Canadian duo 401 WST throws it back to the ’80s with the epic debut of their 3-track “Our House” EP, composed of recently released “Do The Damn Thang” and 2 brand new songs that fuse hip-hop sounds and house music. The DJ/producer partners create a seamless fusion of genres on “Real Quick” and its accompanying music video; classic hip-hop rhythms are complemented by a deep rolling bassline and kickdrums to add an electronic flair. “Alive” follows suit of “Do The Damn Thang” and is perhaps the more house-influenced of the two new tracks, melding a tech-house bassline and deeply reverberating synths with hedonistic lyrics about partying and hitting the dance floor – a novel concept in the global pandemic. The “Our House” EP evokes memories of Chicago in the ’80s when hip-hop and house were at their heyday in the underground. As Black musicians, the duo places very high importance on taking it back to the essence of where house music began and paying homage to the originators of it all. 401 WST‘s sound is raw and unfiltered, providing a breath of fresh air in the age of autotune, and we can’t wait to see what they come up with next.
International DJ 4Korners and emerging producer Ashton Adams come together to form 401 WST, which is named after the highway that connects their Canadian hometowns of Toronto and Cambridge. Prior to the project, 4Korners experienced global success and has performed at the Cannes Film Festival, London Fashion Week, Formula 1 in Abu Dhabi, and the Olympic Games, among others. He has also been awarded the prestigious titles of Canadian DJ Of The Year and an NBA Championship as Official DJ of the Toronto Raptors. Ashton Adams‘ production versatility stems from his exposure to a wide variety of genres. From the classic hip hop sound of 50 Cent and Lil Wayne, all the way to heavy metal bands such as August Burns Red and Under Oath. As 401 WST, the two artists have set out to create music that focuses less on commercialization and more on the old school values of bringing people together and having a good time. With such a unique sound and feel-good approach, “Our House” is the beginning of an exciting journey for 401 WST.
More info on 401 WST / 4Korners / Ashton Adams / Kyngdom Records:
Signed to Power & Money Records, his visceral vulnerability defines a new style altogether.
Born and bred in the hip-hop hotbed of the Magnolia Projects, he immediately gravitated towards rap. Inspired by everyone from hometown heroes such as Juvenile, Solja Slim, and LilWayne to DMX and Eve, he can vividly recall rapping in third grade during lunch. By 12-years-old, he recorded his first song and joined a local group that regularly performed around the neighborhood.
During 2015, he quietly started uploading tracks and freestyles online. His “Tuesday Freestyle” eclipsed half-a-million total plays and caught the attention of Cash Money Records Co-Founder and hip-hop legend Bryan ‘Birdman’Williams. The icon personally signed Neno Calvin and immediately got to work.
Kicking off a creative partnership, the budding talent teamed up with Birdman on the acclaimed 2016 single “Ms. Gladys” and follow-up “Fuk Em”. He also graced the tracklistings of high-profile 2018 releases such as the Before AnythangOriginal Motion Picture Soundtrack and the collaborative Lost At Sea II by Birdman and Jacquees on “GWSC.” He reached a new creative and critical plateau on 2019’s Neeny Wonder. Paying homage to Stevie Wonder with his alter ego and smoky take on the Hotter Than July album artwork, his storytelling, and style flourished across the ten tracks, especially on “Never Knew”—noted by The Fader among “The 10 best new rap songs right now.”
About his rise, Cash Money Records Co-Founder and Chief
Executive Ronald ‘Slim’ Williams commented, “Neno Calvinis next level. He strikes an emotional nerve that few artists do because he goes all-in. There’s nothing held back. He embodies integrity as an artist.”
“The toughest among us tend to be the most vulnerable. If you can show your true self to the world without fear, you can do anything.” Neno Calvin pulls no punches in his self-patented, “Emotional gangsta music.” Instead, the New Orleans-born and Atlanta-based rapper strike a delicate balance between magnetic melodies and hard-hitting bars. That combination powered up a string of independent projects—such as the Calvinism series, Gimme That IV, I for I, Cvlvino, and Nenola2—past 10 million cumulative streams across platforms. It also incited high praise with The Fader crowning him, “Best rapper in New Orleans,” in 2019.
