Netflix Announces True Crime Series: Jam Master Jay, Bob Marley & Other Mysteries

Netflix has introduced the approaching arrival a brand new documentary collection entitled  ReMastered. The Eight-part manufacturing, set for a worldwide launch on December 7, is described as an investigation “high-prile occasions affecting some probably the most legendary names in music, presenting groundbreaking discoveries and insights past what’s been beforehand reported.”

The first trailer the collection offers with one   Hip Hop’s most iconic DJs, Jam Master Jay from Run-D.M.C.. It reveals clips his family members and associates commenting on his unsolved homicide. One man might be heard saying that the witnesses have been both “scared or hiding one thing.” The artist was gunned down in Jamaica, Queens, throughout a studio session. Although individuals have been current on the time his homicide, the investigation bore no tangible outcomes for lack proof brought on by odd circumstances, together with tampered safety cameras. 

Watch the primary teaser beneath. 

Netflix Announces True Crime Series: Jam Master Jay, Bob Marley & Other Mysteries

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ReMastered is directed by a slew certified creators Brian Oakes, Kief Davidson, Barbara Kopple, Sara Dosa, Brian Oakes, Stuart Sender, B.J. Perlmutt, Kelly Duane de la Vega and Sam Cullman. The challenge is helmed by the award-winning brothers, Jeff Zimbalist and Michael Zimbalist. The documentary is ready to recant the untold tales different critically-acclaimed artists like Bob Marley, Johnny Cash, Jam Master Jay, Sam Cooke.

Beastie Boys Speak On The Time MCA Crashed A Run-DMC Show

The Beastie Boys have been selling their model new memoir, which options tales about their historic careers as some the preferred musicians the previous couple of a long time. The group has been an unimaginable affect to a quantity artists on the planet and Jimmy Fallon simply so occurs to be a superfan. He invited Mike “Mike D” Diamond and Adam “Ad-Rock” Horowitz onto his late-night present to cut it up, discussing some humorous occasions in regards to the late Adam Yauch.

MCA handed away a number of years in the past however his reminiscence lives on via the numerous hits that Beastie Boys delivered. One his objectives was to carry out “Walk This Way” with Aerosmith and Run-DMC and, although it might not have been deliberate, he ended up succeeding in his journey. Mike D and Ad-Rock spoke in regards to the time MCA crashed an Aerosmith live performance to play bass out nowhere. “So the track begins, folks go loopy after which Yauch runs out with this bass,” says Ad-Rock. “You simply have a look at the Aerosmith guys they usually’re like, ‘Who is that this man?’ And then all a sudden he goes as much as Joe Perry and is attempting to go back-to-back with him, like a rock guitar participant. And Joe Perry was like, you could possibly see him very uncomfortable and Yauch was chasing him round, working round backwards attempting to play guitar.”

The Beastie Boys have positively obtained some extra wild tales in regards to the late MCA. Watch them recall the occasion beneath.

What Does "Selling Out" Mean In The Digital Age?

Hip hop is the heartbeat popular culture. Much like the rose that grew from concrete, hip hop has blossomed into a mirrored image social change. Its roots permeate society far past the realm music, reaching right down to the very foundations language, style, and social norms. Its phrases and messages have seeped into the mainstream, its rumbling baselines emanating from audio system and radio stations worldwide. Hip hop stars like Lil Wayne, 50 Cent, Kanye West and Kid Cudi remodeled themselves into the primary modern-day rock stars. They stand as generational figures who foresaw the long run path music and helped increase the rising youth motion. Hip hop triggered the best evolution in American music.

These modifications have introduced with them a quantity questions, particularly on the subject of points cultural appropriation and separating the artwork from the artist. One probably the most noticeable modifications has been the emergence company sponsorship as a validating drive inside the music business. In the 90s, making company partnership useful was a tightrope stroll for artists. Even the slightest involvement from outdoors events seeking to make a fast buck had the facility to vaporize an artist’s good public standing and picture. Corporate involvement was largely pitted in opposition to the human connection, resulting in nervousness over the wedding artwork and commerce and creating a sophisticated relationship between business success and musical identification. “Sellout” took on a pejorative and anti-corporate connotation, as followers turned more and more paranoid about loyalty. Once late capitalism took maintain, the connection between the artist and the patron turned progressively unnatural, heightening the sense betrayal felt by followers. Endorsing merchandise on the expense the artwork itself was considered as the last word sin.

