Los Angeles, CA – LL Cool J scored a substantial legal victory against Guerilla Union, the minds behind the Rock The Bells concert series that ran from 2004 through to 2013. The Hip Hop icon sued the concert promoter for stealing the name of his 1985 song “Rock The Bells.”
According to court documents obtained by The Blast, a judge ruled in favor of LL, ordering Guerilla Union to transfer all control of its social media accounts, website domains and any other intellectual property. The promoter is also barred from using the name or any other similar trademarks again.
LL and his legal team claimed Guerilla Union first filed for the trademark of the name in 2004 without his permission. Although he petitioned the Trademark Trial and Appeal Board to cancel all existing trademarks back in 2017, he claims the promoter repeatedly attempted to refile for the trademark.
The Rick Rubin-produced “Rock The Bells” helped propel LL’s Def Jam debut Radio to platinum status. It remains a staple of his discography.
A brand new documentary collection centered round producer and govt Rick Rubin is scheduled to premiere on the Showtime community later this yr. The documentary is ready to be directed by Morgan Neville, recognized for his work on the Oscar-winning 20 Feet From Stardom movie and the Emmy award-winning documentary Best Enemies.
Currently, the movie is being developed underneath the working title Shangri-La, named after Rubin’s artistic compound and recording studio in Malibu. Newsday stories that the movie will function “an all-access move into Rubin’s artistic course of, giving viewers a style what it’s prefer to be produced by the music world’s most singular voice.”
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The movie is ready to debut with a “work-in-progress” lower on the SXSW Festival and Conference in Austin in March. Executive producers on the undertaking embody Rubin and Neville, together with Jeff Malmberg, Danny Breen, Michael Goldberg, Eric Lynn, Isaac Heymann, Dianna Schmederman and Jason Schrift
The doc is ready to san Rubin’s profession, from his beginnings in co-founding Def Jam Records as a pupil at New York University in 1984 to his function launching the profession’s LL Cool J, RUN-DMC, Beastie Boys and Public Enemy. The the rest Rubin’s profession is just about music historical past, along with his names changing into synonymous with the success some the world’s largest acts, together with Kanye West, Lady Gaga, Adele, Johnny Cash, Frank Ocean, and Jay Z amongst numerous others.
The lore surrounding The Black Album reveals the scope Jay-Z’s ambition, and extra importantly, his artistry. So the story goes, Jay meant on handpicking instrumentals from his favourite producers, an honorary group made up The Neptunes, Timbaland, Just Blaze, Kanye West, Eminem, DJ Quik, Rick Rubin, ninth Wonder, and extra. In that regard, his swan music was tailor-made to attain his exodus from the rap sport, the punctuation to a pround closing assertion. In that sense, the soundscapes needed to be grandiose, the message equally so. “I am purported to be primary on everyone record, we’ll see what occurs once I now not exist,” raps Jay, a touch curiosity shrouded beneath his unyielding confidence.
Today, The Black Album turns fifteen. Many hip-hop followers contemplate it to be Jay’s magnum opus, objectively talking. The Mafioso-themed Reasonable Doubt holds weight as a seminal endeavor, and The Blueprint marked the introduction “visionary Jay,” succesful piecing collectively a coherent and highly effective challenge. Yet The Black Album appears transcendent in its craftsmanship. Those unfamiliar with Jay’s legacy want solely hearken to “Lucifer” to grasp his depth as a lyricist. Or “Dirt Off Your Shoulder,” to grasp his ear for hitmaking. Or “99 Problems” to look at his priciency as a storyteller. No options vital. The record, and the reward, solely grows with each passing hear.
His latest effort four:44 was praised for being a private effort, with the implication being that new territory was explored. Yet The Black Album introduced listener’s into Jay-Z’s world, via tracks like “December 4th,” “Moment Of Clarity,” and “My First Song.” Never has a rapper come near encapsulating the sheer braggadocio “Public Service Announcement.” Consider that Jay stood as one hip-hop’s reigning entities, examined on the premise his inventive deserves, fairly than his proximity to Beyonce or Kanye West. In that sense, The Black Album feels just like the strongest exhibit for any “Jay as GOAT” line discourse; the album is so uniquely crafted, from the manufacturing to the good lyricism, that it may confidently stand in opposition to any entry hip-hop’s notable canon.