The recent rise of the collective in hip-hop has been undeniable. BROCKHAMPTON (technically a boy band, we know,) A$AP Mob, Migos, and Odd Future are just a few of the big names from the past few years. Before that, we had the Wu-Tang Clan, Run-DMC, A Tribe Called Quest, N.W.A., Fugees, and Public Enemy. Even earlier were The Beastie Boys and Salt N Pepa. And this is only scratching the surface.*
The influence of the group in hip-hop can easily be tracked, and has been, but the pervasion of the collective is not the only reason that the genre is inherently collaborative. Nor is it the cause of hip-hop’s surge in popularity and supersession of rock as the most dominant genre of music in America, according to Nielsen’s 2017 year-end report. There’s a reason why the genre has been able to consistently innovate, come out on top, define what’s cool. And the answer lies much deeper, and much further back in history, than success on streaming platforms, like Nielsen’s findings suggest.
Photo courtesy of Dorothy/”Hip-Hop Love Blueprint”
Last year, the UK-based art and design studio Dorothy released its ‘Hip-Hop Love Blueprint,’ a blue and metallic gold screen print that links together “over 700 MCs, DJs, producers, turntablists, musicians, graffiti artists, b-boys and b-girls who […] have been pivotal to the evolution of hip-hop, from pioneers such as DJ Kool Herc and Grandmaster Flash to present day chart success stories Kendrick Lamar and Drake, and global superstars Jay-Z and Kanye West.” While the website description stresses the importance of certain groundbreaking artists and events, in order to truly understand the genre, it’s important to begin by paying attention to the links.
Like in any other genre, hip-hop has its stars—the people whose music shaped the future, whose legacy remains so strong that one wrong word about them could lead to physical threats. Dorothy mentioned some, but it would be pointless to go through the whole list. What distinguishes hip-hop from other popular music genres is not the artists themselves, but the way they are constantly working together in order to create the most dynamic art. When was the last time you listened to a rap album without features? Chance’s blockbuster hit Coloring Book only included two songs without features, Drake’s most recent More Lifefeatured British grunge rappers to explore unprecedented sounds for the Toronto-born artist, 2 Chainz’s Pretty Girls Like Trap Musichit hard byincluding some of the genre’s biggest names (Nicki Minaj, Drake, and Migos are just a few.) Besides a couple of stragglers (notably, J. Cole on his last two albums and Childish Gambino on Awaken, My Love!, among others,) the majority of hip-hop artists have essentially committed to this type of constant collaboration.
The way in which members of the hip-hop community engage with each other is analogous to scientists in a lab, or scholars in a field of research. This is the part where you have to bear with me for a second; all of these examples fall under the category of a shared activity. A shared activity, when loosely explained through Aristotle’s theories, comprises a shared and mutual commitment to a common goal, a mutual understanding of everyone’s individual role in accomplishing this goal, and a mutual agreement for everyone to perform his own individual role within the pursuit of this goal. If the common goal in question is the creation of a chart-topping album—like Flower Boyor No One Ever Really Dies, both of which heavily rely on features—thenit’s difficult to argue against the fact that each participant checks off the items on this list.
One of the main benefits of a shared activity, especially when it comes to the creation of hip-hop, is the continuous engagement of its participants. If everyone is not only working on their own projects, but also engaging in the projects of others, then there is never a lack of interest or stimulation. Cue the features.
And, of course, the diss tracks. Although it may seem like the point of a good diss track is to stun the subject into silence, they usually—and unsurprisingly—have the opposite effect. Maybe therein lies the purpose. They incite a type of conversation in rap unlike that which exists in any other genre. No one ever truly gets the final word; more often than not, the challenge just sparks the creation of more music. This tradition of call-outs has existed since the early days of rap; the hip-hop rivalry phenomenon has given us hits from artists like The Notorious B.I.G. and 2Pac, Drake and Meek Mill, Nicki Minaj and Remy Ma. There were even theories that Kendrick was coming at Big Sean on DAMN. This isn’t to create a false equivalency between serious rivalries and occasional teasing, but there’s a reason why rappers seldom run out of things to say; each artist, at one point or another, becomes responsible for making sure that the conversation doesn’t end.
