It's always nice to see true lyricists team up. DJ Kay Slay brought the East and West together on "Lyrical Gangstas," which features Kendrick Lamar and Papoose. The song is off of Kay Slay's new mixtape Grown Man Hip Hop.
Be on the lookout for Pap's new album The Nacirema Dreamcoming soon
Video After The Jump
Lil Reese releases the official music video for "Walter Payton." The song is off of his upcoming mixtape, 3Hunna.
Lil Reese (@LilReese300)
Shot By @RioProdBXC
Peep the latest from SODMG boss Soulja Boy. "She Trippin" isn't attached to any particular project, SB just felt like dropping something new for his fans.
Pics After The Jump
Rihanna bumped into a few friends and managed to squeeze in some party time while in Paris yesterday for her 777 Tour. The singer bumped into Diddy while shopping at boutiques including La Perla and Chantal Thomass before her show last night in the capital of France.
After her show Riri hit up the VIP Room for an after party. There she met up with more celebrity friends including Pharrell Williams, Akon and Cassie, who was there with Diddy.
Peep the pics below.
Pic Sources: Daily Mail and Finally Brave
Follow Me
 |
Videos After The Jump
The 25th annual Soul Train Awards will air on Sunday, November 25, at 9 p.m. EST on BET and Centric. The event will be hosted by Cedric The Entertainer.
There will be a tribute to late Soul Train founder Don Cornelius. New Edition will receive the Lifetime Achievement Award.
Performers on the night will include 2 Chainz, Miguel, Fantasia, Stevie Wonder, Keyshia Cole, Elle Varner, John Legend and more.
Check out this year's nominees as well as previews of some of the performances.
Album of the Year:
Song of the Year:
Best R&B/Soul Female Artist:
Best R&B/Soul Male Artist:
Best New Artist:
Best Dance Performance:
2 Chainz "I'm Different"
Elle Varner "Refill"
Stevie Wonder "Signed, Sealed, Delivered"
Soul Train sword swallower
Cedric The Entertainer closing skit
Fantasia Performs Aretha Franklin's "Don't Play That Song For Me"
SOUL TRAIN AWARDS '12: BEHIND THE SHOOT WITH CEDRIC
Spotted at: Rap-Up
Follow Me
|
Styles P will be releasing his new album The World's Most Hardest MC Project on November 20th. Ghost teams up with his D-Block partner Sheek Louch for "Empire State High," which will be featured on the album.
Pre-order from iTunes
Video After The Jump
Rihanna is nearing the end of her whirlwind 777 Tour. The "Diamonds" singer is performing in seven cities in as many days to promote her upcoming album, Unapologetic.
Riri will be in Berlin tonight, followed by concerts in London tomorrow and New York City on Tuesday. She previously played dates in Mexico City, Toronto, Stockholm and Paris.
Below is some great footage of day 1 of the tour in Mexico City. Rihanna greets fans aboard her private Boeing 777 plane and hits the stage later that night.
Follow Me
|
Video And Pics After The Jump
Ultimate Fighting Championship president Dana White confirmed late Saturday he is going to set up a superfight between welterweight George St. Pierre and middleweight Anderson Silva.
And it could happen at Cowboys Stadium in Arlington.
"I'm gonna make the GSP fight... probably around May," White said of his plans for Silva, according to the UFC Twitter account.
The Canadian St. Pierre kept the hope for the superfight alive by unifying the welterweight title in his return to the octagon, unanimously outpointing Carlos Condit in a bloody fight Saturday night at UFC 154 in Montreal.
But White has gave three options for the location of the megafight.
"There's three great venues that you could do, we could go to Toronto - a huge stadium there, (Cowboys) Stadium or you could do a soccer stadium in Brazil," White said earlier this month.
White has said numerous times he would like to host a UFC event at Arlington's 'incredible' Cowboys Stadium, which could break the record for largest UFC crowd of 55,724 for UFC 129 on April 30, 2011 in Toronto.
