Musicians
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Kendrick Lamar put the entirety of the greater Los Angeles area on his back with the track “Not Like Us” which was largely a diss of Drake and a call for West Coast unity. Leading this charge, Kendrick Lamar and a collective of other West Coast Hip-Hop artists are enjoying a resurgence that has put the culture at large on notice.
To best examine how the West has won in 2024, or at least why we believe they’re poised to do so, one only needs to look back to Future and Metro Boomin’s “LIKE THAT” single released in March from the pair’s WE DON’T TRUST YOU project that started the mudslinging between Kendrick Lamar and Drake, reaching a culture-shifting zenith by way of K-Dot’s explosive “Not Like Us” track.
The runaway success of “Not Like Us” remains a case study in timing, impact, and the power of directedness. There is no mystery in Lamar’s verse, no esoteric lines to parse, or prose that goes over the head. It is beyond clear that K-Dot’s Canadian rival was his target and that his relentless attacks dug into Drake’s character and image, with some in Hip-Hop crowning Lamar an absolute winner in their feud.
Adding to the layers, the video for “Not Like Us” was another celebration of greater Los Angeles with YG, Dot’s former boss at TDE Anthony “Top Dawg” Tiffith, Mustard, and DeMar DeRozan showing off regional pride via their appearances. It has come to the point that listening back to the relatively light jabs thrown on “LIKE THAT,” it remains baffling that the beef reached the heights that it did.
All of this has naturally overshadowed other crowning achievements from West Coast artists, and we’ll do our best to examine the year that was.
Groovy Q
Source: Billboard / Getty
ScHoolboy Q also dropped in March with his sixth studio album, Blue Lips, an album that we at Hip-Hop Wired reviewed and enjoyed immensely. To date, no other major Hip-Hop release has taken as many risks sonically as Blue Lips and further cements the legend of ScHoolboy Q as a streetwise but spiritually grounded lyricist. And as much as the production stood out on Blue Lips, the maestro in the middle of the maelstrom was always Q.
Vince Staples Continues Strong Run
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The buoyancy and chaotic energy of Blue Lips is not overtly present on Vince Staples’ sixth album, Dark Times, another example of the Long Beach native’s ability to find a reflective thread in even the starkest details surrounding his upbringing and rise to fame. Dark Times is not an overjoyous album, at least not overall. As the album reveals, Staples consistently presents himself as an artist who isn’t interested in being dissected or even understood. The album is an audio missive of someone who hopes to exist on their terms without the weight of expectations.
T Says He’s The Biggest Out The City Since Kenny
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Tyler, The Creator —no longer just the talented, if foul-mouthed, producer-rapper that fronted the sprawling Odd Future crew — is now a veteran act and eight studio albums deep. His latest, Chromakopia, is an audio hodgepodge of all of Tyler’s sounds from rapping, singing, jazz, rock, you name it, it’s here. Continuing some of his chest-out rapping that appeared on CALL ME IF YOU GET LOST, T acknowledges K-Dot on “Rah Tah Tah,” signaling that the coast is unified. Chromakopia follows a concept that aims at rabid fans, tackles the abortion debate, and bashes the upkeep of fame. Some have crowned the record as the best to release this year.
Soul-O Hoe!
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Ab-Soul’s sixth studio album, Soul Burger, was seen as a surprise considering the staggered release schedule that TDE typically employs. Dedicated to his good friend Doeburger, who passed away in 2021, Soul Burger finds the “Martin Luther King of Carson” paying homage to his friend and his roots while once again showing why he might be the strongest lyricist to emerge from the Top Dawg Entertainment camp.
New Kung Fu Kenny!
Source: Michael Blackshire / Getty
This brings us to the surprise release on Friday (November 22) of Lamar’s latest album, GNX, a body of work that seems to be a continuation of the sound examined on “Not Like Us” and features the full version of “squabble up,” a track we only heard as a snippet previously. GNX, at least on our first listen, doesn’t stick to a theme or sound and will take some time to take in all the finer points. That said, K-Dot shows off his extraordinary abilities, and the autobiographical “The Heart Pt. 6” is a highlight. And yes, there are shots at Drake, mentions of the Super Bowl, and maybe even a dig at Lil Wayne? You be the judge.
