Just one week before the release Armin van Buuren’s seventh artist album, a huge collab emerges as the most recent single to come f ‘Balance’. A monumental link-up with none other than R&B/pop superstar NE-YO, ‘Unlove You’ sees the seminal artists explore the subject a recognizable post-breakup dilemma in their own unique way.
A collaboration as eye-popping as it is ear-catching, ‘Unlove You’ delivers its lyrical message with pinpoint accuracy whilst sporting a club-tinged groove that can do no wrong. With killers vocals, pounding beats and recognizable lyrics that aim straight for the soul, this track shows that being open-minded unlocks a whole new world possibilities. Check out the single below and let us know what you think!
Ørjan Nilsen has ficially dropped his highly anticipated fourth studio album The Devil Is In The Detail Armada Music.
Opening with the
title track, ‘The Devil Is In The Detail’, Ørjan Nilsen delivers a cinematic
performance behind the DJ decks and smoothly transitions into a future house
inspired drop. Peppered with genre-defying tracks throughout such as ‘Alone’,
‘Ghost Ship’ and ‘Reminiscence’, Ørjan experiments with tempo changes and takes
on different styles dance music while still incorporating his own signature
The Devil Is In The Detail sends listeners on a 14-track journey through sweet melodies, hard-hitting basslines, sultry vocals and breakbeats that only the Norwegian DJ himself can produce. He has exceeded expectations and has gifted fans with the most groundbreaking music his career. You can check out his album below!
When Nas unleashed his debut album Illmatic in 1994, he could’ve never predicted the lasting impact it would have on Hip Hop culture. Twenty-five years later, the album is still one the most revered pieces Hip Hop music all time.
But Nas has evidently had enough. During an interview with Haute Living, the celebrated MC admitted the nostalgia has worn thin.
“I’m tired celebrating it,” he said. “I’m grateful, but it has started to take on a life its own. I just did the 20th anniversary with the National Symphony Orchestra five years ago and, the next thing you know, five years go by and it’s a calendar that I didn’t ask for showing me how fast time moves.”
Nas also noted he performed another National Symphony Orchestra show this year to again commemorate Illmatic. While he’s appreciative his seminal album means so much to so many people, he has no plans to continue celebrating it.
“Twenty-five years is a lifetime,” he continued. “So I did another Symphony Orchestra show for Illmatic this year; I got another plaque for it. I’m very grateful — it’s so crazy — but to celebrate one album when I’ve made over 10, all the things I’ve worked on — and I’ve been working for so long — to celebrate one album over all else is corny to me.
“I don’t want to celebrate another Illmatic anything. I’m done. Ladies and gentlemen, thank you for appreciating that record, but it’s over.”
Nas’ latest album, The Lost Tapes 2, arrived in July.
The Griselda Records artist says his major label debut God Don’t Make Mistakes is unlike anything he’s released before.
“This album is the growth and maturity Conway the artist and the person,” he tells HipHopDX.
Conway’s first LP for Shady Records is due out after WWCD — a collaborative album with Westside Gunn, Benny The Butcher and Daringer — drops on Eminem’s label in November. With Look What I Became… out now and the Griselda crew’s group effort coming soon, DX spoke to the Buffalo-bred MC about both projects and much more.
In the second half the two-part conversation, Conway explains why his upcoming solo album is different from his past work and opens up about the support he received after he was shot in 2012. The skilled lyricist also shares details about Griselda’s Shady debut and reveals why he likes working with up-and-coming producers.
HipHopDX: I’m glad you overcame those dark days after you were shot. When did you feel like you started seeing the light at the end the tunnel? And what kind support system helped you get to that point?
Conway: It was probably around when I started making Reject 2, honestly. It’s when I started seeing light at my tunnel. I started being comfortable and accepting what it is. This how I’m going to look, this how my shit sound. I kind just adapted to it. It was around that time. I forget what year that was, maybe like 2014. I finally shook it f. My man Dre, Toya, my mom, aunt, uncle, my nigga Pat-Pat. There was a couple friends. My little brother and them.
