Music legend Nile Rodgers opens International Busking Day in Wembley Park with medley of hits as he rose from busking to stardom
(CNN)Rapper XXXTentacion was shot and killed during an apparent robbery Monday in Broward County, Florida, police said.
Rise to Fame
Bryson Tiller is looking to warm up for summer. The singer/rapper has been back in the studio, working on the follow-up to his underwhelming sophomore album True to Self.
Bryson Tiller is looking to warm up for summer. The singer/rapper has been back in the studio, working on the follow-up to his underwhelming sophomore album True to Self.
Responding to a fan account on Twitter this week, the Louisville native revealed that his new project, ‘Serenity,’ carries an upbeat, feel-good tone. “the serenity project is full of summer vibes and songs that make me happy,” he wrote. “so summertime sounds about right, if all goes as planned of course.”
Tiller first teased the Serenity title last December. It’s unclear when the project will drop, but the wait shouldn’t be long since summer is only a month away.
The news follows his previous tweets about his sophomore album, True to Self. Tiller shared that he was battling depression at the time and admits that he “fell off.”
“i was depressed before i made that album and you can hear it in the music,” he said. “depression ended in 2017 and i been workin hard ever since.”
True to Self marked Tiller’s first No. 1 on the Billboard 200. However, it earned mixed reviews from critics and fans. “I’m my biggest hater and my worst critic, so when I see all these people saying things it’s like I’m agreeing with them,” he told Tim Westwood. “All these things just kinda took a toll on me, and not only that, but I went through a lot of crazy things with legal troubles and stuff with old management…I was in a dark, dark place after Trapsoul.”
In ‘Whitney,’ a new documentary which premiered at Cannes, her half-brother claims the late singer and he were molested as children by their cousin, Dee Dee Warwick.
CANNES, France – Mystery solved. Right?
The reason one of the world’s most gifted and beautiful singers stubbornly destroyed herself with drugs, drowning face down in a bathtub at the age of 48 in 2012, may have been because she was allegedly molested as a little girl by her cousin Dee Dee Warwick.
Macdonald, who claims not to have seen Broomfield’s take, got the Houston family’s authorization for his film. But given the shadiness of many of Whitney’s immediate family members and former entourage, that doesn’t necessarily mean he got more truth than Broomfield.
Macdonald hits alleged pay dirt when Houston’s half brother Gary Garland-Houston, 61, the former NBA player, and her longtime assistant Mary Jones, say that the late Dee Dee Warwick, Dionne’s sister and one of the first openly lesbian singers, molested both Whitney and Gary when they were both little.
“Mommy don’t know the things we went through,” Garland-Houston says, adding that he and his siblings were often farmed out to other families when their mother, gospel singer Cissy Houston, and their father, John, were on the road for Cissy’s career.
Mary Jones, often called “Aunt Mary,” said Whitney told her that she didn’t dare tell her mother because Cissy was so tough she might have hurt Dee Dee, who struggled with her own drug addiction and died in a nursing home at 63.
“It made her question her own sexual preference and it made her ashamed,” Jones says. “It’s also why she wanted her own family so much.”
Maybe. Maybe not. And Dee Dee Warwick is conveniently no longer here to defend herself. A family friend interviewed in the film who doesn’t seem to be blowing smoke said Whitney had an “idyllic childhood.”
Watching Whitney is like being in an excruciatingly long Al-Anon meeting, the 12-step group for relatives and friends of alcoholics and drug addicts.
There’s a joke in “the rooms” of Al-Anon that members are always wringing their hands and asking “why?” Why does their father, or mother, or husband or daughter drink or take drugs?
It’s like if they can just pinpoint the reason, assign the blame, then the pain of being neglected or abandoned by a substance-using parent or lover or child will be assuaged. They will have fixed it.
In the film, Houston’s longtime agent Nicole David looks sad when she speaks plaintively of how “sweet” a girl Houston had been. Like so many, David can’t figure out what happened.
In probing interviews with those who knew her and in footage of Whitney behind the scenes, Macdonald tries hard to explain why Houston spiraled downward so dramatically.
He hits all the familiar bullet points for blame:
Whitney was bullied as a child for being light-skinned.
Her mother pushed her maybe too hard because Cissy never made it as a solo artist.
Her father and brothers were greedy and ripped her off.
Label guru Clive Davis washed all the ghetto and gospel out of her and re-made her into white America’s idea of a black princess.