White said earlier this month the UFC and the Cowboys have been talking for a while, and "believe me they're pumped and ready whenever we can bring an event there they're ready for it."
Cowboys owner Jerry Jones said in September he was a fan of bringing the long-awaited fight to Texas.
"We want to have the big event," Jones said. "That's a goal and a dream of mine to have as a big of a sporting event when we can at Cowboys Stadium. I can assure you that I’m on the incentive plan to get them in there."
St. Pierre returned from a long injury layoff, but looked fresh Saturday night. The judges scored it almost a shutout for St. Pierre at 49-46, 50-45, 50-45.
But should St. Pierre fight one of the scariest guys in his division next instead?
In the co-main event, welterweight Johny Hendricks, who trains in Arlington, knocked out Martin Kampmann in 46 seconds. Hendricks (14-01) threw a right, then nailed Kampmann (20-6) with a left, sending him flying backward. Hendricks hit the Dane one more time on the ground before the referee stepped in.
Johny Hendricks
Hendricks mimed holding the championship belt around his waist as he celebrated this fifth straight win.
"Please, please give me a shot at the belt," Hendricks said, who wants to fight GSP next.
Hendricks, St-Pierre and Carlos Condit each earned $70,000 bonuses for their fights according to mmajunkie.com
St. Pierre (23-2) fought for the first time since April 2011 following reconstructive knee surgery after a training injury. Condit won the interim title during the Canadian's absence, beating Nick Diaz in February.
"People talk about ring rust. I definitely know what it is now," St. Pierre said. "Credit to Carlos, he definitely gave me my toughest fight."
As for Silva, the 37-year-old Brazilian met the media before the card started, declaring his interest in meeting St. Pierre somewhere between their two weight classes. St. Pierre wouldn't commit right away.
Anderson Silva
"I need to take some vacation and think about it," St. Pierre said.
Poll
St-Pierre vs. Condit fight highlights
Dana White speaks on Anderson Silva and George St-Pierre super fight
GSP and Condit Post-Fight Interviews
ESPN post fight coverage
Johny Hendricks Post-Fight Interview
UFC 154: St-Pierre vs Condit Full Post-fight Press Conference
Follow Me
|
Video After The Jump
Katt Williams had another meltdown last night at his show in Oakland, California at the Oracle Arena. The comedian was an hour late according to the Mercury News. After performing for 10 minutes Katt abruptly ended the show.
Fans who paid between $33 to $94 for tickets, plus service fees started demanding refunds.
"I was like, 'That's it?'" said fan Christopher Douglas. "After that, I saw everyone leaving ... throngs of people leaving."
Katt wasn't done though. He came back onstage about 30 minutes later clearly intoxicated and started back into his routine. If you have ever seen Katt perform you know he's usually very animated, but he seemed out of it at one point in footage that was posted on Youtube. Katt sits slumped over on a stool talking random nonsense.
At other times he walks around the stage rhyming and insulting people in the audience.
In another video Katt tries to start a fight with a heckler by daring him to come to the stage.
"Jump the fence p*ssy," he dares the heckler. "Wait for me. Take it to backstage, I'll fight you n*gga straight up. And bring his b*tch too!"
When Katt is finally led from the stage Too Short took the mic and apologized for Katt's behavior.
"On the real though that's my n*gga Katt he's a personal friend of mine," Too Short told the audience. "My n*gga is on something, he's extra loaded. He got too high in Oakland. You ain't gotta forgive my n*gga, but you do gotta understand. Y'all just as much to blame as he is. That n*gga is sky high. We can't cover it up... my n*gga loaded. Talk sh*t about it. Go to Twitter, but we still got love for Katt Williams."
Katt Williams tries to fight heckler. Too Short apologizes to fans.
Katt Williams high, telling lame jokes and disses Kevin Hart
Katt acting a damn fool
Follow Me
|
Video After The Jump
There aren't a lot of events that capture the imagination of the majority of hip hop fans. Outside a select few album releases by a handful of top rappers, it's hard to hold the attention of the average fan these days.
