Thursday, April 19, 2018
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VladTV

Contributing Writer

Adrien Broner, no stranger to being the center of drama, has found himself some more with the interactions he’s been having recently with Tekashi 6ix9ine.

Things appeared to take off after the Bushwick-born rapper called him a “clown” in a recent Instagram post. The insult prompted the Cincinnati boxer to fire back on his own Instagram, telling Tekashi, “Aye 6ix9ine, don’t be commenting no f*** shit under my pictures, boy. Talkin’ bout clown, n***a. The only thing with a red nose from where I’m from is a pitbull, n***a.” Broner said, “And I get to New York this week, n***a. Mothaf***a done pull up on you, n***a. I ain’t one of these rap n***as you be trollin’ with. Quit playin wit’ me.”

The “Gummo” spitter shot back with an Instagram video in which he took apart stacks of cash and tossed them into the air, eventually working his way up to a sum of $300,000–the amount that 6ix9ine is willing to bet that Broner will lose his upcoming fight to title-holder Mikey Garcia on April 21.

Broner responded Tuesday with an Instagram post showing a check made out for $300,000, matching the bet.

“Just heard @6ix9ine wanna make a small bet for my fight April 21st… well look your check is made bro just have my money when I beat the s**t out Jessie Vargas…. see you soon I’m pulling up to New York right now #AB #AboutBillions#NoCap,” he captioned the pic.

You can check it out up top.

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In 2015, the journal Royal Society Open Science published a witty evolutionary history of pop music, based on the Billboard Hot 100 chart from 1960 to 2010, in which the authors treated elements like timbre, chord, and speech as if they were impressions on a fossil, and genre as if it were a living, evolving organism. “We identified three revolutions: a major one around 1991 and two smaller ones around 1964 and 1983,” the report says. 1964 corresponds to the coalescing of rock and soul, and the peak in 1983 accords with the rise of synth pop and New Wave and the kaleidoscopic fadeout of disco and funk. 1991 signals the dominance of hip-hop and its medium, rap. In an interview with BBC, the head researcher, Matthias Mauch, said, referring to the homogeneity of arena rock in the late eighties, “I think that hip-hop saved the charts.”

We know this, and we knew it in 2015, but the novel lure of the study came from its dispassion, which called attention to hip-hop as a historical institution. As we approach the fiftieth anniversary of hip-hop’s invention—in the South Bronx in the early seventies—the announcement, on Monday, that Kendrick Lamar has been awarded the Pulitzer Prize for music, for his 2017 album, “damn.,” triggered a similar kind of double take. Lamar is the first rapper to win a Pulitzer, and “damn.” is the first hip-hop composition to be honored since the establishment of the music prize, in 1943. In the Times, Joe Coscarelli surveyed the road to the decision, and jurors revealed that that the vote for Lamar was unanimous, and that the deliberations over “the best piece of music” had become a conference on the ethics of gatekeeping. The history of the music prize has been a long march of classical compositions. In this, Lamar’s win refracts that of Wynton Marsalis, who became the first jazz musician to win a Pulitzer, in 1997, for “Blood on the Fields.” Dana Canedy, the board’s administrator, framed the decision as a larger flash point: “It shines a light on hip-hop in a completely different way. This is a big moment for hip-hop music, and a big moment for the Pulitzers.”

I would argue that the award is a bigger event for the Pulitzers than it is for Lamar, or for hip-hop’s morale. “Fate is being kind to me. Fate doesn’t want me to be too famous too young,” Duke Ellington said in 1965, when he was sixty-six, after the Pulitzer Prize Advisory Board denied a recommendation that he receive a special-citation recognition for his contributions to jazz. With Lamar, just thirty years old, likely sitting on future compositions that will outdo the odysseys on “damn.”—and on “To Pimp a Butterfly” and “good kid, m.A.A.d. city,” which came before it—the Pulitzers push a reformation campaign, finding a canny opportunity to stake a place ahead of the curve. (The win bears some relation to Bob Dylan’s Nobel Prize in Literature, in 2016, although in that case the referendum had to do with what constituted literature.) Most glaringly, it sets the stage for the argument that the prize of the intelligentsia, which has been disinterested in the flow of popular music, may have a shrewder grasp on cultural impact than the Grammys, which for its top honor, Album of the Year, has snubbed not only Lamar—this year and in the past—but every other black hip-hop artist other than Lauryn Hill and OutKast. I certainly did not expect the Pulitzers to be what finally proved the Grammys irrelevant. David Hajdu, a critic at The Nation and one of the Pulitzer jurors, told Coscarelli that recognizing “damn.” meant recognizing that rap “has value on its own terms and not just as a resource for use in a field that is more broadly recognized by the institutional establishment as serious or legitimate.” Rap has not primarily depended on the recognition of traditional bodies to flourish and to change. It’ll be fun to hear how Lamar finesses a verse to include the word “Pulitzer.”

