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Entrepreneur Bars: Black Thought Freestyles At The EforAll Summit [Video]

Black Thought EforAll Summit 2018 Freestyle

Source: EforAll / Christa Brown

As Hip-Hop music and culture continue to inform and enhance the world’s social landscape, it is fitting that one of the art form’s top lyricists lent his formidable talents for a summit connected to entrepreneurship. Tarik “Black Thought” Trotter of The Roots fame was one of a trio of keynote speakers last week at the Entrepreneurship for All (EforAll) Summit in Lowell, Mass.

The fourth annual EforAll Summit this year went with the theme “Building Entrepreneurial Ecosystems” which featured the aforementioned Black Thought, Bill Cummings of the Cummings Foundation and Cummings Properties, and Brandale Randolph of 1854 Cycling Company. The event was attended by budding and current entrepreneurs, city leaders, and students from area high schools and colleges.

“Our goal was to convene individuals from across the country to discuss ways we can strengthen entrepreneurial ecosystems and think about collaboration in a different way,” EforAll CEO David Parker offered in a statement via press release. “It was such a pleasure to work with the many community organizations and businesses who made the event possible. It fit the theme of “Entrepreneurial Ecosystems” and also demonstrated our mission of fostering inclusive entrepreneurship.”

Along with the event’s main theme of building a solid entrepreneurial ecosystem, the summit also moved into segments such as “Leading From The Ground Up,” and “The Art of Pitching.”

Black Thought EforAll Summit 2018 Freestyle

Source: EforAll / Christa Brown

The Bad Lieutenant sat down with EforAll’s Content Manager Christa Brown and laid out his personal challenges and triumphs as it relates to entrepreneurship. “Be brave, you have to take the risk to get the reward, you have to go through it to get to it,” Trotter offered in the chat.

Black Thought EforAll Summit 2018 Freestyle

Source: EforAll / Christa Brown

The EforAll Summit crowd was then treated to a freestyle as only Black Thought can deliver, and the MC used the theme of entrepreneurship to inform his bars.

Check out Black Thought’s EforAll Summit freestyle below. To learn more about EForAll, click here.

Photo: EforAll/Christa Brown

Source: HipHopWired.com

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Sting Allegedly Threatening Lawsuit Over Juice WRLD’s “Lucid Dreams”

2018 Power105.1 Powerhouse NYC

Source: Johnny Nunez / Getty

Juice WRLD has a smash hit with his song “Lucid Dreams” which borrows musical elements from rocker Sting’s 1993 track “Shape Of My Heart.” It appears that Sting allegedly threatened legal action over the song despite giving his earlier blessings, but Juice WLRD isn’t too stressed.

In a series of now-deleted tweets, the track’s producer, Nick Mira, fired off some missives towards Sting, including a not-so-polite “F*ck You” stance.

“F*ck @OfficialSting and his WHOLE team,” Mira tweeted over the weekend. “After taking 85% of Lucid Dreams (for interpolating Shape of My Heart, NOT EVEN sampling) he threatened to take us to court for trying to get any %. Sting ALSO flexed stealing our money and said it put his grandkids through college.”

Juice WRLD responded via Twitter with, “Lost millions made millions…the song impacted to many ppl in a good way for me to be upset over it. There’s always more money to be made and I will make it so.”

Check out the song in question, “Lucid Dreams” from Juice WRLD’s Goodbye & Good Riddance project below.

Photo: Getty

Source: HipHopWired.com

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Black Thought Is A Top Notch MC. His New Song Shows He’s A Great Singer Too (Audio)

In eight days, Black Thought is releasing his second project of 2018. November 26’s Streams Of Thought, Vol. 2: Traxploitation will be produced by Salaam Remi (Nas, The Fugees, Amy Winehouse, etc.) as Thought confirmed in the middle of last week. It follows June’s effort with 9th Wonder and his Soul Council ensemble at the helm. While Streams Of Thought Vol. 1 has not yet yielded a video, the sophomore release in the series gets a visual before it releases. Today, Thought drops “Conception,” a song that demonstrates his versatility on the mic device. It is one of the nine tracks that Tariq Trotter and Salaam Remi made together during two different trips to the hit-making producer’s Miami, Florida studio. With an early 70s Soul feel in the chamber of fellow Philly native Billy Paul, or Donny Hathaway, the track opens with a bellowing that “all that money is good for nothing if it’s scared.” In the video (embedded below), it’s Black Thought delivering this song, while a couple’s silhouette is followed. The MC is known for singing, dating back to The Roots Come Alive, and especially on the Grammy-winning Wake Up! release with John Legend.

