was mixing it, the song was too short, so I looped it. Fetty Wap: Some people don’t believe me, but I never really wrote the song. I went in there and just somehow felt everything that we’ve been talking about. Like, my ex, she wanted a Lamborghini and I was like, “I don’t even like Lamborghinis, but I’m going to get one just so I can have one like you.” We were just going to have everything together. Matching Lambos. Monty: He was in his zone. It was one of those days. I wasn’t with him, but I came home around 5 a.m. and as soon as I walked in, Fetty came to me, “You gotta hear this. This is the one that’s gonna get us rich.” That was it. Fetty Way: I actually started rapping a verse then I was like, “No, I don’t like how that sounds. Stop it. Start the beat over.” Then I just sang, and I didn’t stop until the beat stopped. Everybody was like, “What the fuck just happened?” We played that shit back, and while it was playing, we left it recording so I started doing the ad-libs. That’s when I came up with the “squad” shit. That really actually came from my friend whose voice is so high, I’d just be like, “Nigga say ‘squad.’”
“WE LOST SLEEP OVER THIS S**T. I LOST WEIGHT. SPENT A LOT OF MONEY. IT WAS TO THE POINT WHERE I WASN’T EVEN GETTING HORNY OVER THIS S**T.”
—NITT DA GRITT
Nitt Da Gritt: He was just hitting that shit on the money. You know when you hear music through some really good speakers? It makes your body move? Everybody was in the studio, and we knew we had something on our hands. People don’t know about the work we put in. We lost sleep over this shit. I lost weight. Spent a lot of money. It was to the point where I wasn’t even getting horny over this shit. I didn’t want no pussy. I couldn’t sleep for, like, five months. That was a different high, the hunger to get it. Brian “Peoples” Garcia: Fetty recorded it in another studio, but we both didn’t like how it sounded. Everybody who heard it felt the same way. It was a Monday when we talked about it. By that Saturday, I had him in the studio re-recording “Trap Queen.” Nitt Da Gritt: Fetty had a couple tracks before then, but when he did that, he found his sound. Brian “Peoples” Garcia: I mixed it up in my bedroom, and my son—who was 5 at the time—kept singing it. I wouldn’t even be playing it and he would be outside singing, “She’s my trap queen.” That’s how I knew it was going to be something. It took me about four days to finish it. It only took us 15 to 20 minutes in the studio because he had the song already done. I could’ve went in and added my little magic touch to it, but the tremble in his voice wouldn’t have been there, and I thought it sounded so natural and catchy. That’s the part that pulls you into the record. You know how ballads and big rock records build up slow into a big hook? That’s the formula that I wanted to use. It stops, and then, boom! [Sings] “And I ride with my baby.” I knew from the minute I heard it, there’s nothing like this out.
