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18 Jan 2024

Dame Dash Says Kanye West Dresses Like A “Crackhead” To Troll

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Photo of REF Damon Dash/Stuart Mostyn

Source: Stuart Mostyn / Getty

Dame Dash might have just cracked the code on Kanye West’s unique fashion sense, He says Yeezy is on a troll assignment.

HipHopDX is reporting that the serial entrepreneur was the latest guest on Willie D’s podcast. The Harlem, New York native discussed a variety of topics ranging from Lyor Cohen to his newest business ventures. When asked about his former recording artist he reasoned that Kanye’s behavior in recent years should not be a surprise to anyone who is familiar with the MC’s history.

“He’s a person that pulls triggers,” Dame Dash explained. “Look at his career. [He said] ‘George Bush doesn’t like Black people,’ ran up on Taylor Swift. It’s one publicity stunt after another. That’s his model is triggering you. Just like Trump – every time Trump says something racist and we hate it, somebody loves it. He’s not talking for us. He’s talking for the ones that love it, Trump. So it’s the same thing.”

Dame went on further urge every one not to blink when it comes to Kanye’s at times bizarre modus operandi. “That’s why I don’t pay him no mind. He’s a troll. He got everybody dressing like a crackhead, bro. He’s doing this sh*t on purpose” he said. “I know what you’re doing, you’re trolling. He walk around barefoot, he’s trolling. ‘Watch this I can get dudes to wear tights and barefoot!’ I’m not saying we had that convo. When I see it I’m like, ‘Yo, he bugging,’ but I know he’s playing. You know? He wants you to get at him. Why would he do the things he does if he doesn’t want the reaction?”

You can watch the Dame Dash Willie D Live interview below.



18 Jan 2024

‘Pitchfork’ To Be Merged Into ‘GQ’ Magazine, Layoffs Initiated

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Pitchfork logo

Source: Pitchfork / Pitchforl

The vaunted music publication Pitchfork will be merged into GQ, and the shocking announcement came with a wave of layoffs.

On Wednesday (Jan. 17), an internal memo from Anna Wintour, the chief content officer of Condé Nast, announced that Pitchfork would be merged with the men’s magazine GQ. “Today we are evolving our Pitchfork team structure by bringing the team into the GQ organization. This decision was made after a careful evaluation of Pitchfork’s performance and what we believe is the best path forward for the brand so that our coverage of music can continue to thrive within the company,” the memo began.

“Both Pitchfork and GQ have unique and valuable ways that they approach music journalism, and we are excited for the new possibilities together,” the memo by Wintour continued before adding that there would be layoffs. “Some of our Pitchfork colleagues will be leaving the company today,” she said.

Wintour would go on to thank Puja Patel, the editor-in-chief of Pitchfork who would wind up being one of those employees laid off. “For her leadership of the title over the last five years. She has been a wonderful colleague and advocate for the brand, and I’m grateful for her and the team’s many contributions.”

Under Patel’s stewardship, the publication moved from being a masthead that handed out minute praise to artists since its inception in 1996 to becoming more diverse in its base of contributing writers. It was also attached to music festivals in Mexico City and London. In that time, it has faced heavy criticism for its past music reviews, prompting it to “do-over” certain reviews.

Condé Nast announced in November 2023 that it would be laying off 5% of its present workforce, amounting to 270 employees. The publishing brand acquired Pitchfork in 2015. Many music journalists mourned the news along with those at Pitchfork who were laid off, including features editor Jill Mapes. “After nearly 8 yrs, mass layoffs got me. glad we could spend that time trying to make it a less dude-ish place just for GQ to end up at the helm,” Maples wrote on X.

18 Jan 2024

MSCHF Drops Fabuloso & WD-40 Scented Colognes

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mschf fabulos wd-40

Source: @mschf / Instagram

Latino households know that Fabuloso (not to be confused with Fabolous) is a requirement when keeping your house smelling so fresh and so clean. Now you too can smell like a clean home thanks to the good people over at MSCHF.

According to Hypebeast, MSCHF is dropping some new cologne that is inspired by the popular home cleaning product alongside another cologne inspired by WD-40 for the more manliest of men. Still, we’re sure that most heads out there would rather smell like a freshly mopped casa than a greasy auto shop when stepping out in hopes of landing a cutie in the club. Sure, she might think you’re a janitor or something, but at least you’ll smell clean… literally.

