Jay Z Tells Spotify, Youtube “I’m Not Your Slave and Reunites with The Roc!

This past Saturday (May 16th) Jay-Z held his Tidal exclusive concert in New York City. The concert where he preformed his B-side tracks and B-sides are the songs that were not meant for radio or not promoted as such. Basically for Jay-Z fans he preformed his really good stuff. Songs such as ‘D’evils’, ‘U Don’t Know’, ‘Where I’m From’, ‘Friend of Foe’ and many other classic Jay songs. Hov also kept it classy with a moment of silence for the late and great B.B. King, first playing a portion of ‘The Thrill is Gone’.

The icing on the cake for many was when Memphis Bleek, Beanie Sigel, Young Gunz and Freeway all hit the stage and simultaneously ending any beefs that had previously existed. This was the first time in over a decade since they all got together since the break up of Roc-a-fella records. Dame Dash and Kanye West were not there but it did not take away from the emotional moment for many. The guest list did not end there; Jeezy, Jay Electronica and Just Blaze also came out preformed as well.

While seeing The Roc united was a great moment, it was not the only talked about one. Jay-Z started freestyling and there were some very interesting lyrics. It is probably the closest to a Kanye West rant we may ever get from Jay.

“Don’t ever go with the flow, be the flow
And I don’t need no middle man to talk to my ni**as
I understand if you don’t understand, I figure I’m Jigga
That’s where we differ
I take what’s mine, you accept what they give you, I get you
I don’t take no checks, I take my respect
Pharrell even told me go with the safest bet
Jimmy Iovine offered a safety net
Google dangled ’round a crazy check
I feel like YouTube is the biggest culprit
Them ni**as pay you a tenth of what you supposed to get
You know ni**as die for equal pay right?
You know when I work I ain’t your slave right?
You know I ain’t shucking and jiving and high-fiving, and you know this ain’t back in the days right?
Well I can’t tell, how the way they killed Freddie Gray right?
Shot down Mike Brown how they did Tray right?
Let them continue choking ni**as,
We gon’ turn style, I ain’t your token ni**a
You know I came in this game independent, right?
Tidal, my own lane, same difference
Oh ni**as is skeptical about they own shit
You bought nine iPhones and Steve Jobs is rich
Phil Knight worth trillions you still bought those kicks
Spotify is nine billion and they ain’t say s–t!
‘Lucy you got some ‘splaining to do’
The only one they hating on look the same as you…
That’s cool, I know they trying to bamboozle you
Spending millions on media trying to confuse you
I had to talk to myself, ‘Hov you used to it’
It’s politics as usual”

Naturally he transitioned into his song ‘Politics as Usual’, but the tale of Tidal’s demise may be greatly over exaggerated if you let Jay-Z tell it. With reports that the new music streaming service Tidal is not doing very well, this freestyle may open eyes and challenge the consumer to ask themselves bigger questions.

There does seem to be a double standard on those saying that Jay is just trying to make more money, but Nike and Apple are worth x times the amount more but continue to bring in money from the black community. YouTube is also known to be shady with how much a person really should be making off monetizing their views with their ad placements.

At the same time, Jay-Z and the other artist that co-own Tidal may also have greatly exaggerated how much music is worth in today’s market. When there is a free option to stream the same content, the sound has to be drastically better. While Tidal has the Hi-fi subscription option it is at $19.99 and the basic membership is $9.99 to hear the same quality as free Spotify or Pandora.

Overall, the B-side concert was one that many are going to remember and for that one night at least, we saw Jay take off the business hat as he brought old friends and preformed the songs that made him a rap legend. If this can give Tidal the extra momentum it needs is what remains to be seen. Who knows, there might be a Beyonce B-side concert in Houston coming where she brings out Destiny’s Child…with LeToya Luckett and Latvia 

Killer Mike Says Bill ‘O Reilly Is ‘Full of Sh*t’ and ‘Stupid to Link Violence and Hip-Hop’

Never one to shy away from controversy, Killer Mike was on HBO’s Real Time with Bill Maher. The political show delved into Bill O’ Reilly’s absurd claim that the decline of Christianity is due to hip hop. In response Mike said:

I like Bill O’Reilly the character but I hate how white people take him so seriously,” Killer Mike said to Maher. “He’s more full of shit than an outhouse. I’m gonna go in a black club and see Bill O’Reilly with a stripper on his lap, I guarantee you that. He’s as fictional as those books he writes.”

In a comedic moment Killer Mike pokes some holes in Bill O’ Reilly’s statement by saying how black women are some of the most devoted people to Jesus. Even going to compare Jesus to Tupac Shakur.

“He was arguably a black guy, or at least dark,” he said. “Hung with a posse of homies, one of them was strapped with a knife. Went to war with the government, lost, like a lot of black guys do. And everybody loved him more after he died, like Tupac.”

In the show’s overtime segment, Killer Mike explains how Hip-Hop began as an alternative for violence. Also admitting it has gone off the rails a bit, but breaks how stupid it is to link the two.

