NGHTMRE & Gunna Team Up For Slow-Burner Banger ‘CASH COW’ Video

Coming fresh from a buzzworthy collaboration with Young Thug and Travis Scott, Gunna has linked up with electronic dance music producer NGHTMRE for the enthralling new single and video for “CASH COW.”

NGHTMRE has a history of venturing into Hip Hop. This past year, he’s teamed up with high profile rappers such as Lil Jon and A$AP Ferg. He tells HipHopDX since he grew up in the South, he has always felt highly influenced by the Atlanta scene. In regards to joining forces with Gunna, he stated, “Working with someone as dope as Gunna in the studio was a dream come true for me. Working to create something he really loved was a fun process.”

After listening to the beat, Gunna wrote all of his verses during a single flash of creativity.

This single caps off a momentous year for the Atlanta rapper. Back in February, Gunna released the well-received Drip or Down 2 and he’s recently worked with chart-topping artists such as Chris Brown, Jacquees, French Montana and Moneybagg Yo.

Watch the “CASH COW” video above and follow @nghtmre on Instagram.

Listen to Gunna and NGHTMRE’s ‘Cash Cow’

Gunna keeps the hits coming.

Hot off collaborations with Travis Scott, Roddy Rich, and Blueface, the YSL rapper teams up with producer NGHTMRE on “Cash Cow.”

Gunna adds his luxe flow over NGHTMRE’s synth melodies and percussive notes, boasting about his penthouse suite, designer drip, and millions of fans. “Ni**a take care like cash cow / Penthouse sweet at the top of the mound,” he raps.

Along with the song, the two have debuted the cinematic video, which follows a chaotic heist through the streets of Los Angeles.

Best known for his electronic music, NGHTMRE is no stranger to hip-hop with a growing résumé that includes collaborations with A$AP Ferg, PnB Rock, and Wiz Khalifa, plus remixes for Ice Cube and Smokepurpp.

Coach K Drops Gems & Shares Untold Stories About Jeezy & Migos Come Up

When someone like Kevin “Coach K” Lee speaks, you should listen and soak in what he says. Responsible for the careers Jeezy, Gucci Mane, Migos, and Lil Baby, Coach K’s been in the game for over two decades, helping transform the sound Atlanta’s hip-hop scene and carrying trap across the world. His expertise in the industry has proven successful time and time again. 

The good folks at Red Bull Music hosted Coach K for an insightful conversation for their Atlanta festival where he touched on his illustrious career. With Christina Lee serving as the moderator, Coach K sat down for nearly two hours dropping gems on the ins-and-outs the music industry and his approach to developing young talent. The hundreds people that piled into The Plaza were able to hear stories ranging from Coach K’s early beginnings to the future Quality Control Music. From taking it to the street to corporate fices, Coach K has maneuvered through the industry while keeping the authenticity his artist in mind.

Coach K Drops Gems & Shares Untold Stories About Jeezy & Migos Come Up
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His experiences over the past two decades prepared him for this very moment that Quality Control Music is seeing now. That shouldn’t be surprising. He’s a man with a background in sports and strategizes each move as a coach would. Lee touched on topics ranging from JT’s recent incarceration, revealing that Gucci Mane’s time in prison taught him exactly how to make sure the City Girls member remained in the limelight, to his battle trying to get Jeezy on the radio.  Anyone who was in attendance was fortunate enough to catch a few gems that Coach K dropped. For those who weren’t, we’ve summed up a few the major revelations.

Getting shot in senior is what launched his music career

Although music has always played a part in his life, sports was Coach K’s first true passion. It’s what served as his outlet during his adolescence growing up in Indianapolis. A scholarship to play college basketball took him to Raleigh, North Carolina but his hoop dreams were put to a halt after an unfortunate incident in his senior year. He got shot and was in the hospital for five months as he recovered. 

He eventually moved back to Indianapolis. His friends were already deep into music with a few them being rappers, producers and DJs. Along with another associate who was studying to become an attorney, Coach K made his ficial foray into the music industry with his first record label, Universal Stars in 1994. Although it didn’t last long, Coach K’s position as the label’s A&R ficially marked his transition from athlete to record exec.