One potential event that did have everyone talking was the potential battle between Cassidy and Meek Mill.
It looked like the event was going to happen for a second until it appeared that Meek changed his mind. Cassidy sat down with VladTV to talk about why he still wants to battle Meek and why he feels it probably won't happen.
Cassidy says he really got interested in the battle after Meek dissed him on Twitter. The Hustla says he also has the financial backing in place for the $100,000 face off.
"I got the sponsors that said they would put up the 100 grand for both of us. A lot of people get it confused like you gotta bring your own 100 grand and bet it. That could have been possible too, but that's not how it was gonna go," Cassidy explained. "Like when two boxers come to box, it's the same thing. So, I got the people to put up the money. Everybody was ready to make it happen. Start booking the stadium for it and all that. But when I accepted he said he didn't wanna battle me. So I left it alone. I never commented on it no more. I never said nothing else, I left it alone. But then a couple of days ago he went back on Twitter because I know everybody coming at him and he hearing it a lot. He made a comment saying I ain't popping enough and I'd have to pay him to battle or something like that. I looked at that like [it was] disrespectful."
Cassidy believes it all boils down to the fact that Meek just doesn't want to face him in a battle.
"I don't think nobody with any sense in this rap game would wanna battle a person like me," Cass said "I didn't get a chance to talk to nobody that's around Meek... him or nobody so I don't know what's on his mind. But he can't be serious with wanting to battle someone like me."
Follow Me
|
Cover Story By Duncan Cooper , Photography by Gabriele Stabile Via Fader
Miguel’s alcohol stash is low. He’s got a glass-worth of whiskey, which he says he prefers, and one bottle of beer. He offers me the whiskey. It’s 8PM on a Saturday in LA, and the plain, two-bedroom apartment he shares with his girlfriend of seven years, an aspiring actress named Nazanin Mandi, droops with the remnants of a recent party. A golden CONGRATULATIONS! banner dangles in a corner, tied up by one end, and deflated balloons wobble idly on the carpet. Taped to the wall, a plastic flag with stick-on letters reads: ADORN NO. 1. It’s a week before the release of Kaleidoscope Dream, Miguel’s second album, and its single, “Adorn,” a top contender for our generation’s “Sexual Healing,” holds the highest slot on Billboard’s R&B chart. He recorded the song last year in this very apartment, in the makeshift studio/second bedroom, where a microphone stand is now the sole piece of audio equipment visible beneath trash bags full of scarves, sweaters and black hats.
Out in the living room, Miguel talks sweetly to his two cats while loading a rough cut of his music video for “The Thrill,” shot in grainy black-and-white at a lavish birthday party he recently threw for Mandi. About a minute into the clip, he leaps forward to point out his dad, a light-skinned man with chubby cheeks and a panama hat, beaming with an arm around his son. Tonight the couple will be attending another party, hosted downtown by the actor/rapper Childish Gambino, and a sharp knock at the door announces two friends, ready to carpool. Mandi emerges from their bedroom in a change of clothes, keeping with the small entourage’s unofficial uniform of black leather jackets. Miguel maxes out his MacBook speakers with a playlist titled “Ratchet Music.” Everyone takes a B12 vitamin. In a last-minute inspection before heading out, he tugs the corners of his cheetah-print shirt and curls his ankle to examine a pair of zippered black shoes. “You guys would tell me if I look crazy, right?
Miguel Jontel Pimentel was born 25 miles south of here, in the fishing port of San Pedro. His father is Mexican and his mother is black, the combination of which has given their son vaguely Asian features, his eyes like thin almonds on a heart-shaped face. Miguel’s parents divorced when he was eight, and he and his younger brother spent the school year living with their mother in San Pedro and summers with their dad in Inglewood, where Miguel first learned how to record his velvety singing voice, and collected the life lessons for his lyrics to match it. “My mother was really, really sheltering,” he says. “Very religious as well. She raised me to be god-fearing, upright. Barely even let us listen to the radio. Then I’d go to my dad’s house and I’m watching mad porn, trying to talk to girls, getting into trouble. It was really double-life shit, but that’s when I started to learn that I had to make decisions. Who I’m going to be, how I’m going to act. My life has always been like that. Are you Mexican or are you black? Are you Christian or are you no religion? I decided I was always going to be different. Because I already was different.”
