The Weeknd’s “Blinding Lights” And “Starboy” Certified Diamond By RIAA

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Today, The Weekend released the music video for “Out Of Time”, the latest single from his critically acclaimed album DAWN FM. The video was directed by Cliqua and features appearances from Jim Carrey, who is also on the song, as well as South Korean model and actress HoYeon Jung. The Weeknd also saw his previous singles “Blinding Lights” and “Starboy” became certified by the RIAA. With these certifications, The Weeknd becomes only the sixth solo artist to reach 3 diamond digital single awards.

 Additionally, the recently announced After Hours Til Dawn Stadium Tour will feature special guest Doja Cat and kick off up north in The Weeknd’s hometown of Toronto on Friday, July 8th at the Rogers Centre with other stops at iconic U.S. stadiums including Metlife in New York City, Soldier Field in Chicago, Hard Rock Stadium in Miami, Allegiant Stadium in Las Vegas, and more, before wrapping Friday, September 2nd at SoFi Stadium in Los Angeles, California. The tour is produced by Live Nation. This is the first leg of The Weeknd’s massive world tour, with additional dates in Mexico, South America, Asia, Australia, New Zealand, Europe, Africa & Middle East to be announced soonS

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[WATCH] Selena Gomez Reveals She Is Happier Since Staying Off the Internet For Four Years

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Selena Gomez revealed she hasn’t been on the internet in four years despite being one of Instagram’s most-followed.

As we all know, anyone can go down a rabbit hole on the internet. Depending on what stage you are in during life, your mental health may or may not be affected by the glamorous, judgemental and sometimes wicked ways of the web.
While speaking to  Good Morning America, Gomez said she hasn’t used the Internet and she is much happier as a result.

“I haven’t been on the Internet in four and a half years,” she said. “It has changed my life completely. I am happier, I am more present. I connect more with people. It makes me feel normal.”

Despite being one of the most followed people on Instagram, Gomez reveals that the app is not even on her phone!

“I think it’s just become really unhealthy,” Gomez said previously on Live With Kelly & Ryan in 2019. “To spend time fixating on all these comments and letting this stuff in, it was affecting me. It would make me depressed. It would make me feel not good about myself, and look at my body differently.”

The actress has been very vocal about her struggles with her mental health and bipolar disorder, the Internet is just one step she’s taking to ensure she is on her road to happier living.
Could you live without the internet?

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[WATCH] New Video Of 11-Year-old Prince on the News in Minneapolis

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A local news station in Minneapolis revealed archival footage of 11-year-old Prince Rogers Nelson speaking out in favor of a teacher strike in 1970.

“I think they should get some more money, ’cause they be working extra hours for us, and all that stuff,” the future superstar tells a reporter, smiling, while surrounded by friends in the April 1970 clip aired by WCCO.

The youngster — who was born Prince Rogers Nelson — was recognized by the CBS affiliate’s production manager, Matt Liddy, who watched the 13-minute video, which was restored for a piece on a teachers’ strike in March.

“I grew up in Minneapolis, so all I cared about was looking at cool old buildings from the place I grew up. Did I recognize my old school? Did I recognize any landmarks?”

“I immediately just went out to the newsroom and started showing people and saying, ‘I’m not gonna tell you who I think this is, but who do you think this is?’ And every single person [said] ‘Prince,’”

“I think just seeing Prince as a young child in his neighborhood school, you know, it helps really ground him to that Minneapolis connection.

“Even if they’re momentary glimpses into what Minneapolis meant to him, what he stood up for when he lived in Minneapolis, just helps understand that symbiotic connection he had to his hometown,” he added.

Watch the video below.

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Today In Hip Hop History: M.O.P. Dropped Their Debut Album ‘To the Death’ 28 Years Ago

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April 5 is an interesting day in Hip-Hop music. Rarely is a rap record released on this day — we did the research, but feel free to prove us wrong! There was one influential LP that jumpstarted the careers of two Brownsville natives and completely shook the game up in 1994. Yes, we’re talking about the Mash Out Posse, who you may know better as M.O.P.. and today we show them love as their debut album To The Death turns 28.

Select Street Records

Released on April 5, 1994, To The Death was yet another milestone in the domination that New York had on the rap game, with Lil’ Fame and Billy Danze both representing Brooklyn with the ruggedness and street appeal that shaped the attitude, look and overall sound of Hip-Hop at this time. The album itself was a precursor for rappers like Nas (Illmatic), Outkast (Southernplayalisticadillacmuzik), Da Brat (Funkdafied) and The Notorious B.I.G. (Ready to Die) amongst others that also debuted in 1994, with M.O.P. coming out swinging with three singles and a modest peak at #68 on the US Top R&B/Hip-Hop Albums chart.

The album was produced entirely by legendary East Coast rap producer and fellow Brownsville native DR Period, aside from the closing track “Guns N Roses” which was handled by Silver D and executive producer creds going to silent M.O.P. member Laze E Laze. The musical themes highlight the climate of life in hoods throughout America in the ’90s — gang violence, “fake ass gangstas,” staying fresh and just surviving the “rugged neva smoove” streets of New York City.