“TRAP QUEEN” SUCCESS
Monty: From Paterson to New York, we were doing shows. We were already traveling and grinding off of our mixtapes—we went everywhere. “Trap Queen” didn’t go crazy yet, but Jersey and New York knew it. Brian “Peoples” Garcia: We recorded it in March of 2014, and I started hearing it in August [of 2014] everywhere. Then Mr. Cee played it on Hot 97. I don’t listen to the radio much. I’m a lab rat and my boys are the best producers in the country right now. I don’t like listening to the radio to see what other people are doing, or what sound is popular. But one day, me and my wife were coming back from a wedding and Fetty was talking on the phone with Flex, who was like, “This is the new song taking over America.” It hit Top 40 and just kept climbing. Fetty Wap: The first time it was on the radio everybody hit us up. People were posting like, “Fetty you made it!” At that moment, honestly, I felt like that was supposed to happen. I pushed it so hard that I didn’t know what else to do with the song. I already had a million SoundCloud hits before it was getting radio play. I had about 50,000 views on YouTube before it was getting radio play. It was like, “What the fuck else was I supposed to do?” I did everything. I pushed the song every day. I went everywhere. Everybody knows it. People knew the song, they just didn’t know me. When it started getting radio play, I was like, “Finally. They know it now.” Fetty originally uploaded the “rough version” of “Trap Queen” to SoundCloud in March under his username, FettyWay1738. Over the next few weeks, Fetty’s rough cut would rack up hundreds of thousands of streams, and eventually it was revised into a radio version, complete with the verse Fetty didn’t really want to do. It’d be six months before 300 Entertainment, the imprint founded by Lyor Cohen, Kevin Liles, Roger Gold, and Todd Moscowitz, would get involved. In November 2014, 300 and RGF joined forces and Fetty’s song, and crew, blew up. Monty: The song did numbers, it was crazy. You can tell “Trap Queen” was just something different, a different energy. Everyone from the whole town was running with it. It just kept growing. Brian “Peoples” Garcia: I told him that he should do a verse so that he can put out a remix later on. When I started seeing it catch fire I knew other rappers were going to hop on it. So I felt like we should have a remix already tucked. I think they misunderstood what I said so instead they pushed the version with the verse on it out and used it for the official video. That verse was recorded by somebody else. If you notice, the version on the radio and version in the video sound a little different. Fetty Wap: I actually wanted to leave it as it was. It wasn’t my idea. They [300] kind of beat it into our head that the earlier version wasn’t going to do it, which was a lie. At the end, people still play the regular version because that’s the best version to me. It was cool for me, though. It’s whatever. Brian “Peoples” Garcia: I treat everything like drums. The way he sings his vocals it’s kind of like a melody that would be added to a beat. So I treat that vocal as if they were supposed to be part of the beat. Not as if it were a vocal laid down on top of the beat. As a producer there are certain sounds. Sometimes you feel like a beat is missing something. His voice adds that extra element that’s missing from a beat. That’s why I say that. His voice molds into the beat. Him and the beat are one. I helped him structure the song. I didn’t just work on the beat. That’s why I’m credited as a producer. Tony Fadd: Toward the end of 2014, he sent it to me saying that the song was becoming popular. Fetty’s camp found my contacts and reached out to me. We worked something out and made it official. I liked the song, but I didn’t realize that it was going to be as big as it is. It’s a banger. I remember looking for it on YouTube and it had four million views. I said, “Oh my God.” Fetty Wap performing with Kanye West at the Roc City Classic (Video via Youtube) Fetty Wap: As far as the success of “Trap Queen,” I don’t trip off the fame or anything like that. I try to stay regular. But one day, my manager called me like, “You have to go to New York to do a fashion show.” When I went to get fitted for the fashion show, Kanye West was right there. He didn’t really say much at first. I went home the next day, I got ready for the show, and when I got there, the fashion show was over. I was like, “Damn. I might as well go home.” Then they were like: “Everybody get in the vans!” When I got in the van I saw Big Sean, 2 Chainz, Travi$ Scott. Then when we get there, Kanye comes up to me and tells me “Trap Queen” was one of his favorite songs at the moment. Next thing you know, the song comes on and people started going crazy. Nobody knew me, but everybody knew me. Nitt Da Gritt: We’re really just the type of people that be excited, but we don’t act excited. As Kanye was coming over towards us at the show that he let Fetty perform at, he said what’s up to Wap, Danny Stoop, and when he came to me, he said, “Hey, I know you from the video.” And he shook my hand, laughed, and you know Kanye don’t smile. All I did was talk at the end of the song. Everything just kept going up, and up, and up, and up, and up.
“I DON’T THINK I’LL EVER MEET ANYBODY LIKE MY EX [WHO INSPIRED ‘TRAP QUEEN’] EVER AGAIN. SHE’S DOING GOOD NOW. SHE’S IN SCHOOL.”