West was very instrumental in my bounce back. West would always make sure I felt the way I’m supposed to feel. I didn’t feel less than, if that makes sense. He’d always make sure I had some fly shit on, pulling up on me when he could’ve been anywhere in the world. He’d sit in the house, him and sis, and just chill with me over there and just order some pizza. It’s the little shit. Giving me the talks about what we gonna do, what we about to do. Building my confidence.
He’d say, “You gonna kill niggas, can’t nobody fuck wit you.” Just building me up. I definitely got to say my family and close homies played an instrumental role in getting me out those dark days and back into a creative space.
HipHopDX: That’s amazing. Great to hear you had that support and it’s obviously paid f in a big way.
Conway: It’s a blessing. I’m blessed to have the people I got my corner.
HipHopDX: No doubt. There are a few more tracks I did want to touch on on this latest project. On “Half Of It,” it was interesting to hear you on more a trap-style beat as opposed to the usual gritty and grimy boom-bap. Was that a chance for you to show your versatility?
Conway: Yeah, I just wanted to show my versatility. Just show people that I’m really not just a one-trick pony, man. I’m always big on when people think you going right, go left. I didn’t want people to get used to one particular sound out me. I felt like they was starting to ’cause if you listen to everything from Reject 1, Reject 2, the Reject On Steroids series, G.O.A.T., Everybody Is F.O.O.D. series, Blakk Tape, it’s like all the music is just super aggressive and on street time. It’s] talking about different sides the streets — the robberies, killings and drug dealing and shit.
On this tape, I just wanted to do different types flows. In order to do that, I had to tap in with some different types producers who gonna give me a different type lane. When I’m on them Daringer beats, people expect one thing. That spooky shit, that grimy, that dark, slow, grimy, filthy shit. They ain’t expecting me on a Rick Hyde beat] coming like that. And still talking my shit but just changing the flow up a little that I knew people wasn’t gonna be used to but that I knew they was gonna love.
HipHopDX: I definitely enjoyed that new wrinkle in your playbook.
Conway: Thank you, man.
HipHopDX: As far as production goes, is it sometimes difficult to find variety when you have someone as reliable as Daringer in your corner?
Conway: It’s not really tough. Sometimes, it’s frustrating though when I do get beats from other producers and reach out, they try to send me the same stuff that Daringer makes. I like dealing with producers for their individuality. I don’t want a nigga to make me Swizz Beatz-sounding type beats. I would just chat with Swizz. Laughs] I wouldn’t want Swizz to make me a Neptune beat. I wouldn’t want Pharrell to make me a Daringer-sounding beat. I’m just using them names as an example.
Send me your type, send me your lane. That’s why I’m reaching out! I got Daringer. I can call him. It’s cool though. I’m starting to open up and accept more music now. I like working with up-and-coming producers as well ’cause they still hungry and they ain’t just all shrewd and full themselves. They hungry and they trying to do some ill shit. I like that energy.
HipHopDX: Are you conscious trying to keep a balance between established producers and those hungry up-and-comers? On this latest one, you worked with legends like Alchemist and DJ Muggs but collaborated with people like Rick Hyde too.
Conway: No, not really. I can’t say that I go into a project like that. When I’m doing my tapes, I’m just fucking with whoever got the hottest shit. People send me batches and I reach out. It’s funny, that Rick Hyde shit came from Rick Hyde just being hungry. We was riding back from a show or whatever, and he had his laptop out and he just handed me his headphones and played that beat for me. I lost my mind. That wouldn’t have happened if he wasn’t just hungry and trying to show and prove that, “Yo, I got heat too.”
At that time, I really didn’t give people the ear because nine times out 10, I get 100 beats a day and 99 them shits is trash. I don’t even like to waste my time half the time. People email me beats and send me beat packs. I’m in the car with him and Hyde] constantly playing me shit and playing me joints. He hungry. He played me that shit and I lost my mind.