She was bisexual but couldn’t be with girlfriend Robyn Crawford because her parents and society disapproved.
Bad boy Bobby Brown was jealous of her success and became abusive but Whitney was so desperate to keep him she “brought herself down to lift him up.”
But Macdonald ultimately digs the same hole Broomfield did: nothing totally adds up or explains Houston’s self-destructiveness.
Because Can I Be Me came out first, the story seemed at least fresh and revelatory, even if Houston remains at an eerie remove in both films. Macdonald’s film is just as well-made as Broomfield’s but now it’s just depressing to watch Houston’s long, slow suicide again. It’s become Whitney death porn.
Her hairstylist Ellin LaVar has a telling moment when Macdonald asks her if Houston liked sex. In fact, she said Houston liked sex so much – with both men and women – that LaVar worried about what diseases she might be catching and bought her a vibrator.
Always wanting more is a hallmark of addiction. And way, way back in the day, before 12-step groups and the disease model of addiction, people who were addicts and alcoholics were thought to be possessed by demons.
We hear Whitney’s voice at the start and end of the film, talking about having recurring nightmares about a “giant” chasing her. Her mother Cissy told her it was the devil. Whitney says he “won’t ever catch me.”
Maybe Cissy was right and the devil did catch her. Or maybe she was just a drug addict who couldn’t—or wouldn’t—stop.
Review: Beyoncé Is Bigger Than Coachella
INDIO, Calif. — Let’s just cut to the chase: There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon, than Beyoncé’s headlining set at the Coachella Valley Music and Arts Festival on Saturday night.
It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.
And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.
It started with the horns: trumpets, trombones, sousaphones. For most of the night, the 36-year-old star was backed by an ecstatic marching band, in the manner of historically black college football halftime shows. The choice instantly reoriented her music, sidelining its connections to pop and framing it squarely in a lineage of Southern black musical traditions from New Orleans second line marches to Houston’s chopped-and-screwed hip-hop.
Her arrangements were alive with shifts between styles and oodles of small details, quick musical quotations of songs (Pastor Troy’s “No Mo’ Play in G.A.,” anyone?) that favored alertness and engagement. As always, one of the key thrills of a Beyoncé performance is her willingness to dismantle and rearrange her most familiar hits. “Drunk in Love” began as bass-thick molasses, then erupted into trumpet confetti. “Bow Down” reverberated with nervy techno. “Formation,” already a rapturous march, was a savage low-end stomp here. And during a brief trip through the Caribbean part of her catalog, she remade “Baby Boy” as startling Jamaican big band jazz.
She does macro, too — she was joined onstage by approximately 100 dancers, singers and musicians, a stunning tableau that included fraternity pledges and drumlines and rows of female violinists in addition to the usual crackerjack backup dancers (which here included bone breakers and also dancers performing elaborate routines with cymbals).
Some superstars prize effortlessness, but Beyoncé shows her work — the cameras captured the force and determination in her dancing, and also her sweat. She performed for almost two hours, with only a few breaks, and her voice rarely flagged. Occasionally her set was punctuated with fireworks that, compared with what was happening onstage, seemed dull.
Beyoncé was originally meant to perform at Coachella last year, but rescheduled for this April after becoming pregnant; her Coachella performances this weekend and next are her only solo U.S. dates this year. “Thank you for allowing me to be the first black woman to headline Coachella,” she said midset, then added an aside that was, in fact, the main point: “Ain’t that ’bout a bitch.”
Big-tent festivals, generally speaking, are blithe spaces — they don’t invite much scrutiny, because they can’t stand up to it. But Beyoncé’s simple recitation of fact was searing, especially on the same night that, in Cleveland, the Rock & Roll Hall of Fame finally inducted Nina Simone and Sister Rosetta Tharpe, 15 and 45 years after their deaths, and also Bon Jovi, a band in which everyone is very much alive.
She was arguing not in defense of herself, but of her forebears. And her performance was as much ancestral tribute and cultural continuum — an uplifting of black womanhood — as contemporary concert. She sang “Lift Every Voice and Sing,” often referred to as the black national anthem, incorporated vocal snippets of Malcolm X and Chimamanda Ngozi Adichie, and nodded at Ms. Simone’s “Lilac Wine.”
