Rapper and producer Chris Fields has released his brand new full-length, Dreams Are Forever, a 12-track tour-de-force that follows a series of singles released over the last year or so. While those singles were initially expected to be part of the final album, Fields output since he started recording near the end of 2014 has been such that Dreams Are Forever is primarily fresh material. “Crown,” which we wrote about when it dropped back in September 2015, is the familiar track, and still dominates with its confidence and snaking melodies. Fields contrasts a track like that one, which he characterizes as full of bravado, with others that allow more vulnerability, like “Visionary,” “Therapy,” and the title track. He sees this as part of the natural progression into adulthood, and as an artist, he says, “I’m just really letting people into my mind – what I think of and go through as a man.” Dreams Are Forever is a record of that progression.
No tour dates have been announced yet, but you can listen to the full album below. Follow @.
It’s been about a year and a half since we heard new music from Jae Apollo, but he’s finally back with a new single. It’s a tour-de-force, eight and a half minute track called “Last Run,” and the Brooklyn rapper is calling it his most personal work to date, helping to explain his recent absence from the scene. There’s a lot to unpack here, but it sounds like some different matters all caught up with him at once, and a bit of pain held him back for a while. The loss of a friend, of a relationship, the struggles of an artist, and clearly conflicting emotions about it are opened up here. The run is the metaphor, and having been dragged down, he’s giving it everything for what feels like it could be a last chance to break free: “I’ll run until my last breath or feel my ankles breaking…somehow I just won’t quit, I been through too much shit.” Follow @JaeApollo on Twitter.
For years now, Freeway Rick Ross, the real life drug dealer upon whom rapper Rick Ross bases his stage persona and kingpin image, has been trying to nail Ross (the latter) for making millions by selling his music under an appropriated drug lord persona. Last week, a California judge dismissed Freeway Rick’s most recent appeal, citing the rapper’s creation of original works that only used the name as a jumping-off point. Freeway Rick was not amused.
In a statement issued following the judge’s rejection of his appeal, the real Freeway Rick Ross remarked: “There is a teachable moment about the state of our community when a man who has a respectable job as a correctional officer, has to recreate himself in my former image as a large-scale kingpin to gain what he feels is social acceptance as a successful man.” Though Freeway Rick’s indignation does have a point here, he misunderstands Ross’ motivations. Ross was never thinking about perceived social acceptance as a successful man. He was thinking about actual success. And he actually achieved it by making insane amounts of money because he understands the fan inclination to want to believe that artists’ music reflects a truthful depiction of their lives.
Hip-hop culture has always been based on the appropriation and re-interpretation of communal objects from the past. It’s called sampling. And hip-hop artists have been doing it in with their stage personas forever, pretending to be harder and more dangerous than they actually are. So when Ross took on the symbolic identity of a historical drug dealer, he was doing just that: “sampling” someone else’s life and then turning it into something new. And that is exactly why Rick Ross’ recent lawsuit against LMFAO for interpolating the lyric “Every day I’m hustlin” from his 2006 song “Hustlin” is so ironic, because when LMFAO jokingly altered that line, they were doing the exact same thing. Though Ross’ lawsuit states that LMFAO’s similar lyric is “an obvious attempt to capitalize on the fame and success of “Hustlin,” the reality of the situation is a bit more nuanced.
Kanye West has found himself tangled in a lawsuit for sampling a vocal track of soul singer Ricky Spicer (The Ponderosa Twins Plus One) in his track, “Bound 2.” Spicer filed a lawsuit against West this past Monday, along with Roc-a Fella Records, Universal Music Group, and Island Def Jam Music Group, with Spicer seeking “an injunction and damages for alleged violations of New York civil right of publicity law (section 51), unjust enrichment and common law copyright infringement.”
The lawsuit states that after recording “Bound” with The Ponderosa Twins at age 12, Spicer went on to perform with acts such as James Brown and Gladys Knight. “For all his accomplishments,” the court papers state, “Mr. Spicer was not fairly compensated.” Check out the two tracks below and let us know what you think. (more…)
Hip-hop is no stranger to violence, whether it’s in boastful lyrics, videos, or the actual past lives of emcees who’ve escaped the streets and struggles of the inner city. Sometimes, though, it gets too real. Cut to Monday morning in Fort Lauderdale, Florida, where Rick Ross barely escaped a barrage of bullets in an apparent drive-by shooting on the morning of his 37 birthday. Ross and girlfriend Shateria L. Moragne-el were reportedly on their way to a birthday breakfast when a gunman from another car opened fire on Ross’ 2011 Rolls-Royce. Ross sped away, only to quickly crash into a nearby apartment building. Though the bullets pierced the window of a nearby diner, neither Ross, nor his girlfriend, nor any of the diner patrons were injured. The night before, Ross has been celebrating his birthday with P. Diddy at the LIV nightclub in Miami. (more…)
OurStage artist Yonas has just released the official video for his new single “Clockwork” off of his upcoming EP The Black Canvas, which drops on February 4. “The black sheep in life is the person that stands out amongst the crowd,” Yonas describes. “The black canvas is the art that stands out amongst the industry.” Check out the video below.
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