On The Black Album’s fifteenth anniversary, take a second to revisit a traditional from begin to end.
The aura Eminem’s comeback effort Kamikaze nonetheless lingers, with fallout verging on nuclear, notably for sure devilish foes. Still, yesterday Em took a second to look to the previous, 2013 particularly. A distinct period to make sure; Em was coming f the discharge Recovery, having diversified his manufacturing associates to incorporate the likes Just Blaze, Boi 1da, DJ Khalil, Alex Da Kid, and Havoc. For his subsequent solo effort, nevertheless, Eminem enlisted the skills Rick Rubin, and although the general public appears to neglect his involvement, Dr. Dre. Together, the three males helped curate The Marshall Mathers LP 2, which celebrated its fifth birthday yesterday.
Em took to Instagram to mirror on his challenge, which has change into considerably a divisive effort. For one, it appeared to herald the manufacturing aesthetic that will go on to permeate Revival, which many deemed a mismatch. Yet The Marshall Mathers LP 2 contained many memorable moments, together with Stan sequel “Bad Guy,” “Rap God,” “Brainless,” “Headlights,” and “Evil Twin.” In truth, the opener and nearer stand among the many greatest Eminem songs in latest reminiscence, with the olive-branch extending “Headlights” discovering Em at his most emotionally uncooked.
While the unique Marshall Mathers LP stands among the many hip-hop necessities, the sequel discovered Eminem as soon as once more readjusting to an ever-evolving panorama. His skillset was, and nonetheless is, unparalleled, although his sense course could have often wandered. Overall, The Marshall Mathers LP 2 could also be price a revisit, particularly given this newest milestone.
New York, NY – As the rollout for the Beastie Boys’ memoir, Beastie Boys Book, continues, surviving members King Ad-Rock and Mike D are doing the press rounds. On Saturday (October 27), the seasoned Hip Hop pioneers sat down with their Def Jam brother LL Cool J for an episode of his Sirius XM present, Rock The Bells.
During the dialog, Ad-Rock explains how he was liable for discovering Mr. Ladies Love Cool James. At the time, Rick Rubin was nonetheless operating Def Jam out of his New York University dorm room. Ad-Rock would usually skip faculty and hand around in Rubin’s room the place he’d dig by means of demos.
“So Rick Rubin produced a file with DJ Jazzy Jay and rapper T La Rock known as ‘It’s Yours,’” Ad-Rock tells LL. “And it was a giant file in a small circle — in a small scene in New York. Off of that file, individuals began sending demo tapes in as a result of it was a rap file, and a few youngsters began sending demos in. There was simply an handle on the file itself.
“And it was really — I’m certain no one knew that he lived in a school dorm room. And so he would get all these tapes, and there was a field of tapes. And as an alternative of being in school, I might reduce faculty and go to Rick’s dorm, and I’d hang around … I might hearken to the tapes, and I heard this one from this child named LL Cool J … and it was actually good. You have been rapping.”
To make a protracted story quick, Ad-Rock handed the tape to Rubin and mentioned he needed to meet LL. Somehow, Rubin obtained a maintain of him and the remainder is Hip Hop historical past.
Elsewhere within the interview, the Hip Hop legends dive into their very own respective histories and open up in regards to the upcoming memoir.
The Beastie Boys Book is anticipated to reach on Tuesday (October 30). Pre-orders can be found right here.
The Beastie Boys’s Licensed To Ill was successful, being licensed platinum inside weeks its launch in November 1986. Despite the industrial success their album, the group’s members discovered themselves in a precarious monetary state of affairs. The remaining members Michael “Mike D” Diamond and Adam “Ad-Rock” Horovitz clarify how their ensemble confronted a tough section a 12 months after the discharge their debut. The trio weren’t even on talking phrases on the time.