Other standout albums that highlighted the West Coast’s dominance this year include the likes of Jay Worthy and DāM FunK’s funky Magic Hour collaborative album, Tha Dogg Pound’s We All We Got, Larry June’s Doing It For Me, Big-Hit, Hit-Boy, and The Alchemist’s Black & Whites, and JasonMartin (FKA Problem) and DJ Quik’s Chupacabra.
We also got potent bar work from Planet Asia and his Trust The Chain II EP with 38 Spesh on production. TiRon and Ayomari’s The Adventures of TiRon & Ayomari, Thurz’s Yannick Koffi: In Time, and Casual’s Starbuster EP should all be included in this concise roundup.
Regional biases and arguments aside, it will be determined over time if the West Coast can sustain its momentum into 2025. But if 2024 is any indication, the West had a lot more than just something to say. It appears that the entire coast is ready to move together as a cohesive unit, and as the smoke continues to clear, any challenge to the respective thrones will be sufficiently met.
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CRT FRSH, Hip-Hop Wired’s playlist where we attempt to showcase music we believe is “Certified Fresh,” has been on a far longer hiatus than intended. Now that we’re back, we’re trimming down the CRT FRSH playlist and updating the concept with our latest drop which we hope you all enjoy.
Some readers might remember I used to deliver a disclaimer before each playlist and I’ll do so again. The point of this disclaimer is to effectively share with you all the aims of CRT FRSH and how I want to stay true to the vision.
Disclaimer:
The CRT FRSH playlist is a labor of love. We don’t take payments nor do we do favors. We only add joints to our playlist that fit the theme and vision we’re going for and don’t seek to waste the listener’s time. Further, we don’t stick to one lane of Hip-Hop. We believe that all aspects of the music should get some light, whether it’s young lions in the trenches or those hoping for that one shot to blow up to grizzled veterans puffing out their chests with lots more to say.
I want to explain how I approach curating the CRT FRSH playlist. Most importantly, I don’t segregate my Hip-Hop. Every form of music from the main cultural tree deserves a listen and a look. When I construct the playlist, I want to include all regions across the States and, when applicable, across the globe. I also want to entertain every fan of Hip-Hop, not just those who enjoy one segment of it. Now that we’ve got that out of the way, let’s get to it.
It’s been a long time, I really shouldn’t left you, word to Rakim. Life got in the way of keeping the playlist updated but I’m back to try and enlighten not just the listeners and readers but also myself. As a longtime Hip-Hop supporter, I have serious FOMO when it comes to all the constant drops, and curating this playlist helps me to feel, ahem, fresh.
Unlike before when I would break up the list with “mainstream” or acts that are more established and follow that up with “underground” or little-known acts, I’m taking a new one-for-one approach to not bury anyone’s art and divide the sound. Like I say in the disclaimer, I don’t segregate my Hip-Hop.
We open up this week’s playlist with “HOLLON” from GloRilla, who just dropped her debut studio album, Glorious. Next up, Boldy James and Conductor Williams dropped a masterful project in Across The Tracks and we added their stellar “Flying Trapeze Act” track. We keep the Conductor Williams train rolling, pun very much intended, with “FEELINGS ON SILENT” featuring Wale from Leon Thomas’ latest album MUTT.
Taking things up to Harlem, 100GrandRoyce teamed up with producer Dame Grease for their The Fix 2 project and the intro track is an absolute banger. We then return to The D and share Tee Grizzley’s “Blow for Blow” featuring J. Cole from Tee’s new Post Traumatic album that dropped earlier in October. Australian producer SB11 dropped a fresh platter of heat in his Heavenly Unknown album and “Silent And So Cold” features the heavy-duty bar work of Flashius Clayton, Planet Asia, and Defcee.
We round out the rest of the CRT FRSH playlist with tracks from Ransom, Conway The Machine, Doechii, Hus Kingpin, REASON, Rod Wave, Future, Powers Pleasant, and more.
Peep the playlist below.
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Nancy Black might not be a name known to many outside of the Roma community, but the rapper is using her voice and platform to call out the injustice faced by her people. In a new profile, Nancy Black is using Hip-Hop as a vehicle for change and to support the recognition of all Roma people.
Nancy Black, real name Gilda-Nancy Horvath, was featured in a profile from the AFP centered on her still-growing career as a rapper and the motivations behind her art.
