Just in time for Christmas and the New Year, Nieman Marcus the rapper new track "Swang" has hit all streaming services and is now available for your playlist preference. "Swang" is one dance song you may not want to miss out on. This banger is just the right song to put you in a clubbing mood. You can now stream the song on all digital services. Listen in to the track below or click any of the links below that fits your music needs. Swang now on Deezer Stream on Spotify Purchase on Itunes
Nicki Minaj & Eminem Dating? She Says They’re In A Relationship Fans Going Crazy!!
Real? After Dating Safaree Samuels, Meek Mills and Nas, Nicki Minaj just reveal that her newest hip-hop love is.. Eminem?!
Nicki Minaj, 35, 35, left her Barbz shook after posting an Instagram video promoting her appearance on YG’s new song, “Big Bank. In the May 25 cut, Nicki lip-matches up to her lines on the track, which likewise includes 2 Chainz and Big Sean. "#BIGBANK OUT NOW!!!!!! @yg @2chainz @bigsean Told'em I met Slim Shady. Packed away an EM!!!," she subtitled the video. The expression "packed away an Em" had one fan made an undeniable inquiry: "You dating Eminem???"
"Indeed," Nicki answered in the remarks, apparently "affirming" that she and the 45-year-old rap symbol are as one. Or on the other hand, she could have been trolling for somebody who took her verses truly. In any case, fans were cracking. "Sooooo, Nicki Minaj and Eminem dating now!? Affirmed by her by means of remark on her IG page?! Stunning! Shocker!!!," tweeted @crownme_cute, while @springbell couldn't trust it. " 'Nicki Minaj is dating Eminem' huh/exonerate? what? that is a reenactment glitch. Sorry, What?" "Nicki Minaj and Eminem are dating am I going to find out about an alternate couple I never expected ordinary at this point."
"dawg disclose to me this Eminem + Nicki thing a joke," asked @_TVDE. All things considered, TVDE, don't bounce out the window yet. It's more than likely that Nicki was simply trolling in the remarks, and that her verse on "Huge Bank" was presumably simply her parading her riches through some cleverness lyricism. "Back again/Back to back Maybach, stack the M's/Told em' I met Slim Shady, pack the M/Once he goes dark, he'll be back once more," she raps, which as Genius call attention to, "M" is a "two-sided saying" for both the millions she's acquiring and the M-logo of Mercedes' line of top of the line extravagance autos. Thus, to clarify the joke, she goes from stowing "Ms" as in millions to packing "Em" as in Eminem.
We got Rozay Monday leaving the London hotel in NYC, where our photog asked about how he felt about Meek Mill still being locked up despite a rallying cry from the public. Ross tells us it's BS, and that his label mate still has his support ... but then changed the subject
RICK ROSS does not want to be approached by scrubs in the streets, which is a lesson our camera guy -- and HARVEY LEVIN -- might need to learn the hard way.
We got Rozay Monday leaving The London hotel in NYC, where our photog asked about how he felt about MEEK MILL still being LOCKED UP despite a RALLYING CRY FROM THE PUBLIC. Ross tells us it's BS, and that his label mate still has his support ... but then changed the subject.
The Boss calls out our guy for not having a clean shave -- but the good news is that he generously offers to hook him up with his own line of 'RICH' hair care products. Even better news ... Rick extends his offer to our boss, 'Hervis,' whom the rap mogul says has been looking stressed as of late. You don't gotta tell us, Renzel. Also ... do it!!!!
Posted by BWF on April 23, 2018 at 6:46pm in J Cole
The hip-hop pantheon is broad, however at its center, the diversion remains a government. The possibility of sovereignty has since quite a while ago penetrated the progressing account, definitely bringing forth wars of progression; the idea of competing for the crown isn't completely new to the normal hip-bounce audience. Consider Kendrick Lamar's currently scandalous "Control" verse, in which he singled out every single conceivable inquirer. It doesn't make a difference your identity. There must be one, and by Kendrick's own particular confirmation, the position of authority is involved.
Enter J. Cole. Popular assessment has named him one of the trifectas of current GOAT contenders, close by Drake and the previously mentioned Kendrick. Normally, such grandiose family would naturally put him in nearness to the crown. He would, all things considered, have an immense armed force of help backing his claim. However, the wonderful shutting words on J Cole's "Fire Squad" ring out. While he may connect to the crown, this is on the grounds that he tries to decimate it for the sake of solidarity.
To fortify the idea, hope to "Note To Self," the end track of 2014 Forest Hills Drive. In the midst of a profoundly individual monolog of sorts, Cole paused for a moment to address the presence of hip-hop "crown," and the negative confinements expedited by a government. "I'm sad I needed to come grab the crown right snappy," he says, tending to Drake, Kendrick, and Wale. "I needed to do it to demonstrate n****s it ain't no more motherfuckin' crowns man. We gotta be the case, we gotta demonstrate these n***s men, it's affection at the best."