Coach K Drops Gems & Shares Untold Stories About Jeezy & Migos Come Up
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Jeezy & Coach K unintentionally birthed each other’s names

Jeezy wasn’t Jeezy when he stepped into the rap game. He was a known hustler in the streets that went by the name Lil J. Jeezy, in fact, might not have ever been a rapper if it wasn’t for Coach K. He aspired to become a Master P-type executive with numerous rappers under his belt but it was Coach that pushed him to begin rapping himself. During one particular session, the artist known as Lil J rapped, “Jeezy Jee” on a record. A lightbulb went f in Coach K’s head and from there, along with inspiration from Jay-Z ‘s “Young Hov” adlib, Lil J changed his name to Young Jeezy. 

As for Coach K, he was very meticulous with his artists in the studio, which seemingly got under Jeezy’s skin at some point. Coach K recalled Jeezy sarcastically saying “Alright, Coach” as he stepped in the booth but despite the ill intention, there was a ring to it. “He named me that, so I was just like, ‘From here on out, when we out, don’t call me K no more. Matter fact, call me Coach.’ I said, ‘Better than that, call me Coach K.’” Along with the success rate Dukes’ head coach, Kevin Lee took on the name Coach K. 

Multimedia Quality Control complex in Atlanta

Quality Control defined the sound hip-hop and pop music in this decade, so what do they have planned for the 2020s? Along with the aim to sign artists from every pocket the world, Coach K revealed that QC is ready to “turn up shit up” in Atlanta. They just bought a large facility where they’ll house divisions for television, film, sports management, along with their music facility. Not only will this be an infrastructure dedicated to the arts in Atlanta, but it’ll also create hundreds jobs within the city.

Migos’ YRN mix quality explained

Migos’ YRN’s cuts “Bando” and “FEMA” took over the trap but it was “Versace” that took them to a global platform. Despite how big YRN was, the sound quality the entire tape wasn’t great. It added authenticity to the feel the project but that wasn’t an entirely intentional stylistic choice. The project was already finished by the time they inked a deal with QC but Coach K revealed that with the exception three songs, every other song was made with two-track mixes. Right before the album was supposed to be sent out for mixing, the computer, belonging to Quavo, with all the song files crashed. 

Coach K pressed every computer wiz in the city to try and get those files out. “Quavo’s computer crashed. I had sent that computer to every computer genius wiz in the city. I probably spent so much money trying to get the files out the computer,” he revealed. “Three songs f that tape had real mixes on it. All the rest the songs were two-track mixes.” The mixtape defined the shift in trap music but if it weren’t for Coach K’s efforts, it may have not had the same type impact. 

Coach K Drops Gems & Shares Untold Stories About Jeezy & Migos Come Up
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Paid his neighbor DJ Drama $5K for Jeezy’s Streets Is Watching

DJ Drama and Coach K were once neighbors in Atlanta’s Old Ward neighborhood. With Jeezy still trying to gain his confidence as a rapper and DJ Drama running the mixtape circuit, Coach K would pay visits to his neighbor and play some new tunes. Coach K admitted that DJ Drama wasn’t actually sold on Jeezy’s music at first but after some pushing, and a little bit bread, Drama apparently caved. Coach K revealed that he paid $5000 to DJ Drama to produce Streets Iz Watching which, looking back, was a $5000 well-spent.

Trap’s transition into EDM was all part the plan

Trap was introduced to the world in the 2000s but its transition from hip-hop to EDM wasn’t expected. The EDM version took elements from the production, such as the 808s and the rolling hi-hats, and meshed it with notable components EDM such as the drops and breakdowns. It wasn’t like those elements were necessarily stolen, but rather, borrowed. This wasn’t an accident. Coach K, who grew up on house music, was already ahead the curb. 