Horvath first began her rapping career about eight years ago, creating what the profile referred to as an “angry rap” song or protest song titled “Trushula,” which has a video with English subtitles where one can read exactly who she is targeting with her bars.
The profile goes on to note that Horvath was inspired by the development of far-right groups across Europe, especially in her home country of Austria. There, the Freedom Party (FPOe), which reportedly had Nazi ties, led in polls for the country’s national elections and this has Horvath’s attention.
Beyond tackling anti-Roma racism in verse form, Horvath also raps in Romani in part to keep the language alive and to “stop the suffering” as she told the outlet.
“With the death of this language we are also forgetting a large part of our history,” Horvath said.
The Roma people, who number around 14 million, are burdened with discrimination across the realms of education and employment, along with struggling with poverty per the European Union Agency for Fundamental Rights (FRA).
Check out Nancy Black’s “Trushula” track below
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Photo: AFP/Getty
This past Labor Day Weekend, the rolling hills of Napa, Calif. were filled with fans in town to attend the Blue Note Jazz Festival’s Black Radio Experience festival, curated by Robert Glasper. The iOne Digital team was on the grounds to take in the Black Radio Experience, and we were moved by the display of music, art, wine, and culture.
The Blue Note Jazz Festival’s Black Radio Experience kicked off on the first day of Labor Day Weekend and was held at the Meritage Resort and Spa. The BRE team did an excellent job of transforming the sprawling resort into a welcoming performance space, complete with brand installations, a wine garden, food trucks, VIP experiences, and plenty of seating for fans to take in the performances.
On the first day (August 30), vibraphonist Joel Rosshas’ Joel Ross’ Good Vibes got the festival going at the Blue Note Stage, with producer Madlib and drummer Daru Jones taking to the Black Radio Stage. Madlib also brought out guests on his set such as his Loot Pack band member Wildchild, who some might know as the father of actor Miles Brown, vocalist Stacy Epps, and rapper Your Old Droog.
Source: Black Radio Experience / BRE
Source: Black Radio Experience Content Team
Terrace Martin rocked the Blue Note Stage, taking listeners through his wide musical journey while picking up a variety of instruments and also sharing humorous bits about himself throughout his performance. Common and Pete Rock, who are currently on tour in support of their new album, The Auditorium Vol. 1, put on a spirited performance of their classics along with tracks from the new project.
Source: Marc Fong / Still Harper
Source: @sandrajamphoto
At the resort’s Estate Cave, André 3000 held three separate performances titled “New Blue Sun Live” which featured him performing with a backing band and using several wind instruments much like he did on his latest album of the same name. Three Stacks’ held three shows daily across the span of the festival at the Estate Cave. Golden Globes winner and singer Andra Day was another early highlight with a passionate performance that had attendees on their feet.
Source: Todd Cooper
The first night concluded with the legendary Jill Scott and she proved once more why she is in demand as a performer, running through just about every song you’d want to hear, including the sultry “Crown Royal,” and the Go-Go-tinged “It’s Love” among other hits.
Source: Marc Fong / Still Harper
On the second day (8/31), drummer Kendrick Scott set things off on the Blue Note Stage with an energetic set that displayed his mastery of the sticks. DJ Jazzy Jeff was slated to perform on the Black Radio Stage but DJ Premier of Gang Starr fame gamely filled the slot with a crowd-pleasing set full of grooving soul tracks and R&B from the 1970s and beyond.
Source: Marc Fong / Still Harper
Source: Marc Fong / Still Harper
Bassist Derrick Hodge rocked Blue Note Stage shortly after and pulled double duty on Saturday with a following set with the Color of Noize Orchestra. Around the same time, Tank and The Bangas were torching the Black Radio Stage and as we’ve seen before, Tarriona “Tank” Ball gave it her all on the stage with a mixture of poetry, rapping, and singing.
Source: Marc Fong / Still Harper
As this festival was created from the mind of Robert Glasper, the talented musician made his rounds during several sets throughout the weekend and hosted his first full set with special guest, Marsha Ambrosius.
Source: Marc Fong / Still Harper
Source: Marc Fong / Still Harper
John Legend closed things out on Saturday with all the style and professionalism one can imagine. At one point during his set, Legend explained to the crowd how he came to work with Kanye West, now known as Ye, and the origin of his stage name among other anecdotes. Based on our observation of the crowd, this was another standout moment of the festival.