Same thing with JR Swift with the “Vino D” beat. He sent that in. These younger producers, they hungry. They on it. I done reached out to guys to get beats — I ain’t going to say no names — and I still ain’t got them. ‘Cause they already established. It might not even be no funny shit, they just got a lot going on. They big, they established. They got a million things to do: family, responsibilities, they own press and all that shit they got going on. Maybe they just ain’t had the time to send them yet. Not saying that they not coming, but you know what I’m trying to say? But them young hungry dudes? They patch right in, ASAP.
HipHopDX: Look What I Became… is a prelude to your Shady debut God Don’t Make Mistakes. As an artist that’s well established at this point, what’s going to be the difference between your debut album and your previous work?
Conway: The transparency in the music, the stories. This is really an incredible album, and I can’t wait for this shit to come out. Every record is different. Every record is a different topic, a different concept, it’s a different scheme. This shit is just next level for Conway. It ain’t nothing like the Everybody Is F.O.O.D. series or the Rejects or none my old previous projects.
You can really hear it in the music. The shit I’m talking about, I’m talking about things I haven’t ever told anybody. I’m just opening myself like a book to the world, and I think this shit is dope. I got some surprise features. I didn’t even want a lot features, but I got a couple on there that I was working with. It’s mainly Daringer and Beat Butcha holding the production down, but I got a couple other producers on there that threw a joint or two at me. It’s different, man. It’s just different. It’s next level. It’s the next level up for The Machine.
HipHopDX: I’m sure the Eminem single’s on there and I imagine Benny and Westside are plugged in too. Is there anybody else you can reveal at this time?
Conway: Nah, I’m not going to let them know. I ain’t going to let them know. It’s a surprise! Some their favorites are on there. Some their favorite rapper’s favorite rappers is on there. Some the biggest artists in the game is on there. Some the illest producers in the game is on there.
HipHopDX: I know the Griselda group project WWCD is coming in November. What’s the timeframe for your solo?
Conway: Right now, man, it’s up in the air. I really don’t even know. I try not to even think about it. I let what happens happen. I just let it flow like that. It’s coming soon. Should be shortly after what MachineGun do.
HipHopDX: As far as that group project goes, not many details about the album have been revealed yet. How much involvement do you have in it and what fans can expect from that as opposed to the Griselda crew’s solo work?
Conway: We all involved with it equally, 100 percent. Me, West and Benny is on every song rapping. Daringer produced every beat, him and Beat Butcha. It’s actually like a real, authentic, all-around Griselda project. There’s no other producers, no other nothing. It’s just me, Daringer, Benny, West and Beat Butcha. We] was in the studio for three days and made this album. It’s the illest shit niggas going to hear for the year. Album the year, hands down.
HipHopDX: Was it y’all’s decision to make Griselda’s Shady debut a group effort?
Conway: Yeah, it was pretty much our decision. We really wanted to just get some momentum generated for the God Don’t Make Mistakes album. We all kind our own entities individually. So, it was like we should just do a group tape. We ain’t did that yet. Just to get ’em ready for the God Don’t Make Mistakes album. That’s how that came about.
HipHopDX: You’ve already got an extensive catalog at this point, but some listeners may have only started paying attention since you linked up with Shady. If somebody is a new fan, where would you recommend they start with Conway The Machine?
Conway: They can start at the beginning, Reject 2. Hall & Nash, tap into them Reject On Steroids or that Blakk Tape, the F.O.O.D. series. Listen to Look What I Became… first, then go start at Reject 2. You’ll learn everything you need to know about The Machine. I guarantee that jaw going to be on the floor. Like, yo, this might be one the most impactful artists our generation. Laughs]
HipHopDX: You’re definitely somebody that Hip Hop heads need to be listening to if they aren’t already.
Conway: My story, the shit I been through, everything I overcame and the music I’m putting out, the quality it on a consistent basis, it’s only getting bigger and bigger. Look what I became!
Conway: Finn Balor. I still fuck with Brock Lesnar]. AJ Styles, Samoa Joe, niggas like that. I’m really fucking with Finn heavy though, man. I’m really on that Finn train.
HipHopDX: Those are some good picks. Are you enjoying AEW too?
Conway: Yeah, I fuck with that! And I can’t forget my boy Randy Orton too, fa sho.