Per Hypebeast:

Packaged in a long, thin purple-and-gold tube with a clever logo flip that nods to the Fabuloso logo and bottle, the cologne’s debut arrives alongside the restock of another “popular” MSCHF scent, one inspired by WD-40. That scent follows the same bottle-inspired design and logo-flip embellishment as its compatriot, and both are packaged in one-ounce tubes.

The two-pack of cologne is MCSHF’s first drop of the year, following the release of both “Super Baby” sneakers and a collaborative iteration of the Gobstomper sneaker made with tool company Dremel in November 2023. Both releases followed shortly after the collective opened a retrospective museum exhibit titled NOTHING IS SACRED in Korea.

Both scents are on sale now on MSCHF.com for a cool $48. Will you be copping either of these joints? Let us know in the comments section below.

18 Jan 2024

Sony Renames Music Building After John Williams as Hollywood Legends Turn Out to Pay Tribute

On Thursday afternoon, the history-filled Sony lot in Culver City — which was the MGM lot during Hollywood’s Golden Age, home to “more stars than there are in heaven” — welcomed film composer John Williams, after whom the studio’s musical building was being renamed.

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Williams, 91, who is best known for the scores of Star Wars and 29 Steven Spielberg films — 20 of which were scored in the structure that will henceforth be known as the John Williams Music Building — was on hand, as were many of his collaborators (Spielberg, J.J. Abrams and Spielberg’s producers Frank Marshall and Kristie Macosko Krieger) and colleagues (including fellow film composer Thomas Newman).

Sony Pictures Entertainment chairman and CEO Tony Vinciquerra kicked off the festivities by noting how much “magic was made right here in this building.” Sony Pictures Entertainment Motion Picture Group chairman and CEO Tom Rothman then argued that the greatest of all time in many fields is debatable, citing the examples of Michael Jordan vs. LeBron James, Jack Nicklaus vs. Tiger Woods, Claude Monet vs. Vincent van Gogh and Stanley Kubrick vs. Spielberg — but that when it comes to film scoring, “There is no argument: John Williams is the GOAT,” adding, “I’m very sure that 100 years from now the name that will go on this building today will still be the name of the greatest of all time.”

Abrams spoke next, addressing Williams, “Johnny, you’ve filled our lives with some of the greatest art ever produced by mankind,” and the other attendees: “How lucky are we to be alive at the same time as John Williams?”

Then it was Spielberg’s turn. “Johnny, I have grown up with you,” the filmmaker said, recalling how struck he had been listening to the album of Williams’ score for the 1969 film The Reivers, vowing, “If I ever got the chance to make a movie, I would want the guy who wrote this.” The two met ahead of Spielberg’s feature directorial debut, 1974’s The Sugarland Express, and have rarely worked apart since.

“It was the beginning of a beautiful friendship,” Spielberg said, before turning to Williams: “What you did for me was something I had never been able to imagine any single creative collaborator would ever be able to do for me or the stories I was telling, and that is when I thought I’d gotten to know a film really well, by the time I turned my films over to you, I knew what my movies were, I knew what they meant to me. Then you would musically do the final draft of my films, the final rewrite, and you would bring every movie I’ve ever made to a level that I didn’t recognize it as me, I recognized it as us. The films suddenly became informed by wherever you get your inspiration… Without you, the films are running around with no clothes on; with you, they’re completely finished. I’ve often said that if my movies can bring a tear to your eye, your music makes that tear fall down the face. And it’s happened on film after film after film. This alley is where all my stress dissipates, when I finally get to this stage of a production and I know that I am in your capable hands.”

Spielberg then invited the prior speakers and Williams to the stage, took a conductor’s baton and motioned towards a sheet-covered portion of the building, and upon his cue the sheet lifted and the new name of the building was visible.

Williams then stepped up to the podium and cracked, “This is the alley where Steven destresses. This is the alley is where I stress!” He then shared that his history at the building that now bears his name dates back long before his professional career: “The first time I came to this studio was 1940 when my father brought me here to show me the stage. I was about 9 or 10 years old, and I thought [he joked], ‘Someday this will all be mine!’ It’s finally come to be — it’s only taken me 92 years to get here! [His 92nd birthday is on Feb. 8.]” He added with a chuckle, “This place, I have reverence for it. I love it. Is it perfect? No. Tom, we could use a couple more bathrooms for the orchestra.”

Williams closed by asserting, “My hope and even prayer for this hall and for future people coming into it is a hope and it’s also a challenge: that they should do as well the next 100 years as the people who have been here for the last 100 years. They need to get to work and make some good music. And that is a challenge because they are standing on very big shoulders.”