Maybe that is the place his notoriety for being a considerate God originated from. To many, Cole has turned into a "surfer-Jesus" model, wandering the lanes, shoeless, doling out intelligence while control rises behind exhausted eyes. He's not here for the battle, however, he is capable at it. Actually, few can show improvement over Jermaine. Be that as it may, it goes past that; the regard is clear in his connection with fans, who relax in his essence with worship. Watch the recording underneath, which finds an elite horde respecting his triumphant come back with rambunctious acclaim.
This week, Cole set the world ablaze with the unexpected to uncover of his up and coming collection K.O.D. In addition to the fact that it would drop within seven days of the underlying declaration, however, it would be joined by a string of private, allowed to-go to listening sessions for the fans. What's more, lo-and-view, the subjects landed by the thousand. Whole New York City squares were loaded with excited Cole supporters, who transparently talked about the rapper and his discography with the measure of adoration saved for a generational ability. What's more, with an inventory bragging Born Sinner, 2014 Forest Hills Drive, and 4 Your Eyez Only is it reasonable for say that Cole has earned that status?
From numerous points of view, the unexpected show evoked pictures of what Beatlemania probably felt like, Which J. Cole appears to rise above mortality. Watching film of the show can feel grinding now and again, because of the sheer volume of energized yells and shouts. However, there's a persona encompassing Cole that appears inconsistent with his sheer omnipresence. You once in a while observe his name in the features; the man has devoted himself to the music and arrives absolutely without anyone else terms. The steadfastness he's earned from his fans is crazy. It resembles a clique following, yet exponentially bigger.
The individuals who announce J. Cole to be the GOAT do as such gladly, with a feeling of respect. He could take two or three years off, and the force will stay unaltered. For example, the reaction to his underlying K.O.D. declaration, which landed around the same time Drake uncovered his collection title and discharge month. In some ways, it felt as though Cole grabbed Drizzy's thunder, in this way cementing himself as one of only a handful couple of who can. Assume he and Drake were to have dropped around the same time - who gets the first hearing in?
Normally, Cole's persona has rendered him a lightning pole for feedback, especially from the individuals who feel put off by the possibility of "cognizant rap." To be reasonable, marking Cole as a "cognizant rapper" can in some cases feel like a misnomer; genuine, he addresses racial and social shameful acts, but on the other hand, he's been known to be unrefined and unpleasant around the edges. This is, all things considered, the man who once diverted Eminem-around 99, rapping "My verbal AK's kill faggots, and I don't intend no insolence at whatever point I say faggot, affirm faggot?" Hardly the ideal example for political-rightness that some of his spoilers paint him to be.
By one means or another, you have best in class, self-claimed "trolls" like Lil Pump and Smokepurpp saying "fuck J. Cole" in a confused endeavor at clout pursuing; recall this went down sometime before "Gucci Gang" at any point flew off. Similarly for No Jumper's Adam22, who put Cole on impact more than once, notwithstanding comparing his fans to Juggalos; that is, until the point when he really ran into him and continued to cleanse all hints of any Cole related antagonism. Truth be told, Adam appeared to have left the experience feeling really lowered. That is, fundamentally, the Cole impact. It's anything but difficult to overlook how monstrous his shadow truly is. Maybe that is precisely what he needs.
So what would we be able to anticipate from the looming arrival of K.O.D, or King Overdose cut Kill Our Demonz cut Kidz On Drugz? Early impressions appear to recommend vocal experimentation, "808s", and subjects going from weed to his mom, to charges. At the season of composing this, the collection cover has as of late been disclosed, uncovering a scary, stimulating fever dream. However, there stands Cole, eyes wicked, enhanced in the articles of clothing of sovereignty. One thing is sure. The crown, which Cole so gladly obliterated every one of those years prior, appears to have been reforged. What's more, think about where it's sitting.
Hip Hop fans have felt shafted by the Recording Academy for consistently snubbing Hip Hop artists from winning in major categories. It’s been 30 years since they began to allow space for rap at this award show, and the beginning of that added space was a struggle with a boycott by Hip Hop’s elite in 1989.
There has always been a question mark about why rappers aren’t placed among the likes of Bruno Mars, Adele, Michael Jackson and Carlos Santana, who have swept the awards for Album of the Year, Record of the Year and Song of the Year in past ceremonies. Despite Kanye West, Drake, JAY-Z, Kendrick Lamar, Dr. Dre and Eminem’s combined 78 Grammy wins, none of them have won the most coveted honors.
