Antonio Mcilwaine and Sean Henry are back at it again with another art show in Philadelphia. This time, it will be better then the last time. NEW artwork, New artists, this show will be DOPE. Definitely don't wanna miss out on this. Hope to see you guys there. Please come out and support the arts!
Due to the success of the first "You know my Steez" Antonio Mcilwaine and Sean Henry decided to create a follow up with all NEW unseen artwork. The show will feature special musical performances by Anessa Lerae, Bey, Bull Dre, Melfly, and Selina Carrera. Stephanie Dawkins will be the host of the night, and Leon Barton will be the DJing the event. There will be 1.00 raffle tickets to win free artwork and special prizes throughout the night.
There will be a 10.00 Admission fee, which includes unlimited drinks and food throughout the show. Come out and Support the arts!
A contract with your producer is an important part of the recording process. Music producer contracts protect everyone involved in the recording by explicitly detailing duties and compensation. Many times, up and coming musicians are tempted to sign a production contract that they don't understand just to get a big name producer on board. Bad move. Production contracts are famous for being one of those little things that sneak up and bite you when your career takes off. Before you sign a contract with a producer, make sure you understand it. This guide will help both musicians AND producers figure out a fair deal.
Learn the Lingo Before you jump into the world of record producer contracts, there's some vocab you'll need to know. Check out these glossary definitions before going any further.
•All In Deal •Record One Royalties •Points
Know the Job Description Some producers are VERY hands on, and others, well, aren't. What kind of producer do you want on the job? The production contract should specify exactly what is expected of the producer. Will they be arranging songs? Creating beats? Or, do you want a producer to basically make sure the songs are being properly recorded and stay out of the creative stuff? The nature of your relationship with the producer should be decided up front, and it should be spelled out in the contract.
Pick Your Points - Part One Points are a producer's bread and butter. Each point represents a percentage of income from record sales that a producer will receive. The number of points a producer gets is commensurate with their experience and track record. Some big name producers get 5+ points on an album while a producer trying to get started in the biz may work for no points at all. When it comes to points, not only do you have to decide how many the producer will get, but you need to decide if these will be record one royalties and if the points will increase if the album passes pre-established sales goals.
Pick Your Points - Part Two When you settle in on the points to be awarded to a producer, you also need to figure out if the points will be payable on retail price or dealer price and if the producer will be subject to the same manufacturing "charge" by the label that you as the artist pays.
Producer Advance Your contract should state whether or not the producer will be paid an advance for their work. A producer advance is common, but if you are working with an up and coming producer rather than an established one, you may be able to work out a deal that does not include an advance.
Mixing Rights Some production contracts include a clause that gives a producer first refusal on remixes of a project. If this clause is in place, it means that if you are unhappy with the final product and want to take it to someone else to mix it, you may have to allow this producer to try and make some changes first. This clause is not ideal for you as a musician - try to negotiate it away.
Who is Paying for All This Anyway?
Your contract needs to state who is responsible for paying the producer. Is it you, or do you have a record label footing the bill? If a third party is paying the bill, a producer will want some kind of written clarification of who will be responsible for settling up if the project goes over budget. If you have an all in deal, that could be you, the musician. The ideal set up is for you to take the hit for budget overages that you cause and the producer to take on the overages that they cause. You Don't Own Me A few misplaced words could give your producer a piece of the ownership of the finished product. Avoid this conflict by stating clearly that any finished recordings and masters are owned exclusively by you.
Quotes like: "The point is that it is irrational to assume an absolute truth. If there is any absolute truth, humanity is incapable of comprehending it, or knowing certainly that it is in fact the truth", and "the value of nothing. Out of every nothing, comes something" are now words that will forever be etched in my mind after listening to Amy Tan's Lecture on the Creative Process on www.ted.com, a website based off of ideas and concepts worth spreading, with a new video lecture, discussions, and post weekly.