In an interview with The Guardian, the artists declare Russell Simmons leveraged their monetary predicament as a “bargaining device” to coerce them into making a followup undertaking.
Things finally performed out to constructive outcomes for the group. Considering their trajectory, the 2 aren’t holding a grudge towards Def Jam and its leaders.
Beastie Boys did break up up briefly to pursue separate alternatives with Diamond and Yauch forming their very own bands, and Horovitz appearing within the 1989 movie Lost Angels. Horovitz’s time in LA revitalized his musical passions with the affect one explicit group. The renewed power mended their formation and to the creation their second undertaking, Paul’s Boutique.
During the dialog, Spicer took word of Simmons’ $2,500 donation to his GoFundMe marketing campaign however accused the Def Jam Recordings co-founder of dishonest him out of royalties. Back within the 1980s, Spicer was below Simmons’ administration — the aptly titled Rush Management — alongside Kurtis Blow and Orange Kush.
Spicer stated Simmons nonetheless owes him for the 1983 hit “Money (Dollar Bill Y’all),” which was produced by Simmons and Larry Smith for Spring Records. But Simmons has a special recollection.
“I’ve at all times labored for artists and get them truthful offers was my forte,” Simmons tells DX. “‘Super Rhymes’ was his huge document. That’s how I bought to know him. This is essential: Jimmy was not on Def Jam, so I used to be by no means in command of or liable for his royalties. I’m sorry he feels that means. I’m praying for his restoration and want him properly.”
Rick Rubin established Def Jam Recordings in 1984 whereas a scholar at New York University, A yr later, Rubin put out Spicer’s “This Is It” and “Beat The Clock” below the Def Jam imprint.
The discrepancy appears to lie in whether or not Spicer was formally signed to Def Jam. Simmons was nonetheless operating Rush Management when he linked up with Rubin, so technically Spicer was nonetheless below Rush.
“I used to be signed to Def Jam after Spring [Records] and was immediately signed to Russell Simmons and Rush productions,” Spicer explains to DX. “I believe he forgot in regards to the contracts we signed and he is aware of I’m coming. I’ll consider it once I get a heartfelt apology and my cash.”
Despite Spicer’s accusations, Simmons has continued shining gentle on his well being scenario and directing folks to Spicer’s GoFundMe web page. On Sunday (September 23), Simmons shared a photograph of his marketing campaign to his Instagram web page and donated one other $1,000.
“Rev Kurtis blow knowledgeable me that one of many first hit hip hop recording artist jimmy ‘tremendous rhymes’ spicer is affected by most cancers,” he wrote within the caption. “i labored with him early in his profession and that i produced greenback invoice and bubble bunch for spring information I can testify that he’s for positive a really candy man and he has contributed rather a lot to the tradition.”
However, Spicer believes he’s nonetheless not getting the credit score he deserves. “He retains attempting to downplay my significance to Rush himself and my contributions to Hip Hop as an entire,” he says.
Although there’s no plans for a reconciliation simply but, Spicer is inspired in different areas of his life, particularly by his latest radiation therapy.
“I’m getting higher,” he says. “The radiation remedy on my mind is responding.”
Meanwhile, Simmons is praying for him.
“NO man deserves to go it alone,” he wrote within the Instagram caption. “It appears american healthcare is the worst of any ‘1st world’ nation on the earth. let’s not let our brother endure alone. I simply contributed my prayers and some please be part of me and assist him out. let’s all assist out. Prayers are useful!!! cash is important as properly.”
“I simply spoke to Jesus, He stated ‘what up Yeezus?’”
– Kanye West
Kanye West has all the time retained inventive management over his personal narrative. From his onset as a starry-eyed, self-pressed dropout, to a tortured soul caught within the throes lustful hedonism, to a self-aware, near-meta caricature himself, the layers are limitless. Yeezy can jolly proclaim to “miss the outdated Kanye,” whereas we’re left questioning which Kanye he’s referring to. Such is the character Ye, who has served to reinvent himself with each album; maybe such an eclectic catalog speaks to the dynamic nature his mindstate, constantly leaping from thought to thought. Respectable in ambition, although often faltering in articulation.
