While most folks think of Black Friday as a day of low-price shopping, Justin Timberlake now looks to redefine the "holiday" and treats fans to a brand new remix of his single "TKO." Linking together with some of hip-hop's finest, JT links together with J. Cole, A$AP Rocky and Pusha T for the official Black Friday remix of the tune. While all three emcees come correctly with their verses, the most notable verse comes from Cole who takes the opportunity to address Kendrick Lamar’s “Control” verse, and he utilizes Drake's "Versace" flow while doing so. Stream the track up above and let us know your thoughts on the track down below.
It’s often said that “seeing is believing,” but one spin of a hip-hop record in its current state provides an alternate twist on the idiom – where as “listening is consuming” and every aural encounter is but an oral argument for excess. What started out as an art form that was meant to unlock certain mysteries, as well as shine a much-need spotlight on both urban decay and the various plights of those pushed to the fringe of society due to various larger issues in the country, hip-hop today is bordering on being a SkyMall catalog – chock full of items that are either downright unobtainable or ridiculously gaudy. 2013 was a year that saw a slew of new records from the likes of Drake, Jay-Z, J. Cole, Kanye West and more. While “luxury rap,” isn’t something new to the genre, I questioned just how quickly emcees turned to “show and tell” on their projects. Part of me was surprised by the findings – the other half was a little saddened that under the microscope, new comers and established veterans all relied on the popular-noun crutch so quickly.
A$AP Rocky – Long. Live. A$AP
Time into the album: 1:12
The line: Motherfuck a wishlist, my ghetto was ambition/For my benjis and my Bentley, and them bitches now I gets gets.
J. Cole – Born Sinner
Time into the album: 2:57
The line: But I’m probably just go and and buy Ferraris, vroom.
Kanye West – Yeezus
Time into the album: 44 seconds.
The line: Soon as I pull up and park the Benz.
Wale – The Gifted
Time into the album: 2:50
The line: But a brand new Maserati got me plottin on another hit.
Jay-Z – Magna Carta..Holy Grail
Time into the album: 5:51
The line: I just want a Picasso in my casa.
Big Sean – Hall of Fame
Time into the album: 6:58
The line: Bought my fam new land, six star crib.
Drake – Nothing Was The Same
Time into the album: 33 seconds
The line: Comin’ off the last record, I’m gettin’ 20 million off the record.
Pusha T – My Name is My Name
Time into the album: 2:06
The line: In a cranberry Rossta, inside track on the G rap poster.
Eminem – The Marshall Mathers LP 2
Time into the album: 9:05
The line: It says ever since I drove a ’79 Lincoln with white walls.
Essentially, no artist who released a “huge” album this year was able to get through two complete songs without falling into the pervasive trap. You may ask, “what else are they supposed to talk about?” Something. Anything. Just not everything. I’m reminded of the quote from Fight Club: “the things you own, end up owning you.”
Call it curiosity, but I decided to check out a classic album from hip-hop lore to see if this was always a pervasive problem. Consider this: there isn’t a single popular noun boast on Midnight Marauders aside from mention of a Polo shirt and Timberland Boots on the entire record. Sure, it’s a limited sampling, but I’d argue that there hasn’t been a single rap record released in the last five years that charted on Billboard’s Hot 100 that avoids the “rich guy” trap.
Where as we tune into television shows or attend the movies in order to get an escape from reality, it’s a shame that hip-hop has turned into The Hunger Games – and we the listeners are treated as the “thirsty” ones.
The most sullen and brooding track from A$AP Rocky’s debut Long.Live.A$AP just got an equally dreary video. “Phoenix” is an elegiac outpouring of the overwhelming stresses associated with life and those poisonous feelings that transpire into destructive thoughts. The Emmy Award Winning director Francesco Carrozzini’s video starring The Wire’s Michael K. Williams and supermodel Joan Smalls, accurately captures the visual representation of how quickly things escalate in Rocky’s lyrics.
In an interview with RapFix Live‘s Sway, he explains, “You hurt so bad and you’re going through so much pain to the point where sometimes you don’t even wanna live anymore. That’s how a lot of people think, whether we’d like to admit it or not and that’s all I was showcasing. It was that emotion…suicidal kinda emotions.”