When he was 14, Miguel landed his first production deal, and at 19 he signed to the independent label Black Ice, a career miscalculation that would derail the release of his debut album by five years. Of Miguel’s ethnic halves, the label placed all their chips on black, positioning him as a cookie-cutter, dancing R&B singer in the mold of Usher. In a low-budget electronic press kit still housed on Black Ice’s YouTube, Miguel looks like a child trying on his dad’s clothes, smothered by a baggy sport coat and an oversized LA Dodgers cap. Performing a cappella, he punctuates every line with a tic: he licks his lips, laughs and whips his head with a sassy, Michael Jackson you-got-TA! His first music video, “Getcha Hands Up!,” features that same ungainly Dodgers hat, and as Miguel pushes to the front of a nightclub to direct partygoers in choreographed toe-spins, he comes off like the lead in an unwitting satire of contemporary R&B. In 2007, he decided to terminate his contract with Black Ice and sign to Jive, but Black Ice sued Miguel and his new major label for nearly a million dollars in expenses, creating, according to Miguel, a “whole f*cking sh*t-storm” that would draw out in court for three years.
The suit was settled in 2010, and All I Want Is You was finally released on Jive. Sales were modest at first—just 11,000 in its opening week—but the album slow-burned its way to moving 400,000 copies. Three of its four singles reached Billboard’s R&B top 10; “Sure Thing” charted for the entirety of 2011, lingering for over 60 weeks at number one, and it ended the year in Billboard’s top 100 best-selling singles of any genre. But the album Miguel hyped as “eclec-tric” in interviews was sporadic to a fault, with no real aesthetic core. He wrote every song on the album but, despite years of technical experience, produced none. At one point, a futuristic song with a plodding synth line bizarrely fades out after only 30 seconds, an awkward bridge presumably inserted to mend the rift between the desperately lonely guitar track that precedes it and the ’90s boom-bap that follows. Whether the album’s confused identity is a case of outsized ambition or simply a conflict over what Jive would tolerate from a new artist, for listeners, All I Want Is Youfeels like a big house with too many rooms, and Miguel its puzzled inhabitant.
“It’s not like I speak like a f*cking hood dude,” Miguel says, discussing the misconceptions that followed his debut over spinach salad and mint lemonade the next night at a small restaurant near his apartment. “My mother is a very eloquent woman, and my father is a teacher. Between the two, they raised me to speak a certain way. So the way I spoke, the way I dressed, all of that was like, ‘Wow, wait a second. This isn’t black… Oh, then he must be gay.’ Now, whether or not I’ve worn things that are questionable—oh my god—I look at pictures of sh*t I’ve worn, and you know what? I don’t really blame anyone. I get it. But I was learning. I was trying to hold on to some sense of individuality in the midst of being convinced that I had to appeal to a certain kind of crowd.” On the cover of All I Want Is You, Miguel’s small head is shaved; he sneers behind oversized, frameless, red-lensed sunglasses and a leather jacket with a triple-high collar, pulled up to his ears. “I was exclusively marketed as an ‘urban artist,’” he says with air quotes, “and I mean that in the most generic way. But I have never been one to live within a stereotype. My lifestyle has always been alternative in comparison to what’s expected from an ethnic male from Los Angeles. With my first album, not only was I being misunderstood, I was misunderstood, and it was distracting people from the music. Now, I want to make sure that everything I do is the best, most rounded projection of who I really am.”
