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DJ KHALED Says
I remember getting evicted out my apartment and I had to take all my records and all my studio equipment to my brother Dj nasty garage smh ….. I remember getting locked up and that’s when I said I have to change!!!! I’ll hustle so hard I work so hard I was up 24 I was passing out flyers for events parties I remember when the promoters wouldn’t let me Dj in the club so I promoted my own party across the street from there party and there party is mine ha! I remember! I remember sleeping in the back of a black Honda Civic I remember I lost the Honda Civic because I couldn’t afford it I remember! Also remember having a BMW before the Honda Civic and I lost that too because I couldn’t afford it! I remember I used to DJ at a pirate radio station not four hour not for two hours I rep for 24 hours some times weeks straight and never let the DJ booth play music for the city for the streets ! I’m just getting started I will never stop I’m a go even harder join the team the team the winning team I’m a visionary I never let nobody stop me! @wethebestmusic #wtb we jus getting started !
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Memphis Bleek hits us with his brand new mix, his sequel to “The Movement.”
Now here’s a little treat. If you recall, Memphis Bleek’s mix, The Movement was a great little mix, providing a perfect platform to generate some real Memphis Bleek converts. Now we’ve got the sequel, in the form of The Movement 2, which actually improves upon its predecessor.
Yes, the tracks here are super smooth. You can expect some features from Sean Price and Freeway on here, among others, but the real star here is Bleek, who keeps himself at the forefront on this tight little 14 track tape.
Maybe The Movement 2 is not the mix to re-instill the Memphis reign, but we’re impressed by what a focused record this turned out to be.
According to Rick Ross, the “Mafia Music III” beat was originally destined for Dr. Dre’s “Detox”.
Yesterday evening, Rick Ross sent out a revelatory tweet concerning a cut from his new album Mastermind: “‘Mafia Music III’ track was originally for Detox which @DrDre gave me for #Mastermind in a session.”
Back in February, GRAMMY-award-winning producer Bink discussed the evolution of the record with HipHopDX.
“I did the record for Dr. Dre, for Detox,” he said. “Dr. Dre hired Ross to write his verse for him. So Ross wrote a verse for him and a verse for himself, and then he was supposed to put Rihanna on the hook. But, you know, Dre never revisited the record, and then Ross came back about a month and a half ago and wanted the record for himself. So I had to ask the good doctor for clearance. I actually made it with Dre. I was in Vegas with Dre working on it at the time. They brought Ross in later. Actually, Khaled called me. He was just ranting and raving about Ross’s verse – his exact words were ‘Ross caught the Holy Spirit’. He kept saying that Ross had caught the Holy Ghost. ‘We gotta have that, we gotta have that.’ So I was like, you know, ‘I gotta call up big homie and see if he’ll let it go,’ ’cause I knew he was back in Detox mode again. I didn’t know if he was gonna hold onto it or not this time around.”
He also touched on the “serious disconnect” in the creation of modern-day rap music.
“Dre was basically like, ‘Ask him to send you a copy of the record, and if you like it, I’m with you. I’ma let you make the call,’” Bink added. “Which is flattering to me, but at the same time that’s what big homie told me. So I called them, they sent me the record, which they was very nervous about it, because of course these days for some reason, when you send a rapper the music, they feel like their lyrics is worth more than the beat, and they don’t send the song back… I still have yet to hear it. ‘Cause when I heard it, it was just Ross and Mavado, but now they added Sizzla to it, so I still haven’t heard Sizzla’s verse. There’s a serious disconnect, to be honest with you, with the music. It’s not like it used to be.”
Fair enough. Meanwhile, we’re all still waiting on Dre’s album. The delay’s getting a bit ridiculous at this point.
During a recent interview, !llmind was asked about producers who are overlooked or not given credit for beats.
“I’m blessed to be able to say that it doesn’t happen to me anymore, but we’ve all gone through it,” !llmind says in an interview with DJ Booth. “I think a lot of it has to do with that, as a producer, you don’t have a real relationship with the artist you are creating with and that’s due to the fact that you’re e-mailing beats. The most important relationship you can curate with someone is directly with the artist. It’s not with the A&R, it’s not with their manager. You need to have a direct relationship, a working relationship with the artist you are working with. A lot of times, up-and-coming producers don’t get credit because the guys on the other side just don’t care. The artists don’t care. For all you know they don’t even know what your name is or probably forgot your name and the A&R’s working in-between are juggling a million things. You are probably not getting paid much money and if it’s a mixtape placement, you probably aren’t getting paid anything so you are left in the dark. You did the beat, but you’re still a stranger. They aren’t gonna go that extra mile to do you any favors because they simply don’t care about you. So that’s the difference between having a real, true working relationship with an artist as opposed to being a beat maker and e-mailing your shit out, getting a placement, and getting pissed off you didn’t get credit.” llmind, who has worked with several artists, including Slaughterhouse, says the future looks bright for producers.