“All these kids that were kind of the fallout kids of the Black Nationalist movement, Civil Rights, poor white people’s movement, Puerto Rican Nationalism movement – they had street gangs in New York, in the Bronx, that were just essentially burned out. At some point in the very late ’60s, early ’70s, these kids were like ‘We’re going to come up with our own peace treaty.’ They came up with their own peace treaty, decided that, ‘We aren’t going to engage in violence.’”

Thankfully, he also reminded that rap music is not hip-hop but only a pillar to what the culture really is. In another part of information rarely put in perspective is how hip-hop artists stimulate the economies in the areas they come from that never would have been otherwise.

“At our core, hip-hop, every time you see a successful rapper, you’re seeing a job creator in the community. Jay Z has provided hundreds of jobs and created dozens of millionaires and it’s changed the economy in places it wouldn’t have. OutKast in Atlanta, personally changed the economy in the last twenty years.”

Of all the violent acts that are committed in this world and the reasoning behind them, hip-hop is one of the last things pundits like Bill O’ Reilly need to worry about. Of course he will likely spin this on his show sometime this week. As long as rappers like Killer Mike are around to articulate those that do not understand then hip-hop will be in a good place.

But in other news today, a shocking report was released by Gawker.com which reported that Fox’s big mouth also was accused of brutally beating his former wife back in 2010. According the reporter, Bill O’ Reilly dragged then wife MaureenMcPhilmy down a flight of steps by her neck and his young daughter was a witness to it. Good thing he is not trying to blame that too on hip hop.

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Album-review-snoop-dogg-bush

Snoop Dogg, Snoop Lion, Snoop Doggy Dogg or simply Calvin Broadus has sustained a longevity that is amazing in hip hop. The man knows how to reinvent the wheel but he always has a certain style that just works. For Snoop it tends to be funk music and working with Pharrell Williams. The two have mega hits together, who does not remember ‘Drop It Like It’s Hot’? The idea that this album Bush was entirely produced by Pharrell got fans excited for what they would hear. The results are somewhat mixed.

Being Snoop’s 13th album, an accomplishment in itself, is heavily influenced by funk sounds and some 70s style R&B. Those are the type of songs Snoop is tailored made for and the production is amazing, so what is missing from this project? Well it seems to be the lack of actual rhyming. Snoop Dogg spends the entire album singing really. While he does not have an unbearable singing voice like Eminem does, having the album being Snoop Dogg and the Funkettes just misses the mark of what it could have been. The lack of collaborations with rappers makes this clear since the guest appearances are the only time you get hear any rapping. T.I., Kendrick Lamar and Rick Ross appear on Bush as well as Stevie Wonder, Gwen Stefani, and Charlie Wilson. The way Snoop balanced out his guests with rappers and singers is the same way this album should have been approached with himself.

This is not to say that Bush is bad but just underwhelming. There are of course standout tracks; ‘I’m Ya Dogg’, ‘This City’ and the single ‘Peaches and Cream’ are easily enjoyable. What hurts the album is also what arguably makes it work, the cohesiveness. It is so cohesive with Pharrell being the executive producer that it all begins to sound the same. With only ten tracks total they all blend together making it hard to really like one more than the other. Bush’scritical error is believing there is no such thing as too much of a good thing. This CD is going to have its fans, especially anyone who is a product of the 70’s the way Snoop and Pharrell are.

In a way its the perfect Snoop Dogg album for the point he is in his career. Snoop does create a very feel good vibe that could sit down and enjoy, especially if you partake in the same recreational activities as Snoop. It is going to be great for cookouts and pool parties, but once the summer is over, Bush’s may not get much time in rotation.

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Quiet is not a word usually associated with Meek Mill. Since his release from jail back in December of last year he has been relatively that. Possibly focusing much attention with his main chick Nicki Minaj, which is damn good way to occupy time, but Meek is back spitting some fire over Drake’s ‘Energy’.

With the signature Funk Flex intro and bombs, Meek Mill brings plenty of energy as he airs out haters with his hard bars and unmistakable flow. His sophomore album Dreams Worth More Than Money, said to be near completion, should be impressive if this is any indicator.

He’s Reaching or Naw? Bill O’Reilly Blames Hip-Hop for Decline in U.S. Christianity

Fox News Host Bill O’Reilly is officially blaming Hip Hop for the decline of religion in youths in the United States. According to Pew Research, there has been a decreased number of Christians since 2007 but there is no statistical connection of rap music being the cause like Bill O’Reilly is stating.

“The rap industry, for example, often glorifies depraved behavior. That sinks into the minds of some young people – the group that is most likely to reject religion,” O’Reilly said.

He claims that the country is changing for the worse because of the lifestyle that today’s youth have embraced is more violent like the strong move to legalize marijuana, and poor leadership in the music industry.

“The country is changing for the worse. That’s why the upcoming election is probably the most important presidential vote of our lifetime.” he says.

O’Reilly believes that hip hop’s influence on pop culture is the reason for atheism, when there is no evidence to support his argument.