As guests posed for photographs and headed over to a buffet lunch, Rothman escorted a fellow journalist and I into the John Williams Music Building, where another great composer, Oscar winner Dario Marianelli, was scoring, with a full orchestra, the upcoming Ghostbusters: Frozen Empire, as director Gil Kenan looked on. Rothman notified them, during their session, that the name of their building had changed.

This article was originally published by The Hollywood Reporter.

18 Jan 2024

Judge Quotes ‘Les Misérables’ Lyrics While Blocking JetBlue & Spirit Airlines Merger

A U.S. District Court judge blocked JetBlue’s proposed $3.8 billion acquisition of Spirit Airlines this week, and got a little musical in the process.

At one point in his 109-page ruling, Judge William G. Young of the U.S. District Court for the District of Massachusetts quoted lyrics of “Master of the House” from Les Misérables to attack junk fees on airlines: “Reasonable charges / Plus some little extras on the side! / Charge ’em for the lice, extra for the mice / Two percent for looking in the mirror twice / Here a little slice, there a little cut / Three percent for sleeping with the window shut / When it comes to fixing prices / There are a lot of tricks I knows / How it all increases, all them bits and pieces / Jesus! It’s amazing how it grows!”

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Young ultimately sided with the Justice Department in deciding that the merger would reduce competition in the airline business. If it had gone through, a merger between JetBlue and Spirit Airlines would have created the United States’ fifth-largest airline following American Airlines, Delta Air Lines, Southwest Airlines and United Airlines — who control about two-thirds of the market, per the New York Times.

The Justice Department argued that smaller, lower priced airlines like Spirit help reduce fares for customers. The Department also added that allowing JetBlue to purchase the company would harm consumers as JetBlue typically offers higher prices for their flights. Judge Young agreed, ruling that the merger would “likely incentivize JetBlue further to abandon its roots as a maverick, low-cost carrier.”

18 Jan 2024

Tekashi 6ix9ine Arrested on Domestic Violence Charges

Authorities in the Dominican Republic have arrested U.S. rapper Tekashi 6ix9ine, who is scheduled to appear in court on Thursday on charges of domestic violence.

The rapper, whose real name is Daniel Hernández, is being held at a jail in the capital of Santo Domingo, where he was arrested Wednesday, officials said.

No further details were immediately available, and it wasn’t immediately clear if Hernández has an attorney.

A judge on Thursday is expected to decide whether the rapper will remain behind bars or be freed on bond as the investigation continues.

The arrest is Hernández’s latest brush with the law.

He was arrested at a seaside hotel in the Dominican Republic in October after being accused of assaulting a local music producer. Hernández and his partner, a Dominican rapper known as Yailín la Más Viral, had been recording at the producer’s studio.

Hernández was also previously accused in the U.S. of using a violent gang as a “personal hit squad,” but he avoided prison after providing testimony against the Nine Trey Gangsta Bloods, which operate in the U.S. East Coast.

In March 2023, he was assaulted by several people at a gym in Florida.

Tekashi 6ix9ine had a multiplatinum hit song, “Fefe,” with Nicki Minaj in 2018. It peaked at No. 3 on the pop charts.

18 Jan 2024

Here Are the Lyrics to Billie Eilish’s ‘What Was I Made For?’

Billie Eilish added another level of introspection to the Barbie movie with “What Was I Made For?.”

“What Was I Made For?” won best original song at the 81st annual Golden Globe Awards, and is nominated for record of the year, song of the year, best pop solo performance, best song written for visual media and best music video at the upcoming (Feb. 4) Grammy Awards.

If you need a guide to follow along with Billie Eilish’s “What Was I Made For?,” find the lyrics below:

I used to float, now I just fall down
I used to know but I’m not sure now
What I was made for
What was I made for?

Takin’ a drive, I was an ideal
Looked so alive, turns out I’m not real
Just something you paid for
What was I made for?

‘Cause I, I
I don’t know how to feel
But I wanna try
I don’t know how to feel
But someday, I might
Someday, I might

When did it end? All the enjoyment
I’m sad again, don’t tell my boyfriend
It’s not what he’s made for
What was I made for?

‘Cause I, ’cause I
I don’t know how to feel
But I wanna try
I don’t know how to feel
But someday I might
Someday I might

Think I forgot how to be happy
Something I’m not, but something I can be
Something I wait for
Something I’m made for
Something I’m made for

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group, Kobalt Music Publishing Ltd.