Friendships with many the EDM DJs in Atlanta and his connection to Diplo planted the seed for the worlds trap and electronic music to collide. Coach K would give DJs exclusive records to drop that couldn’t be heard anywhere else. He was also good friends with HXV who released his first project under Diplo’s Mad Decent. Coach K said that he’d give HXV acapellas Gucci Mane’s songs and from there, he would put EDM beats underneath. Diplo ultimately heard it and began getting exclusive records from Coach K. From there, trap ficially made its imprint in the world EDM.

Ray J’s Scoot-E-Bike Company Projected To Earn Over $200M In 2020

In the latest episode  The Vince Staples Show, Staples seeks refuge in Ray J‘s mansion after being caught cheating on his girl. “Next time you get into it with your girl, start a business,” Ray J advises the Long Beach rapper. “You start a business, you so busy you have no time to cheat. Last time I did that, I created the ScootEBikes. I got so rich I bought her a helicopter.” Staples stares at the elated Ray J with indifference, but Ray J is clearly the winner in this scenario. 

While Ray J was playing an exaggerated version his entrepreneurial self in this web series, in real life, he truly is enjoying large amounts success. Last year, the R&B singer managed to dodge a $30 million lawsuit over his Raytroniks Corporation’s electronic scooter brand, ScootEBike. Next year, according to The Source, ScootEBike is projected to earn over $200 million. These high estimates are a result  Raytroniks signing a deal with the Canadian ride-sharing company, LOOPShare, to expand its reach over the fertile market  sustainable urban transportation. Ray J will reportedly earn $34 million from the partnership and receive over 18 million common shares in LOOPShare.

ScootEbikes will hit the streets in 2020. Considering how ahead the curve the company is with its innovative technology, it has a projected gross potential  over $2 billion in the next two years.

 

 

Dr. Dre To Be Honored By Recording Academy For His Trailblazing Production Work

Los Angeles, CA – The illustrious Dr. Dre will be honored by the Recording Academy for his innovative production work.

On January 22, 2020, the music industry’s most celebrated producers, engineers and artistic professionals will head to the iconic Village studios in West Los Angeles for the Recording Academy’s 13th annual Producers & Engineers Wing — the official kick off event for Grammy week.

“Dr. Dre is an influential force in music,” President/CEO of the Recording Academy Deborah Dugan said in a statement on the Recording Academy’s website. “Dre breaks boundaries and inspires music creators across every genre. His evolution as a producer solidifies him as a leader of the pack within our industry, and we watch in amazement as he continues to shape the future of music.”

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HAPPY C-DAY @snoopdogg

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Dre got his start in the early ’80s with the World Class Wreckin’ Cru before totally switching course to co-found the pioneering West Coast gangsta rap group N.W.A. He ultimately launched his own lucrative solo career with albums such as The Chronic and 2001. 

During the course of his storied career, he’s produced and engineered music for a laundry list of notable acts, including Snoop Dogg, Eminem and the late Tupac Shakur. He’s also won six Grammys, three of which he took home as a producer or engineer.

Outside of Hip Hop, he’s produced Top 10 hits for pop/R&B artists Gwen Stefani, Michel’le and Mary J. Blige. In 2008, he founded Beats electronics with famed record executive Jimmy Iovine. Six years later, they launched a streaming subscription service called Beats Music.

In 2014, Apple acquired both in a $3 billion deal, making Dre one of the wealthiest artists in the business.

Grammy week culminates with the 62nd Annual Grammy Awards on January 26, 2020, airing live on the CBS Television Network, at 8 p.m. ET/PT.

Meet the Music Nerds Behind the World's Largest Guitar Pedalboard

Yes, there’s a Guinness World Record for the largest guitar effects pedalboard ever constructed.  These are the guys that put it together.

What?  You’re not subscribed to the Digital Music News Podcast?  We’re available on iTunesSpotifyGoogle PlayStitcher, and pretty much everywhere else.  Or, simply listen to the embed below.