Another innovation that is unique to hip-hop is the rise of the producer as an artist in and of themself. Yes, bar the DIY scene, basically every artist in every genre needs a producer. But never before have producers held such distinctive roles in the creation of music that performance legends are seeking them out for their input and style. Like Jay-Z on his album 4:44, which arguably became more regarded for the producing feats of No I.D. than the rapping itself. Or everyone and Metro Boomin, who has left a mark as big as it gets on hip-hop; known for being a mainstream hit-machine, he’s collaborated with nearly every big name from Gucci Mane and 21 Savage to Drake and DJ Khaled. His tagline—“if young Metro don’t trust you, I’m gon’ shoot you,” created by Future in a collaboration with Uncle Murda—has infiltrated rap playlists indefinitely, and has kicked off its own cultural phenomenon. Or Mike WiLL Made-It, who was the beat-maker behind both Beyoncé’s “Formation” and Kendrick Lamar’s “HUMBLE.”
Even rappers who lean towards producing their own music, like hip-hop’s biggest workaholic Kanye West, rely on the idea of collaboration in order to create. One of the key features of Kanye’s music is his prolific use of samples—often of relatively unknown artists. Sampling, which is the technique of digitally encoding music or sound and reusing it as part of a composition or recording, is just one more way in which hip-hop artists take advantage of the community-like aspects of music in order to further art. By bringing in voices or sounds that otherwise wouldn’t have been heard by listeners of mainstream rap—like the contemporary classical composer Caroline Shaw, who West collaborated with on tracks “POWER” and “Say You Will”—hip-hop artists are opening up unprecedented avenues for their music.
At this point, you may be asking why this is important. There is an innumerable amount of answers, all dependent on your own experience with hip-hop, but there’s also a common thread that is woven through all of them. Historically, as a genre, hip-hop has not been given the respect it deserves. This isn’t a revolutionary statement in any sense; it’s just a recognition of the symptomatic way we view art that we do not deem to be fine. With rap taking the lead as America’s most popular form of music, it is about time that the contributions which hip-hop and its artists have made to music are acknowledged and celebrated. It is also time that we begin viewing them as more than transient blips in culture, bolstered by teenagers, social media, and streaming services. There have been dozens of articles likening Kanye West to Beethoven or Mozart, but it is important to note that he is not the only artist engaging in intellectual art-creation. He is just one of hundreds in a community of forward-thinkers and risk-takers. Hip-hop may not be a fine art, but that is because it is something much bigger; it is alive and it is growing, and it cannot be contained with four walls and a velvet rope.
In a genre defined by hypermasculinity, profanity, and the sexualization of female bodies, it’s not surprising that there has never been a historically high concentration of women in rap. When it came to hip-hop, women were always tied to the role of “featured” artist, or contributing harmonies and hooks, but rarely verses. However, things are finally changing in the rap world and we have many genre-defying female artists to thank for that. We rounded up a list of the most up-and-coming female rappers on the rise that you should not be sleeping on this year.
CARDI B If you haven’t heard Cardi B’s breakout single “Bodak Yellow,” then you must be living under a rock. The overarching message of the song is obvious from the first few lines: Cardi B thinks she’s better than you, and she wants to be the one to tell you. The song takes cues from classic rap culture surrounding money, glory, and celebrity. It also subverts the classic rap narrative because Cardi is a woman—the antithesis of the tough, black male rapper stereotype. She’s effortlessly breaking boundaries, and she’s doing it in a way you can dance to.
NONAME Starting out as a slam poet in Chicago, Fatima Warner (Noname) broke out onto the rap scene when she was featured by Chance the Rapper on the Acid Rap mixtape. Since then, she and Chance have collaborated a few more times (Surf, Coloring Book), but she was also busy recording her own debut album, Telefone. An uncompromised look at the experience of growing up a black woman in Chicago, this album is a triumph. Not only does she experiment with unconventional jazz-influenced beats, but she also uses her background in spoken word to craft extremely smart and personal verses.