Source: Marc Fong / Still Harper
On the final day, we spent much of our day in interview mode so we regretfully missed several sets such as RC & The Gritz, Christian McBride, Cimafunk, and Eric Roberson. However, we did get to sit down with Erro and we’ll be sharing more from our chat in later posts. In between the busy interview schedule, we did get to see some of Ledisi’s set from the Pattern Beauty suite — more on that later — and we also got to catch the “New Blue Sun Live” experience in person.
Source: Marc Fong / Still Harper
Source: Marc Fong / Still Harper
Source: BRE / Still Harper
The final sets of the night were Niles Rodgers and CHIC, and Glasper alongside Musiq Soulchild, capping a weekend full of music, wine, and several examples of Black elegance and excellence.
The iOne Digital team also attended some of the on-site experiences, such as the JAM Session with Robert Glasper & Chef Ken L. Polk from Chicago, with Glasper serving as his sous chef.
We also checked out the Ladies First Power Hour: Cocktails & Conversation with Kendra Anderson & Imane Hanine and had the pleasure of interviewing the pair after the experience. We also got to get some brunch in among the elevated vineyard grounds via the “For the Love of Jazz” Soul Brunch by Chef Jay Foster & DJ Mara Hruby, featuring John Legend’s LVE Wine.
Source: @sandrajamphoto
In the coming weeks, we’ll be sharing some of the content we captured from the grounds, including the aforementioned interviews. We interviewed Andra Day, Derrick Hodge, Frankie Zombie, and more so please stay tuned.
Once again, the iOne Digital team owes a great deal of gratitude to the Black Radio Experience team for the hospitality and assistance in allowing us to experience the festival as intended.
To learn more about the Blue Note Jazz, click here.
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Photo: iOne Digital/BRE
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Frankie Beverly, long known as the frontman for the soul and funk band Maze, has died according to a statement released by the family. Beverly began his career as a teenager before eventually honing his sound which later became one of the foundations of modern R&B.
Beverly was born December 6, 1946, in Philadelphia, Pa., and lived in the East Germantown section. Beverly began singing in church and joined his first band at the age of 13. At 16, much to the dismay of his father who wanted him to take a more traditional route, Beverly formed an acapella group known as The Blenders. While still trying to find his signature sound, Beverly formed a new band known as The Butlers, who cut their first record in 1963.
In 1970, determined to make it in music, Beverly formed the band Raw Soul and moved west to San Francisco to pursue a career in the industry. A chance meeting with the sister-in-law of Marvin Gaye at the time led to a fruitful connection leading to opportunities for the band. The group toured with Gaye as his opening act and according to several accounts, the legendary R&B star urged Beverly to change the band’s name from Raw Soup to Maze.
Through the late 1970s and mid-1980s, Maze notched several hits that charted on Billboard’s Hot 100 and U.S. R&B charts, including “Joy & Pain,” “Southern Girl,” “Back In Stride” and the backyard two-step classic, “Before I Let Go” which was covered in 2019 by Beyoncé.
In the world of Hip-Hop, Maze has been sampled by a few notables of the genre including 50 Cent, T.I., Tha Dogg Pound, Rob Base & DJ EZ-Rock, 2Pac, and more. Maze was also a huge touring act, which featured Beverly in his signature all-white attire complete with a white baseball cap.
The statement from the Beverly family was shared on Instagram and reads as follows:
Grieving the loss of a loved one is a deeply personal and emotional experience. During this time, as we are navigating feelings of sorrow, reflection, and remembrance we kindly ask for privacy and understanding, allowing us the space to grieve in our own way. This period for is one of healing, and your respect for our need for solitude is appreciated as we honor the memory of our beloved Howard Stanley Beverly known to the world as Frankie Beverly.
He lived his life with pure soul as one would say, and for us, no one did it better. He lived for his music, family and friends.
Love one another as he would want that for us all.
On X, formerly known as Twitter, fans of Beverly expressed their sorrow and celebrated the life and legacy of the singer. We’ve got those reactions below.
Beverly was 77.
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Photo: Brian Stukes / Getty
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For all of his musical accomplishments, Robert Glasper stands as one of the most versatile yet accessible musicians of his generation. In a recent chat, the Grammy Award-winning pianist and composer shared with Hip-Hop Wired his vision of The Black Radio Experience and bringing the soulful vibes to Napa Valley for Labor Day Weekend.