—FETTY WAP
Fetty Wap: To me, that was my opportunity to let the world know who I am. Like, that’s my job. Some people say that going to the studio is their job. That’s not my job. That’s where I have fun. I have fun in the studio. When I go onstage and perform in front of these people, that’s my job—to make sure that these people know who I am and they have a good time. I make sure that they get their money’s worth. I didn’t come to just stand onstage and walk around and sing a song and get off. I come there to do a job, and I make sure that my job is completed. When my job was done, everybody talked about it. That was the payment for my work. That was my commission for putting that work in. I don’t get any nervousness from it. That’s just what I do. “Trap Queen” topped the Billboard Hot Rap Songs chart for three consecutive weeks beginning April 4, 2015. (Image via Billboard) Brian “Peoples” Garcia: [“Trap Queen”] went gold, then it went platinum, then it went double platinum. We knew we were going to prove people wrong. Last year, we recorded “Trap Queen” in March, “679” in June, and “My Way” in November. That’s when I knew this lil nigga got some shit. Fetty Wap: I don’t think I’ll ever meet anybody like my ex [who inspired “Trap Queen”] ever again. She’s doing good now. She’s in school. She’s doing what she has to do. With the money that we made—and the money that I’m making now and everything that’s going on for me—it’s only right that I help her. Even though we’re not together, I still make sure that she’s good.
When news dropped that Frank Ocean had bowed out of his Saturday night headlining spot at FYF Fest this past week, fans at least got a major replacement in the form of Kanye West. Not only is Ye in the habit of bringing his music to the next level on stage, he's also constantly full of surprises. Last night was no different as West brought out both Rihanna and Travi$ Scott at separate points during his set. Rihanna emerged from the FYF Fest audience with a microphone in hand for a surprise performance of "Four Five Seconds." Not long after, Scott appeared on stage and ran through"Upper Echelon" and "Antidote." Check out Ye and Rihanna's live performance of "Four Five Seconds" and "All Of The Lights" and other snippets from the show below.
Earlier this week, The New York Times revealed that Vogue had zero face time with Beyoncé, who covers the magazine’s September issue. “It was definitely posed to me as…call it a think piece if you want,” Pulitzer prize-winner Margo Jefferson, who wrote the cover story, told the Times. “I had no contact with her camp.” The message was, as the Times puts it, “Beyoncé is seen but not heard.” That Beyoncé narrative is hardly new. She's known to be private and controlling of her image down to the last detail. As the Times points out, even a major publication like CR Fashion Book, founded by former editor-in-chief of French Vogue Carine Roitfeld, was granted very little access. That cover story was instead a free verse by poet Forrest Gander, who “remixed” written statements from Beyoncé. And as mentioned in the singer's 2013 GQ story, when reporters are given access, there's always a camera that films the interaction, with footage that's later stored in her archive. In an era where Twitter, Facebook, Instagram, and even Snapchat exist, we’re given the impression of access. Celebrities are, technically, able to skip traditional media and share what they please, when they please. And some do. Artists make all sorts of announcements (album releases, tour dates, engagements, etc.) via Twitter or Instagram. We're spoiled. We—myself included—want artists to share their work and their lives. Beyoncé doesn't do that. She shares photos—often with no captions—on Instagram and her website. Not to mention, she's practically ghost on Twitter, with only eight tweets since joining in April 2009 (even Jay has more, with 235). Even her documentary Life Is But a Dream—which she directed and executive produced—felt contrived. Beyoncé has been the gatekeeper to her life, only providing what she wants and in the manner she wants to do it in—a rarity for even the biggest celebrities. It’s easy then, as a fan, to hate the veneer. But, how could you not respect that power? BEYONCÉ HAS BEEN THE GATEKEEPER TO HER LIFE, ONLY PROVIDING WHAT SHE WANTS AND IN THE MANNER SHE WANTS TO DO IT IN—A RARITY FOR EVEN THE BIGGEST CELEBRITIES. For years, the Beyoncé narrative has been the same: She paid her dues, worked harder than anyone in the entertainment industry, and now deserves all she has—the fame, wealth, success, downtime, and