YOUNG M.A. Born and raised in Brooklyn, Young M.A. (also known as Katorah Marrero) has rap running through her veins. Beginning to rap as early as age 9, the 25-year-old has accomplished a lot in her short life thus far; she’s released more than a few viral tracks (“Brooklyn Chiraq,” “Body Bag”) and two mixtapes (Sleepwalkin’, Herstory,) and the latter two received critical acclaim. Her single “OOOUUU” has over 100 million streams on Spotify alone, and it was featured on basically every party playlist in the country for a few months. Her songs aren’t just mindless bangers, either; she also uses her music as an outlet to discuss social issues and her identity as a black lesbian woman.
KAMAIYAH Called “Oakland’s Best New Rapper” by MTV, Kamaiyah is definitely one to watch. Her debut album A Good Night in the Ghetto is a cross-section of everything she represents as a rapper: confidence, clarity, and charisma. Her verses are sharp, but they’re also fun. Heavy bass lines and catchy hooks make the tracks perfect for parties without compromising who she is. She’s not a singer, she’s a rapper—and she’s not afraid to say it. If you’re still unconvinced that she’s the next big thing, just remember she also shared a feature with Drake on the YG track “Why You Always Hatin’” in 2016.
Their second release of the summer and part two of their trilogy, Saturation II, is L.A. rap group Brockhampton’s follow-up to their overnight sensation Saturation. The 16-person self-proclaimed hip-hop boy band (they reject the use of the word ‘collective’ and all comparisons to Odd Future) has been making waves in the rap scene ever since they packed up their lives and moved to L.A. together to pursue their dreams of being musicians. Made up of misfits, the members of Brockhampton met each other through KanyeToThe.com, a forum dedicated to fans of the rapper. Feeding off the momentum of a successful first release, Brockhampton isn’t wasting any time. If Saturation was their debut, then Saturation IIis their declaration; they are here to stay, and they aren’t following any rules.
From the first few measures of opening track “GUMMY,” it’s made clear that Brockhampton isn’t the type of group that is going to fly under the radar. The use of orchestral strings sets up the track in an almost fantastical way—that is, until the de-facto group leader Kevin Abstract’s voice chimes in and effectively cuts it off. His clever opening verse is simultaneously a celebration of the group and a critique of himself. Although this track (and, frankly, the whole album) jumps from theme to theme, one concept remains consistent throughout: The group comes first. This idea is seen in Abstract’s first verse (“Keep my heart with my dogs”), Dom McLennon’s (“Don’t go no friends in the game, it’s me and my brothers alone”), Matt Champion’s (“Me and all my boys jet, swervin’ like a donut”).
The focus of this album is not one overarching theme; Brockhampton is not here to give you any answers about the meaning of life.
The reason why this album tackles so many different ideas is because each member has a distinct style and background. Kevin Abstract, Matt Champion, Merlyn Wood, JOBA, and Ameer Vann all met in high school in The Woodlands in Texas; Bearface is from Belfast, Ireland; Dom McLennon, from Hartford, Connecticut. This doesn’t even cover half the group. The rest of the team (producers, photographers, engineers, web developers), who also hail from all over, influence the sound, style, and brand of Brockhampton just as much as the artists. Abstract delegates himself to the catchy, often poppy M.I.A.-inspired hooks and verses about his sexuality. He jokes that he’s “Making out with Zayn in a lawn chair” in “JELLO” and calls out his critics in “JUNKY” with the lines “Why you always rap about being gay? / ‘Cause not enough n***** rap about being gay!” Vann is known for his confessional, aggressive verses about his past life, which usually focuses on drugs, like in the opening lines of “SWAMP”: “My daddy taught me how to sell dope / turn grams into elbows.” Merlyn is a vocal shapeshifter, JOBA can hit any high note, Bearface adds unexpected ballads to break up the album.