The holders of this coveted record are Rob Scallon and Sweetwater Sound, with ample help from a variety of pedal experts.  The cast of power-nerds threading it all together included Robert Keeley (Keeley Electronics), Brian Wampler (Wampler Pedals), Ryan Dyck (Temple Audio), and Josh Scott (JHS Pedals), along with a cast of audio-tech experts from Sweetwater.

In total, the functioning mega-board included 319 pedals on 34 dedicated pedalboards, featuring more than 500 ft. of cable and the products of 34 different pedal manufacturers.  The feat was officially recorded by Guinness on July 9th at Sweetwater‘s Clyde Theatre, located in Fort Wayne, Indiana — and Sweetwater joined forces with DMN to showcase the accomplishment.

The setup at Sweetwater‘s Clyde Theatre in Fort Wayne, Indiana, July 9th, 2019

In this week’s Digital Music Podcast, I assembled Keeley, Wampler, Dyck, and Sweetwater’s Nick Bowcott, who just also happens to have played in mid-80s cult band Grim Reaper.

I was hoping for some juicy, last-minute emergencies involving electrical blow-outs and defective pedals.  Unfortunately, everything went without a glitch.  “It was like watching a well-disciplined workforce having a blast and having a lot of fun doing it at the same time,” Bowcott told me.

“I really enjoyed the conversations that were had, and the information-sharing was fascinating.  You’d figure that some of these guys might have secrets that they don’t want to share, but it’s the exact opposite —  they’re open books with their alleged competitors, because they’re brothers-in-arms, or brothers-in-pedals.”

“The fact the damn thing worked was incredible.”

I marveled at the reversed Murphy’s Law: somehow, with hundreds of pedals, cables, switches, and a million things that could go wrong, virtual nothing did.  “It’s when you have 300,000 people and one pedal that everything goes wrong,” I realized.

The impetus for the project was guitarist, multi-instrumentalist and YouTube celeb Rob Scanlon, who was sick of choosing his pedals.

I asked if the world’s largest guitar pedalboard was a reaction to the extreme option-overload that instrumentalists enjoy today.  None had any negative reaction to the surge of possibilities, however.

“It is the best time,” said Robert Keeley of Keeley Electronics. “Imagine if there was only an Orange Phase 90 — woohoo, Orange Phase 90 it is.  But now, there are zillions of stepped flanges and stepped phasers, and ones that play in reverse and ones that will memorize this or copy this, or 28 stages of phasing — it’s a great time to be a pedal builder.”

“Pedals are just like paint,” Keeley continued.  “There’s no right color, there’s no right tube screamer.  There are a lot of different paint colors, I don’t consider it pedal overload I think there are that many colors because artists need that many colors.”

“It’s like paint on a canvas,” said Brian Wampler of Wampler Pedals.  “There are a million different shades of blue, and sometimes you just need that specific color for that picture of the sea.  It helps to have a bunch of different colors to choose from.”

Here’s my discussion with some of the most preeminent guitar pedal makers in the world.

Dreamville’s Bas Reveals He’s Working On An Album With Electronic Group The Hics

It’s always interesting when hip hop artists join forces with creators from differing genres. Sometimes, these collaborations can produce chart-topping hits, a la B.o.B and Paramore’s Haley Williams’s “Airplanes,” but ten the melding contrasting musical styles is completed for the sake art itself. This year, Dreamville has solidified itself as a team artists that are ready for not just their shine, but also their takeover, as shown through their Revenge the Dreamers III compilation.

Dreamville's Bas Reveals He's Working On An Album With Electronic Group The Hics
Theo Wargo/Getty s

“We’re like a subscription service now. We’re like Netflix. We really got something coming every month,” Bas told Billboard, before sharing that his next project will be something that fans aren’t expecting. “I’m working on an album with The Hics. If I win an award for some sh*t it’ll be that album.” The Hics are an electronic band from London that began as a duo before expanding and adding on members.

“They just push me to be more creative and] to step out the confines  what’s acceptable in hip hop or what’s expected,” Bas added. “I just did a song with French instrumentalist French Kiwi Juice]. It’s the same concept. Some people musically are so f*cking good that you feel pushed. You want to be a little more poetic with your words. We can get away with a lot in hip hop. Even the way we collaborate, we talk about songs in ways that I’ve never talked to any collaborators.” 