Hip hop’s place on this conundrum has been fraught with hazard at each flip, significantly provided that it’s a style that has all the time prided itself on authenticity. Making one thing out nothing is championed because the spine hip hop. But when promoting out takes priority over one’s values and begins to compromise the integrity the music, then public condemnation is to be anticipated. For savvy trendsetters like Run-D.M.C., who earned their Adidas stripes with a sponsorship that felt genuine, company involvement proved to be a superb masterplan. It wasn’t only a low cost paid promo; the group’s real love the previous basketball Superstar shoe resulted in an endorsement that took the road look mainstream. The mutual settlement resulted in a then-unprecedented $1 million deal. Run-D.M.C. and Adidas cemented a legacy and broke boundaries within the course of. It pressured sportswear manufacturers to acknowledge avenue tradition as a ble market, and in flip, hip hop started to embrace the boundless prospects, and prits, inside the new corporate-run world.

As the music business has advanced to include new strategies consumption, promoting out within the conventional sense the phrase has change into commonplace. It’s an out of date accusation that doesn’t imply what it used to as a result of it’s solely bereft its authentic which means. As the entrepreneurial hedge maze has thickened, the ethics “promoting out” have grown extra convoluted. It’s change into a vital side artisthood and growth– whether or not for private or monetary causes, or each.

For any artist seeking to carve out a dwelling within the increasing digital age, company sponsorship isn’t merely one other supply earnings; it is a necessity. Over the course the previous ten years, conventional album gross sales, as soon as a dependable income stream, have pale into close to nonexistence, paving the way in which for transactional and impersonal streaming providers. This speedy decline in bodily album gross sales has produced a brand new massive three: touring, merchandise, and promoting. Although touring has lengthy been probably the most profitable kind making a living, it’s now complemented by the emergence the latter two as invaluable items the puzzle on the subject of producing each ticket and album gross sales. Supplementing earnings is crucial as a result of the ways in which artists receives a commission has irrevocably modified; there’s little cash to be made strictly from music, which now features as simply one other weapon in an artist’s product arsenal. Even artists who lack the backing a serious file label have come to appreciate the very important significance company ties as a way gaining recognition and cashing in on a large paycheck. Not solely is it one other supply income, however it might assist hold an artist’s title within the headlines, help them in cracking the charts, and develop their model past music.

Artists are actually inspired to assume themselves as manufacturers above all else. They’re anticipated to be enterprise capitalists, and plenty of have eagerly stuffed their new roles as leaders the consumable world, even when we do not assume these artists as outright “company,” maybe as a result of what their music or persona entails: Kendrick Lamar can capitalize on his righteous political insurgent picture to promote Reeboks meant to quell gang strife between Bloods and Crips; Lil Yachty can use his quirky auto-tuned croon to generate gross sales for Sprite; Chance The Rapper can pop up at your native comfort retailer and pitch Kit Kat bars; and Travis Scott can curate the soundtrack for, and be marketed as, one the faces NBA 2k19.

Of course, company sponsorship can go awry if not rigorously executed. Jay-Z’s Magna Carta…Holy Grail was initially launched by way of a gathering Samsung app. The distribution mannequin stirred up loads controversy, with Billboard electing to not depend downloads from the app as gross sales, and the RIAA stating that the downloads would issue into their very own counts to find out gold and platinum certification. A 12 months later at a 2014 Apple product launch, U2 implanted their Songs Innocence album into the iTunes libraries half a billion Apple clients with out their consent, making a colossal uproar (Drake and Spotify lately employed a equally queasy promotional method following the discharge Scorpion in June). While Jay-Z and U2 used their respective albums to rewrite the principles the sport by partnering with huge firms, it ought to come as no shock that each endeavors weren’t significantly well-received by followers. In the age digital dislocation, the wealthy get richer, however at what price?