Within a post filmed April of 2008, Novelist Amy Tan dug deep into the creative process, looking for hints of how hers evolved, and even sparked the subconscious mind of others to deeply define their creative process for themselves.
According to Tan, for us to embrace and fully conceptually understand the creative process, we first must be willing to accept that scientifically that their are chromosomes in the brain which triggers our mind to shift, and the other half is through divine intervention that is channeled through us in form of divine intuition and spiritual enlightenment, and a small portion from references and lessons learned from past lives.
Oddly enough, Tan also goes on to say that creativity can be traced to a wrongful birth principle. Simply put, you are creative due to the fact that you were not born who you thought you would be, and those creative energies are what pushes you to who you really are. Deep.
Tan's past played a huge factor to her creative process- both her father and brother passed away from being diagnosed with brain tumors just six months apart. From this, Tan was able to explain to the audience that when faced with trauma, and when faced with the notion of death, you become creative and optimistic naturally, in a survival sense.
In addition, it does not matter what your original interest are to be a creative being. All creative beings are multi-dimensional and able to filter and find their own interpretation of truth and understanding. Tan states that sometimes the answer to which you are looking for, is not the one that is factually searched by the basic observation of anything.
According to Amy Tan, most of the learning and creative process starts as a ambiguous thought, and the response being our true intent. Sometimes our true intent to do something does not match what we have planned or hoped for, but something far more creative is what comes from it. As i take a more defined look, this happens all the time within my industry or Music and Entertainment.
Finalizing her thoughts on creativity, Amy Tan states that, "Imagination is the closest thing to compassion." This is so true to me . And another word for compassion is "empathy". Imagination puts you into a story teller's own situation and allows you to sincerely feel how the person feels. That's an essential step for understanding and for being an effective listener. Also I understand why Amy talks about this, because "empathy" is an important step to creativity. My logic is: only when you truthfully put yourself into people's shoes that you get to feel the inner world and need of others, which becomes your inspiration to create. After all, creativity is, to some point, about problem solving, in my point of view.
I hope Amy Tan's " Creativity" lecture on Ted.com becomes a instrument to shift your way of thinking into having a more profound creative approach to rationalizing all that is in your reality, and all that you have aspirations to due. For me, it may very well become another insightful factor to my everyday way of life.
One of the most important things to take into consideration when you are a producer trying to take your beats to the next level, is not even the quality of the beats, but the individuals around you that can help you market them. Simply put, you will just be a marginal, subpar producer with a boatload of unheard tracks without the right representation.
Representation, such as a manager or a lawyer, is an essential asset to any recording artist trying to succeed in the music industry. But for hip hop beatmakers/producers, representation takes on a wholenew meaning. For one thing, the role of a hip hop-rap beatmaker/producer is different than that of atypical recording artist. Hip hop-rap beatmakers/producers provide beats for other recording artiststo write and perform to. Moreover, unlike other recording artists, who sell their persona and imageto the public just as much as they do their music, beatmakers/producers sell their music to otherrecording artists, and they usually do not have to worry about their persona or image being in the public eye. Instead, their primary concern is pairing their beats with recording artists who need newmusic. Thus this precarious music-matching process is one reason why beatmakers/producers need to have representation. They must have someone who can flush out opportunities for music placements; they need someone who can find recording artists and other comparable parties who are seeking new beats.
The other reason why a beatmaker/producer needs a representative, especially early on in their career, deals with the compositional method of hip hop-rap beatmaking/production itself. Hip hop beatmaking/production is a very meticulous and often arduous craft that is usually orchestrated in a solitary environment. It is this solitary dimension to beatmaking/production that prompts the need for representation. Beatmakers/producers need a representative, someone to pitch and/or broker the sale of their beats. So just as with the music-matching process of the beat-selling world, here, it’s easy to see why a representative—or better yet a “beat broker”—is absolutely critical to the chances of beatmaker/producer landing the much sought after placement on a commercial release.
