2 Chainz tries out some of the offerings he picked up at a marijuana dispensary in Las Vegas, including a portable dab rig,a $500 oil-dipped blunt, and a $150,000 pipe made by 14 glassblowers. Watch more MOST EXPENSIVEST, Wednesdays at 10:30pm on VICELAND.
Tuesday, December 26, 2017
Tuesday, September 5, 2017
Photo Art By BlackFrameVision (Handstand)
Go check out the website BlackFrameVision.com for more dope photos, merchandise and upcoming art events. My Boy E got alot things in the works. So be on the look out !!!!!!
Monday, August 28, 2017
Rozzi - Hood Holiday ft. Cool Que Prod. Tunesquad
Check out the "Hood Holiday" video by Rozzi featuring Cool Que prob by Tunesquad. It's been some heat dropping between the two lately. Their styles really compliment each other on every track. Don't forget to follow and support. Shout out to ABWAVYFILMS !!!!!!
Artists: ROZZI
IG: @unokingpen
TWITTER: @unokingpen
SOUNDCLOUD: ROZZI (@unokingpen)
Featuring: COOL QUE
IG: @coolque_ingy
Soundcloud: COOL Que
ABWAVYFILMS:
IG: ABWavy_U
IG: @unokingpen
TWITTER: @unokingpen
SOUNDCLOUD: ROZZI (@unokingpen)
Featuring: COOL QUE
IG: @coolque_ingy
Soundcloud: COOL Que
ABWAVYFILMS:
IG: ABWavy_U
Friday, August 11, 2017
Highlife Gully x Doc Ish - "Wind Blows" Feat. Kendra Morris
Press Play !!!! Check out my boi Highlife Gully latest video "Wind Blows" Ft. Kendra Morris Produced by Doc Ish
Directed by The Facey Kid
Produced by Doc Ish for InYaHead Productions
Recorded by Joe Hernandez at Headquarterz studio New York, NY
Mixed and mastered by Bill Ahearn @ Tapeworks
Guitar played by BZ
Hook written by Eliud Sanchez
InYaHead Music
Ice cream Featuring Snacks Gigg, WaXx &Co. and Richie P
Ayyyy my peoples did they thang on this one. Shout out to W@Xx, Snacks and Richie P. Be on the look out. Peace to Dice and TyNitty on the beat.
Next Level DICE Presents: Ice cream featuring Snacks Gigg WaxX and Richie P (Produced by TyNitty)
Monday, May 15, 2017
GRAMMY Award-Winning Artist Poo Bear Explains Problems With Streaming Royalties
Multiple Grammy award-winning songwriter Jason “Poo Bear” Boyd recently stopped by the DXHQ to chat with the #DXLive team and promote his Red Bull documentary, Afraid of Forever. With his signature icebreaker greeting, “Happy Birthday,” Poo Bear laid out some knowledge about how he met Justin Bieber, his personal fears, and how the music industry is giving music creators the short end of the stick.
Poo Bear has been the man behind many of your favorite modern-day R&B jams over the years as well as popular Justin Bieber verses since 2015, having 16 writing credits on the Bieb’s platinum-selling album, Purpose. It was a chance meeting, however, that landed him with Bieber. “Hanging out in Vegas and running into Justin Bieber at a birthday party and us just hanging out,” Poo Bear says as he recalls how he met the pop star. “Being cool, having fun and that turned into him hearing my music and him ultimately calling me up to come work with him and kidnapping me for 18 months [Laughs].”
The start of Poo Bear’s career, however, came in 2001 when he wrote “Peaches & Cream” for 112 — their biggest hit to date. After going to write hits for Usher, Chris Brown, Trey Songz and hundreds of others, Poo Bear still manages to ground himself. “As a human being I have this instinctive feeling of falling off or not being relevant. I feel like that but then thank God I have the number one song on the Billboard Hot 100 thanks to DJ Khaled, Justin Bieber, [and] Chance; and the number three song, thank you Justin, Scooter Braun, Daddy Yankee, and Luis Fonsi [for the smash reggaeton hit “Despacito”]. But I definitely have those feelings and they’re great feelings because they keep me hungry. I never get comfortable. I never feel like I made it. I feel like it’s the beginning of my career, always.”
