***Usher’s just released new single “Scream” is #1 Most Added at Rhythm & Top 40 Radio this week ***New single “Lemme See” impacts Urban Radio next week***
***Lead single "Climax," is Usher’s 12th #1 single, extending Usher's lead for the most No. 1s on R&B/Hip-Hop Songs during the Nielsen Music era (since December 1992) according to Billboard Magazine.***
LOOKING 4 MYSELF TRACK LISTING
Can’t Stop Won’t Stop Scream Climax I Care For U Show Me Lemme See (feat. Rick Ross) Twisted (feat. Pharrell) Dive What Happened To U Looking 4 Myself (feat. Luke Steele) Numb Lessons For The Lover Sins Of My Father Euphoria
DELUXE EDITION ALSO INCLUDES THE FOLLOWING FOUR TRACKS:
You know the rules: music enjoyment not defined by the radio. This is common ground for all music heads and non-music heads alike. All dancers, great conversationalist, supporters of the arts and all positive people come together to be the foundation of this weekly get together.
808kids & soul.profess present
(((RECESS))) Every Wednesday inside Somar Bar 1727 Telegraph Ave @ 17th, Oakland dj soulprofess playing music that lives through you No cover / No limits / No stress/ All love
Afrolicious With DJs/Hosts Pleasuremaker and Señor Oz& Special Guests
Afro-Tropi-Electro-Dub-Disco-Samba-Funk-House-Bass and more to make your body move!
Check out the brand new mixthat captures the kind of musical journey that Afrolicious takes you on.
For the last three years the Afrolicious party has established itself as a worldwide destination for dancers, djs, bands and music lovers. Afrolicious is a weekly party, a series of mixtapes, and a remix team made up of brothers Pleasuremaker and Señor Oz (who are founders and hosts of the weekly party), Afrolicious offers a broad appreciation of groove oriented music from around the globe, and the people and cultures this music is derived from. Afrolicious began as a weekly party every Thursday night 3 years ago at the Elbo Room in the heart of the Mission district of San Francisco. The infectious mix of tropical and electronic beats, live drummers, live musicians, live remixes and seductive dance floor along with the brothers party rocking dj skills and crowd pleasing antics brings out hundreds of the most diverse party seekers every week.
Afrolicious stands out by including original Pleasuremaker material, live percussionists, dubbed out effects, live remixing of classic funk, disco, Afrobeat, Latin, electronic and polyrhythmic grooves that derive from the funky Afro-diaspora. The relaxed and playful vibe between dj’s, musicians, and the crowd at Afrolicious keeps loyal music lovers coming back week after week. There is a sweet and down to earth joy created at an Afrolicious event born out of the love of quality music, good people and good times; more a legacy than a fad. It is through deep love of the music and bringing folks together that Afrolicious carries on the live/dj/organic/electronic tradition and pushes it forward.
Afrolicious productions have been released on Six Degrees Records (Issa Bagayogo, Brownout), Bagpak Records (Nappy G) and through their own Afrolicious label. Pleasuremaker has put out an EP featuring his own band and has performed on recordings for distinguished producers J-Boogie, Beatfanatic, Janaka Selectah, DJ Smash. Afrolicious has been invited to perform at the Harmony Festival, Lighning in a Bottle, Sea of Dreams, Turntables on the Hudson (NYC), and the Waxpoetics showcase at SXSX in Austin TX. Previous guest artists have included Nickodemus, DJ Smash, Spam All-Stars, Chico Mann, Groupo Fantasma, Orgone, Delhi 2 Dublin, Dunklebunt, J.Boogie, DJ Sabo, Jeremy Sole and many more.
Check out the new record from North Carolina native, J. Cole. The track, “Return of Simba”was released via J. on his twitter Sunday Night. J. Cole is currently untitled debut album, which before, we thought was titled Cole World, with the lead single “Disgusting,” being chosen. However, it seems like he has changed plans, announcing that the name of the album will be announced when the official release date is solidified. We can expect that his debut album will take some time, considering that he doesn’t want any inconsistencies and is waiting for Jay-Z to appear somewhere on the album. Does that mean we have to wait until the fall for J. Cole’s release?
When Chris Brown opens his new album with “Deuces,” a sleek kiss-off that sweeps aside an ex as “nothing but a vulture,” he’s not hiding any bitterness. A few minutes deep into the track with Tyga and Kevin McCall, the most troublesome line of the album unfurls: “Like Tina did Ike in the limo, it finally hit me. I got a new chick and it ain’t you.” The poison dart isn’t delivered by Brown but the underlying message is clear and it’s one that’s been long-trotted out by Breezy’s defenders: Rihanna brought it on herself.
Before the domestic abuse incident in February 2009, Brown was a promising pop star prepped to inherit some of Michael Jackson’s early solo-career shine but with a modern, sexy edge like Ne-Yo. After the highly publicized pictures of Rihanna’s bruised face, Brown became, to many more people, that violent pop star who beat up his girlfriend. Brown attempted a few apologies, awkwardly appearing on “Larry King Live” and claiming to not remember the fight. Meanwhile, his career was presumed dead by many in the industry.