Representation is varied, but the three kinds of representatives that hip hop-rap beatmakers/ producers should look for are:
Beat brokers
Managers
Lawyers
Beat Brokers: A beat broker is someone who simply shops (promotes) the beats of a beatmaker/producer. A beat broker can be a friend, a music insider, or anyone that has access to a network of recording artists,in particular, recording artists who are likely to be in the market for new music material. A beat broker’s only responsibility is to shop the beats of the beatmaker/producer that they represent.They need not be skilled in negotiating the terms and sale of the beats that they’re shopping. (An entertainment lawyer privy to beat/instrumental placements can handle that). Because of this limited (but critical) scope, an agreement between a beat broker and beatmaker/producer can be rather simple, straightforward, and short in duration. In fact, a beat broker can be commissioned for a 10% finder’s fee, worked out over a per beat or per situation agreement.
Producer Managers: A producer manager is perhaps the most ubiquitous (and undefined) kind of representative that a beatmaker/producer can have. Normally, a manager is someone who manages the entire career of a client. But as noted earlier, a beatmaker’s/producer’s career is based primarily on their ability to sell beats; beatmakers/producers are not expected to perform, make public appearances, and/or maintain a public image. And thus a producer manager’s responsibilities can fall anywhere from simply shopping beats to negotiating the terms of beat sales, to arranging pivotal meetings with prospective beat buyers, to setting up beat showcase meetings with key decision makers at record labels. But because of the scope of a manager’s role, it is likely that a beatmaker/producer will have to enter into a more lengthy and more detailed agreement than they would with a beat broker. A typical producer’s management agreement will stipulate that a manager receives 15-20% of all music-related revenue that a beatmaker/producer earns. It also maintains the representation usually for 2-4 years.
Entertainment Lawyers: The role that a lawyer usually plays in the career of a beatmaker/producer is very different from both that of a manager and beat broker. Shopping the beats of a beatmaker/producer is not the primary role of a lawyer; though in some limited cases, lawyers do indeed pass on the music of their clients. (This practice is much more common and accepted in other pop music genres). Lawyers are mostly responsible for drafting or reviewing the legal agreements that their clients enter. It is in this capacity that lawyers can ultimately be more important than beat brokers and managers.
So What Kind of Representation is Right for You?: Though the kind of representation that you choose depends on your individual situation, I contend that most beatmakers/producers only need a lawyer, and at times a beat broker, but NOT a producer manager. Beatmakers/producers are already self-contained and usually very organized. We are not like other recording artists; that is, our careers depend primarily on servicing the musical needs of other recording artists rather than performing ourselves. Furthermore, given the nature of the general openness of the beat shopping process itself, it’s not terribly important who gets your beats into the hands of decision makers. In fact, increasingly, recording artists are accepting beat/instrumental submissions through other outlets, namely email, social networking sites, and national contests.
Moreover, it’s important to keep in mind that once you sign with a producer manager, they are entitled to a 20% cut of all the music-related revenue you earn. And typically, the representation period will last for two years or more. All this for essentially doing exactly what a beat broker could do for a much cheaper rate and a less restrictive representation period? That being said however, I think that as your career grows, and as you become a more sizeable figure in the recording industry, then it may indeed be not only advantageous but necessary for you to get a manager, mainly because you will be eligible for opportunities outside of selling beats to other recording artists.