Perhaps his sense of reality comes from the way the music industry treats its creators. Poo Bear took the time to break down what the royalty structure is like for a songwriter. “There’s a performance royalty. Any time a song is performed on the radio, somebody performs it on stage, restaurants, clubs, any performance of the music there [are] different companies that collect for you like ASCAP, BMI, [and] SESAC,” the maligned songwriter described. “There’s like a satellite that signals every time a song is played, there’s a signal code that’s transmitted through a satellite that counts as a spin. Each one of those spins is money.”
“Streaming is the newest wave that kinda makes it a little bit blurry because streaming is so new [that] they haven’t created streaming laws,” Poo Bear said before expanding on how it can be problematic for an artist to get paid. “They’ve kind of applied other amounts of payments and fees to streaming but it’s really not fair. 1,500 streams of an album is equivalent to one album. It’s ridiculous. And the amount of money per spin is a fraction; it’s [like] .0003 of a cent so you gotta have like 800,000 to a million streams to equal up to a thousand dollars. You do that math. You see people and you think they’re doing amazing [because] they have 100 million streams [but] that’s like what? $10,000? Then there are mechanical royalties also that are pure record sales that vary. Most writers don’t get producer points, which is a percentage of an overall album at 100%, it’s one [percentage] point. If a record sells 1 million [physical] album sales and you have one point [then] you’re looking at about $97,000 in mechanical royalties. [But] It gets blurry when you throw streaming in there because it’s like, ‘Wait how many records did we really sell?’ You don’t know nowadays. I feel like they’re going to have to make a change because it’s not fair. And the writers and producers, the ones who make the music are suffering the most. Labels are making more money than they ever have in their whole careers. Even more than in the 90s when it was bad if you sold a million records. They’re doing their own deals with the streaming companies and they’re not cutting in the writers and artists. There’s no breakage. We don’t know what they’re negotiating with the streaming companies. I just know it’s like the 90s again [where] everybody is excited to be in the music industry. For a period [of time], everybody was trying to get out of the music business. It’s just now getting back [to how it used to be]. The labels are killing it. I know they are. It’s just a matter of these streaming numbers and things becoming more fair for the people who are really creating and going out there selling these songs. The distributor companies and the labels are the only ones who are really benefitting from it.”
The lighter side of the songwriting assassin shined through when asked about that one song he wishes he could take back.
“’Sleep On It’ by Danity Kane,” Poo Bear gleefully recalls. “It wasn’t a single but I filmed it on Making the Band with Puffy. They filmed me doing the record. They made it look like I made the girls cry and ain’t nobody cry. Editing is crazy. I was not proud of that song. When they actually decided to use the record and actually made the album I was like, ‘No. Why?’ Like, I wasn’t even told I was filming that day and the fact they came with nine cameras [and] they actually used the song? I’m not proud of that record. ‘Sleep On It’. I’m not proud of that song but I like Danity Kane. Sorry, Danity Kane.”
By. Marcel Williams
Wednesday, March 22, 2017
Rick Ross Talks 'Rather You Than Me,' Weighs In on Birdman & Donald Trump
Ross is wading into the debate by calling his ninth studio album, Rather You Than Me, his official magnum opus. Last week, Ross celebrated both his daughter's birthday and the release of the album on March 17, and initial fan reaction has been overwhelmingly positive. Ross’ ear for production is still impeccable on standouts like “Santorini Greece” and the Meek Mill-assisted “Lamborghini Doors.” Plus, there’s no shortage of Renzel-isms ("Me and Hov back and forth like I'm triple platinum") and boss-up moments -- like when he dedicates an honest open letter to Cash Money boss Birdman, a former inspiration turned foe, on the appropriately-titled “Idols Become Rivals,” sparking a conversation about Birdman's business moves and strained relationships with Lil Wayne and DJ Khaled. (Birdman responded to Rozay's claims in an interview with Billboard.)
On Rather You Than Me's release day, Billboard spoke to Ross about his reasons for addressing Birdman on "Idols Become Rivals," the possibility of working with Drake again, and when fans can expect to receive the long-awaited MMG Self Made 4 compilation.
Billboard: How has your perspective changed since your first album, Port of Miami, in 2006?
Rick Ross: My perspective changed in so many different ways. From the perspective of being a student of the game, an artist, a businessman. I seen so many sides that’s evolved.
How did you push yourself on Rather You Than Me and show sides that fans haven’t seen before?
Just overcoming those personal obstacles. Once you get to this level, you either could push forward or break. When you face obstacles or go through different phases, I always relied on my music. I depend on my music, my teammates. So at the end of the day, having incredible music, for me, would keep me in the space I want to be as an artist.