And she rendered her personal history as well. During the second half of the show, she unfurled a kind of This Is Your Life in reverse. First came her husband, Jay-Z, on “Déjà Vu” — with him, she was affectionate while easily outshining him. Then, a true surprise: a reunion with her former Destiny’s Child groupmates Kelly Rowland and Michelle Williams, during which she happily ceded the main spotlight. After that came a playful dance routine with her sister, Solange, on “Get Me Bodied.” (Sadly, there was no “Ring Off” with her mother, nor a rendition of “Daddy Lessons” with her father.)
As Beyoncé has gotten older, she’s been making music that’s increasingly visceral, both emotionally and historically. She is one of the only working pop stars who need not preoccupy herself with prevailing trends, or the work of her peers. She is an institution now, and that has allowed her freedom. “Lemonade” is her most accomplished album, and also a wild and risky one — thematically but also musically.
That may be one reason that last year, Beyoncé lost the Grammy for album of the year to Adele, the sort of upset that triggered a storm of criticism about the Grammys’ relevance, and, effectively, an almost-apology from Adele. In time, though, that moment will feel like a glitch. That space on the mantel will be filled by a National Medal of the Arts, or a Presidential Medal of Freedom. Like no other musician of her generation apart from Kanye West, Beyoncé is performing musicology in real time. It is bigger than any tribute she might receive. History is her stage.
An earlier version of this review misstated the title of one of Beyoncé’s songs. It is “Daddy Lessons,” not “Daddy Issues.”
An earlier version of this review misstated which song recorded by Nina Simone Beyoncé featured during her set. It was “Lilac Wine,” not “Strange Fruit.”
Soca getting more popular in Jamaica than dancehall.
Soca is rapidly bypassing dancehall to become the most popular music in Jamaica but most Jamaicans are not even noticing. Reggae has long taken a back seat to dancehall and in the next 5 years, Dancehall will take a back seat to Soca.
While some of the major dancehall shows over the years like Champions in action, Sting and West Kingston Jamboree have all come to an abrupt end in the last few years, carnival has grown exponentially on the island and as everyone know, with carnival comes soca music.
Speaking with 18 Karat Reggae during the Road March on Carnival Sunday, State Minister Alando Terrelonge said having witnessed a strong showing by the three bands this year, he believes the soca scene is poised to grow even more.
“When you look at the numbers for Xaymaca alone, I hear figures are 1,800 females, 400 males this year, and that is an exponential growth in terms of the numbers, and I’m sure the other two bands have grown as well,” he said. “People are coming to Jamaica because of our culture, and soca cannot be left out when talking about culture in Jamaica. There are so many tourists who are here just to enjoy this, and the more visitors we get, the more tourism contributes to the overall economic growth of the country.”
Pointing out that his Ministry welcomes any product that will improve the country’s economy, Terrelonge said he doesn’t see the carnival and soca momentum dying out any time soon and believes more Jamaicans will get involved.
“Each year you have new players coming on the scene, so maybe next year we will have more persons who want to launch bands. Carnival has really created a good climate for entertainment in Jamaica, and I’m happy to be part of the movement and the Ministry is happy to be part of it as well,” he said.
Speaking of growth, Delano Seiveright, chief adviser and strategist in the Ministry of Tourism, put things into perspective using figures.
According to data gathered during the week of April 1 to 7, Seiveright said that a total of 51,384 tourists visited the island.
Of that figure 9,000 flew into Kingston, a 22.8 per cent increase from the same period last year. He pointed to carnival and soca’s influence.
“This is the second year since the Ministry of Tourism with the JTB decided to partner with private sector entities to push the Jamaica branded event (carnival in Jamaica), and we exceeded last year, and we expect to exceed those numbers again next year,” he said.
“Kingston was absolutely full for Carnival. All the hotels were booked, Air BnB properties were booked, and persons were doing short-term rentals. It was a beehive of activities across Kingston, and persons benefitting from that spread across the entire Corporate Area,” he added. “Reggae Sumfest and Rebel Salute combined do not match these numbers.
Seiveright said a number of persons, including taxi operators, hairdressers, and dressmakers benefited greatly.
“That’s what we really wanted to see and we’re happy it happened. Carnival in Jamaica is one of those events that allow a lot of the tourist hustle to spread far and wide in the economy, and that was seen this weekend,” he said.
Beyoncé Makes History at Coachella: Feminism, Black Lives Matter and a Destiny’s Child Reunion
The living legend brought the heat out in the desert of Indio, California.