But in regards to just starting out, well, the decision to get a manager can go both ways. Here, it’s important to point out that hip hop-rap beatmaking/production is a relatively new and rather unique phenomenon in the recording industry. And as such, many recording artists are still trying to navigate their way through the current model of obtaining beats. Moreover, because of the aforementioned solitary factor of the hip hop-rap beatmaking/production craft itself, beatmakers/producers do not typically need the guidance of a producer manager. Though a producer manager can help a beatmaker/producer gain exposure early on, it’s important to remember that once a beatmaker/producer is established on any significant level, the task of successfully shopping their beats themselves actually becomes rather easy. In fact, should you reach a point of acclaim, people interested in your brand of beats will often reach out to you. So if you’re a beatmaker/producer just starting out, the question of whether or not to go with a producer manager is really a question of exposure. If you feel that the exposure a producer manger can get you is above and beyond what a beat broker can provide, then getting a producer manager might be the way to go. Just make sure that the producer manager’s responsibilities and obligations are well-defined in writing. It’s also a good idea to include benchmarks (set goals) within the language of any agreement that you enter into with a producer manager. But before you actually commit to an agreement with a producer manager, remember this: savvy beat brokers are more likely to go to better industry parties than producer managers.
Within my career within the entertainment industry, and as well as with my personal ambitions, one question always is posed and that is how do I strategically market my music as an independent artist the proper way. Well, thanks to some of the industries most insightful individuals have met at the California Music Industry Summit , this past weekend at the Marriott Hotel in Oakland, California. According to sources at All Hip Hop Dot Com that attended, One of the standout panels featured experienced music marketers sharing knowledge of a crowd of indie artist an eager future entrepreneurs and here are some of their key points:
Michael Fiebach of Fame House asserts that while one doesn’t necessarily have to be a fan of their client’s music, it’s hugely important for marketers to understand what their artists stand for and what their music represents in order to understand their audience. In addition, Steffen Franzof Independent Distribution Collective suggested that bands need to think regionally and conquer their own domain first.
Simply put, small success is real success, and once you begin making even just small amounts of money from your music, you'll be more inclined to invest in your art and your business. He goes on to mention that the more niche the music is, the better. As a marketer, the key is to take whatever you know will stand out and make that the focal point of what you’re selling.
Hannah Wagner of ConsuMusic mentions that many artists assume that the personal branding process merely includes artist logos, the website, or CD covers. To be truthful, it’s how they interact with people; the emotions, qualities, and thoughts that are associated with them. That is far more reflective of their brand than anything else.She believes the biggest challenge in working with independent artists is that they tend to lack structure.
Another focus point is that the marketers and publicist need to openly receive feedback from the artist in regards to the campaign to which is being marketed.
Michael Brandvoldof Michael Brandvold Marketing agrees that the artist needs to be involved in the marketing process. He finds that the most fulfilling artists are the ones who desire to be involved with him as a marketer.
Hannah Wagner cleverly analogized marketing to dating strategies.
"The mindsets are similar (marketing and dating),” she said. “You don’t just ask someone for their number right away, do you? You treat it with a little more tact than that. When communicating with your audience, 80% of what you’re talking about should be about you as a real person and 20% should be about selling.“
The Point Is...
We’re ALL marketers - artists and business personnel alike. If an artist gets to the point where they feel the aid of outsourced and professional music marketing services are necessary to grow their businesses, they still can't afford to sit back and not take part in marketing.
In other words, artists today need to come to terms with the fact that they're salespeople as well.
In essence, you're selling yourself to your fans and the music acts as the medium in which you reach and engage with them at the most intimate of levels. Make sure that's on point first before even thinking about any marketing details. Otherwise, you'll be lost in a sea of mediocrity that exists in today's heavily saturated music space.
One of my good friends, Jacob Terry, (Jake Crates), that is a contributing writer from All Hip Hop Dot Com, currently the worlds # 1 Hip-Hop Related News website recently tipped me on an ongoing conversation that has been generating, not only within the company, but within the industry and that is a prevalent trend for aspiring artist and future executives. That trend is using social medias as platforms to market your music.
Breaking into the music industry has changed, with artists no longer relying on old-school tactics to try and land a record deal. Technology has disrupted the music biz like bands creating location aware based albums. Here’s how social media can be used to try and make that break into the music industry:
Consider which social networking sites to use
MySpace used to be the social networking site of choice for aspiring artists. The once popular site has been attributed to launching the careers of Lily Allen and Soulja Boy, as well as boosting sales of already established artists. But, MySpace dropped 10 million unique visitors at the start of 2011, bringing users down to 63 million compared to Facebook’s 500 million users.