Robert Glasper has over a dozen releases that span the audio expanses of Jazz, Soul, R&B, Funk, and Hip-Hop. By way of the world-famous Blue Note record label, Glasper released Black Radio in 2012 and it was true to his interpretation of what a Black radio station under his watchful direction. The initial concept led to a Black Radio trilogy that concluded in 2022, and he’s still reinventing himself as an artist by way of his latest project, Let Go.
Source: Marc Fong / Marc Fong
Anyone who has ever attended a Robert Glasper show learns swiftly that he is, without doubt, a masterful yet playful showman whose dexterity as a pianist allows him to open his musical sandbox to a wide tapestry of sounds. In our talk with Glasper, we asked him what The Black Radio Experience means to him and how he intends to bring those ideas to life in the Wine Country of Northern California.
“The Black Radio Experience, just like you hear on my albums, it’s just that vibe and you can see the festival will feature artists that have appeared on the Black Radio albums like Common, Jill Scott, Ledisi, Terrace Martin, Derrick Hodge,” Glasper explains.
“It’s not about having the hottest song out or anything but a collection of artists that make songs that bring those good feelings out. These are artists who promote real music, love, honesty, and all of that from a Black and soulful perspective. That’s what The Black Radio Experience is and always will be,” Glasper added.
Glasper shared that while the theme of the Blue Note Jazz Festival in Napa has maintained that creed for the past three years, this year’s festival widens the scope with a focus on Black wine brands, chefs bringing curated menu concepts to light, and making the festival a safe space for celebration of the wide scope of Black creativity that includes the arts and dance as well.
“The festival is just an extension of the love I have for the music and the people and what I set out to do on the first Black Radio album, which is to say this is what Black radio stations could be,” Glasper said.
“When I made that first album, I was already immersed in different styles of music and playing it but committing it to wax was the next step, and over the years with the festival, we’ve been able to bring my vision of Black Radio to the stages and show that there is so much to us as a creative people,” Glasper shared.
Source: Blue Note Jazz Festival / Blue Note Jazz Festival
Among the headliners for The Blue Note Jazz Festival Presents: The Black Radio Experience, which includes the aforementioned acts from the albums, is André 3000. Three Stacks has famously moved on from the rapping portion of his career and leaning into instrumental music by way of his latest album, New Blue Sun. Glasper says that he found the Atlanta artist’s choice to try something new inspirational and that was his thought in creating his latest body of work, Let Go.
“I had so many people tell me that they listened to New Blue Sun and mediated to it or cleaned their house to it, hell, even I did the same,” Glasper said. “I had people tell me that they would do the same to some of my music and that was the reason why I partnered with Apple Music to drop Let Go. I wanted to give listeners something to reset their day to and even to inspire myself to take it slow.”
Robert Glasper will be in Napa, Calif. this Labor Day Weekend for The Blue Note Jazz Festival Presents: The Black Radio Experience.
To learn more about the festival, click here.
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Photo: Marc Fong/Blue Note Jazz Festival
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Kelly Rowland was the subject of Internet chatter after she was observed getting into it with an usher at this year’s Cannes Film Festival. The singer and actress has since made a public statement after the incident, stating that she was standing her ground.
The image of Kelly Rowland pointing and having what appeared to be a loud discussion with the Cannes Film Festival usher went viral this week and even sparked some meme fodder. It wasn’t understood at the time what happened but Rowland, speaking with the Associated Press, explained her side of events and even alleged that women [i.e. not Black] who didn’t look like her were not treated the same.
“The woman knows what happened. I know what happened. I have a boundary and I stand by those boundaries and that is it,” Kelly Rowland said to the AP at the Cannes Film Festival. “And there were other women that attended that carpet who did not quite look like me and they didn’t get scolded or pushed off or told to get off. I stood my ground and she felt like she had to stand hers. But I stood my ground.”
From what was seen on video footage, Rowland was instructed twice by an usher to vacate the red carpet section at the Palais des Festivals and motioned her to take the stairs into the theater. Then a group of ushers swarmed her and essentially guided her to the stairs. At that moment, Rowland gave one of the ushers a piece of her mind.
Rowland observed a difference in treatment but stopped short of calling it race-related but the suggestion rings clear in her statment.
The video of Kelly Rowland’s comments can be viewed below.