With so many different personas working together on one project, it’s not surprising that critics of the album have called it unfocused. It’s certainly true that this album does not flow in one clear direction—it’s a zigzagging frenzy of anger, surprise, relief, regret. The only clear path it does follow is that of human emotion, especially during young adulthood. So, what more does it need? The focus of this album is not one overarching theme; Brockhampton is not here to give you any answers about the meaning of life. They’re just a group of outcasts who found their peace with each other, and they’re here to tell you their story. The track “QUEER” allows the members to explore what makes them weird; Champion opens it up with “Skinny boy, skinny boy, where your muscles at?” Wood mentions being Ghanian; “CHICK” gives them the opportunity to declare their mission to stay true to themselves and remember their origins, unlike other, popular rappers who let money make them selfish. The list goes on.
It would take pages and pages to go through each verse in this 16-track manifesto of an album, and spelling it all out would take half the fun out of listening. Despite the sometimes harsh, rough-around-the-edges feeling of this work, what really sits at the root of this album is fun. What did you expect? Brockhampton is a bunch of guys who are currently having the time of their lives, and they want to let the world (and especially all of their doubters) know that. Saturation II has allowed them to solidify their reputation as hip-hop bad boys with a knack for invention and has made their fans (and foes) even more eager for their next release.
Here at Cliché, we love to highlight new musicians that provide enjoyable content on the most accessible platforms. I owe many of my nights scouring for more material to add to my current music library to platforms like Bandcamp or even Pandora in its early days, recommending new artists and new sounds to my ears. Think of this as an ongoing mixtape series, from a person who wants the absolute best for you: good music and a great, growing collection. Read on for some indie artists you should know about.
Oddisee His stage name, a play on words, references extensive journey or travel, from the Homer work “The Odyssey” and Odysseus’ decade-long post-war trek. This artist seems to do the same within his own lyrics in “Things.” The track brings memories of a car with suede or leather seats on a bright sunny day cruising through the neighborhood. How often do so many of us fall into the trap, believing that no one understands what we’re going through during our trek in this life? The rapper speaks of the common habit, but in the end, we’re going through the same ‘things.’ (So I’m holding onto pressure like it’s all mine/That ain’t sweat, it’s just the way I keep the floor shined/Everybody queued up in the long grind/Thinking that we next in the short line) The beat and pacing may be a bit off for us all, but sometimes the lyrics, the show, or presentation, may read the same.
Don’t let the title fool you. This is not an R&B album by Brian McKnight. Instead, it’s a look into the mind of one of hip-hop’s leading new artists: Travis Scott. His sophomore album, Birds in the Trap Sing McKnight, is Scott’s take on letting your creativity flow and just being able to create without constraints. Travis Scott is pretty lucky to do so himself. He’s signed to Kanye West’s G.O.O.D Music as a producer and T.I.’s Grand Hustle Records as an artist. He’s produced and written songs with everyone from Rihanna to Jay-Z, but it is through his own music that he shines most.
Travis Scott stays true to his sound on this album using autotune for raspy melodies and his immaculate production of beats to bring Birds in the Trap Sing Mcknight to life. Never one to turn down a feature, Birds hosts a slew of great collaborations. “Pick Up The Phone,” featuring rappers Young Thug and Quavo, is a trap love song of sorts about a girl who won’t give in and return any of the guy’s advances. Another stand-out feature from the album is “Goosebumps,” which features Kendrick Lamar. In a recent radio interview with New York’s Hot 97, Scott couldn’t believe he was on Lamar’s radar. He talks about meeting him at the MTV VMAs in which Kendrick Lamar told him he finds his music “really inspirational.” Travis Scott holds his own with all the features on his album and seems to bring out the best in everyone he collaborates with giving them room to shine in his world.
Other must-listen tracks from the album include “Way Back” which features Swizz Beatz and Scott’s idol Kid Cudi, “First Take” featuring Bryson Tiller and a collab with The Weeknd called “Wonderful” which finds the duo feeling joyful about life. Birds is a pleasant departure from the dark and angsty sounds of his previous mixtapes and debut album Rodeo.