Lady Gaga has over 31 million likes on Facebook, yet only 1.5 million “friends” on her MySpace profile. MySpace is clearly no longer the most appropriate tool for aspiring artists trying to break into the music industry though it won’t necessarily hurt you if you do create a profile. Lady Gaga does cross over content on the various social networking sites she uses, but it’s clear that nowadays Facebook is the music platform of choice for artists.
“We encourage every artist to have accounts on the likes of Facebook and Twitter,” says Naoise Ryan of Universal Music Group. “It’s really important that they are accessible, plus it allows them to be closer to their fans and interact in ways that can benefit both parties. Nothing positive can come from ignoring fans in today’s music scene.”
Depending on your genre of music, you might find that using specialist sites like ReverbNation or Bandcamp that fit the image of your band more than a mainstream Facebook or Twitter approach. But, considering it’s a numbers game and the more track listens or video views you land equates to a perceived popularity, you’d be silly to ignore Facebook.
Create your online presence
BandPage, from RootMusic, is definitely the must-have Facebook app to use if you want to be taken seriously in the music industry. BandPage is being used by big names in the industry such as Snoop Dogg, Rihanna and Band of Horses, and they offer BandPage Basic is free, so you don’t have to worry about escalating costs, though BandPage Plus is a reasonable $1.99 a month.
BandPage creates a Facebook Page where artists can upload not only information, but also add tracks (with the option for fans to listen, download and buy) and add gig listings; furthermore tickets can be bought through Facebook. The app lets you pull in your Twitter feed, as well as YouTube videos, making it the easiest way for your fans to get what they need in one place. Using Facebook means that your fans can also share your content with friends, spreading word of mouth about you, and helping to increase your chance of breaking into the music industry.
Share and engage
Uploading tracks for your fans to listen to not only helps you gain exposure but it means that fans are more willing to take a chance on an unknown’s music because they can effectively “try before they buy”. It also makes the fans’ experience seem more personal as it feels through messages and videos posted up that you are talking directly to the fan. You may feel that you are losing out by letting your fans listen to your music for free, but you have to think of the long-term plan over short-term gain. Not everyone will luck out and be the next YouTube discovered Justin Bieber or, indeed, Rebecca Black.
Get competitive
Keep an eye out for competitions that will bring about exposure for your band. There are brands out there that recognise that there’s a lot of emerging talent in the social media sphere and encourage it to be shared. Lyle & Scott, for example, launched “Curated by Lyle & Scott” to showcase new talent, giving up and coming bands the chance to win a slot to play at gigs via a fan-influenced competition run on Facebook. Ice Black Birds, one of the bands to win a slot through Facebook, has been thrilled with their success and believe it was social media that also helped them to land a gig at this year’s SXSW conference.
“Social networks are a huge platform for artists nowadays, especially if you are unsigned and doing everything yourself. As a band we rely heavily on our Facebook page and Twitter to alert people of our goings on, releases, gigs etc. It also allows people from all over the globe to connect with us and listen to our music.”
Ask for crowdfunding
Kickstarter is the largest funded platform for creative projects in the world, and this can include artists trying to snag money to try and make it big. Kickstarter is an all-or-nothing venture, so if people don’t pledge what you’ve asked for, you get nothing. But, come up with a convincing enough argument like Bess Rodgers did and you could walk away with enough money to mix, master, press and promote your new record without spending a dime of your own money. RocketHub is another crowdfunding site that supports creative projects. If you can’t afford to go it alone, there are people out there will donate you money if your talent is convincing enough!
Keep an eye out on the scene
Social media rapidly changes and your tactics one month may be completely wrong three months down the line. You may just want to make music, but there’s more than just talent required to be successful in the music industry. Whereas you’re not expected to be the next Richard Branson, having some business sense and keeping an eye on both the music scene and the social media scene means you’ll be well placed to succeed.