Read Part 1 DX’s interview with Conway The Machine here.
The ‘Gram – Congrats are in order for City Girls’ Yung Miami as she gave birth to her daughter on Friday (October 18). She made the announcement on Instagram captioning she was “so happy and blessed.”
The photo showed the newborn named Summer sleeping along with the Grammy-nominated producer Southside, the child’s father and Miami’s boyfriend. Her group member, JT commented, “Auntie snook snook now it’s 3 city girls let’s get it.”
Miami’s pregnancy took a tumultuous turn when she was a victim a drive-by shooting. Luckily, no one was harmed in the attack. Since then, after much anticipation, JT was finally freed from prison, which brought her and fans the rap duo much joy.
This is the Florida rapper’s second child; she has a son from a previous relationship. As for Southside, this marks his sixth child. Lil Kim, London On Da Track, LaLa, Quality Control bosses Pierre “Pee” Thomas and Kevin “Coach K” Lee all congratulated Miami in the comment section her post.
Stockton, California rapper MBNel is set to welcome a beautiful young girl into the world and with his latest single, “”Dear Jhené”, he’s giving her a lifetime worth game before she has her first cry.
“Dear Jhené” will appear on MBNel’s upcoming project Born To Win, which drops on November 15.
Watch the video up above.
Twitter – Megan Thee Stallion and Iggy Azalea had a brief misunderstanding that was aired out and cleared up on where else but Twitter. The issue was over a song that Azalea claims to have sent to the H-Town native to hop on though Meg says she never received the track.
The dispute started when the “Sally Walker” writer responded to a now deleted tweet that asked her to collaborate with Megan. Azalea retorts she sent a track from her recent album In My Defense for a feature though received no response.
Meg answered another tweet explaining her side the story. She claims Azalea never sent the songs to her directly when she had her personal email and phone “back then.” Also, she was excited to go on tour with the Australian born rapper, but “it just didn’t happen.”
I was excited for that tour but it just didn’t happen . Iggy ain’t send me no songs when she had my number or personal email back then lol idk who she sent a song to now 🤷🏽♀️ love Iggy tho https://t.co/sAYaiGpUL7
— HOT GIRL MEG (@theestallion) October 18, 2019
I kno it wasn’t any hate lol I’m saying you did NOT send records to ME so I never heard the records. It’s a case miscommunication. Your fans not about to make me internet beef with you about a song I ain’t know about 😂 https://t.co/o4CXRChZr4
— HOT GIRL MEG (@theestallion) October 18, 2019
Azalea says the two spoke on FaceTime and after she sent the tracks to Megan’s manager. Thee Stallion responded that she never sent those records directly to her, so they went unheard. In the end, they both expressed it was all love and miscommunication.
Chuck D (real name Carl Ridenhour) is suing music publisher Michael Closter and his Reach Global music publishing company. According to Billboard, the Public Enemy mastermind alleges they used false registration and orchestrated a fraudulent plan to obtain ownership interests in 28 musical compositions he wrote and/or co-wrote.
In October 2001, Closter approached Chuck about forming a music publishing company to administer musical compositions the Prophets Of Rage MC had recently reacquired from Def Jam Recordings, Public Enemy’s former label. Together, they formed Terrordome Music Publishing, each contributing $500, along with a third investor.
As outlined in their agreement, Closter’s company Reach was entitled to 10 percent gross prit from Terrordome publishing and licensing deals, while other proceeds from the company were split 42 percent for Closter’s Reach Global and 58 percent for Chuck’s Bring the Noize Music (BTNM) company.
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#Repost @lorrieboo ・・・ 2nd lawsuit filed against Reach Global. My comments to Billboard below. "We stand by our claims," Boula, Chuck D’s manager said in a statement. "We spent three years researching and gathering documentation before we decided to file multiple lawsuits against Reach. We also closely monitored Flavor Flav’s 2017 lawsuit against Reach, which had many similar claims. Ultimately, Reach settled with Flavor for an undisclosed amount and the settlement was sealed. We are confident that we will be triumphant."