Lamar’s historic win figures in the grander, affected consecration of blackness within élite spaces—exemplified, I think, by the “thousand flowers of expectation” blooming in Kehinde Wiley’s portrait of Barack Obama. It was Obama, with his caucuses of rappers in the White House, who accelerated the conclusion that hip-hop had earned a prestige as a great American art. In its long and perplexing lurch toward acclaim, did hip-hop sacrifice its edge? Lamar is a fascinating and brilliant non-answer. He is a complicated artist because he sits at the nexus of forces that seem misaligned: he is an alert political gadfly who will happily curate a soundtrack for the commercial juggernaut “Black Panther”; he is a literary virtuoso who understands the charisma needed to make songs you can play in a club. He is hip-hop, which means that he skirts categorization. The Pulitzers got it right.

  • Doreen St. Félix is a staff writer at The New Yorker.

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Karlton Jahmal

Contributing Writer

Nicki Minaj enjoyed a few months of privacy before making a graceful and entertaining appearance on Zane Lowe’s Beats 1 program this week, sending her fans into an absolute frenzy. During her interview with the famous DJ and radio personality, Minaj opened up about her relationship with Meek Mill, his beef with Drake, how she felt hurt by Cardi B, along with several other topics.

When asked about the beef between her ex-boyfriend Meek Mill and her labelmate and good friend Drake, Minaj stated that keeping quiet was one of the hardest things she’s ever had to do in her career. “At the time, I did love both of them,” reveals Minaj. “I couldn’t erase the love that I have for my team, but I also couldn’t speak out. I couldn’t really say much. I felt so imprisoned in that moment.”

She continued on to reveal a conversation she had with Drake about the beef. “When we later spoke about it, Drake said, ‘I wasn’t worried about anything in that entire situation other than, ‘What if Nicki takes a shot. What if Nicki takes a shot at me, then what? Like, what if Nicki spits bars at me?’ He said throughout the whole beef that was the only thing he was worried about.”

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Kala Jerzy

It is hard to believe that there are men and women out there who can be faithful, but according to rapper Cardi B., they definitely exist.

In an interview with DJ Suss One, Cardi B said, “I have dated men that were extremely faithful to me.” When Suss followed up with, “Were they ugly?”, Cardi said “No. Mad cute, big d**k, all that.

All this has been discussed since Cardi’s recent SNL revelation that she’s pregnant. She is expecting her first child with the Migos rapper Offset. However, there have been rumors suggesting that her fiancee Offset might have cheated on Cardi.

She went on the record, stating, “No, it’s not right for a [n***a] to cheat…But what you want me to do?” she wrote on Twitter following the release of a video allegedly proving that Offset had cheated on her, according to channel961.iheart.com.

Card continued, “Go f**k me another n***a? Start all over again and get cheated on again? This sh** happens to everyone and I be too, you too…People handle they relationship different soo.”

Since the release of Cardi B’s new debut album, Invasion of Privacy last week, her album was streamed more than 100 million times.

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Breanna Chi’anne

Contributing Writer

Drake’s never backed down from beef and this time is no different.

Drizzy publicized DMs between him and Toronto rapper, KG. It seems like the two go way back to before Drake popped. KG took advantage of his connection with the Grammy-winning artist to send him some music. Things eventually took a turn when there was no word on what he thought about the tracks.

KG, then, took to his IG story to show off a diss song he made using the beat for Drake’s “Hype.” The fresh-faced musician went off calling the solo artist “gay” and accusing him of being a “d**k rider.” Of course, the “Free Smoke” artist stuck to his motto and didn’t hesitate to respond to the attack via DMs.

Threats were thrown between the once associates. The Drake questioned KG for being concerned about his lips while calling him a “nerd,” meanwhile KG insinuated that Drake was jealous of how good his skills are.