Here are ten top tips on how to break into the music industry using social media:
Research what sites you want to use based on your music style, fan base and goals. See a solid run down of available sites here.
Create your Facebook page, Twitter account, YouTube channel and, if you see fit, a MySpace page – whatever sites you think will be most engaging with your fans.
Devise a strategy for your social media presence and stick to it. You may be on tour playing gigs, but with smartphones there’s no excuse for not interacting with your fans.
Write blog posts, upload videos and share exclusive content with those fans who like your page. These are great ways to keep fans engaged and interested in your music.
Keep an eye out for competitions that will gain you exposure and therefore more fans.
Fans also like competitions – run competitions of your own offering out signed photos or CDs.
Don’t become too big for your boots – so you’ve got some fans and things are going well, but that doesn’t mean you can stop posting and engaging. Content is key. Sure, you’re not expected to release a new song every day, but sharing an anecdote or link you like will stop your fans from unfollowing you.
It’s not just sharing, you also need to interact. It may not be possible to reply to every fan, but replying to some is better than none, as is posting out general shout-outs to all of your fans.
Build up ties with other emerging artists. Recommending someone else’s music won’t lose your fans – it can only gain you both fans if other bands recommend you. Make the most of networking!
When you do make it, it doesn’t mean you can stop using social media. Remember, nothing positive will come out of ignoring your fans, whether you have ten fans or ten million.
Okay so most of you already know that I am a hip-hop music junkie, and that I absolutely love it. Here lately, I been doing some following not only of some of the things going on in the mainstream world, listening and copping great CD's. In addition, here are some of the CD's that you should add to your I-Pod list, and some of the things you should know is happening with your favorite Musical Celebrities.
News: Nappy Roots & Organized Noize Team Up For New Album
Grammy Award nominated rap group Nappy Roots, the five-man hip hop collective responsible for the multi-platinum smash Watermelon, Chicken & Gritz, is currently at Dungeon East Studios working with the impressive Organized Noize production team on a new CD that will be released on a joint venture with AVJ Records.
Organized Noize is the Atlanta based multi-platinum-selling award-winning trio of Rico Wade, Ray Murray and Sleepy Brown that helped to shape Southern Hip Hop with OutKast’s ground breaking Southernplayalisticadillacmuzik album. “We’ve been credited with creating the “Sound of the South,” and Nappy Roots is considered the “Conscience of the South,” so it’s great that Nappy wanted to work with us,” says Rico Wade of the Noize team. “People are going to be impressed by this album.”
The Nappy Roots project marks the first time the trio has worked on an entire album in quite some time. Nappy Roots rapper Skinny DeVille speaks on the excitement. “It’s an honor to be working with legends like Organized Noize. Nappy Roots is a family and Organized Noize is like our older cousins that we haven’t seen in a while, so the [sessions are] like a family reunion. We stayed true to ourselves, but Organized Noize has pushed our limits and taken the music to the next level.”
The new album will be the first Nappy Roots project on AVJ Records, an urban imprint run by Jason “Boogie” Brown and Shannon Houchins of Average Joe Entertainment (Colt Ford, Montgomery Gentry, Corey Smith). Shannon Houchins states, “We’re happy to be partnering up with Nappy Roots on the next stage of their career. They are an important part of Hip Hop history and we are honored to continue their legacy.”
NEWS:
Billboard Music Awards Air Live On ABC, May 22nd
The 2011 Billboard Music Awards Airs Live on ABC at 8PM, and amongst the artist looking to capture the Billboard Music Artist of The Year award are Eminem, Rhianna, Drake, Nicki Minaj, Lady Gaga, Justin Beiber, Taylor Swift, and Lady Antebellem. Amongst the Top Billboard Newcomer Charts are Nicki Minaj, Adele, Bruno Mars, Taio Cruz, and Ke$ha. It will be an interesting one to see who comes home with the hardware.