This isn’t the first time that Bas and The Hics have come together. Back in 2016, The Hics were featured on Bas’s songs “Ricochet” and “Matches.” Check out the visual for “Ricochet” below.

House Passes Small Claims Copyright Bill for Damages Under $30,000

There’s big news on the copyright front — for small infractions.

Small claims court systems exist throughout the world and are a fixture in every U.S. state and county. The processes are streamlined and quick, with judges typically reviewing dozens of rapid-fire cases for claimed damages that are often lower than $10,000.

But does U.S. copyright law need a small claims tribunal of its own?

Now, a bill that would create a small claims division within the U.S. Copyright Office is inching closer to law.

Late yesterday (October 22nd), Rep. Jerrold Nadler (D-NY), who is the chairman of the U.S. House Judiciary Committee, strongly came out in support of the Copyright Alternative in Small-Claims Enforcement Act (CASE Act). The bill currently has bipartisan support in Congress, and just passed the House of Representatives this morning.

The controversial bill, which has raised the wrath of the Electronic Frontier Foundation and the broader tech industry, would allow copyright holders to sue violators in a special and voluntary small claims court when damages sought are less than $30,000.

Nadler says that he supports the bill because he believes that many content creators cannot afford to protect their copyrights.  For starters, the costs of filing a suit in federal court are high.  He is now a co-sponsor of the legislation.

“Today, many small creators, especially visual artists, are unable to protect their rights because the cost of pursuing an infringement claim in federal court is far greater—as much as ten times or more—than the damages they could ever hope to receive,” Nadler stated.  “And, few attorneys would take a case where such limited damages are at stake because they would not likely recoup their costs.”

“It is a fundamental principle of the American legal system that a right must have a remedy. But if it costs $250,000 to recover a few thousand dollars from someone who has infringed your copyright, then what remedy do you really have?”

The bill would create a small claims board that would operate within the U.S. Copyright Office.

This board, which would be appointed by the Librarian of Congress, would resolve infringement claims with proceedings that would be less expensive than court cases and far simpler. Litigants would not even need lawyers (though they could receive free assistance from law students), and they would not have to travel, as the proceedings would take place over the internet and by telephone.

Infringement penalties would be capped at $30,000, but $15,000 per work infringed.

Nadler stressed the voluntary nature of the proceedings. Not only could plaintiffs decide whether to use the board but defendants, too, could decide to opt out of the proceedings if they would rather have the case heard in federal court.

“Importantly, the proceedings would be voluntary. Plaintiffs can decide whether this is the proper forum to file their claim and defendants may opt out of the process if they prefer to have their case heard by a federal judge,” Nadler said.

Nadler also thanked Rep. Hakeem Jeffries (D-NY), who is the sponsor of the bill, and Rep. Doug Collins (R-GA), who is the ranking Republican member of the Judiciary Committee.

The House passage is receiving wide approbation from the music industry.

In response to the passage in the House, the Association of Independent Music Publishers (AIMP) offered the following statement.

“The AIMP is glad to see the CASE Act moving toward passage thanks to the U.S. House of Representatives’ overwhelming vote in its favor. For too long, independent publishers and songwriters have languished under outdated laws that allowed their works to be exploited without proper compensation. Coupled with the recently passed Music Modernization Act, the CASE Act gives these rights-holders the tools they need to stand up for their rights. We encourage the Senate to pass this legislation as soon as possible.”

Daryl Friedman, Chief Industry, Government, & Member Relations Officer for the Recording Academy, also offered a thumbs up. “The Recording Academy applauds the House for passing the CASE Act today, another victory for music creators almost exactly a year after the Music Modernization Act was signed into law,” Friedman relayed.

The Recording Academy oversees the Grammys and advocates for the broader recording industry.

Frank Ocean Returns With "DHL" Single

Frank Ocean provided fans with some new music to enjoy on Saturday (October 19). The reclusive singer debuted a track titled “DHL” during the first edition of his Beats 1 Radio show Blonded Radio since last year’s Christmas episode.