Only recently did Chuck discover Terrordome had actually acquired ownership his copyrights instead just functioning as the publishing and licensing administrator.
The lawsuit says Closter registered the songs Chuck wrote or co-wrote after 2012 with the copyright fice in the name Terrordome without Chuck’s knowledge. As a result, Closter has collected “the illicit prits” at Chuck’s expense.
Closter’s attorney Larry Iser blames the lawsuit on Chuck’s new management, explaining Chuck has been earning millions through this “very successful business relationship” and has only taken issue with the agreement over the last several months.
“In his latest frivolous court filing, Carlton Ridenhour (Chuck D) alleges that an entity in which he has a 58 percent ownership interest, Terrordome Music Publishing, wrongfully filed copyright registrations on 28 compositions he wrote,” Iser said in a statement. “Notably, Mr. Ridenhour did not sue his entity Terrordome (the entity that filed the registrations) rather, he continues his pattern harassment by litigation against Michael Closter and Reach Global.”
Iser went on to point out Chuck voluntarily signed the agreement 18 years ago with a lawyer present.
“They were signed at the manager’s house in Los Angeles,” he continued. “Since that time, Mr. Ridenhour enjoyed a positive and very successful business relationship through his company Terrordome, reaping millions dollars in royalties and hundreds thousands additional dollars to cover his expenses.
“Not once did Mr. Ridenhour ever express frustration in his business dealings with Mr. Closter. Now, Mr. Ridenhour has new management that is seeking to intimidate Mr. Closter into giving up his minority interest in Terrordome by filing repetitive, baseless lawsuits. Mr. Closter intends to defend himself vigorously, and we look forward to proving the validity his agreements with Mr. Ridenhour.”
Chuck’s manager Lorrie Boula touched on Flavor Flav’s own 2017 lawsuit against Reach Music, which also named Eastlink Productions, producer Gary “G-Wiz” Rinaldo, SLAMjamz Records, Sounddome Entertainment, Inc., manager Clifton “Greg” Johnson, Xecutive Entertainment and Chuck himself as defendants.
“We stand by our claims,” she said in a statement. “We spent three years researching and gathering documentation before we decided to file multiple lawsuits against Reach. We also closely monitored Flavor Flav’s 2017 lawsuit against Reach, which had many similar claims. Ultimately, Reach settled with Flavor for an undisclosed amount and the settlement was sealed. We are confident that we will be triumphant.”
A hearing is set for November 25.
“IT’S WAY TOO HOT IN HERE,” the REVOLT chairman wrote on Instagram Friday (Oct. 18). “And I’m not talking about this hot ass sauna I’m in. I’m taking about this lineup we put together for the REVOLT SUMMIT IN LA!!!! We coming to shake shit up and make a change!!!!
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And I’m not talking about this hot ass sauna I’m in. I’m taking about this lineup we put together for the REVOLT SUMMIT IN LA!!!! We coming to shake shit up and make a change!!!! OCTOBER 25-27 | REVOLTSUMMIT.COM @kehlani @ava @tamikadmallory @moj @lilly @snoopdogg @djmustard @tydollasign @nickyjampr @richpaul @stephenasmith @icecube @frenchmontana @oldmanebro @killermike @andreharrell @sickamore @dangerookipawaa @iamstillpunch @therealnoreaga @joebudden @ebonikwilliams @remyma @cthagod @hitboy @sounwavetde @terracemartin @murdabeatz #paulhunter @flexgoddaps @calmatic @keke @vincestaples @revoltsummit #revoltsummit @att
The REVOLT Los Angeles Summit, which partners with AT&T, will feature Mustard, Ice Cube, Fat Joe, Issa Rae, Snoop Dogg, Joe Budden, Killer Mike, Kamaiyah, MurdaBeatz, Remy Ma, Ray J, Van Jones, Vince Staples, The Shade Room’s Angelica and many more.
REVOLT Summit Los Angeles will mark the series’ largest installation yet. Top Dawg Entertainment CEO Anthony “Top Dawg” Tiffith and President Terrence “Punch” Henderson will join the event as co-chairs.