News:
Nas and Prodigy of Mobb Deep Make Up After Accusations in Prodigy's New Book
Photo: MTV News
The relationship between Queens rappers Prodigy and Nas has had its fair share of ups and downs. There have been collaborations and dis records over the years, and in the new book "My Infamous Life," Mobb Deep's Prodigy touched on his relationship with God's Son, starting with the first time they met during a battle in New York's Queensbridge housing project.
In a recent interview, Prodigy told MTV, how he called Nas to make peace after he was released from his jail term this past March.
During an exclusive sit-down with Sway of MTV, the Illmatic rapper spoke about P's call. "He called me as soon as he got out of jail; he got in touch with me. We talked about some things," Nas said. "I didn't know he had a book. He didn't tell me that. I guess he just wanted to clear the air on some past things that don't mean anything today."
After patching things up, Nas agreed to collaborate with Prodigy on the Mobb Deep record "Dog Sh--," which was leaked onto the Internet in April. "I just jumped on the record; put that to the past or whatever ill feelings he had towards me," Nas told Sway. "I think he was misinformed about things, like I was a negative guy or like I was trying to harm him in any kind of way. I think maybe he just grew up a little bit."
Prodigy was proud to continue the Nas/ Mobb Deep legacy. "When we make songs together, man, it's another level, it's incredible music. It just gives you that feeling, like nostalgia almost," Prodigy said of the Mobb and Nas' past collaborations. "The music is just real powerful when Mobb Deep and Nas work together. So I said, 'We gotta keep that feeling going, man. We would be fools to stop doing that because of whatever petty bullsh-- that was going on.' "
With "Dog Sh--" in the can, Nas wasn't sure if and when any more Mobb Deep collaborations would surface. "At the moment, I just got back into the studio, and my focus right now has been just starting to work on the album, so who knows?" he said.
As far as Prodigy's book, Esco didn't even know it existed, though he is mentioned in it quite a bit. While Prodigy insists that all of his accounts of Nas were in a positive light, the QB MC doesn't seemed bothered either way and gave general advice for any would-be authors. "Tell the truth if you're gonna write a book. Tell the truth to the best of your ability, that's all I would say to anybody. Just tell the truth," he said.
News: Lil Wayne "Unplugged" Perfomance Unveils Alot About The Carter 4's Direction, Performs New Songs
According to MTV News Online, Lil Wayne had run through a string of hits during the taping of his “MTV Unplugged” special Thursday night before he took on a rather serious tone.
“A few months ago I was in a dark place that I don't like to really shed light on,” he said referring to his time behind bars last year. “Everyone always asks, 'How was it?' I figured I'd find a way to answer that question.”
The rapper then launched into a cover of 2Pac’s "Hail Mary" –- the last single from his final studio album, “The Don Killuminati: The 7 Day Theory.”
Wayne was incarcerated for attempted gun possession, from a 2007 arrest following a Manhattan concert.
During his time behind bars -- which included a month of solitary confinement as punishment for possessing "music contraband" (headphones and a charger for an MP3 player) -- he released his last disc, “I Am Not a Human Being," and it debuted at No. 2 according to the Billboard 200 chart, with 110,000 downloads in its first week.
With lyrics like “penitentiaries is packed with promise makers … institutionalized I lived my life a product made to crumble,” Wayne said he dug around for the perfect song to describe how he felt during the eight months he spent at Rikers Island.
He’s aware going forward that people are going to continue to ask, and he said he'll do more than offer the 2Pac classic -- he previously spoke about his experiences for Rolling Stone's February issue.
“I think I’m going to have to open up more because of this social world we live in now,” he said backstage after the taping. “People are going to think I’m an alien if I don’t say anything about it. You know this world we live in now you can find out anything about everybody.”
During the concert he also treated the hundreds of fans who packed a soundstage at Sony Studios to a track off his highly anticipated disc, “Tha Carter IV,” with a performance of “Nightmares of the Bottom,” where he reflected on his troubles -- with a bit of humor.