“Just rapping just isn’t actually that spectacular anymore,” Drake mentioned in a 2015 promotional spot for Sprite. “There simply must be extra. You must be a multi-layered artist.” There is reality to Drake’s phrases: an artist’s job is to promote their model by way of no matter means are at their disposal. And though branding partnerships and licensing offers more and more appear to be a mandatory evil in an effort to flip a prit, it’s a slippery slope for all events concerned. Listeners and artists alike want to stay vigilant in order that music’s humanity doesn’t get misplaced in attractive greenback indicators. The main objective music ought to by no means be to assist promote one other product. Marketing items to the widest demographic attainable has no place in music, and as a lot as promoting would have customers imagine that it’s altruistic, it’s by no means been for the profit the tradition. There can also be the legitimate concern that music will change into bland and fewer adventurous as artists look to safe hefty endorsements. Artists are the salesmen and ladies anticipated to ship secure, surefire profitable pitches whereas firms pull the strings behind the scenes. It’s a relationship that has the potential to show music’s most compelling and influential voices into morally bankrupt hypocrites. As the musical panorama continues to evolve, the listener’s function on this energy stability will little doubt change into much more complicated. Telling skeptics to not care is a harmful premise, and one that’s positive to intensify tensions as listeners try to decipher their disparate roles as people and customers.

Rev. Run's "All About The Washingtons" Series Cancelled On Netflix

After one season, Netflix has put an finish to Rev. Run’s All About The Washingtons sequence. The present marked the primary time that the Rev and his spouse Justine Simmons had been onscreen in a scripted capability following a profitable run with actuality tv reveals prior to now, notably on the Run’s House sequence.

Evidently,  the chemistry displayed by the couple IRL could not fairly get the job completed in a scripted setting and the present was met with poor evaluations following its August 10th debut with a 40 % critics score on Rotten Tomatoes.

The script was first dropped at ABC Studios and Amblin Television in October 2016. After a winding highway, the present would finally be filmed on the identical soundstage as black-ish as soon as the sequence wrapped for the season. While the precise ABC community handed on Washingtons, Netflix picked it up in what was a transparent miss for the streamer.

This marks one more occasion Netflix trimming the fats on an ABC Studios sequence after the streaming service introduced the cancellation its two Marvel sequence, Iron Fist and Luke Cage.

All About The Washingtons now joins a significantly brief checklist “one-and-done” scripted reveals on Netlfix, following within the footsteps The Get Down, Gypsy, Girlboss, and Everything Sucks.

 

Kings Of Rock: A Brief History Of Rap-Rock

When most people hear the term ‘rock music,’ they think artists like Guns N’ Roses, Pink Floyd, and Iron Maiden. But rock is a genre that evolved from the blues, and was invented by the Black musicians Chuck Berry, Bo Diddley, and Little Richard (the original ‘Lil’?). Throughout hip hop history, from Run-D.M.C and Ice-T, to Kid Cudi and Lil Uzi Vert, rappers have reclaimed rock as a genre created by Black artists by incorporating rock into their music and fashion. 

The past few years have seen a surge in ‘rockstar’ rappers like Lil Uzi Vert, Travis Scott, and Playboi Carti. These artists sample rock music, use guitar-like distortion on their vocals and 808s, wear rock-inspired clothing, and stage dive at their mosh-heavy concerts. But they are far from the first artists to mix hip hop and rock. Rock has been a part hip hop since the genre’s beginning, when DJ’s like Afrika Bambaataa would spin The Beatles, Rolling Stones and other rock classics along to funk breaks in their DJ sets. At the time though, radio stations and MTV were still very intent on keeping white-dominated rock music separate from hip hop. One the first artists to uproot that segregation was Run-D.M.C.