What makes a historic Beyoncé performance? Doubtlessly that’s what hordes of Coachella-goers were asking themselves on Saturday night, as they huddled in wait for a show that was both two years and an entire career in the making. Every time Beyoncé performs she seems to produce perfection; her unparalleled ability to dance, sing, and command a stage like some sort of glambot is what sets her apart from mere pop stars. Beyoncé is so professional that the sight of her own blood doesn’t cause her to miss a step. Plus, she’s already defined “Feminist” at the VMAs and graduated from pop icon to the literal Madonna in a show-stopping, religious experience of a Grammys performance. How was she going to top that?
Last year, Kevin Fallon described Beyoncé’s transcendent Grammys performance as “a tribute to herself.” Last night’s Coachella performance—or Beychella, as the hive has renamed it—was a Beyoncé tribute and a career retrospective all rolled up into one. And if you’re confused by the idea of an artist acting as their own historiographer, hype man, and biggest fan, then you clearly don’t know anything about Beyoncé.
Of course, this epic show was supposed to be the crowning moment of last year’s Coachella, before life got in the way and a very pregnant Beyoncé was forced to bow out. And while it would have been awesome to watch mom-to-be Bey somehow nail a massive, choreo-heavy headlining gig, it’s safe to assume that that performance would have been nowhere near as strenuous and jaw-dropping as this one.
With Rumi and Sir Carter safely delivered and Bey and Jay’s “On The Run Tour II” currently slated for this summer, there was no better time for Beyoncé to officially welcome herself back from maternity leave. But what elevates a technically masterful montage of iconic pop songs into groundbreaking territory? Clearly, it’s a question that Beyoncé meditated on at length before taking the summer stage, churning out a performance that was at once a seamless, gorgeous entity in its own right and a highly calculated mix of headline-worthy stunts and thematic culminations. Every single Beyoncé narrative, from her hip-hop royalty marriage to her feminist credentials, from Black Lives Matter to her Destiny’s Child roots, was stunningly evoked, a dream for concertgoers and clickbait writers alike.
Beyoncé took the stage amid a cacophony of drums and horns, stealing the attention away from the impressive marching band she had assembled in the desert (not to mention the male and female dancers, choir and orchestra). Decked out in a Cleopatra-esque cape and body suit, Beyoncé turned the stage into a runway and strutted down the catwalk for the adoring crowd. After a quick outfit change, Bey rose from the rafters in denim cutoffs and a yellow sweatshirt, stomping in high-heeled white boots to the opening chords of “Crazy in Love.” Anyone else’s performance might have been upstaged by the army of backup dancers and full marching band, but Beyoncé had no trouble holding anyone’s attention, moving through “Crazy in Love” to “Freedom” to a stirring rendition of “Lift Every Voice and Sing,” which is often referred to as “The Black National Anthem.” Naturally, this led into “Formation,” the rallying cry for black women everywhere that Taylor Swift could never touch.
“Ladies, are we smart? Are we strong? Have we had enough?” Beyoncé addressed the audience, before launching into a truly inspired chant of “suck on my balls,” backed by her female dancers. “Yoncé” was somehow made even sexier than usual, probably because Beyoncé performed the song lying face down and humping a bleacher.
“Coachella, thank you so much for having us tonight,” she intoned, leading into an explosive rendition of “Bow Down.” “This is a very important performance for me. I’m happy to be back home on stage with you guys.”
For “Drunk In Love,” the singer took to a moving crane suspended above the crowd, proving once and for all that Beyoncé could pull off a stunning performance without any of her dancers, relying only on stationary gyrating and hairography. The female empowerment theme continued through “Diva” and “Flawless”—the latter was performed partly sitting down, because even Beyoncé needs to catch her breath sometimes. One outfit change—black thigh-highs, a shiny black bodysuit and an accompanying oversized parka—some impressive vocal runs and a Malcolm X voiceover later, Beyoncé started to move out of vengeful, righteously-pissed-off wife territory, rounding off the Lemonade portion of the evening with “Partition” and “Hold Up.”
An ecstatic Beyoncé nodded to the fact that she was making history mid-performance: “Coachella, thank you for allowing me to be the first black woman to headline. Ain’t that ‘bout a bitch?”
She continued, “This song is dedicated to all of the incredible women that opened up the doors for me.”