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Source: handout / Lady Luck
In the pulsating heart of Hip-Hop where lyricism reigns supreme and storytelling is an art form, few voices resonate with the raw, unapologetic power of Lady Luck.
A lyrical force, she strides through the music scene like a queen. From the battleground to the underground and the mainstream; her rhymes cut through the noise with razor-sharp precision. As we sit down with this fearless lyricist, we unravel the layers of her journey and delve into the mind of Lady Luck, where every word is a testament to her unwavering spirit and unmatched talent.
Lady Luck’s evolution in music is a testament to her resilience and growth as an artist. From the fierce and now legendary battles between herself and Remy Ma, where she honed her skills and made her mark, to the more reflective and positive messaging we hear in her latest single, “Praise”, her journey has been transformative. The tragic loss of her mother served as a catalyst, prompting Lady Luck to channel her pain into her music, using her platform to spread messages of hope, empowerment and self-discovery. This shift in focus showcases her versatility as an artist and highlights her ability to turn personal tragedy into a beacon of light for others.
Hip-Hop Wired: We know you are a vet in the game, but to kick things off let’s talk about your female Rap influences. Who are the top five that influenced you to pick up the mic?
Lady Luck: Oh wow, I’m a little biased because I feel like my top five should be everyone’s top five [laughs], but I would say it’s Queen Latifah, MC Lyte, Da Brat, loved Da Brat, and Nikki D. Of course, Nikki D, we can’t forget her, but can I get some honorable mentions? Because I want to add Lady of Rage, Roxanne Shante and Antionette. I mean I have some honorable mentions for all of the girls who poured into me, pause. [laughs]
I understand because when it comes down to influences, narrowing it down to just five can be hard because there are so many great artists.
Like The Sequence, for instance. They were the first female Rap group signed by my aunt, Sylvia [Robinson], and Angie Stone is in the group, only then she was known as Angie B. She was also my godmother at that time.
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As a battle rapper whose previous ongoing battle against Remy Ma is now considered infamous, how do you feel about the hate female rappers receive for verbally sparring like their male counterparts?
It’s like that all the time, but that is rooted in gender inequality. No different than when a woman speaks up for herself, she’s considered “bitchy,” but you learn that it’s part of it. I personally appreciate everything the girls are doing and shaking up s–t. I appreciate Nicki and Megan and Drake versus everybody, I almost want to get in on it. [laughs]
Being a veteran MC who has learned to navigate and flow with the current music, how do you feel about the current state of culture and the wave of new artists collaborating with vets as a way to pay homage to those they were inspired by?
I think it’s dope and the first time we have seen something like this in the industry at this rate. Like shout out to Coi Leray for teaming up with Busta [Rhymes]; the fact he is still on fire is dope. I love it. I love that the lines are blurred with the internet because I believe it’s a gift and a curse. Yeah, anyone can drop an album, but anyone can drop an album so it’s the power that’s there too. Look at Hit-Boy, his father came home from jail and started dropping that old-school heat–people enjoyed it.
One thing I love about you as an artist is that you always highlight the artists that you are listening to and shine a light on those you feel need to be seen. Who are some new artists you are checking for and would like to collaborate with?
I’m really bad with names because I smoke so much weed. [laughs] So when this question comes up I always remember someone I should have mentioned later, but Lola Brooke for sure. A lot of artists I hear on Sirius Mixtape Radio because it’s my go-to. Steff-G, she’s definitely on my radar. It’s just so many dope people out there right now, shout out to anybody who’s not giving up.
Speaking of not giving up, over the years you have made a few interesting transitions as an artist. We have seen you go from gutter and gritty, to sexy, to empowering and now seemingly an elevated conscious state. I know you attribute that to the recent passing of your mother–but you have a very masterful way of channeling life into your art.
I just been through hell man; I don’t look like what I’ve been through. It’s funny, I was telling my wife the same thing, that I may look like I am strong and not going to break down, but there are moments I want to break down. But know I can’t. I honestly feel like there’s more to life than what “they” are telling us like we are a lot more special and advanced than we are led to believe. So I have been looking for truth honestly–that’s how I got cool with Forbidden Knowlege and did projects with him because I want to know more. I don’t want to just be in the matrix promoting violence and on a lower frequency anymore. There’s so much more and I want to find out.
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I saw that you recently posted your recipe for plant-based General Tso chick’n, is veganism a part of the new journey?