After releasing their first single “It’s Like That/Sucker MCs” in 1983, New York trio Run-D.M.C. teamed up with guitarist Eddie Martinez to create some the first rap-rock songs, including 1984’s “Rock Box” and 1985’s “King Rock.” The music video for “King Rock” depicted Run-D.M.C. being stopped at the door to the Rock and Roll Hall Fame by an old white security guard. The security guard yells, “This is a Rock and Roll museum! You guys don’t belong in here,” to which D.M.C. replies, “I’m the King Rock, there is none higher! Sucka MC’s should call me sire!” By calling himself the King Rock, D.M.C. reminded the white security guard that the Rock and Roll Hall Fame is indebted to the Black originators rock music, and that hip hop is the future advancement rock. In 1986, Run–D.M.C. teamed up with Def Jam producers Russell Simmons and Rick Rubin for an unlikely collaboration with Aerosmith. The product, “Walk This Way,” became the first rap single to land on the Billboard Top 10 charts, and the first hip hop music video to appear on MTV, introducing many rock listeners to hip hop for the first time. The music video showed Run-D.M.C smashing through a wall standing between them and Aerosmith, literally knocking down the barrier between hip hop and rock. In 2009, Run-D.M.C. was awarded their rightful place in the Rock and Roll Hall Fame.

After Run-D.M.C., Def Jam became the home for many early rap-rock crossovers, including LL Cool J’s 1986 AC-DC-sampling “Rock the Bells,” and the Beastie Boys’ 1986 debut album Licensed to Ill. Originally formed as a hardcore punk band, the Beastie Boys brought the attitude and energy rock to hip hop production. Licensed to Ill sampled the Roland TR-808 drum machine, classic funk bands like Kool & The Gang, and other rap groups at the time like Run-D.M.C. But the Beasties also recruited Slayer guitarist Kerry King to play on the track “No Sleep ‘Till Brooklyn,” creating a combination rock and hip hop entirely new to many listeners. “No Sleep ‘Till Brooklyn” proved to be highly influential, and was covered by Jay-Z at the All Points West Festival in 2009.

In 1987, another Def Jam group named Public Enemy released “Bring the Noise” for their classic album It Takes a Nation Millions to Hold Us Back. With the lines, “Roll with the rockstars but never get accepted as,” Public Enemy pointed out the discrimination they face as hip hop artists who don’t receive the same recognition from critics that rock artists do. Like Run-D.M.C. did on “King Rock,” Public Enemy rapped about the irony being excluded from rock platforms, as rock was invented by Black musicians. “Soul control, beat is the father your rock’n’roll,” Chuck D rapped. “Bring the Noise” also shouted out the thrash metal band Anthrax, who wore Public Enemy shirts at their gigs. In 1991, “Bring the Noise,” was given a heavy metal remix, with Anthrax’s breakneck guitar riffs and pounding drums backing up Chuck D and Flavor Flav’s in-your-face bars.

On March 3rd 1991, American taxi driver Rodney King was pulled over for speeding by the LAPD and brutally beaten in a violent arrest. The whole event was caught on camera, yet the malicious police ficers were ruled not guilty by a predominantly white jury. The injustice faced by Rodney King, as part the widespread pandemic police brutality in the U.S., as well as the murder fifteen-year-old Latasha Harlins, whose assailant faced similarly meager legal consequences, sparked the 1992 Los Angeles riots. Lasting for a full week, the L.A. riots forced the president to send in the army and marines, resulting in 63 people killed, over two thousand injured, and over twelve thousand arrested.

In March 1992, rapper Ice-T released the self-titled debut album for his rap-metal band Body Count, featuring the revolutionary single “Cop Killer.” The song’s lyrics, yelled out between rapid-fire guitar riffs and pummelling drums, paid tribute to Rodney King: “FUCK THE POLICE, for Rodney King.” The song’s incredible hook went, “I’m a cop killer, better you than me / Cop killer, F*CK POLICE BRUTALITY.” The message “Cop Killer” was powerful, but white conservatives distorted it by framing the song as malicious and uncalled for. Instead “Cop Killer” sparking a conversation about police brutality, as Ice-T had intended it to, it incited an unnecessary debate over the limits free speech. The song was condemned by President George H. W. Bush, Vice President Dan Quayle, and the Parents Music Resource Center, forcing Ice-T to take it f his album. But “Cop Killer” remains today one the greatest rap-rock protest songs all time.