According to a press release, the three-day event “will feature panels on the cannabis revolution and criminal justice reform, while bringing back some Atlanta’s most popular activities like ‘AT&T Office Hours,’ which connects REVOLT Summit attendees with successful business leaders and entrepreneurs in music, film and entertainment.”
Along with cannabis and criminal justice reform, the Summit will tackle concepts such as the “Follow Her Lead” panel with Lizzo and Kehlani, “The Making TDE” moderated by Snoop Dogg, “Power & Politics” with Killer Mike and more.
The REVOLT Los Angeles Summit will take place Oct. 25 – 27. Tickets are currently available for purchase online.
Check out the recap video the REVOLT Summit Atlanta below.
West Hollywood, CA – Over the course Philthy Rich‘s 10-year rap career, the self-proclaimed East Oakland legend estimates that he’s made millions from music alone as an independent artist and it’s not hard to believe.
“It represents the hood and Sem God,” he explains to HipHopDX over champagne and lobster pizza at Berri’s Cafe in West Hollywood. “It’s being a God where I am from. We all Gods, kings and queens.”
His 30-track LP Big 59 boasts features from fellow rap artists such as Iamsu!, Skeme, ALLBLACK and OMB Peezy, among others.
One frequent collaborator missing from the lineup is Mozzy, whom he’s been in a cold war with for nearly a year due to “politics” concerning the Internal Affairs rapper’s relationship to San Francisco icon, Messy Marv. The album’s title track, “Big 59,” also happens to be aimed at the Sacramento rapper, as a result a collection diss songs they exchanged between each other, including Philthy’s “Don’t Forget” and Mozzy’s “Chill Phillipe,” last year.
“When everything went down, it took me to have to reach out to him, like, ‘Bro, what’s going on? What is all this? What’s going on?’ I know where it came from,” he explains. “I still have the conversation from him in a text message but I just ain’t never put it out there. I think sometimes people make the wrong decisions.”
As for if the two will ever reconcile, the answer seems to be up in the air. For now, it appears Mozzy has chosen Marv over Philthy.
“We haven’t talked or seen each other since then so I don’t know,” he says. “I don’t take it threatening. I’m really not too much worried about it but salute to him. I wish him much success. We just gotta agree to disagree.”
Nevertheless, Philthy loves his hometown. He constantly gives back to the city that raised him with philanthropic programs such as his 100 Red Bottoms Giveaway, blessing students who have earned a 3.0 GPA or higher with a pair Christian Louboutins and a backpack for the upcoming school year. He’s also known for his turkey giveaways during Thanksgiving and toy drives during Christmas.
Giving back to his community is a big part who he is and so is being an entrepreneur. The 36-year-old rap vet has his own cannabis strain called Killzone Gelato, runs Royalty Salon out in Vallejo, California, breeds English Bulldogs and owns Las Vegas-based clothing store, Hood Rich.
Being an astute businessman hasn’t always been easy, however, and like most entrepreneurs, Philthy took a few misfortunes to the chin in order to win big.
“I take losses all the time, just dealing with different bitches and businesses,” he says. “I took a loss when I opened my clothing store. I invested my money into it and it was shut down the day after opening. I couldn’t open the doors for six months and I was fighting to get it back. I had to get a lawyer.”
Unfortunately, someone got robbed at his store the day opening and authorities accused him having something to do with it.
“Why would I rob somebody at my store?” he asks rhetorically.
His answer to overcoming adversity is to stick it out and never quit, which has been fundamental to his longevity.
“There have always been times that I wanted to not go so hard or focus on music, do different things while dealing with different businesses, family, and getting discouraged at times,” he recalls. “I’m sure every artist has, but if this is something you love, you stick with it.”
“I feel like just working, staying consistent, always working, never being content, keep going hard and keep putting out good music,” he adds as a reason to why he’s remained resilient over the years.
Though he doesn’t like to pick favorites, he points out the most meaningful track on Big 59 is “Amen,” which was filmed in front The Marathon Clothing store, where the late Nipsey Hussle tragically lost his life in March.