Although Scott isn’t the most lyrical rapper in the industry, he is authentically himself, which makes for great music. Birds in the Trap Sing McKnight debuted at number one on the Billboard 200 music charts, which proves he is definitely on his way to becoming a mainstay in the industry. Each song on the album builds momentum off of the others, which makes for an amazing listening experience from beginning to end. Next up, Travis Scott is set to executive produce the G.O.O.D Music compilation album Cruel Winter, which he says will be “for the youth.”
A year ago, he was on a dangerous path consuming far too many drugs including cocaine, codeine cough syrup, and even angel dust. While that kind of intake produced some raw, depressing music on his last album Faces, it’s also just not a good style for Miller’s brand of music or for his personal health.
He’s more sober now (he still smokes cigarettes and parties, but he’s no longer pulling three-night bingers), according to an interview with Billboard, and it shows a lot on his new album Go:od AM. He’s back to having fun in life and translating it to his music.
“The world don’t give a f–k about your loneliness,” he raps on “Rush Hour,” which precisely sums up how he and a lot of fans view some of his previous work. The new life philosophy of Miller is “ain’t nothin’ wrong with a little bit of fun,” which he repeats on the following track “Two Matches.” People gravitated to his old-school style approach to hip-hop because it sounded spontaneous and fun. He moved away from that for a while but this album has him back to form.
His 2011 breakthrough album Blue Slide Park had that spontaneous feeling to it. There was nothing remarkable about that album but it was fun and you could jam to it. That’s the same way Go:od AM is and why it’s his best release since that debut.
There are plenty of gripes to be had such as the excessive length of this album at 17 songs running an hour and ten minutes, the repetitive flow of all his lines and the lack of much substance in the lyrics. However, those critiques seem to miss the theme of this album. No, he’s not winning any accolades for this album and you probably won’t hear any of these songs blasting at the club, but there’s an infectious quality to it anyway that can only come from an artist enjoying life and the music that comes from that space. In this case, that seems like enough.
Baltimore-bred hip hop/rap artist Entre has been busy lately. Currently working on three different projects—which involve delving into trap music, releasing a freestyles tape, and putting together a new album—Entre is preparing to tell the world how he really feels about current events and life in general. Below, we chat with the artist about his passion for his craft and what he would be doing if he wasn’t making music.
Cliché: How long have you been passionate about music? Entre: I’ve always been passionate about music. I grew up listening to gospel music, which made me understand that you can express your pain and what you have to say in a certain way. Now I’m a fan of all types of music from country, hip hop, electro, pop, and more. But from all that, that’s what really made me go into the lane of being a recording artist: I had things to say, but it just wasn’t really getting out there.
What are some upcoming projects you have in the works? Currently, I have three projects that I’m working on. I have a freestyles tape that I’m going to release and let them witness my styles on a few industrial instrumentals. There are a few different flavors that I took a look into and tried from trap, pop, and hip hop. In another project named “The Orientation: Welcome,” I give access to my old life and things that I never talked about. This project will even shock my family once they hear it, so it’s going be a dope project. The third is a team album that I’m working on. My team Invincible Young Kings and I are just going to give music lovers that good vibe when they hear this project. We may name it The World Is Ours, but we’ll see.
What motivates you when you make a record? What really motivates me is experiencing loss in my family or witnessing other crazy events in my city. I’ve always been a person to write down my perspectives in a composition notebook or write a poem about what’s happening around me. My thoughts and perspectives weren’t being heard, so that’s another motivation that pushes me to make records. I always tell the youth: if your voice isn’t being heard, scream it in their face. Now, that doesn’t have to literally mean walking up to a person and screaming at them, but just find a way where individuals will step back and say, “Oh, ok, now I understand.”
Who are your favorite artists to listen to when you are going through something and need insight? Some artists that really speak to me would be Lupe Fiasco, Logic, Andre 3000, Kendrick Lamar, J. Cole, Meek Mill, Tye Tribbett, Donie McClurkin, Wale, Ace Hood, Tupac, Biggie Smalls, and Kid Ink. When I listen to these artists, I’m just seeing situations in another way, no matter how deplorable they are.