complete control. Beyoncé first took complete control over her career when she parted ways with her father and long-time manager Mathew Knowles in 2011. In a candid, private video from Life Is But a Dream, she says of the split: "I’m feeling very empty because of my relationship with my dad. And I’m so fragile at this point, and I feel like my soul has been tarnished. Life is unpredictable, but I feel like I had to move on and not work with my dad. And I don’t care if I don’t sell one record. It’s bigger than the record, it’s bigger than my career." Things changed from there. She began managing herself and, as she said during a private screening for fans and press at New York's School of Visual Arts Theatre in 2013: "I felt like I wanted to follow the footsteps of Madonna and be a powerhouse and have my own empire and show other women when you get to this point in your career you don’t have to go sign with someone else and share your money and your success—you do it yourself." She also granted fewer interviews and, as of somewhere between 2013 and 2014, no face-to-face interactions with journalists. She also took full control of her image, asking (via her publicists) to have all unflattering photos of her from her Super Bowl XLVII performance deleted from the Internet. There’s no story if Beyoncé doesn’t want there to be. She said it herself, in a statement about her documentary: "My story has never been told—no one really knows who I am." Which is to say, the only Beyoncé-approved story you will ever get is going to come from Beyoncé herself. She’s calculated, a carefully curated brand. And like any well-established brand, she knows how to handle the damage control if and when things do not go according to plan. On Jan. 21, 2013, she performed the national anthem at President Barack Obama's inaugural ceremony. At first, her rendition was praised, but then Master Sgt. Kristin DuBois, a spokesperson for the President's Own United States Marine Band, confirmed Beyoncé was lip-synching. After years of a squeaky-clean reputation, she had found herself in a "scandal." But unlike some (or most) celebrities, she didn't entertain open dialog. Instead, 10 days after her inaugural ceremony performance, she surfaced at a Super Bowl press conference in New Orleans on Jan. 31, where she opened by singing “The Star-Spangled Banner”—again. At the end, she smiled and said, “Any questions?” Her impromptu performance reshaped the public narrative, and the story went away. In May 2014, footage of Jay Z and Solange fighting in an elevator at the Met Gala after party leaked. But Beyoncé looked (was?) unfazed. She didn’t move a muscle in the elevator, letting her husband and sister go at it. She only addressed the incident in a joint statement with Jay and Solange. Oh, and in the remix of "Flawless": "Of course sometimes shit go down when it's a billion dollars on an elevator." My head exploded when I heard that. There are artists who overshare: during interviews, on Twitter, at their own performances (read: Kanye West). Beyoncé is not one of them. None of us can explain why she chooses to be this private. Maybe motherhood has made her more protective. Maybe it was the elevator incident. Or maybe she, now more than ever, knows her own power. But one thing is clear: Beyoncé doesn’t need to open dialog if she doesn’t want to. That’s the beauty of Beyoncé. She doesn’t need to be in the news or to make news to stay relevant. She's one of the greatest artists and performers of our time, and as she made clear in her Complex August/September 2011 cover story, her focus is the music. “I just want my legacy to be great music,” she said. Which is why even a surprise album like Beyoncé, which the singer released in December 2013 after having been relatively MIA from the public, sold 828,773 copies worldwide in its first three days of availability, becoming the fastest-selling album in the history of the iTunes Store. That album was also nominated for five awards at the 2015 Grammys (Album of the Year, Best Urban Contemporary Album, Best Surround Sound Album, and Best R&B Song and Best R&B Performance for "Drunk in Love"), winning the latter three. We’re not owed anything but the music. But as fans, we have to decide whether Beyoncé's continued boringness makes us less interested in the art. Does it make you doubt whatever “truth” she presents in her lyrics? Does it make you less likely to buy the overall Beyoncé narrative? Does it make you less likely to cop her next album? You'd be wise to say no, because, chances are, she's likely working on some life-changing shit right now.