He also shared snippets of two new singles, “Dear April” and “Cayendo,” his Blonded website. Seven-inch vinyl copies of these songs are on sale for $15 each. According to the site, the vinyl will begin shipping in eight to 12 weeks.

Although Ocean hasn’t said anything about “DHL’ being a single for an album, he has recently talked about his next LP. Last month, Ocean spoke to W magazine about the musical inspirations for his follow-up to 2016’s Blonde.

“I’ve been interested in club, and the many different iterations of nightlife for music and songs,” he told W. “And so the things I look at now have a lot to do with those scenes: Detroit, Chicago, techno, house, French electronic.”

He added, “I grew up in New Orleans, so the closest to the nightlife scene for me was New Orleans bounce, and that was a lot of trends. But it’s so much a part of my childhood and my youth that I don’t really go back to it so much as a touch point. I’m really looking forward. It’s kind of a mix for me.”

Stream Ocean’s “DHL” above and listen to snippets of the other singles below.

Frank Ocean Returns with New Song ‘DHL’

Frank Ocean is back with a special delivery.

Without any warning, the reclusive singer returned to the airwaves for a new episode of blonded RADIO on Saturday afternoon. During episode 008 of his Beats 1 show on Apple Music, with co-hosts Vegyn and Roof Access, he debuted his first new music of 2019 including a song called “DHL,” named after the international courier service.

“Independent juug, selling records out the trunk / I’m already rich as f**k so the product’s in the front,” he sings on the experimental track. “Got my partner in the front / Been my BF for a month / But we been fu**in’ from the jump.”

He also shared a pair of live tracks, “Cayendo (Sango Remix)” and “Dear April (Justice Remix),” which he premiered during his PrEP+ club night in New York City on Thursday.

During a recent interview with W Magazine, Ocean opened up about his interest in club music. “I’ve been interested in club, and the many different iterations of nightlife for music and songs,” he said. “And so the things I look at now have a lot to do with those scenes: Detroit, Chicago, techno, house, French electronic…”

Frank Ocean Debuts New Music at PrEP+ Event

Frank Ocean doesn’t make many public appearances, but he stepped out to host his first PrEP+ club night in New York City on Thursday.

During the Blonded-funded event at Queens’ Knockdown Center, which was the first in a series of themed nights that aim to provide a safe space and bring people together, Ocean previewed new music for the crowd.

Despite the camera ban, some clips have made their way online. The Grammy-winning singer stood in the DJ booth and gave fans a first listen to his new club-ready material, including one upbeat track with sped-up vocals.

Ocean recently opened up about his interest in club music. “I’ve been interested in club, and the many different iterations of nightlife for music and songs,” he told W Magazine. “And so the things I look at now have a lot to do with those scenes: Detroit, Chicago, techno, house, French electronic…”

On Friday, he took to Tumblr to explain the inspiration behind PrEP+, which was billed as “an homage to what could have been of the 1980s’ NYC club scene if the drug PrEP (pre-exposure prophylaxis) – which can be taken daily to prevent HIV/AIDs for those who are not infected but are at high risk – had been invented in that era.”

“I decided to name, what was otherwise going to be a night of lights and music inspired by an era of clubbing that I loved PrEP+ because while designing the club which is inside of an old glass factory basement in Queens,” he wrote, “I started to imagine in an era where so many lives were lost and so much promise was lost forever along with them, what would it have been like if something, anything had existed that in all probability would’ve saved thousands and thousands of lives.”

He also addressed critics who claimed it was done for publicity. “Oh one more thing, I saw someone say that this was a PR stunt etc etc, pshhh bitch pls come get a drink next time and I’ll put several barstools out so you can have as many seats as you need,” he added. “All my love everybody really. Stay safe.”

Frank Ocean to Host NYC Club Night

Frank Ocean is making a rare public appearance.