Unsurprisingly, the set was fairly stacked towards the end of the night, at least in terms of A-list appearances. Jay-Z joined his incredibly forgiving wife for a rendition of “Déjà vu,” which also served as a preview of their upcoming tour. Hip hop’s reigning power couple didn’t disappoint, looking at each other adoringly and generously sharing the stage (yes, Beyoncé did like 80% of the work, but does anyone really want to see Jay-Z attempt choreography?) As many people have correctly pointed out, this was the exact right amount of Jay-Z for a Beyoncé concert.
Fittingly, the real show-stopping performance of the night wasn’t when Jay came through, but rather a long-awaited Destiny’s Child reunion. Cued in by Chimamanda Adichie’s sampled definition of “feminist,” the girl group appeared in matching camouflage (a nod to the iconic “Survivor” video) and suddenly it was 2004 again. “Do you remember this song?” Beyoncé teased the audience before “Say My Name”.
By the time Beyoncé thanked her “sisters” for joining her on stage, it was clear that she was having an incredible night. The only thing left to do was for Bey to be joined by her actual sister, Solange. They performed an incredibly energetic sisters’ dance routine to “Get Me Bodied,” incorporating hand games, bleacher choreography, and a bunch of supportive eye contact. Solange and Beyoncé hugged, and Bey prepared for the final stretch: “Single Ladies” and “Love On Top.”
“I just want to say thank you guys,” Beyoncé addressed the crowd before her final song. “I’m so happy that I’m here. I was supposed to perform at Coachella before but, I ended up getting pregnant, thank God. So I had time to dream and dream and dream with two beautiful souls in my belly and I dreamt up this performance and this is everything and more than I dreamt of it being.”
And then she nailed every single key change attempted on “Love On Top.” It was worth the wait.
Nicki Minaj Interview: Talks Cardi B Beef Rumors, Meek Mill, Drake and New Singles
Maleek Berry – ‘Sisi Maria’
Two months ago, The Nigerian musical star Maleek Berry released his solid second EP, First Daze Of Winter. Since then, he’s dropped the video for “Pon My Mind” and featured on a couple tracks, but we’ve really just been waiting for him to drop the visuals for the EP’s best song, “Sisi Maria”. Well, he finally came through.
Excellently produced by Maleek Berry himself, “Sisi Maria” finds the producer-turned-artist doing what he does best: wrapping up a deceptively mushy love song in a ridiculously catchy beat. Honestly, it’s impossible to hear this song without at least tapping your feet.
On the track, Maleek is asking a beautiful woman to let him love her. Like the cheesy romantic he’s proven to be on his past songs, he’s already planning their marriage and picturing their kids (“E be you wey I wan marry/ Na so, na so/ Na my pikin wey you go carry”).
As for the video, Maleek didn’t work with his frequent collaborator, Meji Alabi, and it shows. While Maleek’s visuals typically stand out for being creatively ambitious, this Unlimited LA-directed clip is bogged down by far too many music video cliches the ankara bikinis, in particular, are really tired.
Shatta Wale – Fool Is The Last To Know
Irie FM honours ~Bunny Wailer~ with Lifetime Achievement Award
Neville Livingston whom we’ve come to know as Bunny Wailer is a founding member of the legendary reggae band, The Wailers.
For decades he performed alongside Bob Marley and Peter Tosh. As you know, Tosh was murdered in 1987?while Marley died of cancer in 1981; this leaves Bunny Waiting the only living Wailer! That in itself should feel like an honour to Bunny; however, the music fraternity isn’t taking him for granted
Bunny Wailer will be the recipient of IRIE FM’s 2018 Lifetime Achievement Award 🥇. This marks the second staging of the event and will be held at Bournemouth Beach Park Complex in Kingston on February 11th.
This announcement initially came by way of IRIE FM’s Programmes Manager Ka’Bu Ma’at Kheru’s radio broadcast. She indicated IRIE FM, will confer its second annual Lifetime Achievement Award to the Honourable Neville Oriley Livingston OM (Bunny Wailer, Jah B), a Jamaican, “distinguished by a body of work that demonstrates outstanding and exceptional leadership, dedication and achievement nationally and internationally, and who has shown exceptional leadership in industry advancement.”
Aside from his musical contribution to the world, Bunny has been dubbed a philanthropist for the compassionate work his does for the betterment of humanity. Bunny Wailer was also conferred with the order of Merit last year at Kings House in Kingston. This is the nation’s 3rd highest honour and 18 Karat Reggae wishes to congratulate Bunny Wailer on this and other amazing achievement.