The dramatic strings give way to drums. Black Thought then raps, “Look, I am no fashion model, but I got fresh for photographers / The camel coat, had the collar up / ‘Cause my emotions was bottled up / And though the ocean did not erupt / Turned up til’ it’s loud enough / To just make something out of us / Past the shadow of a doubt in us / Godly geometry and calculus / That I can move any mountain with, you gotta be an alchemist / Trying to create another avenue of revenue / Or several, ’cause I’m in love with havin’ you / Security is just a whole ‘nother animal,” he spits, with singing vocals serving as a background instrument. It’s seemingly a love song, under great stress. “So if you capture the flame / And it’s painful, you just charge that to the game / It’s shameful, to just fall back and complain / That you fractured the laws of attraction again / Focus on the more passionate plane / No conception is immaculate, mane.” Thought’s message is one of perseverance through the hardest of times, in search of happiness, love, and peace, in an imperfect world. For an MC who waited more than 25 years to make a solo works (let alone two), the premise has potency and personality.

Black Thought Delivers His Most Powerful Verse Ever, In Tribute To Trayvon Martin (Video) After the chorus, Thought returns to rapping. “Once again to the well I went,” he begins. “Trying to decode the meaning of the spell I’m in / And I don’t even know what f*ckin’ hotel I’m in / I checked in as the monarch of melanin / The elephant, my body is the shell I’m in / Holdin’ myself together, teachin’ myself to never one loss divorce my development / Ego trippin’ like Nikki Giovanni / Wishin’ the system might deliver me a body.” At the close of the second verse, he returns to the bridge condemning self-pity and quitting. The song features additional singing from Reek Ruffin, who sings after Thought’s exceptional verse. There are several Black Thought videos, including interviews, available on AFH TV. Do Remember When Pete Rock & Black Thought Breathed New Life Into Black Star (Audio) #BonusBeat: The music video, directed by Morian Thomas:

Source: AmbrosiaForHeads.com

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Rapping Lyrics While Black: Cops Called Over Jay-Z’s “99 Problems,” Neighbor Suspected Domestic Violence

Celebrities out at the Los Angeles Rams game

Source: WENN.com / WENN

In yet another episode of Living While Black in America, a Tennessee man had the cops called him for probably the zaniest reason to crop up in these type of events. Davon Eddington was at his Spring Hill home having a friendly basketball debate on the phone and recited Jay-Z‘s “99 Problems” hook which a neighbor took as a hint to suspect domestic violence at the home. 

TMZ reports:

Davon Eddington tells TMZ … he was in his backyard last week in Spring Hill, Tennessee drinking a beer and talking to his brother on the phone about LeBron James and the Lakers. Davon’s brother called him a bandwagon Lakers fan … to which Davon replied, “I got 99 problems, but a bitch ain’t one.”

A neighbor, apparently overhearing the conversation, misinterpreted the lyric and told cops he thinks Davon’s beating his fiancee — who, BTW, was upstairs taking a bath.

According to a police report, obtained by TMZ, cops raced to Davon’s home after the caller told them he heard Davon say he had “99 problems and this bitch ain’t one.”

Davon says cops ultimately got to his house and onto his property with guns drawn before they realized it was a total misunderstanding, to say the least.

Check out Davon Eddington explain the situation below. And oh yeah, the cops apologized but what about the neighbor?

Photo: WENN

Source: HipHopWired.com

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All It Takes Is 1 Drink To Get MF DOOM & Madlib Animated (Video)

Next year marks the 15th anniversary of MM.. Food, one of MF DOOM’s most celebrated solo albums. It dropped in 2004, the same year DOOM’s collaborative album with Madlib, Madvillainy arrived and was the first of his solo works to be released via Rhymesayers Entertainment. Somewhat conceptual in its delivery, the album features tons of facetious references to food (songs like “Poo-Putt Platter,” “Gumbo” and “Kon Karne,” for example). It also reinforced DOOM’s brand of inculcating in his listeners the idea of him as a villainous, irreverent threat to rappers. On MM.. Food, Madvillain made an informal appearance on the Madlib-produced “One Beer,” a perfect example of DOOM’s irreverence towards his competitors in Rap: There’s only one beer left / Rappers screaming all in our ears like we’re deaf Tempt me, do a number on the label / Eat up all their MCs and drink ’em under the table / Like, “It’s on me—put it on my tab, kid” / However you get there, foot it, cab it, iron horse it / You’re leaving on your face, forfeit Earlier this week, Rhymesayers toasted to MM.. Food‘s 14th anniversary with the release of an animated video for “One Beer.” Illustrated by Philadelphia visual artist Anhia Zaira Santana (a.k.a. Distortedd), it’s a cartoon-styled take Japanese anime, fitting in line with DOOM’s proclivity for comic-book references in his lyrics. Most of the characters are one-eyed like Cyclops (even Lord Quas, who makes a cameo).