Additionally, it’s been 19 years since Lauryn Hill swept the Grammys with eight wins, including Album of the Year, for The Miseducation of Lauryn Hill. And the last time a rap album won Album of the Year was Outkast’s diamond-selling Speakerboxxx/The Love Below in 2004. It’s worth noting that the majority of TheMiseducation of Lauryn Hill and the second half of Outkast’s masterpiece LP consisted of R&B songs too.
So let’s just let’s concede, once and for all — the Grammys will never consistently honor authentic Hip Hop music in its top echelon of awards. If you are seeking validation as a fan by the Recording Academy to exalt your favorite Rap artists, you might as well say that Santa Claus is real with your fingers crossed.
With eight Grammy nominations, and the awards show being held in his hometown, many people anticipated that it would be a ceremonious Kingdom Come for JAY-Z. He got tons of advertising in TV commercials to promote the Grammys, ample airtime in his sit-down with CNN’s Van Jones to discuss politics (as usual) and sat in the front row with his Queen Bey and Blue Ivy looking as regal as they are at the show. Although Hov left Madison Square Garden empty-handed, just like his wife did in 2015 for her Album of the Year-nominated Beyonceand in 2017 with Lemonade, Kendrick Lamar fulfilled his self-dubbed “King of New York” title for the evening by sweeping the five awards in his “control” for his double-platinum classic DAMN., but came away empty-handed in the marquee categories.
It was a familiar scene for Lamar. In 2016, he led the pack with 11 nominations for his politically reflective To Pimp A Butterfly and only went home with four from the Rap categories,being bested by Taylor Swift’s 1989 for Album of the Year. The same happened to him in 2014 when good kid, m.A.A.d city was beat by Daft Punk’s retro-seventies funk album Random Access Memories. And on that same night, pop-friendly white privilege apologistMacklemore won for Best Rap Album with The Heist over Lamar, which Macklemore famously admitted he didn’t deserve it.
“Grammy night, damn right we got dressed up,” yet Kanye, Kendrick and JAY-Z have never won Album Of The Year or Song Of The Year.
This year, pop music giant Bruno Mars was stiff competition for JAY-Z, Lamar and Childish Gambino. Rooting against Bruno Mars was like rooting against the New England Patriots — you can look at the score and feel confident that your team’s percentage to take home the hardware has increased by the minute, but in the final seconds when it really counts, you end up in disbelief that your team didn’t nab the trophy.
With JAY-Z addressing race relations and black economic empowerment in “The Story of O.J.” on his magnum opus 4:44, Lamar’s soulful allegories on DAMN., Childish Gambino’s urgent hook to “stay woke” in “Redbone” and Logic’s poignant chart-topper “1-800-273-8255” about bullying and suicide losing to Mars, Hip Hop continued being left outside the door before the Grammy parties officially end.
History proves the Recording Academy can’t do right by Hip Hop and has continued to keep rap contained in its corner. There’s the glaring absence of A Tribe Called Quest from the nominations for their politically driven comeback album We Got It From Here…Thank You For Your Service. The iconic group closed the 2017 Grammy Awards, urging the audience to resist the oppression from Donald Trump. But not giving them even a single Grammy nod this year was quite remiss by the Recording Academy.
Similar to Q-Tip’s earnest question to 9th Wonder in his Instagram video about the ATCQ snubs, Hip Hop is stuck asking “what happened” by the end of the Grammys regarding the other artists. Pop singer Alessia Cara (even though she released her album Know-It-Allwaayyyy back in 2015) beat the favorites Lil Uzi Vert, SZA or Khalid despite their emergence outside of the Rap and R&B realms into the pop stratosphere in 2017.
After the 45 years that Hip Hop has been in existence, it remains the underdog at the Grammys looking for firsts. Hip Hop had a lot to ride high on going into this year’s Grammy showcase located in Hip Hop’s birthplace. But like Pavlov’s Experiment, the Recording Academy’s voting committee wags Hip Hop’s collective tail when they ring the bell every year with a myriad of nominations of Rap artists. But, once again, Hip Hop’s collective conscience received a Dave Chappelle-style “SIIIIKE!” from the Recording Academy for the most prestigious categories.
The Grammy Awards is where the old guard of the music business comes together with contemporaries. Unlike the shortage of female representation in the major categories, which longtime Recording Academy president Neil Portnow addressed and later apologized for his tone deaf statement about women needing to “step up,” he didn’t feel the need to explain the Hip Hop snubs for the Grammy’s most prestigious categories.
It seems that nominations are equated as a mere stamp of approval by the Recording Academy, but that’s not enough, and it never will be. As Chappelle stated during Lamar and U2’s performance to open the show, “the only thing more frightening than watching a black man be honest in America is being an honest black man in America” and the Academy seems afraid.