For him, transitioning fully into music happens to be one his biggest financial risks.
“Giving up the streets and focusing on music was a big risk because you have to fund music,” he says. “You have to pay for things in a certain way however you get to the money, then me realizing, ‘Okay, I’m done with that, I’m going to do something better and hopefully, this could put me in a better position.’ That’s a risk right there because you might get in music and flop or you might take f. I might have been making more money doing that than this. The transition is crazy.”
While artists, such as Tekashi 6ix9ine, are using the hood as a novelty feature in order to gain clout coins and run up a bag, Philthy points out real ones from the hood want out — not in.
“When you’re really not from the hood, it’s going to be exposed,” he says. “You can then try to use it and promote it but the real hood niggas they want to get out, they don’t want to stay in the hood forever. If you want to use it or promote it, or pay people to say you’re from here, or protect you, or be in videos with you, that won’t last so long. It’s not going to make everybody happy. When you ain’t genuine it’s going to be brought to the light.”
Growing up, he didn’t have much. He remembers always having to share a room with his brothers, which to this day drives his undying motivation to strive for more.
“I just want to keep branding myself to become a bigger businessman,” he says. “I see myself doing everything on a major level, whether it’s signing to a deal or buying the whole block, I’m just going to keep aiming higher and higher every time. I might go buy an apartment complex and rent it out. Everything is bigger to me because when you come from nothing and you didn’t even have your own room growing up, for you to buy an apartment complex and rent it out…”
There is no end goal for Philthy Rich because he wants it all. Big 59 is merely a means to building the legacy he’s currently leading right in his own community.
New York City, NY – South Bronx native and cousin to rapper Chris Rivers, D-Block MC Whispers, continues to fan the flames this past summer’s Wizardly LP with the release a brand new video for his single “Razor Ramon” featuring Snyplyfe.
The visual is one two slated to drop in the promotion the LP, which aside from his cousin and Snyplyfe, also features verses from Sheek Louch and Chris Streetz. The second, “D.O.G.S” featuring Chris Rivers, was shot just last week in New York City.
Whispers had an eventful 2019, making a handful impressive guest appearances — including verses on Styles P’s S.P The GOAT: Ghost All Time (“Push The Line”) and Sheek Louch’s Beast Mode, Vol. 3 (“Making Plays”).
Stream Whispers and Snyplyfe’s “Razor Ramon” above.
Cleveland, OH – The Japanese rapper who flew 6,000 miles to Cleveland, Ohio with hopes meeting Bone Thugs-n-Harmony is closer to getting home. In a news report from Fox 8 Cleveland, Bone Thugs MC Bizzy Bone fered to fly Ryo Muranaka back to Japan.
“I’ll get the man a ticket to get back home,” Bizzy said in the clip. “I’m putting my hands out there on behalf Bone Thugs-n-Harmony to say we do care. And we just want to help the kid, and we appreciate him coming to see us.”
Muranaka arrived in Cleveland earlier this week after selling all his possessions in an effort to get his music to his Hip Hop heroes. He was discovered alone, broke and robbed his luggage by local activists James Norton and Kwas Bibbs who have been trying to get Muranaka the help he needs.
Norton and Bibbs said Muranaka was able to meet Layzie Bone who briefly put him up in a hotel.
Krayzie Bone, who also spoke with Fox 8 Cleveland, compared Muranaka’s attempt to Bone Thugs’ own. Before they became Hip Hop legends, they were struggling artists simply trying to get their music to Eazy-E. They took one-way bus tickets to Los Angeles and the rest is history.
Bizzy suggests Muranaka come back to the U.S. another time and do things properly. Krayzie also told HipHopDX, Muranaka needed to have a more solid plan.
“I will also say this to other fans and artist that are looking to do the same thing as us or this gentleman did — follow your dreams by all means, but you have to be very careful when you go to places you know nothing about,” he told DX. “We’re not from the suburbs, we’re from the ghetto.
“The area we grew up in is not nice by any means, and I’m just thankful all they took from him was his luggage and not his life because it gets real like that. So, be very careful and have some kind plan.”