If not music, which career would you be pursuing? I would be pursuing a career in Culinary Arts. Yes, I’m a very good baker. I learned how to bake pastries at the age of 7. My grandma always loved being a baker and cook. She noticed how much I always watched her as she made the best food. One day, she brought me into the kitchen and showed me the steps. Every since then, I never forgot how to make my favorite desserts.
What’s next for you? Sometimes I ask myself the same. What is next for me? Well, I can tell you guys that I’m going to continue making great music and being the best I can be. The next stop is being in every music lovers’ top 5.
Prepare yourself for the remix face-off! Drunk in Love: Beyoncé/Jay-Z vs Christina Milian/Lil Wayne!
Who did it better?
Remember when everyone was all night, drunk in love and “surfbording” on the beach with Queen Bey and Jay-Z? Well, who is ready for a part two?
Christina Milian and Lil’ Wayne that’s who! The pair collaborated and created their own rendition of the popular song Drunk in Love on his recently released mixtape Sorry 4 The Wait 2, which raises the question, which couple truly intoxicated you with their love?
Beyonce and Jay-Z brought us Drunk in Love on the beach:
Christina Milian and Lil’ Wayne haven’t brought us a video just yet, but they were sure to provide us with enough imagery that we could get the picture:
Although the alleged couple has not officially confirmed their relationship status they have been spotted together a lot in recent months and Milian gushed over how she loves making music with the rapper during her interview with DailyMail.
Milian took to Twitter promoting the release of Lil’ Wayne’s mixtape:
There was a lot of buzz earlier this month that hip hop’s royal power couple, Jay Z and Beyonce might be going on the road together soon, but there had been no confirmation. Today, Beyoncé posted a note on her site with tour dates confirming the “On The Run Tour”, which kicks off this summer, beginning June 25 in steamy Miami. It will be the first joint tour for the Drunk in Love duo. Jay Z’s Magna Carter World Tour ended in January, while Beyoncé finished her highly successful Mrs. Carter trek last month.
The super couple just recently celebrated their 6th year anniversary, and continues to shine together in every aspect of their lives, whether it be through music, love, or their family. They prove that they’re a movement by themselves, but they’re a force to be reckoned with when they’re together. There is no limit to what the hip hop King and Queen can accomplish, and the announcement of the joint tour has Jayonce fans going crazy already. When these two perform on stage together, musical magic occurs and I can’t wait until the tour comes to the tri-sate area. Jay Z and Beyonce announce the On The Run Tour just in time for summer. Make sure you all go out and get your tickets, this is one show you won’t want to miss.
If you’ve never witnessed the excitement of music, movies, television shows and fashion statements all at once, then you’ve probably never tuned in to the network, BET. Each year BET celebrates its success by having award shows. The show that “Anything can happen”, according to this year’s host, Chris Tucker. The 2013 BET awards was memorable because of its talented guests and performers in the entertainment industry.
I’ve been anticipating the exciting event all summer when it finally aired on Sunday June 30th. I was anxious to see what some of my favorite celebrities were wearing, who looked “Hot or Not”, and the most memorable performances. The most important event of the show consist of entertainers earning awards. Some of the categories included “Best new artist, best collaboration, best video, viewers choice”, and much more.
One of my favorite performances was by R&B legend R Kelly. His music has been around for generations and his talent has impacted new artists of the future. When he performed, his name was a trending topic on twitter, meaning millions of people were mentioning him in their tweets. He performed some of his most classic hits and the crowd went wild! Most of the guests in the audiences were singing along word for word.
Singer Chris Brown had a great opening performance and his dances were full of energy. He has always been a great performer and known for his talented skills. The BET awards gets better and better each year because there is always going to be something new for us to see. These performers plan and practice all year around, knowing that the performances are a huge deal to the guests and viewers at home watching.
The exciting genres of music such as hip hop, R&B, jazz, pop and reggae are celebrated with memorable performances. I am always thrilled to see will happen on next year’s show!