Of all the singles released off this shining debut, the highlight would of course be the anthem cut “How About Some Hardcore.” It was the most successful performance on the charts and amongst the hardest of Hip-Hop fans, peaking in the Top 40 on the US Hot Rap Songs chart at #36. For those that liked it raw, M.O.P. provided that effortlessly on this record with impressive lyricism, dope production and a tenacity to make it big that we’d see the duo accomplish even greater on the DJ Premier-produced follow up album and the 2001 smash hit “Ante Up (Remix).” And to think: all of this originated from a chance standout appearance on the soundtrack to House Party 3!

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[WATCH] O.J. Simpson Gets Awakened By Group Of White Women While Sleeping Naked

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After weighing in on the Will Smith/Chris Rock Oscars fiasco, football legend O.J. Simpson has made headlines again after being seen on social media with a group of young white women while he was in bed.

The NFL Hall Of Famer was spotted after a group of white women walked in on him while he was in bed wrapped up in a blanket and from the video, it appeared that Simpson was sleeping in the nude.

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Today in Hip Hop History: Big Pun’s Posthumous Sophomore Lp ‘Yeeeah Baby’ Dropped 22 Years Ago

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On this day in 2000, the first posthumous L.P. to be released by the first “Latin to go platinum” entitled Yeeeah Baby was released on the Loud/Terror Squad imprint.

Christopher “Big Pun” Rios passed away just shy of two months before his sophomore L.P.’s release and anticipated success, which came on the heels of his debut album, Capital Punishment. With appearances from the entire Terror Squad and executive production by the T.S. general Fat Joe, the 16-track album showed Pun’s acute diversity in his lyricism and approach to song-making, which yielded some of the most memorable songs of his career. The album took longer to record because of Pun’s extreme obesity since his breathing problems couldn’t permit him to spit his custom, rapid-fire flow freely.

Some of the L.P.’s favorites are the Puerto Rican anthem “100%” with Terror Squad crooner Tony Sunshine on the hook, “New York Giants” featuring M.O.P., “Ms. Martin,” an ode to his protege Remy Ma and the touching single “It’s So Hard” featuring Donnell Jones.

Salute to Big Pun, Pun Jr., and the entire Terror Squad for this remarkable piece of Hip Hop History!

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[WATCH] Twitter Roasts Chris Rock After Old Videos Resurface Of Him Shading Black Women

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Last week Chris Rock’s brother Tony Rock came to Chris’s defense after he was slapped by Will Smith at the Academy Awards for disrespecting Jada Pinkett-Smith.

After watching the world go through a phase of ‘protect the black woman’ it was interesting to see the response after a man well…protected his black woman.
The feelings and history behind black hair is way deeper than poor comedic jokes. From alopecia to being told our hair is ‘bad’— black women have endured years of embarrassment at the expense of a few laughs. From being called nappy-headed, bald-headed and worse, it’s expected that men with black moms, aunts and relatives understand  the pain behind black hair. Acceptance, convenience, time-management and lack of hair knowledge have all contributed to black women’s hair journey. While it can be as personal to many as personal hygiene, it’s always baffling when men speak on issues that pertain to women.

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Tony Rock tweeted that everyone should watch his brother’s movie ‘Good Hair’ to prove Chris has nothing against ‘women of color’. This quickly turned bad when he was reminded how badly Chris portrayed Black women in ‘Good Hair’ a movie he allegedly stole from another Black woman
From explaining to White America how and why Michelle Obama wears weaves to turning his nose up at women who relax their hair Chris Rock’s disdain for black women’s hair choices were inevitable. His film Good Hair was supposed to teach others about our hair journey. Reminiscent of the kid that goes to school and tells all his family’s business. While celebrities supported the film and women in the film laughed nervously—most black women cringed through his movie. From questioning a child about her perm to trying to sell black hair no one wanted, it was just another slap in the face to the women we are supposed to protect. While Chris Rock’s own relationships have seemed to fail in spite of him choosing women with awesome hair choices, the question remains…is it a man’s business to discuss what a woman does with her hair? 
Watch these clips below and Twitter’s response.

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Black Thought Returns To Carnegie Hall For Hip Hop Workshops, Showcase On April 7

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Carnegie Hall’s Weill Music Institute (WMI) today announced that seven rising MCs have been selected to participate in a free master class led by
legendary hip-hop artist Black Thought from April 4-7, 2022 as part of the Hall’s ongoing series of workshops and master classes for young professional musicians. During the multi-day master class, The Roots front man mentors the MCs in sessions focusing on lyricism, flow, style, and delivery while also exploring the history of hip-hop. DJ and producer Sean C. joins as a special guest, helping to coach the MCs, and leading music industry figures will share insights about building a career. The works, which was originally scheduled for fall 2021—builds off the Hall’s inaugural hip-hop workshop series with Black Thought in February 2020 and follows his April 1-3 residency at the John F. Kennedy Center for the Performing Arts. The MCs, who have been recognized as exceptionally talented rising artists in hip-hop, are:

TA3 (Lumberton, New Jersey)
Genesis Be (Biloxi, Mississippi)
Born Wenzday (East Hartford, Connecticut)
Relic The Bully (Chicago, Illinois)
Felisha George (Philadelphia, Pennsylvania)
Jrei Oliver (New Orleans, Louisiana)
SIYAKA (Brooklyn, New York)

For the culminating event in this season’s hip-hop workshop at Carnegie Hall, the MCs perform in a public showcase, curated by Black Thought. The performance takes place on Thursday, April 7, 2022 at 7:30 p.m. in the Weill Music Room in Carnegie Hall’s Resnick Education Wing. Tickets for the final showcase are now on-sale. It will also be available for audiences at home to livestream on Facebook, YouTube, and Carnegie Hall’s website. This marks the second time that Black Thought has led a master class at the Hall, following his first workshop in February 2020.

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Documentary WE WERE HYPHY Captures Distinct Bay Area Sound and Culture

We Were Hyphy

Los Angeles may be known as the birthplace of gangsta rap, but just 500 miles away in northern California, the Bay Area boasts its own distinct hip-hop sound and culture in a vibe that can only be described as “hyphy.” While the hyphy movement never gained the same mainstream momentum as other musical genres, it simultaneously reflected and influenced culture and sound, not just in the Bay Area, but around the nation as well, albeit somewhat subtly. The documentary WE WERE HYPHY takes viewers on a journey through the unique Hyphy culture and sound, showcasing a movement that uniquely captured a special time and place in modern history. 

Through interviews with Bay Area artists including G-Eazy and Kamaiyah, journalists, industry professionals, and Bay Area legends, WE WERE HYPHY provides an intimate glimpse into the Hyphy culture and experience from two perspectives – through the eyes of the artists who created the iconic sound, and through Bay Area residents who grew up under the influence of hyphy’s uniquely charismatic spell.

Director Laurence Madrigal’s describes hyphy as a “testament to the power of the community” and uses the 84-minute movie to show how the hyphy movement started out as an underground movement that elevated the underrepresented voices of Bay Area youth and grew to a full-scale scene, with hit songs and albums, sideshows and ghost-riding, turf- and “going-dumb”-dancing, fashion trends, slang, and more.

Rooted in the counterculture of San Francisco’s Bay Area and Oakland in the late 1960s and 1970s, the Bay Area (or “the yay area” as some locals call it) has always been its own epicenter of a culture that has influenced many social movements and the sound that reflected both struggle and hope.

The film traces the sound from Too $hort’s early sound pioneering and describes how major Bay Area hyphy artists such as E-40, Mac Dre, Traxamillion, Rick Rock, and others created their distinct sounds. The documentary shows how each artist or producer brought their own flare such as Mac Dre’s 808 sound, Traxamillion’s addition of the triton keyboard, and Rick Rock’s addition of a southern Miami beat. However, the hyphy sound still had much in common: uptempo “mob” music, a lot of 808s, drums, and synthesizer sounds that is simultaneously high-energy and raw, creating an Intersection of distinct beats and wordsmithing that often borders on poetry- all with faster beats than the rap sounds of SoCal or the East Coast.

This uniqueness is one reason that G-Eazy describes the Bay Area in the documentary as an “unusual place.”

However, the film shows how hyphy extended far beyond music, both reflecting and creating community in and around Oakland through the dances, fashion, and sideshows.

An over-the-top aesthetic that mixed bling, mainstream sneakers, and airbrushed tees defined hyphy fashion while tricked out cars with state-of-the-art sound systems spun out in vacant lots and even major intersections on Friday and Saturday night, in a phenomenon that was known as “the sideshow.” Interviewees describe how the sideshows influenced hyphy culture and sound and how the sideshows reflected the energy of the hyphy attitude.

The documentary also describes how dance was the one element that truly defined the hyphy culture. Locals referred to hyphy dancing as “turfin,” dancing in a way that was unique to your “turf” or as an acronym for “taking up room on the floor.”

It also tells the darker side of the hyphy movement’s history, namely the impact that the untimely death of Mac Dre in 2004 had on the movement.

The documentary reflects how hyphy is “an energy, a feeling” and something “that you feel inside,” sampling from some of the genre’s top hits and using archived footage to create a vivid experience that transports viewers to a different time and place.

WE WERE HYPHY gets its world premiere as part of Cinejoy. The popular online offshoot of San Jose’s Cinequest film festival runs April 1-17, and comes well-stocked with world, national and Bay Area premieres, along with interactive events such as watch parties and spotlights. More information is at www.cinequest.org.

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[WATCH] Video Shows Jada Pinkett-Smith Laughing After Will Smith Smacked Chris Rock

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After the smack that was heard around the world went viral, there is new footage that has surfaced showing Jada Pinkett-Smith laughing after her husband slapped comedian Chris Rock.

Actor Michael Rapaport shared the footage on his Twitter. Just when Chris says, “Will Smith just slapped the sh*t outta me,” the veteran actress appears to lean over and laugh as Will casually walked back to his seat. The slap silences the audience as its realized that the slap was not a part of the show’s program.

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