In addition to “Cop Killer,” the L.A. Riots inspired a number protest songs, including the classic “Killing in the Name” by Los Angeles rap-rock band Rage Against the Machine. “Killing in the Name” compared the police force to the KKK, repeating the lines, “Some those that work forces, are the same that burn crosses.” The song refuses to accept “killing in the name ” anything, including the supposedly-righteous law. Rage Against the Machine addresses the police force directly, rapping “You justify those that died / By wearing the badge / They’re the chosen whites.” Born to a Mexican-American father, with a grandfather who fought in the Mexican Revolution, Rage’s frontman Zach de la Rocha was raised with a passion for political change. Backed by bassist Tim Commerford, guitarist Tom Morello, and drummer Brad Wilk, De la Rocha rapped to live rock instrumentation, creating a dynamic sound called ‘nu-metal’ that influenced many future rap-rock groups.

One the most famous bands to carry on the sound nu-metal was the California group Linkin Park. Emerging at the time the rise emo rock, Linkin Park adapted the urgent sounds groups like Run-D.M.C., Public Enemy and Rage Against the Machine, but focused their lyrics on more personal rather than political issues. Singer Chester Bennington and rapper Mike Shinoda spoke on themes depression, isolation, and drug abuse. Their 2000 debut album Hybrid Theory was conceived as a ‘hybrid’ between rock and hip hop, combining electronic samples with live rock instrumentation. On the DVD The Making Minutes to Midnight, Mike Shinoda said that the band was heavily inspired by the sound sampling, and attempted to play their instruments in rhythmic loops that resembled sampling machines. In 2004, Linkin Park released Collision Course, a collaborative EP with Jay-Z. The single “Numb/Encore,” a mash-up “Numb” by Linkin Park and “Encore” by Jay-Z, also featured backup vocals by Kanye West.

The emotional vulnerability bands like Linkin Park, as well as the death his own mother, inspired Kanye West to create 2008’s 808s & Heartbreak. 808s sounded nothing like Kanye’s previous work, and nothing like other hip hop around at the time. It was sparse, cold, and melodic, consisting somber autotune singing over minimalist beats. Much the creative directions 808s were credited to the contributions Kanye’s G.O.O.D. Music label-mate Kid Cudi, who released his debut album Man on the Moon in 2009. Pushing the ideas 808s & Heartbreak even further, Man on the Moon openly discussed depression, loneliness and suicide to a degree vulnerability that was rare in hip hop at the time. The album’s dark single “Day ‘N’ Night” contained lines like, “The pain is deep / A silent sleeper / You won’t hear a peep.” Man on the Moon pushed sonic boundaries as well, featuring collaborations with indie electronic bands Ratatat and MGMT, who contributed soaring guitars and synths to the anthemic single “Pursuit Happiness.”

Cudi blended genres even further on his 2010 album Man on the Moon II, for which he collaborated with indie rock acts St. Vincent and HAIM. “One thing I wanted to do was combine sounds that really bring out intense moods,”Cudi said in a 2009 interview with HipHopDX. Yet, Kid Cudi remained heavily inspired by hip hop. In the same interview, he went on to cite Public Enemy as one his biggest influences. “Just because it had a bad-ass nature doesn’t mean that they weren’t expressing their emotions. And that’s all I’m doing in my music.”

Also in 2010, Lil Wayne released Rebirth, a rap-rock album that featured Wayne autotune singing over pop-punk guitars. Critics largely dismissed the album, calling it “a total misperception what makes a rock record.” But that quote itself shows how critics attempted to box Wayne into certain categories, failing to see him as a unique artist in his own lane. Wayne’s Rebirth, as well as Kid Cudi’s later rock-focused albums WZRD and Speeding Bullet to Heaven, were glaring examples the music media immediately shutting down Black artists for stepping outside the confines what is deemed as ‘Black music.’ A quick scroll through the YouTube comments on Lil Wayne’s “Prom Queen” music video, and you see multiple people in 2018 remarking upon how the 2009 song must have inspired Lil Uzi Vert. The way Wayne used autotune on Rebirth, and the raw rock attitude the album, proved to be highly influential on the next generation rap rockstars.