Written by: Billie Eilish O’Connell, Finneas Baird O’Connell

18 Jan 2024

Here Are the Lyrics to Noah Kahan’s ‘Stick Season’

Noah Kahan welcomed fans to the world of Stick Season with his breakout album’s title track, which climbed 18-14 on the Billboard Hot 100 dated Jan. 20, 2024, resulting in a new peak for the set’s lead single, which was originally released back in August 2022.

The singer-songwriter notched his first Grammy nomination this year, as he’s up for best new artist at the 2024 ceremony.

If you need a guide to follow along with Noah Kahan’s “Stick Season,” find the lyrics below:

As you promised me that I was more than all the miles combined
You must have had yourself a change of heart, like halfway through the drive
Because your voice trailed off exactly as you passed my exit sign
Kept on driving straight and left our future to the right
Now I am stuck between my anger and the blame that I can’t face
Memories are somethin’ even smoking weed does not replace
And I am terrified of weather ’cause I see you when it rains
Doc told me to travel, but there’s COVID on the planes

And I love Vermont, but it’s the season of the sticks
And I saw your mom, she forgot that I existed
And it’s half my fault but I just like to play the victim
I’ll drink alcohol ’til my friends come home for Christmas
And I’ll dream each night of some version of you
That I might not have but I did not lose
Now you’re tire tracks and one pair of shoes
And I’m split in half, but that’ll have to do

So I thought that if I piled something good on all my bad
That I could cancel out the darkness I inherited from dad
No, I am no longer funny ’cause I miss the way you laugh
You once called me forever, now you still can’t call me back

And I love Vermont, but it’s the season of the sticks
And I saw your mom, she forgot that I existed
And it’s half my fault but I just like to play the victim
I’ll drink alcohol ’til my friends come home for Christmas
And I’ll dream each night of some version of you
That I might not have but I did not lose
Now you’re tire tracks and one pair of shoes
And I’m split in half, but that’ll have to do

Oh, that’ll have to do
My other half was you
I hope this pain’s just passin’ through
But I doubt it

And I love Vermont, but it’s the season of the sticks
And I saw your mom, she forgot that I existed
And it’s half my fault but I just like to play the victim
I’ll drink alcohol ’til my friends come home for Christmas
And I’ll dream each night of some version of you
That I might not have but I did not lose
Now you’re tire tracks and one pair of shoes
And I’m split in half, but that’ll have to do
Have to do

Lyrics licensed & provided by LyricFind

Lyrics © Sony/ATV Music Publishing LLC

Written by: Noah Kahan

18 Jan 2024

The Hipgnosis Songs Fund Board Has a Plan to Attract Bidders & Satisfy Shareholders

Hipgnosis Song Fund’s board of directors wants a workaround to the call option that gives the investment advisor, the Merck Mercuriadis-led Hipgnosis Song Management, the ability to purchase the company’s music catalogs if its contract is ended.

After consulting with shareholders who own more than 60% of outstanding shares, Hipgnosis Songs Fund’s board of directors explained in a regulatory filing on Thursday (Jan. 18) that Mercuriadis’ call option was “one of the key themes” of concern. Shareholders believe the call option deters third parties from making bids for the company’s music assets and “depresses the potential value” of Hipgnosis Songs Fund, limiting its ability to create value for shareholders.

Soliciting feedback from shareholders is part of Hipgnosis Songs Fund’s strategic review following the vote against continuation at a general meeting in October. During that meeting, shareholders also voted against a proposed sale of 29 music catalogs for $440 million to Hipgnosis Songs Capital, a joint venture of the investment advisor and investment giant Blackstone.

To address shareholders’ concerns about the call option, the board proposed a special resolution to amend the company’s articles to create the payment of a fee of up to 20 million pounds ($25.4 million), at the board’s discretion, to a prospective buyer. The fee is meant to reduce the risk of making an offer for Hipgnosis Songs Fund’s music catalogs. The board believes the proposed fees “will provide significant protection to prospective offerors against their due diligence and acquisition costs” and also “will provide greater potential opportunities to maximise value for Shareholders,” according to the filing. The board says it has received support for the proposed fee from shareholders representing more than 35% of issued shares.

“Investors in Hipgnosis Songs Fund overwhelmingly voted for change when they rejected the continuation of the Company and the proposed sale of certain music assets,” chairman Robert Naylor said in a statement. “From our shareholder consultation, core to the requirement for change is addressing the call option held by our Investment Adviser, Hipgnosis Songs Management. This not only acts as a structural conflict between the interests of our shareholders and the Investment Adviser, but also creates a significant deterrent to potential bidders for the Company’s assets thereby depressing the value of the Company.”