It’s hard to overlook the lack of awards given to Kanye’s paradigm-shifting albums, such as My Beautiful Dark Twisted Fantasy, or in 2000 when Dr. Dre got Producer of the Year honors but didn’t get a nod for star-studded Chronic 2001. How about 50 Cent not getting a Grammy for “In Da Club” or losing in 2004 to goth rock short timers Evanescence? There must be a double standard when it comes to Hip Hop artists versus traditional pop artists.
Marty Grimes should definitely be on your radar if you’re even minutely in tune with the pulse of the music industry. A budding talent coming from Berkeley, CA and an evolving prominent artist in the Bay Area’s rap scene. Influenced by his Northern California roots, Marty’s music embodies the lifestyle, slang and strut that the area is known for and that bred him. In addition Marty has released several introspective records revealing the details of his journey and ascension.
Marty has achieved many feats since the launch of his professional career including the release of two albums Co-Executive Produced by longtime friend, & producer Kevin “KDE” Beggs to bring “Through the Smoke” and “Nobody Said It Was Easy” 2014 & 2015 respectively. Marty has been featured on music’s premier online and print publications including, Billboard, Revolt TV, VIBE Magazine, The Daily Loud, Sway’s Universe and many more. In addition to achieving over 20 million total plays on SoundCloud; Marty has become accustomed to touring the road with his childhood best friend G-Eazy over the past six years gaining indispensable experience over that time period. Marty Grimes is focused on further expounding upon his brand and making unique music for his fans and supporters.
Marty Grimes is on fire right now and the music industry has their ears wide open. Not only did this guy drop a crazy dope video for "Sike" featuring G-Eazy and P-Lo, he has also released the dates for "The Cold Pizza Tour" which starts in the beginning of February. The tour features Daghe and a host of other supporting acts. Check out the video and the tour dates below.
fter JAY-Z referred to Donald Trump as a “superbug” during the premiere of CNN’s The Van Jones Show on Saturday (January 27), the current POTUS fired back. On Sunday (January 28), Trump headed to his favorite mode of communication — Twitter — to respond to the Hip Hop giant and patted himself on the back for a decline in the African-American unemployment rate.
Somebody please inform Jay-Z that because of my policies, Black Unemployment has just been reported to be at the LOWEST RATE EVER RECORDED!
Trump’s retort was specifically aimed at Hov’s answer to Van Jones’ question about whether it’s acceptable for Trump “to say terrible things but put money in our pockets” amid Trump’s assertion that unemployment for African-Americans has dropped.
The 4:44 mastermind refuted that claim “because it’s not about money at the end of the day. Money doesn’t equate to happiness. It doesn’t. That’s missing the whole point.”
He added, “You treat people like human beings. That’s the main point. It goes back to the whole thing — ‘treat me really bad and pay me well.’ It’s not going to lead to happiness, it’s going to lead to, again, the same thing. Everyone’s going to be sick.”
As reported by CNN, there’s been a slight improvement. In 1990, only 11.3 percent of African-Americans had four-year college degrees, compared to 22 percent for whites, according to Census data. In 2017, those numbers had risen to 24 percent and 34.5 percent.
Hov was the first guest on The Van Jones Show and during the conversation, he opened up about his marriage to Beyoncé, the #MeToo movement and his critically acclaimed album, 4:44.
(The original version was published on January 27, 2018 and can be found below.)
JAY-Z already confessed his extramarital affair on his 14th studio album, 4:44.On the title track, he issued an apology to his wife Beyoncé and seemed genuinely haunted by his indiscretions.
“I apologize often womanize/ Took for my child to be born/ See through a woman’s eyes/ Took for these natural twins to believe in miracles/ Took me too long for this song/ I don’t deserve you,” he rapped. Now, as the first guest on The Van Jones Show on CNN, Hov explains in further detail why he decided to fight for his marriage.
“[She’s] my soul mate, the person I love,” he said. “For us, we chose to fight for our love. For our family. To give our kids a different outcome. To break that cycle for black men and women.”
He added, “We were never a celebrity couple — we were a couple that happened to be celebrities. We are real people.”
Elsewhere in the interview, the Hip Hop mogul touched on several politically charged topics, including the #MeToo movement. He believes it’s comparable to civil rights struggles.
“What we’re finding out?,” he asked. “It’s like racism — it existed the whole time. It’s almost like we normalized it. It’s the normalization of the things we do to survive. “I believe everything happens for a reason. Everything is a learning experience — the good, bad and the ugly. You know, this had to happen … What’s the alternative? You have to survive in America … things needed to be uncovered for the world to correct itself. … This had to happen for the world to purge itself.”
Although the full interview isn’t available (yet), watch a clip above where JAY-Z opens up about his firstborn daughter Blue Ivy, Trump’s “shithole”comment and the aforementioned #MeToo movement.