Miguel insists he has no regrets about his first release, but these trials have undoubtedly stoked the flame of his perfectionism. His concerts involve no overt choreography, but Miguel will spend four hours rehearsing in a dance studio, just him singing in front of a mirror, and it’s easy to imagine him trying out more everyday gestures there, too: how to check his watch, how to smile if a stranger calls his name. “I’ve been reading about the Rat Pack and finding out that everything was rehearsed,” he says. “I don’t smoke, but I know how to hold a cigarette.” Unfortunately, there’s a thin line between managing your public face and appearing overly made-up, or worse, seeming to try too hard. He rarely says hello without following up with a compliment—“I’ve never seen your hair down, it’s beautiful;” “I love your bag.” To doormen and valets, he is gracious, snapping into Spanish at any chance, always lingering a few lines longer than is required. He’s quick to laugh. He picks up the phone. He never interrupts.
Miguel drives a white BMW X6 with a new leather smell and a change cup holding euros and a guitar pick. Besides his wardrobe, the SUV seems to be his only costly material investment. Today he is wearing three large rings: a snarling silver wolf head, a silver pyramid and a folded-up hundred dollar bill. He sports a tan vest, tan jeans with a black bandana in the back pocket and an illustrated Sade T-shirt, the first in his collaboration with the designer Deer Dana, for whom he’s selected a trio of female music icons to be drawn and emblazoned onto clothes and accessories. (So far, he’s settled on Sade and Grace Jones.) While driving home after dinner, he fields a business call about an in-production music video. “It’s not wack,” Miguel tells someone on the other line, “but it’s not my vision. All you gotta let me do, bro, is be creative. It doesn’t take rocket science at this point, it’s not hard to do, to let me be creative and make decisions.” He lowers the phone as we pass a police car. “It’s about settling and being short-changed,” he continues. “I don’t want to say it’s okay, I want to love it, I want it to be undeniable. The music is too good not to compete on the visuals. Have you even watched ‘We Found Love’?” After hanging up, Miguel links his phone to the car’s dashboard computer and scrolls through his music—Glasser, Curtis Mayfield, Little Dragon, M83. He lands on a song by the Swedish electronic duo The Knife: “Have you heard the live version of ‘Heartbeats’? It’s sooo much better…I do listen to my own sh*t, though,” he says, scrolling to “The Thrill.” Driving down Melrose, he reclines his seat and begins mouthing the words.
Recording for Miguel’s second album actually began while he was unhappily working on his first. He wrote “Kaleidoscope Dream” as a reaction to the more predictably “urban” songs that he was strong-armed into making for All I Want Is You: “They were like, Can you please do a song like this? And I said, F*ck it, okay, cool. But it took me so long to get it done, because I didn’t really want to do it. So I was like, I’m going to do another joint and just be creative. This isn’t even going to have a hook. It’s not going to have form. There’s no chorus, really,” he says, noting that for an R&B song, the lyrics are unusual. “I taste you in infinite colors/ Collide in a fountain/ Amidst all the lovers/ Kaleidoscope dream,” he sings, quoting the song. “What the f*ck is that about? And why can’t I just do that?” After his debut was released, Miguel prepped a trio of self-financed and largely self-produced EPs to cultivate this more esoteric side, pushing his sound closer toward his perception of himself. He called the EPs the evocative but meaningless Art Dealer Chic. Each would include three songs, totaling nine—essentially a full album of material. With this gradual, bite-sized approach to releasing music, Miguel could build a sustained buzz of his own control, reaching a zenith with the official release of his sophomore album, which would include the best song from each EP.
Kaleidoscope Dream has the good and bad fortune of being released during a high-water mark for more alt-friendly R&B, helmed by artists like the softer Frank Ocean and sleazier The Weeknd, whose music has been championed in places once reserved only for rock criticism. In a world without Ocean’s Channel Orange, it’d be hard to imagine NPR’s website premiering the Kaleidoscope Dream album stream, or Pitchfork bestowing it with a “Best New Music” tag, as both outlets did. (Miguel says he and Frank Ocean, who moved to LA in 2005, were once close, but he would not discuss their relationship on the record.) But unlike Frank Ocean, who, with his debut, Channel Orange, has only once enjoyed the benefit of major label promotion, Kaleidoscope Dreamis Miguel’s sophomore effort. At times, the record feels less like a sequel than a honed-in second draft. For everything Miguel has in common with left-of-center artists, his finest attributes as a musician—a powerful voice laced with a honeyed falsetto, vivid yet economical songwriting, tightly coiled but expansive production—were learned from, and thrive within, the major league commercial system.