Many, together with these unfamiliar along with his musical discography, have come to affiliate Kanye with egoism. Hardly unfair, given the truth that he as soon as likened himself to Jesus Christ. Yet musically, Yeezy is as unselfish as they arrive. His songwriting periods have confirmed to be wholly collaborative endeavors (a notion testified by Vampire Weekend’s Ezra Koenig), increasing throughout all genres. Many rap purists are inclined to liken the sport to a solitary trek throughout treacherous terrain, no sherpa allowed. Yet Yeezy has opened his studio to all comers, seemingly desperate to unfold the wealth to his contemporaries.
The open-door coverage might very effectively have performed a pivotal position in shaping Yeezus, which at present stands as Kanye West’s most divisive album. There doesn’t precisely appear to be any center floor the place Yeezus is worried. Some label it a basic, whereas others decry it as an abomination. Why is that? It’s onerous to not discover one specific issue, particularly when perusing the liner notes. For one, the album is lined with artists hailing from disparate genres.
Take “Black Skinhead” for instance, one Yeezus’ most accessible tracks. The music itself incorporates a selection digital producers available, together with Daft Punk and Brodinsky. In truth, the previous actually made their impression all through, crafting the digital soundscapes “I Am A God” and “On Sight.” Cult basic “Hold My Liquor” managed to unite indie darling Justin Vernon ( Bon Iver) and Chief Keef on the identical music; Vernon continued to go away his mark on Yeezy’s sound, including additional vocals to the sexually charged “I’m In It.”
Across the board, the manufacturing was concurrently bleak and adventurous. While many maligned Rick Rubin’s work with Eminem, his work on Yeezus revealed a person keen to make daring selections. During an interview with The Daily Beast, Rubin mirrored on the preliminary state Yeezus, when Kanye West first introduced it to his consideration. Describing the venture as “meandering” and “unfocused,” Rubin quickly discovered widespread floor with Yeezy. “The thought making it edgy and minimal and onerous was Kanye’s,” admits Rubin. “We talked quite a bit about minimalism.”
At ten songs, Yeezus spent a prolonged run as Ye’s most concise physique work. Apparently, the venture was initially meant to be sixteen songs; it was in the end shortened upon Rubin’s suggestion, prompting Kanye to reward his producorial perception. In that regard, all indications level to ego being left on the door. Speaking with Pitchfork, Vernon equated the method to “engaged on music with pals.” He proceeds to reward Kanye’s visionary scope with utmost respect, whereas concurrently noting the collaborative nature the formative levels. “People are working their asses f to make the very best shit,” says Vernon, “and Kanye’s main the pack.”
While Kanye West’s open door coverage introduced out some actually revolutionary musicianship, response from followers proved divisive to say the least. Critics appreciated the experimental sonic aesthetic, although the venture felt burdened by the burden a post-My-Beautiful Dark-Twisted-Fantasy panorama. Recall that MBDTF acquired unanimous reward on almost each standards; those that discredit Kanye’s lyrical capability want solely discuss with “Gorgeous” or “Power” for a reminder. In brief, the bar was excessive. Though traditionalists felt challenged sufficient by Dark Twisted Fantasy’s cinematic manufacturing, the dystopian vibes Yeezus proved a bridge too far.
To be truthful, the lyrics on Yeezus had been extra spontaneous than its predecessor, which discovered Kanye at his most calculated. Perhaps going from such gems as “my childlike creativity, honesty, and purity are being crowded by these grown ideas” to “hurry up with my rattling croissants” was just too quick a departure. In reality, Ye was dabbling in meme-culture earlier than it rose to ubiquity. There’s an notorious anecdote through which Rubin displays on the last-minute state the bars. With two days earlier than the turn-in deadline, Kanye got here by way of to write down and end the vocals for 5 songs, performing them with “gusto.” Far from meticulous, but with an artist like Kanye, strikes this nature are inclined to really feel like statements unto themselves.