The reclusive singer is set to host a club night called PrEP+ in New York City tonight. According to the magazine Gayletter, which made the announcement on Instagram, the Blonded-branded event is “an homage to what could have been of the 1980s’ NYC club scene if the drug PrEP (pre-exposure prophylaxis) – which can be taken daily to prevent HIV/AIDs for those who are not infected but are at high risk – had been invented in that era.”

PrEP+ is the first in a series of themed nights that aim to provide a safe space and bring people together, with “globally celebrated DJs” providing the entertainment. “PrEP+ welcomes everyone,” reads the announcement. “Zero tolerance for racism, homophobia, transphobia, ism, ableism or any form or discrimination.”

Tickets have already been distributed and the venue will be announced this evening. Photos and video are prohibited.

Ocean’s club appearance follows a recent interview with W Magazine, where he shared his interest in club music. “I’ve been interested in club, and the many different iterations of nightlife for music and songs,” he said. “And so the things I look at now have a lot to do with those scenes: Detroit, Chicago, techno, house, French electronic…”

He’s also been inspired by the New Orleans bounce scene. “I grew up in New Orleans, so the closest to the nightlife scene for me was New Orleans bounce, and that was a lot of trends,” he added. “But it’s so much a part of my childhood and my youth that I don’t really go back to it so much as a touch point. I’m really looking forward. It’s kind of a mix for me.”

See the PrEP+ flyer below.

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This Thursday night a new party from @blonded called PrEP+ in NYC. PrEP+ is the first in a series of nights; an ongoing safe space made to bring people together and dance. PrEP+ will welcome globally celebrated DJs. The night is named PrEP+ as an homage to what could have been of the 1980s’ NYC club scene if the drug PrEP (pre-exposure prophylaxis) — which can be taken daily to prevent HIV/AIDs for those who are not infected but are at high risk — had been invented in that era. Ticket links have been distributed and the venue will be announced to ticket-holders on the evening of the night. Club hours are 10pm-late. House rules: No photos or videos are allowed Consent is mandatory Zero tolerance for racism, homophobia, transphobia, ism, ableism or any form or discrimination The dance floor is for dancing www.blonded.co

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Denzel Curry Releases Minute-Long Teaser For Song, "whatIFiwasinarockgroup?"

Considering Denzel Curry‘s almost screamo delivery in many his songs, it’s likely you have considered what he would sound like if he went in more a rock direction with his music. Apparently, he has wondered the same. In honour reaching 1 million subscribers on YouTube, the Florida rapper has released a 1-minute snippet a song titled “whatIFiwasinarockgroup?.”

The question in the title appears to be more just a thought that Denzel shared, rather than an indication the song’s inspiration. He provided the following clue in the video’s description: “Key word : if.” Perhaps he included this disclaimer to deter people from starting rumours that he’ll be joining a rock group, rather that merely basing a song on this hypothetical scenario. While his hoarse rapping gives f a vague taste rock, the production is still electronic and leans more towards trap. However, that doesn’t mean it doesn’t sound promising. 

Denzel didn’t hint at when we’ll receive the full version  “whatIFiwasinarockgroup?,” but his musical output has been consistent enough that we can wait. Denzel dropped his album, ZUU, in May and then continued to keep fans fed with loosies and guest features. He recently released a chaotic collaboration with Slowthai, “Psycho,” and appeared on a track on Robert Glasper’s new mixtape

Danny Brown "Uknowhatimsayin¿" Review

By the time Danny Brown’s third studio album, Old, came around, he was already fielding suggestions from fans and peers that he should return to his original form. “They want that Old Danny Brown/ To bag up and sell a whole pound/ Might have to go and bring the braids back” he raps viciously over a gutter boom-bap instrumental on 2013’s “Side A.” The follow-up Atrocity Exhibition, was even more daring production-wise but even as he pushed the boundaries with maniacal psychedelia, he never compromised his pen nor the fundamentals hip-hop.