Any further responses from Champagne Papi whether it be through music or social media is impossible to determine. However, KG made sure to plug that he’ll be debuting the “nastiest Drake diss” very soon called “No More Life.”

See what he did there?

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  • Like Bobby Brown’s favorite pair of hotel gift shop sunglasses, Gabrielle Dennis as Whitney Houston works for us.
But judging from exclusive first-look photos of the Rosewood actress in character as the late pop diva in BET’s The Bobby Brown Story, things won’t be all bright in the two-part TV event, as Brown and Houston’s turbulent marriage takes center stage.

Currently in production in Atlanta, The Bobby Brown Story is a direct sequel to BET’s 2017 miniseries The New Edition Story, which starred Woody McClain as the R&B superstar during his rise to prominence as part of the successful boy band. McClain reprises the role in The Bobby Brown Story, which follows Brown through highs and lows both personal and professional as he settles into new roles as a husband and father.

As evidenced in the photo below, the couple’s only child, the late Bobbi Kristina Brown, will also feature in the narrative. Brown wrote about his time with his daughter and Houston in his 2017 memoir Every Little Step, which was released nearly two years after Bobbi Kristina died. Prior to her death, the 22-year-old spent six months in a coma after she was found unresponsive in a bathtub inside her Georgia home.

Brown and Houston married in 1992 and divorced in 2007 after several years of reported substance abuse stirred controversy throughout their headline-grabbing union. Houston died Feb. 11, 2012, from an accidental drowning in a hotel bathtub. The Los Angeles County Coroner’s autopsy found that “effects of atherosclerotic heart disease and cocaine use” further contributed to her death at age 48.

Dennis and McClain will be joined by fellow cast members Mekhi Phifer, Lil Rel Howery, Lance Gross, Laz Alonso, Sandi McCree, T.K. Carter, and Alyssa Goss in The Bobby Brown Story. Kiel Adrian Scott, a protege of Spike Lee’s at New York University’s graduate film program, is directing from a screenplay by returning New Edition Story writer Abdul Williams. Jesse Collins, who served as executive producer on The New Edition Story, is also on board for The Bobby Brown Story.

The Bobby Brown Story will premiere in September.

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AY-Z shared a track titled “Smile” on his critically-acclaimed album 4:44 where he discussed his mother coming out publicly as a lesbian. He opened up to David Letterman about the moment on his episode of My Next Guest Needs No Introductionand how it impacted him emotionally.

Imagine having lived your life for someone else. And you think you’re protecting your kids. And for my mother to have to live as someone that she wasn’t and hide and like, protect her kids — and didn’t want to embarrass her kids, and you know, for all this time. And for her to sit in front of me and tell me, ‘I think I love someone.’ I mean, I really cried. That’s a real story. I cried because I was so happy for her that she was free.”

Hov went on to disclose that he always knew his mother was gay but that she didn’t formally come out to him until he was recording his thirteenth studio album. He reveres the moment as something special. So much that the next day he went to record “Smile.” In discussing the moment, he said: “She didn’t say, ‘I’m in love,’ she said, ‘I feel like I love someone.’ And I just, I cried. I don’t even believe in crying because you’re happy. I don’t even know what that is. What is that?”

Jay’s interview with Letterman will hit Netflix on Friday, April 6th.

Source: ew.com

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VladTV

Contributing Writer

On Monday (March 19), singer Trey Songz was arrested on a felony domestic violence charge after a woman accused the R&B sensation of punching her at a Los Angeles party. The 33-year-old, who turned himself over to police, was released a few hours later after posting a $50,000 bail. Trey has openly denied the claims by the woman identified as Andrea Buera.

Taking to Twitter following his arrest, the singer tweeted, “For weeks my lawyers & Mgmt have asked me not to comment on this, and I initially agreed, but this morning I feel that my fam, the women that raised me, my friends & fans especially the youth need to hear from me. I am being lied on and falsely accused for someone’s personal gain.”

Before his arrest, Buera addressed the media during a press conference alongside her lawyer Lisa Bloom, claiming that the alleged assault inflicted by Trey Songz left her with a concussion.

However, 50 Cent doesn’t seem to buy Buera’s claims. On Sunday, 50 posted leaked photos of Buera with a caption that read: “This stripper joint Andrea got Lisa bloom talking bout Trey hit her, everybody know he ain’t hit her this a money play smh any thing to get the Bag #thesehoescrazy.”

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