Now, over 5 years later, Kanye West has determined to deliver Yeezus again into the fold. Ye took to Twitter to unveil a brand new album cowl, a lavender variation Yeezus’ “paintings,” highlighting a MiniDisc in lieu its compact cousin. Naturally, many speculated that the venture could be a religious successor to Yeezus, a notion evidenced by its soon-to-be-revealed title: Yhandi. Yet is a Yeezus sequel one thing the followers are able to welcome? Nostalgia has actually fuelled a renewed curiosity in Yeezy’s equal to Kid A. Should a return to minimalism be tickling his fancy, let the childlike creativity circulation like blood and wine.
Brockhampton has shared a trailer for their upcoming documentary The Longest Summer in America. Dude Heifetz and produced in conjunction with YouTube Music’s Artist on the Rise program will premiere on September 17th at an exclusive screening in Los Angeles. The night the 17th, Brockhampton will screen the project at 5pm and 8pm for the modest ticket price one dollar. The unitary dollar amount also includes access to soda, popcorn and plenty other refreshments. After the premiere in Los Angeles the Brockhampton boys will option the movie to theaters in New York City, Chicago, Seattle, Austin, San Francisco, Auckland, London, Dublin, and many more to be decided.
The documentary is basically being billed as a road movie. A trailer has been made available the group’s Twitter page (check below). Also later in the month, Brockhampton will drop their first album without Ameer Vann, a project titled Iridescence. Earlier the group’s proto-leader Kevin Abstract told his ‘mates they ought to consider being more selective, and not so quick to release material. He came to this realization after getting a shrewd talking-to from industry vet Rick Rubin.
For now at least, the group’s DIY setup is all part their master plan.
Morrison, CO – Def Jam Recordings was founded 34 years ago in a New York University dorm room by the heavily bearded Rick Rubin. Since then, it’s blossomed into the powerhouse label it is today and is responsible for establishing the careers artists like the Beastie Boys, Run-DMC, LL Cool J and Public Enemy.
By the time Method Man arrived in 1994, not only was Wu-Tang Clan already a hot commodity but Def Jam was also earning its stripes as one the best Hip Hop labels out there. After four solo albums with the imprint, including his 1994 debut Tical, things were changing at Def Jam and Meth admits he didn’t exactly handle it well.
“I burned a lot fucking bridges at Def Jam,” Meth told HipHopDX in April. “I had a lot love for the company ’cause I came in when I was young. I had been there for so many fucking years, so when staff changed and people changed and things started to change, I didn’t know how to handle the shit.
“I hung onto the people that were still there and alienated myself from the new people and by that, that small circle I had, the bigger circle around it, none them fucked with me. And then that small circle that I fucked with, there was nothing they could do about it, so they couldn’t fuck with me either, so now I’m a man on an island by my fucking self.”
Looking back, the tenured MC recognizes his mistakes but took away some valuable lessons from the Def Jam era.
“This was before JAY-Z even got there,” he explained. “It was a shift and I didn’t know how to handle the shit. I should’ve stayed true to myself and been myself, but I didn’t and I was rotten to a lot people up at Def Jam. There were some people up there deserved the shit. But I was rotten to a lot people who did not fucking deserve it and I apologized for that shit, big time.”
Meth parted ways with Def Jam around 2006 and now, Meth is a bona fide Hip Hop legend. While sitting backstage at Red Rocks Amphitheater with his partner-in-crime Redman, they both reflected on that time with rose-colored glasses.
“Oh man, those were the days,” Meth said. “But then, we was like playing for the fucking Yankees, ’cause remember when the Yankees was just buying everybody contracts? Yeah, A-Rod, Derek] Jeter, just everybody? Everybody was coming to the Yankees and shit. We had JAY-Z, Ja Rule and DMX, Joe Budden, Beanie Sigel, Kanye West.”