He’s tight-lipped about the disc, which was pushed back to a June 21 release, but did offer a cryptic teaser when asked about it.
“Just know that I have a pleasant surprise. A very pleasant surprise for this album when it comes out,” he said. “I’m only doing this for the fans. Which I do every … thing for.”
Wayne joins a small roster of hip-hop acts to have gotten the “Unplugged” treatment, including LL Cool J, Jay-Z, Lauryn Hill and B.o.B.
There is no set date to when “MTV2 Presents: Lil Wayne Unplugged” will premiere.
Album Reviews:
I know usually I am on my Hip-Hop tip, but this time I thought I'd cover what is in rotation when I am chilling doing some relaxing or occupying the time of a lady. These Albums are definitely mood setters. Fellas, Take notes.
Marsha Ambrosius: Late Nights and Early Mornings
A woman’s heart is a bevy of different things: emotions, stories, regret, truth, lies, secrets, and love. It’s her nucleus and defining fiber. And since it is so valuable, it is somewhat of a secret society because you never truly leave. You uncover all kinds of treasures that are an abyss of unknowns and only available to a small few while women like Marsha Ambrosius have the world examining her central point. But Marsha and her heart are no strangers to most as we knew them both as half of the astonishing group Floetry. And even though it was a great introduction, we have surpassed membership selection and moved on to the divulging of information with Late Nights & Early Mornings.
The album opens with a sultry intro entitled “Anticipation.” The lightening and rain set the mood over a lush piano that blends exquisitely with Marsha’s succulent voice. Her vocal sense of urgency captures the tone of a woman craving love. Immediately after her plea, her desire intensifies and she gives us a step by step of her journey to satisfy her love below on “With You” (co-written with Alicia Keys). This illustrious track is what Marsha’s fans expect from her—an experience in song that places you in your own unique moment while sharing a striking resemblance to hers.
On “Far Away,” produced by Just Blaze, Marsha delivers the most poignant song of her career. Inspired by true events, this track has an anti-bullying message while telling the tale of a friend who commits suicide and the aftermath of that loss. Marsha’s vulnerability and sorrow throughout this song is uncanny and has the potential to force one to revisit their own personal loss of a loved one.
Overall, I-Tunes rating census gave it 5 stars, and in my opinion, it is an excellent pick up. Something to mellow out with and get you intune with a woman's emotions and thought process.
Review:
Musiq Soulchild- MusiqIntheMagic
Musiq's Highly Anticipated album " MusiqintheMagic" is one of the most profound bodies of work that Musiq has created thus far, easily capturing the essence of emotions, dilemmas, and any thought a man could ever conceive to tell his lady. Alot of times, just listening to this CD, it was almost like I was within a parallel scenario of some my own personal experiences, and Musiq was speaking artistically for me.
On " Medicine" Musiq sings of having the right remedies to change the way a woman feels inside, and how being with him will be good for her; soulful, yet simple. Basic instructions on exactly what he would do step by step and how he relates to her needs. LISTEN BELOW:
For all the men out there trying to save or rekindle the love, he wrote a song entitled, "BackToWhere", that confesses to a woman that he is willing to go back to where he was in love with his last love, because He can't stand being without her. LISTEN BELOW:
Lastly, one of my favorite songs on the album is "LoveContract", which pays homage to the 60's style soul music of Greats like Frankie Lyman, Stevie Wonder, Charlie Parker, and so on, adding a modern, yet classic twist to the song. Smooth and Timeless, and great song to vibe or listen to for any generation of love. LISTEN BELOW:
Overall, Its a timeless, well produced album that is a must have for any R&B, and Neo-Soul lover; Because it could put the love back in you. Now that you got to great CD's that tell both sides of the love spectrum, male and female, listen and love your other half as much as you will spending time occupying each others time while some of this is playing in the background. You can thank me later.