“I think it’s headed in an awesome direction,” !llmind says of production. “I think technology has allowed us to do things we couldn’t do back in the day, as early as ten years ago. Technology is just so advanced now and things are sounding more realistic. Obviously, humans feel with human instruments and live instrumentation; you can’t duplicate that, but I think the advancements in technology are really helping us as producers. I think we all need to embrace that, be proud of that and continue to feed into it so it can grow more.”
In December 2013, Crooked I spoke about !llmind’s contributions to the upcoming Slaughterhouse album.
“It’s a beautiful thing to have Just Blaze, J.U.S.T.I.C.E. League, Illmind, Cardiak and AraabMUZIK,” Crooked I said in an interview with HipHopDX. “To have those guys come together and say, ‘Hey, let’s all form a Slaughterhouse of producers and work on this shit together. I might do the drums on this. You might do the keys on that. You might cut some samples from there and we just make this one big picture.”
Snoop Dogg and Daz Dillinger posted several messages on Instagram following the passing of their uncle June Bugg today (March 21).
“Heavan wouldn’t b the same without u!! :(. :(,” Snoop Dogg said in one Instagram post. Snoop posted several images and videos on Instagram about his uncle’s passing.
Snoop Dogg’s cousin Daz Dillinger also posted a message about their uncle.
On my way to see my uncle June Bugg for the last time,” Daz says in the clip. “I love you forever. This your nephew. He was great on this Earth. I love you.”
Big Boi inks a new management deal and plans to release a new EP in coordination with Outkast’s appearance at Coachella.
Big Boi has signed a management deal with Jordan Feldstein’s Career Artist Management and guarantees that there’s new material on the way.
In an exclusive statement via Billboard, the six-time Grammy-winning emcee, producer and half of Outkast says he signed with Feldstein’s management team because he likes his hustle and feels he would be a good fit.
“Jordan is a go-getter, mover and shaker, and my kind of guy,” Big Boi said in the statement. “I love his energy. We have a lot of new material and content coming this year, and can’t wait to get things started.”
The Atlanta native also guarantees there will be a new solo project on the horizon as he plans to drop an EP timed with Outkast’s Coachella appearance in April and subsequent tour. There is no publicly known title or solid release date for the project just yet.
Jordan Feldstein is the founder and CEO of Career Artist Management, which has managed Maroon 5 since their formation over ten years ago and Robin Thicke, among others. Combined, the group has helped guide to three Grammy Award victories and sales of more than 10 million albums worldwide.
“I’m proud to have a Hip Hop icon like Big Boi join our management roster,” Feldstein said. “We are all ready and excited to get started and continue to expand Big Boi’s overall brand as an artist.”
Big Boi’s last project release was in 2012 with Vicious Lies and Dangerous Rumors. Outkast as a group hasn’t released an album since 2006′s Idlewild, which was the soundtrack to their movie of the same name.
Google Inc. disclosed on Sunday that its YouTube video platform has paid out more than $1 billion to music rights holders “over the last several years,” putting the California technology company among the top sources of digital revenue for the embattled music industry outside of download sales.
The statement, made by YouTube VP of content Tom Pickett, came in answer to a question during a panel discussion at Midem in Cannes, France, about how much value Google as a technology platform places on music and whether artists are making meaningful money by being on the platform. YouTube had earlier stated that it has paid “hundreds of millions of dollars” to the music industry.
“We are very much into music,” Pickett said, adding later that, “If you think about it, we’ve paid out to the music industry over the last several years over $1 billion. So there is money being generated in this ad-supported model. It is going to artists.”
Pickett pointed out that the money YouTube pays out goes to “thousands and thousands” of musicians and rights holders, addressing the complaint that some individual artists may not see large checks because the per-view payment is relatively small.
Jordan Berliant, a panel member and head of music management at The Collective Music Group which represents Linkin Park, Stone Temple Pilots and Staind, added that YouTube “can be a place to make money,” but that, “It’s not a place to make money right now.” Berliant added that he doesn’t blame YouTube, whose business model relies largely on advertising, which in turn relies on having a massive audience.
The session got testy when panelist Geoff Taylor, the chief executive of BPI and the BRIT Awards, referred the revenue his artists receive from YouTube and other ad-supported music streaming services as “pennies and pence,” when compared to paid streaming services such as Spotify’s premium tier and Deezer. Taylor said he hoped YouTube will develop a “mixed model” that also includes a paid subscription service.
YouTube already has the necessary music licenses to launch a paid subscription music streaming product and is expected to launch its service sometime this year.
Taylor took another shot at Google towards the end of the session, accusing the search giant of doing little to remove links to illegal sites that distribute pirated music or sell software that can be used to record music videos on YouTube, Vevo and elsewhere.
“When you know that stuff is illegal, you surely have got the responsibility to take that knowledge into account and do something with your search rankings, which gives the legal sites a chance to put themselves in front of consumers rather than the pirate sites,” Taylor said. “To have a really productive partnership, Google and YouTube need to do more on that.”