Redman, who signed with Def Jam in 1991, chimed in, “Ludacris, too! We was a super team.”
The subject then turned to West and his collaborative album with Kid Cudi, Kids See Ghosts. Meth drew parallels to ‘Ye’s relationship with Cudi to his own relationship with RZA.
“Good for Kanye and Kid Cudi,” Meth saud. “Good for them, ’cause that’s where it started. That’s his foundation right there, Kid Cudi. I think Cudi could bring that the ‘old Kanye’] out him. It’s like me getting back with RZA. It’s like something about that shit. It’s just something about it. It’s not even his beats.
“It’s just his presence alone brings something else up out me and I write my best shit. And like I said, it don’t even have to be his beat. It’s just, that motherfucker, you know? It’s like just being around that nigga.”
Redman added, “Yeah, being around the RZA now, that’s where it started from. We’re just comfortable.”
Meth is currently the host TBS’ Drop The Mic and is readying his sixth solo album Meth Lab II: The Lithium, while Redman is inching closer to releasing his ninth solo project Muddy Waters Too.
Universal Music UK reported 2017 revenues $458.55 million (£344.3 million), a year-on-year increase 8.8%.
The gross prit Universal Music Operations Ltd stood at $142.33 million (£106.9 million) for the year, up 12.3 percent on 2016. After distribution costs and administrative expenses, the firm’s annual operating prit hit £10.6 million in 2017, which is a huge jump (+999%) on the $1.28 million (£964,000) operating prit posted in the year before.
Universal Music Group increased revenues by 10% over the same period. The streaming boom is prompting parent company Vivendi to very seriously consider an IPO.
According to the UK company’s strategic report, “This growth was driven by increased demand for steaming services, as well as the timing new releases.” Universal Music UK added that the outlook was “positive” as a result continued growth in streaming.
Universal Music Operations Ltd generated $251.38 million (£188.8 million) from product sales in 2017, up 11.7% year-on-year. It also generated $207 million (£155.5 million) from royalties, up 5.5% year-on-year.
David Joseph, Universal Music UK and Ireland chairman/CEO, has recently overseen a new strategy for the company’s international division.
The majority (70.3%) the label’s revenues in 2017 were derived in the UK ($322.34 million £242.1 million]), with 11.8% coming in the USA ($54.19 million £40.7 million]).
The financial statement for 2017 revealed that Universal spent a total $20.9 million (£15.7 million) for controlling stakes in companies including dance label All Around The World, Strange Music (now RG2016), Stiff Records and ZTT. The company owns a 50% share in Rick Rubin’s Def American ltd, better known as American Recordings.
$3.3 million (£2.48 million) this money was deferred and is due to be paid in three equal installments over the next three years.
On December 31st, 2017, the company had contractual commitments for artist advances $46,419,860.14 (£34,864,324) (2016 — $46,998,606.46 £35,299,000]), which $12,550,264.27 (£9,426,062) (2016 — $27,076,224.85 £20,336,000]) relates to the current (FY2018) financial year.
You can view the entire, detailed financial summary here.
Jackson Hole, WY – Love him or hate him, Kanye West is hours away from releasing his first solo album since 2016’s The Life Of Pablo. Ahead its Friday (June 1) release, West is holding a two-hour listening party in Jackson Hole, Wyoming, where he’s been piecing the project together over the last several months.
‘Ye announced the listening party will be streamed on the WAV app Twitter on Thursday night (May 31).
“Download the @WAV_Media app to watch the livestream my album listening tonight in Jackson hole, Wyoming,” he wrote.
According to several social media posts, a small group journalists, DJs and producers — including Def Jam Recordings co-founder and frequent West collaborator Rick Rubin, Eminem’s manager and Def Jam Chairman/CEO Paul Rosenberg and Charlamagne Tha God — were flown to Jackson Hole to attend the exclusive, late-minute event.
The listening party on the WAV App begins at 7 p.m. PST.