You can watch the follow up to “Angels” below.
Read the rest of A$AP Rocky – “Phoenix”
A$AP Rocky entered pop culture lexicon through a video (“Purple Swag”), so it’s no earth-shattering revelation that the head honcho of the A$AP Mob is a bit careful when it comes to putting together his visuals. The recently released “Fashion Killa” video featured Rihanna in a film noir aesthetic and his latest video, this one for “Phoenix” off of LongLiveA$AP is directed by Francesco Carrozzini and has a guest spot from Omar himself, Michael K. Williams. The storyline features a domestic dispute between Williams and a female beau, played by supermodel Joan Smalls, with sparse shots of Rocky throughout. Rocky chooses his videos well, and this one is no flop. As he explained to MTV: “This tale of a Phoenix is it dies and is reborn in its own ashes. So metaphorically we wanted to manifest that into my video.”
Not too long after bringing us his video for "Angels," A$AP Rocky is already back to deliver another fresh set of aesthetics, this time around for "Phoenix." Michael K. Williams and Joan Smalls star in the intense clip, which notes the couple having seemingly just undergone an argument, and thus, a gun has been whipped out. You will of course have to see the footage through to the end to find out what happens. "Phoenix" was featured on Rocky's Long.Live.A$AP. debut. Follow to MissInfo to view if the above player is not working for you.
What better way is there to celebrate the tradition of mask bearing on Halloween than riding around on bikes and mobbing the city? The answer for the A$AP Mob and A$AP Rocky is none. Yesterday evening as everyone was out partying and kids were combing the streets causing a ruckus and collecting treats, Rocky was dropping his new video for ‘Angels’.
The best way to describe the action thought the video is chaotic. In the Amsterdamproduced track commemorating the two year anniversary of A$AP Rocky’s emergence on the scene with Live. Love. the mob traverses the city leaving destruction in their wake, even closing out with an execution of a faceless enemy. Anyone familiar with the A$AP Mob won’t be surprised by the antics in the video, check it out below.
Read the rest of A$AP Rocky – “Angels” | Video
To commemorate tonight's Halloween chill, A$AP Rocky has released the visuals for "Angels," which follows Rocky and the A$AP Mob as they raise havoc around New York's Lower East Side. Originally a bonus song off his Long.Live.A$AP. album, the music video release also celebrates the two-year mark since the album's debut, and transports viewers to what seems like a ghoulish scene right out of Halloween 2011. Check out the video above and share your thoughts in the comments below.
As the news continues to pour in surrounding Childish Gambino, here we showcase a new interview with the versatile creative, as it notes him sitting down with FUSE. Donald kicks things off by explaining why he writes better in the mornings, then jumps into how he is afraid of being alone, which we have been hearing more of in recent light. Talk then transitions to his admiration for Kanye West, as he himself aims at releasing entire bodies of work, not just albums, that people can get tangled up in for years at a time. Glover also says that he is the most insecure person that he knows and that he could never be someone like A$AP Rocky, who portrays such confidence. He then goes on to say that Rocky had a pretty clever sneak-diss about him recently. To check it all out and more, see above.
On October 16 in Los Angeles, California Rap music’s elite showed out for the annual BET Hip Hop Awards, commemorating the best of all things hip-hop in the past year. Kendrick Lamar cleaned up, hauling in five awards including best album and lyricist of the year while Jay-Z, Big Sean and the rest of hip-hop’s governing body took turns patting each other on the back. For today’s Sunday Coffee Sipper I break down the list of winners from several of the categories and decide who I would have picked from the very small group of nominees that were available for the awards, enjoy!
Best Hip-Hop Video: Drake “Started From The Bottom”: I literally thought this was the most bogus video I had seen until Chief Keef’s “Love No Thotties” premiered this week. Seriously though, you’re not making it any easier to legitimize the “Started From The Bottom” mantra with the opening scene of a Toronto youth soccer game played in a bubble, or perhaps it’s the perfect metaphor. The fake snow, all white everything convertible dance scene is just downright goofy, as is the Wal-Mart confetti-strewn dance party. Drake had a lot of dance parties at the bottom. Where is ‘here’ anyway? Could be anywhere. Ah, Drake, they’ll love whatever you do.