As with his first album, Miguel wrote every song on Kaleidoscope Dream, but this time he produced many of them too, making it a rare work of artist-conceived, radio-ready R&B. And while the terrain is familiar—Prince and Marvin Gaye being the album’s most notable touchstones—there is an aesthetic through-line that is Miguel’s own. Chunky bass lines stomp across the album, as synths torque compellingly askew. Guitars are everywhere, with great range, sometimes tenderly coaxing and sometimes anthemic, and Miguel’s voice performs an equally varied scale. He writes about adult love and meaningful sex with yearning, vulnerability and resilience. On “Do You…,” Miguel evokes an entire relationship with three crushingly simple lines: What about matinee movies, pointless secrets/ Midnight summer swims, private beaches/ Rock, paper, scissors. Wait! Best out of three. But the finest parts of Miguel’s sound, and the most compelling aspect of his personality, come together in a soul-baring, insecure blaze on “Use Me,” the album’s rousing third track. The chorus has two parts, the first portraying insecurity in a one-night stand and the second a show of gentle dominance. First, he sings: Use me. Wanna give you control/ With the lights on, if I could just let go/ Forgive me, it’s the very first time/ And I’m nervous. Can I trust you? Then, the response: Trust me, while I take this off/ With the lights on, ’cause it turns me on/ If you’re nervous, just let me show/ You how to touch me. I could teach you. Conventionally told, this would be a gendered story—Drake and Nicki Minajin duet, maybe switching roles for an attempt at subversion—but Miguel uses no pronouns, names no names. He plays both parts. Or maybe the two voices are that of one person in ultimate anxiety, debating, at the most tender moment, which face to show.
Miguel wants nothing more than to endear himself to the public, but this obsession with putting his best foot forward can be its own barrier. On a Monday night in Hollywood, he has just a half-hour until his set time at a GQ magazine release party, held in The Sayers Club, a secretive spot accessible only through an unmarked door in a Papaya King juice bar. He’s 15 minutes away, in a hotel room he booked only to change clothes, reclined and shoeless in bed beneath a large photograph of a woman’s black-pantied backside, watching the singing competition The Voicewith the volume down. Deliberately, he rises to piece together his outfit: a jet black Thierry Mugler blazer, a collarless Alexander Wang dress shirt, vintage Versace sunglasses, leather pants, leather shoes and two silver necklaces with a microphone and a cigarette for charms. Somehow, Miguel’s truancy doesn’t feel like power play; it’s more like he’s deferring for the sole reason that good things take time. But still, he’s very late.
He buttons then unbuttons his jacket, fussing unhappily with the shirt. He peels it off, and in the process, reveals a block-letter tattoo running up his left side reading: ASPIRE TO INSPIRE. He digs out an ironing board from the closet. Someone on The Voice enchants the judges, the singer’s beaming face met with riotous applause. After ironing the shirt, Miguel puts it back on. “I look tired as fuck,” he mutters. He takes it off and irons it again. “I may not wear this fucking belt either.” At last, sufficiently crisp, the shirt goes on, the belt comes off and Miguel heads out through the lobby, where a black Escalade waits. “We gotta grab hairspray,” he tells his handler in the car. The driver knows a place. Forty-five minutes after Miguel is due onstage, we pull into Walgreens on West Sunset. While his handler holds a place in line, Miguel roots out a canister of Bed Head and strolls to the perfume display. He glances over his shoulder, eyes his reflection in a thumb-smudged mirror between shelves of celebrity-endorsed fragrance and begins to spray.