The G.O.O.D Music roster is about to make the summer as hot as ever with the amount music coming out the camp. Today, they released Pusha T’s long awaited third studio album Daytona. The project has been receiving nothing but incredible praise from critics, peers and the fans. However, this is just the beginning the several releases we’ll be getting out the camp. Next up is Kanye West who’s supposed to be dropping f his new album, Love Everyone, next week. ‘Ye’s clearly in grind mode since he’s locked in with Rick Rubin, Mike Dean and Chance The Rapper.
Mike Dean is currently in Wyoming with ‘Ye right now and he just shared a photo what’s being cooked up in the labratory. Alongside himself and ‘Ye is Chance The Rapper and Rick Rubin. Rubin’s played a big role in Kanye’s most recent albums, Yeezus and The Life Of Pablo. There’s a good chance Rubin’s locking in some time with ‘Ye for the finalization his forrthcoming album, Love Everyone.
Chance The Rapper ten looks at Kanye as a mentor sorts and the two them have undoubtedly cooked up some dope tunes together. Chance had a stand-out verse on The Life Of Pablo intro, “Ultralight Beam.” Kanye later returned the favor on Coloring Book.
With Kanye expected to drop his new album, Love Everyone next week, we’re excited to hear what he has to fer.
These days, it takes more than simply putting out an album on streaming platforms to get attention. Chi-Town’s Towkio went to the extreme to premiere his forthcoming full-length project, WWW, the follow-up to 2016’s Community Service 2.
At approximately 11:11 a.m on Wednesday (February 21), the courageous SAVEMONEY rapper was launched 100,000 ft. into the air inside a helium balloon where he played the forthcoming project. He then parachuted back to Earth.
Prior to the stunt, Towkio shared a video clip to his Twitter account with the caption, “Tomorrow @ 11:11 am cst I make history. I go up 100,000 ft dropping my album from space. Pray for me I love u.”
Towkio followed up with another video clip on Tuesday (February 21) before taking f.
“Today’s the day,” he wrote. “I love y’all.”
Despite the dangerous endeavor, he claimed he wasn’t fearful and cited 11:11 as some kind lucky number.
He recently told DJ Booth, “I’m not scared. If I die … God forbid, I’m not gonna die. I know he’s protecting me. I see 11:11 every single day. It’s under my spell and under my power that this all will happen. Worst comes to worst, I’ll die the only way I would want to die. I’m not gonna die, though.”
WWW. is expected to arrive on Friday (February 23) Rick Rubin’s American Recordings imprint, which falls under the Republic Records umbrella.
Frank Ocean’s Blonde Album was without a doubt one his strongest pieces work to date. While the album was delivered on short notice and proved to be not only a critical and commercial success but a brilliant move, alongside Endless, to get him out his contract with Def Jam. While it’s been less than two years since the albums dropped, ti looks like he’s now dealing with some legal issues pertaining to the project’s song credits.
RELATED:Frank Ocean Honors Rick Rubin At Spotify’s Secret Genius Awards
Frank Ocean is reportedly suing producer Om’Mas Keith for attempting to receiving songwriting credits on Blonde, according to TMZ. Apparently, Keith trying to make a case that he co-wrote a good chunk the project. Frank says that Keith registered with ASCAP and claimed that he co-wrote 11 songs on the project including “Pink + White” and “Ivy.”
In the documents they’ve obtained, Frank says that he paid Keith a flat fee for his work on the master recordings. He’s also making it clear that Keith didn’t write any the lyrics, melodies or any the music on the project. His case against the producer is in an attempt to block him from receiving any sort songwriting credits on Blonde.
Pitchfork also reached out to Frank’s camp about the lawsuit. They continued to say that the claims aren’t true and they’ll be dealing with it in court.
RELATED: Frank Ocean Beats His Father’s $14.5 Million Defamation Lawsuit
“A complaint has been filed against Om’Mas Keith who has falsely stated to have written certain songs which appear on the album Blonde. These claims are untrue and this issue is being dealt with by litigators.” The statement read. However, no comment has been issued on behalf Keith as yet. We’ll keep you posted.