Who Should Have Won: Kendrick Lamar – ‘Don’t Kill My Vibe’
Reese’s Perfect Combo Award (Best Collabo, Duo or Group): A$AP Rocky f/ 2 Chainz, Drake & Kendrick Lamar “Problems”: Of the nominations, this was an easy favorite for the best collaboration of the year. Featuring the top names in hip-hop today and a blistering verse from K Dot it stood head and shoulders above even Ace Hood and Future’s summer banger “Bugatti” and J. Cole and Miguel’s “Power Trip”.
Best Live Performer: Jay-Z: Not sure about the nomination or the win on this one. Jay-Z is certainly a pillar of hip-hop, but there are plenty of better live acts around the country that could have vied for the title, even outside of the nominees. Granted, Jay-Z proved to be a step ahead of the competition in the crafting of a different live set idea with his “Picasso Baby” art installation, a wholly different take on hip-hop as an accepted artform. Regardless, I can’t help but feel there was a better choice to be had.
Who Should Have Won: J. Cole/2 Chainz
Lyricist of the Year: Kendrick Lamar: They probably didn’t need to announce this one. Between good kid, m.A.A.d. city, the much-talked about verse on Big Sean’s “Control” and a host of outstanding features throughout the year, Kendrick cemented himself as the lyricist to match in 2013. The “Control” verse in general, in which he called out the other top names in the game, nestled Kendrick firmly in the upper echelon of hip-hop artists today.
Album of the Year: Kendrick Lamar, Good Kid m.a.a.d. City: Again, a fairly easy choice as the top rap album of 2013. Kendrick finally emerged from Section 80 to the big leagues with his chart-topping album that, as stated earlier, vaulted him from one of the new guys to the forefront of everything happening from here on out.
Producer of the Year: Mike Will Made It: It’s hard to be too upset with this decision, Mike Will Made it had some of the year’s biggest songs, using his enormous drum ensembles to shake the walls of clubs from coast to coast with songs like”No Lie” by 2 Chainz, “Bandz a Make Her Dance” by Juicy J, “Pour It Up” by Rihanna and “We Can’t Stop” by Miley Cyrus. They weren’t the best songs of the year, but they topped the charts. I can’t forgive him for allowing Cyrus to don a Michael Jordan jersey while twerking in their “23″ collaboration, though. In comparison, Pharrell did songs with Jay-z, Justin Timberlake, Robin Thicke and Daft Punk.
Who Should Have Won: Pharrell Williams
Track of the Year: “Started From The Bottom,” produced by Mike Zombie and Noah “40″ Shebib: Can’t even lie about it, this song was not the best track of the year, by any means. Drake’s attempt at convincing listeners that watched him as Jimmy on Degrassi that he, “started from the bottom” was ill-conceived and uninteresting. Sure, the beat and hook get stuck in your head, but is that all it takes to have a hot track? Of course, you catch more fish with a larger net and most of the nominees for each category were held to roughly the same six characters. That makes for a small net.
Who Should Have Won: ‘Don’t Kill My Vibe’ – Produced by Sounwave (Kendrick Lamar)
Best Mixtape: Big Sean, Detroit: This one just didn’t make sense. In a category that included a host of independent artists including Chance The Rapper and Travi$ Scott, this would have been the perfect opportunity for BET to sway towards the up and coming, essentially the heart of hip-hop today. Instead, the crown for best mixtape was given to Big Sean’s Detroit, making for an un-inspirational win for the G.O.O.D. Music star.
Who Should Have Won: Chance The Rapper: Acid Rap
Who New? Rookie of the Year: A$AP Ferg: This is deserved. Trap Lord was easily one of the hottest releases of a packed summer of new music and Ferg showed that the buzz surrounding him and his major debut release was no fluke. With co-signs from just about everyone in the game right now, the award was fitting. Tough competition here, too, with Earl Sweatshirt, Action Bronson and Joey Bada$$ rounding out the nominees.
MVP of the Year: Kendrick Lamar: Honestly, he could have taken most of the awards with the competition BET stacked up against Kendrick. More than anyone else, Lamar and his TDE crew have brought about a sound and a mentality that had been lacking in hip hop as of late. As he made it known on that fateful “Control” verse, this is now Kendrick’s game, and everyone has to step up.