Q-Tip, however, forced Danny Brown into his original form on the Detroit rapper’s fifth studio album, Uknowhatimsayin¿. Danny Brown doesn’t stray away from the obscure samples and electronic influence per se, but with Q-Tip serving as the executive producer the project, Danny’s focus is solely on rapping while the ATCQ member found a middle-ground between his own unorthodox approach to jazz-based production and Danny Brown’s penchant for obscurity. Danny’s always been a student the game, first and foremost. As much as he’s been championed for his left-field approach, he’s littered breadcrumbs a hip-hop purist through his penmanship. Q-Tip’s assistance on this project makes Danny’s vision as a writer on uknowhatimsayin¿ effortlessly clear.

Danny’s carefully witted punchlines and sense dark humor mixed with social commentary and vulnerable lyrics makes Uknowhatimsayin¿ feel like a culmination all the work he’s put in over the past twelve years, and then some. The stories that were once told from a first-person perspective — his days in the trap to his drug-fueled capades — are recounted with bits humor and charm that only he could pull f. His penmanship is better, his storytelling is tighter, and his punchlines still draws from ridiculous pop culture references like when he pays homage to Lil B and Roy Orbison in the same breath on “Savage Nomad.”

Returning to the fundamentals art doesn’t mean Danny Brown comfortable. He even admitted to us in our recent interview that he had to re-learn how to rap, in a sense. However, he isn’t playing it safe more so than he emits confidence, rapping as he kicks his feet up and looking back on the darker days with a grin. There’s a comfort in the tone his voice, even as he stretches it, something that wasn’t present on previous projects. “Came from the sewer where hot dogs were boiled/ Up in the same spot, unc’ cooked the rock,” he raps poetically on “Best Life,” the second single released f Uknowhatimsayin¿ Q-Tip’s dreamy soul sample sits above a grimy bassline. Danny gruff voice heard from The Hybrid returns as he reflects on losing his childhood purity to the streets, admitting, “Jumpin’ f the porch, really, I wasn’t ready for it.” 

Even as Danny inches towards the age 40, nearly a decade after breaking out with XXX, he sounds at ease telling these stories in the form lessons learned rather than regrets. He’s rubbed shoulders with comedians like Joey Diaz and Hannibal Burress in the three-year gap since his last album, and, as a master punchlines, he’s refined his timing and cadences to embrace a stand-up approach to his storytelling. When he defecates on the new generation rappers, claiming his title as hip-hop’s quintessential oddball, he cracks a dad joke with crude humor simultaneously. “Yeah he dance good, but guess where he got the moves?/ But compared to me, he look like he wear two left shoes/ Boy, I treat them lil’ virgins like the restroom/ Take my hand and dance with the devil,” he raps on “Theme Song.”

Each album marks a new era in Danny Brown’s career — both in his look and in his sound. Uknowhatimsayin¿ isn’t about Danny Brown reinventing himself or his sound in any way. Q-Tip’s consistency since the 90s has made him one the most trustworthy producers and rappers in hip-hop. So, who better than to guide Danny Brown back to his roots as an MC? With Tip driving the boat, Danny Brown finds himself returning to his original form with wisdom, humor, and comfort.

Jay Electronica Emailed His Lyrics To Rapsody Before Sending Audio Of His Verse

Hollywood, CA – Rapsody worked with Jay Electronica years ago on her 2013 project She Got Game. During a recent stop by the HipHopDX office, the Jamla Records MC recalled Jay’s unique approach to sending music for their collaboration “Jedi Code.”

“The first time we sent him the instrumental for the song, he emailed back the lyrics,” Rapsody said while laughing. “I was like ‘These joints read very well, but I want to hear it.’ I was reading it going crazy.”

Rapsody also noted how rare it was for her to secure a feature from Jay, who was rather selective at the time.

“The time that we worked together, he was doing a few features every now and again,” she explained. “I was skeptical or hesitant that he wouldn’t work with me because I felt like I was still early in my career.”

In addition to Jay, Rapsody’s She Got Game featured guest appearances by Raekwon, Chance The Rapper, Mac Miller, Phonte and Nipsey Hussle.

Check out Rapsody’s reflections on her collab with Jay above.