You laid that out in your open letter to your fans, saying the album was a product of "strength, perseverance and determination." Who did you want to make the album for?
It’s gotta be the ones that have been f--king with me since day one. Of course I appreciate everybody that love the music I make, but [I made this for] the ones who understand my story. The ones who got "Maybach Music" one through five. The ones who are like, "Yo, I understand what the f--k he did with this." You know, just watched me build my empire and enjoyed that ride with me.
I want to get into some of the tracks. On album-opener "Apple of My Eye," you rap, "I’m happy that Donald Trump became the president / Because we have to destroy it to elevate." Do you think America just needs to start over?
Most definitely. This is the bottom. We will start over after this. I think that particular line, a lot of young brothers who haven’t really put a finger on how they feel about our new president, I think they needed to hear that line to get some form of understanding.
Did you hear about Trump going after Snoop Dogg for Snoop's “Lavender” video? What did you make of that?
It’s unfortunate that this country would have to endure this. So much more important issues to press, just in our country alone. We not even discussing everything globally -- just in our country alone. And for our president to be so concerned with everyone laughing at his toupee when he the one that bought it...
“Idols Become Rivals” is letter to Birdman and how you used to look up to him. Why did the people need to hear your take on Birdman’s business practices and Wayne’s situation?
You know, I just think it’s so f--ked up. Us seeing Lil Wayne’s [situation] and suffering from that, I think we kind of all got used to it. I think the culture has f--king accepted that Wayne would not put out another album. And that’s not the way the game [should be]. That’s not the way we designed this. That’s not the way this is supposed to be.
When we come up from the mud together, it’s not supposed to be this way. Birdman is supposed to be in that f--king building making those f--king people give him money to take care of his man. They supposed to be in the f--king [building], flipping over desks in those f--king offices, fighting to get money. Not f--king suing each other, fighting lawsuits and everybody starving. Not putting out music, not being creative. Us not doing what we came here for. There’s nothing more I hate than that -- us not doing what we came here for.
You spoke about Khaled, too, on the song: "You put my n---a in a hole, homie, that s--t hurt me." Did his situation motivate you more to address it?
For one, it was different phases. First, it was my understanding phase. Like, "Yo, what’s going on? I don’t understand." It’s not the way it’s supposed to go. Khaled came into the fold and went above and beyond [more than] any artist went for his team, his brand. Khaled pushing his team and his brand, he was able to get money doing other things as well. And just to see the way that unfolded and for [Khaled] to owe someone millions of dollars and act like this is a normal business practice? It’s not. That’s not the way it goes.
I felt the pain, and it wasn’t my money, but just by me watching and what took place and me being supportive, me being there for [Khaled], me being there for anything he needed, I was there for him. Just to see the way [Birdman] did [Khaled's] family, that’s unacceptable... That’s why Khaled in the position he in. Homie really left [Khaled] in the hole. He walked away from that and started over.
There’s a fan theory going around that when Khaled says “they” [as in one of his catch phrases "They don't want you to win"], he might be referring to Birdman.
I seen that, and it was funny. I know they don’t want us to laugh at those.
Back to the album. On the song “Scientology,” you rap, “I got the money for Wayne, let’s do it then.” That’d be a power move if Maybach Music Group and Young Money were able to do something to put out Tha Carter V.
When I played that song for Jay Z, me and Jay Z laughed. We looked at each other and had a laugh. Hov was like, "Let’s do it." It was just one of them things. We didn’t put no deep thought into it. We let the music roll on.
“Maybach Music V" feat. DeJ Loaf is the first in that series of songs that isn’t produced by J.U.S.T.I.C.E. League. Are you still working with them on music?
I haven’t really been working with them a lot.
Is it because of creative differences?
It’s nothing in particular. I don’t have no particular reason. It just ain’t come through like that. Or the sound sometimes -- I’m not sure. I’m extremely happy with "Maybach Music V." "Maybach Music" part one [feat. Jay Z, from 2008's Trilla] was definitely me and Jay Z in the studio, just me and Hov exchanging [verses] and giving n---as that wordplay, that lifestyle. And of course, we went part one, part two and part three. I didn’t never want to feel like I was chasing a high. It’s just like a junkie trying heroin for the first time. You get f--ked up chasing that high. That’s why I wanted them to feel like it came full circle by the fifth.
What makes "Maybach Music V" so special was of course I put the album out celebrating my daughter’s birthday as well, and DeJ Loaf is her favorite artist. So "Maybach Music V," I wanted a real airy type of feel. Just a real slow vibe to it that’s also going to surprise my daughter. So that’s real special.