Shareholders will vote on the amendment at an extraordinary general meeting at a date not yet announced.

18 Jan 2024

Here Are the Lyrics to Doja Cat’s ‘Agora Hills’

Doja Cat’s Scarlet is the gift that keeps on giving, as the album has a new hit in the form of “Agora Hills.”

The song grabbed the No. 1 spot on Billboard’s Rhythmic Airplay chart on the list dated Dec. 23. “Agora Hills,” released on Kemosabe/RCA Records, gives Doja Cat her 11th Rhythmic Airplay leader and pushes the rapper/singer into a tie for ninth place on the overall count among all acts.

If you need a guide to follow along with Doja Cat’s “Agora Hills,” find the lyrics below:

Yeah, yeah

Kissing, I hope they caught us
Whether they like or not (not)
I wanna show you off (off), I wanna show you off (off)
I wanna brag about it (yeah)
I wanna tie the knot (knot)
I wanna show you off (off), I wanna show you off (off)
I wanna show you (off), yeah, yeah
I wanna show you off (off), I wanna show you off (off)
I wanna show you (yeah), yeah, yeah
I wanna show you off (off), I wanna show you off (off)
I wanna show you

Hold my hand
You can hit while they watch, boy

(So, 9:30?)
(I’ll see you there)
(No, you hang up)
(You hang up)

Somethin’ different about you
Love it when he hit and smack too
Baby, lemme lick on your tattoos
That’s true that I like PDA
Take it to a seedy place
Suck a little di– in the bathroom
Who that man with the big strong hands
On her a– in the club with the paps? Baby, that’s you
Front seat chillin’ with the window down
I be ten toes down on the dash getting’ fast food
Hope you can handle the heat
Put your name in the streets
Get used to my fans looking at you
F— what they heard, I don’t f— with them birds
I’m a mean kitty, don’t get stabbed with the rat tooth
Boys be mad that I don’t f— incels
Girls hate too, gun to their pigtail
I love you, I wanna big chill
Boy, don’t trip, I’ll split a big bill
Take you ’round the world, they don’t have to understand
Rub it in their face, put a rock on her hand

(Baby, can you call me back? I miss you)
(It’s so lonely in my mansion)

Kissing, I hope they caught us
Whether they like or not (not)
I wanna show you off (off), I wanna show you off (off)
I wanna brag about it (yeah)
I wanna tie the knot (knot)
I wanna show you off (off), I wanna show you off (off)
I wanna show you (off), yeah, yeah
I wanna show you off (off), I wanna show you off (off)
I wanna show you (yeah), yeah, yeah
I wanna show you off (off), I wanna show you off (off)
I wanna show you

Hold my hand
You can hit while they watch, boy

(Ah, sorry, I was taking a sip of my root beer)

‘Cause love is pain but I need this sh– (yeah)
We f— too good when the bean kicks in
Like Fortnite, I’ma need your skin (yeah)
Don’t give a f— where the penis been (uh)
Boy, you’re the one, you’re the only man
Me and you on my OnlyFans (come on)
Holy cow, you’re the Holy Trin’ (Trin’)
Hold me down when a hole need di–
Be my security, it’s your therapy
With you I ain’t holding sh– back
When I need my space, you give that
When he broke my heart, you fixed that
With a long walk on the beach
Love it when they honk-honk on the street
When they see us zoom by in the Jeep
We a whole damn joint, we an energy
Baby, we could just ride on our enemies
They all wanna know how you get to me
Let ’em feel how they feel and be Philistines
‘Cause this type of love’s the epitome, said

(Baby, you’re literally capping to me right now)
(Like, why are you capping?)
(You just cap so hard, it’s-)
(I don’t know what to do)

Kissing, I hope they caught us
Whether they like or not (not)
I wanna show you off (off), I wanna show you off (off)
I wanna brag about it (yeah)
I wanna tie the knot (knot)
I wanna show you off (off), I wanna show you off (off)
I wanna show you (off), yeah, yeah
I wanna show you off (off), I wanna show you off (off)
I wanna show you (yeah), yeah, yeah
I wanna show you off (off), I wanna show you off (off)
I wanna show you

Hold my hand
You can hit while they watch, boy

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC

Written by: Amala Ratna Dlamini, Bennett W. Pepple, Brian Holland, Gentuar Memishi, Isaac Earl Bynum, Jean Baptiste Kouame, Michael Smith