The video has been released in conjunction with a limited capsule collection of T-shirts inspired by “One Beer.” The already sold-out merch will likely be expanded for next year’s 15th anniversary.

Source: AmbrosiaForHeads.com

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Last Week Jae Millz Took An L, But This Freestyle Shows He Bounced Back (Video)

Jae Millz was once considered one of the sharpest MCs on the streets of New York. That’s why, approximately 15 years ago, Puff Daddy took his Making The Band hopeful E Ness to see Millz for a battle. In the years since Jae was signed to Lil Wayne’s Young Money at a time when Weezy was dominating mainstream and mixtape Rap. Somehow the associations and exposure never led to the success worthy of Jae’s skills. Following a loss to K-Shine at Rare Breed Entertainment’s Lift His Soul 5 battle on early November 3, he is out to prove something on this visit to Funk Flex’s show. Jae rhymes for nearly five minutes over two beats. The first instrumental utilizes a sample from The Mary Jane Girls classic “All Night Long” and, laid back or not, Millz goes in with lines like, “Gotta stay fresh, word to Doug E. / Baby, I know you love me / Feeling like Ace Boogie in the Bug’ie / Feeling like Illmatic Nas in his rugby / Might get the half moon next time Kenny cut me / I don’t know if that’s your main chick or your side piece / All I know is where her eyes be / She lookin’ like she wanna try me / I got her very smiley / ‘Cause I’m very vibey / Like a young Teddy Riley.

Eminem Is Producing A Battle Rap Satire Film Filled With Social Commentary (Video) As the second track comes on, Jae tells Flex, “I’m petty.” He’s referring to the fact that it’s the same joint K-Shine rapped over a week previous. He then addresses the young Harlemite directly, “They said I took an L, and I ate that / Doubters came at me sideways, I came straight back / Flex you brought that boy up here thinking he had some great raps / Not even a day later, y’all was like, ‘Yo, where Jae at?‘” If that all wasn’t enough, for any naysayers asking where he’s been at, the lyricist born Jarvis Mills breaks down his life year by year from 1997 to present. It turns out he had a tumor that had to be surgically removed in 2015. There’s an odd mix of vulnerable honesty and outlandish braggadocio in this freestyle, but it somehow works. CyHi The Prynce Challenges Joe Budden To A Rap Battle For $500,000 (Video) Last year the Uptown MC dropped Potent Music 3.

Source: AmbrosiaForHeads.com

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15 Years Later The Black Album Is Still JAY-Z’s Perfect Fadeaway (Video)

“Any time you’re making an album, especially if this is your last album, every single track has to be a statement. Like, in your mind, you’re thinking, I have to make the perfect album,” JAY-Z said before Fade To Black cameras during 2003, when the documentary filmed. “Anybody that knows me knows I’m dead serious. I’ll sit there and drive myself crazy ’til I find that right track.” History shows that Shawn Corey Carter hit his mark. Whether he sincerely believed he was done, he heightened the pressure on himself to an all-time high, and then he hit his mark. For Rap, it was Evil Knievel’s death-defying jump—and for then last time in their minds, the crowd roared. Swizz Beatz Explains Why The JAY-Z, Nas & DMX Collabo Has Not Come Out (Video) Fifteen years ago, JAY-Z solely occupied the pole position in Hip-Hop. While fans forever debate the victor, the Marcy Projects native left verbal confrontation with Nas in the better position, in terms of mass-public perception after the MC battle of the 2000s. He had climbed the charts, repeatedly, and laced the walls of Roc-A-Fella Records with his own platinum and gold plaques in less than a decade. Like Eminem, The Notorious B.I.G., and Run-D.M.C. before him, Jay finally had the critics, the charts, and the hearts of the masses—all at once. Following the groundswell of The Blueprint and the quick-strike sequels, Jay wanted a statement LP. The Black Album, released 15 years ago today (November 14, 2003) was a truly “grand closing” of the book in Shawn Carter’s illustrious 15-year Rap career, or so Heads seemingly believed at the time. What has made The Black Album so exceptional was its detailed planning and clear execution. Lupe Fiasco Explains In Detail Why JAY-Z Is The Greatest MC Of All-Time By 2003, past Jay collaborators Master P and Too Short had pump-faked retirement. In both cases, the artists not only revoked their vows, their exit music lacked gravitas—making their returns a bit blushed. In Jay’s case, however, this statement album not only amplified the attention to his lyrics (what other major album had its own mass-released acapella edition?) and music, it set the new standard for LP anticipation-and-delivery in the digital era. The Black Album was blueprinted as the ideal farewell for Jay. Stripped of rapping or singing guests, the album unflinchingly made Hova and legacy its focal point. In tow, the MC sought out key producers from his past, and a few wish-list studio mates to deliver his magnum opus. In turn, he seemingly addressed all the things that made his career work—almost as a revue. Songs like early released “What More Can I Say?” showed that Jay felt he had fully manifested his artistic trajectory and narrative. The display was exceptional, and every bar seemed to be worthy of extensive analysis. On “Moment Of Clarity,” Jay’s openness and intimacy reached new plateaus. Shawn Carter was suddenly profound, and lucidly justifying his own legacy (and thug) through candid commentary, over-top Eminem production.