Long Life & Peace Bunny Wailer .. Salute!
Steel Pulse member dies.
The reggae community is currently in very deep mourning. A founding member of probably the greatest reggae group ever outside of Jamaica has lost one of its founding members.
Steve ‘Grizzly’ Nisbett of the great reggae group, Steel Pulse, has died. The group confirmed Nisbett’s passing by releasing the following:
It is with a heavy heart that we must pass the sad news that today, our brother, our friend, our timekeeper for so many years, original founding member of Steel Pulse, Steve ‘Grizzly’ Nisbett, has passed away suddenly and unexpected. As we the Steel Pulse family far and wide have lost someone so close to us, we will still take the stage in a few hours on the Jam Cruise, knowing that the joy that Grizz had bringing the Steel Pulse music and message to our beloved fans around the world, will continue on today, and his spirit, love, and love for you all will ring out across the seas, touching your heart and ours.
Steel Pulse is from the Handsworth area of Birmingham, England and were the first non-Jamaican act to win a Grammy award for the best reggae album.
Steel Pulse is famous for classic reggae songs like Bodyguard, Roller Skate, Stepping Out, Chant a Psalm and Rally Round.
Can reggae artistes who are not from Jamaica be among the greatest?
Jamaica is the home of reggae music. That is fact that cannot be questioned, doubted or argued. However, the music has spread past every boundary and border and reggae is now a worldwide genre and great reggae artistes have sprung up from all four corners of the earth.
Even though there are reggae artistes all over the world, with those outside of Jamaica outselling Jamaican artistes by a landslide, only Jamaican reggae artistes are considered among the greatest. If you ask any reggae fan to list their top 10 artistes, you are sure to hear names like Peter Tosh, Burning Spear, Bob Marley, Dennis Brown and even the young Chronixx; all from Jamaica. It is almost like there is something that Jamaican reggae artistes have those artistes from other parts of the world does not. Or is it just a bias why we don’t hear non-Jamaican reggae artistes listed among the greatest.
Take the late, great Lucky Dube for example. If reggae fans listen his music without prejudice, they could not deny that the South African is among reggae’s greatest. In fat, the type of crowds that Lucky Dube played in front of, no other reggae artiste, including Bob Marley, has ever played in crowds of that size.
So why isn’t Lucky Dube listed among reggae’s greatest? He surely is one of the greatest reggae artistes ever. Did the fact that he was born on the motherland continent instead of an island in the Caribbean disqualify him from being among reggae’s greats?
Then there are groups like Steel Pulse and Midnite who have given us hits after hits and classic albums after classic album, yet you will never hear names like Vaughn Benjamin and David Hinds when reggae’s greatest are being discussed.
Maybe there is something that babies that are born in Jamaica get at birth that babies elsewhere do not get. Maybe Jamaican babies are born with a disease, a disease that Peter Tosh called reggae mylitis.
JAY Z To Be Honored At GLAAD Media Awards
JAY-Z will be honored at the GLAAD Media Awards. Rap-Up has reported that the Gay & Lesbian Alliance Against Defamation, known as GLAAD, will honor Hov for his record “Smile,” from the rapper’s 4:44 album — which depicts his mother Gloria Carter’s journey as a lesbian single mother. On the song, he rapped,
“Mama had four kids, but she’s a lesbian. Had to pretend so long that she’s a thespian / Had to hide in the closet, so she medicate / Society’s shame and the pain was too much to take.”
In other news, according to The Blast, JAY is reportedly taking steps to launch a new clothing line and retail store. Court documents obtained by the publication claim that JAY filed to trademark the name “AKA SHAWN CARTER” for a variety of goods.
The site says that JAY is looking to use the name on “shirts, pants, jackets, coats, bathing suits, ties, skirts, footwear, hats and various other clothing products.” He also reportedly wants to use the name for “perfume, cologne, shaving gel, aftershave, body lotion, bath gel, face cream, and cosmetics.”
Because, he Donald Trump, is forcing Black people to wake up from their sleep and slumber.
Instead of worrying about the Trump’s presidency, this is the time that Black people should become a part of some Black movement or get behind some Black cause. In the words of the great Marcus Garvey; “BE BLACK; BUY BLACK; THINK BLACK AND ALL ELSE WILL TAKE CARE OF ITSELF.”