Nowhere does Miguel’s tireless self-cultivation and dogged willpower pay off more than in his live show—that is, once he finally makes it to the stage. He flips his pompadour head-first through Little Richardgyrations, leaps to the left and staggers in a dramatic James Brownsian fashion. His shows are the expression of hard work; what Miguel lacks in natural grace, he makes up for in crowd-rallying shows of effort. When guitars wail, cymbals crash and Miguel’s perfect falsetto rises above it all, it’s surely impressive, but what’s most endearing is the way he works for it. His breathing slows, he quiets the band, he falls to his knees. Then he roars.
Follow Me
|
DJ Kay Slay recruits Fred The Godson, Styles P and Maino for "Salute Me." The track is off of the Drama King's new mixtape Grown Man Hip Hop, which drops tomorrow.
Video After The Jump
Miguel made an appearance on Late Night with Jimmy Fallon yesterday to promote his sophomore album, Kaleidoscope Dream.
The 26-year old singer performed "Do You" off of the project.
Follow Me
|
Video After The Jump
Each day that passes brings more pressure from the GD's (Gangster Disciples) on Rick Ross and his Maybach Music Group.
The Tennessee GD's have become the latest to put out a video banning Ross, Omarion, Wale, Meek Mill and Stalleyfrom their state.
The GD's are demanding payment from Ross before they even think of taking their foots off of his neck.
Peep the latest video below.
Follow Me
|
Video After The Jump
YMCB artist Gudda Gudda is back with a brand new mixtape titled Guddaville 3. Here's a music video for track 16 off of the project.
Produced by Decadez
Directed by: Beto I.
Looks like we might be getting a couple of new Lloyd Banks mixtapes in the near future. We've already heard of plans for Banks' first Gangsta Grillz mixtape with DJ Drama. Could The Cold Corner 3 be on the horizon as well?
Banks dropped hints on Twitter yesterday that the third installment of his Cold Corner mixtape series could be coming soon.
Producer Cardiak, who has frequently collaborated with the Punch Line King seemed to confirm plans for TCC3 on his Twitter account.
What artists would you like to see Banks collaborate with on this project?
Follow Me
|
Video After The Jump
Dom Kennedy brought his "The Yellow Album" tour to the Center Stage Theatre in Atlanta, Georgia last night. Joining the Los Angeles rapper for the show were Nipsey Hussle and Atlanta native Curtis Williams and the rest of his Two-9 crew. The show was presented by 3rd World Hustlers and Kreemo Clothing.
Dom thanked Atlanta via Twitter for showing him a good time.
Peep the footage of the show shot by Cam Kirk and TerminallyMill, as well as Dom's remaining tour dates below.
The Yellow Album Tour Dates
11/23 LOS ANGELES CA @ CLUB NOKIA
11/24 LAS VEGAS NV @ HARD ROCK CAFE
11/25 POMONA CA @ GLASSHOUSE
11/27 SAN DIEGO CA @ HOUSE OF BLUES
11/29 SEATTLE WA @ NEPTUNE
11/30 PORTLAND OR @ WONDER BALLROOM
12/1 SAN FRANCISCO CA @ REGENCY BALLROOM
Follow Me
|
Video After The Jump
Rochester, New York emcee on the rise, Lil Eto, teams up with Jai Black to release an official music video for "Columbus Day."
Be on the lookout for Eto's upcoming The Great Seal project coming soon.
Directed by @TheRealKEYZ
Produced by @SLOPPYSANDERS
Follow Lil Eto @FireArmEbogota
More Pics After The Jump
Lil Scrappy was so happy to see Barack Obama get reelected he decided to celebrate the occasion with permanent ink on his body.
The 28-year old rapper is now sporting a new tattoo on his stomach that features the U.S. President's face on a $100 dollar bill.
Scrappy posted pics of the process taking place earlier this week on his Twitter account. Check them out below.
Follow Me
|
}