O’ Reilly still believes that “Gangster Rap” is the most popular sub-genre in hip hop; this is not the 90’s, today we see artist release albums like “To Pimp A Butterfly” by Kendrick Lamar.

GS BOYS coming back again with another hit single so stay tune

GSB/GSBOYZ R&B, Hip-Hop influences, in Dallas Texas and raised in Arlington, Texas, GSB burst onto the music scene in 2008. They had everyone from grade school to grandparents doing the “Stanky Legg.” Their YouTube sensation turned Billboard and BET mega hit, put these three teens from Dallas on the map in a big way! DK along with Slizz, and Marc D danced their way across the Dirty South to LA to New York City to make a wave of popularity generated by the hit single. But long before “Stanky Legg” and their follow up hit single “Booty Dew” began climbing the hip hop charts, GS BOYZ 2007 had local hit songs. 

GSB love for music began to take root over the years.This dedication and commitment to there passion for music led to word getting out around they're school. So they were eager to put there skills to work, and soon the band began performing at teen clubs and parties around the Dallas/Fort Worth area. GSB local hits included “Twisted”, “He Don‟t Deserve You”, “First Time”, and their first club hit, “Hit the G-Spot”, which spawned the group‟s name Them G-Spot Boyz, which was later changed to the GS Boyz and Now They go by GSB/ GSBOYZ. With the enormous popularity of dance tunes, like Soldier Boy‟s “Crank that,” the group of three set about creating their own signature move, and like that, “Stanky Legg” was born.

Street buzz on the song led to some of Dallas' top radio personalities taking an interest in the band, and they began playing the song in heavy rotation on K104 and 97.9 The Beat. The GSB did their first music video for “Stanky Legg” and posted it to YouTube in the summer of 2008 and within two months, the song had over a million plays. Music luminaries from Drake to Snoop Dog were immediately interested in learning how to “Do The Stanky Legg.” 

With the help of K104 renowned DJ Ay Bay Bay, the band was introduced to hip-hop icon Yung Joc, who signed the band to his entertainment label Swagg Team. This led to a recording contract with Jive and they became the first artists signed to Jive subsidiary Battery Records. The whirlwind had officially begun! The single reached the Number 1 spot of BET's 106 & Park Countdown and held the top spot for five weeks! They were also invited to perform at the annual Rip the Runway event along with T.I., Keri Hilson, Bobby Valentino and other top hip-hop and R&B artists. They reached the pinnacle of their success as entertainers when they received a nomination for Best Group at the 2009 BET Awards. 

As of  2014, the three have been working on they're solo projects. No mater what, they have always kept in-contact with one another after the break up. After seeing Yung Joc on Love and Hip Hop, they felt like they're story needed to be told. So they decided to join back together as a group, and show the world what really happened through they're passion for music. Now they are back strong as ever. 

In addition to exclusively writing and talent, this young force in the industry is actively involved with the GSB upcoming project. The group currently consists of “Decory Kenner” aka DK, “Keithian Cherry” aka SLIZZ, and  “Marcus Dinkins” aka Marc D. The three continue to create and perform together as they carry on as GSB/ GSBOYZ. 

For GSB/GSBOYZ, music is there destiny and whatever path it leads them down is the one there heart and soul must follow.

R.I.P. to the KING of Blues, Mr. B. B. King

King, known for his hits Lucille, Sweet Black Angel and Rock Me Baby, died in his sleep in Las Vegas.

Born in Mississippi, King began performing in the 1940s, going on to influence a generation of musicians, and working with Eric Clapton and U2.

Once ranked as the third greatest guitarist of all time, he had been suffering ill health in recent months.
He was recently taken to hospital with a diabetes-related illness.

A former farmhand, King was awarded his 15th Grammy award in 2009 for his album One Kind Favor.

He was also inducted into both the Blues Foundation Hall of Fame and the Rock and Roll Hall of Fame.

Rolling Stone magazine placed him behind only Jimi Hendrix and Duane Allman in its list of the 100 greatest guitarists of all time.

Until recently, King performed in at least 100 concerts a year.
'Heartfelt vocals'

He fused together both jazz and blues on his beloved guitar, a Gibson ES-344 he lovingly dubbed "Lucille".
In the early part of his career, he played to exclusively black audiences, but his heartfelt vocals and undeniable talent saw him embraced by a much broader fanbase as time went on - touring Europe and topping the charts.

Younger musicians such as Clapton and Steve Miller, who admired his work, introduced him to a new generation of fans in the late '60s with hits like The Thrill is Gone.
Albums such as Live at County Cook Jail and BB King in London followed.

His career was reignited in the late 1980s when he duetted with U2 on When Love Comes To Town.
At the turn of the millennium, aged 75, he once again achieved major commercial success with the Eric Clapton collaboration Riding With the King.

"King's is now the name most synonymous with the blues, much as Louis Armstrong's once was with jazz," critic Francis Davis wrote in his 1995 book The History of the Blues. "You don't have to be a blues fan to have heard of King."