Shaggy could not be more happy that Donald Trump is the president of the United States and he has great reasons to feel that way. Shaggy thinking is right in line with an article 18 Karat Reggae did on why Donald Trump’s presidency is the best thing ever.
Like the 18 Karat Reggae article, Shaggy sees the Trump presidency not as a cure but rather a blessing in disguise as it is forcing Black people to wake up from their sleep and slumber.
“I am one of those persons who is glad Donald Trump is president, absolutely! It makes us realize that some of the people I thought was my really good friends, really are not. He (has) allowed a lot of people to come out of their face. Because a lot of them were really just keeping it under wraps. These are people who you would have trusted to a point that you would have left all your children’s future in their hands. They were your friends… they were at your dinner table. So it’s good that he’s president because it has allowed a lot of people to wake up. You have not seen so many people wake up,” Shaggy said.
“Donald Trump cause everybody to find dem yard. I fought for the United States government, did four years in the military and fought in the Gulf War; I pay taxes in America, you do not want to know the figure; and at the end of the day I am just a number, a black man. I am just a second-class citizen. That doesn’t change in America.”
Shaggy says the Trump presidency is the main reason he is keeping his family in Jamaica despite all the problems Jamaica is facing especially with the rising crime rate.
“Me want the village to raise my kids. I want my daughters to have friends and have a culture. There is no better culture in the world than Jamaica. For me, to raise my children with a strong cultural background, a heart, and a certain level of toughness, there is no place like Jamaica.”
In Jamaica there is a popular saying that, “two bulls cannot reign in one pen”. That is the equivalent of saying, two kings cannot sit on one throne; or as the rapper Nas would say, “There is one life, one love, so there can only be one king.”
So with Ninja Man and Vybz Kartel both sentenced to life in prison for murder, the question must be asked; who will be the “Don of prison”. Will it be the don gorgon or the one don?
Dancehall has had its fair share of dons over the years. First there was Leroy Smart who was”the original Don”, then there was Pinchers who said he was “the don”, Ninja Man then came on the scene and titled himself the “don gorgon”, not long after Ninja, Super Cat said he was the “Don Dadda”, then Vybz Kartel said their can only be one don and branded himself as the “One Don”.
So suffice to say, someone will be giving up their don title for 2018. There can be only one don at the Horizon Correctional Facility. Will it be a matter of first come first serve where Kartel was the first to be locked up at the facilities, so he will keep the don of the prison title? Or is it that because there was a don gorgon before there was a one don, Ninja Man should be the don of prisons.
In Gaza fans hearts and minds, Kartel will always be the don. However, it remains to be seen who will be the don of prison. 2018 will be a very interesting year for dancehall.
Who do you think will be the “don of prison”?
Bob Marley’s Star on Hollywood Walk of Fame Vandalized.
Who would want to vandalize the king of reggae star on the Hollywood walk of fame. No one knows for sure but someone took a sledge hammer and destroys the Bob Marley star in Hollywood California.
The authorities are currently investigating but this happened just days after Damian Marley told 18 Karat Reggae that Ziggy Marley was underrated even though the oldest son of Bob has won 7 Grammy Awards. Many in the reggae community took Damian Marley’s statement as a disrespect to the truly greats of reggae like Sizzla and Beres Hammond who have won no Grammy Awards.
Ana Martinez, vice president for the Walk of Fame at the Hollywood Chamber of Commerce, told 18 Karat Reggae that when the person responsible for the disrespectful act is found, they will be punished to the fullest extent of the law.
“The cops are investigating this one. Every once in a while we have incidents like this, but we have no idea why anyone could have vandalized this star. I produced the ceremony when this star was unveiled and that is why I was so ‘ticked off’ when it happened. I kept thinking why would someone do this? I just want the family and everyone to know that as soon as it happened our guys went in to start the repairs. The brass pieces including the name plate will be re-used. It will take a few days to be cast, then it has to cure and be polished before it is replaced. So it should be back in place in about a week or so,” Martinez told 18 Karat Reggae.
Martinez also took to twitter to voice her disgust at the distasteful act.
“Why would anyone do this to Bob Marley’s star? Help me understand. The Walk of Fame is a State registered Historic landmark! Disrespectful. This is considered vandalism to a State Historic Landmark. It will be repaired by the Hollywood Historic Trust and will cost nearly US$3,000 to repair it,” she tweeted.
Bob Marley is considered the king of reggae by many and is the only Jamaican entertainer with a star on the Hollywood walk of fame.