In 2012 Kanye and Kid Cudi’s G.O.O.D. Music label signed Houston prodigy Travis Scott, originally as part the label’s production wing, and later as a rapper himself. Growing up listening to artists like Kanye, Kid Cudi and Lil Wayne, as well as Björk, Little Dragon and Portishead, Travis incorporates a diverse range influences into his unique sound. Travis saturates his autotuned vocals with distortion, overdrive and reverb, replicating the sound a guitar with his voice. This technique was pioneered by Kanye West on the song “Runaway.” What many people at first thought was a guitar solo on “Runaway” was actually a manipulation Kanye’s voice. Like Kanye on 808’s and Kid Cudi, Travis’ delivery is highly melodic, bordering on singing. Cudi featured Travis on his 2016 song “Baptized in Fire,” and Travis featured Cudi on “Through the Late Night,” which samples Cudi’s classic “Day ‘N’ Night.” Travis Scott’s new album Astroworld features a psychedelic collaboration with rock band Tame Impala on “Skeletons” and samples the Beastie Boys on the track “Carousel.”

It’s 2018, and rap-rock shows no signs stopping or slowing down. The emotionally vulnerable lyrics artists like Linkin Park, Kid Cudi and Kanye West have inspired a whole generation ‘emo rappers’ including Juice WRLD, Lil Peep, and Lil Uzi Vert. Citing Pharrell Williams and Paramore as two his biggest inspirations, Lil Uzi Vert’s breakout 2017 single “XO Tour Lif3” stole the hearts millions with its irresistible tear-drenched hook, “I DON’T REALLY CARE IF YOU CRYYYY / ON THE REAL YOU SHOULDA NEVER LIEEEED.” Veterans the genre are still at it too, including Rage Against the Machine, Public Enemy and Cypress Hill, who came together in 2016 to form the political supergroup Prophets Rage. And while rap-rock has historically tended to be male-dominated, badass women like Princess Nokia, Rico Nasty and Bali Baby have been asserting their place in recent years as certified rap-rockstars. Rap-rock is a genre born out reclamation and political protest. The artists today are redefining preconceptions what a rockstar has to look and sound like. As Princess Nokia wrote on her Instagram, “I LOVE to see my brown body take space in rock music and make you feel uncomfortable.🖕🏾” Rock on.

This article is the third part in a three-part series “Brief Histories.” If you liked this article, you can check out our Brief History G-Funk right here.

And our Brief History Jazz-Rap here.

10 Best Hip-Hop Video Game Soundtracks Of All Time

In the realm virtual reality, when most people think the word “score,” they think about points. In whatever format the game was developed, there was undoubtedly a scoring system. A way to accumulate virtual currency, gain power-ups, or literally purchase items. “Score” has another definition in the world music. To score a soundtrack, for example, would mean to produce and arrange music for a specific purpose. Scoring a video game soundtrack is a very important task, although it is vastly overlooked. Everybody who played video games in their childhood can hum at least one video game theme song. For me, the regal horns Starfox’s level in the original Super Smash Bros. comes to mind. Music is a vital piece how players experience games. Flipping through the radio channels while gunning down a rival gang in San Andreas made the experience feel genuine and spontaneous.

The games that featured distinguished hip-hop soundtracks became mainstays in the rap community. To this day, people still discuss the Def Jam video game series, which meshed multi-player melee with rap superstars and dope music. NBA Street Vol. 2 introduced millions kids to classics by Pete Rock & CL Smooth and Lords Of The Underground. Just like in the real world, hip-hop music took the virtual world by storm. The absolute necessity for a great soundtrack to set the backdrop loading and menu screens is even more apparent in sports games. Franchises like Madden and NBA 2K have partnered with artists to curate or create music specifically for their games.

Of course, there has been a multitude games with dope hip-hop soundtracks throughout the years, but these are the best ones. These soundtracks weren’t just thrown together to eliminate the staleness silence. Instead, these soundtracks made the entire gaming experience better, or may have been the best part the gaming experience altogether. From DJ Hero to Grand Theft Auto: San Andreas, here are the greatest video game soundtracks all time.