But on the release date of his fourth album, “F.A.M.E.,” Brown is enjoying a slew of hit radio singles. How did he do it? By nearly abandoning Jackson circa “Off the Wall” and instead attempting the outré unapologetic genius of R. Kelly. “F.A.M.E.,” an acronym, rather astoundingly standing for “Forgiving All My Enemies,” isn’t without a mild flick of contrition here and there, but for the most part, Brown is full-steam ahead as a Lothario whose appetites know no bounds.
As a lover and an artist, Brown will wear any mask to get what he wants — sex, street cred or radio redemption. As much as he cycles from a sexually confident tough guy on “Look at Me Now” to simpering romantic on “Should’ve Kissed You,” he also churns through several modes on “F.A.M.E.” Overall, the album leaves not an impression of one singular style but of the great effort required to mix and match so many times. “Beautiful People,” with its powdered-sugar synths and dance floor positivity, is almost a Kylie Minogue song. With a few shifts in production values, “All Back” could have easily found itself in the coffers of Taylor Swift or Carrie Underwood.
All of it is done capably, even superbly in some cases, though “F.A.M.E.” also feels strained and sometimes downright desperate. That said, there’s no denying he pulls off some neat coups. “She Ain’t You” is carried aloft on a gussied up sample from Jackson’s “Human Nature” and the sentiment of the song is refreshingly complex. “Look at Me Now” is ubiquitous for a reason, built around a hypnotic toss between bass thumps, alien effects and rapid flow from Busta Rhymes and Lil Wayne.
The truth is that Brown, like his ex-girlfriend Rihanna, who has used S&M and sexually violent imagery for her own visceral and at times confusing artistic expressions, is a provocateur. And as a provocateur who particularly likes playing with the masks of masculinity — from the angry to the apologetic to the always-conquering — he seems to be seeing his violent encounter with Rihanna as a kind of strange gift, something he’ll no doubt manipulate for years to come, even as the memories of Rihanna’s bruises fade.
Obama's Approval Ratings Up While Sarah Palin's popularity hits an all-time low, President Obama is gaining support in the lead-up to next week's State of the Union. Read original story in Wall Street Journal | Thursday, Jan. 20, 2011
UK Bans Pastor Terry "Burn A Koran" Jones Jones tried to organize a mass burning of the Koran on the most recent anniversary of 9/11. The Brits aren't too keen on him promoting his book, Islam Is of the Devil, in the UK. Read original story in CNN | Thursday, Jan. 20, 2011
NASA Swaps Astronaut After Bike Accident Timothy Kopra will no longer be part of the crew piloting the space shuttle Discovery next month after falling off his bike. In related troubles, NASA has already selected a backup commander of the Endeavour to step into the boots of commander Mark Kelly, husband of Rep. Gabrielle Giffords. Read original story in AP | Thursday, Jan. 20, 2011
Philadelphia Abortion Doc Charged With Murder Dr. Kermit Gosnell, who performed late-term abortions in West Philadelphia for decades, allegedly severed babies' spinal cords with scissors after they were born alive and operated on women in conditions so dangerous that one of them died. Read original story in CBS Philly | Wednesday, Jan. 19, 2011
Giffords Will Leave Hospital Friday Less than two weeks after being shot in the head, the congresswoman will leave Tucson for a Houston rehabilitation hospital. Read original story in Politico | Wednesday, Jan. 19, 2011
Nelly is struggling to comprehend one particular title bestowed upon him in his 10-year career: the underdog.
Despite selling more than 20 million albums in the U.S., having nearly a dozen top 10 singles, being ranked as the third top overall artist of the 2000-2009 decade by Billboard magazine behind Eminem and Usher and snagging a mantle's worth of Grammys, American Music Awards, Video Music Awards and BET Awards, he still feels looked upon as the underdog, and that perplexes him.
“I think it's because you’ve had so much success," he reasons, while noshing on fried shrimp in a private dining room at a West Hollywood hotel. "When you’ve had so much, people are tired of rooting for you to win."
It doesn't take long for the frustration to appear on his face.
"It boggles me. I’m still looked at as the underdog. I mean, how is it, a ... sells 30 million records and be looked at as the underdog? For some reason, I get it," he chuckles as he shakes his head. "It’s a mystery to me. I feel like no matter what I do, it’s going to be something.”
He knows part of that is due to the performance of his last album, 2008's “Brass Knuckles,” which delivered first-week sales that paled in comparison to the storied blockbuster success of his previous albums. That slide resulted in his latest release, “5.0,” being pegged as a "comeback."
The disc, which debuted at No. 10 on the Billboard 200 for the week of Nov. 24 after selling a relatively few 63,000 copies, rides on the strength of his platinum single “Just a Dream.”
The St. Louis native doesn’t mince words on how he feels -- including taking to Twitter recently to blast his label, Universal Motown, for not promoting the album enough and providing retailers with only a certain number of copies.