Princess Kazayah is troddin’ over hills and valleys to get to you.
With life giving harmonies and catchy potent lyrics, Kazayah delivers with a ‘new flavor’ one of her most loved tunes from her debut mixtape project entitled “Troddin: The DubTape” (2014). Kazayah and Wadadah renovated this tune to a new found mystical heights with an integration of the foundation dub-reggae sound & spiritual teachings all obtained along the way of her musical journey.
Chanting lyrics of redemption, both spiritual and physical, Kazayah taps into the realm of divine meditation focused on getting through all of life’s ups & downs which are metaphorically expressed by the lyrics “troddin’ over hills and valleys . . . anything to get to you . . .” Inspired by Augustus Pablo from the time of her mixtape, Kazayah & Wadadah sought to team up with Addis Pablo, the son of Augustus Pablo, for this single. Playing Melodica as his father did, he adds a great spice to this tune, not to mention his own melodica version on the B-side, which is mystical in essence. Keeping the dub elements present Wadadah II, co-producer of this track, added a dub-version to this maxi-single by giving it that ‘final touch’ it needed for a holistic release.
Kazayah originally born in the United States of America of two Jamaican parents has always been exposed to Reggae music. Whilst growing up in the church, she honed and cultivated her vocal talent. After teaming up with Wadadah II of D.O.V.E. Muzik, she then explored and deepened her love of music by becoming a recording artist. Starting with her debut release “Troddin: The DubTape” (2014). She then went on to release a remix of Alton Ellis’ song named “I’m Still In Love” in which she dubbed “I’m Still In Love With You Jah” (2016). Following that release came the collaboration with one of Jamaica’s number one book merchants, I-Nation, with a song entitled “I-Nation Feeds The Nation” (2016). Kazayah’s song “You Can Do It,” was released on D.O.V.E. Muzik’s compilation riddim-album featuring various artists entitled, “Chimurenga: The People’s Struggle” (2016). Kazayah later went on to remix “You Can Do It” with recording artist Warrior King in the year 2017 accompanied by a music video. Most recently Kazayah released a single entitled, “Armageddon” (2017), with Lion Twins from Trinidad & Tobago.
Working hard in the live arena has provided Kazayah the opportunity to perform in various places such as Jamaica, Mexico, Belize, Canada, Washington D.C., California, Minnesota & in her hometown of Chicago, Illinois. Opening for Warrior King, Sizzla and Turbulence in Chicago, IL most recently in the year 2016 & 2017. Also in 2016 Kazayah performed with Sgt. Remo, Hermandad Rasta, Ras Levy, Ras Tari Minajah, Leona De Etiopia and ManuDread in Mexico City, Mexico. In the year 2015 she performed alongside Jamaican Reggae artists such as Chuck Fender, Micah Shemaiah, Exile Di Brave, Keida, Mr. Williamz, Cali P, Kelissa Anbessa, The Uprising Roots Band, Pentateuch, Suns of Dub, Iziniga IION, Rastafari Indigenous Village and Everton Blender.
The Single-Maxi release “Troddin’” is the first of a set of singles to be released from Kazayah’s upcoming EP set to release in 2018.
Interview with Aaliyah early on in 1994 during the time of her debut album “Age Ain’t Nothing But A Number”.
Enrique Iglesias sure has a thing for bathrooms.
The 42-year-old singer just premiered “El Baño” featuring Bad Bunny and also includes a cameo from actor Eric Roberts.
When Iglesias met Anna Kournikova in 2002, on the set of his “Escape” music video, it also featured a steamy bathroom scene, and this song is about that.
Iglesias finds himself in a hotel bar, and Roberts is the bartender who tricks up his sleeve. Without saying too much, we let you know that there’s a groundhog day theme, and he always ends up next to an attractive brunette. Each time they get closer and closer.
The is the first music video that the new father of twins releases since the big news.
In December, Kournikova and Iglesias welcomed twins, a boy and a girl.
According to TMZ, the twins are named Nicholas and Lucy. The former professional tennis player gave birth on December 16, 2017, in Miami, welcoming the couple’s first children into the world.
This news will come as a surprise to many fans of the low-key couple, who managed to keep the pregnancy private for nine months! Anna, 36, and singer have been together for 16 years and are clearly very good at keeping their relationship very private.
Enrique is due back on tour in March with his European leg kicking off in Germany.