Yeah, we were trying something different with cooking up mushrooms. We are actually about to start a podcast about cooking up mushrooms in different ways. I’m not a vegan yet, but I am working on getting away from eating chicken and meat so much because I love mushrooms, and it’s much cleaner.
With so many things going on, is there anything else we should be on the lookout for?
I am in New Jersey working on a street renaming for my mother. We are in the early stages, so be on the lookout for more details about Donna Lee’s Way coming soon. Also, we got my shades lines, Sundai Wear, and we got our new artist, DollyB, going crazy and my new album, The Human Experience. I am working with a bunch of great artists and dope producers so be sure to check that out.
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Source: Arturo Holmes / Getty
It looks like Will Smith is officially out of the doghouse as far as fans are concerned. Years after alienating millions of his supporters for slapping Chris Rock, Smith is once again feeling the love and adoration whenever he takes the stage these days.
His latest surprise appearance came courtesy of J Balvin during his set at Coachella Sunday night (April 14) and much to the delight of the crowd, Will Smith burst on the scene in his Men In Black attire and performed the title track from the smash 1997 film. Why that song was chosen is anyone’s guess. Smith does have a few other songs that people would’ve grooved to like “Welcome To Miami,” Summertime” or even “Gettin’ Jiggy With It,” but nah, they decided “Men In Black” was the one.
According to Variety, the song turned out to be the right choice as not only did the crowd approve, but also appreciated the entire theme that overtook the stage for the surprise cameo.
Per Variety:
The appearance was brief but memorable, capping a UFO-themed set and concluding with Balvin being dragged off by black-suit-clad dancers as Smith pulled out a “Neuralyzer,” the famous memory-eraser device from the film.
Balvin returned for another song, however, and rocked energetically through a rousing version of his hit “In Da Ghetto” with his troupe of dancers, who were clad in comically stereotypical alien costumes, green with big black eyes.
Balvin’s concerts are always heavily thematic, and the interstellar theme was present throughout. It opened with a mock-1950s newsreel about an alien invasion (in English, with Spanish subtitles), eventually revealing that the alien was… Balvin, who then arose on a platform from beneath the stage, underneath a giant mock-UFO that looked like a cross between the evil spaceship in the film “Nope,” a pointer from a Ouija board and a cushioned toilet seat.
Who knew J Balvin was such a big Men In Black fan? We sure didn’t. Either way it was cool to see Will Smith back in his bag and getting love from the crowd. Whether or not that love once again extends to Chris Rock is anyone’s guess, but we wouldn’t bet on it.
Check out Will Smith’s performance at Coachella, and let us know your thoughts in the comments section below.
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Pharrell Williams and Chad Hugo, collectively known as the Neptunes, are currently in court over the rights to the group’s name. In the court claims, Chad Hugo states that Pharrell Williams is fraudulently attempting to control the Neptunes trademarks for personal gain.
Billboard reports that Hugo, 50, and Williams, also 50, are embroiled in a legal tussle over the Neptunes name rights after Hugo and his attorneys filed a claim that Williams is seeking to register trademarks for the band’s name. According to Hugo’s side, this violates an agreement the pair made to split all things related to the group name equally.
From Billboard:
“Throughout their over thirty year history, [Hugo] and Williams agreed to, and in fact, have divided all assets,” wrote Hugo’s attorney Kenneth D. Freundlich, a prominent music industry litigator. “By ignoring and excluding [Hugo] from the any and all applications filed by applicant for the mark ‘The Neptunes,’ applicant has committed fraud in securing the trademarks and acted in bad faith.”
Via a representative, Williams offered a statement to Billboard explaining that the move was not to squeeze out Hugo but instead to make certain no other parties could lay claim to the name.
“Pharrell is surprised by this. We have reached out on multiple occasions to share in the ownership and administration of the trademark and will continue to make that offer. The goal here was to make sure a third party doesn’t get a hold of the trademark and to guarantee Chad and Pharrell share in ownership and administration,” read the statement.
Freundlich countered the statement by writing, “If Pharrell’s intent was to include Chad in the filing, he should have registered it in the name of them jointly or as a partnership and not in his own name.”
The Neptunes have been responsible for a bevy of hit songs, producing smashes for the likes of The Clipse, Snoop Dogg, Nelly, Justin Timberlake, and others.
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