Big Daddy Kane Details Recording This 1988 Mixtape Collabo With JAY-Z (Video) For many though, deep cuts like “Public Service Announcement (Interlude)” packed his eighth album’s greatest charms. On a 170-second dust-covered Just Blaze sample chop, Jay grandstanded—his flow, his status, his swagger, and his ability to make purebred Hip-Hop from the owner’s box. “99 Problems” did the same, as Jay sought out Rick Rubin’s proper return to Rap. There is footage of the Def Jam Records co-founder behind the boards, Mike D behind him, walking Jay through the takes. Having cut his teeth in DJ Premier’s D&D Studios enclave, and having later built state-of-the-art recording facilities of his own, S.Dot was open to experimentation and new methods. A grown man with the woman of his dreams, an uber-talented team around him, and the most in-tact legacy of an active MC, Jay used every minute of The Black Album differently than past albums. The 9th Wonder-produced “Threat” brought Jay back to wolf mode, while DJ Quik-laced “Justify My Thug” rolled out Jay’s man-code. Kanye West, still making his bones as one of Roc-A-Fella’s new and exciting voices, delivered in a major way with “Encore” and “Lucifer.” Just Blaze locked in more credits than anybody else, each showing his wax-informed range and sonic versatility. As detailed in Fade To Black, JAY-Z sifted through tons of tracks. Perhaps using foe NasIllmatic as a template, Jay wanted each production counterpart not only to mean something in the ensemble, but work together for something that had those individual statements, yet worked for a sum of the parts. He pulled from East and West, peer and protege, household-named hit-makers and faceless newcomers. The plan succeeded. There was no Twitter for hot-takes. However, in barbershops, Blackberry, Sidekick, and AOL messages, the vast majority of people seemed to agree—Jay had done great. Timbaland Describes The Musical Chemistry Between Him & JAY-Z (Video) Despite its mainstream recognition (only furthered by work with Linkin Park), The Black Album was not PG-13. Still, it balanced the antics of a former street hustler with major aspirations in the years ahead. He walked the line and compromised none of his past or his future. They met in the present. The Black Album brilliantly basked in its own hype. The hero stuntman lived, and made music feel like an event. While history shows he’d return two years later, fans took him at his word, sort of, anyway. JAY-Z left the stage, and flicked off the switch—but the lighters of hungry fans illuminated the legacy he had built in real-time. The Black Album set the standard for great MCs to take that bow. Although the legacy effect has changed since that moment, one cannot listen to the album and detach from that everlasting sentiment.

Source: AmbrosiaForHeads.com

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An MRI Video Shows How Human Beat Boxing Works From The Inside Out

MRI scanning machines are often used for more serious medical matters: broken bones, tumors, etc. But now, at least in one case, medicine and Hip-Hop are coming together to show us how impressive the skill of beatboxing is. In a 2018 video posted by The New York Times, beat-boxer Timo Schnepf (aka Gaucho) was put under magnetic resonance imaging. At 50 images per second, it shows the mechanics of how people make beats using the different parts of their mouth.

This Run-D.M.C. Beatboxing & Rapping Session Is Tougher Than Leather (Video) In the video, Gaucho performs a beatbox freestyle inside a real-time MRI scanner. It shows his tongue flipping and leaping while the sound of a drum is heard. More broadly, research based on the scans of five different beatboxers was presented on Wednesday (November 7), at the Acoustical Society of America. They hope to find out more about how humans produce language and develop algorithms accurately describing the dynamics of the vocal tract. Beatboxing has been a part of Hip-Hop culture since its inception and uses a variety of breathing patterns, voices, tongue clicks, and rolls to create the sounds of a drum machine and sampler. Many MCs and producers began as beatboxers, including Doug E. Fresh, Buff Love, and Biz Markie, while others remained as such to evolve the skill. Rahzel, Kenny Muhammed, Nicole Paris, and Eklips are just a few at the pinnacle of the art.

Source: AmbrosiaForHeads.com

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