“It’s hard being compared to yourself. I ain’t never met a person that can beat themselves. For some strange reason, people hold me to myself. It’s just like, ‘Yeah, "Brass Knuckles" didn’t do Nelly numbers,’ but it damn near sold 800,000. If you look at 800,000, today’s top artists are selling that,” he says. “I sold 800,000 on my worst record. Some people wait on you to not succeed the way you did before to call it a failure, a brick, a flop, to call it what you want to call it. There’s nothing I can do with that.” [For the record: A representative for Universal Motown clarified that while the label shipped nearly 800,000 units of "Brass Knuckles," the rapper only sold 230,000 copies.]
Since his debut 10 years ago with “Country Grammar,” the rapper born Cornell Haynes Jr. has cemented his pop crossover status with radio- -- and club- -- friendly hooks propelled by his Midwestern twang and sing-songy flow. He's the first hip-hop artist to debut at nos. 1 and 2 in the same week after putting out "Sweat" and "Suit" on the same day in 2004, and his single "Over and Over" with Tim McGraw made him the first rapper with a hit on the country chart.
No stranger to success, he almost walked away from it all after the death of his sister, Jackie, in 2005 following a battle with leukemia.
“After you lose someone that close to you it makes you reevaluate things. You look at yourself in a different perspective, and music was one thing,” he said. “It made me want to stay home and spend more time with my family, my mom, my kids [he adopted Jackie's two children after she died]. There was so much she wanted to do. Trips she wanted to do, places she wanted to see. I don’t know if I could’ve lived through [what she did] and ever smile again.” CONTINUE READING..
Ever since his performance at this year’s BET Awards, things have been looking up forChris Brown. So now, he’s ready to take a stab at releasing some new material.
The new track, “Yeah 3x” is the first single from Chris’s upcoming fourth studio album, F.A.M.E., which Chris has frequently talked about on his TWITTER. The new track is produced by DJ Frank-E.
Although Chris found chart success with “Deuces,”a track from the Fan of A Fanmixtape with Young Money’s Tyga, his last album, 2009’s Graffiti failed to perform the way he had hoped, producing only two singles. F.A.M.E. is slated to hit stores this fall.
More than any other genre of music, hip-hop is said to be responsible
for the societal issues of the Millennial generation. Rappers’
glorification of life in the street is partly blamed for the high
incarceration rate of young Black men. Misogynistic lyrics are seen as
the culprit for Black women being reduced to bitches and hos in every
day life. And the over-sexualized images of women in videos are
designated as the reason that young women believe their booty has more
value than their brain. It’s all hip-hop’s fault.
But maybe hip-hop is undeserving of its constant criticisms.
Today jazz is revered as one of the greatest genres of all times.
However, just as rock and roll was coined the “devil’s music,” just as
hip-hop is considered not to be music at all, jazz was also originally
detested. It was a well-known fact that musicians of the 1940s and
1950s were heavily involved in drugs. Much of their life was spent
playing music in nightclubs where drug life was rife. Some of the
legendary jazz artists—Billie Holiday, John Coltrane, Charlie
Parker—struggled with known drug addictions. The difference is that, as
influential as jazz was, it was not seen as the cause of everything
wrong with the baby boomer generation.
The musicians our parents idolized did not lead exemplary lives.
James Brown—women abuser. Ray Charles—heroin addict. Marvin
Gaye—notorious womanizer. Etta James—heroin addict. But their music was
respected without the assassination attacks on the art form, or their
character, that many hip-hop artists receive.
As gruesome and vulgar as the lyrics of hip-hop can be—both
necessarily and unnecessarily—hip-hop is poetry. Like every other genre,
hip-hop is a form of artistic expression. The story may be unfamiliar
to some, but it remains nonetheless real.
The influence of hip-hop culture on youth is undeniable. In the same
way that rock and roll was associated with promoting sex and drugs,
hip-hop is correlated with everything wrong with the Millennial
generation. As easily influenced as children are, blaming the actions of
rappers, their lyrics, and the image they portray for what is wrong
with our youth, is a cop-out on addressing the root of some of the
Hip-hop is often blamed when education, public policy, poverty, and
the de-intellectualization of American culture should be held
accountable. Hip-hop is the mirror in which American culture, Black
middle-class American culture especially, detests the reflection that it
sees. Be it in the pursuit of profit or class superiority, the message
that the defamation of hip-hop at the hands of elders sends to youth is
crystal clear. Black youth culture is disposable, and therefore, Black
youth are disposable.
Parents have a far greater responsibility to raise their children
then a rapper who half the time doesn’t even believe in, or live, the
rhymes he spits. Indeed, some of the elements of the music are
problematic. In particular, I take issue with the false image several of
them present to the world. Case in point: Lil Jon, Plies, and others
who all hold higher education degrees, but never rap about the
importance of education. Yet I still cannot fairly attribute the
societal ills that plague Black youth to hip-hop culture . CONTINUE READING...