Are you closing the chapter on the "Maybach Music" series with this fifth one?
Nah, I’m not saying that. I’m pretty sure we’ll go back to the hard rapping. I just wanted it to feel like I came full circle, kind of like my style and my ability of music that I can make. I feel like I can make records where, you know, I can get in the alley and exchange bars with Styles P, but I can also get in the studio and create a classic with Rihanna. I wanted that "Maybach" one through five to give the listeners that feel.
One of the best songs on the album is “Lamborghini Doors.” In your eyes, how has Meek Mill grown as an MC and as a boss with Dreamchasers?
Meek being in the studio, putting the plays together. Meek used to sit in the studio with me when I first started working with him. I was happy when he brought me [2011's] "I'ma Boss." You know, just his vision. He’s continuing to do that with his last tape [DC4], the last music he put out. He continuing to do that and he consistently putting it together [with] chorus, records and vibes that, once they come on in the club, it’s f--king go crazy time.
And you've got Wale on "Trap Trap Trap" rapping like that again.
Yeah, and the thing about that is that’s what me and Wale will always go back and forth in the studio [about]. We understand that he’s a great poet and his penmanship is top-tier, and he showed us that with "Lotus Flower Bomb." But I also loved that Wale that’ll come on like that last verse at the end of a Waka Flocka Flame song like "No Hands." That’s the kind of alley-oop I gave him on "Trap Trap Trap" as well.
By Eric Diep
Album Link - Listen Here
Album Link - Listen Here
Tuesday, March 14, 2017
Friday, March 10, 2017
Big Amount Freestyle By Cool Que
New Video By Cool Que SHOT BY Christian Royce off Ingy the mixtape which is on Mixtapefactory.com and or Soundcloud.....#IngyWinterTakeover
Sunday, March 5, 2017
A.R.T. - What Are We? (With Stange.her and Collins Ave)
A.R.T. offers up a comedic visual for his new single "What Are We?" Its blunt and candid commentary covers subject matter that many in relationships have encountered.Directed by HL Hughes and A.R.T. The song features Strange.her and Collins Ave, who contribute respectively a interesting take from the female and male perspective. The video features Treen, Brittish Customs, Moe Rob, Collins Ave along with a couple cameos. The song "What Are We?" is available for streaming and download only on ARTMUSEUM1985.COM A.R.T.'s long awaited project "The Grey Area" is coming soon.
Twitter/Instagram/SnapChat: @ARTMUSEUM1985
Facebook: www.FACEBOOK.COM/ARTMUSEUM1985
Features and Guest Apearances/Cameos:
@Strange.her
@Luvtreen
@Collins_Ave6
@BrittishCustoms
@moebetter15
@hlhughes82
@axisjada
@gumby_dionysus
Saturday, March 4, 2017
Richie P, Bill Blacks, Yung Flee - Lituation(Prod. by Ty Nitty)Shot by @TheFaceyKid TheFaceyKid TheFaceyKid
New Heat "Lituation" Richie P brought the hood out on this one. #HARTFORD
Richie P, Bill Blacks, Yung Flee - Lituation(Prod. by Ty Nitty)Shot by @TheFaceyKid
ANoyd - Lucky VIDEO
Music video for Lucky performed by ANoyd. The kid is on fire with a gr8 team behind him Much success livinanoyd.com
https://www.youtube.com/user/ARWhite15
https://instagram.com/livinanoyd/
http://itunes.apple.com/album/id11609...
Copyright (C) 2016 Pace Music Group.
http://vevo.ly/S4AFYS
Mike Flowz Freestyles on Flex | Freestyle #031
Check out that boi Mike Flowz shutting Hot 97 downnnn!!! CT Let's get it
Mike Flowz comes through Flex droppin' bars!
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- Brewsta Million
- Songwriter, producer, and performer -- Brewsta Million is a maverick in the hip-hop music world. He defies any easy pigeonhole; turning his lyrics and productions into pieces of art to inspire fellow artists and listeners. Brewsta Million was actually "Brewster's Millions," a 1985 movie directed by Walter Hill, starring the late, "Richard Pryor." It's hard to imagine another artist on the hip-hop scene combining lyrical insight, devastating performances, and world-class productions. It's not just his wealth of versatile styles, or his smooth and expressive voice that has made Brewsta Million such a fine artist; it's his songs, ranging from thoughtful to love to hate, that proves he knows his way around the music industry.